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Dark Ambient Vol I

Fade

"Í gegnum Ísinn" from Ólafurs original score for the film Vonarstræti / Life In a Fishbowl 

Stari Í Gegnum Ísinn

18 tracks of ambient and experimental from some of the finest sound creators.

Porya Hatami (soundcloud.com/poryahatami) 
Darren McClure (soundcloud.com/darrenmcclure) 
Minimatics (soundcloud.com/shft2012) 
Cameron MacNair (soundcloud.com/cameronmacnair) 
Ross Baker (soundcloud.com/rossbakermusic) 
Tegh (soundcloud.com/tegh) 
Bengalfuel (soundcloud.com/bengalfuel) 
Off Land (soundcloud.com/offland-1) 
Mathieu Lamontagne (soundcloud.com/arbeemonkey) 
Five Minutes Alone (soundcloud.com/five-minutes-alone) 
Darren Harper (soundcloud.com/darrenharper) 
A Bleeding Star (soundcloud.com/a-bleeding-star) 
Valiska (soundcloud.com/valiska) 
Fontaine (soundcloud.com/fontainesound) 
Dementia And Hope Trails (soundcloud.com/dementiaandhopetrails) 
Cory Zaradur (soundcloud.com/inneroceanrecords) 
Finval (soundcloud.com/finval) 
Erinome (soundcloud.com/aaronhansenmusic) 

Valiska - Neviges

A Winged Victory for the Sullen - 'ATOMOS'
Double-Vinyl/CD/Digital out on Erased Tapes/Kranky on October 6, 2014

PRE-ORDER the album now!

Worldwide (excl. North America):
via Erased Tapes: www.erasedtapes.com/store/index/ERATP061
or via iTunes: http://snip.ftpromo.net/atomositms

In North America:
via Kranky: www.kranky.net
or via iTunes: https://itunes.apple.com/us/album/atomos/id894692856

TOUR DATES: 
https://www.facebook.com/awvfts/app_123966167614127

After releasing a first glimpse in the form of the ‘Atomos VII’ EP earlier this year, A Winged Victory For The Sullen finally reveal their second full-length album entitled ‘Atomos’, which besides familiar piano, string and drone sounds also sees the duo introduce flurries of electronics, harp and modular synthesisers.  

Wayne McGregor, founder of Random Dance Company and resident choreographer at the Royal Ballet, chose to play the album repeatedly during practices with his core group of dancers. After noticing the group's reaction with the music, he contacted Adam and Dustin to see if they could write the score for his new oeuvre. The duo were given complete artistic freedom and they treated the score with the same care and attention as their debut album. They recorded more than sixty minutes of music over a four-month period during the summer of 2013 across studios in Brussels, Berlin and Reykjavik, with the help of their long time collaborative sound engineer Francesco Donadello. During the recording process they realised, that this would become their official second studio album. McGregor provided them with the inspiration to expand their sound palette into more electronic territory, whilst keeping their signature chamber sound, resulting in a very unique record.  

“As a wise man once said, one who procrastinates their own choosing will inevitably have their choice served to them by circumstance. We had virtually no time for second guessing ourselves. That being said, we tried to balance the discordance between being creative, and fulfilling our duties for a commissioned soundtrack with a very strict deadline, and all the while staying true to our collective melancholy.‘’ – Adam Bryanbaum Wiltzie  

“We never imagined 2013 would be such an explosively creative year. The first record took us two years from start to finish, but in the micro span of time over last summer we were able to change the formula for the way we write, record, and let go. It was incredibly liberating.” – Dustin O’Halloran

OFFICIAL WEBSITES:  awvfts.com · erasedtapes.com · kranky.net

Atomos VI

I'm really happy to finally unveil this collab with the lovely https://soundcloud.com/oneiramusic and my friends https://soundcloud.com/thewaltonhoax
This track was quite unconventional and risky but we're pleased with how it turned out, and I hope you'll like it too!

Big up to https://soundcloud.com/sirchillicious for letting us be a part of this free compilation. You can grab it over here : https://chillicious.de/downloads

Free DL

The Walton Hoax & eXcess - So Fragile (feat. Oneira)

extract from a 38mn piece I just composed for the following release and Project. :) (AMB all vocal and more drones :), Seaboard, vocals, Seascape, foghorn, singing bowls, and my new Harp...)
"Aural Films presents "Fog Music." A series of recordings inspired by the weather condition known as fog. Light and dark, wet and dry, this invasive event is a great source of inspiration for sound artists from around the world. This project seeks to publish 24 hours of these recordings as an on-going series for all to hear and enjoy." you can find this music here: http://auralfilms.bandcamp.com/album/fog-music-24

Adrift Into A Sea Of Fog...

With a little help from NASA, we present the second track from the compilation Dark Space Matters - 'Lumina'.  More here: http://bit.ly/1rt7cz0

Lumina

Petur Jonsson | Lumina

Check me out on YouTube, I've been most active over there: https://www.youtube.com/channel/UCUZig788vzmYdzMphveBp8g

The Fog Ahead

Artist : Marsen Jules
Title : Sinfonietta
Label : Dronarivm
Release Date : December 2nd, 2014
Catalogue number : DR-28
Format : CD, ltd. ed. 100 + deluxe ed. 100
Release page: http://dronarivm.com/2014/11/21/marsen-jules-sinfonietta/

The long-awaited release of "Sinfonietta" by Marsen Jules crowns the year 2014 for Dronarivm. 

Aristotle referred the term "symphony" to music of the spheres that embraces the concept of a ethereal harmony. Sinfonietta, which lasts 45 minutes, is a very first element of cosmic architectonics, the miniature universe model. Unwrapping in time, this self-contained composition is skillfully woven out of orchestral sound fragments repeated in a cyclical manner. But it would be not enough, just to listen to this music. Marsen Jules offers a new sense of reality beyond the three known dimensions, where time is non-linear and perception is multivariate.

Credits:

Mastered by Jason Offthesky Corder
Photos by Anders Weberg
Curated by Bartosz Dziadosz (Pleq)

MARSEN JULES - Sinfonietta (excerpt) - DR-28, CD / DL

Artist : offthesky
Title : Light Loss
Label : Dronarivm
Release Date : February 2nd, 2015
Catalogue number : DR-29
Format : CD
Order here: https://dronarivm.bandcamp.com/album/light-loss

'Light Loss' describes a changing of seasons - from fall into winter when the sun hangs low and the day's shy light dominates. It describes the heavy mood and psychological affect that comes with this seasonal evolution and the changing tide of friendship and love alike that occurs through this seasonal shift. 

Stylistically the music therein marks a continuation in offthesky's sonic evolution by introducing darker atonal noise moments coupled with a lighter melodic sound to create a rich dynamic hue. By melding acoustic instrumentation, synth, and composed effects, offthesky weaves a quilt that embraces both a negative and positive landscape. 

offthesky is experimental sound/video artist Jason Corder - from Denver, Colorado. Jason has performed and produced various shades of electronic music for over 15 years. He has toured Europe and Canada and has released on labels from 12k to zymogen. 

composed & mixed by Jason Corder in Denver & California 2012-2014 
offthesky.com

cover art by Russell Burden
starbathing.com

Offthesky - Light Loss (album sampler)

A mix showcasing the Dronarivm label. 

Read more at www.acloserlisten.com

Dronarivm Mix

PRE-ORDER NOW - www.vintermusik.com

Format: Cassette 
Edition: 75 
Released: March 10, 2015

Track list:

1. Cloak Of Lingering Fog 
2. Field Rotation - Zeitreise (The Frozen Vaults Remix) 
3. Stilled

The Frozen Vaults are a far-flung five piece collective consisting of musicians 
Yuki Murata (piano), Tomasz Mreńca (violin) and Dave Dhonau (Cello). 
Produced and arranged by Bartosz Dziadosz (Pleq) and Harry Towell (Spheruleus).



The Frozen Vaults - Cloak Of Lingering Fog

Artist : Caught In The Wake Forever
Title : The Places Where I Worship You
Label : Dronarivm
Release Date : March 23rd, 2015
Catalogue number : DR-30
Format : CD
Order here: http://dronarivm.com/2015/03/03/caught-in-the-wake-forever-the-places-where-i-worship-you/

'The inspiration for this record came about while I was on holiday in The Isle Of Arran, Scotland last October. It’s a beautifully detached & quiet Scottish Island. I had spent the week relaxing, collecting field recordings & walking around with my family. During my time there I felt an intense calm that I often don’t, if ever feel. I felt a better person in this environment. I felt a better partner & most importantly, a better father. I began to feel like my old self again, being away from the general pace of modern life. 

When I arrived home I spent the next 6 months trying to create an aural document of my experience. In order to remind myself (when I lose sight of it) that it is possible for me to be this way. 

The six tracks here all consist of environmental recordings taken on the island, along with manipulations of an old 78rpm record bought in a charity shop at the ferry port upon leaving for home. For me this is a deeply personal instrumental record, marking not just a time & place but a certain way of life. It’s a way of life I hope to return to on a more permanent basis in the near future'. 

- Fraser McGowan 

Written & recorded at home by Fraser McGowan 
All environmental recordings captured on the Isle Of Arran (14th-17th October 2013) 
Mastered by Porya Hatami

Caught In The Wake Forever  - The Places Where I Worship You (Album Sampler)

from 'Blossoms In Red' [CD|LP|DIGITAL]
Denovali Records · den243
available on all formats at [http://denovali.com/ensembleeconomique]

Based in Californian Humboldt County, Brian Pyle wanders the world on his countless travels. Far from being restless, he has his very own Pylesque way of travelling. Much like a Lynchian version of Hemingway, he has an eye for the thin layer between restlessness and relaxation, gloom and serenity. Wherever he goes, he ardently absorbes these nuances, rarefies them and moulds them into a seamless array of glimmering styles, from drone and ambient to shoegaze and post-wave, giving birth to yet another creation of his prolific Ensemble Economique project.
On his by now eleventh album and fourth Denovali release "Blossoms In Red", Pyle combines and perfects elements of his previous output into a cohesive narrative. The opener "From The Train Window, Red Flowers On The Mountain" is a surprisingly scarce ambient piece, which feels like an almost infinitely stretched precious moment of time. Despite being austere, it is warm, sublime and incredibly captivating and after listening to its full 8 minutes, one cannot help but to rewind and replay. Having barely escaped this seductively infinite loop, one encounters the title track "Blossoms In Red" featuring Portland electronic duo Soft Metals. Starting off with a characteristic sluggish programmed beat, one is immediately overpowered by the onset of the towering combination of a warm bassline and a shimmering synth ambience. As the track flows, these elements writhe around each other in a delicately beautiful fashion, absorbing the materialising wailing guitar which almost sounds like an ethereal voice, as well as the occasional melodic and rhythmic accents. The next track sees this guitar return in a rather pure form. "On The Sand", featuring jack-of-all-trades Peter Broderick, is essentially just reduced analogue drums, electric guitar, a simple vibrating bassline and hoarse almost spoken vocals. Slowly and methodically, these constituents form a captivating erotic ritual, much like a beguiling and hypnotic mandala procession of imperturbable blissful individuals on the beach. As proven on numerous occasions, Pyle can easily lead all his trumps in the presence of female lead vocals, and "Blossoms In Red" makes no exception. Indeed, "You, By Candlelight" is easily the best Ensemble Economique track with female vox to date. Pyle manages to embed the vocals just in the right minimal amount of instrumental layers, making the track radiate an elusive tranquility. The fifth and closing track "Nothing Is Perfect" is a classically tinged piano piece with only very little processing and sparse field recording samples. With all pieces of the album, Pyle manages to create tracks which feel like being composed only of two or three layers of sound, that are nevertheless allowed to develop a life cycle which seems incredibly long - track lengths vary from 6:30 to 8:10 - but still feels just right. Thus "Blossoms In Red" is probably Ensemble Economique's most minimalistic album, but at the same time - or maybe just for this reason - his most skilled work.

Blossoms in Red

Ensemble Economique - From The Train Window, Red Flowers On The Mountain

live stereo capture. Oct. 11, 2015.

from Arguments for Trivialism: shastacults.bandcamp.com

CMOS

Intr0beatz - Hold It

On The Shore

Bedroom Mist

©antara annemarie borg
See video and book : 
Music and poetry Annemarie Borg /Photography by Ann Schmitz
http://www.youtube.com/watch?v=nKSQOQJLTOM

Nacre (Iridescent Perceptions Album)

Track taken from the stunning new album 'Parallel Paths'.

Review:

www.fluid-radio.co.uk/2012/10/cello-laptop-edu-comelles-sara-gala%CC%81n-parallel-paths/

Cello + Laptop (Edu Comelles & Sara Galán) - Shoreline

Stations w/ akito misaki

I'm thinking of submitting this for a local series of vinyl compilations.

Photo is from http://www.flickr.com/photos/playingwithpsp/3291313767/ by Playingwithbrushes

Bandcamp

Veil

This track is from the album Janvier and is available for purchase on CD Baby here: http://www.cdbaby.com/cd/sandrine2

Not Around

This is track 7 from '...and they have escaped the weight of darkness' (2010)

Hægt, kemur ljósið

Easy

Another Happy Day, by Sam Levinson (featuring Ellen Barkin, Ellen Burstyn, Demi Moore...) is premiering at Sundance Festival this weekend! This is a little sample of the music I did for the film. This song is from what is in my opinion one of the strongest moments in the film.
http://sundance.slated.com/2011/films/untitledsamlevinsonproject_sundance2011
Gotta pack my boots and hat now. I hear it's cold out there in Utah...


Lynn's Theme

Excerpt from the invisible birds release. 
http://invisiblebirds.org/catalogue/oiseaux003.html

a release of mr. tomonari nozaki. abstract sound projections & melodies using destruction techniques discovered with reel to reel tape-loopsplicings and other analogue romanticisms. mr. nozaki has beginnings in minimal techno and experimental music, and after a slight pausefrom music, has returned in 2012 with some transcendental experimentations into the rarely visited places of "liminality" and "the sublime".

Written and Produced by Tomonari Nozaki 
Artwork and Photography by Matthew Swiezynski

the video of Chapter III (Excerpt)
video made by Ans van de Sluis

[Reviews]
SANTA SANGRE
http://santasangremagazine.wordpress.com/2013/06/23/tomonari-nozaki-une-histoire-de-blue-englishpolish/
ENG: In any film, you’ll come across one or perhaps two moments where the director’s vision burns right out of the celluloid and into your mind. Depending on how effective the said director is at integrating those beats into the rest of the proceedings will determine how good of a production you’re watching. These fleeting, frozen frames are elusive at the very best and illusory at worst. Tomonari Nozaki has, with his album, made the auditory equivalent of a movie that is nothing but those intensely smoldering cinematic yearnings. Each second is an expansive, intuitive descent into what makes our blood curdle, boil and run cold all at once.
Une Histoire de Blue is a profoundly sad, forlorn piece of work. Each chapter a series of regrets, every thunderous wave which breaks upon your ears is a lamentation. What once was, what could have been, where things stand now, the one who never requited what was given them. I hear this kind of artistry rarely in my line of work, it is all too easy to just thrown down a couple layers of formless drone then tinker in a few random noises and call it good. But this release here contains fully-formed, extremely articulate compositions where the field recordings flow imperceptibly into what Nozaki has channeled out of his machinery
Loss is the main arena Nozaki is working within, all of his sounds and structures contain a slowly decaying core; the soundtrack of a satellite descending out of orbit with the lifeless, inert crew forever frozen in place at their stations. Watching. Waiting. Wailing. I cannot help but come away from hearing this with a very heavy heart. The tantalized memories of one person’s understanding of what the color blue can mean. Is this in reference to the film? I could not tell you but the sense of cataclysm and sudden rupture from life are undeniable. We may have both a meditation on all the different meanings of what it is to exist in this realm and also an alternate score to a movie which was easily the strongest act to a three film epic that resonates to this day.
No matter, however, let us return to what Mr. Nozaki has given us. It is described as an excursion into the sublime, which is pretty close to the mark. There are much much more than simple synonymic anagrams going on within these four chapters (the four stages of life? the four cycles of civilization? the four seasons on the calendar?)I’ll leave that with the listeners fortunate enough to hear this… for me they are four exquisitely designed, shape-shifting takes on the very nature of reality. Everything is transitory, this will give you something to hold on to.

PL: W każdym filmie natrafić można na jeden albo dwa momenty, kiedy wizja reżysera przepływa z taśmy celuloidowej wprost do naszego umysłu. Umiejętność reżysera scalania tych ulotnych fragmentów z resztą filmu determinuje jak dobra jest produkcja, którą właśnie oglądasz. Te zwiewne, zatrzymane klatki filmowe w najlepszym przypadku bywają nieuchwytne, w najgorszym iluzoryczne. Płyta Tomonari Nozakiego to dźwiękowy ekwiwalent filmu, właśnie takiej intensywnie się tlącej kinowej tęsknoty. Każda sekunda to ekspansywne, lecz również intuicyjne zejście w stronę tego czegoś, co sprawia, że nasza krew się ścina, gotuje i zamarza jednocześnie.
Une Histoire de Blue to głęboko smutne, rozpaczliwe wręcz dzieło. Każdy rozdział to seria rozczarowań, każda grzmiąca fala, która przetacza się przez uszy jest w istocie lamentem. Co było kiedyś, co mogło być, na czym teraz stoję, co nie zostało oddane. Rzadko słucham tego rodzaju artystycznej ekspresji, bo to zbyt łatwe, wrzucić kilka warstw bezkształtnych dronów, pomajstrować potem przy nich przypadkowymi hałasami i uznać, że to jest dobre. Ale to wydawnictwo zawiera w pełni ukształtowane, konkretnie wyrażone kompozycje, w których nagrania terenowe niepostrzeżenie wplywają w to, co Nozaki wyciąga ze swojej maszynerii.
Przegrana jest areną, na której operuje Nozaki, wszystkie jego dźwięki i struktury zawierają powoli rozkładający się rdzeń; soundtrack dla satelity zstępującej z orbity, z martwą, bezwładną załogą na zawsze zamrożoną w miejscu jej stacjonowania. Obserwując. Czekając. Łkając. Słucham tego z ciężkim sercem i nic nie mogę na to poradzić. To dręczące wspomnienie prób zrozumienia przez pewną osobę jakie jest znaczenie koloru niebieskiego. Czy to odniesienie do filmu? Tego wam nie powiem, ale poczucie swego rodzaju kataklizmu, nagłego przerwania linii życia jest tu niezaprzeczalne. Możemy tę płytę traktować zarówno jako medytację nad tym jak egzystować w tym królestwie, jak i alternatywną ścieżką dźwiękową do pewnego filmu będącego najmocniejszym punktem pewnej epickiej trylogii, która oglądana jest i dyskutowana do dnia dzisiejszego.
Nieważne, wróćmy do tego, co podarował nam pan Nozaki. Określono to jako podróż w wysublimowane, co generalnie jest dość bliskie prawdy. W tych czterech rozdziałach dzieje się o wiele więcej, niż może się wydawać (cztery etapy życia? cztery cykle cywilizacji? cztery pory roku?). Zostawiam to słuchaczom, którzy będą mieli szczęście zapoznać się z tą muzyką… dla mnie to cztery wspaniale zaprojektowane, zmieniające kształt ujęcia jądra natury rzeczywistości. Wszystko przemija, ale dzięki tej muzyce będziecie mieli się czego trzymać.

____________________________________________________________________________________
Vital Weekly 888 
http://modisti.com/13/2013/06/25/vital-weekly-888/
According to the website of Invisible Birds, “mr. nozaki has beginnings in minimal techno and experimental music, and after a slight pause from music, has returned in 2012 with some transcendental experimentations into the rarely visited places of “liminality” and “the sublime”.” I am not sure, but this might be my first encounter with his music. The music here is announced as
“abstract sound projections & melodies using destruction techniques discovered with reel to reel tape-loop splicings and other analogue romanticisms”, which is actually not far from the truth. Not the reel to reel thing, as that is not easy to check upon, but the romantic aspect of the music. I was thinking there is some classical music on those tapes, as a kind of residue (maybe he got the ones from dear departed father?), which he loops around and by adding sound effects makes them a bit more alienated. It reminds me of Jorge Mantis’ The Beautiful Schizophonic with its looped classical music from the 19th century – the romantic era in that music. Occasionally there is a hiccup which I couldn’t figure to be a glitch in the tape, the stretching of samples (so, maybe it includes computers?), or the burning to CDR? These four long and one short pieces work very fine on a grey day: stretched out fields of sounds, passing like slow clouds in the sky, with the occasional crackle being the summer rain drop. Dark but full of hope and light.
Music by Thomas Bel has found its way to here before – see Vital Weekly 663 – when I thought he hadn’t found his own voice yet. Now, a few years later, I hear something new from him, a work that was originally recorded live June 21st 2011 – which is actually exactly two years ago from the day this was written – but ‘re-arranged and edited’ in May of this year. It’s one long piece, of thirty-three minutes and thirty-three seconds, and it sounds like an outdoor concert: rain is pouring down (no doubt on tape and not live), while Bel plays his guitar in a very minimal way. I never know – not being a guitarist myself – if this actually played, or one of those loop devices, but it’s surely very minimal with a bunch of small changes. As the piece evolves there is the addition of some feedback like sounds, and the guitar – now indeed looped – doubles and triples. Blues music? Yes, it could be. It has that dark, laidback Americana blues feeling of desperation and solitude, even when it’s brought to a mighty crescendo in which all air is sucked into the sound effects before its escape towards the end. A fine good solid piece, as dark perhaps as the Nozaki one, but with less light and more despair. In both cases: if you like Machinefabriek or William Basinski, then this is surely worth checking out. (FdW)

[Art into Life product review]
http://www.art-into-life.com/product/3571
Invisible Birdsの限定100部"oiseaux"シリーズの第三弾。テープスプライシングを中心としたアナログの手法にて制作を行う日本人作家Tomonari Nozaki。1曲目は波しぶきを加工した(?)ノイジーなループに始まり(コレがカッコイイ)、その後はテープ独特のヨレた持続音が続くアンビエントな作品集。青ベースのジャケットが美しい。インサート入り。
third release of the limited 100 edition "oiseaux" series of invisible birds. japanese artist tomonari nozaki produces a method of production in analog
with reel to reel tape-loop splicings. first track starts with a noisy loop that has been modified the sea spray (this is cool). then a collection of
ambient tracks with a persistent kink unique tape followed. blue packaging is beautiful

[Aquarius records product review]
Invisible Birds introduces us to another exceptional composer through their ongoing series of limited edition hand-fabricated cd-rs, where we had been previously graced by the langous tones of Arthur De Eriomem and got a brilliant full length out of Thomas Bel. Here, the imprint offers us an album from the Japanese ambient composer Tomonari Nozaki who started out in the techno scene, but grew fascinated with the purely analogue forms of tape loops and and synthesizers. A sense of rhythm and timing is definitely at play in his work, alluding to the beatless Pop Ambient sensibility that Wolfgang Voigt inspired through his classic Gas albums; but the placid, cinematic grandeur of Nozaki's sources harken more to The Caretaker and William Basinski's emotionally laden scores of forgotten dreams. The four lengthy tracks could endlessly cycle through their maudlin melodies that are stretched and swept as if carried away the currents of a cold, gray ocean. Like Basinski, Nozaki is not averse to including the dusty crackle, ferric drop-outs, and tape machined errors in with his composition. They do come across with a greater deal of randomness than on the aggregated decomposition of Basinski's Disintegration Loops; but all of the wooziness and gauzy ambience makes for a beautifully spellbinding listen. Limited to 100 copies. 

[Igloo magazine review]
http://igloomag.com/reviews/tomonari-nozaki-une-histoire-de-bleu-invisible-birds

Prefacing the four, quarter-hour “chapters” of Tomonari Nozaki’s Une histoire de bleu are one hundred and sixty four seconds of ocean waves lapping at an empty beach. Or it could be the never-ending storm on top of Saturn. And it could be made out of surging static electricity. Either way, it is an irenic head-clearer with which to allow his story of blue to unfold. Its description as “abstract sound projections and melodies using destruction techniques discovered with reel to reel tape-loop splicings and other analogue Romanticisms” immediately calls (or shouts) to mind the work of William Basinski and his disintegration loops, and there certainly is shared ground in reaching for the sublime through retrogression.

Like Basinski, Nozaki succeeds magnificently, though without having his tapes dandruff into obscurity in the making, even though they do occasionally and artfully fail. The first chapter of Une histoire de bleu has that classic, far-away Brian Eno sway, while the second is ghostly and desolate as Rapoon. The third chapter has an orchestra sweep, a deep pathos, a cozy autumnal sadness. It is reminiscent of one of the rolling, pastoral landscapes of Andrew Deutsch’s Loops Over Land, just as it leans toward Samuel Barber’s “Adagio for Strings.” “Chapter Four” recalls Basinski with the greatest clarity, graceful and ever falling, ever falling.

Five möbius strips curving into ambient eternity.


buy this album

"une histoire de bleu"excerpt/tomonari nozaki(invisible birds/oiseaux003)

Valiska is a experimental ambient/noise music project coming out of Calgary.