Lend Me Your Radio - Oct 20

Afterglow

Milkwood June 2021 Playlist

Rose's Mix

anger portrayed

Untitled playlist1

(Written by Terry Reeves)
Terry Reeves: Lead Vocal
Gordon Midgley: Guitars / Bass / Backing Vocals
Gary Reeves: Drums
Arrangement, Production & Final Mix by Gordon Midgley

From the very beginning of our relationship, my wife Jo had always wanted me to write her a love letter. We have been together for 34 years and, in that time, I’ve written her 3 love songs, which she often says are very special and mean so much to her - and yet she would still remind me that she’d never had the love letter she had always wanted.  So the idea occurred to me that I would write her a love letter within a song.  I wanted to make it a surprise, so had to write it in secret, which in itself was no easy task.
Once I had something I thought worked well I decided, although possibly difficult, to play this song with it's personal expression of love to someone who I knew would give a totally honest opinion.  That person could only be my brother Gal.
By the time I sent him the secretly made demo, I’d convinced myself it wasn’t very good so it was something of a surprise when he said he absolutely loved it.

Even as I was writing the song, I always had Gordon in mind as the best person to work on it with us.  He’s such a sensitive and tasteful player and the arrangement he produced, along with Gal’s drumming, proved the perfect vehicle for the kind of ‘love letter’ I wanted it to be.  Without their consummate skills, none of the following could ever have happened.    

The original plan was to play Jo the song on Mother’s Day but I’m afraid excitement got the better of me so, on the very day Gord sent the final mix, I decided to reveal the big secret. I suggested she listen on headphones, hoping that would help give the kind of immediate intimacy and connection I wanted her to feel.  Watching her listen, I was feeling more than a little nervous but as the track continued, she grabbed my hand and started to cry and continued to do so after it had finished, telling me that she now had her love letter and that it was the most special thing ever.

It was something I’ll never forget and, as sentimental as all of this may seem, I make no apologies for this love letter to my beautiful wife Jo and the perfect moment it gave to both of us.
(Terry Reeves) 

Dear Jo 
When we first met love at first sight I never knew
I had never felt could you to feel the same way too
Two long years to get the strength to tell how I felt
The fear inside you would smile and make life melt
Life was far too short to keep a secret to myself
When I explained you didn’t leave me on the shelf

Dear Jo, Dear Jo Dear Jo, Dear Jo
Dear Jo, Dear Jo, Dear Jo, Dear Jo,

Dear Jo 
A lifetime in your arms can never be complete
Do it all again my heart would miss a beat
Hanging by my fingertips showing I want to stay
Every single second and every second single day
A chance to tell you how much I love you I always will
Creation of a love storm, from the start we made it real

Dear Jo, Dear Jo, Dear Jo, Dear Jo
Dear Jo, Dear Jo, Dear Jo, Dear Jo

Dear Jo
We were meant to be with each other there’s no doubt 
Some tried to separate our love by loudly shouting out
Our love never about anybody else just you and me
Knowing that the end result didn’t need an apology 
Heads up looking forward three children by our side
Memories are for you and me our time machine will glide

Dear Jo, Dear Jo, Dear Jo, Dear Jo
Dear Jo, Dear Jo, Dear Jo, Dear Jo 

Dear Jo 
You always wanted me to write you a special love letter
All the words you deserve are so hard to put together 
No time to apologize for the difficulties I have caused 
Not the plan I promised and like you I am so confused 
I said many times I wouldn’t change a single thing
All my love is yours you gave my voice a chance to sing

Dear Jo, Dear Jo, Dear Jo, Dear Jo
Dear Jo, Dear Jo, Dear Jo, Dear Jo  
Dear Jo

DEAR JO - CRIPPLE CLUB & GORDON MIDGLEY

My track 'Astray' is a part of the stunning move for freedom - the compilation dedicated to events in Myanmar. It aims to support struggling people in their protest, therefore it is filled with striving for liberation and the spirit of fighting injustice. A truly explosive and powerful compilation! But my track is not about struggle.
 It reflects confusion, slowing down and turning inward in attempts to find the own place in the actual processes,  and distortion of thinking in attempts to pave a new route on an already irrelevant map. 
 Hope you will find it actual.
Also! You can take part in supporting Myanmar people by buying this album. I should say, it's really rich. Just look at the tracklist. What names it included! 
Proud to be part of it.
https://makenoisemyanmar.bandcamp.com/album/make-noise-myanmar-2

Astray

Sakura fantasy

When I was in college I got a job as a projectionist at a local movie theater. The films came in on reels and I had to take all those reels and splice them onto a huge spool, then feed them into the projectors. I remember that on Wednesday nights I had to de-splice the movies that were showing and put them back into the reels and send them along to the next theater...It usually took until about 2 or 3 in the morning. I totally remember showing 'The Shining' for a couple weeks and thinking I was seeing things in the dark on those Wednesday nights...alone...in that fucking place.

Projector

Not just drum

Silencing of the reefs forject in collaboration with TBA21 Academy. Recorded in Greenland, Belize, Dominican republic 2007, 2012 and 2013.

freeze to melt

https://soundcloud.com/kazenoyouna

Here's another remix I've made of Motohiko Hirami's music :
https://soundcloud.com/julsy/motohiko-hirami-far-wind-ii

MOTO_HI

Motohiko Hirami - astra (Julsy remix)

006 Yuki Tsujii 7" - I'm Rubbish But I Love You

The new 7” contains one singular piece entitled I’m Rubbish But I Love You, a long beautiful drone instrumental / field recording that takes up both sides of the record with an interval at the end of Side A.  

The composition is a piece written and performed by Yuki as a gift to his mother who resides in his homeland of Japan.

The record, mixed and mastered by fellow Bo Ningen member Taigen Kawabe arrives in a handmade package that is traditional of past releases in The Solo Series.

This edition contains:

1. 300 gsm printed inner sleeve that is stamped and numbered

2. Printed tracing paper outer sleeve

3. Collectors’ insert

4. Leaf taken from local parks in Hackney inserted into each record

Pre - orders are being accepted at this time.

Released in Summer 2014.

Edition of 300 pieces only.

No repress ever.

Yuki Tsujii 7" - I'm Rubbish But I Love You

12 i'll read you a story (live, japanese edition)

Unreleased Hardrock playlist on my page with all new songs

Hardrock - Clayco (unreleased)

Moulin - A blue water stream picks up speed as it heads toward a moulin, a deep, dark hole in the ice reaching down into the glacier. The water picks up speed, reaches the edge and falls into the depths. The drop is seemingly endless and weightless with no concept of direction, other than down towards the bottom. 

Written, performed & produced by Stephen Caulfield
Recorded at Parkview Studios
Mixed & mastered by Stephen Caulfield
Artwork and photographs by Stephen Caulfield

Blue Vessels

Moulin


Tragedy of the moment 


Reverberation of eternity




Dear Laib

夏の匂い (live at Catch 22)

Aborigenes De Taiwan Anthologie De L'art Vocal (excerpt)

"2/1 (Night Flight Mix)"

A cover version of Brian Eno's "2/1" from Ambient 1: Music for Airports. 
Vocals: Keiku.  Loops, tamboura, Tibetan bells, processing: Gio.

This originally appeared on the compilation "Minimalism" on UK label Law &  Auder in 1998. It was recorded shortly after finishing the album "Shringara". I had been reading Erich Tamm's wonderful book on Brian Eno, and he gave a fairly detailed analysis of how Eno put together the Music for Airports album. I thought the best way to understand how that music was made was to try it, so this track was an experiment in seeing how close I could get to Eno's sound. (With a few typically Makyo-esque elements thrown in.) Instead of tape loops, we used a sampler with sequencer loops of varying lengths triggering the samples. The experiment would later be developed on "Swara Mandala" in the similarly Eno-ish track "Skin as Soft as Starlight". With love to Prof. Eno.

Makyo: "2/1 (Night Flight mix)"

track 4 from “On the Sorrow of Firn” by @Hilyard
https://hilyard.bandcamp.com/album/on-the-sorrow-of-firn

On the Sorrow of Firn

Hilyard - Morning Vapor

Brin - Alone Jazz On Safari

MIKI YUI, Aperio!, LP
Release date - Sept 25th 2020
Catalogue nr. - HG2007
Format - Vinyl/digital

hallowground.bandcamp.com

Tracklist:
1) Listening (oneness) 10:03 
2) Dancing (swamp) 04:00 
3) Chanting (afar) 03:57 
4) Dreaming (now) 05:25
5) Rhyming (colours) 02:58
6) Breathing (buds) 04:10
7) Babbling (mono) 04:45

Credits:
Music and Mix Miki Yui at MY Studio Düsseldorf
Mastering Giuseppe Ielasi
Drawing Excerpt Miki Yui 
Cover Design Ruth Stofer

///
The title of Miki Yui’s seventh solo album “Aperio!” is derived from the latin origin of April, "aperire" meaning “to open” or “to reveal”. Hinting at the way her music unveils another reality which is hidden beneath the surface. The title also reflects the aperiodic character of the music, its irregularity. Like a magic word to reveal the mysterious cosmos, each song opens up another intimate world of wonders.

„All my work emerges from my physical experience, the inspiration often comes much later though, after the experience is digested and almost forgotten, then it crystallises and becomes a source for my music.“

It is indeed no accident that the first track of „Aperio!“ is entitled
„Listening (oneness)“: it vibrates for ten full minutes with and within us. It reflects the art of Miki Yui coming into existence. The Düsseldorf based Japanese artist approaches the world around her from a sensual perspective rather than in an analytic-logical way, still both paradigms of art production manifest their influence on the process.
Miki Yui says: „In my music, I play the game of turning the abstract into concrete and vice versa.“

This is obvious in all of the compositions on „Aperio!“. Her music combines otherworldly and dream world experiences, creating environments of multiple atmospheres, both warm and inviting but at times irritatingly cold and airless. They stimulate all kinds of feelings in us: astonishment, sadness, yearning, wondering, and hope.
For her it does not matter where the elements of her cobweb originate: from field recordings to abstract and artificial creations to electroacoustic sounds. She remarks, “revealing the source would only limit the imagination of the listeners. My sounds exist to trigger their own imagination“

Miki Yui is born in Tokyo, based in Düsseldorf. Crossing the boundary of music and fine art, she is known for her unique minimalistic and organic approach towards music since 1999 exploring the grey zone of our perception and imagination.
Since 2008, parallel to her own work, she is in charge of the Klaus Dinger Archive, who was her partner.

- Text by Thomas Venker

MIKI YUI - Dreaming (now)(HG2007)

"Whenever I'm feeling uncertain, I always take comfort from music."

I just want to say a big thank you to everyone for your kind words and support, and thank you to the SoundCloud community for bringing solace to my life!



Decan Usmic

Solace

TR095 - Nemeton / Rafael Anton Irisarri - '...spin into nothingness'

Track from:
Simon Whetham "Forced to Repeat Myself" CD

“When performing with a limited set of resources, through choices in materials to work with and the constraints of being nomadic, there can be a tendency to repeat actions and scenes that 'work', even when improvising and having to respond to each new situation in a unique way.”

One characteristic aspect of the touring experience that is not discussed often enough is the dilemma of repetition. Not repetition as a mechanism of the work itself, but as a tedious consequence of being obligated to perform night after night in quick succession. Generating a completely unique performance for each stop, even with the assistance of improvisation,  is a laborious undertaking that consumes too much time and sanity, while adhering to a rigid set of rules leaves one open to both burnout and diminishing returns. Is there a way to split the difference so that both performer and audience are always engaged to the highest standard?

“I set these constraints on myself. The need to produce something (at least a little) different in each event of a tour was fierce, especially when traveling with other musicians.”

Explicitly within the title itself of his latest CD, Forced To Repeat Myself, UK sound artist and composer Simon Whetham tackles these questions with both a sly wit and sincere inquisitiveness. The tracks, all collected from recordings documenting a 2018 tour, utilize analogous source material and means of execution.  Whetham paid particular attention to the contour and character of each venue when deciding how to best put the pieces together, offering a customization that subverts pure deja vu for a sharp observance of the unfamiliar.

“In each situation objects and materials unique to the space were incorporated into the performance setup and structure, generating sounds or resonating with them. And yet I could hear similar scenes, movements, even spaces. This repetition determined the dynamic of the composition, working with it and against it.”

By the very nature of their disseminating sparseness, the tracks of Forced To Repeat Myself demand from the listener an attentiveness fixed on nuance and variation. The amplified cracks and static of ethereal currents and anonymous electronics infer the works of others who’ve made it their mission to attune our attention toward sounds outside our natural perception, including Christina Kubisch’s electrical walks, Toshimaru Nakamura’s no-input mixer excursions, and Jason Zeh’s experiments with blank tapes and the mechanizations of his cassette players. Whetham’s shaping of the album’s source material to highlight certain exclusivities of each live performance emphasizes how the inherent dynamics of time and chance guide his self-imposed constraints into pathbreaking spectrums. 

“The title references a phrase many of us will have heard in our formative years, ’Why do you force me to repeat myself?’ I have no answer to this question. I never forced anyone to do anything. But with this work, I did.”

One inherent paradox of Forced To Repeat Myself is that each listen naturally manifests a distinct, individual experience. The way sounds are received and processed in one instance to the next each forget their own entryway into transcribing meaning from this abstraction. And Whetham is keenly aware of this as the sounds of Forced To Repeat Myself find consistent, unique ways to perpetuate themselves, ensuring any repetition to be delicately understated.

Forced to Repeat Myself

Forced to repeat Myself

Simon Whetham "08-11"

_ph011 Jordan Christoff - Плаващ

ʼIs My Destroyerʼ unfolds like a story arc, always filled with a sense of time and direction as ideas morph, grow, disperse and rekindle; with key pieces like ‘Palaceʼ these ideas seem unbound, bursting out of their seams with emotional grandeur, elegance and passion, while other works such as ‘Orioʼ or ‘The Towerʼ offer sincere moments of reprieve.

https://soundcloud.com/vaagner

Premiere: Blessed are the Hearts that Bend - Kaal [Vaknar]

Dragon’s Eye is pleased to announce the release of 'Mixed Signals,' a new collaboration between longtime electronic musician FAX (Rubén Alonso Tamayo) and guitarist Braulio Lam. Both hailing from Mexico, the duo have crafted a multifaceted, shimmering ambient record that calmly propels the listener through passages echoing with just the right amount of reverb. Muted beats thrum against waves of ambient wash; bubbling guitar rides along the crest of synthetic sweeps. These carefully balanced mixed messages align with the album’s title, though the effect is not one of confusion. Listening creates a feeling of motivation toward a sense of ease, or settling into flux.

Mixed Signals

Fax & Braulio Lam - Insomnia

Raft of Trash is a generative music project exploring the sounds of systems using the natural rhythms of environmental dialogue in the world-building game SimCity 3000. It is a collaboration between sound artists/musicians Andrew PM Hunt (aka Dialect) and JC Leisure, and designer Thom Isom.  

Like the group’s early EPs, their debut album Likeness on the Edge of Town showcases the breadth of possibilities emerging from their unique process. Whilst playing SimCity 3000, the in-built sound effects of the game are converted and repurposed into MIDI data which is then fed to Hunt and Leisure's synths and samplers in real time. The resulting soundscape, imprinted with the dynamics of a simulated environment, is then augmented with live guitar, spoken word and field recordings to create an uncanny collage of wild synthesis, experimental narrative and bending, viscous guitar.  

Inspired by Fluxus artist Alison Knowles, the spoken word passages sprinkled across the record act as part travel journal, part system theory field guide as “someone guiding you through the simulated desert landscape, and through some kind of inner journey”. Exploring for instance the connections between the irregularities we discover in our functioning bodies and the impact of environmental influences or describing the fullness of the reality of stopping at a truck stop, these passages are an illuminating exploration of the complexity of living systems and real-life situations. Subtle musical references to Americana and sounds sourced from the desert around Joshua Tree contribute to a journey-like mood throughout the record. 

Musically, the record remains in largely abstract territory. Synths sprawl, crawl and fly above a sonic bed of creaks, ripples and bleeps; nothing is at it seems. This ambiguous relationship between the organic and the synthetic further highlights the themes explored by the group.  

Releasing in full on November 20 2020, as a limited edition poster and as digital files. 

Purchase on Bandcamp: https://raftoftrash.bandcamp.com/album/likeness-on-the-edge-of-town

Raft of Trash - Sans Sherif at the Painted Oasis

This song, which was originally supposed to be featured on a compilation, was ultimately scrapped for being too "dark". The bulk of this track was recorded in April of 2020 and then altered, possessed, exorcised, and eventually mastered by Sam Regan in October of 2020.

Ghoul Gathering In Ligovsky Prospekt

TR116 - Grimm Grimm - 'Behold A Pale Horse'

Dialect - Under~Between

From Under~Between.
Available March 19, 2021.

Learn more: https://smarturl.it/rvngnl67

Under~Between

Dialect - Under~Between

Record label and music studio based in Bratislava, Slovakia

contact [at] warmwinters [dot] ltd

SoundCloud doesn't feature the full catalogue, only the latest selected tracks. Please visit Bandcamp for the full discography
https://warmwintersltd.bandcamp.com

Raft of Trash - Sans Sherif at the Painted Oasis

Warm Winters Ltd.