Deepman has arranged another very cool version: https://soundcloud.com/augenmerk/my-boots-are-growing_collab-with-deep-man


deep man / music
me / words & voice

It came to the collaboration, because I had listened to deep man's 'One minute bass' https://soundcloud.com/deepman1/one-minute-bass and I found it great. It was really fun reading with this  cool rhythm. Thanks.

My boots are growing_collab 2 with deep man


Please look up https://soundcloud.com/midipunk and https://soundcloud.com/discratebye  

Gyula: original sound "Bellus Melius (F 120 BPM)" Jew's Harp Trio
Pete: drums and final mix
Karin: lyrics and spoken word

I Want You, You Want Me_VASKOS, MidiPunk & Augenmerk

Hior Chrionik 
- Remember -
From the album "OUT OF THE DUST" - out 01/12/2017 on 7K! / !K7

Single release date 24 November 2017.

Out Of The Dust (Master)

Hior Chronik - Remember (single)

Techno 2

Conatus

Sleeping Lotus (Tom Trago's Sixtine Remix)

Curses feat. Perel - Gold & Silber

BUY LP/CD/CASSETTE/DIGITAL ON BANDCAMP:
http://bit.ly/int001_bandcamp

'Everywhere Else Left Behind' is the debut album from @SaigonWouldBeSeoul, the new solo project of Mirza Ramic from @Arms-and-Sleepers.

Released 21 June 2019 via @interpretnull.

Cat. No: {int}001
___________________________________________________________

SAIGON WOULD BE SEOUL is the new solo project of Mirza Ramic from the American electronic music duo @Arms-and-Sleepers. While spending most of his adult life in the US, Mirza was born in Bosnia & Herzegovina and lived there until 1992, when the Bosnian War forced his family to flee the country. Mirza and his mother would spend the next few years moving across continents, countries and states as refugees — living in Tunisia, Egypt, Italy, Croatia, Czech Republic, Arizona, and Massachusetts. Mirza’s father did not survive the war; he was killed by a mortar shell in 1993.

This personal journey of trauma, loss and survival is at the core of SAIGON WOULD BE SEOUL. Mirza’s mother, a piano teacher, introduced the piano to him at the age of 6. Subsequently, the piano became the one constant in their lives as they kept changing environments and moving further away from Bosnia & Herzegovina. Piano, and music in general, became important mechanisms for processing memories and finding healing.

The name SAIGON WOULD BE SEOUL is taken from Viet Thanh Nguyen’s collection of short stories titled 'The Refugees'. In it, a Vietnamese woman exclaims how Saigon today would be as modern, prosperous and progressive as Seoul in South Korea had the Vietnam War never happened. Similar sentiments exist amongst Bosnian people when discussing the Bosnian War and its aftermath. These powerful feelings of “what if” and “what could have been” cut deep through every refugee’s heart, regardless of nationality, ethnicity or geographic location. The nostalgic and painful recollection of the past is an important aspect of Mirza’s music and is purposefully captured in the project’s name.
___________________________________________________________

PRESS: agent.julien [at] fiverosespress.net
LABEL: hello [at] interpretnull.com
PUBLISHING: hello [at] phantom-limb.co.uk
___________________________________________________________

Everywhere Else Left Behind

The One To Lose

Saigon Would Be Seoul - The One To Lose

Im Hotelzimmer sitzt heute der Komponist Hauschka, der mit richtigem Namen Volker Bertelmann heißt.

Wir sprechen über seine Reise vom klavierbegeisterten Jungen aus Ferndorf zum international anerkannten Musiker, der Philharmonien ausverkauft und mit einer Oscar-Nominierung aus Hollywood zurück in seine Heimatstadt Düsseldorf kam. Volker war mit Mitte 20 schon auf dem Weg, ein Popkünstler zu werden. Doch der erhoffte Erfolg blieb über Nacht aus. Dann brauchte er fast 10 Jahre, um zu seinen wahren künstlerischen Kern zu finden - der eben nicht in der Popmusik liegt.

Hauschka gelang der Durchbruch als eine Art Musik-Romantiker mit kraftvollen Melodien und dem Einsatz seines präparierten Klaviers. Inzwischen hat der 53-Jährige 16 Platten veröffentlicht, hat viele Film- und Serienmusiken für Hollywood, BBC und Netflix komponiert und ist vor allem eins: wahnsinnig gelassen.

Wir sprechen über seinen kreativen Prozess, welche Routinen ihm helfen und welche Fragen er sich und seinem Gegenüber stellt, um gelassene Entscheidungen zu treffen.

Dieses Gespräch hat zwei Teile: Den ersten haben wir live auf der Open Source Conference in Düsseldorf mit Publikum aufgenommen. Die Stunde Redezeit war für den vielschichtigen Volker viel zu kurz. Ich hatte noch so viele Frage. Und so sind wir direkt nach dem Bühnengespräch in sein Studio gefahren und haben weitergesprochen.  Im Hintergrund läuten die Kirchenglocken, ich hatte nun das Gefühl, mit einem sehr weisen Mann zu sprechen.

Redaktionelle Mitarbeiterin: Annie Hoffmann
Musik: Jan Köppen

Die Folge wird von Sonos und von Heineken unterstützt.

https://www.hauschka-music.com/
instagram.com/matzehielscher/

Hotel Matze gibt es im Dezember auch Live
01.12. Berlin - Ausverkauft!
05.12. Köln - Ausverkauft!
10.12. München - Noch Stehplätze
16.12. Hamburg - Ausverkauft!

Tickets: www.eventim.de/artist/hotel-matze/

Hauschka – Welche Fragen führen dich zu einer klaren Entscheidung?

http://demozoo.org/productions/9631/

[ beams are gonna blind me ]


I am riding on a beam
a digital clean data stream
travelling with bits & bytes along
binary encoding zero one

Refr.:
the beams are gonna blind me
the data streams behind me
the beams are gonna blind me
the lights are gonna guide me


much more clusters passing by
Fujijamatari signs
and in the distant digiland
the pyramids of IBM


Refr.:
the beams are gonna blind me
the data streams behind me
the beams are gonna blind me
the lights are gonna guide me



a database, my journey ends
all panther moderns are my friends
we break the ice with no problems
we gonna steal the whole contents


Refr.:
the beams are gonna blind me
the data streams behind me
the beams are gonna blind me
the lights are gonna guide me



(c) 2001 Stefan Benz

http://demozoo.org/music/44928/

Beams are gonna blind me

Avant-garde pianist Winfried Strauss’ ‘In The End We Are All Dead’ is a bittersweet, melancholic piece that winds and lulls; taking the listener on a journey of reflection as keys chime and clash against the hum of a crackling vinyl.

A specialist in minimalism, the Berlin-based composer started playing piano aged 6, and recorded his first tracks on a 16-bit Atari Computer in High School. Inspired by the likes of Max Richter, Volker Bertelmann and Philip Glass, Strauss deals in juxtaposition and will often explore antithesis within his arrangements.

‘In The End We Are All Dead’ achieves beauty through simplicity, soaring with retrospective strings and romantic melodies underpinned by the nostalgic sounds of mellotron and celesta.

releases July 17, 2020
Artwork image by Alexandru Paraschiv under CC-BY 2.0 license

SUPPORT here

In the end, we are all dead. [SNIPPET]

Metanimos performs shamanic-industrial ritual music using analog & digital synthesis, organic instruments, and live vocal alchemy. With a deep connection to nature and fueled by his passions of sonic magic, psychophysiology, and post-human evolution, Metanimos creates transformational dimensions of musical experience.

Winfried Strauss has a fascination with contrast. The Berlin-based pianist and composer spend most of his time exploring the juxtaposition between opposites: Dark and light, loud and soft, beautiful and ugly. Driven by piano, ambient electronics, and an avant-garde ethos, Strauss' music is a soundscape that finds beauty in simplicity. "I paint pictures with my music," he explained.

Nadryv Podcast | Metanimos x Windried Strauss

Hello.

I am Winfried Strauss.
I am an avantgardist -
playing piano and synthesizer.
Minimal and mostly dark.


---
Profile and header photo by Laura Herz @lauraherz

In the end, we are all dead. [SNIPPET]

Winfried Strauss

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