To paraphrase Lily Chou Chou: Bask in the Ether 💙

I was wondering where these childhood sounds have been hiding from me, hello again....dont cry......

Sr. escuchan hasta los tics del vinilo! que hermoso!  y objetivo

Chill/Downtempo

recorded March 2013 at Real Farm, Møn
mix Bjørn Gjessing, master John Fomsgaard
written by Martin Stender & Girls in airports
www.girlsinairports.net
facebook.com/girlsinairports

Sunshine On Fish Skin

MUSIC VIDEO: https://youtu.be/dRGBULBJRYs
produced by https://soundcloud.com/hnrk93 & https://soundcloud.com/smokedfilleddream

Lyrics:
(Verse 1)
I hang out with nerds, hippies, and thugs
The one thing we got in common is we all do drugs
Me and my mother hate each other cause we have different religion
She's a hard ass Christian and I can't make a decision
I'm thinkin that I'm athiest or maybe I'm agnostic
I don't believe in Jesus or Mohammad as the prophet 
War in my head debating god vs logic 
I don't know what's wrong with me but I can't fucking stop it
I'm at school high everyday bringing all the weed in
I'm something like gas prices high for no reason
Call the nurse I'm higher than google earth
Hawaiian trees on my shirt I been a hippy since birth
I smoke a bowl of beautiful Popeyes spinach
I really think I'm the second coming of Jimi Hendrix
Cause the way me and you see is completely different
And I'm spittin this verse for God if he's even listening
Ima outcast a black ass sheep
Cause of the clothes that I wear and the shoes on my feet
Cause I do not see the importance of blowin money on Jordans
Just giving work for the reaper cause niggas killing for sneakers
Ima Jackson thriller magic killer not an average nigga
An acid tripper born again like a caterpillar
I'm so sick I'm fucked up like an Irish liver
And the way I ball in the white I'm like a Cali clipper
And in life you'll never get ya fair share,
They just wanna dress you up like a care bear
So I change my whole style an grew out my hair
Just to let these closed mined fuckers know I don't care
Im from the 90's but a hippie in all my attire,
I'm comin down like Richard Pryor a nigga on fire,
I'm smoking weed and gettin higher and higher and higher
Until the day my lungs retire expire and fire
Higher and Higher
Until the day my lungs expire retire and fire
Higher and Higher
Until the day my lugs retire expire and fire

MUSIC VIDEO

Black Boy Alien

(Prod. ChrisC0ast)

Follow:

https://twitter.com/TheJediiMaster
https://twitter.com/Pouyalilpou
https://twitter.com/chrisc0ast

Black Smurf (ft. Pouya) - Paper Soldiers

from the "Mold on Canvas" LP
https://lejsovkaandfreund.bandcamp.com/album/mold-on-canvas

Lejsovka & Freund - "Ah Shit, My Heart Is Full"

delicate (faeriey x arthur)

Download
music.cosmonostro.com/album/3some

More Info

http://cosmonost.ro/dtweezer

Bio
From Montpellier, he’s producing for the hot names of french hip-hop (A2H, Set & Match, Deen Burbigo, 3010, Greg frite). Frequently aired on radios, DTWEEZER (FKA as Dtwice de Bel-Air) is one of the french Future Beats sensations to look after.
Dtweezer - 3some
Release Date : 12/12/2014
Young Mulla premiered on Earmilk

Tracklist
Crush
Young Mulla
The Morning

S/O to Aimeric Miriel for his input in the creation of this EP

Credits
All tracks produced by Dtweezer
Mastered by Mass
Artwork by 96

Social
@dtweezer
www.facebook.com/dtweezer

Bandcamp

The Morning

Sweet Earth Flying

Music from the forthcoming EP by Luke Abbott and Jack Wyllie of Portico. 

Released via Buffalo Temple (BFFT003) on 25th September available on 12" vinyl and digitally.

Etxeberri

Between Sphere

Suzanne Ciani
Buchla Concerts 1975
FKR082LP
Finders Keepers Records

Finders Keepers invite you to witness the incredible first ever Buchla synthesiser concerts/demonstrations providing a distinctive feminine alternative to The Silver Apples Of The Moon if they had ever been presented in phonographic form. This is history in the remaking.

This spring Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we’ve come to understand it. To describe this records as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity. This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record it’s daunting to learn that this record was in fact not a record at all… It was a manifesto and a gateway to a new world, that somehow never quite opened. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation/grant application/educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. Hopefully there is still chance.

In short, Suzanne was a self-imposed twenty-year-old employee of the Buchla modular synthesiser company, San Francisco’s neck and neck contender to New York’s Moog. Buchla was run by a community of festival freaks and academic acid eaters whose roots in new age lifestyles and the reinvention of art and music replaced the business acumen enjoyed by its likeminded East Coasters. In the eyes of the consumer the creative refusal to adopt rudimentary facets like a piano keyboard controller rendered the Buchla synthesiser the more obscure stubborn sister of the synth marathon, steering these incredible units away from the mainstream into the homes and studios of free music aficionados, art house composers and die-hard revolutionaries. Championed and semi-showcased by composer Morton Subotnick on his albums The Bull and Silver Apples Of The Moon, Buchla’s versatility began to open the minds of a new generation, but the high-end design features and no-compromise modus operandi was often confused with incompatibility and, in the pulsating shadow of Moog’s marketing, the revolution would not be televised nor patronised. Suzanne Ciani, as one of the very few female composers on the frontline (and also providing the back line) did not lose faith.

These “concerts” are the epitome of rare music technology historic documents, performed by a real musician whose skills and academic education in classical composition already outweighed her male synthesiser contemporaries of twice her age. At the very start of her fragile career these recordings are nothing short of sacrificial ode to her mentor and machine, sonic pickets of the revolution and love letters to an absolutely genuine vision of and ‘alternative’ musical future. In denouncing her own precocious polymathmatic past in a bid to persuade the world to sing from a new hymn sheet, Suzanne Ciani created a bi-product of never before heard music that would render the pigeon holes “ambient” and “futuristic” utterly inadequate. Providing nothing short of an entirely different feminine take on the experimental “records” of Morton Subotnick and proving to a small, judgmental audience and jury the true versatility of one of the most radical and idiosyncratic musical instruments of the 20th century. These recordings have not been heard since then.

Suzanne Ciani - Buchla Concerts 1975 (Excerpts)

Over several years, Guenter Schlienz has graced labels such as Constellation Tatsu, Sacred Phrases, S.I.N.K. CDs, SicSic, Preservation so we are very excited here at Rural Colours to be added to that list with his latest work Peace.

After noticing that several friends had begun to end emails marked 'Peace', Guenter Schlienz, ever full of questions, started to ponder on the meaning of the word in this context.  Around the same time he started to read Henry Miller's book 'The Collossus of Maroussi' and was intrigued by a couple of paragraphs devoted to exactly this question: what is "the meaning of peace". He came to the conclusion that there is much more to "peace" than just the absence of war.  The albums track titles are words by Henry Miller, and the work is Guenter's humble attempt to gather sounds and atmospheres around those lines.

Using modular synths combined with tape loops, analog and digital delays, vintage electronic organ and guitar, Schlienz works within a romantically inward looking framework, creating music that comes from deep within.  His compositions reflect themes of tenderness, alienation and homecoming and feature a range of guest musicians including Masako Kamikawa (piano on  'Reverberation of the Pandemonium') and Niko Lazarakopoulos (guitar on 'Faint Whispers') and even an anonymous busker from the streets of Stuttgart on 'Who Put the Demons There?'

inspired by henry miller's book "the collossus of maroussi". / "i never knew the meaning of peace until i arrived at epidaurus ".

Artwork by Katie English / This is rural colours 82
https://ruralcolours.bandcamp.com / vote for us

Guenter Schlienz / Peace (Snippets)

Burial + Four Tet - Nova

Brian Eno & Robert Fripp - Wind on Water

Lino Capra Vaccina - 06 - Antico Adagio

From the album "Tea Notes". All music by Jatinder Singh Durhailay & David Edren. Recorded january to march 2018 in Antwerpen and London. Mixed and edited by David Edren at ll150. Mastered & cut by Anne Taegert at Dubplates & Mastering Berlin.  Artwork by Victor Robyn. Vinyl + digital release on Ekster: 12th of September 2019: https://eksterlabel.bandcamp.com/album/tea-notes

Tea Notes

Jatinder Singh Durhailay & David Edren: "Shincha"

"Laura" by David Raskin, performed by Erroll Garner in 1954 who is accompanied tonight by me.

http://www.youtube.com/watch?v=ark6RNlnjns&feature=related

Brian Eno & Robert Fripp - Wind on Water

XLEB - VINYLES

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