Posts Tagged ‘Downtempo’
November 11th, 2014 / Comments Off / by Mog/
October 24th, 2014 / Comments Off / by Mog/
June 25th, 2014 / Comments Off / by Mog/
February 17th, 2014 / Comments Off / by Mog/
January 24th, 2014 / Comments Off / by Mog/
Ambient / Electronic Outfit [ The Kiss That Took A Trip ] Latest Release [ Electroforest ] Available On BandCamp
Cinematic-ambient Outfit [ There Is No Teenage Love ] Latest Title [ LAHEX ] Available On BandCamp
Ambient Post-rock Outfit [ To Destroy A City ] Latest Album [ Sunless ] Out Now!!!
Contemporary-classic Outfit [ Other People ] Debut Album [ Somewhere Far Away ] Out Now!!!
Experimental Post-rock Outfit [ 1000 Suns ] Latest Album [ The Body The Mind ] Available On BandCamp
Prolific Ambient MONIKER [ Arash Akbari ] Latest Album [ Cracked Echoes ] Out Now On [ SOFT-RECORDINGS ].
Ambient Outfit [ Die Nachtstunde ] Breath-taking Album [ Flüstern macht gemeinsam. ] Out NOW!!!
Post-experimental Outfit [ Svarta Stugan ] Latest EP [ Aspects Of Our Future Selves ] OUT NOW!!!
A.E.I.D.M ( Aero Electronic Intelligent Dance Music ) Outfit [ I-Dults ] Latest Album [ Xx. ] Available On BandCamp
Ambient-folk Outfit [ We All Die! What A Circus! ] Debut Full-Length [ Until The Cosmos Takes Me Back ] Coming Soon
Latest ‘Single” Determinism From Upcoming Album ‘A Foundry’ Available On BandCamp
Piano Driven Post-rock Outfit… [ heklAa’s ] Debut full-length [ My Name Is John Murdoch ] Out Now!!!
Instrumental-ambient Project [ Dai Watts ] Latest Title [ Liminalondon ] Out Now
November 11th, 2014 / Comments Off / by Mog/
Posted in Uncategorized | Comments Off
October 24th, 2014 / Comments Off / by Mog/
Posted in Uncategorized | Comments Off
June 25th, 2014 / Comments Off / by Mog/
Posted in Uncategorized | Comments Off
February 17th, 2014 / Comments Off / by Mog/
Posted in Uncategorized | Comments Off
January 24th, 2014 / Comments Off / by Mog/
Posted in Uncategorized | Comments Off
[ BIOGRAPHY ]
The new electro-acoustic album from London-based composer, producer and multi-instrumentalist Dai Watts is out now on CD and download. Liminalondon is a “psychogeographical” tour of one of the world's great capital cities, featuring ten instrumental tracks that interweave “found-sounds” with ambient and left-field electronica, acoustic and electronic beats and contemporary classical minimalism. The field recordings and conversations on the album were captured spontaneously by Dai in a variety of London locations, including The National Portrait Gallery, Hampstead Heath Ponds, Curzon Soho Café, The London Underground, along the banks of the Thames, The O2- not to mention several of London’s finest pubs and bars- with the music being largely written on a laptop and MIDI keyboard at the Southbank Centre by the Thames before being recorded and mixed at The Shed, Dai’s studio in Archway in North London.
‘Liminalondon’ by [ Dai Watts ]
Genres: Ambient Electronic, Music
Released: 26 June 2014 ℗ 2014 Dai Watts
Expressing ‘Liminalondon’ couldn’t be any easier or warmer, it’s simple, yet delicate and fragile field-recordings ambience and an anecdotal of soundscape drove deep in the heart of a luminous city with smooth rising textures and an extended atmospheres reflecting landscaping themes and shifting nature of the habitat. The paramount effect here is one of ambient nuance and clarity perfection: computerized ambient sheets and subtle drones periodically collide with static streams and animate with whispering sequence.
Liminalondon is a top notch listen from the press of the play button in every possible aspect one can think of, straight 10 out of 10 if I may say, the smoothness, yet electro-core rhythmic flow perfectly balances with the digital structures and the movement’s arrangement that will most of all draw attention from the most serious minded fans from the likes of [ Antonymes ], [ bvdub ], [ Plinth ], and [ William Ryan Fritch ] or [ Field Rotation ] for that matter.
That in mind ‘Liminalondon’ is by far more than just an ambient / smooth-tempo type of listen. The album also incorporate one of the most unusual and unique classical figure. The clarity and quality of such amalgamation doesn’t only reside in the plaintive strings and keys touches but it’s more encrypted in the formula of passionate music making. Believe me when say this release is not about how beautiful is the sound but its more about the driven passion that make the sound so beautiful, and this can be felt right across the entire Liminalondon.
Imagine such sound, such elegance, such smoothness, such blend, such passion from the heart, all uniting at once in a cinematic prospect; the result is nothing but an endless rewarding listen. As much as I love ‘Train Tracks and Travelogues Vol 2’ I think ‘Liminalondon’ is indeed the most prominent work by [ Dai Watts ] as the album is full of repeated musical motifs. This is ambient / classical-ambient at its finest and highest peaks. This record is crafted mainly for REPEATED LISTENS and I must say… it’s a sublime success. Once again 10 Out Of 10 and notably one of the most beautiful 2014 ambient albums I’ve come across. I’ll say grab it in an instant.Tracklist 01 The Hill
'Train Tracks and Travelogues Vol 2'
Dai's previous release 'Train Tracks and Travelogues Vol 2' is also available on both CD and download. Train Tracks and Travelogues Vol.2 features nine electro-acoustic tracks carefully interwoven with audio and field recordings to create over fifty minutes of continuous music. Combining melodic fragments, haunting vocal refrains, beat-based grooves and piano/orchestral minimalism, the album is a unique sonic impression of a journey by rail and sea across Mediterranean Europe and North Africa.Daiwatts - Liminalondon ]. > > > > > ============================================
Solo project [ We All Die! What A Circus! ] can be placed in the ( Ambient, Drone, Folk, Soundscapes and Acoustic ) pit. The project started this year in June, completely DIY. It consists of: Guitars, Bass, Synths, Samples, Field-Recordings to give you a dive through the gaps of human condition. A metaphysical shelter from corporate society and an ascetic journey towards death but celebrating life itself.We All Die! What A Circus!
[ Until The Cosmos Takes Me Back ] is an endless story created by the finest of ambient sound, an experimental journey that should be cherished and cultivated for its profound delicacy and overloaded beauty. Originating in Portugal, the Portuguese based project [ We All Die! What A Circus! ] have created something timeless and endless in every proportion and every direction distinctive-ambient sound can travel.
Earlier last week we’ve featured two singles from [ Until The Cosmos Takes Me Back ], one being ( From India To Gaza I ) which is indeed one of the high of this album with a strong guitar-lead dwelling in the air with its simplicity and the other being ( Old Village In Space ) which truly combines a pure sense of nostalgia with an eerie slow-pace solo.
And now for the entire album which evolves around the notion that our very existence is a consequence of millions of years of evolution and endless connections, rising and fading. It deals with the fragility of life as a whole and as an individual, always remembering that our time here is limited. It all happened on this pale blue dot, our home, Earth. We shall always remember that every single life, past and present, lived there--on a mote of dust suspended in a sunbeam.
[ Until The Cosmos Takes Me Back ] opens with a spatial feel, almost like two planets colliding to each other creating a cosmic aura. The sound is instantly soothed with slow and comforting vibrations echoes. As the album progresses from one movement to the other a restful vibe tend to dominate while giving you this mega feeling of being floated on a thick patch of cloud. By now you’d think, that’s about it but no, that’s not it, more chimes and layers are sure to follow in a constant and progressive flow.
It’s like walking on the edge of a dream, figuring the difference between reality and fantasy, caught in between two worlds and awaken from a long trip where serenity and tranquillity are the core reflection of life. And this is just one facet of [ Until The Cosmos Takes Me Back ] as this album is equally drone(y) as it is peaceful. On various segments the album tend to bring a sonorous deep tones while also reflecting mysterious atmospheres unfolding into a restless realm with a low end rusty chords.Tracklist 01 – Before
This title invokes a broad ambientscape, in many respects like those created by Rafael Anton Irisari’s moody electric guitar drones. The best part of this release is that it’s an easy listen with a variety of themes and atmospheres. One can literally listen to this album dozens of times without the feeling of having his head exploding. The moody guitars are backed by soothing notes and it makes the entire listening experience a journey and a half. This is definitely an album you don’t want to miss out on.We All Die! What A Circus! - Until The Cosmos Takes Me Back ]. ============================================
[ heklAa ] is a 37 years old French composer, influenced by post-rock, jazz and movie-music. His musical project is called [ heklAa ], Songs in F is his first self-produced EP. The 4 tracks talk about my trip in Iceland in April 2010, as he was stuck "thanks to" the eruption of the with-the-unpronounceable-name volcano. He is also working on his first album "My Name is John Murdoch", inspired by the best movie ever "Dark City".
heklAa – My Name Is John Murdoch
Release Date 31st OCTOBER 2014
All songs are composed, arranged and produced by heklAa.
Recorded in the (home) studio "am Tanzplatz", Ingersheim, France
This Album Is Fully / Utterly Inspired By The Movie [ Dark City ]
heklAa’s newest title [ My Name Is John Murdoch ] which is the follow-up album of [ Songs In F ] disentangled an artistic rhymes colliding with post-classical universe in an explosive manner. Strangely different, yet aggressively beautiful with piano keys administering the record’s melodic groundwork all the way, this new title is about to find a special place in every listeners heart. I usually don’t say the following on albums that come my way for reviews but this new release reflect so much to being exactly what I look for in an album that it makes it difficult for me to review. I am so overwhelmed with its beauty and its shining facets that the sound literally takes my focus away from writing. That’s how gorgeous [ My Name Is John Murdoch ] is.
The most compensating and refreshing part of heklAa’s work on this new release is the integration-flow in which he assembles various conventional and unconventional sounds all together. Yes… while most of the part, the artist focusses on seductive background piano keys and by that I am referring to the dark one’s, coupled with long and constant rhythmic guitars on the front-end with echoing drums and crashing waves, reminiscent to the likes of [ Mamiffer ] and [ Cicada ] at the same time, HeklAa’s sound brings a myriad of emotions in one spot.
This new album attribute so much in terms of sound and atmospheres, themes and colours, emotions and tonalities that it intersects a place where fans of [ Seskamol ], [ The Best Pessimist ], [ Line Gate ] and even extremist minded [ Godspeed You! Black Emperor ] and [ 65DOS ] fans will all enjoy. The music is dramatic, epic, melancholy and it contain a bit for everyone. [ My Name Is John Murdoch ] circled around 9 songs, the album opens up with an intro-like piece cleverly title “Générique” and end’s with “Epilogue”, in between there’s seven track in the form of an episode each. Perfect arrangement, must I add.
So guys be ready to embrace [ heklAa’s ] latest album where compositions seem to unravel magically, divulging mysteries at a constant pace that requires neither patience nor tolerance. It is true that sometime music characterized one’s personality and everything you need to know about Sébastien dwells in the very depth on his music itself. The reward on “My Name Is John Murdoch” is a rare manifestation in sound. Aggressively pretty and artfully haunting, undercurrent of profound sadness constantly agitates beneath the surface.
In a nutshell “My Name Is John Murdoch” builds-up progressively in an appealing way and in no time, appearance of soaring guitars, electronic / computerize electronic element in the form of drum hits, and echoing bells are all over the place. Over the next hour you’ll hear melodies battling with noises through and through, constantly trying to find a point of understanding. This struggle between light and dark and these oppositions in the end mostly found a common ground in memorable episodes of fascinating scene. Once again, for the 2nd time on [ heklAa’s ] releases ( Straight 10 Out Of 10 ).
The album is inspired by one of my favorite movies: “Dark City”. It should not to be considered as an unofficial soundtrack of the existing movie but as an official soundtrack of an unofficial version of the movie! I have started to work on this album two years ago. The obsessions and questions of the protagonist are partly mine: loss of childhood, nostalgia, self-discovery, Miles Davis’ “Générique”… Beyond “Dark City”, there are many references to other works (Tim Burton’s “Batman”, Edward Hopper, Miles Davis…)
The movie tells the story of John Murdoch, a music journalist, expert of Miles Davis’ work. After years, he comes back in sirenZ, the big city where he grew up, to cover a set of jazz concerts. As he is walking along the main street, he has the strange feeling that nothing is like it used to be. Did the city change so much? Did he change so much? Did time just go by? (Episode 1: The Dark City of sirenZ)
A whole series of events is going to intensify his conviction that something is wrong: that beautiful woman he meets in the “Hopper’s bar”; he does not know any Selina Kyle, but he could swear that he knows that woman, like a reminiscence from yesteryears, he knows that he had dinner once with her, that they have spent the night after that together, too. (Episode 2: L’Inconnue ) There is also this original recording of Miles Davis’ soundtrack for “Elevator of the Gallows” that he finds in an old music store; as an expert, he knows full well that this milestone in jazz was celebrated in 1958. “Générique”, the perfection of music according to John, this permanent catchy tune in his head could not be just a creation of his own mind. But, the calendar in the store still indicates that John is living in the year 1946… Last but not least, in place of Miles Davis’ music, John discovers a recording made by a Louis Malville who introduces himself as a French movie director. Louis reveals that sirenZ is a shameless lie, a Dark City like many others, where nothing is real. (Générique)
Nothing? What about Shell Beach, this sunny happy place of his childhood, where he used to fly a kite or go sailing and fishing with his father? So many memories of brighter times… (Episode 5: Remembering Shell Beach)
After days of investigating, at last, John finds out the truth, as he is walking by a souvenir shop. Behind the window, a glass snow ball representing sirenZ. He understands, terrified, that this is not just a trinket for tourists, but reality: The city is lying in the depths of the sea, under a giant bell. (Episode 3: The Dome) Shell Beach does exist, but only in his head, nothing more than pretty pictures in a photo album. Why? When? How? John will never get the answer. (Episode 4: Dance with the Shadows)Tracklist 01 Générique
John’s world has collapsed. (Ep 7: Say hurray! ‘cause it’s the End of the World!). Now that he knows the whole truth, what comes next? Should he tell everything and run the risk of becoming a curse, an incurable decease for everyone in the city? Should he just live a normal, quiet life by the woman he loves? No, he will not be a tragic hero. He knows who he is. (Episode 6: My name is John Murdoch). Selina is waiting for him.heklAa - My Name Is John Murdoch ]. > > > ============================================
Silver Screen Orchestra also known as [ s2o ] is an American instrumental duo that began in 2011. The band uses public domain footage as the inspiration for it's musical works. Nathan Stewart & Kayla Breitwieser, both members of SC post-rock band Pan, began playing music together after forming a relationship in late 2011. Their common interest in instrumental music, along with their similar style of composition, lead to early recordings and a desire to develop a more sophisticated sound.
Incorporating a visual component became a staple of each composition--in some cases, helping to develop the song's movements and purpose. In the summer of 2014, S2O ventured to Montreal to record their first EP with Howard Bilerman of Hotel2Tango. It is available for purchase at any of their live shows as well as at their Bandcamp page.
Silver Screen Orchestra
Self-Title Album [ FOR A $ 1 BILL ]
Release Date: SEPT 11th 2014
Recorded in Montreal, QC with H. Bilerman of Hotel2Tango.
Mastered by Harris Newman
Of Grey Market Mastering. In honor of Nicholas Chase Stewart.
s2o is [ Nathan Stewart: Electric Guitar ] and [ Kayla Breitwieser: Violin ]. Nathan S and Kayla B crisp new album coming out September 11th is both eerie and soothing. It is the perfect formula inducing to well-written songs that introduces some sort of music-refuge. Buried deep in orchestral-like elements and the odd fanciful dreamlike drone’s qualities unfolds heart warmth images that fade and reshape in an audible pattern. Silver Screen Orchestra also known as s2o, debut S/T album is soothed in memories, the kind that you won’t dare reshaping in any form, not even for a single moment, as you would want them to stays with you for a lifetime.
Emotionally bulky and well equipped with darkness, you can feel the tension in each pull of the guitar strings as you would equally feel the ease and peace in each and every violin chords. Drawn in its composition, which is largely and precisely driven by the duo’s imagination and insight in experimental music’s, Silver Screen Orchestra is an abstract experimental work of art that requires one’s undivided attention before it can begin to dished out bonuses. Packed with 4 movements where each one of them exceeds the quarter of an hour marks, you bet you about to tap in some sort of experimental / post-something berceuse.
While all this may seems like news to many of us, but let’s face it, s2o duo started back in 2011 and digitally released their live performance on the 2nd of July 2014, which is now followed by the band debut self-title album. And while the shape and shadows of the band took place in 2011 based on similar interest in music style from both members as well as the formation of a new relation, Nathan and Kayla has been around for a while as members of the SC post-rock band Pan. So rest assure as their unique blend of experimental post-rock were forged long ago.
However, the only news here is that this debut album takes a sharper form and a bulkier weight by focussing on intimate sweeping melodies that are woven precisely underneath a new-age 21st century noise surface. The type of sprawling noises that attribute a strong form of confidence and that makes it all worth the listen. Well after all this is a damn good album inspired by… ‘obviously’ a lot of good music around. Believe it or not ALL tracks on this release are as haunting as memorable. There isn’t a lot to say here except that the duo pretty much nailed it in to a bursting exasperation of fairness.
I have always wanted to quote the following words from [ Mogwai - Young Team ] and I simply cannot find a better album to do so. So here it is, “Yes I am A Long Way From Home”. 'Cause this music can put a human being in a trance like state and deprive it for the sneaking feeling of existing. 'Cause music is bigger than words and wider than pictures. If someone said that Mogwai are the stars, I would not object. If the stars had a sound, it would sound like this. The punishment for these solemn words can be hard. Can blood boil like this at the sound of a noisy tape that I've heard? I know one thing. On Saturday, the sky will crumble together (or something) with a huge bang to fit into the cave. [ Thus… Let The Music Speak For Itself ].Tracklist 1. March of the Emperor 16:34
On July 9, 2014, Nicholas Chase Stewart was killed in a car accident. He was only 18 years old. During the moment of the car accident, Silver Screen Orchestra was performing this song live. They would like to dedicate this song to their little brother, Nick, and to all others who have lost their lives far too early. We love you always, Nick. #chaseyourdreams. Fifteen minute- one take, one recording, one camera, live music performance by "Silver Screen Orchestra". On stage they would be improving music to a TV playing a video of the 1986 space shuttle Challenger disaster.Silver Screen Orchestra - Silver Screen Orchestra ]. > > > ============================================
TO DESTROY A CITY
Chicago-based To Destroy A City was formed after Andrew Welch (drums/synths/programming), Jeff Anderson (guitar/keyboards), and Michael Marshall (guitar) met through various iterations of previous musical projects. When the three finally sat down together in the summer of 2010, they moved quickly, writing and recording their debut within a year's time. The self-titled album was released by n5MD in September 2011. The remix companion album, Rebuild, was released in 2012 and featured reworked tracks by local scene-mates as well as other artists from the n5MD roster.
To Destroy A City's sophomore full-length album entitled "SUNLESS" is due in the fall of 2014. On SUNLESS, TDAC expands on where they left off, drawing from cinematic, literary, and musical influences to craft a sprawling yet cohesive follow-up. Sonically, TDAC moves effortlessly between delicate ambient passages to beat-induced grooves to soaring melodic peaks. Electronic beat production is intertwined with live percussion, while layers of guitars, synths and pianos forge the melodic foundation of the tracks. The uninitiated may find To Destroy A City analogous to label mates Lights Out Asia and port-royal, and, due to some periodic drifting into similar spaces, the wide-screen ambient guitar duo Hammock.
DISCOGRAPHY2014 - [ Sunless ]
SUNLESS ( PR )
Sophomore albums can be a tough proposition, often created in a much shorter time span than the years of refinement most debut albums receive. Chicago based trio To Destroy A City dropped such a perfect debut in 2011 that fans have collectively held their breath for the follow-up. However, unlike some artists who rush into the studio to complete their sophomore release, TDAC has taken nearly three years to craft their follow-up: SUNLESS. The time and effort shows in the nine cinematically crafted tracks. At times SUNLESS is more electronic leaning than its predecessor, yet is still punctuated with sheets of glacially emotive guitar-work. Intricate electronic beats give way to propulsive live drumming. The synths, while more prominent this time out, fit effortlessly into the TDAC framework. SUNLESS is an album of contrasting moods, though the trio transitions between these moods more gently than their peers. Is SUNLESS 'better' than the trio's debut? Both are equally strong, which is no small feat. But one thing is for sure: it is a move onward and upward into an expansiveness that they have only hinted at previously. A must-have for fans of God is an Astronaut, Hammock, and Lights Out Asia. SUNLESS will be available on CD/FLAC/MP3 as well as limited edition 2xLP with a limited amount in red/orange/black splatter.
Released 18 November 2014
(c) TDAC (p) n5music (BMI) 2014
[ To Destroy A City ] dropped an atomic blast back in 2011 on their debut self-title album and since then… the band went and got signed on [ n5md ], a recording label measuring up to [ Denovali Records ] and the likes, who has advanced themselves on putting out and delivering some of the best post-rock act known in this everlasting post-rock century.
Unlike some outfits who takes years or even decade to carve a niche for themselves by consistently topping up their catalogue with new Singles and numerous EP’s on a regular basis, [ To Destroy a City ] have managed to create a name for themselves with just a couple of releases, call it luck or good marketing with the right platform, I somehow prefer to lean towards the integrity side of the music itself and the awesomeness factor, since the band has successfully managed to shake listener’s emotions into a state of divine-escape.
From the beginning [ To Destroy A City’s ] music has been of a unrestricted form, variations in its layered sound sequences are as subtle as its modest guitar waves-flow, that in mind the band boundless qualities are beyond absolution, their four unit catalogue are tailored to accompany the most grand and the most elegant panorama one could possible think of: think of the grandest blue skies over the largest blue ocean, all in widescreen scope.
For regular visitors and regular readers if you know [ To Destroy A City ] from the beginning of its existence, which by the way doesn’t travel back decades, then you would know exactly what to expect on “Sunless” or at the very least, a glimpse of what to expect. Upon listening to this latest title, most of us would agree that the band has made two steps towards a more conventional ambient structure but not enough to turn off past fans though, and most likely plenty more attractive details-tunes to magnet a few more instrumental lovers who they might not have gotten the full attention in the past.
This new record is about an odd hour in duration, occupying most part of a full CD, and one that is conveniently easy to stream and to digest in its entirety. “Sunless” is precisely the type of record one would arguably state the gap and the open spaces the band left for exploring newer possibilities and new time signature for future direction. But make no mistake as this is by far not a negative critic and my guts feeling tells me the band took this approach on the mere fact that they have so much to express in a limited hour. It’s one of those tricky approaches that gives you the feeling that the band is not only itchy but also more than ready to burst in new directions and professionally explore new musical avenues without risking-up the solid presence they’ve already effortlessly established. “Sunless” accomplishment is the total proof of that.Tracklist 1. The Messenger 07:16
At this point, I feel confident to say that [ To Destroy A City ] have truly delivered another incredible addition to their slow-growing discography. For the lack of a better term “Sunless” is nothing short of perfection. The record is built with glassy textures where guitar strings, drums, bass and keys are integrated in such way to create the PERFECT flow. The chiming sections, the guitar chords and all the melodies have a unique way of arcing itself together. Anyone who dig [ To Destroy A City ] in the past will dig this new release to an extreme extent. No doubt about that.To Destroy A City - Sunless ]. > > > > > ============================================
Comprised of graphic artist Andy Scott, audio engineer Tommy Hazerian, and tv/film lighting technician Greg Capp, this Los Angeles trio applies their professional backgrounds to form the heart of 1000 Suns. Inspired by the drama and experimental nature of instrumental music, the use of effects pedals, samples and electronic instruments play a major role in the band’s sound. Andy plays guitar and creates the visual imagery associated with 1000 Suns. Tommy handles the bass and synth arrangements in addition to the core recording and mixing out of his GhostNote Studio. Greg, the drummer, applies his production and lighting expertise to the band’s video material and photo shoots. The ability to handle all of the creative aspects allows them focus their talents on the bigger picture, with greater control over artistic concepts from beginning to end.
The Spirit Molecule
2012 yielded The Spirit Molecule, drums were recorded at Berkeley Street Studio in Santa Monica, CA by Brandon Duncan (The Rolling Stones, Bruce Springsteen, Ziggy Marley) while the remainder of the album was tracked and mixed at GhostNote Studio. The album contains a variety of melodic motifs, haunting soundscapes, and heavy grooves, at times manifesting the influences of Pink Floyd as well as Tool. Its arrangements have more in common with classical music than it is to pop, introducing a melody, building upon it, then exploiting it to climax. The songs take the listener on a journey, while remaining surprisingly minimalist.
The Body The Mind
The Body The Mind found light of day in 2014 after returning to Berkeley Street with Mr. Duncan and shadowing the process of returning to GhostNote to complete the tracking. Now one album wiser and with material that had outgrown the confines of The Spirit Molecule, the new songs incorporated more stylistic variety. Ranging from moody mellow pieces and surreal transitional montages to epic and heavy riff bashing, the album delves further into intricate arrangements and lush effects. A loose concept piece, it explores visual and conceptual themes of division, polarity, and contrast.
On the horizon, 1000 Suns is busy writing new material for their third album as well as creating scores for a film project, webisodes and a tv pilot. The band is looking forward to a west coast tour for the spring of 2015 and are currently playing shows in the Southern California area.
The Body The Mind
By: 1000 Suns
Release Oct. 07th 2014
Available On [ BandCamp ]
First and foremost, as dark and as heavy “The Body The Mind” gets, the album holds various silver linings radiating through its foggy yet blissful aura. [ 1000 Suns ] eclectic music architecture combines hypnotic ethereal atmospheres and psychedelic sludge-heaviness to an extremely pleasing melodies. Ethereal ( on the opening piece only ) and Sludge being the core element and the foundation of this new album, you’d probably think, fire and ice, no way, this is going to end up in some sort of a major clash, but when it’s done and mixed A La [ 1000 Suns ] precision, believe me when I say, you’ll simply end up with something sublime.
Let’s face it, [ 1000 Suns ] perfected the art of laying down some vicious melodies and vigorous riffing’s from their debut album “The Spirit Molecule”. The trio… Andy Scott behind the veil of a Graphic Designer, Tommy Hanzerian camouflaging as an audio engineer and Greg Capp who disguises himself as a tv/film lightning engineer, together, from the very beginning have acquired the capability and potential of exhilarating tracks from being utter boring to thirst quench and satisfying pieces. “The Body The Mind” is the trio’s second full length, a concept / more educated album and an extension on their melodic sounding.
The band's highest peak bounces back and forth between its strong instrumental know how and masterful electronic mixes. The guitar use is totally explicit, particularly when bursting with propulsive rhythmic section echoing some of the band's most mind-blowing composition which inevitably brings an exquisite sense of satisfaction. The drumming on the other hand is yet another stand-out element, chasing dynamic chords with series of rapid, repetitive strikes, the album showcase Greg’s drumming prowess in high definition. I think it is safe to say, Greg’s precise drumming is to the point throughout the entire album while Tommy’s bass lines penetrates the air from a distance to full blast, shifting time signatures, administering a controllable noise blast and a beautiful mix through various electronic devices and distortions effects.
The sound of this album is absolutely incredible and it also showcases the band maturity from “The Spirit Molecule”. The strongest point of the album relies heavily on the band strong leadership, while many aliases out there tend to follow, [ 1000 Suns ] proves the contrary with a mature sense of leadership. Yes… admittedly, in some cases influence, such as [ Tool “Lateralus” ] will most likely hit you, but the trio’s contribution on “The Body The Mind” crossed the platform between sludge-metal and post-progressive metal creating an amazing blend that is hard label. Their earlier albums were slightly similar ( very accessible / mind-blowing ) with vicious melodies but still not nearly as reliable, as oppose to the new one on progressive themes.Tracklist 01. Draugr 04:27
[ 1000 Suns ] instrumental combination and compelling mixing, necessitate you to rethink the whole concept of progressive / post-progressive metal. From their debut release to “The Body The Mind” the band, in many ways have expanded on their sonic territories. Words are out that the band is busy writing new material for their third album as well as creating scores for a film project, webisodes and a tv pilot. What sonic obsession and dynamic complexities we can expect from [ 1000 Suns ] in the very near future is entirely debatable; but I for one, based on the two releases the band brought forward, I am utterly excited for anything that’s in the pipeline. EXCELLENT SOUND ALL THE WAY.1000 Suns - The Body The Mind ]. > > > > > ============================================
Los Angeles ambient duo There Is No Teenage Love return with homage to their city: LAHEX. In the fall of 2012, There Is No Teenage Love (David J Dowling and Erik Tokle) self-released their eponymous debut, earning praise from bloggers across the globe and plays from the likes of Jimmy Tamborello (The Postal Service), and L.A.’s KCRW. Now, almost exactly 2 years later, they are back with LAHEX, a cinematic love-letter to their adoptive home of Los Angeles.
A minimal symphony of looped guitars, reverberant drones and rhythmic delays, LAHEX is equally at home in the relentless sun or in the late-night, sodium-light-un-blackness of the city — a ‘concept album’ that is heartbreaking when you need it to be, lonesome when you want it to be, and blissful when you allow it to be.
LAHEX is available as a limited-edition white vinyl record with instant digital download (plus a bonus track). The record comes in a heavyweight violet sleeve within a metallic silver jacket. Unadorned by type and suitable for framing, the cover features a 12,000 year old saber-toothed cat skull from L.A.'s La Brea Tar Pits, photographed exclusively for this album.
Some praise for the debut record [ English & French ].
'Avec ses drones éthérées, sa guitare en apesanteur aux contours nappés de reverb, ses orgues majestueux et ses traînées de synthés sans âge au romantisme diffus (à moins que tout cela ne soit le fruit de manipulations guitaristes dignes de l’élégance light d’un Christopher Willits?), on imagine aisément l’effet que doit procurer l’écoute de There Is No Teenage Love au lever du soleil sur un océan à perte de vue.' ___[ Indie Rock Mag (France) ].
‘This is music played by human musicians, and although it avoids any obvious discursive, linear tokens of self-expression, it still sounds like the work of human hands and hearts. There is care and effort in every moment, an understanding of physical instrumental resources without which this music could be nothing like as nuanced and precisely judged.’ ___[ Oliver Arditi (UK) ].
By: There Is No Teenage Love
Release Date OCTOBER 28 2014
SOUNDSCAPES FOR THE POST-EVERYTHING ERA.
Straight to it… “LAHEX” the latest cover by [ There Is No Teenage Love ] is an absolute must have for ambient collectors. The album reflect an airy, voluminous ambiance, molding darkness and echoing sound together in the form of a cushion-like material with shades of bleary lines and fuzziness. The entire album is largely driven by electric guitars and distortion coupled with electronic/synths on seldom occasions, turning into a stream-delight.
Point blank, classifying [ There Is No Teenage Love ] music in to a specific genre can be a little tricky in this particular instance. Well yes… while it’s certainly safe to say, ambient sound in its very depth, the moving textures and the originality elaborate even further and deeper as oppose to your usual average ambient monikers. That said if I were to personally draw some comparison, just to give you a head’s up as to what you are getting in to, which by the way is indeed a difficult notion, as the sound originality is so ecstatic, still… I’ll probably bring the likes of [ 36 ] awesomeness, [ Tim Hecker’s ] experimental air, [ Celar’s ] mindspcaing power and [ Barn Owl’s ] audible drones ALL in the equation.
“Lahex” truly introduces flourished textures and disintegrated shortwave corresponding to frequencies over and above 1600 kilohertz with static motion, paving the way for something unique and original in an articulated sound form. While most part of “Lahex” is executed in the aim of building a subtle motion, as you dive deeper and deeper you’ll soon notice the album unfolding a darker and a more melancholy side to it. This darker and heavier atmosphere untangled itself equally in subtlety as we reach “After The Films” movement and on-wards. There on, repletion echoes and repetition of sound produced by the reflection of its sound waves are to be expected in indulgence.
Touching up on “Lahex IV & V”, movement six on the album, which is one of my favorite track, actually I’m probably saying movement six is my favorite track simply because I am listening to it right now, truth be told the whole playlist are equally euphoric with delicate chime, strings note piercing the air while unsettling electronic/synths and long-waves echoes dissipating to flawless swing before transgressing to some solid type of drones.
Let it be for a late-night listening or a Sunday afternoon gathering, this album is a perfect listen for various occasions, with its fuzzy drones, its seemingly endless multi-textural surface that tends to sooth the atmospheres in the most chilling path, the music on “Lahex” holds up very well. In seven pieces where crackling noises breath softly along some breath-taking melodies, both executed by guitar loops and distorted fragments that emerge in waves forms, there is no better ending but in a lush, atmospheric-ambiance of the most satisfying kind. [ GO GET IT ].
12" White Vinyl Record with INSTANT Digital Download. Record/Vinyl. Receive an INSTANT digital download of LAHEX plus a bonus track when you order the 12" vinyl record. Pressed on white vinyl, LAHEX comes in a heavyweight violet sleeve within an elegant metallic silver jacket. Unadorned by type and suitable for framing, the cover features a 12,000 year old saber-toothed cat skull from L.A.'s La Brea Tar Pits, photographed exclusively for this album.*Tracklist 1. LAHEX I & II 09:31
Due to extended production times for vinyl records, estimated shipping of physical product is January, 2015. Your digital copy is available at the time of purchase. *Specimen courtesy of La Brea Collections, Natural History Museum of Los Angeles County. Includes unlimited streaming of LAHEX via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. [ Shipping out on or around 15 January 2015 ].There Is No Teenage Love - LAHEX ]. > > > ============================================
[ I-Dults ] is the musical activity of Gaetan, a French musician residing in Paris, France who makes music since he was almost 8 years old. Currently in his early / mid-twenties Gaetan has always been inspired by experimental acts and ambient outfits. To name but just a few [ Modeselektor ], [ Apparat ], [ Rone ], [ Darius ], and [ Luke Abbot ] for electronic music are the core influence, that in mind [ I-Dults ] aka Gaetan also listen to skate punk rock since a very young age and also happens to be a big fan of [ The Transplants ], [ Boxcar Racer ], and [ Biffy Clyro ]. As far as electronic influences goes [ Paul kalkbrener ], [ Justice ], [ Daft Punk ] and [ MGMT ] are the most accountable acts.
Gaetan plays drums since he was 10 years old and guitar around 13. [ I-Dults ] sees the light of day around December 2012. He composes with Ableton live with various electronic instruments including lots of keys and synth. With [ I-Dults ] the idea was to mixed and fiddled around with different genres of music he’s been in to over the years. The final outcome of that mixed create a new kind of sound which he like to call A.E.I.D.M ( Aero Electronic Intelligent Dance Music ).
The first album “You're Nowhere Near The End Of It” took shape in March 2012 which was follow by a three tracks EP two month after the 01st album. And now almost two and half years after the EP release [ i-Dults ] is now gearing-up for another fourteen track full length title “Xx.” set to be release in October 2014. Check out the above album video trailer as well as "Hatch And Kiss The Sun" & "Light" on SoundCloud. [ Album Review To Follow ].
Release - 31st October 2014
Composed, mixed and mastered by [ Gaëtan Simonpieri ].
What disconnect [ I-Dults ] work on Xx. from many other dub and ambient-dance produces working in the same range of sound is that there is something that automatically connects the dots to a full embroidery-like pattern. There's no sensitive approach, nor any confession that one need to push forward about the component and ingredient used in its architecture. [ I-Dults ] also known as Gaetan, simply seeks to create a direct connection with the listeners. It's passionate, and adequately so.
Well what else would you expect from outfit who goes as far as titling songs "Fighting With Mind" or “Ephemeral Map"? You can vouch for a sound that effectively sews complex textures in candor and modesty on the most expensive linen fabrics. Xx. Has been in the making for quite some time ( I know ‘cause I’ve been waiting for this release for months now ) but the end result is totally worth the wait. Fourteen tracks in total, with duration of an odd hour where majority tracks are built from distinguish field recordings swelling to immersive loops of tone and unifying intense dancing pulses, the music beats, vibrates and yawns in an open air like you won’t believe it.
While writing on dark-ambient, experimental drone and depressive music has always worked for me, I must admit Xx. is one of a type that have crossed all boundaries and made me re-think the whole concept of dance and head-nodding ambient. This is truly something different from what we usually cover. Instead of repetitive drones, experimental heaviness and abstract sounding that very often makes us want to close our eyes, embrace the instrumental sound and to truly let go in every senses, we are now facing a different form of sound, lucid in every angle and one of a kind with lulling flows, cumulus synth-waves and plucked guitars, Xx. is most likely to be one of those material that you would want to shelf of file ( in this particular instance ) in a special place. Somewhere accessible as it’s not one of those album you’d listen once and dust away. You would want this one to be close to you and reachable for various occasions.Tracklist 01 You Pilot (Intro)
While it’s really hard to say Xx. is reminiscent of so and so, still… small traces and light shadows of [ Burial ] or [ BVDUB ] are definitely present. Basically dub and ambient monikers which take dub and up-tempo’s hope by the hand and map it to a whole new level. Xx. emotional depth speaks for itself; it makes two years now that I-Dults has been working on this opus, a brand new LP mixing aerial and powerful synth naps, colourful and melodic guitar sounds, spatial beats to explode in an ambient surge full of life. Xx. movements effectively invoke feelings of a rather glacial solitude and euphoric contemplation, endlessly thrusting its glassy elements forward, adding layers of appealing tunes over and over achieving an ecstatic outcome. Without a single doubt, this is by far one of the most essential materials from one of the few artists working in this milieu. By all means, get this album, but also be ready for something totally different though.I-Dults - Xx. ]. > > > > > ============================================
And off we go... with something very different, very nice, very experimental, very Godspeed You! Black Emperor, very dark and very important to have. Formed in 2012, in Gothenburg, Sweden. [ Svarta Stugan ] sounds like a mix between [ Godspeed you! Black Emperor ] with the soundtracks to Twin Peaks and Blade Runner.
Aspects Of Our Future Selves
Release Date: OCT 17th
Mixing & Mastering: Christoffer Johansson
Guest: sax’s player Christopher Thorén [ Music is the Weapon ].
[ Svarta Stugan ] is located in Gothenburg, Sweden and somehow their experimental image is rather convenient, since quite a few post-rock Swedish acts do have a special touch for illuminating emotional impact. "EP3: Aspects Of Our Future Selves" is [ Svarta Stugan ] fourth release and it is no news that they've developed in to a very catchy and intriguing outfit. The music and song-writing as well as the musicianship level they’ve attained are all in the music details.
Based on their previous releases, many critics and webzines has compared [ Svarta Stugan ] to the likes of [ Godspeed You! Black Emperor ], [ 65DOS ] and that’s predominantly based on the experimental side of the project as the band overall outcome does bring some strange melancholic outburst with rhythmic atmospheres lurching between delicate reflection and haunting vibrations. Experiencing [ Svarta Stugan ], and by that I mean, let it be EP1, 2, or 3, it simply means experiencing a great dosage of various noises.
With powerful distant drumming echoes a la [ The Aloof ], rhythmic speeding guitars and electrifying distortions that measure’s up to the like of [ A Silver Mt. Zion ] and explosive atmospheres as grand as an orchestra, this EP marks the 17 minutes duration, which by the way is your average length in terms of an EP’s release but make no mistake guys… as it come jammed with instrumental surprises. And in the middle of all this awesomeness, the band chooses to bring a special guest: saxophone player Christopher Thorén from [ Music is the Weapon ], as if the original noise-flow was not good enough, but hey, I’m not complaining though, the saxophone addition on this EP is not your average sax’s, we talking aggressive blows to that can render some serious emotional scars.Tracklist 1. neo-futuristic 03:15
Whether you chose to have an earphone go on this new release or via a 1000 watt RMS AMP, the songs arrangements are very distinguish and varies from each other, so either way be ready for some extremely good noise here. Atmospherically massive and achingly beautiful this EP delves more in a post-experimental a ambiance Needless to say the band previous releases are just as good as [ Aspects Of Our Future Selves ].Svarta Stugan - EP3: Aspects Of Our Future Selves ]. > > > ============================================
RELEASES SINGLE ‘DETERMINISM’
FROM UPCOMING EP, A FOUNDRY
TO BE RELEASED ON THE 2nd DECEMBER 2014
Amos val is a post-rock band from Portland, OR that originated in 2008. As a musical foursome, we are devoted to creating dynamic sounds that evoke swells of beauty and imagery. We are visionaries and hard workers, which we manifest through our relationship with each other and with our listeners. Our creative will is ever strengthening and we are excited to share the future with you.Nathan Jurgensen - Guitar + Vox
Portland based post-rock band, Amos val, is proud to release the single ‘Determinism’ from their upcoming 3 song EP, A Foundry, to be released on Tuesday, December 2nd. A Foundry was recorded live in Amos val’s rehearsal space, capturing the DIY spirit and dynamics of the rock ensemble.
“Recording this record was a rebirth for Amos val in a lot of ways, as we added two new members to the group, Sam Appelbaum (drums) and Cameron Clowers (bass). With the addition of the new rhythm section came an overall drive and fluid transitioning to our song writing, making A Foundry move much like a dynamic classical suite.” – Nathan Jurgensen (guitartist and vocalist)
A Foundry will be available to purchase digitally through Amos val’s Bandcamp page. Amos val will also create a limited amount of wood engraved coasters that include download codes that will be available to purchase through Bandcamp, in addition to live events. Amos val is seeking media support for the upcoming EP release. The group would love the opportunity to be featured on your publication. If interested, please contact Cameron Clowers at [ [email protected] ].Tracklist 1. Cage 04:39
This new record is actually a rebirth for us in a lot of ways, as we added two new members to the group. With the addition of the new rhythm section came an overall drive and fluid transitioning to our song writing, making [ A Foundry ] move much like a dynamic classical suite.A FOUNDRY
Formed in Madrid in 2006, The Kiss That Took A Trip is the brainchild of M.D. Trello, who stands as the sole member and admitted factotum. A long-in-the-works musical project that finally saw the light of day when Trello, after an extended period of hesitation, decided to embrace public exposition inspired by the DIY ethos of diverse musical figures such as Steve Albini, Trent Reznor and Godspeed You! Black Emperor.
A late in the game “band”, the founder of The Kiss quotes his admired Brian Eno to state he’s not a musician at all and therefore he will never tour. The Kiss That Took A Trip builds its music, for the most part, using computers and synthetic sounds, but refusing vehemently to be categorized as electronic music. In fact, the music can be tagged as a mix of styles such as post-rock, ambient, experimental, new age and orchestral pop, most of them instrumental and imbued with a progressive feel. The songs resort to melody, atmosphere and a pinch of drone and dissonance instead of technical proficiency or radio-friendly formats.
Since its inception, The Kiss has been regularly putting out self-made releases, with the EP Dating Aphrodite (2008) and the albums Worst Case Scenarios (2009) and The Dummy Family (2011) among them. However, it was with its third album How The Mighty Have Fallen (2012) that The Kiss found an unique voice. Fully produced by Trello, the album bases its sound on long-winded ambient/jazzy suites and unravels with no sense of urgency but employing signature changes, breakdowns, drone sections, distortion and hummed vocals reminiscent of Bark Psychosis. Letting go of the political themes a little, the album has a bitter existentialist vibe this time.
After a two year long gap, The Kiss That Took A Trip returns with Electroforest (2014), loosening a lot of tension on the listener and making an album that recaptures much of the essential sense of melody found in earlier works, while still keeping the epic scope and adventurous nature of the previous album, coming out of the other side of the tunnel with a "best of both worlds" effort, but with its own internal logic. The record is built in a subtle triptych structure and features the boldest use of vocals found on a work by The Kiss, even to the point of putting them in the forefront or having them from beginning to end, like in standard pop songs.
In the album, as in past releases, The Kiss leaves a breadcrumb trail of sounds that may lead the listener to The Kiss’ biggest musical influences: Talk Talk, Friends Of Dean Martinez, Penguin Cafe Orchestra, Mogwai, Mike Oldfield, His Name Is Alive, Can, Rush, Barry Adamson or Angelo Badalamenti, only that distortion is turned up a notch or two, placing The Kiss That Took A Trip in a not very crowded musical niche in which progressive music and mainstream appeal meet but don’t clash.
DISCOGRAPHY2014 - [ Electroforest ]
Regarding ideology, The Kiss That Took A Trip operates on a “pay only if you wish” policy and stands for free music and Creative Commons licensing. The band has no other aim but to build a consistent and lasting music catalog that can speak to people fed up with quick consumption music and looking for high replay value and a more immersive and personal experience.
Released: November 04th 2014
Distribution Chanel: [ BANDCAMP ]
Torn apart by constant electronic emotional vibes which I would remarkably acknowledge as a minimalist act [ The Kiss That Took A Trip ] tuned in for an amazing blend of sound forged to form “Electroforest”. So yes… let’s give the band the benefit of the doubt here. Fourteen releases in nine years, you are bound to face the tunes with the expectation of hearing something vast and extremely diverse in all proportions.
“Electroforest”, released on the 04th of November 2014 is indeed by far one of the most prominent and most influential work of [ The Kiss That Took a Trip ]. It’s a salutation to the band accomplishment on how effortlessly being able to mandate our very perception without enunciating a long story, instead the band relies on the greatness that only they seem to be able to invoke, that robust variations and allusive artistry that they entrust track in / track out, and every line of their music which at times seems as intricate and as profound as a cobweb artwork simply due to its multi facets.
This latest album by comparison to its immediate predecessor, feels comfortably delicate and boxed in, its textures equally rich and equally diverse in its sixty-five minutes plus, enable the band to explore various territories using varieties of music-styles. Think of it as a freeform approach to electronic music, while also reflecting some utterly explosive and confrontational sounding. Well of course… it goes without saying, the bliss experienced here is of a more orthodox shoegaze sensation with lyrics of emotional distance and atmospheres, which the band executes a quite beautifully.Tracklist 01. Electroforest: entrance 02:38 02. Tidy up you pig 04:24
The strong point of “Electroforest” goes to the varieties of sounds the album hold, while the listening experience is predominantly focussed on electronics sound and shoegaze, there are tons of other elements attribution that gives the album a different kind of edge, astonishingly well arranged ‘of course’ and with some amazingly beautiful lo-fi ingredient the entire listen tend to takes several instrumental detours which are thoroughly accessible (from the 01st listen) itself. Crusty detours or at ease expansion, I’ll let you be the judge of it, but personally I find “Electroforest” more a nimble take-off to a comforting atmospheres. The various avenues the album tends to take is by far, nothing more than a casual extension of all that we’ve come to know in this current century modern electronic music. Check it out guys.The Kiss That Took A Trip - Electroforest ]. > > > ============================================
Moon is full here every night. federleicht is the heimat of a belgian ambient artist who works under a various of monikers including [ herbstlaub ] ~ [ fehlleistungen ] and [ die nachtstunde ]. Federleicht.be is intended as a platform to release this work on and as a central reference point to get in touch with these various releases.Herbstlaub' sound can be described as warm, long stretched melancholic layers which resembles both something of an eternal loss as well the concealed joy of continuous recollecting. He is somewhere inbetween the head and the hands, combining ambient spheres with intelligent beats, for example in his latest album 'The Streets Aren't For Dreaming Youth.
The idea he had with his first EP Sonnewende, was to take a coherent musical picture – the listener can remark the reflexive themes and musical schemes are in some a way repeating throughout the songs – and to get insight in that musical fragment, from different angles. This evokes something of what Dilthey’ calls the hermeneutic circle. In the same line, the ‘verstehen’ lays at the bottom of this album – with is triumph as inherent -and the same- as its decline, i.e. the eternal loss and the joy of continuous recollecting.
After that the project did run further onto various other Albums, one can characterize his work as a regaining on altering time. Like cutting a piece out of time, microscope that – and ‘translate’ that insight into a musical sphere. The result is a corporation of ideas, walking hand by hand with an emphasis of experiences.
[ HERBTSLAUB ] RELEASES
2014 – Hauch
[ DIE NACHTSTUNDE ] RELEASES
2011 - Klangwandler | 2014 - Flüstern Macht Gemeinsam
Flüstern Macht Gemeinsam ( Whispering Makes Mutual ).
As a whisper, only a whisper, try to speak. The sudden change of air, mood and surrounding, as you notice only the whispering, it whispers. You may imagine languages that only speak, as they whisper. You may imagine kingdoms that only prevail, as it whispers. Maybe there is a rain, that whispers. And it whispers.
After 'Klangwandler' (2011) and 'Driefarbenwelt' (2013), 'Flüstern macht gemeinsam' (2014) is the third Die Nachtstunde release, the more electronic and beat-profound appearance of the Belgian ambient-electronic artist Herbstlaub. Where Herbstlaub‘s last release was more a 'Hauch' -a breath, a breeze, a tinge- this one is suggesting a whisper. Looped-arpeggiated Glockenspiel, electronics, subtle percussion and dancing synths are wattled by a whisper, it moves quietly, as it whispers.Tracklist 1. Gemeinsam. 08:40
What remains, is not a whisper, but a question, what remains - after the whisper. Something mutual, a thing common, only if the night whispers. And it whispers.Credits
A lot has happened since Jakob Lindhagen, then using this cryptic moniker “…”, self-released his critically acclaimed solo debut "Transcendence" in 2009. The immediately recognizable cinematic qualities in the remarkably mature instrumental compositions from the then twenty-year-old caught the attention of several creative forces around the world. Filmaker Ahang Bashi hand-picked the song ‘Waking Up’ for her award-winning documentary “paradise” (“The Paradise”), and subsequently hired Lindhagen to compose original music for her upcoming film “Nair Allt Faller Samman” (“When Everything Falls Apart”). Also New York-based production company “PCI Media Impact”, reaching out millions of viewers, had him write a score for their animated promotion film, as well as a wide variety of commissioned work, both nationally and internationally.
Now, under the name “Other People”, Lindhagen returns with “Somewhere Far Away”, moving away from multi-layered productions of his previous effort, and instead strapping himself behind a grand piano. Recorded in his two latest cities of residence – Sydney, Australia and Stockholm, Sweden – its modern minimalism showcases a unique talent for creating atmospheres combined with exquisite melodies, with a light touch but a seemingly endless emotional depth.
“Somewhere Far Away” is an album of subtlety. Subtle, in how sudden dissonances and key or time signature changes levitate the music to another level, without taking away focus from the composition in itself. Subtle, in how additional instruments occasionally join in. Subtle, in how something as sparse as the intimate melodies and delicately balanced dynamic shifts in his playing seem to be telling more than a thousand stories at once.Tracklist 01 Somewhere Far Away
Apart from being released digitally and with a limited physical run, a unique collaboration with artist Erik Odqvist is also being made, with Odqvist creating three different interpretations of the album, available as highly limited screen prints with a download code printed on the back.Other People - Somewhere Far Away ]. > > > ============================================
Black Hill is the new guitar post rock
project of musicformessier's guitarist I. S.S.
"Not all my songs and sound creation are in perspective to [ MusicForMessier's ] space post-rock image, so I've decided to start a new musical adventure under the alias of [ Black Hill ] in the aim of releasing something completely different yet blissful in many regards. I think [ Black Hill ] is slightly more polished on a personal level as oppose to [ MusicForMessier ] in the sense that [ Black Hill ] predominantly prefer's to tell stories about the Earth, instead of the space." - I. S.S.Tracklist 1. Black Hill - Black Turns Grey 03:01
"Black Turns Grey" is the first SPLIT album under this particular moniker with [ Eensdenkend ]. This split album took it shape by two musicians who eventually became Friends. We both look for the same thing, but in different methods. The split is available on BandCamp on Name Your Price, by all means do check it out.Credits
Arash Akbari (born 1987) is a musician, producer and new media artist, based in Tehran. His music explores the genres of experimental, ambient, drone and noise, utilizing electric guitar, acoustic sounds, field recording, digital synthesis and DSP to create soulful compositions and textures. That in mind, Arash Akbari arrangement is completely divergent from the usual noise, austere electronics and pitch-black noises, which are usually associated with Oido Records releases, “Cracked Echoes” alternatively conveys an astonishing ambient composition that has a unique way to slowly filtering your emotion with lush warmth, and dazzle blast-choirs constituting a truly alluring and almost metaphysical atmosphere that is rather impossible to overlook.
Authentic to its title “Cracked Echoes” resonate through field recording, guitar loops and heavy digital synth layers creating an intense, yet phenomenally well-executed flow through lyrics(less) and experimental outburst. The power the music hold ( simple and flawless as it is… ) is such, of a colossal beauty, an incredibly moving cerebral sound and a mighty blast of a magniloquent ambient fluctuating back and forth, making its way to the very depth of a four-dimensional universe in the most transcending way. Rest assure we got some extremely moving and powerful ambient-noise here guys.
In addition to its flawlessly attractive essence, “Cracked Echoes” also takes on a deeper and more meaningful nature dedicated to space-ambient. To be noted the album also has a touch of “Lawrence English” in the making, which to my best bet can, in many instances attribute an extra layer and a unique flaw, just to have the right ingredient and the perfect formula to some eerie and memorable accomplishment layering the sacred chambers of an archaic sanctuary, and instantaneously astound anyone with its clear and luminous posture and space(y) ambient enticement.Tracklist 1. all is gone 09:33 video
All the tracks on this album are under the 10 minutes marks which truly makes the overall listening experience extremely digestible and easy to grasp, except for ‘Tomorrow’s Daylight’, the forth movement on “Cracked Echoes”, which clocks over 17 minutes in duration, but this is an entirely different game all together. Slowly over the expansion of the track, layers of dark classical ambient, echoes, bleeps, crackles and choirs are built in slow motion and influx one another, coalescing sensibly together forming an elegant yet harsh discordant of sound in an exceptionally grand appearance. “Cracked Echoes” is LITERALLY sounds and emotions, echoes and waves framed to specifically carry its listeners along with an overwhelming intensity. [ You Skip You Lose “Straight 10 Out Of 10” album ] and a bloody well done to “Arash Akbari” and “Lawrence English”, the man behind the mastering process. What an exceptional job indeed.Arash Akbari - Cracked Echoes ]. > > > > > ============================================
By Appointment to Her Majesty the Queen and to Their Late Majesties King George VI, King Edward VII, King William IV, King George V, Queen Victoria, King George IV and to His Late Royal Higness The Prince of Wales ( 1921-1936)»»»
TONY JUSTERINI and ANATOLY BROOKS are the co-founders of Rádio Etiópia. New episodes are posted every Monday set completed apart from the mainstream line of music.»»»
Intro voice led by Ana Ribeiro»»»