Huey Walker plays a fragmented, freeform Jingle-Jangle, based on a Sense of Slowness, Pacing and the Joy of Monotony.
Huey Walker plays carefully crafted Harmonies. He is a Traveller through dense Walls of wafting Tones and a Transmitter of well-tempered Noise. He is a sonic Dreamer, sculpturing Sequins of shimmering Sounds - bacchanal and revellling in elegiac Eclecticism.
His Music is based on various live-looped and modulated Soundsources. Often the Journey starts on a picked and spun Guitar or even multiple Guitars brought to Sound by mechanic Installations. With additional synthetic, bowed, plucked and resounded Instruments, Tapeloops and a plethoric or punctuated use of Effects, he dwells in the poetic and vibrant Areas of Music, generating blistering Billows of marbling Textures and blissful musical Movements with freewheelin' Overtones.
With Aspects of Minimalism, aleatoric Music and impromptu timbral Explorations, he developes a pulsating, static Reeling and winching Whirrings.
Combining the endearing Melancholia and DIY-Aesthetics of Lofi-Homerecording with the psychedelic Qualities of early Cosmic Music and the psycho-acoustic Gravities of spectral Processings and glistening Buzz, Huey Walker is always in search for the ideal, endless Hum.
Huey Walker grew up in Berlin and now resides in a smaller town at the Baltic Sea. He has recorded Music since the late 1990ies and releases Recordings on his Label "Rakkoon Recordings".
As part of the newly designed Catalogue of Rakkoon Recordings, Huey Walker releases his album „Dreamsleaves“ in a finally remastered and conceptionally complete version. The album now contains an additional track and new photographic artwork.
What was released in a small one-off edition as a 2-track-album in 2014, now finds its final, pure 3-track-beauty with additional photographic artwork.
The Songs on „Dreamsleaves“ – no one under 15 minutes – meander through fields of glitchy leftfield-electronica and blissfull, airy, ambient explorations.
A narrative impression fuses these three tracks into a journey of fluidity with gradual breachings and excavations of schemes and themes. The vague becomes distinct and vice versa.
Based on sine waves, fluttering scapes and modulated field recordings, it all starts with some airy drones and swooshing, breathing billows of reverbs – marbled with long-held synth-chords and some teeming, melodic flocks.
During the first track „Puddles Watching Leaves Swim“, this bright and breathy flow ebbs over into a slow sort-of-glitch-hop-thing made of purling tones until the droning side of sound takes it over to the drowning side again – counterparted by some twirling vocalsample-lurchings.
The second song „Reflected Dreams Of Blue Travels“ floats in timid, tonal vibrancies, travelling through sleepy-cloudy clusters in wide rooms of hall & echoes, spindrifting into mild-mannered hints of distortions, finally decaying in a quiet ease.
„Alterable Noons Of Loitering“ pushes the narrative structure of field recordings and layered drones into a wry indication of what might be a droll songwriter-song – with a harp and cheesy lyrics.
The recordings on „Dreamsleaves“ were made on multiple occasions and dates. Yet, there is a strong sense of cohesion here. All tunes have similar, conceptional prefixes: layering various soundsources into pearly, manifold, floating structures. Tracks 1 and 2 were recorded in the heat of july 2014 at Hurley Wake in Greifswald, near the baltic sea. Bits of the first track (the ones with organs & guitar) were recorded in january 2013 live at Madame Claude, Berlin. „Alterable Noons Of Loitering“ was made during one week as a conceptional recording within the art project „Schaufensterschau“ in Greifswald, utilizing on-spot-recordings of rain, recorded lofi-nightime-memos on acoustic-guitar and speckled, dreamy synthesizer-tones.
The tracks-titles are taken from poems by Frank O‘Hara. The cover- and inlay-photography shows images taken at Jardin Majorelle in Marrakesh. The CD-edition of „Dreamsleaves“ comes in handmade packaging on blue CDr with two Inlays in colour-printed sleeve with transparent-paper overlay. The included download contains additional photos in a 14-pages PDF-booklet.
The New album "beasts in binary city" by Mandala eyes is an all improvised electric guitar + looper, underlaid by also improvised electronic beats. The story is about wildness struggling to exist in a reductive environment, a reflection of his internally difficult time living in a city in middle America over the past year.
memory of dying flowers - 01:22
my love wanted a skyscraper of me, an electric nightlife of me, a smog city of me - 12:03
bent truth - 05:41
they erased the name for what I am - 02:47
dysphoric descent - 04:02
human skull packed with explosives - 04:20
hide & seek - 01:56
?uestion engine - 03:34
in my debris, the first breath of pine trees - 05:08
The Laytcomers are a collective of ambitious losers, trapped inside a small Bay Area garage with a 4-track. They produce a mixture of noise rock, post-punk and even some elements of twee and Kiwi underground, all showcased on their new track "Population Grave"
"The first time we tried to come up with songs was when me (Ilya) and two of our other friends, who were original members of The Laytcomers, came to Cyes' place in Davis, where he went to college," Ilya explains. "I was hoping we were going to write some music, but at that time no one was really motivated to do anything, until I actually sat down with a cheap microphone myself and played/sang (pretty terribly), forcing everyone to contribute. Most of the sounds from that time were almost unlistenable. For drums we used a Guitar Hero drum set, which we used to write some of our first songs (Coldfront, Coppertone). There weren't a clear idea who does what, I was switching between bass and acoustic guitar, both of which I could barely even play at the time."
"We came a long way in terms of musical development and taste. In recent years our project The Laytcomers started to gain its own identity especially after we got two new members from Craigslist (Sam on saxophone and John on drums). We still walk a line between catchy indie-rock, based on short catchy bass lines and guitar riffs, psychedelic sounds and ear-bleeding noise rock with amp feedback and all kinds of noises."
"Our title song Population Grave wasn't coming along for awhile. We recorded original drum/vocal/guitar version almost five years ago. Something wasn't working out in it until I actually rethought the bassline from the scratch. It turned into a catchy angular post-punk thingy with roots in the no wave and New Zealand noise-rock."
Danijel Zambo is a self-taught musician and began playing guitar and piano at the age of 14. After having played in a few bands, he released his first solo album "All my demons" in 2008. A wonderful debut between electronica and classical music. More critically acclaimed albums have followed and he is working as a freelance musician these days composing music for new media projects etc. "THE WORLD IS TOO LOUD, is a compilation of instrumentals I haven't released before because they simply didn't fit any album. Now I felt the time is right to release them and some of the tracks date back to more than ten years ago. Dreamy and evocative guitar ambience - a soundtrack for this age of turmoil."
Ali Murray is a songwriter/musician hailing from the cold and rainy Isle of Lewis in northern Scotland. Equal parts grandiose and humble, effervescent and melancholy, spatial and solitary, Ali’s dark blend of acoustic folk, atmospheric post-rock, and dream pop is as beautifully depressing as it is introspectively invigorating. His lyrics, which speak of longing, loss, and various degrees of emotional turmoil we can all relate to in some way, speak volumes themselves but are also wonderfully complimented by moving melodies and expansive soundscapes; Ali proves himself to be a creator of an incredibly vast array of sound for a single person. An artistic channeler of all spectral ranges of human emotion, Ali Murray will appeal to any and all folks looking for that faint, but visible light at the end of the tunnel.
'Only Wind' is the new 4-song EP, featuring Canadian songwriter Stephanie Ratcliff on guest vocals and Luke Cowan on piano.
GroundBurst is an instrumental rock trio whose sound strikes for the band’s kaleidoscopic approach and wide-open mindset. The band consists of Phil, Si, and Erik, respectively on guitars, bass & keys, and drums. These three talented musicians set out to create a lush, diverse and textural musical backdrop, borrowing from influences as diverse as electronic music, psychedelia, rock and even jazz with a minimalistic flair. Their recent release, “Triad” is an EP featuring 3 original compositions, as the title of the release might lead you to guess!
These Are Truly The Last Days is a musical project with a driven experimental twist. Their music blurs the lines between various genres, including ambient, electronica, glitch hop, and more. The project’s self-titled studio effort features 11 studio tracks.