Here’s the actual size for texting:
Here’s the actual size for texting:
Here’s the actual size for texting:
C U b E | Ambient/Ambient-Dub/Experimental | 80:07
Originally part of a commissioned set (1~4) which was sent to Mars in a NASA time-capsule*; an extensive site dig resulted in its being pared down to a single mix, a tweaking of the play-list & the inclusion of the Nobuto Suda & Martin Nonstatic compositions.
If there truly is “life on Mars” – it will respond to audiological droning herein . . .
01 Nobuto Suda – Cour
02 Dwight Ashley – Three Insect
03 Nunc Stans – A Logic of Dissolution
04 David Parsons – Pahla Loka
05 Numina – Return to the Crystal Temple
06 Cryptic Scenery – Rails in the Desert
07 Spatula – King George Island
08 Brian Eno – Caught Between
09 Towns of < 500 – Short Stories to Music
10 Ozone Player – From A to B
11 Jovica Storer – Fifth Element
12 Martin Nonstatic – Gila
(translated from his Bandcamp page)
Human values Dissapear “: Treatise on Musical sociology
There is a phrase that is pronounced very emphatically today: “We live hard Times”. “For Pepo Galán, that sentence is a definition of the world we find ourselves in.” Human values Dissapear “contains, from its title, a declaration of intent on the part of the artist, to offer a personal vision of the world around us whose ideal metaphor would be a boat that travels adrift to end up sinking, little by little, to the action and Permissiveness of their passengers.
This continual present, with its paradoxes and inconsistencies, is diluting our capacity for communication, commitment and self-sacrifice, creating, apart from a certain affliction, a mistrust of our environment, including our relationships Closer. With all these reflections, Pepo Galán performs a sociological and emotional treatise on our context, a journey into emotional recesses where we seldom feel comfortable, between frustration and distress but, at some point, a small plot of Hope, an island where we can live with the values that one day were lost.
In this journey of depths and feelings, Pepo Galán has wanted to be accompanied by artists with common affinities of the stature of Cadiz David Cordero and Lee Yi, partner at Dear Sailor. Along with these fellow travelers, the sentimental framework of “Human values Dissapear” is reinforced, offering an intense work, full of enigmatic compositions and, at the same time, sincere and real, tangible for anyone who wants to immerse themselves in their sound.
Max Richter’s potent distillations of classical tradition, minimal electronica, and the spoken word deliver a listening experience that intentionally levels the field between composer and audience; promoting an open and easy musical conversation without sacrificing depth or emotional resonance in the exchange. His work with film luminariessuch as Martin Scorsese and Ari Folman along with the undoubtedly countless mixtapes that have featured tracks from any one of his six studio albums has brought about a slow burn on the collective consciousness. The British composer’s inclusive and undemanding approach to composition has not only given rise to an almost telepathic exchange between himself and the musicians he works with, it has more importantly, invited a wider audience into the once cloistered halls of contemporary composition.
When did you start composing – and what or who were your early passions and influences?
I started composing before I knew what composing was. As a kid of five or six, I always had tunes going around in my head that I was sort of reconfiguring, almost like a child playing with Lego. I was always doing it but didn’t realise that it was something called composing. It was almost a subconscious thing that I became aware I’d been doing, much later on.
In terms of influences I suppose it was things that everyone is influenced by when they’re little, you know the classics. The Beatles and in the classical domain, Bach. Those were my starting points, the twin stars.
What do you personally consider to be incisive moments in your work and/or career?
The first one would have to be going to study with Luciano Berio in Italy. This was a big deal for me because he was such a brilliant musical thinker. I had not really encountered anyone like him before.
When I showed him a score of mine once, it felt as though he was reading my mind, which is a bit scary because he managed to see what was on the page but also what I meant when I wrote it. Maybe I was succeeding or failing but he could read the intention behind all of my scribbles, which was amazing.
The second would have to be when I started to do my own records. Having already done a lot of composing, playing as a performer and other things like that, recording Memoryhouse and The Blue Notebooks, were major turning points for me.
What are currently your main compositional challenges?
I don’t know really. Composing for me is a bit like an obsessive compulsive disorder in that I do it all the time. The main challenge would simply be remaining true to the material and following it wherever it wants to go, something like an archeological process of discovery. I always try and remain open to what the material can do.
What do you usually start with when composing?
Music for me is story telling, so I usually start with an intention or something I want to say. From there I kind of struggle around in the dark, trying to find ways to say that. Sometimes it’s a linear thing where I have an idea and then go about trying to find ways to express it. Other times I will discover things along the way and the idea ends up turning into something else altogether. It’s a mixture between intention and chance.
I think the reason I write music is because I’m trying to say things that I find difficult to encapsulate verbally. Music is its own kind of language and it’s very good at saying things that words struggle with, so that’s often the impulse for me.
How do you see the relationship between timbre and composition?
They are two sides of the same coin really. There has always been a tug of war between colour and text or notes against orchestration in traditional music.
A good example of this would be when you think of Debussy. With him, it’s all about the colours but actually underneath all of that colour there are these fantastic notes. Debussy’s incredible if you play it on a piano but it’s equally as brilliant if you go and play it on any other instrument because the notes are so great in the first place.
Then of course there are other kinds of music like electronica, which to some extent is all about colour and hardly about the notes at all. It tends to be more about textures as opposed to melody or harmony.
A lot of dance music for example, is about minute gradations over long spans of time; cyclical things that evolve slowly. So some things are all about colour and they’ll live in the synthesisers or in the computer. Other kinds of music are more about how the notes interact and they’re the sorts of things I would write down on paper or work out on the piano. I think it just depends on what the project is. Each piece has its own point on that spectrum of timbre versus composition.
What do improvisation and composition mean to you and what, to you, are their respective merits?
I do a lot of my composing at the piano and I sort of just let my hands walk around on the keyboard. It’s a process of happy accidents really; a mixture of random discoveries that go with a strategic kind of compositional planning. Those two things go hand in hand.
Music is a physical process. The way you play something has to make sense physically. It’s a way of thinking aloud but the text also has to make sense, so for me composition and improvisation are connected.
Do you feel it important that an audience is able to deduct the processes and ideas behind a work purely on the basis of the music? If so, how do you make them transparent?
What I’m trying to do is get things down as simply and with as much intensity as I can, that’s also why I write, because I’ll have that impulse. I don’t want things to be obscure. In fact I want it all to be very straightforward. I don’t want to keep people out. It’s a conversation and I want people to be able to take part in it.
We imprint our biography on what we come to and music is no different in that sense. Every listener will bring his or her own way in and that’s what’s kind of nice about it actually. It’s what makes it more like a conversation.
The relationship between music and other forms of art – such as painting, video art and cinema – has become increasingly important. How do you see this relationship yourself and in how far, do you feel, does music relate to other senses than hearing alone?
Music is one of the dominant ways of experiencing being alive and so in a way, it’s more than just hearing. It’s about articulating feelings, stories and attitudes. I also feel as though an album or a piece of music almost has a sense of place inside it if it’s good. It takes a lot out of you to really apprehend music fully so I think it does relate to the other senses.
In terms of how music relates to other forms of media, there are a million possible connections between these things. I’ve done quite a bit of film music and the multitude of ways in which sound can connect to stories and visuals is always really interesting. Film music is solving puzzles mostly. It’s a technical discipline and I find it a completely different thing to writing music on its own.
In my case, when I’m writing just music, I’m trying to give the absolute total picture or the maximum intensity of that idea to the listener. If you did that in the cinema, you wouldn’t have a film. It would be as though you’ve gone to a cinema just to hear a record playing [laughs].
Have you ever looked at your past and thought of yourself as a different person? As if the choices made, words uttered, feelings felt belonged to someone else.
Clinomania is a chaotic, confused space filled with melancholy, anger, and dissociative behaviour where powerful drones mix with swirling, luscious synths, glitched audio works, ethereal voices, and sombre piano soundwork.
Your thoughts are a mess as is your life. There is a longing that cannot be remedied.
This is you.
Life is but a fragile breath. A fleeting vapor. A glimpse; a blink . . . and then it’s gone.
Ambient, minimal, drone, a dash of glitch & some very l-o-n-g fades & segues (104 minutes, raw down to 79, mixed) and a continuation of the mix-model begun with the ‘s e n d u s t‘ series — incorporating several artists from the L-NE netlabel (file under Minimal Landscape).
This mix is dedicated to the memory of my little brother Eric:
2-20.69 ~ 1.27.18
[Cardiac arrest brought on by a severe flu virus]
78:45 | Download
01 Richared Chartier – Threshold (excerpt)
02 Evelina Domnitch + Dmitry Gelfand – Xenon Wind (en masse edit)
03 France Jobin – Scène 2
04 Olivier Alary – V
05 Olan Mill – Gray Panics
06 Antonymes – The Gramophone Suite III
07 Alphaxone – Astral Definition
08 OfftheSky – Vox Delicæ
09 Ilm – Mantina
10 Triac – Day 1
11 Endless Melancholy – These Gloomy Days
12 Andrew Sherwell – Beware Koschei’s Visit
13 Stefan Wesolowski – Forefathers
14 Loscil – Azimuth
15 Jacaszek – Qualia
16 Sven Laux – Interference
Released November 23, 2015
Thanks to T-L Reid for her cover photo/art. Her site can be found here: (Chroma Alchemy Images) tlreid13.wix.com/chromaalchemyimages
All music by Scotty Delowe
Cover photo/art by T-L Reid
[ambient audio constructions, compositions & treatments interspersed within an agglomerative, interstitial spectrum]
Experimental Ambient/Drone/Glitch – 85:09
01 Yves De Mey – Lichtung
02 Emil Klotzsch – sctl15
03 Chris Russell – Opacity (excerpt)
04 Rag Dun – Standing at the Speed of Light*
05 Grey Frequency – Cascade
06 Mike Rooke – Basidium*
07 Viridian Sun – Elixer Sonic
08 Steinbruchel – scene 01 (excerpt)
09 Kevin Keller – Anicca
10 Kris Force – Tears of Sybil*
11 Tegh – They Were From Somewhere Cold (Pjusk remix)
12 Michael Northam – Cutting Fetters*
13 Off the Sky – Wool (excerpt)
14 Khem One Ensemble – Astral Engines*
15 Lowell Levine Sims – Coil (w/ outro wash)
16 David Colohan – Landfall at William Creek
Max Corbacho has been crafting electronic soundscapes for almost two decades and has progressively refined his space ambient style since his debut, Vestiges, appeared in 1998. Experimenting and forcing the limits of looping, reverb, Fx processing, and sequencing, Corbacho strengthens the oceanic character of his albums and intensifies its time-suspending quality. Source of Present starts through the magmatic flow of “The Beginning of Remembering”, the first track of this new album, created during long sessions between 2015 and 2017. Dramatically, the music moves slowly as cosmic, nebulous, expansive stratums, orbiting into the boundaries of consciousness. Focused on the more intimate and oceanic side of Corbacho, a voice with which he began a long time ago with the soft interaction between textured layers and dense mercurial harmonies, the enveloping sound of these pieces forms a fine harmonic fabric. Gradually, this music manages to install us in a mental zone only established in the present moment, like a disconnection from all the noise and mental chatter that surrounds us in daily life. It moves smoothly like long slow waves, perhaps here calmer and softer than in recent works, giving continuity to the line undertaken in the double album The Ocean Inside.
“I have selected this group of pieces from a large number that was already created. Max says. The first piece to be composed was ‘The Beginning of Remembering’. The time spent in the studio I remember as a cloud of calm, with the soft colors of the hybrid harmonic tonalities gradually changing and creating a myriad of sound waves, imperceptibly morphing and at the same time repeating itself in distant echoes.”
Max creates a special timbric quality in his music by mixing shades and textures, that shift with each other and produce a hypnotic, decelerating, sedative effect. At the same time, the power and energy of some passages penetrate dramatically into the very mystery of life. One can choose how one wants to listen to this music, if in an attentive way, by getting involved in listening, or as a sound background filling daily activities in the day and night. In both ways, the reward is a wondrous, deep and dreamy journey.
Download a press sheet: goo.gl/JP1AUW
Very nice – just used a track for an upcoming mix.
Alter is the new album from Belgium-based double bass player and electronic producer Otto Lindholm.
Divided into four colour-inspired, long-form movements, Alter takes off from Lindholm’s previous work – a self-titled album released in 2015 on Icarus Records, and pushes the already abundant palette of sounds even further. This new work is more brooding and hypnotic. A deep, resonating bass is present – hinting at the likes of Greek, chamber-doom merchants Mohammad but perhaps with more attention placed upon textures and melody.
The record moves at a funereal pace and opener Fauve hits abyssal depths from the outset. A bowed melody is coaxed through the throbbing bass with dissonant harmonics drawing you in and holding you close. The ghostly beginnings of Alyscamps create an overwhelmingly tense atmosphere where acoustic and electronic elements collide and evolve into a heaving, ceremonious drone. Shafts of light emerge through the fog but the tone remains a haunted one. Closer, Heliotrope, strikes a more hopeful note. A lighter, more open feel emerges – bringing to mind early work of The Rachels or perhaps Deaf Center.
Alter is a triumphant record in its entirety. Seamlessly moving from light to shade and back again, experimenting in heavy atmosphere and ultimately drawing you into its deep and mysterious world.
In pursuit of excellence
Digressions & musings on Ambient, Electronica, Mixing & the Ether
Jazz is the Teacher - Funk is the Preacher
lead from the front
Finding Out the Truth of Things
Christian inspiration and encouragement to give a jolt of caffeine to your soul.
When women enter the game, the game rises