Italian electronic music composer, Daniele Ciullini, is back to EdP – Editora do Porto with a full album of “remains”.
In this thought provoking work you’ll find the vestiges of a plausible life story, left in the open, to the winds…
Kahvi welcomes guest artist Weedie with a six track ep entitled ‘Tep Sava Galvos’ (meaning Between my head in Lithuanian).
Slightly underground and less mainstream than the last release from Tetarise, Weedie looks towards the minimal and eccentric side of electronic music with subtle beats and melodies, yet nice analog sounds such as the basses on Ego Cogito Cogitatum.
Influences are obviously artists such as Autechre and perhaps a hint of Arovane, and even some Solar Fields, which makes for an interesting listening experience to many a Kahvi fan.
Track of choice for me would be Cukrus Chalvai Atrodo Originaliai Saldus (in English Sugar seems to halva originally sweet) with its mellow groove and nice sounds. The last non-English trackname is Eik ir motyvuokis which means Go and motivate (yourself)
“Three timeless compositions that come in a idiosyncratic low fidelity fashion, utilizing glitchy resonant delays and general midi sound aesthetics as sonic carriers for TRANS ATLANTIC RAGE´s visions of an avant jazz concept album.”- Lo-Fi/Sci-Fi
Crosswords is a mixture of abstract IDM/Downtempo by King Imagine and East Slavic singing of Irina Skripnikova. The overall sound appeals to the old Ukrainian traditions.
It is a place where the noise of postindustrial world becomes a dark forest. Following the cat’s song listener travels to the ancient times. There are pagan rituals of Ivan Kupala. There girls make wreaths, water-nymphs sing and fern is in bloom.
Recorded & Mixed between June2013 – February2014
In Soundtrack Studio Kyiv
Cover Art by Alexandra Solodchuk
Skrypochka — vocal, lyrics
King imagine — music
02-Orevuar Big Brother(3:24)
03-Living Like An Animal(2:00)
05-Едоки Собачьих Хвостов(4:48)
07-Завтра Будет Конец Света(2:12)
10-Рупор Свободы Блевал Нас Вон(2:24)
12-Так Себе Человек(1:52)
13-Ты Говоришь, Что Я Говно(3:28)
“Vol. 2 “explores the issue of innocence and the gradual loss of it, passing through curiosity, discovery, early disappointments, loneliness, fear and forgiveness.
The artwork designed by Solange Dalannais describes the moment when a young girl is caught discovering music fiddling one of those antique furniture-sound systems that once were in the living rooms and generally, children were not allowed to mess with.
This album was originally released independently via bandcamp, in April 2014.
Wrieuw is thrilled to release a collection of loop music by the wonderful Akane Hosaka. After 4 albums of gleeful, quirky electronica Akane dives headlong into experimental territory whilst maintaining the sound that is uniquely hers, using a Korg MS-20 Mini and a loop pedal. Akane has regularly been posting the results of these experimentations to here soundcloud page, and she has kindly collected together an EP of these for Wriuew. To my mind in places it sounds like a lost soundtrack to an Oliver Postgate program, either way, experimental music doesn’t get cuter than this, bleeps, bloops and joyful melodies abound. Wrieuw loves releasing music it loves and we have been fans of Akane for a very long time, we hope you enjoy this collection as much as we do.
Today we open new section called JAMS. Here We will publish audio albums of cut, selected and polished improvisation records. First release of real live experiments by 303 – trio of sound generators. The natural stream of sound vibrations taken from a meditative condition of the improvising shamans – musicians. This album flows like a river. A sound for travel on own consciousness.
“What Has Remained: The Lost Teachings Of The Antithesis”
“Если вы потерялись в этом мире, или хотите просто уйти от него, и почувствовать животный страх и непробиваемые стены ТИШИНЫ то это для вас новая работа Wings of an Angel “What Has Remained: The Lost Teachings Of The Antithesis” Никого не должна оставить равнодушным! слушайте и дабы ВЫ устрашились!!!”
Alexei Mikryukov aka King Imagine was born in 1972. His first song was sung and recorded at the age of 4. He began his career in music as a gutarist in the punk collective Zooy E Orchestar in 1989. In the same period some of the first bootleg recordings were made, all of them now lost. In the summer of 1993 he meets Eugene Alexandrov, with whom organizes The Schizotronics..and records solo. In 1996 together with the Kiev poet Danylo Kubai,he founds the noise industrial group Ilam, Inc. (or, rather a noise orchestra with 13 musicians, which gave an incredibly insane concert in the Kiev Actors House of Culture) and also the project Rooteniya Pe Since 1998 cooperates as sound engineer with the first Ukrainian reggae/dub group Rootmans Band, Karina Kuznetsova (with whom he works to this day) and the bass guitarist Kirill Machinski aka Roots Controlla, with whom he founds the digital roots dub project Dub Compressors.
In 1999 together with the composer Alexander Kohanovski aka Pankifared he starts the studio project Superapes, recording 2 albums, making experiments with electronic and ambient music, as well as composing music for escalators, elevators and corridors. Since 2004 actively cooperates with Foa Hoka as sound producer, remixer and contributor of music. Since 2005 releases his output on the d.i.y. CD-R label SKP Records (Kiev). Since 2006 actively cooperates w/International movement Ukr.tele.kom — as remixer, co-author and remastering engineer.
There’s nobody other than yourself to blame for the grave love affairs you conduct on a daily basis with the ghosts of your past…
Ghosts are your past. You are nobody without your ghosts. Forevermore haunting you. ‘Till you or the world will dissolve into infinity in a majestic double exposure moment. Just like that, you will become a transient shadow. And you will forget everything. No… Perhaps you will remember just this: Your eternal loneliness while you were alive.
TWG has always prided itself in its genre diversity. With the fourth in our line of final releases, Whitely brings us what is easily his most surprising and one of his best realised pieces yet. Indian influenced ambient music, with ethereal vocals provided by Whitely himself, thick in atmosphere, emotion and tension.
There is not much else that can be said about this release, other than it’s Whitely as you’ve never heard him before, a listening experience that is an experience as much as it is a journey, and that we’re incredibly proud to have this here on TWG. Not necessarily chiptune, but incredible all the same.
Chiptune is dead anyway, right?
Number three of the finals sees the release debut of ‘Manchester’s Top Geeza’ HODSON, of ex-Skin Walker fame, flexing his musical muscles under the weight of this titanic mixture of spoken word, dnb, glitch and trip hop.
Dispelling specific genre focus in favour of atmospheric and tonal meanderings, HODSON’s five track effort covers aeons of ground, self-regarded in genre terms by HODSON himself as one only named ‘Particular’. Using chiptune as just one of several instruments, only adding further colour to the rich patchwork of influences on show, HODSON also adds sampled vocals and his own spoken word to weigh down tracks with an emotional vibrancy not seen often within the scene. From the delicate duality of guitar tones and big beat-esque drums in ‘Pink & Blue’, to the thick, suffocated dnb in ‘Somewhere Down In The West’ or the throbbing almost acidic bass in ‘Out To Pasture’, Colours That Glow In The Dark is as surprising as it is diverse, and another welcome addition to the TWG roster that we are estatic to be bringing to you.
ARTIST: Various Artists
RELEASE TITLE: Tranzmitter Compilation (Volume 5)
CAT Nº: TRANZCD010
RELEASE DATE: August 06, 2014
FORMAT: Mp3 / Wave / FLAC / Ogg Vorbis
SUB-GENRE: Techno / Tech House / Minimal / Hard Techno / Acid
TOTAL TIME: 01:58:49
SIZE: 280 MB
01. Boogboom – Bonome (06:05)
02. Leozzone – Tilikum (08:41)
03. Trezetrintaeum – Bass Day (09:40)
04. Holocaos – That Night Under Starry Sky (07:55)
05. Felipe Sá – Zebra Tools (07:56)
06. DaDa Attack – Zoo Hypthesis (05:54)
07. Charcott – Gap (08:23)
08. 1811 – Ŝtormo (06:06)
09. DJ MauMau & Dr. J – Oxítona (07:15)
10. Caio Haar – Iron Above (05:32)
11. Haveck – Ghosts (07:08)
12. Projekt Gestalten – World Cup X Hospitals (06:21)
13. Yallah Fingah – ASE019 (04:40)
14. Caio Haar – Mogadishu 1993 (06:39)
15. Human Robot – So Far But Easy To Reach You (10:20)
16. MindReflex – It’s In The Air (05:09)
17. Vector Commander – Nexus Time (05:04)
The first in our final splurge of releases comes in the form of a label debut for LPGT Hip-Hop / R&B producer aviel brown, giving us a tight 5 track EP that seeps emotion in tomes.
From the opening, tear-inspiring tones of ‘sony’ (be careful with this song, if you’re looking at anyone whilst it plays it’s likely sony’s melody will make you fall in love with them), gorrila_tears rolls like liquid from speakers, a soppy emotional mesh of sampled voices, Holy Konni-esque tones and tears. From the jazzy groove and ballad tones of ‘sleep_well’ to the almost orchestally infulenced throes of passion seen in the title track, gorrila_tears is immensely well crafted throughout.
Mixing jazz, hip-hop and R&B in equal measures, aviel sounds both recognizable and totally unique simultaneously. Fitting into TWG’s remit of emotional esotericism, making this a release we’re incredibly excited to be setting off our countdown to closing.
lauren redhead is an internationally performed composer and a performer who specialises in experimental music as an organist and a vocalist. she is a founder member of the collective ‘automatronic’ who produce a concert series for organ and electronics in london each autumn and who commission and collaborate with composers to create new works for the combination. her compositional work increasingly focuses on graphic, conceptual, and open approaches to music and performance, and collaboration — with other composers and artists — forms an important part of this approach.
the music on entoptic landscape is “slow moving, partially entering into ‘view’ and then gone again. the attempt to focus has the effect of obscuring it. all of the performances of this music respond in some way to open notation. as such, no two performances of this music are alike, but all hold much in common. open notation has been employed not for reasons of accessibility but as a means of inviting the performers into the specific soundworld of the piece.”
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