Aũkštai II (“Floors II”) is the second release from the series by Nortas. This record continues to explore the space between thoughts. However, instead of creating sense of isolation in relation with the first record, constant flow of thoughts in “Aukštai II” induces the development of self-awareness shield.
This album has a sense of ashes, coming from the burning memories, which are transformed into shape of soundwaves. The cold vibrations resemble the observation of lonely spaces created around people, a discoloured view of wallmarks around the mist-filled mind corridors. Synthesized echoes reflect the fragile state of collecting the sharp-edged pieces of what once was a functioning soul. The void of waves locks into tunnel of nostalgia, foreshadowing the time once spent but cannot be returned.
Created for a love of all that is Dark Ambient, British Electronic producer Tony Young (Autoclav1.1) and German Industrial/Noise powerhouse Andreas Davids (xotox); first bore fruits of their labour, with their self-titled, monolithic debut in 2018.
2019, continues the story with “Second”. A new chapter of colossal, brooding ambient; where light is slowly crushed by shade, within a multi-faceted arena of sound.
From the nightmarish journey through dying forests and the ruined vestiges of humanity depicted in their debut; the path now leads across desolate moorland and hilltops to the coast. The sea levels are now rising; and we have to face the inevitable, that all will be consumed.
Once more, Natura Est have produced an album that stands tall within the genre; holding an aural mirror to the world, provoking one question. Nature is all, all is nature; but who really is the beast?
released September 9, 2019
also available as limited edition digipak CD
Written & produced by Natura Est: Tony Young and Andreas Davids
Mastered by Anatoly Tokee Grinberg
Artwork by Salt
NNYz? returns to Kahvi with the last in his trilogy of EPs featuring highly detailed textures with glitchy beats, field recordings and IDM arps combined into simply named but exotic sounding tracks.
released September 9, 2019
Cover image by Lisa Ghosn
Track 4 contains vocal samples from Sarah Hutchinson
Under the Podarces pseudonym Benoît Rouits (who also plays oboe in Jukpic ) creates experimental improvised music with keyboards. Last year he made us discover one of his old works : “A Frozen Journey”, made in 2009 with virtual synthesizers and inspired by some writings of Philip K. Dick. We enjoyed this album a lot and although it undoubtedly stands on its own we felt its minimalist abstraction could make it a very interesting material to incorporate in new works. We made this suggestion to Benoît and some other collaborators and aquaintances who agreed and accepted to contribute remixes of what is now called “Frozen Journeys”, featuring the original tracks as well as remixes by Humanfobia, Human Koala, Nina Kardec, Anastatsia Vronski, Kecap Tuyul, Nicolas Tourney, Sig Valax, Filmy Ghost, Yann Pillas, Thomas Park, Luciftias, Doedelzak.
A little bit noisy drone ambient, murky, atmospheric and undoubtedly inspired by Maeror Tri works – in this way new split by Res Magnifica and Acassari opens up. This austere and deep drone ambient, sometimes archaic and closed, with slow development is two-tracks first half contributed by Latvian project Res Magnifica.
In the second half of the split Acassari continues to rethink Maeror Tri creativity with his signature dense guitar loops weaving and reweaving in one sound web. Light melodies, smooth switching to distorted guitar chords, their deliberate resonances in emotional peaks и rare breathing of fading guitar loops are expertly embedded in typical Maeror Trin constructions to balance the split’s somber first half.
“Weldroid (aka Tamás Zsiros) returns with Regenerative for Kahvi Collective, and this new album is a multifaceted foray of chilled electronics that spans through ambient, synthesizer, and abstract IDM fissures.
Somehow a bit more tranquil in its approach (Zsiros noted that he “decided for a more performance-oriented approach, putting micro-editing and automation aside—and letting unpredictability and probability-based sequencing rule“) each piece admits a softer side the artists’ immense sound bank.”
Corruttela is an Italian side-project rising from the artistic connection of Emiliano Pietrini (Globoscuro) + Edoardo Pistolesi Somigli (Edø Pistø Sømi) with the aim of exploring new sound potentialities through a 4-hands compositional approach in which the two artistic personalities are giving birth to a renovated concept, in which electronic and analogue ambient refined flows are walking arm in arm, and melt in a psychedelic and concrete “harmonious disharmony”. The 4 tracks in this first work are characterized by a heterogeneous homogeneity, mainly based on the alchemic fusion of electronic sounds intertwining with smart piano-esque bleeps, gusts of concrete noise, irrational wooden percussions, synthesizers and theremin that walk together with different kind of steps but in a stubbornly common direction. Paradoxically the panorama that opens up raves geometrically outlined visions, it is a sort of sonic poem without words which leads on a corridor with many doors and many entrances that revolve around the different cardinal points of a common caothic universe.
Since Ölü Körpe was released their ‘Saudade’ music video (bit.ly/SaudadeOluKorpe) in January, I feels it might be similiar with his first album with full of guitar ambient. But, last week, when I was checking my email, suddenly I found that Lutfi-man behind Ölü Körpe- sent me his new album called, Great Migration. There are 5 songs included it. And something fresh from the album is the sounds that he made; Less guitar ambient and more percussive sound.
In ‘Great Migration’, Luthfi had more explore their way and approarch to make a sounds. He literally make a ‘great migration’ of his works; Moved a little bit to the sides from his usual Del Toro-ish (Guillermo, not Benicio) to be manic, awkward, and more anxious with his new approach.
You might want to use good headphones for this 5-songs journey. Luthfi put some interesting movements here and there, so that’s that.
released August 9, 2019
We proudly present the phonocake debut of Fondella, serving a true adventure in beauty of sound, kind of a soundtrack of a yet to be released indie game. Put on your headphones and explore yours and Fondella’s world in a slow paced enjoyable time frame. These moments are yours, accompanied by Fondella’s tunes.
Enkō and Inversus is a mixture of two artistic talents who are actively contributing to the Lisbon music scene.
Enkō is a DJ and producer and a rising name on techno and ambient. He’s been behind the curatorial activity at OBRΔ after-hours, the sunset evenings of Ocaso, and is a solid DJ frequenting venues such as Lux, Boom Festival, Gare, Orbits, Festival Forte, etc.
Inversus is a musician, trained painter, and professional studio owner. He relentlessly explores the possibilities of visual and sound arts. The impact of his 2017 release, “Sobrena” (ZigurArtists label) is still echoing while his live performances continue to resonate.
“Murmur” arose from the intersection of these two producers’ exploration of semi-literal rhythms and atmospheres. The result fits very comfortably into the Arctic Dub (Sursumcorda) evolving aesthetic, with remixes by label partners Gabi von Dub (Augen) and Dave Wesley… and signature graphic design by Andre Macedo.
released April 25, 2019
Dave Wesley’s full length aural autobiography covering the last half of 2018, based on subconscious peripheral sonic imagery… the blurry content that selective perception ignores.
What others are saying:
“Listening to this music, I kind of feel like I am a replicant in the rain of Bladerunner, hand twitching as I search for some dry room away from the lights and the wind, knowing I am going to die soon but wanting the heat of the room just the same, just for a passing moment.”
– Steve Santineau
“Just an amazing album…I especially like Tracks 1, 9, 10, 13… (Like Controlled Bleeding meets Ryuichi Sakamoto’s OUT OF NOISE in a film by David Lynch)”.
– David Agasi
“The “disimagination machine” is both a set of cultural apparatuses extending from schools and mainstream media to the new sites of screen culture, and a public pedagogy that functions primarily to undermine the ability of individuals to think critically, imagine the unimaginable, and engage in thoughtful and critical dialogue: put simply, to become critically informed citizens of the world.”
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