ARTIST: Awake In The Dew
RELEASE TITLE: Sounds To Ascension
CAT Nº: TRANZ068
RELEASE DATE: June 01, 2018
FORMAT: Mp3 / 320kbps / 44.100 MHZ
SUB-GENRE: IDM, Glitch, Experimental, Downtempo, Balearic, Chillout
TOTAL TIME: 36:32
SIZE: 109 MB
01. FRACTAL (4:52)
02. WAVES OF COSMIC FIRE (4:55)
03. THE LIGHT HOPE (6:15)
04. INFINITE WAYS TO FLY (3:56)
05. BURNING THE VIOLET FLAME (5:42)
06. LIGHT IN THE SHADOWS (5:28)
07. CHILDREN OF THE SUN (5:24)
‘Sounds to Ascension’ é um EP do projeto de música eletrônica e experimental Awake In The Dew que tem por base o álbum ‘Last Sounds to Ascension’, lançado digitalmente em novembro de 2015. O EP reúne os principais títulos do disco e traz as faixas na íntegra sem a sonoplastia contida no álbum.
A sonoridade de ‘Sounds to Ascension’ se volta para os gêneros mais experimentais da música eletrônica, como o dark ambient, drone, glitch e idm, que formam as influências trabalhadas dentro do projeto e contam com referências a artistas atuais como Access To Arasaka, Hecq e The Flashbulb, além de grupos clássicos como Autechre e The Future Sound of London.
Awake In The Dew foi criado em meados da década de 2000 na cidade de Maceió pelo produtor alagoano Diego Henrique. O projeto teve sua primeira fase entre os anos de 2007 e 2011, com uma sonoridade mais noise com bases em gravações lo-fi e conotações post-rock e psicodélicas. A segunda fase se iniciou em 2012 e já conta com quase uma dúzia de discos lançados, mais voltados para música eletrônica experimental.
O produtor Diego tem 31 anos de idade, cresceu ouvindo dance music e outros gêneros da eletrônica, até se interessar por sonoridades experimentais no final da adolescência. Autodidata, começou a se interessar por softwares de produção e edição sonora aos 17 anos de idade, época em que integrou o coletivo de DJs pragatecno em sua cidade, tocando suas próprias produções como DJ.
Atualmente, ele mantém outros projetos além do Awake In The Dew, nos quais ele desenvolve seu estilo particular e característicos em outros segmentos da eletrônica, seja voltado para pistas, seja misturado com elementos do rock, como pode ser conferido nos trabalhos do Airplanemusic, Hightech Factor e Plumarino.
Beat Cinema is a DJ and Producer showcase curated by individuals dedicated to music culture and community. Starting at the Hip Kitty in Claremont, CA in 2009, we have grown through many different venues in Southern California and gained international influence through our online community.
“After 2 years since the award-winning debut album “Todo no es Todo”, the audio-visual collective C/VVV is once again
sending out signals with this EP called “Miniatura + remixes”, as a preview of a future album in constant evolution.The group recorded this track at the end of 2016 in a session entirely improvised and characterized by friendly musical
dialogue between its founders Mika Martini and Pablo Flores, before the latter moved to Rome, Italy. Later, that recording
was complemented by the sonic input of the person writing this review (Francisco Pinto), with contributions to this new
exploration that follow emotional and playful pathways.
The mission in this project is simple and without much pretense. This adventure combines different sounds and small details
built with almost 100% analog technology, featuring sound miniatures and dancing timbres that together reveal nostalgic
landscapes through a contemporary interpretive perspective. The auditory encounter nourishes the ears with these
micro-sounds, synthetic textures, while, at the same time, permeating the contemplative state of its creators in those
sessions produced previously.
Distinct authors from the national electronic scene construct / deconstruct this new work, with their distinct perspectives
and remix contributions: “Unknown Dancer” with a random re-mixing of the same ingredients that reveals surprising results;
René Roco adding mystery, surrealism and complexity to his version; “co-dec” moving towards the most rhythmic approach,
providing new synthetic sounds but without losing the details; and ending with “android” with a very successful, danceable and
elegant transformation of this miniature. Finally, we cannot fail to mention the contribution of Iñaki Muñoz for the cover of the
EP, who always surprises us with the expressive power of his visuals in the concerts of C/VVV.
We continue to prepare ourselves for a new adventure in a random universe, which inspires us from time to time, bringing us
together and surprising us, even in spite of the distances.
Wish us good luck and good harvest.”
(Santiago, Chile. Mayo / May, 2018)
TERR104: The drums-and-bass duo Giant Gutter From Outer Space are back here to tell what’s what with a 6-track ball of fire inspired by suppressed traumas of those affected by the authoritarianism and brutalities committed by the Brazilian State – particularly in the 60’s-80’s.
Recorded in late 2017, the duo broaden their pioneering sound with bits from modular synthesizer territory, courtesy of Curitiba black metal artist Nahtaivel. “Charred Memories” is presented on Terranean Recordings with an exclusive battered mix and graphic design by Luke Lund.
This is a co-release between Sinewave, HNM and MuteAnt Sounds. The original mix is available from them.
Turning Torso is an experimental producer from Mexico City who introduces a new rhythmic embodiment for the dancefloor of the future in his upcoming EP for xenonyms entitled “Never-ending Prototype”.
The 5-track release explores different hybrid atmospheric poles ruled by a palette of sequenced electrified textures and colliding pads that swarm with panned distortion. While some imaginary soundscapes might resemble freeform jazz with machines, the polyrhythmic structure of this techno-induced hypnotism provoke a corporal response suitable for club explorations.
A consistent feeling of ascension remains in the digital feedback and resonating shocks of subsonic frequencies without losing the oneiric and introspective qualities of Turning Torso’s singular approach to slow change & iterative music.
>From headphones to powerful sound systems, the active listening of this creative output reveal unexpected and transformative sound experiences of hedonism and liberation.
This EP marks a departure from the “usual” bolus sound of cavernous soundscapes and atmospheres to a more rhythmic structure, incorporating elements of the former. This style harks back to the previously released “beacon” EP – electronic percussion and granular synthesis – this direction was in the artist’s mind for a while. Playing with virtual modular synthesis of late (Solorack by Solostuff, VCV rack) and these patches have formed the backbone upon which the tracks of “confirm humanity” were created.
The music of oculoss is mainly of an atmospheric nature. Sometimes less is more, making his music ideal for listening while working, sleeping or doing other things.
In “Parallel Path” oculoss explores texture, consistency, and a type of variety that could be called subtle. This is not the utopian ambient of the typical soundscape artist. This EP is serious music for serious people.
La voix est le premier instrument avec lequel Töfie a composé. Sa curiosité la pousse sur la voie de l’instrumentation pour y transposer l’expérience vocale. C’est la naissance du projet Töfie, en 2012. Le logiciel Garage Band est le premier témoin de ses expérimentations pop et électroniques qui donnent lieu à la sortie d’un LP sur le label Linge Records.
Töfie prends un virage en épingle. Son electronica mute en une synth-wave sombre, lourde et blessée par des sons industriels, mais empruntant paradoxalement des formats très pop. Tout un éco-système de sons organiques et telluriques qui se confrontent à des sons digitaux, crus et agressifs, qui rappelleront sans doute ceux de Gary Numan ou Fever Ray.
Des textes en anglais, islandais, allemand et en français accompagnent l’exploration des synthétiseurs et d’enregistrements acoustiques transposés sur les rythmes tranchants, doux et totalement versatiles.
How strong did we miss you.
Will you be there?After a final winter stupor we gaze into the rays of closer photons and see Matti T’s latest color expressions, in both his visual artwork and also four new tracks he brings to us. New in style is a more dancefloor like track whose musical direction we already could feel in the Teppana release, a group in which Matti T is a member in. The trance like positive vibes guide us into an ambivalent beauty of a strong electronica track. Sunbeams will increase the spirit and the final track will guide you into another realm, moving and somehow rocking. Dance in the easy chair, with a bittersweet taste of love, loss and hope, amidst a space opera.
1. 3AM Morning In The Early Bird
2. Friday, 2:30AM. End of Semester
3. I Feel Glad, Its looks Like Anime Theme Song
4. Long Fall
5. My Last Time Enjoying 4:20PM and It Was Fail Enough to Feel What I Used to Feel
“Paraíso Sintético” (Synthetic Paradise), an album realized in the first semester of 2017 as the author’s thesis, is the product of a year of research and sonic experimentation seeking to characterize the sonic identity of urban spaces. Realized and produced in Medellín, Colombia, this album explores topics ranging from urbanism and the social appropriation of the environment to the relationship between art and society and it reflects on human activity as a condition and determinant of the qualities of the city.
Embarking from the hypothesis that the city has a malleable, artistic and aesthetic potential, “Paraíso Sintético” is an EP composed of three songs performed in the Parque de Berrío, one of the main parks of the city of Medellín. The composition of each song, whose material was recorded at a different time of the day (morning, noon, night), seeks to show how human activity affects the sound spectrum and it proposes an interpretation, from the musical point of view, of this phenomenon.
NoG a.k.a. Pablo Gómez
(Medellín, Colombia, Abril / April 2018).
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