From Jhansi, India, this fresh and gorgeous chillout-ambient-downtempo release is incredibly enjoyable and almost palpable. It brings to mind a perfect combination of the worlds of Ulrich Schnauss and The Album Leaf.
Segunda edición de este gran álbum, que va desde un folk lo-fi hasta una sicodelia melancólica y femenina, canciones llenas de imaginario visual, con un sonido bien particular y que personalmente sentimos como único. Lanzado originalmente hace un par de años atrás, re-emerge con un nuevo arte, y algunos temas extras grabados en el intertanto, como si con el tiempo se hubiese perfeccionado así mismo, volviéndose mucho más coherente con lo que propone sonoramente, disponible en descarga gratuita, pero también pronto en una edición limitada en formato físico.
“I’ve been listening to this song for a long time, thanks to a compilation my mom owns in CD, and it has always fascinated me for expressing so well feelings of isolation, longing and bewilderment, although with some kind of hope. Whenever I find myself surrounded by those feelings, it always comes to my mind. This time it came to my voice, by choice and by necessity.” Cairo Braga, musician
“The city is an entanglement of grayscale. The colourful boy is no more than a dimmed shadow blending to the bleakness of the concrete and of the hearts he finds. Solitude is palpable, even though there are signs of life amidst the neon light billboards. Where could be all those who promised love, hope, company? Nobody told him how hard it was to grow living in a brotherhood that exists in name only.” Marco Magoga, illustrator
written by Oscar Brown Jr.
produced by Cairo Braga.
artwork by Marco Magoga.
April 14&16, 2016, Kyushu district was attacked by huge earthquakes.
We hope that this album gives “consolation” for the people who suffered.
I turned 25 on 30/09/2015 while curing myself from a strong bacterial pharyngitis. the day before I was supposed to show up for my first vocal audition, to become a member of the Coral Livre da Cidade de São Paulo (São Paulo City Free Choir). the pharyngitis kept me from going. it was a bitter and sad birthday. “Sadness is a Blessing” was the song I chose to sing at my audition that never was. all vocals here were recorded in one take, just like an audition. all feelings here are being healed, just like the pharyngitis.
written by Lykke Li, Björn Yttling and Rick Nowels.
artwork by Marco Magoga.
This album comes with an eclectic mixture of Drone, Noise, field rec of rain and some spoken word. It captures the spirit of confession in a nutshell – maybe doing it in another way, maybe in the same way. Who knows? This album draws you into itself, you will get sucked in and you will be forced to listen but you will enjoy every second.
João and João have been playing together since the early nineties. First in a death metal band, then in a covers band, now in a quartet, always taking it as heavily or lightly as possible.
Jim And The Galaxy was their first incursion as a duo – then electric bass, double bass, fx and magnetic tape – when a collective of friends commissioned a piece for a special evening.
Now, probably 20 years after, the first recording of a “live at home” session (no overdubs!) is released as the corollary of the many musical experiences they’ve had throughout the years.
Plain and simple, straight to the point and laid-back.
João Santos: electric bass, fx;
João Ricardo: electric guitar, fx.
The second album of Horhos continues the sonic journey into the deep of Hungarian forrests, combining ambient, drone, folk and other elements (e.g. natural field recordings). It works best with closed eyes and opened heart!
“Sjöarna”… According to the researchers of Högskolan i Gävle, people in Sweden turn to nature instead of religion when going through a major life crisis. “Naturen har blivit det heligaste vi har”, nature has become the holiest that we have… This album, inspired by Swedish nature, was created during the darkest times when it comes to the personal life crisis, and I’m glad that something good came out of it creative-wise as well.
#ambient #drone #postrock
After having told of cities without sun, at night, when smog vanishes, one’s gaze is searching again for a corner of nocturnal skies, it searchs stars and planets where the mind can project itself, where it could still transcend.
Looking again at the Moon, and dreaming of sidereal trips, how not to think about Apollo 11’s contentious challenge, about Neil Armstrong and companions., about their long round journey to the satellite, and back, and above all about their trip ‘inside’, conquering their inner space , as J G Ballard would say?
That’s Armstrong, a six-acts trip, six scores to get lost, a music aimed for motionless travellers.
Ver el ritmo, el pattern, el pattern, uno, dos, tres, cuatro, ver el beat. Beatelver. Ritmo y reberberación. Reberberación y rito estático-dinámico. Ver como antes de ver con el ordenador, ver con la máquina pre-piensa-diferente. Sonar con la máquina antes de sonar I/O, sonar con la máquina pre-sets. Sobre la marcha iremos viendo, improvisando, descubriendo, (ir)radiando. Control/Descontrol, Control/Voltaje, C/VVV.
El proyecto C/VVV, esta formado por Pablo Flores (Namm, Aysén, nnnaaammm), Fernando Mora (Augias Amena) y Mika Martini (Frank Benkho, Pueblo Nuevo) formandose el año 2011, han tocado en el festival AIMAAKO Noche Blanca (Museo de Arte Contemporaneo, 2012), en la Bienal de Nuevos Medios (Museo Nacional de Bellas Artes, 2013), Centro Cultural de España (2014) y han sido invitados a presentarse streaming en canales como Satta TV y tienda Needle.
Released as part of the first global Netlabel Day, this e.p. by Jan Strach continues the tradition started with the previous e.p., “Jan Strach Piszczy W Narożniku”. It collects songs and instrumentals created while Jan Strach was working on his full length albums, their only problem being that they did not fit in with the longplays’ general atmosphere.
Otherwise, Jan Strach is proud and happy to present to the world this collection of beautiful things, as usual with JS full of stylistic surprises: a wobbly weave of ping-pongy piano combined with a barely breathing flute and a dirty one-string guitar; a marimba-stylophone luau reverberating as if from a cave with stomping and finger snaps. A shoe-noisy dreamy rock tune about travelling birds, and a punk thing with girly choruses in a time signature of i-lost-count/4 and a toy and a flute; that’s not all.
As usual with Underpolen Netlabel offerings it is lo-fi, diy, full of odd passionate homemade energy.
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