Monday 5 April Tuesday 6 April Wednesday 7 April Thursday 8 April Friday 9 April Saturday 10 April Sunday 11 April Monday 12 April Tuesday 13 April Wednesday 14 April Thursday 15 April Friday 16 April Saturday 17 April Sunday 18 April Monday 19 April Tuesday 20 April Wednesday 21 April Thursday 22 April Friday 23 April Saturday 24 April Sunday 25 April Monday 26 April Tuesday 27 April Wednesday 28 April Thursday 29 April Friday 30 April Saturday 1 May Sunday 2 May Monday 3 May Tuesday 4 May Wednesday 5 May Thursday 6 May Friday 7 May Saturday 8 May Sunday 9 May Monday 10 May Tuesday 11 May Wednesday 12 May Thursday 13 May Friday 14 May Saturday 15 May Sunday 16 May A little bit more rhythmical and powerful.
Old school industrial with Italian Mussolini futurism touch of the ies. An immersion into the sonic matter from micro- and macro- environments dominated by wind in Patagonia. A vast barren space shaped and inhabited by the ever-changing forces of unmuted plants, rocks, sand, snow, and ice.
An irregular broad-band environment of relentless strength and richness. And above all, a tour de force of profound listening Packaged in a super gloss digipak with 16 page 4 color booklet. Working with the same shared field recordings carried out in the region of Ancient Olympia in Greece, they have created two individual pieces with extreme dynamics, at times obscure and dense, but laden with hidden complexity and a few surprises for the most adventurous listeners.
Billows of powerful bass drones set to indistinct flourishes of temporary insanity. Fans of Lull and Beta Cloud will really sink their teeth into this one; what Liles has created here is not a simple remix but a raging, deconstruction as only he can do. Originally released as a limited 3" CD innow proudly presented in a deluxe digipak edition with stunning new artwork. A captivating listen for dark ambient and harsh noise fans alike. Nice fullcolour cover designed by Mars Wellink Vance Orchestra.
Menche took care of the low end of the frequencies, while Mizutani did the high end of the frequencies. Daniel Menche is well known for his low rumbling soundscapes, while Kiyoshi Mizutani usually operates in the mid-range of our hearing. Both artists use found or environmental sounds and manipulate these to create their music.
Mizutani in a Japanese garden, chittering birdsounds or perhaps the sounds of insects that turns into a hissing drone. This chittering and hissing is accompanied by the unrecognisable low rumblings by Daniel Menche. This one track soundscape takes a bit more than an hour and starts quite gentle. Towards the end, however, it becomes more and more threatening. In all this is a very exciting and interesting release, which is less dark than Menche's usual output and a bit darker than Mizutani's releases and is both meditative and unnerving at the same time.
Four field recordings made in Malaysia, Taiwan and Nepal. The first track is Buddhist chanting by nuns recorded in Copan, Nepal. The third and fourth tracks are composed with sounds from Taiwan, track 3 is from Taoist ceremony dedicated to the japanese godess Matsu. Track 4 is funeral song for a young man deceased. Four long songs perfectly combine this mastery of style and electro field recordings with varying degrees of processing.
Very bright and surprising effect of full presence in the development of sacred actions, sometimes electro-wave helping to complete detachment from the thought process and analysis of the soundtrack Absolutely excellent 'immersing' work! Millis, R. In the former category, Millis and Jeffery Taylor steadily release some of the most headscratching amalgamations of avant-rock, decontextualized temple music, heightened-state minimalism, and collaged field recordings this side of the Sun City Girls including the soundtrack to the cult film Session Nine ; and in the latter, Millis has published a number of acclaimed anthologies for Sublime Frequencies Scattered Melodies, This World is Unreal Like a Snake in a Rope, Phi Ta Khon, The Crying Princess, etc.
With his fingers in so many jars of jam, it can seem like an uncommon occurrence for Millis to release solo work although he is one to smear his sticky hands all over himself in performance, installation, and collaboration. A fever dream of blurred harmonics and ethnomusicological spelunking, Relief repeatedly returns to variations on a peculiar yet beautifully serpentine drone, whose twinkling acoustic properties meld the hallucinatory mouth-music of the Bangladeshi Murung people and the curved air hypnosis of Terry Riley.
Millis bookends and interrupts his mysterious miasma with comedic interludes snatched from his lauded collection of antique 78s, maudlin piano tone-clusters, and Album) crescendos of spectral ballroom waltzes. More Nurse With Wound than The Caretaker, this polyglot raga-drone of daytime somnambulism and psychedelic slipperiness speaks to the uneasy borders at psychological, cultural, and geophysical states of being.
Oh, to be a human on this planet. Amidst the near constant wash of bleary-eyed etherialism, Big Shadow Montana cycles through several sonic themes and leitmotifs, displayed in varying states of clarity. In these transitions between half-remembered phrases and bleary-eyed thrumming, the album emerges as if it were the aftermath from a protracted bout of metaphysical channel surfing. Flickered impressions flash in conjunction with Breton's manifesto of Surrealism in the form of the memories from happily drunk escapades in the heart of winter, the sidereal spells cast by the innerspace travelers Klaus Schulze and Coil, and the nagging questions of existential portent: "Was that bassline from Goblin, or was it German Oak?
Maybe something from Faust IV? The trio of Nilsen, Sigmarsson, and Thorsson elegantly twist and bend these fleeting images into a spiraling symphony of bubbling electronics and spectral drones that mutate on both sides of the record into lugubrious yet carnivalesque waltzes.
When this first appears, it is the echoing undercarriage of a simple melody, bobbing amidst rattling chains and cascading cymbal crashes only to dissolve into sequences of cold-war era tone beacons and empathic swaths of maudlin sound design.
At the second occurrence, the melody washes ashore on the Iceland beach, where nude Viking men and women try in vain to get a tan when the sun is just barely going to rise above the horizon in the winter months. It is a pyrrhic jubilation of calliope harmonies set down by organs and synths turning a pale-blue hue in the wake of all that white skin shivering underneath the arctic sky A hauntological album?
Quite certainly. And yes, the vinyl does come with a download code. These recordings are the second release in the series and continue as sound based pieces using David Jone's image processing system.
ETC expanded operations in with the first Jones Colorizer and in with a set of keyers, a multi-input syncable sequencer and a bank of oscillators, all designed and constructed by David Jones.
Ben Owen, November In terms of sound it is rather minimalistic canvas of City Nightlights (Beat Reduced) - Relapxych.0 - City Nightlights (CD length of 72 minutes. The first two tracks let us see what we are concerned with.
This is super-strict and absolutely unmusical matter. The listener can picture to himself something from CM von Hausswolff, but based on two patches subtly guiding the original pure signal.
Obs, November It is based on music of the acoustic guitar, the piano and vocals. PL [press-release] [ mp3 ] [ mp3 ]. Prescott owned one of the largest modular synths ever assembled and puts it to striking use on this tape.
Combined with PBK's Moogs, loops and drones, and howls of anguish provided by the irrepressible Minoy, all echoing around in the strange space of a Radio Shack mixer's spring reverb.
The new collaboration of PBK and Zan Hoffman Zanstones is the experiment in perfect interaction between noise music, ambient approach and electronic sound, with organic and sometimes even psychedelic output. For both artists, being active in the underground music scene for many years, this album is very distinct and peculiar showcase of their endless creative potential. Keeping the subtle balance between the sound and silence, Per aspera ad nilum's aural ambiences are quite successful attempt of rendering the wintry tranqulity.
Clean, tamed but still sophisticated atmosphere creation and good selection of source sounds makes this release a promising debut. The album was recorded in and inspired by Russian steppe and shores of Azov and Black seas. The music combines mild guitar drone ambient with electroacoustic elements and raw yet somehow soft and unobtrusive field recordings made in these regions.
Very calm and relaxing atmosphere, pleasant mellow and deep sound. Moving from dramatic tension and threatening uproar to meditative beauty, this near hour long album reveals various changes and details, while always sounding monolithic all of one pieceexpressing almost unbearable sensations of melancholy, vastness and contemplation. The idea behind this album, in the words of the artist: "'Mise en Abyme' is an inner journey down to the most hidden and dark parts of the Self.
Instead of being linked to religion, history or morality, it is purely a psychological and therapeutic trip to the underworld, investigating the subconscious. But even in the darkest and chaotic places in the depths, there are small shades of light, hope and understanding; one can be enlightened and purified upon returning to the conscious world. The album explores the area of sacral and infinite, hence the title. S can be seen as the symbol of them. Re-Drum was founded in by Pavel Aleshin.
The reissue also features bonus track "Subfrontal zoomorphism accompanied by dysphoria" taken from "Zvukoterror-3" compilation Ultra, U25, Comes with nice full-colour cover and on extraordinary brown-black vinyl! As one of the pioneers of the Russian industrial-scene REUTOFF create an ultra dark visionary music, using elements of ambient as well as rhythmic industrial. There is no light in this darkness, maybe only behind it.
Each action is a document of a specific moment in time in a specific location. All sounds from "Revenant : Topolo" originated from materials found in-situ, or from the space itself.
No overdubbing or editing was done in order to document this specific action and location in time. Minimal intuitive improvisations with deep droning electoacoustic feeling although no electronics were used! In answer to huge demand after sold out first edition, here comes the reprint of this critically acclaimed album, with new artwork made by Michal Karcz. An original mix of styles and cultures. Oriental melodies and rhythms, live percussions and synthetic beats, ethereal sounds and electromilitary marches, gregorian and muezzin chants, symphonic and jazzy instruments.
Electrocrusade back again! The particular parallel between lyrics based on old poetry, and all this what happens nowadays, creates often the atmosphere of bitter reflection and irony. Desires, beliefs, dreams, emotions, experiences, beauty of life and sight of inevitable death in 19th and 20th Century poems "framed" in varied music, from strong industrial rhythms to romantic ballads with melancholic recitations and singing.
Yet another different chapter in Rukkanor's musical book. A bit of industrial, a pinch of EBM, a touch of synth-pop. Second part of the specific interpretation of 19th and 20th Century poetry. This time in more gothic and electromantic "musical sauce". No martial nor neo-folk songs.
A very last album of Rukkanor. Only by breaking with what is already achieved, man can create the space for new events. Five tracks composed during Scontum act IV, Triumvire and Despartica sessions with supplement of live recorded track Virus Dei in new interesting arrangement. War theme, military atmosphere - this is the face of Rukkanor on this EP. Release limited to copies only! Try some! It shares with the band's backcatalog the sense of a rich narrative world, but eschews both familiar theatrical in orchestral arrangements and sound design choices as well as any overt sense of musicality.
Hovering midway between gothic orchestral horror and contemporary cinematic narrative, "Sacred Fury" presents us with a score from the midst of judgment.
Reflective cinematic odes are strafed by brutal sound design, whilst elsewhere, bombastic homages to In Slaughter Natives pound out a march to the apocalypse in 31 beats. This is the quintessential soundtrack for when all your best military plans turn to shit in your hands, and each new oncoming palletload of reason, ideology and faith seems more combustible than the last. The 5 cycles are based on dark ambient soundscapes, blended with hypnotic rhythms, with an industrial edge and haunting melodies.
The elaborately composed pieces create a magical and mystic world through Album) atmospheres. Comes in a gatefold digisleeve. Shoemaker works in monochrome, shaping his gray tonalities into rhizomes of shadow which occasionally erupt in brilliance of hyper-realized clarity. While the familiar sounds of encircling birds, turbulent weather, and temple bells litter Shoemaker's recordings, the sonic topography describes a vulgar and hostile landscape where fits of delirium and circadian arrhythmia are common human responses.
Shoemaker achieves these complex metaphors through labyrinthine drones spiralling through irradiated fog and glassine vibrations, punctured by the scars of a landscape in perpetual revolt. In many ways, Shoemaker's Spots in the Sun could be mistaken for Bernard Parmegiani at his most focused or even John Duncan at his most gracefully brutal Colossal dark ambience from the abyss, with beautiful artwork that evokes the sinister atmosphere of the ship.
Reissue with bonus track 'Narcissus'. Fed Argentina, at the beginning ofJose Luis Colque "EL Sarco", gets his first basic tools for music production and begins to venture into the field of electronic music, thus giving some experimental models.
The Sarco says that Structural Fault is the archetype of a neo-apocalyptic futuristic world, sometimes round in our dreams. Tried to expose her great attraction for art "minimalist" and "brutalist" manages the creation of hybrid sounds that are in turn surrounded by melodic atmospheres.
On the other hand, the Antonomasia philosophical, sentimental, highlighted in each of the songs of love, with melodies melodramatic, they sink into a deep industrial landscape. The course of Structural Fault, Album) the free will of a rhythmic formula that will go exploring, new horizons inconclusive.
Start a full-fledged mission to Structural Fault, with the invaluable support of the great hand of Sauron and Ryby Aliens Production and the challenge is the future! Fourty minutes of music in nine tracks created in specific orchestral vein.
Very interesting music, not so many mighty, bombastic phrases, but a lot of moving atmospheres. Sunday Strain -- "Destiny. Formed in as a side project of Llovespell it is now a full-grown band still experimenting but this time also using bass and drums instruments accompanied by clear and strong vocals of Dorain W.
Done" brings over 45 minutes of sophisticated electronic music with admixture of pop elements and dark atmosphere. Dark Ambient sounds join with shamanic rhythms featuring unearthly vocals reminiscent of a gap between space and time. Orchestral elements with hypnotic loops are arranged in waves which fill every corner of your imagination.
Ltd x copies in a DVD size metal box. A test to hear what kind of music would be created 15 years later, with new experiences of Life and new equipement. Rhythmic and seething at times, and oozing forward with a creeping sense of desolation at others, Trepaneringsritualen conjures forth bleak but mesmerizing visions of the end-times It is lonely, it is awful; on the verge of physical death, City Nightlights (Beat Reduced) - Relapxych.0 - City Nightlights (CD still unable to understand; absolute perfection may be attained through WILL.
A conversation with angels, in archaic tongues; Eirikr inn Sigrsaeli sold his blood and kin to desert rats for corporeal power. Eirikr, we spit on you. Without bloodshed there can be no salvation. And the album title means "nothing from nothing" - very weird notion, as it doesn't exist anymore in actual german language.
Limited edition of copies in special packaging - custom made of glossy paper with multicolor metallic print, assembled by hand. Five untitled tracks of "Defrost" walk through different genre fields: electroacoustic experiments with clicks, scratches and macrosounds, static resonating mezmerizing drones and brutal final chord of minute-long abrasive droning wall. Accurate and monolithic work. Vagranok -- "Voz. Parallels and unity of the industrial and archaic "ages". Invariable symbols.
The change of form and vector. By the force of unified coarse black-red images of raw old school multy-layered radionoises, distorted Soviet records, sampled and live voices, drums and feedbacks. Implications and contexts. Mysticism of place of thought and differently incarnated content.
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