lost in a sea of sound

Beat Up must love punk music, their new composition titled Satisfied? takes everything cherished from decades past and delivers masterfully crafted songs. Four musicians blasting tunes out it perfectly controlled explosions of energy, Nathan Flogamocker on guitar and vocals, Dave Harrison more guitar, Matt Alston the bass and Peter James McCarron the drummer. The kicker is the song writing. Following cue from the title Satisfied with a question mark, the subject matter contained within the composition questions how satisfied are we within the world we live? Nathan sings "You expect me to be Satisfied?, there is no justice for those who died". This lyric goes pretty much straight to the point of the feeling of many of the tracks on the album. "Keep you eyes averted from this national disgrace, because marshals walk among us to keep us in our place", those two lines are from just the title track. Wow... There could be a lot of analyzing and comparing Satisfied? to ban

A sonic mirror of nature, aural reflections blurring into lush reality. Like mist above bodies of water in the early morning, Simple Air hangs in elegant beauty. The entire sonic presence promoting thoughts of wonder, simultaneously delivering comfort in knowing we will never truly understand. The current moment holds tranquility in bountiful measure, finding place in the stereo space between nature and sound. Radiance through cloud and leaf, rain drops dispersing across physical senses, Rhucle gets all of this perfectly in conscious tune.    Many of the tones used in Simple Air perch in the ambient contemplative aura. Like cumulus clouds on the verge of heavy rain, Simple Air is filled with higher energy throughout. At times these sounds are on the precipice drifting to other side, incarnate changing to ethereal. Rhucle does this by merging consciousness in the form of electronics with collected field recordings, a combination providing mesmerizing balance and beautiful serenity

Solid Waste crossing the listening path of Lost in a Sea of Sound for the third time. City Of The Cosmos taking spires of crystalline brilliance to the hearts of all who listen. Following previous described releases from an earlier time on Dismal Niche, the newest on Distant Bloom begins deeper in the gooey ambient mire of feverishly green grass floating on spongy earth. From here the day begins, radiant energy the sustenance for all things to grow. Building like a hyperbolic curve, with the middle tracks sparkling sonic angles while beginning and end both grow and dissolve into a world absent of edges. Beauty is carried like civilizations inception and demise, nothing, everything then nothing again.    City Of The Cosmos is really a beautiful marriage of earlier releases, Long Slow Dream and Visions (both still available from Dismal Niche ). Charming innocence muddled with patience turned visionary and purposeful. These attributes have woven together producing sounds of simplistic b

The path we travel continues ahead, details of extraneous features blur.  The process of monotonous movement in particular directions causing thoughts to live only in the sustained motion. This idea can apply to hiking a trail, cycling, a car ride, or life in general. How did i arrive at this frame of thought? On a long bike ride listening to No Language For The Feeling. Looking into the water filled woods, dense and not easy to penetrate. The strings of Peter Kris playing with deep rooted tones, like the essence of life in the overgrowth passing by. Two sensory inputs connecting and becoming tangled in reasons of being. Then No Language For The Feeling changes focus, the woods ends to pavement, a tiny segment of temporal existence was slowed and cherished, all while moving forward.   Describing this mammoth release by Peter Kris is a beautiful but daunting en-devour. Lost in listening so many times... Many of these sounds have a subtle lullaby quality to them, mental pacification for

Lost in the ambient reflections of sparkling melodies and the undertow of weighty currents. Let There Be Light effortlessly heaves contemplative tranquility like sleeping giants breathing in a deep sleep. Morning twilight, the conscious refreshed, the world stirs just a little. The day is anew, thoughts and feelings have been released from the construct of events just the night before. An inner grin shines within the energy we manifest. Possibilities are infinite once again. This composition gently carries us on a new path, we float, move with long strides and tiptoe in precarious places. Each track a miniature sonic vignette for the awakening hours to come.  Night Foundation is the solo project of Richard Vergez. Let There Be Light contains seven tracks of electronic haven for the spirit to rejuvenate. The rhythms flicker in and out of blissful ambient haze and focused laser light steps. The first track titled "Arrival" sends thoughts to a most wonder album by SPK titled  Za

Thought of these words last night when listening to Julie Hill...... alluring, energized, sublime, pacifying, diverse, nostalgic and satisfying. The ten tracks on this same titled release have everything to offer. Julie Hill composes her music to rhythms within breaths each new day transpires. Melodies for the moments we share together, radiating composure in experiences of life.   As Julie's words go, "I got a feeling I'm sick in the head, can't get enough cheap happiness", we are all "Unmade". Both comforting and connecting then effortlessly moving on to the next satiating selection. This time electronic pageantry titled "Here by the Water" filled with dreamlike vocal delivery... The fourth song on the album pleasantly bums in thoughts solidifying how diversely wonderful the entire composition is. Pulling free of pop and ambient flare, only to set down seamlessly again. Offerings reaching through time unearthing nostalgic beauty for the music

Music can be the most fluid form of creativity. Resplendent consciousness grasping a medium and throwing it all out there for others to hear. Will these sounds be enjoyed or disregarded? This is the question many artists ask after exposing their creativity into a too critical world. The answer falls within this thought, open minds connecting with serene patience in the ripened moments our lives procure. Nascido em Swampland possesses the most collected collection of complicated tranquility. Like a kaleidoscope turning to fixate on one image and one color, infinite fractals still declared, but in this moment the patterns become grandiosely one. Translating optical to sound, a crazing of blissful sonic radiance settling in thoughts. Then the kaleidoscope turns, shifting everything, slowly fixating on another moment of heralded ambient goo to work it's way in.  Crocodilo Slam finds melodies within the respiration of our world. Beginning with the eighties willow-wisp of the "Hoaxi

Is all that we see or seem but a dream within a dream? Teresa Smolnik and Guenter Schlienz push thoughts to this question posed by Edgar Allan Poe over one hundred and seventy years ago. Music formed from ambient drifts. Sonic mass shaped like mountains reaching misty pinnacles of piano notes drifting away into the atmosphere. Stories softly sung and spoken, whispering thoughtful observations with a love filled emotion for the most obscure details. Birds chirping on communication lines, unaware of countless conversations of joy and sorrow beneath their talons. This composition simply titled Smolnik & Schlienz gently ignites the fractures of reality. The glowing details of small cracks and crevices reveal infinite worlds within minuscule dimensions. Inner beauty asking listeners to hear the dreams within and question who is listening to us.    Smolnik & Schlienz rests outside of genres and classifications. Two artists working together utilizing years of experience, cementing t

Once I brought home a John Jacob Niles album from the thrift store. Had never listened to this artist before and after the first play was pretty much astounded. There was another time a friend introduced me to Hasil Adkins, this was equally a push in new listening revelations. Double Vanities is not playing a dulcimer (close), and is not singing in a male alto voice, also not playing rockabilly or looking to cut heads off (just souls in two), but if you combined John Jacob Niles and Hasil Adkins, it might produce How Come Your Sister Doesn't Know My Name Anymore.     How Come Your Sister Doesn't Know My Name Anymore holds seven selections of crooked folk music filled with sinuous knurls and black furrows. These sounds reach deep into time and emotions, bringing back dusty instruments and tales of trouble and sorrow. Double Vanities is the project of Matthew Goethe. He sings vintage poetry, a muse of faded black and white photos, telling stories lost in grins and snarls a single