lost in a sea of sound

Rhythms shadowed in decaying genres, sparse sounds barely illuminated by radiant creativity. Like motionless snakes heating on sun drenched surfaces, slithering away when sensing presence. Aa lays still, a resting body in tranquilized stasis. Consciousness tuning in, patient sonic muscles begin constriction. Ricardo Dias Gomes waits.... his composition heated perfectly. Common aural ingredients applied with intuition rather than recipe. Eight tracks in a relatively short amount of time, close to twenty minutes. Ricardo Dias Gomes features six guests artist on Aa. This influence ultimately nudges diversity into the composition. Using distant decades to lasso Aa with some comparative measure, an amalgamate of Cabaret Voltaire and Sleep Chamber. A rhythmic seriousness bringing a maze of catacombs to the spirit. Paths splintered by pressing vocals, disorienting bass and electronic shrapnel. Heaviness balanced by the third track Fogo Chama and the seventh track 1 2 3 Nenéns. Warm and gen

Tadzio skirts modern genres and experimental avenues, producing melodies of classical origin. The values rooted in tangible instruments played by a sextet of musicians. This composition plays like a parabolic curve, welcoming tones diving into disquieted chapters and returning fully rejuvenated. The Complaint is filled with sonic prisms, reflecting the feeling of well being with distant questions and introspection. The cassette is relatively short with four tracks in approximately twenty minutes. The amount of creativity, easily exceeds these physical limits. As mentioned there are six artists at work, Ross Lipton, Benjamin Schurr, Madeline Billhimer, Maura Pond, David Klinger, and Hannah  Burris. The connection to the instruments they use is not noted. The Complaint is easily compared to a short story. An aural attenuation absorbed in the consciousness with just enough groundwork to establish a foundation. Emotional strength is then passed to listeners, never heavy or overbearing, a

In the recesses of the night, where artificial glow of modern civilization is defeated by darkness, Energy ☆ is found. Ambient tranquility constructed from late at night excursions into the city. Rhythms and beats gathered from the din of vibrant venues exceeding curfews of closing times. These sounds have been transcribed, sinking into the woods and groves dotting secluded islands around the globe. What once was cold angles of concrete and steel, is now fine sand and rustic bamboo. A connection still exists, only the new direction feels fantastically more radiant. There is an organic quality to Energy ☆. Either African or Polynesian, something tribal swelling up and steaming from the surface. Five tracks in just over forty minutes allow listeners to absorb this subtle feeling. The skillfulness which translates to beauty is simply, "nothing overdone". The two artists forming this project, Camilla Padgitt-Coles and Bryce Hackford have great experience and have applied perfec

The alarm is sounding, run with all the speed, Dead Tenants are in the ears. The ground vibrates in controlled pulse like signals, a stampede harnessed by algorithmic rustlers. These sonic fibers run deep, like roots that Touch and Go across the pond in search of Entertainment! New sounds grow in angles, there are no gentle curves or natural bends. LPII is a sonic wiring manual, heads will spin with the weighty amount of details waiting to be deciphered. The sonic triangle formed by guitar, bass and drums, is a punk pentagram with two points thrown out. Consciousnesses held in place with instruments in perfectly attenuated high decibels balance. The vocals fill the mind then release, a yo-yo in rhythmic motion, your head is walking the dog. LPII is expertly lacquered, the clarity and fervor of these three musicians never ceasing. Together these sounds so tightly woven, creating a moire effect on the listening end. To properly absorb Dead Tenants, listeners must be engaged. Any attemp

If you missed this wonderful vinyl record last year, a very limited second pressing is up for pre-order now on Whited Sepulchre Records. Lost in a Sea of Sound described these sonic imprints here To make this even more enticing, the repress package includes.... a split cassette with Planning For Burial expanded liner notes from the original release a very cool T-shirt Pre-Orders now here  and release date around January 11th, 2019 Couple pictures.......  Like Author, Like Daughter by Midwife Links Whited Sepulchre Records  site -  twitter  -  bandcamp  -  facebook Sister Grotto -  bandcamp  - facebook Tome To The Weather Machine  blog

Almost two years have gone by since diving into music by Patrick R. Pärk. New endeavors have flourished in this time. Life Education gained momentum after the last time a Kösmonaut ( Songs for Healing ) album was described on Lost in a Sea of Sound. The \\NULL|ZØNE// label arrived and found stride with many great artists. Now Psychic Yeoman is playing, and descriptive words are in the process of being gathered. This is still the same... Patrick R. Pärk has composed a sonic tapestry with tightly woven sounds. This aural density is nearly impenetrable for words to describe. An ambient landscape that has taken shape, features so vibrant they pulsate with rhythm. And there is cadence, striking out of the massive electronic haze, beats resembling futuristic patterns for a world yet to come. Psychic Yeoman has an intensity, an aural gleam entwined with so many influences. With help from the Pärk Family Orchestre, each track holds new arrays of sonic structure, the entire composition taking

Back to back description for releases on Muzan Editions. This time from the prolific Günter Schlienz. Like German Army, Günter has compositions manifesting around the world and with equal selling ferocity. Another similarity is the deviation in sound chosen for the Muzan Editions edition. Liederbuch is exactly that, six songs playing like chapters in a book. Varying diversity, both in style and tempo, but unfolding so fluently together. These compositions are a complex menagerie of rhythms and tones. Ever so slightly deranged, like the immediate confluence of two rivers, unlike waters meeting and colliding only to produce a more grand augmentation. Six tracks crossing molecular space in just over forty minutes. Sounds creating an analog path with firm ground underneath and copious sparkle above. Günter Schlienz is well adept at creating this duality. A tranquil placation of the spirit while the will-o'-wisp performs it's ritual. The consciousness is pulled forth, but physical

German Army sending signals back from far reaches of time and space. The essence of early rhythmic manufacturing faintly heard from a distant world... something unique is being transmitted. Shrouded by the reverberating din of continual production, machine like rhythms in a mechanical ceremony, Mangas Coloradas arrives in more ambient fashion. German Army energy mutated and twisted, producing what is considered an ebb to the fracturing flow. The ringing of past prolific radiance continues in the ears, but now the decibels have been muffled, the pace has lightened up, what seems wobbly or ethereal is actually very clear. Mangas Coloradas is yet another beautifully manicured composition by German Army. Near an hour of music divided randomly among sixteen tracks. For fans of German Army, this album provides captivating diversity to many of the past releases. For anyone new to this project, an excellent starting point. The essentials here are the subdued approach with preservation of so

This release titled Saccadic Rhythms finds grooves with some different artists under the Deadman's Ghost project. Jason Mills & David Baxter (Deadman's Ghost) with three tracks on side one. With a flair towards the open plains and sonic expansiveness, these sounds combine rhythms with unspoken ballads. A complex arrangement, with roots in the past and growth towards the future. Like Joe Strummer's soundtrack for the movie Walker, the third track "Dustbowl Drifter" pushes even farther west. There is something untouchable about these sounds. Grand and distant, from places to remote to inhabit and from times long since past. The second side contains two Deadman's Ghost tracks that are remixes of older material by Vertical67 and Ken & Ryu. The western feel dissipated for a modern snap on late night grooves and blissful voyages. The first track "Lysergic Lasso" remixed by Verticle67 holds allure with patience and clarity. Futuristic electronics

When experience collides with patience the most likely outcome is beauty. This characteristic is often very difficult to describe. Like the glow of pink clouds in the sky before the sun rises and after it sets or a full moon radiating through a canopy of live oaks, words can tell a reader what it is, but they can not impart the feelings created. And words can not begin to describe the vibrancy of what is experienced. Shane Parish has composed music with this feature. Creative guitar playing backed at times by tranquil piano, and ambient sustain underlying the entire length of the composition. These are sounds you will hear when listing to Child Asleep In The Rain. Where your thoughts go or how perception is mutated, are what can not be written. Child Asleep In The Rain contains six tracks in just over a half an hour. Tones sheltered in the recondite areas of Shane Parish's construct. Starting off with a tilt towards a somber tone, Child Asleep In The Rain is veiled with a pondero

Nepumoceno Cortina is the Robin Hood of industrial noise. These sounds give back. For all the past records by so many varied artists, where terrifying beats pounded behind sheer maniacal wailing, thresholds pushed to maximum capabilities, German Army bestows a most grand composition.  The dark formidable aural landscape so much time was spent exploring, has worn on consciousnesses. This familiarity and appreciation stems from seeds sewn in the seventies, allowing listeners to rotate and inspect what has grown over the decades. Like and old growth forest, German Army takes neophytic sonic rawness to a level of alluring sophistication. With so many releases over a lengthy time period, German Army is a multi faceted Hematite mineral. And as a mirror of countless compositions, Nepumoceno Cortina mines the same vein. Seventeen tracks, approaching an hours worth of splendor. Classic untreated rhythm in perfect sync with garbled PA style vocals, electronics breathing that grows heavy after

Rumblings deep within the living jungle. The ground vibrates, a bird's call echoing into vegetative obscurity. A beat, a crisp sound of a hand played drum is the interlude to the foreign tongue and native machinery. There is no time, sounds droning through the night, only an aural flickering. The ceremony begins abruptly or fatefully depending upon the perspective. Now, vibrant sound permeates the discernible stillness. Tranquil reverberation in the lowest frequency overlaid with spiritual mysticism. Trumpets sound, mystery finding conscious cracks, slowly growing like invasive vines in a new found land. Meditative meanderings through sonic moments in time. Sometimes futuristic, then changing form to herald ancient civilizations. These sounds are beautifully juxtaposed throughout the course of the composition. Immanence swirls with heaviness, almost forty five minutes over four tracks, but the core feeling is more of serenity than anything else. Undertones of shrines, sanctuaries