lost in a sea of sound

Sounds bending around concrete and steel. A corridor channels rhythms to intersect a harmonic mob of beats... But we are already listening deep into this mind fraying split. This sonic landscape was created in a primordial droning glue. An antler hollowed out and blown through is the the sounding horn for the passage of eons and civilizations growth. Time has been filled with medieval incantations and pageantry, secretive choirs finding grooves in melodic trance. Periods of dormancy, the long silence filled only with the sounds of ice crystallization and the earth's scorching breath. This is all the work of Umbra, a project by Marija Balubdžić from Belgrade. Amazingly these beautiful sounds reach and connect with the sZARSz, the artists filling side B with trance induced beats from the future. What was once a mystery of natural forces and the energy it holds, has transformed and condensed to the microscopic pathways of a tiny black chip. New rhythmic patterns permeate thoughts wit

"Good Morning", hello Patrick Totally! Thank you making the brain kick in and for bending thoughts. The three tracks you have included on International Kissing Day are the most pleasant excursion from a world of over produced attempts at unobtainable perfection. The first track baby in the cl*set balances perfectly with Every Day With Your Best Friend. Hopefully will see you in a big ten eight place in the future. We can tune in with hot coffee and enjoy am radio together. Possibly Héloïse Schumacher can join. An in depth discussion of the four tracks he has included on the split will be most enlightening. His sound process is a bit darker and mysterious. Rescuing piano notes with meticulous patience, capturing a sonic world in an unheard spectrum, from industrial mayhem to mangled informative samples, these are some interesting approaches to mull over.  I was familiar with Cavern Brew Records from the the Live in Denton cassette by Derek Piotr. The release International Kis

Flesh & Bone is an intimate passage of songs. Each listens sinking them just a little deeper into our own feelings. There is a refreshing quality to hear good styles of music done really well and this album is exactly that. From start to finish, each song has a story to tell, hearts with earnest feelings channeled through skilled songwriting and talented musicians. It's amazing how gems like Flesh & Bone surface, sometimes gaining attention and other times sinking back into obscurity. I guess this is how life is, and all we can do is tell some one to read or listen. We have to keep in mind every person is beautiful and has their story to tell.   Kim Strother has penned, played guitar and vocalized all of these tracks with backing musicians, George Buechley on pedal steel guitar; Jacob Sunderlin on guitar, banjo, Roxy organ; Todd Rush on bass, synthesizer and James Morrow on mandolin, guitar. Twelve tracks pulling from the front porch and into our hearts. Baby Jesus is a few

Fallen leaves moving together on the water surface, a quiet river ushering them from the place they basked in the sun. A single image of nature moving in complete silence represents a conglomeration of infinite facets. Ashan holds these values and delivers tranquil details for the mind to casually absorb. Sounds held like flora reaching for radiant energy, individual pieces with simple purpose, the complexity increasing as things come together. Sacred Spring exist in a serene natural state, sonic beauty extending from evolution to a point held in delicate splendor.  This is the third body of work in the "Drifter Series" for Sean Conrad's project Ashan. Like the natural state we experience when outside, comparisons to how things once were erodes the current moment. The two compositions before, Transfigurations and Far Drift Afield, hold places in time relative to growth or decomposition. As the title suggest, Sacred Spring is a subsequent season. Sonic threads from befor

Something small becomes noticeable in the myriad of surrounding details. This is how the music of  Tristan Magnetique delivers it's ethereal weight. Melodies with deep currents of emotion flowing within, but resting above, the slowly turning autumn colored leaf floating on the surface is the focal point. What tree did it fall from, how beautiful did a collection of these leaves make the tree appear, has the journey been long to arrive at this point? These questions could easily be about the earth, fauna or even people. Slight changes in the qualifiers and then the considerations follow the beauty before you beckoning thoughts.     For the second Tristan Magnetique composition, the sounds have found home in simple energy. A sea of notes sustained for mesmerizing lengths, always absorbing the flare of crisp brilliance by the composer. The deep undertow of bass like drone fills the body while Tristan Magnetique crafts harmony for the conscious to follow. With over an hour of music div

The pulse of industrial machinery drowns out the natural world. A rhythm emerges from walls of noise echoing through enclosed spaces. Visualizing the sounds of Kal Spelletich, listeners are buried with a mechanization of sonic structures. A place where the aural world continues to exist long after humans have left. This energy holds beauty in the reaches of ingenious creativity. The assemble of machines from lifeless parts, the splendor of connecting consciousnesses through inanimate mediums sparked with life.    The biggest or most important thought surfacing after listening to The Blessing of the ZHENGKE ZGA37RG is how congruent and fluid these sounds are. From an artist crafting all the devices used to make this sonic composition, there is no disjointedness. Noises gently ushered from inception to beauty. Rhythms slowly turning, received like AM radio waves in perfect signal strength, then fading into blurring static. The process oscillates among all of the pieces Kal Spelletich has

On sounds we thrive. Consciousnesses absorbing the indescribable. A rhythm sliced by a spark, minds becoming a circuit board fro transmitting sonic energy. A noise or notes from an orchestra, both real and both viable to the context they rest within. Pluton​/​Neptune exist in this phase, a resonating depth of aural wonder. Rhythm and beats like a heartily woven net capturing dislodged fragments of sound shreds. Vibrating and shrieking, vessels of sonic energy squirming through for listeners eventually to catch. A composition of beauty allowing chaos to unfurl the ambient serenity.    João Orecchia & Sicker Man have created music in the distant reaches of where sounds may go. Their shared ability works together in tranquility and disorder simultaneously. Both tracks, Pluton​ and ​Neptune depict stable dense masses of symphonic bass, a cadence of instruments carrying the moment. Like a heart beat heard when things are ultimately quiet, this is the life force both João Orecchia &

A few years back, i was at a show for a band that tackled music like Grimény does. The friend that invited me answered my question of who comes out to see bands like this. He responded, "metal heads and music scholars". This statement sunk in my thoughts and has resurfaced while listening to Die Große Aufgabe. If you are wondering what the band was that sparked these ramblings, the answer is the Aristocrats . There are definitely some similarities between Grimény and the for mentioned other band. Both leaving rock behind to pursue new venues only technical prowess can access. Like a star cruiser exploring far from home, these sounds are beyond the simple classifications earth dwellers have churned up. Die Große Aufgabe is a complex gem cut with a myriad of sparkling facets. Place the headphones on and begin to explore the depth.  One essential aspect of Die Große Aufgabe that needs to be voiced, these sounds have a deep warmth that timing and technique can so often move away

Look into the distance and see the ancient tree towering above everything else around. Listen to hear majestic sounds, through feelings and beauty, stand alone among the din of surrounding noise. Ray Monde & J. Novick have patiently delivered a composition of sublime sonic might. Like the tree becoming a landmark for those with the ability to distinguish unique beauty from the equation of time, sounds by Ray Monde & J. Novick find a similar place in the world of music we listen to.   A horn carries it's tone in the wavering ambient density. The blur between terrestrial and cosmic finds distinct lines that somehow seem straight in the sinuous echoes. Distant calls piercing the ambient goo. These sounds are the resting place for Sean Flynn by the Clash. Ray Monde's alto sax is the streetlight beaming through shadowy mist. J. Novick creates the climate, the heavy haze filled with waning commotion and the onslaught of prismatic dreams. Field recordings provide the depth, br