Dreamt about Dreaming...
脳みその保管庫として.
Saturday, February 23, 2019
bugseed - ENRAWS EP
<a href="http://bugseed.bandcamp.com/album/enraws-ep">ENRAWS EP by bugseed<br /> <br /> entokyo&raws compilation beat pack. these original beats made in tokyo 2012-2014.<br /> hope you enjoy my beats and feel free to spread the music if you like this album.<br /> peace from okinawa! <br /> <br /> Independent Beatcasting 2019.</a>
soundcloud.com/bug-seed
Wednesday, February 20, 2019
Tycho - Epoch (Deluxe Version)
<a href="http://tycho.bandcamp.com/album/epoch-deluxe-version">Tycho - Epoch (Deluxe Version)<br /> <br /> The Deluxe Version of Tycho’s album Epoch on Ghostly International collects remixes from Heathered Pearls, Poolside, Luttrell, and Kaitlyn Aurelia Smith. <br /> <br /> An epoch is defined as an extended period of time typically characterized by a distinctive development or by a memorable series of events, and Scott Hansen, leader of the band Tycho, has named their new album Epoch with that in mind. The last installment in a trilogy, Epoch is the culmination of more than a decade’s work that has seen the band evolving and maturing through two sublime releases Dive (2011) and Awake(2014), and developing from featuring Hansen as a delicate solo performer into the iconic frontman of a powerful multi-layered live band performing on the world’s largest stages. <br /> <br /> “Dive was where the whole thing crystallized,” said Hansen. “I found that crossover space between what I was doing before, which was more IDM electronic stuff, and the rock music that reflected more of what I was listening to and not necessarily what I was making. Awake was a prototype of pushing it as far into the rock realm as I was comfortable with. Epoch is basically coming full circle. All the lessons of Dive and Awake were applied and then expanded upon. <br /> <br /> Epoch leverages the sonic aesthetic of Dive’s down-tempo vintage-style synthesizers and beautiful melodies while drawing on the kinetic energy of Awake’s progressive composition and organic instrumentation. “I felt like I explored a lot of open-ended unbridled, optimistic spaces with the other records. I don't know if it's a reflection of my life, but it seemed like that’s what just came out at the time.” For the new record, the themes felt a bit darker as he explored new musical territory. “My threshold for darkness is much lower. Things that seem dark to me seem happy and light to other people. I think it’s the darker sounds themselves. The timbres are a bit more aggressive.” <br /> <br /> Hansen initially attempted a more traditional recording process at Panoramic Studios in Stinson Beach, CA, but ultimately opted to do the majority of the recording in his home studio in Berkeley following a temporary relocation from his home in San Francisco. <br /> <br /> “I’ve been in the same San Francisco house the last 11 years. I made the last two records in the exact same room. I figured it was time for a change. There were a few other factors as well. I wanted to get some more space, be relaxed, and not be living in the middle of a crazy city. I wanted to have a more relaxed environment where noise or people didn’t bother me. Mostly just for the isolation.” <br /> <br /> Once complete, it was important to Hansen to release Epoch as a surprise album. “I've never been fond of handing in an album then waiting 4 months for it to be released,” he said. “I wanted to be more connected to the people consuming the music. There is a kind of visceral fulfillment you get from sharing something that you've just created with other people. That's a very satisfying feeling as an artist. “All art is in some way shaped by the current state of the world around the person creating it so there's a element of zeitgeist built into any album. We just finished mastering the album so it will be a month old when people hear it. I'm hoping people get a sense that this music is directly connected to the time they are experiencing it in.” <br /> <br /> Epoch was arranged alongside Zac Brown, a long time collaborator and partner in the Tycho project. Brown contributed bass and guitar parts to the songwriting process, while Rory O'Connor played drums. O’Connor was brought in during the Dive tour cycle. Hansen has known Brown since their Sacramento upbringing. “At the end of Dive is when we started to work together on a couple songs. I thought there should be more guitar. Zac played on a couple songs like on ‘Ascension.’ He played some bass and guitar on ‘Hours.’ I brought him on to play parts in the shows. We did Awake together. We took the same approach with this record.” <br /> <br /> Hansen sees Epoch as a multi-dimensional artistic vision at the confluence of his graphic design work via ISO50 and music with Tycho. The graphic presentation of the album artwork is as important as the music itself. The keystone is the central image of Epoch and the colour scheme red and black. This is a stark contrast to the almost rainbow palette of Awake. </a>
tychomusic.com
Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990
<a href="http://kankyongaku.bandcamp.com/album/kanky-ongaku-japanese-ambient-environmental-new-age-music-1980-1990">Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990<br /> <br /> Light In The Attic’s Japan Archival Series continues with Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990, an unprecedented overview of the country’s vital minimal, ambient, avant-garde, and New Age music – what can collectively be described as kankyō ongaku, or environmental music. The collection features internationally acclaimed artists such as Haruomi Hosono, Ryuichi Sakamoto and Joe Hisaishi, as well as other pioneers like Hiroshi Yoshimura, Yoshio Ojima and Satoshi Ashikawa, who deserve a place alongside the indisputable giants of these genres. <br /> <br /> In the 1970s, the concepts of Brian Eno’s “ambient” and Erik Satie’s “furniture music” began to take hold in the minds of artists and musicians around Tokyo. Emerging fields like soundscape design and architectural acoustics opened up new ways in which sound and music could be consumed. For artists like Yoshimura, Ojima and Ashikawa, these ideas became the foundation for their musical works, which were heard not only on records and in live performances, but also within public and private spaces where they intermingled with the sounds and environments of everyday life. The bubble economy of 1980s Japan also had a hand in the advancement of kankyō ongaku. In an attempt to cultivate an image of sophisticated lifestyle, corporations with expendable income bankrolled various art and music initiatives, which opened up new and unorthodox ways in which artists could integrate their avant-garde musical forms into everyday life: in-store music for Muji, promo LP for a Sanyo AC unit, a Seiko watch advert, among others that can be heard in this collection.<br /> <br /> Kankyō Ongaku is expertly compiled by Spencer Doran (Visible Cloaks) who, with a series of revelatory mixtapes as well as his label Empire of Signs (Music For Nine Postcards), has been instrumental in shepherding interest in this music outside of Japan. Together with Light In The Attic’s celebrated anthologies I Am The Center and The Microcosm, Kankyō Ongaku helps to broaden our understanding of this quietly profound music, regardless of the environment in which it’s heard. </a>
lightintheattic.net
Lee Gamble - In A Paraventral Scale
<a href="http://leegamble.bandcamp.com/album/in-a-paraventral-scale">In A Paraventral Scale by Lee Gamble<br /> <br /> Music and direction — Lee Gamble <br /> Design — Dave Gaskarth <br /> Animator — Clifford Sage <br /> Mix Engineer — Paul Richardson <br /> Mixed at Spitfire Audio, London <br /> Mastering — Noel Summerville</a>
hyperdub.net
soundcloud.com/leegamble
Monday, February 18, 2019
Tim Hecker - Anoyo
<a href="http://timhecker.bandcamp.com/album/anoyo">Anoyo by Tim Hecker</a>
sunblind.net
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