microphones in the trees

crystal voyager & UFOm

2025-11-05T00:46:00.006+00:00

crystal voyager & UFOm ~ universe people (moon glyph, 2024)

it's time for our planet to advance to another level of existence! the Ashtar fleet of millions of ships is orbiting Earth to help and guide humans to tune into their galactic and spiritual purpose frequency. if you manage to avoid being chipped by the lizard people who infiltrated our corrupt governments and keep your heart open, you will be taken to the mothership, while our planet will be undergoing radical cleansing. Ashtar Sheran is a loving guide for anyone whose soul is following its divine path! with the help of this cassette your search might be guided in the right direction, if you tune to the message correctly.

recorded by anonymous members of a reclusive UFO cult, this tape is a nice homage to the drone-ish new age electronica of golden years of cassette revival around 2008-2012 ~ thick analog sounds and spacey effects carefully woven into a high-vibrational tapestry of ever-changing sounds, propulsing your attention through the vast expanses of inner and outer cosmos.

listen ~ support

◊ more alien tunes ◊

dream journal institute

2025-06-28T01:26:00.002+01:00

the dream journal institute ~ label introduction

synchronicities are signs that you're following the right path in your life. whenever they happen for real, something fruitful is going to come out of this. something inspiring. it was late at night when i finished listening to some of dr. Jeffrey Thompson's music and caught myself thinking that it's such a nice aesthetic ~ to release trippy electronic dream music as an output of some scientific establishment, an academic weight added to a type of music which is basically 70 and 80's electronic underground. term "new age" was a marketing label disavowed by many but before that it was basically a new type of science ~ spiritual knowledge applied through harmonics and resonance, aimed to heal and inspire. with that in mind, i was thinking how cool would it be to have a new age label with all those tapes like Sounds of the Dawn blog uploads but presented as an academic institution. some hour of two of aimless late night web surfing has suddenly brought me to theastralrealms.bandcamp.com and at first i couldn't believe the "coincidence". did my thought just... actually materialised? is it a simulation which generates content in accordance with my wishes? whatever happened but it was exactly what i just imagined. but with a little twist. i couldn't recognise a single artist name on that page. but already started listening. ~ piedpaper

so, here's a little overview of my favourites from DJI, but feel free to explore on your own, as there are also hidden albums, extra riddles and some other easter eggs.

evelyn greene ~ sensory meditations for forest bathing (2025)

i think i played this album for a couple of hundreds times. on repeat. it's just too comforting. it's that case when you can't even pinpoint what exactly captures your ear, what makes it so charming, it's basically just some minimal synth lines drawn on top of the forest hums... yet, it works like a spell. we live at the bottom of a huge ocean of air, and it's full of really beautiful vibrations which we call sounds. hums, murmurs, rustling, raindrops, bird calls... comforting aural chaos which is embedded in our DNA. and if there's anything like a purpose of humanity, it should be bringing electronic music into this equation.

voyages ~ music for relaxation (2025)

one of the first releases of Dream Journal Institute made by Klaus Wolfe - Director for the Musical Library and J.A.Carson - Adjunct professor and CFO for Dream Journal LLC ~ an encyclopaedic example of valley-of-the-sun type of new age which is paradoxically is very grounding and actually relaxing (for a supposed space travel). already reissued by Fantasy Audio Magazine on cassette to an instant sold out, this album probably encapsulates the whole idea of how new age music can be utilitarian and self-sufficient at the same time. i'm pretty sure that if it didn't had the (obligatory for the aesthetics) "music for relaxation" stub, you would still relax to it quite effectively. just like the evelyn greene's album, it simply works. and i start to believe that it's due to some higher astral science behind it.

mondholz ~ atlantean echoes (2025)

one more release which already has a physical reissue (tapes are still available as i write this) and which is baked with such a thorough backstory that it felt as watching a captivating documentary. the album leans more towards 90s sound with an obvious homage to "three Es of new age" (Enigma, Era, Enya) but still manages to keep its own direction. probably the most standing out work in DJI catalog so far, it's a good example of how that type of music can be simultaneously modern and "retro", without falling into fan service territories. probably still too weird for the mass audience and too cheesy for serious diggers. absolutely in the right spot to be something taken out of oblivion and dusted off for fringe appreciators like myself.

• • •

long-time followers of this blog should remember Jurgen Muller and similar exercises in role-playing the unsung visionaries with bulky synths in their living rooms... but Dream Journal Institute never claims that their releases are old. the dates are all modern. but the music is not. it could be made today but still not really here. not in this world of accelerating AI post-capitalism, drone wars and extreme politics ~ call me a lunatic but i choose to believe that this institute is an actual place in a slightly alternative reality. which is just one of many. and music is what connects them. because it's an universal language.

qoa ~ sauco

2025-02-24T23:29:00.000+00:00

qoa ~ sauco (leaving records, 2024)

SAUCO is a fertile and bracing voyage into the Argentinian wilderness, a journey both mournful and healing—an effort to trace what has been lost, what remains, and what might return. Each of SAUCO’s nine tracks draws its name and inspiration from a lifeform (be it plant, animal, lichen, insect) native to QOA’s homeland. These songs are carefully crafted offerings to their namesakes: attempts to study, honor, and convey the essence of the thing. ~ leaving

~~~

Qoa is an example of how "neo new age" music differs from "classic" new age music in my understanding ~ when old new age looked for reuniting humans with nature, it was usually made through making inviting music to play along the sounds of nature and they could definitely go well together but were usually each a thing of its own. while neo new age tends to make music sound like nature itself, not imitating it, but revealing its truest form ~ free flowing, iridescent, unchained from the straight squared utilitarian forms which it usually has taken throughout the 20th century. not that it was never done in other types of music, but modern new age ~ well, actually Qoa here, on this record ~ seems to be closest to what can be called "ecological" music because instead of teaching a lesson about responsibilities, it makes the sound to express Nature with its very form and movement. instead of learning about some important facts, you're invited to feel it. to experience the world through how lichens do it. or trees, or a flower, or a bee ~ of course, imagined through a human abilities, yet, in case of Qoa, feeling quite authentic because her approach has something animalistic, shamanic, something which is hard to capture through any rational analysis. you simply feel it or not. but if you know at least a few words from a language which nature speaks, you will recognise the taste. you may experienced it on a hike on a starry night, on some open-air festival or maybe in your back yard while tripping on mushrooms and actually, truthfully touching grass for the first time in your adult life... or maybe you was born with this feeling and these organic languages of moving along with the sunlight, rooting towards the underground water streams and seeding, sprouting, pollinating... all are familiar to you. but even in this case you may find yourself in the midst of concrete walls, not seeing the horizon for days and wondering about some funny imaginary numbers through a little screen on your palm. and only because Nature speaks some weird, silicon languages as well. but they shouldn't be louder than others, than of those who inhabited this lovely plane(t) long before we started changing it. maybe music like this is our last chance to finally learn these languages because this music is a ultimate translator.

listen ~ support ~ cs rip

ozone

2025-02-08T15:16:00.000+00:00

ozone ~ skyryks (golden ratio frequencies, 2022)

"throughout skyryks, dark comes to light and the harmony of the cosmos reflects itself in an infinite recursion to find a mirror of your mind in the forms and sounds of music. So lay back, close your eyes, and feel your body dissipate and merge as one with the Ozone." ~ golden ratio frequencies

warped around all of the observable dimensions and inevitably going beyond them with buoyant acceleration, this sonic propulsion of an album gently takes your astral body by the scruff of the neck and throws it into an infinite ocean of melted bliss. carefully crafted with lo-fi samplers and tape-saturated synths, this album creates a world somewhere in the middle between Leaving Records' new-aged electronics and Not Not Fun's rituals from the fourth (or maybe even fifth in this case?) world. intense journey, yet, at the same time, relaxing and re-vitalizing. could've been an effervescent multi-vitamin pill, if it wasn't a cassette tape. but that's good ~ because that way you can enjoy it again and again, without any substantial side effects. and you just have to buy it once.

Skyryks is an obvious reverence to the golden era of new psychedelia, cassette revival, blogspots and mediafire links with new age tape rips, but made with so much love and dedication that it turned into a sonic hologram, where every part has something from all those other parts, influences and inspirations, yet remains a coherent whole, refracting all these sound streams just like a powerful gravitational lens ~ so we can see the whole galaxies inside it.

listen ~ support ~ cassette rip

tegu

2025-01-16T10:51:00.003+00:00

tegu ~ owl island (not not fun, 2024)

Across 53 minutes, the music moves between séance and visitation, alternately lurking and expectant, bathed in a sheen of starlight and streetlights. Fellow voyagers Wave Temples and X.Y.R. join for a pair of smoky, cosmic cameos, but otherwise this is a solitary affair – locked in, looking up, mapping new constellations in the expanding void. ~ britt brown, not not fun

owl island is a place far somewhere in the universe which the US label Not Not Fun has been meticulously crafting for past 20 years ~ hazed fourth-world utopianism, full of exotic paysages which are more and more becoming a pure fantasy on our densely populated planet. though it's not necessarily Earth where Tegu sounds are taking us, since the music on the tape has no signs of humans ~ even the ever-present drums here sound more as natural phenomena in their monotonous propulsion, while well-rounded synth melodies which support them probably are metabolic product of some exquisite air-purifying plant family. there is no pathway in these thickets but nothings too dangerous as well, maybe only the possibility of dissolving in this inviting greenery. is this paradise gardens? (as the cover art suggests) or it's a fresh start for this spark of sentience once dazzled by its own greatness?

listen ~ support ~ cassette rip

never temple

2025-01-13T17:31:00.000+00:00

never temple ~ throwing around an invisible ball (golden ratio frequencies, 2021)

An enigmatic duo that traverses the multiverse of time and space, Jaclyn Blumas (Doomsquad) and Alexandra Duvekot (Blue Crime) have been living in and presenting the world of the NEVER TEMPLE since 2018. We at Golden Ratio Frequencies first encountered their hallucinatory dream world during the 2019 edition of 24hr Drone festival at Basilica Hudson New York, where we were bewitched by their entrancing midnight ritual of haunting synths, ethereal cello, otherworldly voices and fantastical costumes and have been left hypnotised under their spell ever since. ~ GRF

british label Golden Ratio Frequencies is known for its love to all things drone ~ from guitar or analog rawness to digital new-agey bliss, quite often organically combined and always easily transporting you out of this realm. on this tape we have a documentation of url performance of Never Temple from 24-hour long drone festival which took place during the covid days (feels like forever ago). it has a taste of guided meditation tape, with the mesmerizing voice of Jaclyn Blumas reciting some trippy affirmations, though it's never reaches the level of cheesiness those old affirmation cassettes had. instead, it only makes you drown deeper in the thick overlays of synth and organ drones with some lysergic effects happening in the culmination points. the whole thing resembles a ritual which purpose is to reprogram your brain into a more dreamy state of functioning, to make the parking-lot-reality a little bit less persuading ~ as it has no walls after all, especially when you're throwing an invisible ball over them.

listen ~ support ~ youtube [cs rip]

lamina

2025-01-12T10:53:00.003+00:00

lamina ~ sueños aquáticos (mappa, 2024)

under the mythical name Lamina, the aquatic creations of french artist Clarice Calvo-Pinsolle gain their own existence, free of any determinist norms and square-based logics. "Aquatic Dreams" is a very apt name for music like this ~ edited, collaged, re-composed recordings of water sounds indeed turn into dreams here, sometimes fairy-like, sometimes nightmarish (probably when they enter urban water supply systems) but never repeat themselves. even though music has a taste of electronics, it still remains organic and fluid, spahe-shifting phenomena so familiar and yet so strange.

in connection to music, Clarise creates ceramic sculptures, which she fills with water and then makes recordings of their interaction ~ it's really captivating process, so i strongly recommend checking out her website and instagram, her installation work is a whole mysterious world of its own.

listen ~ support ~ youtube

osaki seichi

2024-12-15T17:45:00.001+00:00

osaki seichi ~ the tale of a long forgotten sunken city
(the tidal charm, 2022)

this lovely ambient album from japanese artist was lucky to get picked up by the youtube algorithm a couple of years ago, which gained him immediate popularity in small circles of japanese-style ambient/environmental music. later issued on cassette by dutch Tidal Charm, it was sold out in mere hours (though there's a rumor about reissue). the album tells a story of submerging into the depths and sounds respectively ~ sparse aquatic tones get murkier as we go through these long-form compositions, even though never reaching dark ambient music territories. the mood here is rather melancholic and pensive, yet still melodic and relaxed, giving a good analogy of a sunken city being a symbol of subconscious regions, which our awareness is not always able to reach. probably the idea here is that one should follow a magical creature like a siren in order to reach those depths (i.e. following your intuition?). this mystical vibe permeates the album way more than resemblance to the classical kanyo ongaku examplesm even though their aftersounds are heard here as well. but this is music of inner environments, even though it's obvious they're always reflective of outer world ~ and vice versa again.

artist bandcamp ~ youtube (original upload) ~ youtube (cassette rip) ~ label bandcamp

new mexican stargazers

2024-11-19T14:19:00.001+00:00

new mexican stargazers ~ the oasis (self-released, 2023)

enigmatic (hypnagogic!) New Mexican Stargazers is a crepuscular cult of those who still deliver some juicy slices of the tropical utopia once discovered by Ferraro, Clark and Lieven Martens and many other heroes of this blog. a natural blessing, this project is a keeper of the portal to this fourth world dimension, through which our current cyberpunk dystopia doesn't feel that much overwhelming or forever lasting. there are oases in every desert, and you just found one. even if it turns into a mirage, your mana gets restored here.

direct cassette rip

be sure to check out two of his tapes for Not Not Fun
(sold out but some are up on discogs)

and the whole artist's bandcamp!

and if you're into vaporwave, then go here

navel

2024-09-25T12:11:00.002+01:00

navel ~ meditating amoebas lp (not on label, 2024)

very far out. experimental space ambient. cosmonauts. oceans of sounds, drones, visions. since 1998.

navel is gage & floyd (günter schlienz & floyd wenzel)

no hay nada que me haga más feliz que los regalos inesperados en forma de vinilo. suena "transfer, die räume dazwischen" y ya en seguida percibes algo familiar: nuestro duo favorito de ciencia ficción está de vuelta. meditating amoebas es el equivalente auditivo del agua en el espacio exterior. un oasis rodeado de infinitos planetas y agujeros negros y meteoritos, pero también de árboles y pajaritos. new age, field recordings, notas de piano y guitarras acústicas. y esa calidez que siempre desprende todo lo que hace günter schlienz. al contrario de lo que ocurre con la música de günter en solitario, creo que requiere de una escucha más atenta para percibir todos los detalles (¿es tal vez más abstracta?), pero una vez lo haces te das cuenta del suave equilibrio entre lo orgánico y lo subterráneo. escuchar ya no es un ejercicio pasivo, es una colaboración. de la misma manera que un lector colabora con un escritor para dar vida a un libro....escuchad si no 'transfer, die räume dazwischen'.

aferrándose a lo familiar del universo, navel combina sonidos oscuros y ambientales con notas aisladas de piano y guitarras acústicas tan acogedoras como una puesta de sol. el broche final lo pone "ist das hier", que google traduce como "¿está esto aquí?" y me encanta, no imagino un título ni un final más bonito.

...edición limitada de muy pocas copias que se van en un plis plas📀📀

listen / support

endurance & inner travels

2024-08-18T15:31:00.002+01:00

endurance & inner travels ~ to the ancestors
(golden ratio frequencies, 2024)

in the early 10s, when the cassette format has gained a renewed interest, ambient and new age were the genres to embrace it with the most love. one of the prominent projects of that period was Inner Travels, an alias of Steve Targo, a sound healer and experimentalist from Wisconsin. his albums were released at some of the best of today's new age labels ~ Sounds of the Dawn, Inner Islands and Aural Canyon. meanwhile, on the other side of the Pacific, in Japan, Joshua Stefane under the Endurance alias, released plenty of cassettes as well, exploring the ambient minimalism and running Muzan Editions label together with two friends. guess it was just a matter of time before Steve and Joshua crossed paths in this relatively small world of cassette music but this meeting has brought us something truly beautiful, thanks to another top new age label of our times ~ Golden Ratio Frequencies.

even though Endurance's music could barely pass as new age, there's a certain vibe in it, which makes it close to japanese "environmental music", kankyo ongaku. Inner Travels, on the other hand, was also not so esoteric, as new age could be, but more nature-oriented, with album names like Sea of Leaves, Garden Music or Earth Connection. so what we have on this album (which in fact was made 6 years ago) is an interesting blend of environmental minimalism, clearly rooted in the outputs of such giants as Hiroshi Yoshimura and Takashi Kokubo, crystal clear modular electronica which could easily top instagram trends, and sparse asian melodism, where pauses between notes possibly play even bigger role than the notes... the sort of music which tells you more between the lines ~ and that's probably the reason why there are no track names on this tape, only their duration.

the listener is invited to a ceremony, which sometimes echoes ancient sounds of Gagaku music, but these echoes are traveling under the treetops through a refreshing morning scent of coniferous giants. the edge between the natural and electronic is blurred here ~ it doesn't matter if that's cicada or an electric circuit, both being merely an expression of life's energy which always takes numerous forms, only to express one simple thing ~ the beauty. while beauty is an expression of harmony. looking for harmony is a common place for japanese culture and new age movement, as well as for enviromentalism (most obviously) and basically any spiritual practice. but harmony between people or their doings is rarely achieved if it wasn't build on a solid foundation, namely in harmony with Earth itself. dedicating this [not too modern, yet not too retro] music to the ancestors, Endurance & Inner Travels seem to establish an important bridge between future and past, a little bottle note which says "learn from the trees", keep your roots well in the ground and reach out to the skies, to sunlight. as simple as it is.

listen ~ support

bayou version

2024-07-25T17:21:00.000+01:00

leslie keffer + nyoka shoje ~ bayou version (shield maiden, 2024)

In usage in the Southern United States, a bayou is a body of water typically found in a flat, low-lying area. It may refer to an extremely slow-moving stream, river, marshy lake, wetland, or creek. They typically contain brackish water highly conducive to fish life and plankton ~ wikipedia

there are many types of drone music ~ from wall-of-sound type and harsh abrasive textures, to mellow tones sustained in the air, pure sound fields of transparency. and that's natural, in the sense that music is a part of nature as well, (a living) being produced by human creatures, which are part of nature as well, want they or not. while most of what we normally consider music is usually an expression of purely human affairs (thoughts, ideas, emotions), drone music always tends to reflect something way more basic. a pure element, refined to complete transparency in almost alchemical sense ~ to see the essence of it. as Maeror Tri, german drone music pioneers stated: "the purpose of this is to reveal primordial forces, the very foundation of consciousness...". "and nature" i should add, because the foundation is common here.

for example why we should think of a vinyl record as something artificial when it's no different from a tree bark ~ it ages, it can be scratched, it can be destroyed in fire... but it has a history written on it. the only difference i can think of is that every tree has its own history and no bark is the same. nature is very good at making copies, keeping each and every copy unique, but what for? we can follow "the nature" (as some separate object in our mind) by trying to do the same, or we can just accept the fact that through us nature tries the new ways to copy things, to sustain them. and that's why our uniqueness is important, even if it's unseen to the modern eye wearing the market value glasses.

this album, the first to jump-start a new Shield Maiden label, doesn't try to impress you from the first seconds. it won't be picked up by social media algorithms, it's not something you can impress a party with, only if that's a sleepover party of some droneheads like myself. but this album is meant just to be there. somewhere in the depths of Bandcamp. and i'm glad it exists. because sometimes, late at night or early in the morning, when the life is slow, i can silently enjoy it. not necessarily thinking all the thoughts i had above. maybe not even thinking at all. just being like a tree by a slowly moving stream. soaking some sunlight. and being grateful to be there.

listen ~ support

monopoly child star searchers / dolphins into the future ~ tour dates

2024-05-24T16:25:00.008+01:00

neo fourth world age post drone alien psychedelia living legends monopoly child star searchers and dolphins into the future are on tour which just started yesterday!

25 cities in 12 countries:

23/5 Barcelona 🇪🇸 El Pumarejo
24/5 A Coruña 🇪🇸 Acefala
25/5 Vigo 🇪🇸 Radar Estudios
26/5 Porto 🇵🇹 Hotelier
27/5 Coimbra 🇵🇹
29/5 Parede 🇵🇹 SMUP
30/5 Lisbon 🇵🇹 Sala Lisa
31/5 Paris 🇫🇷 Cmptrmthmtcs
1/6 Ljubjana 🇸🇮 Niansa
2/6 Ravenna 🇮🇹 Magma
3/6 Palermo 🇮🇹 Epyc
4/6 Milano 🇮🇹 Caned Icoda
5/6 Roma 🇮🇹 Teatro Delle Belleze
6/6 Perugia 🇮🇹 Spazio Modu
7/6 Prague 🇨🇿 Punctum
8/6 Vienna 🇦🇹
9/6 Sofia 🇧🇬 Equipage
11/6 Tampere 🇫🇮 Telakka
12/6 Turku 🇫🇮 Himera
13/6 Stockholm 🇸🇪 Larry’s Corner
14/6 Ghotenburg 🇸🇪 Skjulet
15/6 Samsø 🇩🇰 Agerupgard
18/6 Brussels 🇧🇪 Atelier 210
19/6 Roubaix 🇫🇷 Ateliers Jouret
22/6 Antwerp (Monopoly only)🇧🇪 De

•••

for infos check insta here & here

also, for the occasion Edições CN is producing 4 tour-only editions.
these will only be available at the concerts and Spencer just put 3 new tapes out along the HR Giger's Studiolo vinyl reissue!

gunter herbig / laie

2024-04-21T07:05:00.004+01:00

gunter herbig - lux (cosima pitz 2024)

…lux

Is the second chapter of my journey into transcribing Thomas de Hartmann’s piano arrangements of Gurdjieff’s music for the guitar. It also completes the sentence ex oriente lux. The light comes from the east, the first chapter having been released by the Swedish label BIS under the name ex oriente.As is typical for anyone who delves into Gurdjieff's teaching, the realisation that nothing moves in straight lines never takes long to establish itself. Mr. G, as he was often affectionately referred to by his closer followers said himself: "without struggle, no progress and no result. Every breaking of habit produces a change in the machine".

"The recording sessions for lux started with realisation that my amp was broken and produced a distorted sound as soon as you played more than one note at a time. Many weeks of practice and preparation had gone into getting ready for the recording and the frustration to consider to abort was great. The decision to go ahead anyway was made on the spot and, in hindsight, it reveals the inner workings of the path. Nothing ever happens the way you expect and acceptance is one of the greatest lessons we can learn. I decided to go ahead with the distorted sound and let the light shine through the broken prism in its own beauty."

listen ~ support

laie - programmat (cosima pitz 2024)

On tender soles, Laie is wandering in between his imaginary machines, programming sound like seeds, which bloom and dance in kosmische ways, day in, day out into new directions...

Laie aka Phil Struck's long awaited contribution to the Pitzsche Cosmos...

listen ~ support

sound mirrors

2024-03-27T11:18:00.002+00:00

miroirs sonores ~ voyage au coeur de la matière (1988)

first time i got familiar with this album was through incomparably amazing Sounds of the Dawn who has been a huge source of inspiration since their blogspot times. SotD has a CD version though and Discogs haven't had an entry for cassette release, so i was sure it was CD only ~ until suddenly stumbled on this tape while digging private announces. so here's the cassette rip as well, for the sake of archiving this unique work. "miroirs sonores" is a name of a specific sound sculpture/instrument made by Bernard & François Baschet ~ french brothers, who were creating some unique sound sculptures their whole life. their own recordings date far back to 1965, when they released a documentation of the experiments with glass and metal sound objects as Structures For Sound 10" vinyl. recently their work got a renewed interest with a double LP release on the parisian Transversales Disques label, probably in the raise of interest to another renown sound sculptures creator Harry Bertoia.

this specific tape though involves other people playing the Baschet's "sound mirrors" ~ Olivier Milchberg, his father Jorge Milchberg and Rob Yaffe ~ all of them being participants of Los Incas band, who you may know as the ones recording "El Condor Pasa" song with Simon & Garfunkel. so they come from a bit different background, playing mostly folk music through their careers and yet, they managed to create deeply meditative recording for this project ~ it's as serene and slowly paced, as Himalayan Bells of Karma Moffet or numerous Klaus Wiese singing bowls albums ~ vibrational music with a lot of air in between resonating wellsprings of sound.

listen: cassette rip ~ cd rip

loris s. sarid

2024-03-19T19:25:00.002+00:00

loris s. sarid - music for tomato plants (constellation tatsu, 2020)

"Music for Tomato Plants is the first collection of tracks by Glasgow-based artist Loris S. Sarid.

Written between October 2019 and January 2020, music for tomato plants is the result of Loris's growing interest in quiet, asmr-like , hyper-realistic sounds. Recorded as a series of short kalimba and glockenspiel improvisations at first, then broken down and rearranged incorporating more elements and various types of audio manipulation.

"Music for Tomato Plants was born while taking care of a little tomato plant, grown on the windowsill of his flat during the winter 2020. The album is a homage to the unapparent courage of simplicity, and the beauty and lightness of the most ordinary things." "In the same spirit of Mort Garson, Green-House and others who synthesize the natural and musical worlds, this ambient serenade for tomato plants is a welcome saunter through a humble garden" - Charlie Moonbeam

único vinilo publicado hasta ahora de nuestro querido sello de cintas de cassette Constellation Tatsu, pero qué vinilo!. Green de Hiroshi Yoshimura, Plantasia de Mort Garson, David Edren, Green-House, Golden Pear... ¿Qué tienen las plantas que atrae a tantos músicos e inspiran los discos más bonitos? Este vinilo rojo y comestible está dedicado a las plantas de tomate. improvisaciones de kalimba y glockenspiel, delicadas texturas y arreglos y ese aroma añejo a disco rescatado de los años 70. afirmar que las plantas escuchan y disfrutan la música que les ponemos tal vez sea dejarse llevar, pero dejarse llevar estoy segura de que es el objetivo de este disco precioso. Placidez pura.

listen ~ support

guenter schlienz / lori pate

2024-03-01T11:38:00.001+00:00

guenter schlienz ~ gilded eternity (peak, 2023)

Seen Bigfoot? Send music!

qué cucos los sellos eligiendo a günter para sus primeras hornadas. peak es un pequeño sello italiano y de momento solo tiene tres cintas editadas. dos de ellas han captado toda mi atención: 'guilded eternity' de günter y 'sightings' de lori pate. ambas con portadas de big foot. ¿quién es lori pate? podría ser el propio günter. las dos cintas giran en torno a esta criatura mítica como fuente de inspiración ("¿has visto a Big Foot? envíanos tus sonidos de Big Foot") "Sightings" emerge de la nieve cual alien envuelto en burbujeantes sonidos de sintetizador. con 'guilded eternity' me derrito de nuevo, lo sé, soy gunteradicta. tan marciano, cálido, acogedor y mullido como siempre. sin querer, he aquí otra de mis cintas favoritas de un ser que no es de este mundo....su poder evocador es tal que ya no tengo palabras.

❄️ sold out ❄️

listen ~ support

lori pate ~ sightings (peak, 2023)

Seen Bigfoot? Send us your Bigfoot sounds.

listen ~ support

patricia escudero

2024-02-15T19:24:00.002+00:00

patricia escudero ~ el sueño de satie (satie sonneries) (ediciones cúbicas, 1989)

"Patricia Escudero is a mysterious person who resonated with the movements of a group of musicians originated in Madrid in the 1980s, the ultra-acoustic group. She edited the 1987 record she left behind in the ''Comet of Madrid'' series and made it into a cassette tape in 1989 with the subtitle ''Sati's Dream'', produced by the genius Luis Delgado. A collection of 15 Satie electronic arrangements that will take you into the labyrinth of dreams. It's a work that originally has an end and a beginning, but when you listen to it in infinite reverse on a cassette tape, it feels like there's no way out. This is one of the high-quality reissue series that brings out a different flavor from the original, with new editing and beautiful illustrations by Gloria Van Aerssen (Vainica Doble)." sheyeye

"Spanish contemporary musician Patricia Escudero's 1987 album featuring scores by Erik Satie. It was released from the independent Spanish label Grabaciones Accidentales. Produced by Luis Delgado, a leading figure in Spanish new age/experimental music. Satie's works are often featured as modern/contemporary piano music, but this album features Delgado's synthesizer programming. It is a very fantastic sound, full of unique resonance and floating sensation. Hats off to Luis Delgado's diverse talents."

uno de esos discos verdaderamente especiales que siempre será un misterio para mí. había incluido varias canciones en diferentes recopilatorios, pero nunca le había dedicado una entrada. hoy elijo la portada de la cinta de cassette (dibujada por Gloria de Vainica Doble), pero el link para escucharlo corresponde a la reedición del vinilo, que a su vez, creo, también suena diferente tanto de la versión original del vinilo como de la cinta de cassette. un poco lío, pero da igual...todas las versiones al final suenan igual de mágicas. el sueño de Satie es eso, un sueño. también una rareza. uno de esos discos flotantes-milagro que, con apenas un par de instrumentos (timbres y tratamientos sonoros), se contentan con sumergirse en su propio sonido, imposible de ubicar en cualquier estilo y que, por alguna razón, asocio con Enno Vulthuys, Norma Lyon y, sobre todo, con Planeta Imaginario ("Valse Du Chocolate Aux Amandes - 1913"). su reinterpretación trémula, casi fanstasmal, de la obra de Satie, lo convierten en un regalo poético-musical casi imposible de describir: piano clásico y sintetizadores analógicos, notas de piano que aparecen y desaparecen gradualmente creando una atmósfera que te sitúa justo en el corazón del París de principios del sigo XX.

Patricia no hizo nada más, pero tampoco hizo falta. Además, está producido por su compañero de viaje inseparable, Luis Delgado (figura clave en la música experimental/new age española). la foto de la portada del vinilo, la imagen difuminada y casual de Patricia en algo que parece un jardín botánico, o el interior de una estación de tren, cual figura inintencionadamente fantasmagórica, me produce la misma sensación que la foto de la portada de Spiderland que hizo Will Oldham: quizás porque son momentos aparentemente intrascendentes en los que, no sé por qué, hay un profundo misterio.

si hubiese que hacer un ranking de discos imprescindibles y especiales a los que siempre vuelvo iría encabezado por Plantasia de Mort Garson, Norma Lyon o Cults Percussion Ensamble. o los tres a la vez. Patricia Escudero (es gallega) también estaría allí, entre los diez primeros. también cap n' jack o valerie webb & paul labrecque. curiosamente, casi todos ellos comparten la peculiaridad de haber sido sus únicos discos publicados. quién pudiera tener esa copia firmada por la propia Patricia: "para el kastillo de las lágrimas".

filed under: discos que nunca caerán en el olvido.

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molero

2024-02-09T20:57:00.001+00:00

molero - ficciones del trópico (holuzam, vinyl 2020)

"Born in Maracaibo, Venezuela, Alexander Molero is no stranger to the exotic idealism that westerners have towards South America. A move to Barcelona a few years ago gave him new notions of how the Amazon was imagined by the west. The inspiration for this record came from the book by Anton Goering "Vom tropischen Tieflande bis zum ewigen Schnee" and was also influenced by the writings of Victor Segalen and the visions of Werner Herzog in “Fitzcarraldo” and “Aguirre”. The way that these artists explored and romanticised ideas of the unknown were the trigger for the creation of the sounds heard in “Ficciones Del Trópico".

Using a Yamaha CS-60 Synthesizer, Molero creates an enigmatic and utopian voyage inspired by the tropical and exotic desire of European’s first contact with these foreign and unexplored sites. For his first record, he wanted to create soundscapes for the wilderness reminiscent of the European explorers that faced the unknown and beyond of the Amazon forest in the 19th century. Eight pieces, 44 minutes, with titles referencing birds, animals and landscapes that simulate a continuous discovery.

The spirited patterns of the pieces invite you into Molero’s mind and to explore the way his imagination materialises into sound. Developed and recorded during 2017 and 2018, “Ficciones del Trópico” resonates references and soundscapes that Molero has conceptualised over the last decade.

The constant structure and rhythms created a unique – and continuous – sound-aesthetic. Molero’s tropical fiction is like diving into the sea with Jürgen Müller, exploring Alpha Centauri with Tangerine Dream or building new exotica through the lens of Mike Cooper. But this time everything happens in a jungle.

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manoir molle

2024-02-03T17:45:00.003+00:00

manoir molle ~ accords (pylône éditions, 2024)

"The manoir molle makes music like the hive make honey. Like a house makes dust. Like the sky makes rain. It doesn’t have any doors, only many open windows. The manoir molle is a see-through flag, drooping in the wind. Threads loop in and out. And under this shroud, a hand-carved orchestra of air.“accords” compiles twelve unreleased tracks from Manoir Molle, French microtonal electronic composer & half of the mysterious Jean-Marie Mercimek. More than crumbs, these are whirring sentient vignettes, a bee swarm of dripping wax, dancing shadows in the funhouse mirror." -twjr

para qué añadir nada más a la preciosa descripción de turner williams jr (autor de ese sol amarillo radiante de "ensoleillée" en les disques omnison). pylône éditions es su nuevo sello y viendo la primera cinta de cassette que ha escogido para inaugurarlo no tengo duda de que nos deparará muchas alegrías musicales. ¿quién es manoir molle (en realidad Marion Molle)? la voz es la de una chica que, aunque la cinta es sobre todo instrumental, a veces canta en francés. turner dice que “accords” recopila doce temas inéditos de Manoir Molle, compositora electrónica microtonal francesa y la mitad del misterioso Jean-Marie Mercimek ('nocturne 2'!, 'la flourenn'!) junto a Ronan Riou.

suena 'un jour' y me derrito. piano, instrumentos de viento que no logro reconocer. todo muy lo-fi. es como una versión particularmente acústica y abstracta de los discos submarinos de los años 70 ('imprimante'). pienso en la simpar miaux, daphne oram, laurie anderson ('fecrier') e incluso, sin parecerse en realidad, en la abuelita islandesa sigríður níelsdóttir (cuya cinta grandma lo-fi / the basement tapes tanto nos gustó allá por el 2011). será porque manoir mulle, efectivamente, hace música como en la colmena se hace la miel, y pienso en miaux cuando me la imaginaba componiendo melodías extraterrestres mientras preparaba tartas de manzana vestida con un traje antiavispas. también pienso en günter (escuchad cómo se cuela algo parecido a un sinte modular y esa flautilla tan Les Halles en 'remedium'), en las orquestas callejeras, en los órganos vetustos de pierre palla y en las fotos y portadas que reposan sobre tapetes de ganchillo. esas extrañas asociaciones que hacen que ciertas músicas vayan siempre unidas.

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torso

2024-02-01T20:37:00.001+00:00

torso ~ set out (ozato record, 2019)

Spirits of earth and air push and pull in this set of gloriously rich and involving pieces for flute, cello, sax and tapes.

Some music makes you aware that it is only really made of moving air. Droning or rattling, shaking against your eardrum or snaking past it, sound happens between moving objects and the waiting air. This collection of layered duets between kenji (sax and flute) and Orie (cello), give you exactly that feeling. The Cello, thick and earthy, full of warm resonance, is a hard packed floor for the sunny, glassy flute to move over. While fine details are filled in by glockenspiel, wordless vocals and sympathetic electronics.

If this description (and quick glance at the cover) makes you think you’re about to hear some worthy and ‘good for you’ full fibre improv noodling, think again. Set Out is a deeply addictive record full of stretched, looping melodies informed by indie pop structures and an aching Europe-endless cafe music sadness. Fans of Mama!milk, Maher Shalal Hash Baz, Sylvia Tarozzi and Penguin Cafe orchestra take note. Magic." all night flight

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green-house

2024-01-30T18:22:00.000+00:00

green-house ~ a host for all kinds of life (leaving records, 2023)

sé que son muchas las veces que utilizo el término "library music" para describir un disco, y que también son muchas veces las que he dicho a lo largo de estos años... disco del año, de la vida. pero, es que Green-House han creado algo demasiado especial y bonito, un mensaje a modo de protesta pacífica en la que nos invitan a reconectar con la naturaleza. la sinergia entre música, concepto y portada (y library music!) es muy fuerte.

también sé que el término library music, o "música para plantas", ha estado revoloteando desde hace ya mucho tiempo y que casi todos nos hemos enamorado de 'plantasia'. pero en "a host for all kinds of life", Olive y Michael capturan y evocan la esencia misma de esa época mágica y muy especialmente de ese disco. en los primeros segundos de "coquina" (piedra sedimentaria formada a partir de fragmentos de cientos de organismos, "símbolo de la necesidad de coexistencia en un mismo planeta" ), ya se produce una serenidad indescriptible, una especie de nirvana emocional a golpe de flautilla cual vinilo marino de Bruton. "desire path"es preciosa, todas lo son, pero para "castle song" no tengo palabras..tampoco para la que da título al disco. me viene a la cabeza Raymond Scott, "crystal waves" de David Casper, "green" de Hiroshi Yoshimura, pero sobre todo "el planeta olvidado" de Nino Nardini. en "far more other" y en "everything is okay" caigo redonda: pura melodía y melancolía que revela infinitos detalles cada vez que la escuchas. grabaciones de campo ("lunar clipper" ese crescendo...uf), sintetizadores casio ("utopian synth work" dice Olive), piano, theremin, kalimbas. toda una demostración de que todavía es necesario envolver las lecciones vitales con fantasía y sonidos purificantes para creernos los males que nos acechan, como en los cuentos para niños. aun así, el mensaje 'eco-ambiental' de Michael y Olive sigue siendo de aliento y esperanza. everything is okay. (en su cinta 'Six Songs for Invisible Gardens' incluían semillas silvestres para que las esparciéramos. ¿puede haber un detalle más bonito que ese?)

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"En una era de caos climático desenfrenado provocado por el hombre, la “solastalgia” (el anhelo y la angustia que experimentan las personas como respuesta al cambio o la degradación ambiental) surgió como un concepto útil y semiviral: un término general para referirse a la sensación generalizada de que el mundo, tal y como lo conocemos, no está bien, y cada vez menos. Pero, para muchos de nosotros, existe un problema, una trampa, un vacío ineficaz en el meollo mismo de este concepto/premisa: ¿cómo podemos lamentar (o incluso sentir la pérdida de) aquello que nunca hemos conocido? Especialmente para los urbanitas de toda la vida alejados de la naturaleza que, sin embargo, comprenden la gravedad y complejidad del problema: ¿cómo podrían recordarlo? ¿Cómo podrían lamentarse? Quizás de manera indirecta, es decir, de manera orientativa y no dogmática, Green-House, un proyecto nacido por Olive Ardizoni y ahora un dúo con su viejo amigo, colaborador y confidente Michael Flanagan, busca abordar esta brecha en comprensión.

Six Songs for Invisible Gardens, el EP debut de Green-House cuyo lanzamiento en 2020 coincidió con el confinamiento de Covid-19, respondió a la angustia desenfrenada de la vida humana y vegetal, especialmente en áreas no rurales. La cinta de cassette incluía semillas de flores silvestres para que el oyente las esparciera. Ese gesto (a la vez simple y en consonancia, especialmente si se considera el elemento logístico) existe como testimonio de la sinceridad y seriedad de las convicciones de Ardizoni. En 2021 siguió Music for Living Spaces, el primer LP de Green-House, un refinamiento de la fórmula que consagró Six Songs como un éxito ecológico y de culto. Lanzado el 13 de octubre de 2023 en Leaving Records, regresaron con el LP A Host For All Kinds of Life, una tercera entrada en una serie de lanzamientos cuyos títulos, por cierto, giraron en torno a la construcción "para": un canon no oficial de propuestas, o quizás más bien instrucciones, sobre cómo la música contenida en él podría y debería actuar en la vida del oyente y en sus “espacios vitales”.

A Host For All Kinds of Life, el disco más expansivo de Green-House (ya solo por el título del LP y la portada caleidoscópica y fractal diseñada por Flanagan), cuestiona la noción misma de “música ambiental” ¿Qué pasa si la aparente delicadeza de una canción constituye su punto mordaz? ¿Qué pasaría si el placer contemplativo y tranquilo pudiera cambiar radicalmente nuestra forma de pensar, nuestro propio papel como sujetos mundanos? Basándose en las obras de Lynn Margulis y nuestra creciente comprensión del papel evolutivo del mutualismo biológico (asociaciones entre especies en las que ambas se benefician), A Host For All Kinds of Life es una suite de canciones profundamente arraigada y con bases políticas. Y, de hecho, aquí hay canciones diferenciadas, con estructura, impulso e influencia definidos; fíjate en el arabesco melódico que evoca los dorados años sesenta de “Everything is Okay” (que, por cierto, termina con la única voz humana del lanzamiento: un tierno mensaje que su madre le dejó a Ardizoni).

Ardizoni habla a menudo del papel tan importante de la alegría: que la existencia misma de Green-House se remonta a una decisión consciente que tomaron no sólo de elegir la alegría como un acto de rebelión, sino también de encontrar esa alegría en cualquier planta a la que pudieran acceder en su entorno más cercano. En este sentido, todos los discos de Green-House (y especialmente A Host for All Kinds of Life) encarnan una radicalidad que puede alejar al oyente casual o primerizo. Elegir, modelar y expresar alegría en un mundo enfermo requiere valentía, una valentía que debe guardarse celosamente y reponerse constantemente. Anima al oyente a reducir el ritmo, hacer un balance, sintonizarse con el mundo que le rodea y reunir coraje y alegría frente a la incertidumbre que se avecina." leaving records

"In an era of rampant, man-made climate chaos, “solastalgia” (the longing and distress experienced by individuals as a response to environmental change/degradation) has emerged as a useful, semi-viral concept — a catch-all term for the pervasive sense that the world as we know it is far from well, and only growing less so. But, for many of us, a problem, a trap, an ineffable hollowness, exists at the very crux of this concept/premise: how can we mourn (or even sense the loss of) that which we have never known? Especially for lifelong urbanites estranged from nature, who nevertheless grasp the severity and complexity of the problem—how might they remember? How might they mourn? Perhaps indirectly—that is to say, in an exploratory and non-dogmatic fashion—Green-House, a project birthed by Olive Ardizoni and now officially a duo project featuring long-time collaborator and confidant, Michael Flanagan, seeks to address this gap in understanding.

Six Songs for Invisible Gardens, the debut Green-House EP whose 2020 release coincided with the depths of Covid-19 “lockdown,” responded to the rampant heartsickness of human and plant life, especially in non-rural areas. The packaging of the cassette release famously included wildflower seeds for the listener to scatter. This gesture (at once simple and daring, especially when one considers the logistical element) exists as testament to the sincerity and seriousness of Ardizoni’s convictions. Music for Living Spaces, the first full-length Green-House LP, followed in 2021— a refinement of the formula that enshrined Six Songs as a cult, eco-ambient hit. Out October 13, 2023 on Leaving Records, they have returned with the LP A Host For All Kinds of Life, a third entry in a series of releases whose titles have incidentally all revolved around the “for” construction: an unofficial canon of offerings, or maybe rather instructions as to how the music contained therein might, could, and should operate in/on the listener’s life and “living space(s).

”Decidedly the most expansive Green-House release — one need only consider the LP’s title and the kaleidoscopic, fractal cover art designed by Flanagan—A Host For All Kinds of Life troubles the very notion of “ambient music,” a category with whom Green-House has always existed in some degree of tension. What if a song’s seeming softness constitutes its biting edge? What if easeful, contemplative pleasure can radically alter our mindset? Our very role as worldly subjects? Drawing on the works of Lynn Margulis and our burgeoning understanding of the evolutionary role of biological mutualism (associations between species in which both species benefit), A Host For All Kinds of Life is a deeply entrenched and politically grounded song suite. And there are indeed discrete songs here, with defined structure, momentum, and sway; see the gilded, sixties-evoking melodic arabesque of the record’s ninth and penultimate track, “Everything is Okay” (which incidentally ends with the release’s only human voice—a tender message left for Ardizoni by their mother).

In conversation, Ardizoni speaks often of the centrality of joy—that Green-House’s very existence can be traced to a conscious decision they made to not only choose joy as an act of rebellion, but to find that joy in whatever plant life they could access in their immediate environment. In this sense, all of Green-House’s releases (and A Host for All Kinds of Life especially) embody a radicality that may elude the casual or first-time listener. To choose, model, and express joy in an ailing world requires courage, a courage that must be jealously guarded and constantly replenished. A Host For all Kinds of Life encourages the listener to slow down, take stock, tune in to the more-than-human world around them, and gather their courage and joy in light of the uncertainty to come."

orphan fairytale / nico georis

2024-01-29T20:13:00.006+00:00

orphan fairytale ~ tune in tree ears ((K-RAA-K)³, 2023)

"Eva Van Deuren has been wayfaring as Orphan Fairytale for the past 15 years and counting. With her electronic psychedelia that deftly teeters between the bubbly and the eerie, Van Deuren is a prolific presence in our spheres and her music is a constant which irrefutably touches and enchants all those who encounter it. Over the past few years she has integrated the Celtic harp into her repertoire, crafting new sounds that seamlessly meld into the narrative of her unique sonic trajectory.

Tune In Tree Ears, Orphan Fairytale’s first LP on KRAAK, presents these harp pieces that were first heard in the context of open air concerts in the summer, where the delicate melodies could float into the trees above and soar beyond to spaces unhindered. The ancestral character of the instrument adds new depths to an already complex musical universe that has always embraced tragedy and fantasy in equal measures. A bridge between the electronic elements that always defined her sound and a new direction born from a deep connection with earthly elements, Tune In Tree Ears brims with a wistfulness that uncovers new directions in Orphan Fairytale’s ever-unfolding dream world, allowing it to flourish through the natural extension of paths already paved. Released in tandem with Titania Moon, Orphan Fairytale’s latest hippietronic venture on Ultra Eczema!"

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nico georis - cloud suites (leaving records, 2003)

"California’s Nico Georis has always straddled (or, rather, negotiated) multiple dimensions. As a child, Georis flitted between the rigors of classical training and DIY experimentation—studying under a disciple of Franz Lizst (a mentorship that would enshrine the piano as his primary instrument), then squirreling away to the basement of his childhood home, strewn as it was with his father’s instruments and home-audio equipment, to play and record freely. Despite his evident virtuosity as a trained pianist, Georis has, across numerous projects, stints, incarnations, and chapters, persisted in this gentle and exploratory approach to music-making. Foregoing the pursuit of technical mastery and acclaim within the confines of the contemporary classical world, he has dedicated his talents to songcraft, broadly-defined — channeling unseen (or inaugurating altogether new) worlds through melody and repetition.

Conceived after an isolating, five-year struggle with a severe case of Lyme disease, Cloud Suites (out June 9th on Leaving Records) documents Georis’s initial return to experimental ambient keyboard compositions. Conceptually, there is little ambiguity here: the songs—the “suites”—are clouds, or, rather, reflections of clouds, each named after a particular formation. Track titles range from the meteorologically specific to the expressive: “Cumuloids,” “Sundog,” and “Soft Yellow Gazers.” Georis composed the suites in real-time, peering out the windows of his Big Sur cabin-home/recording studio (dubbed The Sky Shed), responding improvisationally to render specific clouds as music—in effect to pluck them from the sky. Georis has referred to this process as a kind of musical game, and, indeed, its end product conveys the recurring and joyful revelations of play."

me encantan estos dos discos. me encanta que nico georis sea al piano lo que orphan fairytale al harpa. me encanta los rosas y los azules algodonosos de las portadas y que la música encaje perfectamente con ellas (es música para levitar, literalmente). me encanta visualizar las delicadas melodías de 'tune in tree ears' flotando entre los árboles porque son grabaciones de conciertos al aire libre. incluso me encanta que 'cloud suites' esté agotado. y me encanta haber descubierto elmuelle1931, una pequeña tienda de santiago, y haber podido ver, tocar y llevarme a casa el disco de orphan fairytale. la voz etérea de eva van deuren, el harpa en cascada, los sintes modulares, una guitarra, melodías absolutamente hermosas y melancólicas ('vlinder en vleermuis' no es de este mundo, 'aeolus', tan Miaux, tampoco), instrumentos destinados a evocar bosques mágicos. hay un profundo misterio y un gran cuidado en la composición y es, para mí, lo más bonito que ha hecho nunca Eva van Deuren.

escuchar el piano de Nico Georis me produce el mismo estado de ánimo que escuchar un disco de library music de los años 70, o a Norma Lyon...es una auténtica barbaridad. 'soft purple gazers' suena como un extraño preludio instrumental. hay una calidad elemental y sobria en la música que, combinada con todo el ruido superficial del vinilo y las vocecillas folk de 'flight', le dan un tono pastoral e impresionista inexplicable. en 'ice crystals' las teclas del piano se acarician suavemente y me recuerdan las profundidades del océano, grupos de notas de nuevo en cascada, como un banco de peces en movimiento.

Georis, de formación musical clásica (cuenta la leyenda que estudió con un discípulo de Franz Lizst) compuso las suites en tiempo real, mirando por la ventana de su cabaña/estudio de grabación en Big Sur (llamado The Sky Shed), de forma improvisada, convirtiendo las formas de las nubes en música, como si las arrancase del cielo. para él, una especie de juego musical. para mí, un disco flotante e ingrávido que siempre irá unido a 'tune in tree ears' de orphan fairytale.

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golden pear

2024-01-27T22:59:00.001+00:00

omni gardens ~ golden pear (moon glyph, 2023)

"moon glyph records head Steve Rosborough returns as Omni Gardens with a brand new album entitled “Golden Pear”. The fuzzy, warm and buoyant moog timbres of “Moss King” return but “Golden Pear” is a dreamier and more lush affair; incorporating a wider palette including mellotron flutes, vibraphones, marimbas and self-captured field recordings. a tranquil, pop atmosphere permeates the album as the songs flutter between bleary, unhurried tunes, warbly soundscapes and odes to lazy afternoons. created for relaxed home listening, this is “Golden Pear”." ~ moon glyph

the universe of music made [for/inspired by] plants is expanding and moon glyph is definitely a place to go when looking for some organic ambience. you can find music for marshes there, music for corals and other sea creatures, and basically all kinds of sounds to please adventurous cassette music enthusiast. you can as well simply explore our blog as we featured this label on numerous occasions. compared to "Moss King" this album is definitely more ripe and juicy, i can feel how full of nutritional goods it is, how it fills my body with a vital energy. joking-not-joking, but my lemon tree has began to ripen since this cassette came in the mail. you can say it's a coincidence, but i say - natural synchrony! with music like this, it's hard to stay skeptic, no matter where exactly you are on the New Age coordinates. it simply leaves you no chance to wither but fills with warmth and joy. i'd even go further into nutrition analogy and say that if "you are what you eat", then same applies to what you hear. so while you play this tape for your plants or make a breakfast listening to it, you may also notice that if you yourself stay hydrated, get enough sunlight and fresh air ~ the world starts looking like a pretty good place.

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food people

2024-01-25T17:33:00.002+00:00

food people ~ luminous immediate (glarc, 2023)

"Luminous Immediate is eight songs of wind, string, whistle, tape manipulation, poems and field recordings. At times the album feels quite emotionally convivial, small glances of support and wordless encouragement, a riff like a ruffle of the hair. At other points the songs become disquieting, sinister, the early morning dialogues of a an anxious brain, whirring its way through recent conversations (lots of words now). Throughout, Luminous Immediate invites you into the songs and their process - several hands stirring the pot – a beautiful tomographic snapshot of Food People's back-garden compost."

transportada a los good old days de second family band, davenport, ...escuchad si no 'candle in the bovine eye' o 'summer flume'. o el sentimiento 'estamos flotando en el espacio rural' de la preciosísima 'light hazzles' (guitarra acústica a muy baja fidelidad, samples de una voz femenina, shep and me meets child of microtones). cinta que destila melancolía y de la que no te apetece salir: "ocho canciones de viento, cuerda, silbato, manipulación de cintas, poesía y grabaciones de campo."

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