d_rradio ::: parts

d_rradio ::: parts
Genre : Classic, Ambient, Electronic

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1. Fading Stars I
2. Better Left Alone
3. Midnight On A Moonless Night
4. Still In A Storm
5. Through Broken Rushes
6. Drawing In The Dark
7. Fading Stars II
8. Parts
9. Death Of The Fair Green Veil
10. See For The Last Time
11. Easy To Fall
12. Ruins Of A Wall Of Sound
13. End Of A Wild Life
14. Up By The Roots
15. Under The Lake Bed
16. The Immense Quiet Of The Dark Blue
17. The Right Way To Lie
18. Rain On The Rocks
19. Returns

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South Shields electronic trio d_rradio return for a brand new album on Distraction Records, and it marks a bit of a change in style. The unassumingly titled Parts takes on a kind of vintage, ghostly ambient feel that at various points brings to mind the likes of Philip Jeck, Leyland Kirby, Janek Schaefer and Klimek. The mention of those sorts of names instantly summons up images of old 78s, cinematic orchestral plunderings and buzzwords that already feel a little past-it and overused like 'hauntology'. In all fairness though, these are all pretty apt points of reference. With this latest long-player d_rradio have masterfully taken hold of that particular sub-section of the ambient genre, drawing you into a sepia-tinted, slightly out of focus musical universe that's full of crackle, surface noise and eerie romance. As Parts unfolds it becomes fairly clear that this is a more immediately listenable and accessible outing than anything you'd encounter by most of those artists mentioned above, but it is a vividly coherent and atmospheric record that's easy to recommend - even to listeners who don't normally find themselves drawn to ambient music.

Monokle ::: Brittle

Monokle ::: Brittle
Genre : Ambient, Electronic

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01/ Floes 05:39
02/ Gray Sparks 05:17
03/ Ferry 06:18
04/ Brook

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A pack of truly emotional ambient tracks, the depth of which is complemented by live instruments filtering through the limpid synthetic atmosphere.

Marcus Fischer ::: Monocoastal

Marcus Fischer ::: Monocoastal
Genre : Classic, Ambient, Electronic

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01. Wave Atlas
02. Mossbank
03. Monocoastal 1
04. Cascadia Obscura
05. Wind and Wake
06. Shape To Shore
07. Between Narrow and Small
08. Monocoastal 2

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Markus Fischer joins the illustrious ranks who've appeared on Taylor Deupree's excellent 12k label, presenting a supremely delicate solo debut. He cites his movements up and down the West coast of America during the last two decades as a major influence on his sound, infusing frayed, fractured and quietly restrained compositions with field recordings and allowing lo-fi noise textures to creep and grow around both the artificial and natural sounds like tiny little organisms which slowly catalyse the whole thing into life. Fischer uses an array of battered, salvaged pianos, a xylophone made of wrenches and other unnamed physical ephemera to create harmonic blurs and the kind of gaseous tones you can almost taste on the tip of the tongue. Like Taylor Deupree's 'Shoals', Solo Andata's s/t album or Seaworthy + Matt Rösner's latest, DSP and obvious use of synthesis are shunned in favour of a warmer, more organic sensation and use of actual physical space and reverb settings to shape his faded polaroid environments.

Yasushi Yoshida ::: Grateful Goodbye

Yasushi Yoshida ::: Grateful Goodbye
Genre : Classic, Ambient, Electronic

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1. Let Go (01:21)
2. Grateful Goodbye (06:52)
3. Staircase (05:39)
4. Embrace Calm Music (05:42)
5. Remembering (00:27)
6. Pieces Of Last Scene Brilliance (03:37)
7. Departure Music (01:29)
8. Round And Chord (01:30)
9. Slow Bird Wonder Words (07:36)
10. Chromatic Chronicle (06:20)
11. For Everything Calm Embrace (03:39)

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Two and a half years from his previous album, “Little Grace”, a breathtakingly beautiful shower of instrumental music with ringing sounds of live instruments performed with film-like eloquence, Yasushi Yoshida will release his newest album, “Grateful Goodbye” from noble label.

Yasushi Yoshida’s music style like a storybook that breathes life into the images of the scene in the listener’s mind has led the way to many collaborations in the area of visual arts including dance, theater, and film. In his third album, “Grateful Goodbye”, each of the tracks have been composed around the concept, “stories of farewell.” A story unfolds in every song, coming together like a puzzle to form one grand story in the end. “Farewells” are captured from different angles and the flowing, three dimensional execution of the stories speak well of the artist’s talent as a story teller.

In orchestration, the style of the previous album has evolved further and now features a vast lineup of live instruments such as guitar, bass, flute, and trumpet composed around the piano, cello, and violin. Approaches like chamber music, dynamic orchestra ensembles, and their emotional melody are not only inspiring but the level of completion and the superior power of expression together prove the sure evolution of Yoshida’s music. Though tranquil and melancholy in mood, the album brings to mind positive images of dynamism and life. It is not a film score. It is not classical music. It is not post-rock. It is pure and beautiful music at its best. A “Grateful Goodbye” to all those living. A masterpiece by Yasushi Yoshida.

Yui Onodera & Celer ::: Generic City

Yui Onodera & Celer ::: Generic City
Genre :

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01.An Imaginary Tale Of Lost Vernacular 16:55
02.Waiting Until Something Else Happens 11:52
03.The Street Of A Rainy, Gray Day 09:15
04.A Renewed Awareness Of Home 09:49

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Celer's archival output over recent times has been prolific to say the least, and now Will Long (one-half of the duo) sets up his own label, Two Acorns. For this new imprint's inaugural release Celer collaborated with Japanese artist Yui Onodera, with mastering duties performed by 12k boss Taylor Deupree. While much of the established Celer sound centres upon thoughtful, droning austerity this album is given a very different shape by extensive field recording work from both Los Angeles and Japaninvolved. Woven into this tapestry of environmental sounds and floating tonality you'll hear migratory birds, ice breaking on a frozen lake, temple bells and sounds made by people in restaurants or on public transport systems. It's becoming difficult to keep up with Celer's release schedule, but it's still well worth trying to maintain pace - Generic City benefits from Onodera's additional pair of ears, and the final mix strikes up a deftly poised balance between beautiful ambience and more revelatory acousmatic material; in its finest moments Generic City offers an absorbing, occasionally hallucinatory portal into the audio topography of urban spaces.

Upward arrows ::: Upward arrows

Upward arrows ::: Upward arrows
Genre : Electroacoustic, Ambient

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01 - ^ - 2010
02 - ^^ - 2010
03 - ^^^ - 2010
04 - ^^^^ - 2010
05 - ^^^^^ - 2010
06 - ^^^^^^ - 2010
07 - ^^^^^^^ - 2010
08 - ^^^^^^^^ - 2010
09 - ^^^^^^^^^ - 2010
10 - ^^^^^^^^^^ - 2010

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Part Timer's John McCaffrey unveils a new guise for the Under The Spire, delivering an album specifically with that label's agenda in mind. Even the project's name references Under The Spire: "the name Upward Arrows is an allusion to the thousands of church spires that pepper the world, all pointing upwards like arrows aimed at the sky" says McCaffrey. In musical terms McCaffrey has adapted his musical strategy to what he perceives as in-keeping with the Under The Spire sound, venturing into the border territories between the modern classical and ambient genres. Taking as his starting point unfinished pieces from his hard drive, field recordings and even sounds provided by William Ryan Fritch (a contributor to Asthmatic Kitty's Library Catalog Music Series) and the Fourplay String Quartet, McCaffrey takes a step in a new direction without totally abandoning the tone of his established oeuvre. You'll still hear snatches of the kind of fluttering, processed guitars you'd find on a Part Timer record, and a similarly warm, melodious atmosphere is conjured along the way, but Upward Arrows feels a little more ambitious, embracing hazy, Tim Hecker-like expanses of reverb and a kind of slow, stately orchestral feel that at times recalls Stars Of The Lid. Delightful stuff that's sure to please both Part Timer and UtS fans.

Part Timer ::: Real to Reel

Part Timer ::: Real to Reel
Genre : Electroacoustic, Ambient, Experimental

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1. The Distance Between One (feat. Danielle McCaffrey)
2. Campsite Sundown
3. Unfound (feat. Heidi Elva and Aaron Martin)
4. A Long Inhalation
5. Suspended Belief
6. The Runner (feat. Heidi Elva and Aaron Martin)
7. Where We Used To Go (feat. Nicola Hodgkinson and Aaron Martin)
8. Interalia (feat. Aaron Martin)
9. In Your Hand
10. Untold, Unfold (feat. Danielle McCaffrey)
11. It’s A Storm
12. Never Meant To Be (feat. Heidi Elva and Aaron Martin)
13. Taken Along Quietly

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Brand new album of folk-tinged electronic love songs featuring contributions from Nicola Hodgkinson, aka Empress, Aaron Martin and Heidi Elva on vocals and harp* Starting out as a member of sorely missed Northern duo Clickits, John McCaffrey has redefined himself over the last few years as a prime purveyor of beautiful, folk-tinged electronic love songs. Yes, songs, I said it – these three-to-four minute slices of bliss are far from the directionless vignettes you might expect from an ‘electronic musician’, they have a beginning, middle, end and even choruses. Who’d have thought? The impeccable production McCaffrey has exhibited throughout his career is utilized here maybe better than ever before. Nicola Hodgkinson (aka Empress) and John’s wife Danielle each contribute vocals which wisp graciously over McCaffrey’s stuttering percussion and staccato string plucks like billows of smoke from a French cigarette. It is Empress who I might say is the best reference point here, it’s been a while since we've heard her bleak tones on record and they're matched beautifully by McCaffrey's productions -coming across as both painfully sad and delicately optimistic. Let Part Timer wrap you up in dusty ¼” tape and sink into a deep blissful state...

IJO - Delay Preform

IJO - Delay Preform
Genre : Electronic, IDM,

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1 Kemmu 4:22
2 Tier Valey 4:53
3 Mille Teck 4:56
4 Sunler 4:56
5 Mountains Of Peru 3:09
6 Forey 5:54
7 Coscom 5:15
8 Huntig Pletoria 3:51

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Console - Herself

Console - Herself
Genre : Electronic

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01 She Saw
02 A Homeless Ghost
03 Walking The Equator
04 Cutting Time
05 Bit For Bit
06 Dropped Down
07 Upon
08 Her Eyes
09 Leaving A Century
10 Of Time
11 For Herself

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Tuluum Shimmering - Heart Of Sky Heart Of Earth

Tuluum Shimmering - Heart Of Sky Heart Of Earth
Genre : Ambient, Drone, Experimental,

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01 – Heart Of Sky Heart Of Earth A
02 – Heart Of Sky Heart Of Earth B

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Brian mcbride ::: The effective disconnect

Brian mcbride ::: The effective disconnect
Genre : Ambient, Electronic

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01 – melodrames telegraphies (in b major 7th) part 1
02 – melodrames telegraphies (in b major 7th) part 2
03 – girl nap
04 – several tries (in an unelevated style)
05 – supposed essay on the piano (b major piano adagietto)
06 – toil theme part 1
07 – toil theme part 2
08 – toil theme part 3
09 – beekeepers vs warfare chemicals
10 – i know that you don’t like the future like i do
11 – chamber minuet

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From Brian McBride: When George and Myriam approached me to compose for their film they suggested I concentrate on four different themes: the gloriousness of the bees, the endurance and hardships of traditional beekeepers, pesticides and the holistic nature of non-industrial agriculture. I was especially intrigued with the idea of combining some of their mournful aspirations with something more serene. Composing began in May of 2009. I had decided to start fresh not using anything that I had already recorded. Preparing the music for the film, I knew that I needed to provide more built-in changes in the structure of the pieces to give George and Myriam more flexibility. As I worked, I purposely distanced myself from the more continuous architecture employed in my previous recordings in favor of several mini-suites. In the thinking about the music, I hoped that the pieces would do justice to the 'gloriousness of the bees' theme, striving for a more overt hopeful quality. But old traditions die-hard and the hopeful side of the music was eventually more subsumed by the lamentable. I should also mention that if you have seen the film, this record will not contain all the music used and scored for this film. I am incredibly honored to be a part of this project even if the final compositions turned out to be more appropriate for a different and more forlorn film. I know you have a lot to think about in this world but if you care about food or the world around us, you deserve to at least consider the arguments within this honest and real piece of film-making.