T.v Hecker

The latest by Canadian composer Tim Hecker serves as a beacon of unease against the deluge of false positive corporate ambient currently in vogue. Whether taken as warning or promise, No Highs delivers – this is music of austerity and ambiguity, purgatorial and seasick. A jagged anti-relaxant for our medicated age, rough-hewn and undefined.

In the three years that have passed since the release of Ghostly's Idol Tryouts compilation, Ghostly and its brother label Spectral Sound have brached out beyond their roots in Ann Arbor under the guidance of Sam Valenti IV, who has built a shamelessly diverse roster of artists from around the globe. Idol Tryouts Two is an expansive document of this maturation, offering a plentitude of exclusive material separated into two discs distinguished as Avant-Pop and SMM.
Avant-Pop denotes a distinct brand of off-center pop treasures - it follows no formula, but you know it when you hear it. On this disc, exclusive tracks from Skeletons & The Girl-Faced Boys, Mobius Band, and the rest of the Ghostly roster document the crossroads where the avant-garde and the popular converge…

One of the most renowned and uncompromising entities working in 21st century avant-garde Arab-Levantine art and music, Jerusalem In My Heart presents a new album of vital and haunting electronics and electroacoustics, framed by founder and producer Radwan Ghazi Moumneh’s spoken and sung Arabic, buzuk-playing and sound design. Qalaq is the most distilled, variegated and finely wrought Jerusalem In My Heart album to date – featuring a different guest/collaborator on every track, yet as cohesive, emotionally resonant, sonically adventurous and narratively powerful as any release in JIMH’s celebrated discography. Guests across the album's 13 tracks include Moor Mother, Tim Hecker, Lucrecia Dalt, Greg Fox, Beirut, Alanis Obomsawin, Rabih Beaini and many more.

Yes, it sounds crazy to make yet another recording of Schubert's Trout Quintet a "reference recording", particularly given the number of really good ones already in circulation. Never mind. There is no finer performance available, and certainly none better recorded: gorgeous, perfectly natural sound whether in regular stereo or SACD surround-sound. So what makes this performance so special? First, and speaking generally, this has got to be one of the most shapely, elegant, and effortlessly flowing versions ever committed to disc.

Purveyors of contemporary ambient and electronic inspired music, A Winged Victory for the Sullen make a bold return on new album “The Undivided Five”. The pair, made up of Dustin O’Halloran and Adam Wiltzie, have created iconic film scores and forward-thinking ambient groups, releasing a series of game-changing records for Erased Tapes and Kranky. On “The Undivided Five” they rekindle their unique partnership for only their second piece of original music outside of film, TV and stage commissions, creating an album that channels ritual, higher powers and unspoken creative energies. Their fifth release (following their debut album, two scores and an EP), they embraced the serendipitous role of the number five, inspired by artist Hilma af Klint and the recurrence of the perfect fifth chord.

Montreal-based Frenchman Olivier Alary is a highly talented composer, who has previously collaborated with Bjork and released albums on FatCat and Aphex Twin's Rephlex label under the name Ensemble, Over the past five or six years Olivier has moved away from that song-based project to focus on composing material for a stream of films and artistic collaborations. In 2007, Olivier's director friend Yung Chang asked him to score his feature-length debut, 'Up the Yangtze' which premiered at Sundance. The film was critically acclaimed and became a reference in the field, opening up a natural transition into film music for Olivier. Since then he has soundtracked more than twenty feature-length fiction films and documentaries, several of which have received prestigious awards and screenings worldwide (Cannes, Berlinale, Sundance, TIFF, Locarno). As the album title alludes, 'Fiction / Non-Fiction' is a compilation of this film music, dating from from the past five years, none of which has been previously released.

After Jeff and Steven McDonald reconvened Redd Kross in 2006 (with the late-'80s line-up of guitarist Robert Hecker and drummer Roy McDonald), they seemed content to play the occasional festival show or short tour. For Redd Kross fans waiting for more music, it looked like 1997's Show World might be it as far as new albums went. The brothers had a trick up their sleeve, though, and in 2012 they released Researching the Blues, a self-produced album that not only continues their stellar recorded legacy but gives it an electric boost…

Fossil Aerosol Mining Project - Scaath Catfish (2020) {Helen Scarsdale Agency ADM24}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 247 Mb | MP3 @320 -> 121 Mb
Full Artwork @ 600 dpi (jpg) -> 69 Mb | 5% repair rar
© 2020 Helen Scarsdale Agency | ADM24
Experimental / Electronic / Ambient / Abstract / Modern Classical / Sound Art

Songs about the river are a common trope in the history of music. Psalms of being cleansed, being baptized, being redeemed. There are ballads of murder, lost love, jealousy, and all sorts of rank human emotion reflected in the surface of the water. Respect, praise, and worship of the river are other themes often channeled through music as well. Even in the realm of ambient music, digital mimesis of the aquatic is commonplace. Fossil Aerosol Mining Project, in their ongoing archaeological approach to a post-industrial sound design, offers their own variant on this topic with considerable differences. It is not only the sediment, the debris, the waste, the scum, the mud, and the rot that are the source materials in Scaath Catfish, but also what is preserved in those elements and new forms of life fostered in this conceptual framework.