Today’s SOUNDWAVE features a mix of select tracks from Paleowolf!
I’ve been sitting on a handful of mixes since I invited guest deejays on SOUNDWAVE. If they were going to be generous with their time and efforts to send me a mix then I could be patient and release my own mixes on a later date. And at long last I can finally share with you today's mix of select tracks from Paleowolf.
I got turned on to Paleowolf when Warren Ellisraved about Paleowolf’s album, Megafauna Rituals. I’ve been waiting for an album like Megafauna Rituals for decades since listening to Brian Eno’s Ambient 4: On Land album. Yes, yes, I know that album is an imaginary soundscape the captures the essence of Eno’s England but I didn't know that when I first heard it. To me On Land was more of a touchstone to our Paleolithic past.
Speaking of the Paleolithic, Paleowolf’s music is the soundtrack to a lot of Ice Age role playing games such as Würm, Paleomythic and my own homebrew game based on the Strain rule set. You might want to incorporate it into your own game if that’s your bag.
Paleowolf’s new album, Primordial II
Scorpio V is the man behind Paleowolf and I was hoping to have him on the show to be a guest deejay but the guy is busy. After looking at all his releases and side projects I don't think the poor bastard has time to eat or sleep. In fact, as I write this his latest album, Primordial II, will be released November 16. Maybe after this album I can get him to guest deejay on SOUNDWAVE.
Before I head out, I want to turn you on to Ana Roxanne’s new album, Because of a Flower. I’ve been a fan of Ana’s music since her 2020 album, ~~~, so much so that I featured her track, “It’s a Rainy Day On The Cosmic Shore,” on the first edition of SOUNDWAVE.
Join us next week when our guest deejay will be offthesky.
Today on SOUNDWAVE our guest deejay is n5MD recording artist, Daniel McCagh. I’ll talk about Daniel’s mix shortly but first let me tell you about the election that just took place in the U.S.
As I write this Joe Biden has been declared the president-elect of the United States. The vice president-elect is Kamala Harris is the first Indian-American, the first African-American, and the first female vice president in U.S. history. It is so long overdue that someone like Harris becomes a vice president that it took a while for me to recognize the significance of this accomplishment. This should have been the norm a very long time ago. Of course a woman should be a vice president. Of course a woman of color should be vice president. There shouldn’t be anything remarkable about this at all. But here we are at long last.
Here in San Diego the mood is ebullient. There are motorcades, the honking of horns and cheering. You can feel the difference; the joy and the relief. After four years of mendacity, racism, cruelty and incompetence we are ready for a change.
SOUNDWAVE was created as a coping mechanism to the isolation and stress of COVID-19. President Trump and his administration bungled the management of the crisis of COVID-19 so badly that they contributed to the spread of the virus. So badly, in fact, that the Trump administration effectively gave up. I can only hope that Biden’s administration will reign in the virus and accelerate a cure. As Americans we need to get back to our lives and loved ones and we need an economy that will work for everyone.
I’m not naive. I know this presidency will disappoint and outrage me as all other presidencies have in the past. But at least it will be a normal disappointment and outrage and not that nauseating horror show I’ve had to endure for the last four years.
Let’s take a break from politics.
Planet Boelex’s new album, Connect
Planet Boelex is a previous guest deejay on SOUNDWAVE and he has just released and new album called Connect. It’s about as beautiful as you’d expect and you can find it on Bandcamp for the very affordable price of $7.
Want more of Planet Boelex? You can listen to his mix for SOUNDWAVE here or listen to his live set for solipsistic NATION here.
Daniel McCagh
Okay, let’s talk about our guest deejay, Daniel McCagh.
Daniel describes his mix as a collection of some favourite tunes both beautiful and sometimes uncomfortable for deep and immersive listening. It’s the kind of soundscape that’s perfect for the rare rainy day we’re having this weekend in San Diego. After you are done listening to Daniel’s mix you will know that you have just experienced something profound and that you will need time to process it.
Daniel’s mix comes to us by way of Mike Cadoo, the founder of n5MD. I interviewed Mike and featured music from his label on solipsistic NATION some years ago. When I launched SOUNDWAVE I reached out to Mike to do a mix for a show. Mike was busy at the time but suggested that Daniel put together a mix for SOUNDWAVE. Great idea, Mike. Oh, and I still want you to do a mix of your own when time permits.
Daniel McCagh is an electronic music producer and sound artist currently residing in Melbourne, Australia. Daniel uses acoustic instruments and digital manipulation to create powerful emotive and cinematic music. Daniel is also the sole composer and sound designer behind Gutterbox Audio, having composed music and designed sound for global companies such as Polestar, Huawei, Acura and Volkswagen.
You’re in good hands. Enjoy today’s mix!
Join us next week when we’ll listen to a mix featuring Cryo Chamber recording artist Paleowolf.
Today’s show is very special to me. I suppose I say that about every edition of SOUNDWAVE but this edition is particularly special to me.
When COVID-19 hit the U.S. and we all went under self-quarantine I found that I couldn't listen to music. All the bands and musicians I used to enjoy no longer spoke to our new reality. They sounded vapid and out of touch. The only music I found that I could listen to or gave me solace was ambient, classical, experimental and instrumental music. There were no lyrics to distract me and I could impose any meaning I wanted.
At the time I was listening to Warren Ellis’s now defunct podcast and reading his newsletter. Ellis turned me on to Paleowolf earlier in the year so I trusted his taste in music. When he recommended Acoxaca’s album, In Abeyance the Devouring Flame album I did not hesitate to buy it and listen to it immediately.
In Abeyance is a quietly sublime album.
It’s a mournful album that resonated with what I was experiencing in my insular world. And somehow in that mourning I felt a spiritual and emotional release from my woes, if only for a little while. And I clung to that respite like someone clinging to a life raft. I played that album over and over and over again.
It’s also a minimal album but the more I listened to it the more I heard. I remember one listening experience deep into the night I thought I heard a car alarm. But it wasn’t a car alarm. It was a wailing sound buried deeply in the mix. I kept finding things like that in In Abeyance.
In Abeyance was released on the Other Forms of Consecrated Life music label. I was so on love with the album that I purchased every album from the label. Like In Abeyance, each album is a singular experience and one that I revisited repeatedly.
When I launched SOUNDWAVE I reached out to E & S at Other Forms and asked if they’d put together a mix for the show. I wanted to share the music that got me through a difficult stretch of the lockdown. Maybe you’ll find solace in it, too. And if you love the music you hear on today’s show I encourage you to purchase the albums and share it with anyone you think needs to hear it.
E &S will share their thoughts on today’s mix below.
Join us next week when our guest deejay will be Daniel McCagh.
See you then!
Other Forms of Consecrated Life
This mix is a small label sampler for Other Forms of Consecrated Life, a platform for experimental artists with an interest in audiovisual phenomena, hypnagogia, or dissociative states. The mix begins with low, pulsing drones from the archive of Lynette Sandholm Evvers, a chromesthesic, whose work has been favorably compared by Disquiet to Éliane Radigue. It then continues with the choral, eremitic musics of The Penitential Station and Acoxaca, before concluding with the more abrasive sounds of Tepe Gawra and Elizabeth Cottern, the latter whose album was described by Brainwashed as an ‘instant classic’.
As I write this we’re driving to Arizona to pick up our daughter who we haven’t seen her in over seven months.
Before the self-quarantine in California began we took our kids to stay with their bio-dad and his partner. We didn't know how the virus was going to play out and my wife was certain she was going to be summoned for duty and I was going to work from home. Having them with their dad and his girlfriend was our best option.
We picked up our boy from Arizona a few months ago and by the end of the day all our family will finally be under the same roof again.
So here we are in the car and we’re listening to today’s mix. That’s my wife's idea, which is very flattering. Ambient and experimental music isn’t her thing.
This mix is very special to me.
I launched SOUNDWAVE to help cope with the stress and isolation of being under self-quarantine due to COVID-19.
We’ve been living with the Corona virus for over half a year now so it’s easy to forget that the during the early days of the self-quarantine we were all white knuckling it. We were all asking ourselves how long this would go on, what can we do to protect ourselves, and will we or our family members or friends die from the virus?
I don’t know about you but during that time I found it difficult to focus on anything outside of work, and work was a blessed distraction. My television could barely hold my attention and I’d turn it off in frustration. I found myself unable to read books and would read the same paragraphs over and over again. And I discovered that music no longer spoke to the truth of my new reality. Love songs in particular seemed inane. The only music I could listen to was ambient, classical, experimental and instrumental where there were no lyrics and I could infer or impart my own meeting. And if that was the only music that gave me solace then surely others needed it to, so why not share it?
Shortly after launching SOUNDWAVE I invited folks I knew to guest deejay on the show. I was overwhelmed by the responses so I sat on today’s mix until the right time.
So here we are. Finally.
The first track on today’s mix comes from Dronny Darko’s latest album, Origin. The entire album is fantastic and I was so impressed that I invited Dronny to be a guest deejay on SOUNDWAVE. Dronny Darko is on the roster of artist on the Cryo Chamber label, as is our next artist, Sabled Sun, which is Simon Heath, the founder Cryo Chamber. And from Sabled Sun we segue into Multicast Dynamics. Samuel van Dijk is the man behind Multicast Dynamics and today’s track comes form his fifth album, Lost World.
All of these songs seamlessly blend into each other until we fade into Ecker & Meulyzer, who I discovered n the Bandcamp Daily blog. Wonderful, spooky stuff full of powerful rhythms and raw swaths of sounds.
From there we hear a piece by West Dylan Thorsdon from the Split soundtrack. That man can do a lot with just a bow and a cello that’ll raise the hair on the back of your neck.
Our next song is from the Devs soundtrack by Ben Salisbury and Geoff Barrow. If you haven’t watched Devs, please do so. It’s written and directed by Alex Garland and I think it’s Alex working in peak form. And Ben and Geoff’s music elevate Devs into sublimity. Oh, and Geoff is also a member of Portishead and you should definitely listen to his bandmate, Adrian Utley, mix for SOUNDWAVE.
We end today’s show with a piece by Those Who Walk Away from composer Matthew Patton’s album, The Infected Mass. It’s a mournful song for a mournful show. Patton’s piece is accompanied By some words by Peter Wessel Zapffe from his book, The Last Messiah. Prior to the pandemic I was knee deep in the nihilism of Thomas Ligotti and Emil Ciordan and Zapffe’s name kept popping up so naturally I had to read his stuff. Being steeped in nihilism isn’t the healthiest frame of mind to be in during the self-quarantine so I exorcised it with today’s mix.
I love this mix and I’m happy to finally share it with you after listening it to it weekly for the six months. It’s also something of a relief because today’s mix is also a touchstone to very unhappy time in my life and I’m glad to finally let go of it.
Join us again next week when our guest deejay will be E & S from one of my favorite labels, Other Forms of Consecrated Life.
A few months ago Dronny Darko came on the show with a killer mix. As usually, I asked Dronny who he knew personally who would be interested in sharing a mix of their own for SOUNDWAVE and Dronny recommended protoU. It’s a dark and mysterious that’s both ethereal and earthy. Sasha’s mix resonates with me because it is reminiscent of the first two albums that introduced me to ambient music, Brian Eno’s Ambient 4: On Land and Apollo: Atmospheres and Soundtracks. Sasha’s mix also include’s Hivetribe’s “Uthernno”, which features one of my favorite recording of a 1950s housewife trying to describe a LSD experience.
You will not be disappointed with Sasha’s mix. I’ve had her mix on repeat for weeks and I still find something new in it.
In other news, this tiny show dedicated to niche genres of music that I launched to help cope with the stress of COVID-19 is growing ever so slightly, which is gratifying.
I don’t do much to promote SOUNDWAVE because it’s not that kind of show. It really is a form of therapy and I’m touched by every guest deejay’s generosity. I’m also moved that you, dear listener, take time out of your no doubt busy week to experience the mixes offered on this show. Maybe it’s time to share this show with more people. If you know of someone that you think would enjoy SOUNDWAVE, grab their phone and subscribe them to the podcast.
Join us again next week when our guest deejay will be… let me check my schedule… me!
Today’s guest deejay is Jonathan Ammons, a journalist, radio producer, and musician living in Asheville, North Carolina. You can find his music on Bandcamp and listen to his radio show from WPVM and Pacifica Radio Network at the Dirty Spoon.
Jonathan is yet another amazing person I was introduced to through my old friend, Steve Howard (listen to Steven’s SOUNDWAVE mix here). Meeting Jonathan is one of the unexpected pleasures in the evolution of SOUNDWAVE.
I launched SOUNDWAVE to help cope with the stress of the pandemic. In the first few months of COVID-19 it seemed that stepping outside your house might kill you. If that wasn’t terrifying enough, my family was scattered about the country so for a long time it was just me and my dog. That took a toll on me and my usual distractions, music, reading and television, could not hold my interest at all. In fact, they annoyed me or angered me. The only thing that provided any comfort was ambient, classical, experimental and instrumental music. I reasoned that if that music was giving me solace it might help others as well so I launched SOUNDWAVE. Very soon afterwards I decided to invite the talented people I know who might enjoy or, more importantly, need to share a mix of their own. And that very quickly led to asking my friends who they knew personally who might want to participate in the show. That decision introduced me to such wonderful people as Adrian Utley, Hannah Peel, Charles Hazlewood and Jonathan.
I don’t really know Jonathan, though. We’ve just had a few email exchanges arranging today’s show but through his mix I feel I know him more intimately than I might know him through a dozen conversations. That’s all projection, of course, but that is the power of music. It bypasses the rational and hits on emotional truths, which is why I launched SOUNDWAVE in the first place.
Back in 2016 there were a series of forest fires that broke out throughout Western North Carolina, surrounding my home in Asheville. The air was thick with smoke, and a perpetual haze fell over everything. It just so happened that it fell right on the heels of a devastating national election, and for a moment, it truly felt like the whole world was on fire.
I had just started spending time with a very lovely lady, and I asked her one night if she’d like to go watch the mountains burn.So I threw some camping chairs in the truck, grabbed a camera and a bottle of Champagne, and we headed out to the center of the fires.
There’s a strange feeling when you sit and watch your home burn to the ground. Halloween orange glowing from every hilltop, brick red clouds in the night sky. Knowing that everything would grow back eventually, but that the sights you grew up seeing would be permanently scarred. The world would be better, maybe even healthier than it was before, but it would take a lot of ash and rubble to get there.
I started making my first ambient LP — First Sight — during those fires. At the time, my office was on my screened in porch, and I could sit while I composed and watch ash fall from the sky. I like to think that much of my approach to the way I currently make music came from that experience.
I remember calling a friend one day, and saying, “you know how I’ve been complaining a lot about that knot in my stomach that wouldn’t go away? I think I finally figured out what that is. I think it’s despair. I just think it’s the first time I’ve ever felt it. Ithink I just didn’t realize it because it doesn’t feels as hopeless as I would have thought.”
From that point on, I was able to see the fragile, delicate things that fall apart, and not feel the overwhelming sense of loss I had initially felt. Instead, I understood it to be a burning of the dross, a disposal of things that were unnecessary. When a fire burns, after all, it makes way for far better things than grew there before. Sometimes you just have to let it burn.
I like to think of this mix as songs from the fire. Pieces of music that are as devastating as they are restorative. A little hazy, a little bleary, but beautiful in their own right. There are three original compositions in the mix, the first and last are from an as of yet unreleased record (this is actually their debut). The other, “Open Eyes”, is from my new album First Sight. The rest of the mix runs a gamut between crumbling organic sounds and stark synthesis. Ian William Craig actually wrote his new and beautiful record while also being surrounded by forest fires, Goldmund delivers gorgeous ambient versions of old Civil War era songs, and Oliver Patrice Weder delivers the most thoughtful, pensive piano performance… music to watch the world end. My favorite kind.
This is a rare instance where I don’t know out guest deejay at all. My good friend, Steven Howard, introduced us when I first launched SOUNDWAVE. Steven’s taste in music is impeccable and when he suggested Shad as a guest deejay I said yes without a moment’s hesitation. And I was right it trust Steven because Shad’s mix is singular. On his radio show Shad explores the genres of experimental, freeform, jazz and psychedelic music and while all of that informs today’s show the mix also like a foley’s wet dream. Shad’s mix feels extremely personal and takes you on an unexpected journey.
I’m going to wrap things up because I blew out my knee last week and as a result I’m way behind on chores. Enjoy Shad’s mix and he encourages you to experience it with headphones.
I just got back from a 4th of July party with my wife’s unit so I’m going to keep this short and sweet.
If you’re new to the show, I launched SOUNDWAVE to help cope with the stress of the first month of the lockdown due to COVID-19. Ambient, classical, experimental and instrumental music was the only music I could listen at that time. If it was helping me, I imagined it would help others.
Today was the first time in over four months of the lockdown I’ve been around this many people at once. It was great! It felt completely normal. And it gave me a charge. But I’d be lying if I didn’t admit that I was a little uneasy. Four months will do that to you.
If you’re in the U.S., I hope you had a fine holiday. For everyone in the world, I hope you’re having a lovely weekend.
We just got home and we’re winding down and this is the perfect opportunity to jot down today’s show notes. Our guest for today’s show is Gert De Meester of Distant Fires Burning.
I met Gert when I reached out to David Newman, founder of Audiobulb Records to participate on the show with a mix. David took pass but suggested I contact Gert and Kirk Markarian. I owe David because Kirk’s mix was fantastic and I’ve been waiting impatiently to take Gert’s mix live. I know you’re going to love it!
Gert’s going to rap with you about his mix below. Before I go, please join us again next week when our guest deejay is Carmen Rizzo. You’re in for a treat.
See you then!
Gert De Meester
Our first track is Autistici’s “Wire Cage For Tiny Birds.” Something that allways has attracted me to Autistici’s music, is the sense for new sounds and intricate sounddesign. This has allways been reflected in my music. I am quite happy with the fact that David has released my last album on his Audiobulb label. It fits there perfectly.
“K & J” is the opener of my last album. You hear a Jazzbass processed through ableton and a stockload of effects, basically my livesetup. “K & J” are the two most important people in my life.
Our third track is Taylor Deupree’s “Northern”. Taylor has allways been of great influence on me, besides Tim Hecker and Biosphere. But in Taylor’s music, I really find beauty, reminiscence, maybe a bit of wanderlust. It’s that freedom that speaks to me, that encounter with the new, but allways the hint at nature and down to earth noises.
“Scrape To Touch” is by Neuro… No Neuro and is one of my best labelmates and I saw him grow immensely in music making. His music really cought me by surprise as I host a Spotify playlist and i listen to all Audiobulb albums to give them a fair chance of getting included (me and David get along quite well, musically). But Kirk’s music really caught me on a permanent level.
“Geomagnetic Disturbance” is one of the first tracks where the Jazzbass got incorporated in my music. It was an outtake of 2010’s album Build on Me on U-Cover CDR Limited, but it got picked up by these great people of Consouling Sounds for this compilation. Quite a lot Hecker inspired, but hey, everybody’s got to learn sometimes…
Our last track is Svær’s “Broken Waltz Of Fukushima”. (Such a great 2019 discovery. He played as support of Tim Hecker in Brussels in 2019. What a great show that was, connected with him on Facebook, discovered he was a fellow Belgian too. And all of a sudden I got a message he released his debut album, the rest is history…
I’m writing this from a hotel room in Phoenix, Arizona. I’m wearing a N95 mask because we’re still in a pandemic, although Arizonans don’t seen to be taking it seriously because maybe 25% of the people I see are wearing masks and observing social distancing. That probably explains why Arizona is seeing a spike in infections. Anyway, I’m wearing a mask and it is clear that I should have brushed my teeth before sitting down to write today’s show notes because I’m basically inhaling the contents of my lungs. Gross.
Let me take care of that. Be right back.
So why am I in Arizona if it is a COVID-19 hotspot you might be asking yourself? I’m here to pick up my kid and his grandmother and bring them back with me to California.
The weekend before California shutdown my wife and I made the decision to take our kids to Arizona to be with their bio dad. They were going to spend spring break with him anyhow and it seemed prudent to leave them with him a few weeks early. I was going to be working from home and it was likely my wife was going to be relocated to help deal with COVID-19. But or boy is done with Arizona and wants to come home and his grandmother will be living with us.
It’s pretty much been me and my dog for the last three months and I’ve fallen into bachelor-like routines (staying up far too late, walking around all day in pajamas, eating breakfast for dinner, etc) so this will take a bit of readjustment for me. For all three of us, really.
So that’s why I’m in Arizona. And from what I’m seeing around here and from what I’ve been hearing from friends scattered about the U.S. it seems we’re going to be living with COVID-19 for quite a while. Which means SOUNDWAVE will continue indefinitely.
Today’s guest deejay is Dronny Darko and he’s got a mix of marvelous dark ambient music for us to enjoy.
When I launched SOUNDWAVE I reached out to friends and acquaintances to guest deejay on the show but I also reached out to folks whose music I’ve been enjoying for the last few years. There’s a net label out of Oregon called Cryo Chamber I discovered when I got back into role playing games. (RPGs) Seems music from Cryo Chamber is the default soundtrack for many horror RPGs. And for good reason, the music is atmospheric and often tinged with dread.
Most people unfamiliar with ambient music often mistake it for swaths of pretty sounds and while that’s true, it’s so much more than that. Ambient music has many moods and its the reason I was drawn to it when we were all under the stay-at-home self-quarantine. Pop music seemed inane and didn’t speak the truth of our new reality. But there are no lyrics in ambient music, just moods and sounds, and that I could listen to. Ambient, classical, experimental and instrumental music spoke to me in ways pop music could not. The dark ambient music from Cryo Chamber was the soundtrack to my existential dread, which helped my process everything I was experience in and come to some sort of terms with it.
One of the artists on Cryo Chamber that I particularly enjoy is Dronny Darko. I’ve lost count of how many times I’ve listened to his album, Origin. He was the first artists from Cryo Chamber I reached out to when I began SOUNDWAVE because his music had the most impact on me. It’s darkly lush, quietly epic, and strangely beautiful. If you enjoy Dronny’s mix, and I know you will, I highly encourage you to purchase his album.
Speaking of purchasing music, if you dig any of the songs on today’s show, purchase them, too, if you have the means. As we’re all learning, we need art to help get us through the most trying of times. Musicians pour their heart and soul into their music, spending hours, days, weeks and months for something we listen to in minutes. And for most musicians are already working full time job on top of perfecting their craft. And as writer Bruce Sterling often says, “whatever happens to musicians will happen to all of us.” So out of solidarity, spend some cash on their music. They deserve it and need it.
Join us again next week when our guest deejay will be Jaime Irles. See you then!
When I launched SOUNDWAVE I didn’t have a plan for the show beyond being a coping mechanism for COVID-19. The first could of weeks under the safe at home lockdown I was white-knuckling it every day. We’re we going to enter a Great Depression? A lot of the shelves in the supermarket were bare. When I used the keypad to pay for my groceries there was an undercurrent of anxiety. Would touching it might end up killing me? I’m sure you experienced your own version.
It became clear one of the few things that was providing solace was the ambient, classical, experimental and instrumental music I was listening to. I reasoned that if the music was listening to was giving me some relief then other folks might as well. And producing a monthly show would also provide a welcome distraction from my fears.
That was it. That was the plan.
But I quickly decided to update SOUNDWAVE’s schedule to a weekly basis for as long as the safe at home orders were in place. Almost immediately afterwards I began inviting guest deejays to contribute mixes to the show.
I did not anticipate was everyone’s generosity. Nearly everyone I asked to sent me a mix and as I write this I have shows scheduled to September. I’m tempted to release all the shows all at once à la Netflix so you can listen to the mixes à la carte. It feels criminal to have all this wonderful music to myself only to dole it out to you once a week.
When I made the decision to invite guest deejays to share their mixes I reached out to people I knew from my electronic music podcast, solipsistic NATION. One person I contacted was David Newman, founder of Audiobulb Records. I never had the opportunity to have David on the show but I was hoping to have him contribute a mix to SOUNDWAVE. David wasn’t able to participate but he did introduce me to Gert De Meester of Distant Fires Burning and Kirk Markarian of Neuro… No Neuro.
Kirk is our guest deejay today. I knew the show was in good hands when I listened to Kirk’s Electronic Frequencies, an excellent program on Concertzender Radio in Utrecht, that features ambient and experimental composers. More great music for us to enjoy!
Before Kirk talks about his mix I encourage you to purchase one or more of the songs you enjoyed on today’s show. The artists pour their hearts into each track. Your purchase of songs or albums helps them continue working on their craft but also puts food on their tables and a roof over their heads.
See you next Sunday. Our guest deejay is Planet Boelex!
Kirk Markarian
This mix begins with a track by NOEL-KIT – “Summertime” – from their album, Tokyo Noise. Sounds pan about the audio field, growing, fading; bursting from underneath NOEL-KIT’s enthusiastic interpretation of the season.
Following this, we move into “Edall” by Autistici from their album Beneath Peaks. Almost like breathing, the track pulls one in and cycles to and fro until the cycle speeds up, and becomes off-kilter, shifting the listener into a gentle, calm, yet shiny future.
From there, out of the soothing wash, we have a longer track by the artist Distant Fires Burning – “Science Stops…” – from their album Build on Me. Starting with a beautiful electric keyboard sound that echos softly into the distance, the track blends into a harmonic freeze that shifts the listener into a hazy field.
From there, a soft segue into Wil Bolton’s long play “Woven Geometry” from their album Viridian Loops begins. Field recordings exist throughout the entire track while beautiful synthetics pulsate fade in and out around the beautiful padding underneath the entire piece.
For the final track, we fade into an uplifting rhythmic piece by mg&mw – “Seagulls” – off their album All Steamed Up. Analog synths, harmonica, bass, and electric percussion all blend into a very catchy tune that places the listener directly into a moment.
