Upcoming

Red Stars Over Tokyo_Deconstructing Happiness lp Goldbet online-kasino TTTB140 7Regal casino kasinobonus Mastered & cut by Stefan Betke at Scape Mastering http://tech.rightpundits.com/?node=%D9%84%D8%B9%D8%A8%D8%A9-%D9%85%D8%A7%D9%83%D9%8A%D9%86%D8%A9-%D8%A7%D9%84%D9%82%D9%85%D8%A7%D8%B1&233=25 لعبة ماكينة القمار (April 29 2016)

Jamie XX plays him on the BBC. He shows up on the ever-elusive, avant-guard chameleon J.G. Thirlwell’s favorite releases list. And yet, Red Stars Over Tokyo remains virtually unknown. http://adeprio.com/?art=tips-winning-casino-slot-machines&159=f0 tips winning casino slot machines (Focus Knack, spring 2014)

So this is how it feels to bleed for more than 2 years and have 40 minutes of music to show for it? Two years of recording, mixing, erasing, re-recording, and dropping another useless day in the studio. This followed by even more erasing, adding another layers, and ditching everything just to start all over again. The final penultimate mix to end all mixes, followed by yet another final tweak.

Deconstructing Happiness. Shopping as a new Religion. 24 hour delivery web stores. Famous people making prog rock albums as a cure against depression. Glossy magazines selling lifestyle as entertainment. Rich people driving state-sponsored electronic cars. Four holidays a year spent on the other side of the World. Media whores selling their “burn out “story to the highest buyer. Television selling fiction as truth.

Everyone seems more than ready to go all Faustian, help sell some advertisements to magazines, get enough “almost popular” likes on your favorite hipster page.

OK, this is a new record by Red Stars Over Tokyo: One that feels like a transition to a new phase. If it finds you, I hope you like it. Maybe I’ll make another record in another two years, maybe I’ll catch some glimmer of sunlight, somewhere.

Tracklist

burning houses 5 Reel Fire hedelmäpelit netissä we’ve lost everything first a surgeon

A room with no air
Exit lines
Shooting living targets

Recorded at home, mixed by Jimmy Van Rietvelde at Sugarbeat, 2013-2015
Drums by Bert Hornickx. Vocal delays Andrew Pease.
Mastered by Stefan Betke @Scape Mastering Berlin

Published by Testtoon Records 2016
testtoon.com l mail@testtoon.com

Presale available at Clone.nl
clone.nl/all/label/testtoon+records
Release date April 2016

Free download included, digitally available at testtoon.bandcamp.com/, Spotify, Itunes, Deezer, Amazon,…

Released

Sova Stroj_Silenth Earth lp
TTTB08
Mastered & cut by Andreas Lubich At Calyx Mastering
(January 21, 2016)

Sova Stroj’s debut album ‘Silent Earth’ explores feelings of willful desertion through forty minutes of highly concentrated and almost teleologically dark ambient patterns. ‘Silent Earth’ seems to suggest that when the earth falls silent, there is nothing left but reflecting one last time. Musically the album is centered around an abstracted industrial music influence paired with precise and evocative melodic and harmonic explorations. The album’s emotional content is on the one hand defined by its track titles. We Danced When The Sky Turned Red, As Days Grow Silent We Love Each Other, Departure (To Walk Into The Waves) and Our Whispers Among The Stars all point to togetherness and the aforementioned willfulness. On the other hand, there is solace in the choice of melodic and harmonic patterns, some conjuring up recognizable and at times even strangely blissful yet introspective emotions. ‘Silent Earth’ is essentially an album about love and the desire to define that love as transcending time and space. It is a beautifully thoughtful and evocative ambient record that plays with emotional signifiers in such a way as to lay bare a highly personal sentiment. When you pronounce the word silence you have already destroyed that same silence.

The limited edition version of ‘Silent Earth’ comes with a tape called ‘Cult Vaginal’, comprising nine short musical sketches. They are dark explorations of religion and sexuality taken to their extremes.
This edition will be made available directly from the label.

Tracklist
A1 We Danced When The Sky Turned Red
A2 As Days Grow Silent We Love Each Other
B1 Departure (To Walk Into The Waves)
B2 Our Whispers Among The Stars

Michael Fahres
Tibataje lp
TTTB06

(For a Spanish version, scroll down)
El Hierro is the Southwesternmost island of the Canary islands group. It used to be most known for the prime meridian. Nowadays it is noted to be the first European island to have become energy self-sufficient. In the west of the Island, partly surrounded by the rim of a crater, one finds the El Golfo bay. It is assumed that most of the crater has been swallowed by the ocean. Part of the leftover volcanic crater is called Risco de Tibataje, a jagged mountain massif about 1000 meters high and eight kilometers long. Here lives the Lagarto Gigante, a lizard that can grow to be 60 centimeters and that is under threat of extinction.

The mountain wall registers every sound and reproduces it with a certain echo. Moving sounds, such as cars passing by, a dog barking or the sound of a drum are quasi recorded and subsequently reverberated, depending on the nature of the sound. The Risco de Tibataje is in effect like an echo box with its own very specific resonance.

The “Tibataje” composition uses this feature. In front of the massif, three typical El Hierro drums made of wood and galvanized zinc and strung with goat leather were placed. The drums were then played at a certain distance from each other and from the mountain (80 meters), each drum having recording equipment close by. Next to that, there was equipment recording all sound as a whole. Starting every recording, two wooden blocks were hit, enabling synchronous play of the different recordings later on.

Center to the composition are rhythmic variations, used during a religious celebration taking place every four years, the “Bajada de la Virgen de los Reyes”. These rhythms are only played during the Bajada and are protected. Out of respect for this tradition, the recorded rhythms are an interpretation of the original ones. Three drummers react to each other, their own echo and the echo of the other instrumentalists. The Tibataje resonates, answers and sings its own song. The composition tells the story of the landscape, like a sound polaroid, a sonic print of the surroundings.

“Tibataje” aims at aggrandizing, clarifying, changing and uncovering the specific characteristics of the mountain using music as its means. The creative process confronted with the laws of nature and their sensory expressions are the leitmotif of this piece.

In Spanish:

El Hierro es la isla más occidental del archipiélago Canario. Una vez fue famosa por el meridiano cero. En la actualidad, es conocida por ser la primera isla europea en alcanzar la autosuficiencia energética. Al oeste de la isla, parcialmente rodeada por el borde de un cráter, está la bahía de El Golfo. Se cree que la mayor parte del cráter fue engullida por el océano. Una parte de lo visible del cráter se conoce como Risco de Tibataje, un macizo irregular de unos 1000 metros de altitud y ocho kilómetros de largo. Aquí vive el lagarto gigante, una especie que puede alcanzar los 60 centímetros y que está en peligro de extinción.

El muro montañoso registra todos los sonidos y los reproduce con un cierto eco. Los sonidos en movimiento, como un coche, el ladrido de un perro o el sonido de un tambor, son casi registrados y seguidamente reverberados, dependiendo de la esencia del sonido. El Risco de Tibataje es como una caja de resonancia con un eco muy particular.

La composición “Tibataje” se sirve de esta característica. Frente al macizo se instalaron 3 tambores herreños tradicionales, hechos de madera, zinc galvanizado y cuero de cabra. Se situaron a unos 80 metros del macizo y con una cierta separación entre ellos, y se colocó un equipo de grabación junto a cada tambor. Además, se instaló un equipo de grabación adicional para registrar el sonido conjunto. Al comienzo de cada toma, se golpearon dos bloques de madera, lo cual permitio después la reproducción sincronizada de las diferentes grabaciones.

En el centro de la composición están las variaciones rítmicas usadas durante la Bajada de la Virgen de los Reyes, celebración religiosa que tiene lugar cada cuatro años. Estos ritmos sólo se tocan durante la Bajada, y están protegidos. Por respeto a esta tradición, los ritmos grabados son una versión de los originales. Los tambores dialogan entre ellos, con su propio eco y con el eco de los otros músicos. El Tibataje resuena, responde y canta su propia canción. La pieza cuenta la historia del paisaje, como una polaroid sonora, una imagen de este paraje hecha de sonido.

“Tibataje” pretende agrandar, clarificar, cambiar y descubrir las muy especiales características de la montaña, utilizando la música y sus medios. El proceso creativo, puesto frente a las leyes de la naturaleza y sus expresiones sensoriales, son el leitmotiv de esta composición.

A1 Abseits (11’18”)
A2 Jenseits, danach (5’)
B1 Davor (19’28”)

Drummers
Leo Bacallado Pino, Michael Jüllich, Xavier Foks

Singer:
Valentina la de Sabinosa and the falcon, the gecko, the goats, the flies, the crickets

Musical clock melody:
“I’m just a little black rain cloud”

Recording:
Piet Hein van de Poel

Production:
Anjo Leenen

“Una Hora” was produced in the framework of the “Islas Resonantes” project, commissioned by Septenio Canario
(Gobierno de Canarias).

Special thanks to Concha Jerez and José Iges (Radio Clásica, RTVE).

Recorded in April 2009.

www.islasresonantes.com

Mastered and cut by Andreas Lubich at Calyx Mastering, Berlin
Presale at Clone
Release date June 1, 2015