Опубликовано: 25 июн. 2013 г.All rights reserved for the producer of this track. All the tunes that I upload are for promotional use only.
If the owner doesn't wish to have their items on display, please contact me, and I will remove it immediately.
This track is taken from Ben Lukas Boysen's «Gravity» album.
Artist: Ben Lukas Boysen (aka Hecq)
Track: to The Hills
Album: Gravity
Label: Ad Noiseam adn168
Дата загрузки: 29 окт. 2011 г.01 — Introspace (0:00)
02 — The Earth Is Blue (3:12)
03 — Last Day On Earth (11:48)
04 — Journey To The Sun (16:22)
05 — On A Beam Of Light (27:54)
06 — Blinking Star (35:20)
07 — Fermi Paradox (40:40)
08 — Outrospace (48:00)
Stellardrone is a pseudonym of amateur composer (Edgaras, b.1987, Lithuania, Vilnius) who started creating music in 2007. Using only computer software (Reason, Ableton, Audacity) and virtual synthesizers. He is mostly interested in ambient/electronic/space music. Releasing all albums for free and promotes free sharing of digital copies.
Creative Commons license: Attribution-Noncommercial-No Derivative Works 3.0
* Picture by Simplexia: morning fog in Panauti, Nepal
* Mixed live with original vinyls, no mp3 allowed!
Artists and Labels in order of appearance:
— Leandro Fresco (Kompakt)
— Bering Strait (Apollo)
— Forward Strategy Group (Perc Trax)
— Vincent I.Watson (Pyramid Of Mars/Rekid)
— Nova Scotian Arms (Digitalis Recordings)
— Concern (Digitalis Recordings)
— The Slaves (Digitalis Recordings)
— Blank Mass (Rock Action Records)
— Charlatan (Digitalis Recordings)
— Simon Scott (Miasmah)
— Nicholas Szczepanik (WeMe)
— Unknown vinyl
— A-Sun Amissa (Gizeh)
Only included in the Youtube long version, not in soundcloud:
— Jessika Kenney & Eyvind Kang (Editions Mego)
— Mirror To Mirror (Cylindrical Habitat Modules/Thirty-Sixth Module/Jugular Forest)
Опубликовано: 15 апр. 2014 г.Morten Granau corta os dentes na música Trance. Discotecar e produzir já em uma idade quase legal, o jovem de Copenhague hoje é considerado um dos mais jovens talentos da cena dinamarquês animada, uma fonte jovem e altamente dinâmico de graves, grooves e progressivos.
Esse SET foi realizado no dia 16 de abril de 2014, por uma saudação a Morten Granau, para as pessoas do partido Elementos.Que foi realizado na Dinamarca, na cidade de Copenhaga.
Music in Twelve Parts, written by Philip Glass in 1971-1974, is a deliberate, encyclopedic compendium of some techniques of repetition the composer had been evolving since the 60s. It holds an important place in Glass's repertory — not only historically (as the longest and most ambitious concert piece for the Philip Glass Ensemble) but aesthetically as well. Music in Twelve Parts is both a massive theoretical exercise and a deeply engrossing work of art.
In the past, Glass vociferously objected to being called a minimalist composer. He now grudgingly accepts the term — with the distinction that it only applies to his earliest pieces, those up to and including Music in Twelve Parts. It is difficult to see how such a mammoth work as Einstein on the Beach can possibly be called minimalist and Glass now speaks of himself as a composer of music with repetitive structures.
Part I remains some of the most soulful music Glass ever wrote, yet it is also one of his most reductive compositions: at any place in the music, reading vertically in the score, both a C# and an F# are being played somewhere in the instrumentation. Through skillful contrapuntal weaving, Glass creates a drone that is not a drone — an active, abundant, richly fertile stasis.
Part I leads directly into Part II, which introduces a different key, a faster tempo, greater rhythmic and melodic variety and the human voice. «A new sound and a new chord suddenly break in, with an effect as if one wall of a room had suddenly disappeared, to reveal a completely new view.»
Part III, one of the few self-contained movements, is a gurgling study in fourths, and one of the shortest. Part IV is extraordinary: after a brief introduction, it becomes a lengthy examination of a single, unsettled chord that sweats, strains and ultimately screams for resolution until the musicians suddenly break into the joyous, rushing catharsis of Part V.
Part VI is another example of how Glass can take what initially seems a standard chord progression and gradually build considerable interest on the part of his audience as he presents it to us, again and again, from different rhythmical perspectives. Part VII clearly derives from Music in Similar Motion, but the development is much more swift than that of the earlier work and it is infinitely more virtuosic (the soprano, in particular, does her best to avoid tongue-twisting and sibilance in the exposed, rapid-fire melismatic passages). And the close of Part VIII prefigures the «Train» scene in Einstein on the Beach, with its irresistible forward motion and sheer, «boy-with-a-gadget» fascination with a systematic augmentation and contraction of the soprano line.
«I had a specific purpose in mind when I set to work on Twelve Parts. I wanted to crystallize in one piece all the ideas of rhythmic structure that I'd been working on since 1965. By the time I got to Part VIII, I'd pretty much finished what I'd started out to do. And so the last movements were different. Parts IX and X were really about ornamentation.» Part IX, after a lithe, bouncing, broken-chord introduction, becomes a study in chromatic unison while Part X begins with a blaring, aggressively reiterated figure in the winds that is eventually softened cushioned — by the addition of complementary figures in the bass.
Parts I-X had all been based on stable harmonic roots that had remained constant throughout the movement. Part XI is just as rigorous in its application of an antithetical approach: the harmony changes with every new figure. In Part XI, which is essentially an aria for soprano and ensemble, there is more harmonic motion than in all of the mature works Glass had composed in the previous ten years put together.
Music in Twelve Parts ends with a musical joke that may be amusing to those who remember the musical politics of the 60s & 70s. Like most young composers of the time, Glass was trained to write twelve-tone music; unlike most of them, he rejected the movement entirely. And yet, in the bass line of Part XII, toward the end, the careful listener will discern a twelve-tone row, underpinning this riot of tonal, steadily rhythmic, gleeful repetition -underpinning, in other words, all the things that textbook twelve-toners shunned.
«It was a way of making fun not only of others but also of myself. I had broken the rules of modernism and so I thought it was time to break some of my own rules. And this I did, with the shifts of harmony in Part XI and then in Part XII, where, for the first and only time in my mature music, I threw in a twelve-tone row. This was the end of minimalism for me. I had worked for eight or nine years inventing a system, and now I'd written through it and come out the other end. I'd taken everything out with my early works and it was now time to decide just what I wanted to put back in — a process that would occupy me for many years to come.»
Опубликовано: 5 авг. 2015 г.Melodic masterpiece by Dj Hidden
Artist:DJ Hidden
Format: 12"
Record Label:Hidden Tracks
Catalog#: HIDTR004
You can buy here: http://www.triplevision.nl/release/HI...
Опубликовано: 19 окт. 2013 г.Track 7/8, from Gravity (Ad Noiseam adn168).
The following of Nocturne 1, taking back the ethereal drums from the first part.
I imagine astronauts in an orbital station. They're barely awake as they are still hidden in the shadow of the Earth. This is for me the introduction of almost 90 seconds with the synthesizers' layer, a moment of blur and swaying.
At 1:23, they open their eyes and start preparing for a scheduled outing into space this morning. You're not so often 350 kilometers up in the atmosphere, and one thing I'd like to see up there is a sunrise over the whole planet. They start dressing their space suits and already catch sight of the halo of light announcing the sun, over the horizon formed by half the circumference of our planet. It's time to hurry if you want a good spot on the solar panels.
At 2:59, the sun finally rises, radiating its light in the atmosphere, on the cities, the lands, the oceans, and its warmth spreads all over your suit and reaches the bottom of your heart. It's beautiful, spectacular and unique. The deep drums and the strong play on the piano conveys for me the intensity and the beauty of that moment, particularly at 3:42 and 3:47 that seems to slap you hard in the face and blow your mind up. This whole part is really shaking and unforgettable, and the progression of the notes' pitch is just epic.
You can see that our astronauts try to memorise each frame of that moment as they won't see it again in such a perfect way.
At 4:26, you start to leave them where they are, letting them enjoy this moment alone, and slowly stepping backwards to the Earth. The orbital station is now just a dark dot in the blinding light of the sun, and the faded chorus in the end of this track make the moment surreal. but it's time to go back to reality.
Enjoy folks, and if you feel like it, I'd like you to share your sensations too, here in the comments section or on my Facebook page at https://www.facebook.com/adda.ambient
If you liked this track/album, here are some useful links to support the artist and the label :
This video is uploaded only in a promotional purpose, as I do not own any rights on this music. All rights reserved to Ben Lukas Boysen and Ad Noiseam.
If you (artist, label or viewer) have any inquiry, just email me at a2damusic@gmail.com