OLD WVLF is M∴M∴
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In the Dark
In the Dark is a track from Kim Free’s second solo record, Nevermind the Blue Skies (LA’s Fine, 2014). Written and performed by Kim Free, produced by Brad Breeck.
A Los Angeles native, Kim Free is a violinist singer/songwriter who has released two solo albums, Angel Shadow (2012) and Nevermind the Blue Skies (2014). Before recording under her own name, Kim Free recorded as Black Church. The complete Black Church discography was re-issued by Reverb Worship in 2015.
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Snotty Molly from Spare Parts and Carbuncles
(Ace of Space/Paul Le Hat)
A previously unreleased track.
Snotty Molly came from a small workshop teaching young people who wanted to make music with their computers but didn’t know where to start. Using the their own laptops and tablets we gathered together enough samples and free software to begin the laying down basic tracks for them to rap and sing over. They were all into happy hardcore or hip-hop. As a guide I had to make my own track along with them, I’d like to think they taught me as much as I did them, especially about the genres they were into. Snotty Molly was a rescue cat my friends had who had an continuous mucus problem.
Discontent is unavailable …
One man wave of cinematic electronica from Northumbria. Has so far produced five full length albums.
Whatever it means to Ace of Space it means capturing the moment, just like taking a photograph or snapshot, in musical terms. These eclectic collections so far are a mixture of old school electronica and guitar instrumentals and atmospheric soundtrack work suitable for film, TV or radio.
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The Other Room
Written by Aaron Piccirillo.
Somnolent is the musical moniker for Aaron Piccirillo, a musician and writer from Connecticut in the United States. He holds a master’s degree from the University of Manchester in England, where he completed an interdisciplinary program entitled “Constructions of the Sacred, the Holy, and the Supernatural.” He also holds a B.A. in literature from the State University of New York at Purchase, and has been active in musical composition, recording, and performance for over fifteen years. He has written for Clavis Journal, Aeon Sophia Press, and Appalachia Journal, and is a contributing writer to Ultraculture.org. His creative work can be viewed at forgottenforms.com.
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Light Plays in Fine Boundaries
A weird ambient journey from what knows no beginning and no end … played live with a specific sonic palette.
Anantakara is a project of Philippe Wauman, from Louvain-la-neuve, Belgium, established in 2010. Anantakara creates live performances, choreography, sound design, meditative & healing music, soundtracks, and studio albums.
Entre grain de folie et grain de beauté, il est question de Tout et de Rien. Et de l’improbable frontière qui en mesure l’incontournable démesure… Anantakara est un projet de musique “intemporaine”. Le nom du projet définit à lui seul l’humble démesure: le réenchantement du monde par l’émerveillement en parcourant inlassablement la quête du point de rencontre des opposés, ce point inattendu qui régénère et accompli.
Balancing between a touch of madness and the caress of beauty, it forms a link between All and Nothing. The improbable frontier of infinity… Anantakara is an ‘in-temporary’ music project. The name Anantakara discloses its modest ambition: to re-enchant the world through wonderment while tirelessly pacing the inmost and outmost in search of the place where opposites meet, that startlingly unpredictable fortuitous point where regeneration and accomplishment are enhanced.
“Anantakara” अनन्तकर [an-ant’a-kara] is a Sanskrit adjective that can be translated as: “rendering endless, magnifying indefinitely, making endless or infinite”. That is, to start with what is somehow already complete, has always been and will be forever. To simultaneously combine the One which becomes Multiple with the Multiple that becomes One, to explore the sphere of influence existing between the diversification of the One and the unification of the Multiple. The spiritualization of matter, the materialization of spirit.
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Ritual No. 6
Calibrate the singularities. Extending burst, extending charge. Boost the burst hyperdrive next to the critical area. The expanding energy at the vacuum. The fluctuating core within the galaxy.
They have to boost the crystal, because the singularity has been within the anomalies. Critical plasma must have been removed, because the weak crystal seems to be inverted. The stumped crystal plasma conduit catches ripples inside the auxiliary zone capacitors plasma conduit. There seems to be a quantum plasma conduit in the vortex which affects enhanced fluctuations within the special delta region.
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The sound of mechanized machines waking up the astronaughts from their deep zombie like sleep, a double sun on a strange planet, that is already inhabited.
As their craft breaks up they disguise themselves in brown towels and attempt to hide out, not certain how to ever get back home.
Their only hope is to make new friends.
Shams93 is the brainchild of composer/performer Brian Redfern. Brian graduated from CalArts in 1998, having studied composition with Nyoman Wenten, Kobla Ladzepko and Wadada Leo Smith. In 2005 Brian switched from guitar to the ancient middle eastern instrument, the oud, studying with virtuoso Yuval Ron.
Previously Brian had been the guitarist for Los Hermanos de Jazz who had opened up for bands such as the Stone Temple Pilots and performed sessions for Death Row Records, back in the wild and crazy early 1990s. Back then he also created a project called “Aleister’s Bastards” inspired by the work 777 by Aleister Crowley. However at the time, he had no idea he lived right down the street from the famous occult author, Lon Milo DuQuette.
Shams93 runs the gamut from purely acoustic solo oud to electronic music and live electric performance. Brian plays both acoustic and electric oud and uses the ancient system of “Maqam music” from the middle east to compose new material based on ancient patterns.
He is greatly inspired by recent John Zorn projects such as the Crowley String quartet, which explore occult concepts with instrumental music inspired by western classical and avant-garde.
Besides having earned an MFA from CalArts Brian is an initiated Freemason, 3○, 32○, Thelemite and self-initiated Sufi/Ishmaeli. He’s also a 3○ in the OTO and a probationer of the A∴A∴, so occult practice and meditation are massive influences on the music of Shams93.
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The project this track comes from began as a musical response to the 7 Hermetic Principles. I guess the most obvious thing to have done would have been to make 7 pieces — one for each. It wasn’t lack of scope or ambition that has resulted in just 3 being made. More this process of composing was a quite immediate response to the subject and at the time of completing the 3rd piece it felt right to pause. The pause in itself changed my momentum and so it then figured to release the work.
I am in no way an expert, or indeed a full convert, to The Kybalion or Hermeticism, more a long term observer and open mind towards this philosophy. It is highly likely that having been going through a particularly difficult and stressful working life during the time of writing, Hermeticism was an attractive school of thought in order to stay rationale and perhaps more in mind of the “bigger picture”.
The music itself has been compared favourably to Tangerine Dream — who incidentally I could easily interchange my above described relationship with Hermeticism! — and I consider this is a fair conclusion, albeit I think the works here are somewhat more minimal than that of TD.
The music was made using an Arturia Minibrute, many, various effects pedals, Electro-Faustus EF-109 Drone Thing, Korg Sq-1, Arturia iMini, Korg iMS-20, Ableton Live and Garageband.
It is highly recommended to be listened to with headphones.
Kieran Mahon. Minimalist journeys, sketches, synth pieces, drones, loops, found sounds and echoes. Lo-fi. Phaser: rate slow, depth full. Aim: to see a world in a grain of sand.
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