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Showing most liked content since 10/17/2017 in Albums

  1. 1 point
    Recorded in November 1968 and February 1969 George’s Electronic Sound was released in May 1969, it was the second, and final, record released on The Beatles’ Apple Records subsidiary label, Zapple Records. It was yet more proof that George was ahead of his time and in many respects the most musically enquiring of the four Beatles. Electronic Sound is made up of two long pieces of music, originally one on each side of the LP, that are performed on the Moog synthesizer; the Moog IIIc modular system was purchased by George from its inventor, Robert Moog. The record was made against a background of musical exploration that characterised London and Los Angeles in 1968 …Avant-garde was everywhere. Side 2 of the album ‘No Time or Space’ was the first to be recorded and was done in Los Angeles in November 1968. George had finished work on The Beatles (White Album) and had flown to America’s West Coast to produce Jackie Lomax’s Apple album, Is This What You Want? at Sound Recorders Studio in Hollywood. Lomax’s album featured a Moog that had been brought to the studio by Bernie Krause, who along with musical partner, Paul Beaver, had recorded The Nonsuch Guide to Electronic Music, and was acting as something of a ‘salesman’ for Robert Moog’s invention. It was following work on the Lomax album that George, with Krause’s help, recorded the 25 minute piece. Side one of the LP is ‘Under the Mersey Wall’, an 18 minute piece that references the river on which Liverpool is built and it was recorded at Kinfauns, George’s home in Esher, Surrey, in February 1969. The title also refers to a weekly column in The Liverpool Echo, written by another George Harrison (no relation), entitled ‘Over the Mersey Wall’. In 1970 white noise from this track was used on ‘I Remember Jeep’, one of the jams included on All Things Must Pass. The album’s cover was a painting done by George and many years later his son Dhani asked his father if he could have the painting that was leaning against a wall, somewhat neglected, at home in Henley, to hang in his bedroom. A few years later George explained to Dhani what the painting was all about, “That’s Derek (Taylor) holding on to all of Apple’s aggravation and problems that are looming over everyone. That’s Neil (Aspinall) frowning and Mal (Evans) smiling with him in the chair. That’s Eric (Clapton) on the right there and the green guy on the front is Bernie (Krause), with his bow tie and pocket square, patching everything through the board. That’s me making the tea (small blue face smiling) and that’s the cat, Jostick, the small green demon like figure on the front cover.” The album and George’s Moog itself play an important part in The Beatles story as it was taken to Abbey Road studios in the summer of 1969 and used in the recording of The Beatles’ Abbey Road. As George later recalled, “The Moog synthesiser was enormous, with hundreds of jack plugs and two keyboards. But it was one thing having one, it was another thing making it work. When you listen to the sounds on songs like, ‘Here Comes The Sun’, it does some good things, but they’re all very kind of infant sounds.” Electronic Sound is a musical marker, one that George laid down during a period of intense inventiveness and in a world where everything and anything were possible.
  2. 1 point
    We invited all musicians & sound artists to produce a three to seven minutes works based on Shamanism & Pagan traditions from all over the world. We believe the knowledge of our ancestors to be relevant for our contemporary understanding of nature and human life.
  3. 1 point
    " In World War I, no man's land often ranged from several hundred yards to in some cases less than 10 yards. Heavily defended by machine guns, mortars, artillery and riflemen on both sides, it was often riddled with barbed wire and rudimentary improvised land mines, as well as corpses and wounded soldiers who were not able to make it across the sea of explosions and fire. The area was usually devastated by the warfare, carnage and remains of the artillery. It was open to fire from the opposing trenches and hard going generally slowed down any attempted advance. However, not only were soldiers forced to cross no man's land when advancing, and as the case might be when retreating, but after an attack the stretcher bearers would need to go out into it to bring in the wounded. No man's land remained a regular feature of the battlefield until near the end of World War I, when mechanized weapons (ie. tanks) made entrenched lines less of an obstacle. "
  4. 1 point
    This week will be released the album „Smile With An Ambience“ and a videoclip, for the track „Empty Room“ by Christian Fiesel. The video was produced again by the video artists „Where Death Is Most Alive“, from Greece. „Smile With An Ambience“ always planned as a complete ambient record. Miniatures made from time running backwards. During the recording sessions things shifted more and more from dark plains to pulsating fix stars of melodies, sending out from the distance. Also here you can notice Christian Fiesel´s compassion for space and its audible possibilties.
  5. 1 point
    End of 2016, shortly before the release of the two double albums "The Continuous River" and "Hagen's Delight" had both Musicians Hagen von Bergen and Christian Fiesel come up with the idea To design a JOINT project. Starting point were numerous samples, the Hagen predominantly had taken on air travel but also in the domestic context and the two musicians process according to their own taste and into one should make musical context. # The music is full of breaks, full of samples (especially from the flight area) and is a trip via headphones, hence the title. The result are two long pieces of the Hunsrück school, the brushed against many common EM stereotypes and also a kind musical bridge between the two double albums should be.
  6. 1 point
    Dark Ambient meets Berlin School. With tons of Mellotron sounds and drone
  7. 1 point
    An eight track, dark to experimental ambient, album, it is an array of modern world aural landscapes. From audio interpretations of an Amazonian world filled with cawing birds, dripping rain, and reptilian creatures, resonating throughout the forest (liqb, haunted and ominous), to the sounds of modern worlds both chaotic (faces, sizzle) and subdued (ghosts, umbra, curtains), the album is a perfect blend of powerful sound against minimal music!
  8. 1 point
    Aural Films celebrates our 5th anniversary with a special Halloween Collection of deep, dark, spooky, sounds culled from the 200+ albums we have released over the years. Lock your doors and shutter your windows for this collection of 50 tracks, over 7 hours of music, that are the perfect soundtracks for a haunting Halloween!
  9. 1 point