Inspired by modern day minimalism and baroque like orchestrations, Simplicity in a Complex World is a meditation on the complexities of the modern way of life. It is, for Spardel, both a reflection and recreation of the inner space we must all find for ourselves in a world that is constantly shifting beneath our feet.
Drogtech is Łukasz Pałys, a Poland-based artist influenced by producers such as ASC, Sam KDC, Tycho, Helios, and Hammock. Drogtech’s SSS debut Fractured [Mar 17th] offers up pleasing melodic downtempo and easy on the ears electronica for fans of Northcape, Slidecamp, and Melorman. Fractured is now available for pre-order on CD/Digital, and will be released at the end of March.
Gemini Tri is the stage name for Denis Piryazev, an electronic musician from Mosсow, Russia. "Lemniskata" marks the debut release from the artist on Sun Sea Sky Productions, and should resonate with and appeal to fans of Lights Out Asia, Tycho, Near The Parenthesis, and Boc Scadet.
The release also features five noteworthy remixes by label stalwarts Charm Days, Bluetech, Data Rebel, SineRider, and Mike Allen.
Through its crystalline labyrinth of granular synths and tape saturation treatments, Blochemy's "Rea" sheds the artist's former Tri Repetae-era Autechre and Atol Scrap-era Arovane influences, instead trading these in for more panoramic electro ambient forward material.
"Rea," while retaining a stark desolate beauty all its own, undeniably channels Campfire Headphase-era BOC ambient pieces, Near The Parenthesis' work, along with Arovane's (and Kleine's) masterpiece "Tides." Underpinning the album are sci-fi thematics of once hostile planets now terraformed into more habitable atmospheres and environments.
Rounding out the package are four remixes from hallmark ambient and electronic acts Halftribe, (ghost) + Yuánfèn Dream, SineRider, and Stray Theories.
Sun Sea Sky Productions has teamed up with the Bluetech to compile all four of the artist’s “Four Horsemen of the Electrocalypse” series EPs into a Limited Edition Double CD set featuring stunning eight-panel digipak artwork from Totemical that appeared on the EPs, as well as new artwork for cover and inside panels. All orders ship with an 11"x17" poster and 1" button while supplies last!
These four EPs reference the Biblical bringers of the Apocalypse. Drawing inspiration from the classic fantasy art of Moebius, Beksinki and Syd Mead, “The Pale Horse” dances around eschatological tropes with tongue firmly placed in cheek. Featuring gorgeous artwork from concept designer Justin Totemical, each release in the series presents a facet of the visionary prophetic current.
“Emerging from a long period of creative drought and personal struggle, I was seeking a way to frame my own experience in a larger meta-narrative. Navigating through loss and painful transformation always feels apocalyptic, so I wanted to take the opportunity to not only frame my heartbreak in a larger context but also to really laugh at myself and experience the high drama of being human with a sense of humor. The Revelations of our little lives feel like the end of everything, and looking out of our windows of meat and bone we feel the ground rumble with the approach of the 4 Horsemen.
On a larger scale, it’s easy to draw parallels between the realities of modern life and the harbingers of ‘the end’ in John’s symbolic vision of the end of the Roman Empire. We are in the grasp of a dying empire watching the destruction of our biosphere, and yet… every seed must go to ground before new life emerges.
This series of releases is about watching it all burn with a smile, embracing the death of the self as an act of beauty in order to grow. By aligning my own story and our collective story with a prophetic vision of epic proportions, I was able to to regain my joy and (en)lighten my life.”
What originally started as two artists collaborating and remixing a few of each others' favorite tracks, would eventually spark the idea to release a more full-bodied 6-song EP. Two of ambient electronica's finest are represented here. Beautiful photography/design and packaging round out this release. All orders ship with a limited edition 11"x17" poster and 1" button while supplies last! Available on CD and digital formats this fall.Read more »Less
2015 is proving to be a busy year for George Papadopoulos (aka Hior Chronik), whose third full-length album ‘Taking The Vail’ (Kitchen. Label) and collaborative double-vinyl project with Arovane ‘In-between’ (A Strangely Isolated Place) are due to be released within the year. ‘The First Ray’ (Sun Sea Sky Productions) sees Hior Chronik collaborating with prolific Grecian electronica artist Mikaël Delta, and kicks off a semi-regular series of collaborations from the artist on the imprint.
Drones and ambient fields drench this release with an emotional frequency full of strength, inner treasures and awakening - creating an exquisite recording that attempts to transcend the temporal or physical, replacing these instead with the light of consciousness.
Northcape's third release on Sun Sea Sky Productions, this time a shorter more concise affair featuring six tracks of deliberately uncomplicated downtempo electronica with an analogue-inspired melodic sound. The focus is on detailed, atmospheric leads, deep underlying bass, and gently textured distortion.
Melorman's breakout release on Sun Sea Sky Productions was met with much critical acclaim by the electronic music community, and was also featured as Echoes Radio CD of the Month in August 2013. For those wanting to explore the melodious sounds of this artist, look no further than "Waves" as a rightful introduction.
One of the most critically acclaimed releases in the Sun Sea Sky catalog, Northcape's "Exploration and Ascent" provides a compelling argument that music has the ability to take us places both familiar and far.
Signal Hill's debut release on the label, "Chase the Ghost" (or CTG) is an elegantly restrained instrumental post-rock gem that continues to be met with positive reviews as the band increasingly garners more and more fans across the globe each consecutive release.
Originally released in 2005, Mike Allen's 'Mold' has been completely remastered by Crimson Sun Audio (Touched Compilations, Covert Series, etc.) and has been reissued as a free digital download release on the label.
Clocking in at nearly 65 mins, "Broadcasts In Colour" delivers over an hour of music that explores new sonic territory for the artist, including but not limited to vocals on selected tracks. A six-panel digipak featuring artwork and illustration by Paul Nolan round out this hauntingly beautiful package.
Formerly only available as a CDr release on Lawrence Grover's (aka Boc Scadet) own microlabel clickclickdrone, "Temporary Oceans" has been completely re-mastered and features new packaging and artwork by Liam Frankland. This folks, is a hallmark IDM and electronica album.
After reading an article discussing the subject of Scientism, Mike Allen embarked on a journey to write and record his debut solo album "Cirrhotic". The album represents a culmination of Mike's thoughts and rather strong reactions to the above subject matter, but too, marks a brief departure from his regular role of guitarist and vocalist in the band Sunday Flood to write and record solo material of his own.
Debut full-length from multi-talented New Orleans outfit/ensemble. For fans of The Sea and Cake, Tortoise, Aloha, and The Mercury Program. Over an hour of warm summery goodness that will transport you, however briefly, to a time and place where lemonade and lawn chairs rule the earth.
The song of Lewis and Clarke is a craft of beautiful and subtle intensity through the timeless sound of guitar, Rhodes piano, drums and voice. The sound strikes the human chord. Hailing from the rural anthracite region of northeast Pennsylvania where the fever of isolation burns from an underground blaze, Lewis and Clarke was formed as an extension of singer/songwriter Lou Rogai's solo work and features a cast of friends that contribute on the recordings.
This album is by far the most intense set of recordings the band has ever documented on a given release. "Advisory" further showcases Sunday Flood's ability to move effortlessly between the emo and hardcore genres, which on more recent recording efforts shows the band leaning toward the latter.
NEIGHBORLY, sadly, was the apex and end of my time as a primary singer/songwriter. From 1993-1996 I was the drive behind Skiploader, a band fortunate enough to sign with Geffen Records and perform with many of our influences/friends at the time (Foo Fighters, Sunny Day Real Estate, Seaweed, Shudder To Think, Heatmiser, etc). When Skiploader imploded [for which I can also assume responsibility] I moved back to California, got married and continued writing the batch of songs that would become Grass Is Greener. The first 11 songs would have likely represented the follow up to Skiploader's From Can Through String and as I listen back from a quasi-objective distance I see an interesting evolution. The Neighborly songs are more traditionally arranged, allowing the vocals and lyrics to come to the forefront, rather than hide behind the quirky rhythms and dissonant chord voicings that Skiploader preferred. The lyrics, although still a bit angsty, are far more universal and less personal diary/confessional than Skiploader. Although it could probably be effectively argued that those traits are exactly what made Skiploader more unique sonically, I suppose like most creative types I suffer from the disease of preferring my most recent efforts.
From 1996-1999, Bob Penn (Coco B's, The Jealous Sound and Racquet Club) and I rallied several friends - Wes Davis, Val Wolfe, Adam Orth and Rodger Marinelli - to help us write, perform and record these 16 songs. As the primary songwriter and now archivist of this project I guess I get the last word, so I cannot overstate how integral Bob Penn is to any project he plays. If I was the brains of this poorly conceived operation, Bob is most certainly the soul which preserves it's integrity. Not to denigrate any of the other performances or contributions (especially Adam Orth who played a huge role in tightening the LPs final performances) but Bob was there from bittersweet end to end and listening to his drums on these songs always brings a smile to my face.
Songs 2-10, the main bulk of the original Grass Is Greener CD release, were mixed in 1998 or 1999 by Mark Trombino at Big Fish in San Diego. The extra tracks "Is That All?" and "She Watches Columbo" also come from that mix session. "Jarvik 7" was actually a Skiploader demo recorded with Pat Wilson from Weezer on drums and bass that was originally slipped onto the original CD as a hidden track. "Vandalized," "Nibbler" and "Chasing Trash" were the very first Neighborly demoes recorded for Warner Chappell Music Publishing in the Fall of 1996 with Wes Davis (bass) and Val Wolfe (guitar) absolutely crushing it. It's probably for the best that we didn't re-record those tunes, because their rawness is my favorite part of this re-issue. "You and I Against..." was a demo I forgot existed until I found it on an old DAT while trying to curate this reissue. I was tempted to re-record lead vocals because I really love the music, but I'm older now and am somewhat capable of not making an ass of myself from time to time. Finally, the demo version of "Bully's Bliss" had to be added because it too was found on an old DAT and I had absolutely no recollection of its original structure or even which line up is playing it. I may prefer the final LP version as a cohesive song, but I'm amazed at how we went from that demo to the final version.
Finally, it occurs to me that the reason you might be reading this has everything to do with Sunday's Best, which was arguably the most "successful" band I was in despite [or perhaps because of] the fact that I was playing in what seemed like a more diminished/collaborative role. The truth is I was also the primary lyricist in Sunday's Best and co-produced/engineered all the S Best recordings (although Tony Lash performed miracles mixing both records and co-producing The Californian LP). The Sunday's Best song "In Beats Like Trains" and "I Concede The Point" from Grass Is Greener were the last two songs written as Neighborly. S Best needed a 10th song to finish the Poised To Break LP and they helped me rewrite/clean up the chorus. Ed from S Best co-wrote the bridge to "By The Way..." and Ian helped engineer me playing all the instruments on "I Concede The Point" because I guess every rock dude who can play multiple instruments has to record an entire song by himself.
That's about all I can think to say about this project for now. When I listen to these songs today, I get a feeling you might be familiar with: you know when you see an old photo of yourself and you actually look pretty good but then you remember how you saw yourself back then and how you were always plagued with self-doubt? Well I do and when I see old candids from my 20s I want to jump back into those photos and pat that person on the back and say, "take it easy on yourself, kid. You're doing ok..." So when the iTunes shuffle drops a Grass Is Greener track, I smile and think "you were not half bad at the whole songwriting thing, maybe you should have tried to enjoy it more."