Utility Fog

Sunday, 19th of May, 2013

On this #SBSEurovision finals night, come in from the Euro collapse, the insane costumes and unlistenable music, and join me for the usual. Post-dubstep/ambient techno, glitchy piano electronica, pysch/kraut-rock from Toronto with a Melbourne connection… JOIN ME.

Beginning with two highly recommended albums.
I first heard of Piano Interrupted through UFog fave Inch-time, the Adelaide producer who's now based in London, who released a remix from them at the start of the year. A duo of piano and laptop, they have been joined on stage by various musicians, and have now settled on a cellist and percussionist, who feature on some of this album. The always lovely sound of acoustic instruments sent through the glitchy digital shredder is enhanced by some first class musicianship, with stylistic influences from north Africa and the middle east as well as jazz, classical and electronica – and the cello arrangements bring some extra warmth as well. It's a beautiful album that sits nicely with the 10th anniversary now being celebrated for Four Tet's beloved album Rounds (See my retrospective here. I ought to get around to playing something from that too…)

Harkening back to '90s ambient techno are Dalhous, on the Blackest Ever Black, who have been responsible for some great releases from ex-industrial and noise artists lately, including some epic techno beats from Prurient. Dalhous released a couple of albums of strange psychedelic post-industrial sounds as Young Hunting, but their beats are not nearly as dark and twisted as you'd expect. It's deep and enveloping, recalling FSOL and The Orb as much as contemporary beats and drones.

Moscow-based ambient label Dronarivm put out a lovely drone album from Machinefabriek & Minus Pilots earlier in the year, and now we hear a couple of tracks from the ambient compilation Aquarius. First up is a bonus track, available only online (click the Aquarius link above), from Canada's Segue, and it's one of the highlights – windswept guitar and subtle beats. Also with subtle beats and Arctic textures is Norway's excellent Pjusk.

I raved about ensemble pearl last week on the show, so check out that playlist for the low-down on this amazing doom/drone supergroup. Tonight's track is a glorious mono demo with massively explosive reverbed drums and bass, and everything just layered into a great head-nodding 13-minute sludge. The album version is just as epic and awesome, but just a little bit less intense.

Back in 2008, Mirrored Silver Sea's album Continual Ascension was one of my top albums of the year (see the huge best-of post. Haven't done one of those for a while…) Mirrored Silver Sea was Melbourne native Tim Condon, who has now been based in Toronto for a few years and has formed kraut/psych/instrumental rock band Fresh Snow. Their debut I album is out any minute and is released on both cassette and vinyl, in different versions – the vinyl edition is mastered by the legendary James Plotkin of countless bands including Khanate (with Stephen O'Malley of ensemble pearl above, and it's a far more dynamic version, often so radically different it sounds like a different mix. Pretty excellent in either version anyway!

Nonsemble is a classical/postrock group from Brisbane led by composer Chris Perren, best known for his post/math-rock band Mr Maps. Strings and piano are joined by clattering percussion, crossing two different musical worlds. Lovely stuff.

Andrew Tuttle has discarded his Anonymeye identity, but he's keeping up the folktronic sound, with banjo and fingerpicking acoustic guitar along with synthesisers meeting intense digital processing. We heard two tracks from his first EP under his own name, which you can get for free right now from his Bandcamp.

And finally, you can be lulled to sleep by the waves and gentle drones of Tim Bass, from his album Pastures, out soon from Sydney's Flaming Pines, who presents a meticulously-created imaginary landscape from his home of Melbourne.

Piano Interrupted – Hédi [Denovali]
Piano Interrupted – Occasional Blues [Denovali]
Inch-time – The Sun Myth (Piano Interrupted mix) [Mystery Plays Records]
Piano Interrupted – Son of Foug [Denovali]
Dalhous – Dalhous [Blackest Ever Black]
Dalhous – Success is Her Sensuality [Blackest Ever Black]
Dalhous – He Was Human And Belonged With Humans [Blackest Ever Black]
Segue – Far Away [Dronarivm]
Pjusk – Skarlagen [Dronarivm]
ensemble pearl – island epiphany (rough demo) [Drag City/Daymare]
Fresh Snow – BMX Based Tactics (LP version mastered by James Plotkin) [Fresh Snow Bandcamp] {available soon}
Mirrored Silver Sea – Ghost Blossom [Sound & Fury]
Fresh Snow – Your Thirst For Magic Has Been Quenched By Death! (cassette version) [Fresh Snow Bandcamp] {available soon}
Nonsemble – Movement I – The Great Awakening [Nonsemble Bandcamp]
Andrew Tuttle – Brisbane [Andrew Tuttle Bandcamp]
Andrew Tuttle – Fallen Powerlines [Andrew Tuttle Bandcamp]
Tim Bass – Onward From Nowhere [Flaming Pines]

Listen again — ~ 104MB

Sunday, 12th of May, 2013

A very doomy show tonight, just as we love it! Acoustic doom, explosive reverb-drenched doom rock, post-dubstep liturgical doom drone, and maybe I'll stop inventing the genres now. Plus glitched-up ukulele and musically-twisted field recordings…

LISTEN (again?) via the link at the bottom, the podcast or stream on demand in stereo at FBi! (Try out the excellent mobile streaming!)

First artist tonight I've been obsessed with for a couple of weeks, and I was very glad to get the Japanese 2CD edition of Ensemble Pearl's self-titled album in the mail this week. A collective formed from Stephen O'Malley of Sunn o))), Atsuo and Michio Kurihara from Boris and William Herzog of Jesse Sykes & the Sweet Hereafter, also featuring the extreme violin talents of Eyvind Kang and Secret Chiefs 3's Timb(a) Harris… So, just a little low-key project then. And as this in-depth Quietus review states, it's not going to get the recognition it deserves, so please check it out. American-influenced doom rock and drone, with massive dub reverb on the drums, and heaps of detail. Awesome.

Next up, not just a Sydney connection, but an FBi Radio connection. Paul Jebanasam is perhaps better known round here not just as dubstep producer Moving Ninja but as Farj from FBi's dubstep show Garage Pressure. He relocated to Bristol a few years ago, having already been released on DJ Pinch's Tectonic label, but he's ended up forming his own highly regarded Subtext Recordings, releasing bass-heavy post-dubstep from Emptyset, Roly Porter of Vex'd, and now himself.
Check out this excellent Quietus interview for some background on how he came to make the sounds on Rites – influenced by liturgical music, classical composition, and of course bass pressure… There's no dubstep head-nodding here, but there is percussion along with string arrangements and growling drones. It's interesting to hear his Moving Ninja productions in the context of this music.

We continue the strings and dark drones in our next selection, and incredible 20 minute track from Norwegian cellist & producer Svarte Greiner, head of the Miasmah and one half of Deaf Center. His works as Svarte Greiner and under his own name, Erik K Skodvin, can be classed as acoustic doom (which I love), although he uses electronics and electric instruments as well. But I particularly love the carefully-recorded acoustic sounds on the first Svarte Greiner album Knive and the Erik K Skodvin Flare album – and Black Tie delivers, based for the large part around plucked and scraped cello, with some intense distortion in the middle giving way to the original ostinati. Engrossing.

The Haxan Cloak is another cellist working in dark sound-art, albeit with lots more electronics. I tried to select a track from his new album featuring cello, and it's in there, if processed to not sound a lot like a cello!

Noise stalwarts Wolf Eyes have a new album out with electronics at the forefront – along with Nate Young's unique vocal stylings. More from this next week I hope!

Three huge forces in music meet once a year in Japan for a live concert which they then release on record. Keiji Haino, Jim O'Rourke & Oren Ambarchi's first release was true beauty, with Haino's angelic vocals, piano, drones and percussion; the second was ferocious psych rock noise. The new one combines these elements to some extent, moving even into some krautrock-ish grooves at points.

umin's ukulele folktronica came to my attention via Abandom Building Records a year or two ago. He's now got a new EP out on Bad Panda, although they've neglected to collect the tracks into a set. But you can still grab them all for free, including a remix from Italy's k-conjog, another Abandon Building artist. There's more structure to these new tracks, including clattering beats on one or two tracks. It's excellent glitchy acoustic music you should get.

Glitchy acoustics of a different nature appear on Michel Banabila's new release, Gardening, available now in an extended editiong with remixes (or new works) from Machinefabriek and others. Field recordings of gardening tools combine with subtle instrumentation and lots of processing/editing, and it's surprisingly coherent and musical. Should be no surprise from an artist of the calibre of Banabila, and his collaborators.

And finally, out any minute is the new record on Editions Mego from Gordon Sharp (now Cindy/Cinder)'s cindytalk, who's been making music since the early '80s and can be found on one of the legendary This Mortal Coil records. Abandoning vocals, his Mego releases focus on the quite esoteric climes of processed glitchscapes. The new album continues on this path, although in amongst the noise and fog are some industrial beats here and there.

ensemble pearl – painting on a corpse [Drag City/Daymare]
ensemble pearl – wray [Drag City/Daymare]
Paul Jebanasam – Rites II [Subtext Recordings]
Moving Ninja – Blackout [Tectonic]
Pinch & Moving Ninja – False Flag [Tectonic]
Paul Jebanasam – Rites V [Subtext Recordings]
Svarte Greiner – Black Tie [Miasmah]
The Haxan Cloak – Dieu [Tri-Angle]
Wolf Eyes – Choking Flies [De Stijl]
keiji haino / jim o'rourke / oren ambarchi – only the winding "why" expresses anything clearly [Black Truffle]
umin – tesil [Bad Panda]
umin – hmn [Abandom Building Records]
umin – concentr (k-conjog remix) [Bad Panda]
Michel Banabila – Changing Weather [Tapu Records]
Machinefabriek – Tuiner Met Plezier [Tapu Records]
cindytalk – as if we had once been [Editions Mego]

Listen again — ~ 104MB

Sunday, 5th of May, 2013

Tonight we range through '90s electronic shoegaze and distorted beats, contemporary lo-fi folk, cello-driven postrock and post-drum'n'bass ehhhhhh what am I even, just listen, it's great music OK? Righto.

LISTEN (again?) via the link at the bottom, the podcast or stream on demand in stereo at FBi! (Now optimised for mobile!)

Starting with another wonderful track from Aidan Baker's Already Drowning, one of my albums of the year. Featuring Liz Hysen of Picastro on vocals, musically it's all about tension and catharsis. The whole album's stunning, get it.

Mark Van Hoen's Locust has been going since the early '90s, and evolved into a fairly ambient affair, but last year with his solo album for Editions Mego he revived some of his earlier sounds, revisiting the cut-up female vocals and crunchy beats of mid-'90s Locust, and we continue with that on the new Locust album. From back in 1994, the stellar Truth Is Born of Arguments gives us "Saturated Love". Truly an artist should know about…

Adelaide's Inch-time, now based in London, runs the Mystery Plays Records label and introduced us to fellow Australian Tristan Coleman's music via a couple of remixes a while ago. He's now remixed a Coleman track from his debut EP on Mystery Plays, and the remix is available for free from their SoundCloud.

Based in Brisbane, Feet Teeth come to us via celebrated Canberran label hellosQuare Recordings – free jazz on trumpet, tuned percussion and drums, but all fed through the digital blender. Very interested to see how they work it live!

And via Sydney label Flaming Pines we discover the wonderful work of Greek musician Nektarios Manaras, who plays an assortment of instruments including flugelhorn, guitars, percussion and traditional Greek instruments, along with a few guests, and beautifully evokes the aquatic environment of his home on the Greek island of Chalkis. Flaming Pines is quickly becoming the spiritual home for location-specific music, whether based around field recordings or creatively evocative music.

Ill Professor is Zelienople member Brian Harding, bringing their lo-fi sensibility to his solo work. It seems appropriate that it's released on cassette, but you can also get it digitally from the Constellation Tatsu Bandcamp. And you really should – it's pretty stunning in its low-key way, with mysteriously muted sounds from guitar, piano, percussion, and probably other unidentifiable sources, making for something rather beguiling.

More tonight from Jason Sweeney's beautiful Panoptique Electrical EP from late last year…

And then we're on to a fantastic forthcoming release on Constellation from AThee Silver Mt. Zion and Set Fire To Flames cellist Becky Foon, branching out solo as Saltland. It's just awesome how every cellist's solo project is different, and while Foon's cello is often holding melodies and prominent in the mix, there's plenty of percussion, electronics and other stuff going on here. Beautiful stuff.

Meanwhile, Oliver Barrett of Petrels and Bleeding Heart Narrative has made a very limited cassette release available on his Bandcamp, featuring untreated solo cello played in various environments. This is pretty uncompromising cello noise, coaxing moans and scratches and squeaks out of the instrument.

Another overflow from last week, we heard Jakob Bro's jazz composition and Thomas Knak aka Opiate's remix of the same, from the highly recommended BRO/KNAK 2CD/triple-vinyl release.

Moving into beats, Demdike Stare bring us the second of their incredible Testpressing 12"s, with more noise meets slowed-down junglisms, and we reprised one of the highlights from Demidike's Miles Whittaker's recent album.

And we finished with an incredibly atmospheric piece of trad dubstep from SP:MC, which I heard excerpted from a mix on YouTube a while back and have been waiting impatiently for ever since.

Aidan Baker – Ice (feat. Liz Hysen) [Gizeh Records]
Locust – Fall for Me [Editions Mego]
Locust – Saturated Love [R&S]
Mark Van Hoen – Unknown Host [Editions Mego]
Locust – Do Not Fear [Editions Mego]
Tristan Coleman – Good Money (Inch-time remix) [Mystery Plays Records] {download from SoundCloud}
Feet Teeth – Hsinchu [hellosQuare Recordings]
Nektarios Manaras – Floating In Anything [Flaming Pines]
Ill Professor – Wire & air [Constellation Tatsu]
Ill Professor – The five tones deafen [Constellation Tatsu]
Panoptique Electrical – Mount Schank Part Two [Panoptique Electrical Bandcamp]
Saltland – Golden Alley [Constellation]
Saltland – Colour The Night Sky [Constellation]
Oliver Barrett – Bathyscaphe [Petrels Bandcamp]
Jakob Bro – Izu [Loveland]
Thomas Knak – Izu Rebuild (remix of Jakob Bro) [Loveland]
Demdike Stare – Primitive Equations [Modern Love]
Miles – Lebensform [Modern Love]
SP:MC – Air Lock [Tempa]

Listen again — ~ 105MB

Sunday, 28th of April, 2013

Japanese shoegaze, Aussie indietronica, an astonishingly atmospheric song cycle from Aidan Baker and a host of female singers, Colin Stetson's saxophone mangling and more…

LISTEN (again?) via the link at the bottom, the podcast or stream on demand in stereo at FBi! (Now optimised for mobile!)

We start with a bit of an audacious project from Japan's High Fader Records, a cover of My Bloody Valentine's most famous album, titled *ahem* Yellow Loveless. The opening track is a bit of a red herring in a way – Tokyo Shoegazer do such a literalist take on "only shallow" that you really could be forgiven for thinking it was MBV themselves, on a cursory listen. But I think it's worth hearing for precisely that reason.
On the other hand, The Sodom Project take the general harmonic structure of the instrumental "touched" and take it into very different territory, with the motif on piano, expanding into an insane wubwub dubstep mid-section, and then more piano and electronics. There's way more on this compilation, not just shoegaze, and you should really seek it out.

On the other hand, The Sodom Project take the general harmonic structure of the instrumental "touched" and take it into very different territory, with the motif on piano, expanding into an insane wubwub dubstep mid-section, and then more piano and electronics. There's way more on this compilation, not just shoegaze, and you should really seek it out.

New Zealander Heidi Elva moved from Sydney to Melbourne a couple of years ago and she took her harp with her, but along with her lo-fi harp-based indie, she's been writing tunes on her iPhone, while commuting (she's no stranger to the phone as musical instrument, having played and looped samples from old Nokias in her harp sets as well). Regardless of the source, it's compelling minimal electronica with her sweet vocals. An album will be out in the coming months.

And so we come to one of the most exciting albums of the year for us here at Utility Fog Towers. Aidan Baker, member of crushing drone-noise-meisters Nadja, extremely prolific artist across many genres, releases a song suite based around folk tales and mythology of female water spirits, featuring a collection of brilliant female vocalists, who also contribute instruments and, in a couple of cases, lyrical translations. The music is impossibly moody, quite minimalist as expected with Aidan Baker, but variously the tracks feature surging crescendos, beautifully arranged strings, electronic processing, and of course gorgeous vocals – tonight we heard fellow Canadians Geneviève Castrée (also an awesome comics artist) and Clara Engel. Couldn't recommend it highly enough. We also heard an immense 14-minute track from Nadja's Dagdrøm album of last year.

I first saw Colin Stetson in an incredible guest spot with My Brightest Diamond at the Vivid Festival in 2010. My Brightest Diamond's Shara Worden turned up as guest singer on his second album shortly after, along with Vivid co-curator Laurie Anderson. It sounds like Stetson's presence on Bon Iver's recent touring has been similarly revelatory, and it's great to hear Justin Vernon appearing on a few tracks on Stetson's new album, including his grindcore-style barking on one of tonight's tracks. As usual, guests aside, aided by Ben Frost's bass-heavy production, it's all about Stetson's intense, endless playing on his various saxophones, multiphonics with rapturous singing through the reed, all while circular breathing (one track goes for a good 15 minutes!). It's as incredible as his second album, which is saying something.

More rapturous playing up next from A Hawk and a Hacksaw, an English duo who have completely assimilated the gypsy and Eastern European folk music they so love, and are now able to create their own facsimiles. Combining these sounds with some amazing movie samples and occasional processing is effective – I especially love the mega-distortion at the end of "The Sorcerer".

And so we get to a bit of a special tonight on Brisbane's The Rational Academy, whose new album is out now on vinyl and digital through their Bandcamp. I first came across their singer/guitarist Benjamin Thompson on a highly limited 3" CDR in the early days of the Room40 label, passed on by John Chantler (now running the London arm of the label), and featuring Brisbane-based label boss Lawrence English producing and processing Thompson's guitar in a series of lo-fi indiefolk songs. The Rational Academy's early material continues this cut-up, ramshackle aesthetic, an essential Brisvegan contribution to indietronica. Even the more rockin' incarnation now still has some excellent jarring moments of digital edits stutters and edits. Excellent stuff all round.

Speaking of postmodern indiepop, Golden Blonde still haven't released their album, but this is one of the tracks I'm allowed to play you. Essentially a reborn Kasha, they've gone from a kind of math rock to a sortof demented version of Animal Collective, Lucky Dragons and god knows what else. Apparently they're great live too, and I can't imagine how they would achieve this sound live, which is an excellent thing.

Finishing with another of Li Daiguo's Chengdu vignettes, wonderful avant-garde Chinese folk.

Tokyo Shoegazer – only shallow [High Fader Records]
The Sodom Project – touched [High Fader Records]
Panoptique Electrical – Mount Schank Part Three [Panoptique Electrical Bandcamp]
Heidi Elva – Waiting by the river [Heidi Elva SoundCloud]
Aidan Baker – Already Drowning feat. Clara Engel [Gizeh Records]
Nadja – space time and absence [Broken Spine Productions/Daymare]
Aidan Baker – Tout Juste Sous la Surface, Je Guette (feat. Geneviève Castrée) [Gizeh Records]
Colin Stetson – Hunted [Constellation Records]
Colin Stetson – Groundswell [Aagoo]
Colin Stetson – Fear of the unknown and the blazing sun (feat. Laurie Anderson and Shara Worden) [Constellation]
Colin Stetson – Brute (feat. Justin Vernon) [Constellation Records]
A Hawk and a Hacksaw – Open It, Rose [L.M. Dupli-cation]
A Hawk and a Hacksaw – Ivan and Marichka/The Sorcerer [L.M. Dupli-cation]
The Rational Academy – Great Care [The Rational Academy Bandcamp]
Benjamin Thompson – Girl Singers [Room40]
The Rational Academy – Your Hands Just Fall – Your Chest and Face Are Noise [The Rational Academy Bandcamp]
The Rational Academy – David Version [hellosQuare Recordings]
The Rational Academy – Hammer [Someone Good]
The Rational Academy – 夏 夫 (Summer Husbands) [The Rational Academy Bandcamp]
Golden Blonde – We Begin [Golden Blonde]
Li Daiguo – Chengdu Plant and Bird Market [Tenzenmen]

Listen again — ~ 158MB

Sunday, 21st of April, 2013

Good evening! Tonight, a special on Danish producer Thomas Knak aka Opiate, an interview with London-based Aussie composer Leah Kardos, some new drum'n'bass, soundtrack work from Clint Mansell and more!

LISTEN again via the download link at the bottom, the podcast, or the glorious stereo of FBi's streaming on demand.

I've been a fan of Danish artist Thomas Knak aka Opiate since the late '90s, when he was making idm and early folktronica, plus making minimal dub and indietronica as part of System aka Future 3. Occasional (uniformly awesome) remixes have slipped out, but there's been precious little from Opiate of late, so it's fantastic to discover that fellow Dane, jazz composer Jakob Bro released an album late last year which not only featured luminaries such as Bill Frisell and Paul Bley, but also an entire second disc remixed by Thomas Knak. What a score! The BRO disc is a delight – melodic composed jazz (not to say the performers don't improvise of course). Knak's take is typical of his output – digital cut-ups, glitches, beats ranging from clicky hip-hop to drill'n'bass. It's a bit of a throwback, both to the '90s idm days and the early-to-mid-'00s folktronica, which is all good and proper. Highly recommended.
We also had a few highlights from the Opiate back catalogue, which has included some very fine remixes along the way. He's also responsible for two of the tracks on Björk's much-loved Vespertine album.

Following the drum'n'bass influence of Opiate, we head to a true d'n'b innovator of recent times, ASC – although he's known for releasing techno or house singles now and then too. A lot of his stuff lives in this autonomic subgenre that's sprung up in the last few years, alongside, although not necessarily influenced by, dubstep. Slower tempos, minimalist but still jittery beats… What we heard here was closer to the d'n'b end of the spectrum, even with some amen breaks, including a track from one of two EPs that came out this week (the other isn't drum'n'bass).

And end.user's always been at the heavy end of the drum'n'bass spectrum, better known for breakcore but venturing onto the heavy, dark end of the d'n'b dancefloor too. This new track was released free on his Bandcamp this week, and drops some dubstep bass wobble for good measure.

Next we head back to the lovely Leah Kardos, a London resident originally from Brisbane who's been featuring on the show recently because of her new album which extends her debut's classically-trained piano and electronics with Rhodes and the opera-trained vocals of Laura Wolk-Lewanowicz. I caught up with her while she was in Sydney earlier in the day, and we heard the resulting conversation tonight.

Piano features heavily in the film scores of Clint Mansell, an artist who I've been a fan of for more than 2 decades, since his days making intergalactic punk-rock hip-hop with Pop Will Eat Itself. In the last decade and a half he's made a major career for himself writing movie scores, combining his background in guitar riffs, beats and samples with a real talent for melody and for scoring piano and strings. His latest score is for Stoker, which I was disappointed to discover is not about Dracula author Bram Stoker. In any case, there's subtle electronics, and lots of romantic piano and strings. His Moon soundtrack is one of my favourites, with a returning piano-led postrock refrain that I could listen to all evening.

Sydney trio Making started off making (er, sorry) muscular math rock that was like a hard-edged early My Disco. Their new single is a slightly less hard and more funky affair, and like their last it comes with a pair of excellent remixes – an epic 12-minute rework from Mannheim Rocket and a more sensible length Scissor Lock one which we heard tonight. Check it – free download!

Thomas Knak – Roots Rebuild (remix of Jakob Bro) [Loveland]
Opiate – tennis at wimbledon [April Records]
Piano Magic – The Canadian Brought Us Snow (Opiate remix) [Morr Music]
Opiate – amstel [Morr Music]
Jakob Bro – Northern Blues Variation No. II [Loveland]
Thomas Knak – Northern Blues Variation No. II Rebuild No. I (remix of Jakob Bro) [Loveland]
Jakob Bro – Epilog [Loveland]
Thomas Knak – Epilog Rebuild (remix of Jakob Bro) [Loveland]
ASC – Droids [Samurai Music]
ASC – Glass Walls [Samurai Music]
ASC – Sonic Assault [Halocyan Records]
end.user – necessary bruises [end.user bandcamp]
Leah Kardos – Highly Active Girls [Bigo & Twigetti]
…interview with Leah Kardos…
Leah Kardos tracks in the background: "Core", "Closed Circuit", "Katerina"…
Leah Kardos – Sexy Monday [Bigo & Twigetti]
…further interview…
Leah Kardos – Apology [Bigo & Twigetti]
…final interview segment…
Leah Kardos – Incantation [Bigo & Twigetti]
Clint Mansell – Merry Christmas (It's The End Of The World) [Headphone Commute]
Clint Mansell – Happy Birthday (A Death in the Family) [Milan Records]
Pop Will Eat Itself – The Fuses Have Been Lit [RCA]
Clint Mansell – We're Going Home [Black Records]
Clint Mansell – Blossoming [Milan Records]
Making – Stay Stil (Scissor Lock remix) [MAKING Bandcamp]

Listen again — ~ 107MB