#celestial soundscape

[cosmicdreamnebula]

Whispers of the Cosmos: A Serene Galactic Soundscape for Tranquility" is an auditory embrace from the vastness of space. This soundscape weaves together the subtle and serene whispers of the universe, creating an atmosphere that's ideal for relaxation, meditation, or drifting into a peaceful sleep. Immerse yourself in this galactic soundscape and let the whispers of the cosmos guide you to a state of profound tranquility and calm.

[spacepod]

[gemstarb]

Celestial Gate - Ambient Fantasy Soundscape For Tranquility - Ethereal M...

[beastwars-transformers]

mfw the obscure ambient album with 750 total streams on spotify doesn’t have a first edition album for sale

[emilybeemartin]

Inktober Days 22-24

Day 22: "Scratchy"

Saguaro, cholla, prickly pear, pincushion, hedgehog, barrel cactus—how magical are these amazing plants? Iconic, unique, perfectly tuned to their environment. The pleats on a saguaro help it bulge and shrink to accommodate water availability, and the inhospitable trunks provide shelter for desert birds. 

Saguaro NP produces some of my favorite educational videos in the system, thanks in part to Feature Fridays with Ranger Freddy Gutiérrez Fernández-Ramírez. Just to add to the scritchy-scratchy theme of this prompt, some of the more unusual videos featuring Ranger Freddy show how to remove jumping cholla barbs from your skin and clothes. Rangers in Saguaro carry hair combs in their first aid kits—and it’s not to fix flat-hat hair!

Day 23: "Celestial"

In recent decades, park managers have come to recognize natural soundscapes and pristine night skies as tangible resources, just like clean air, land, and water. As I was entering the NPS field, a big effort was kicking off to designate certain units as Dark Sky parks, and Big Bend is the king of them all. It has the lowest levels of light pollution of any park in the lower 48 and is famous across the NPS for its breathtaking starscapes.

Protecting natural darkness opens up amazing new opportunities for visitors and rangers. I love assisting with night sky programs, because I remember how I felt when I first traveled away from the greater I-85 corridor and saw my first pristine night sky. It’s a primordial type of magic to see stars unveiled from urban lights and humid haze. And the good news is, unlike other endangered resources, dark skies are salvageable. When towns and cities take steps to reduce their light and air pollution, there’s no slow, agonizing recovery—the stars come right back. They’re just up there, waiting to peek at us again.

Day 24: "Shallow"

I have to confess—I used to look down on Congaree, despite it being the only national park in my home state of South Carolina. I thought of it as muggy, buggy, and a bit boring. But when I was researching wetland habitat for A Field Guide to Mermaids, I was stunned to realize just how special this landscape is. Our country used to be covered in immense floodplain forests along river corridors, but the natural flood cycles that made these lowlands so fertile also meant the land was prized for agriculture. Rivers were straightened, forests were cut down, and the rich soil was planted with crops. Because of this, Congaree protects the largest swathe of bottomland floodplain forest left in the United States.

And it’s a gorgeous park, as well. There’s something evocative and eerie about walking the elevated boardwalks over tea-colored water. Spooky cypress knees reach up through the water like outstretched arms, and several massive national and state champion trees loom up out of the thick forest.

This park may not have the accolades some of the grander, more storied parks have, but I’m proud that it’s my home state’s park and glad that it protects one of the last intact forests of its kind.

------

Another big thank you to the folks who have preordered Thirty-One Days of National Parks: The Artbook! The Big Bend page features a little guide to starhopping from the Big Dipper out to other stars!

[cliozaur]

The one, in which Valjean and Cosette find themselves in “a sort of garden.” That’s a fitting characteristic of the place. It seems that this ‘garden’ is a wild mixture of plants, ranging from forest trees to fruit trees and beds of vegetables.

Cosette is still dead-scared of Mme Thénardier—thank you Valjean, for adding to the child’s trauma. They try to hide even within the shelter they have found: “A man who is fleeing never thinks himself sufficiently hidden.” Soon we’ll have the convent digression, and the “celestial, divine, ineffable, ravishing” sound they hear serves as the first nod in that direction. It's a hymn sung on the night of Valjean’s entering the convent, marking the beginning of a series of sounds associated with this place. I am always fascinated by the fact that a nunnery can contain such an intricate soundscape despite being perceived as a silent place.

[thesinglesjukebox]

LISA - "ROCKSTAR"

We're generally okay with this sort of rock-ism...

[6.44]

Kat Stevens: Like when there was a wasp trapped behind the radiator in the office and my colleague threw her shoe at it (complimentary). [8]

Leah Isobel: Equal parts delightful and boring, "Rockstar" distinguishes itself from LISA's previous solo material by having ideas, or at least the semblance of them: the switches between celestial melody and skittering momentum, the blunt sexuality of the post-chorus, and the critique embedded in the chorus' "teach me Japanese" bit all point to a real personality. But its blockbuster soundscape and paucity of structural interest -- that chorus is worn out by the third repetition -- squeeze out the more interesting parts. It's a La Croix song, with just a hint of flavor beneath all the empty fizz. [5]

Jonathan Bradley: “‘Lisa, can you teach me Japanese?’/I said ‘hai, hai’” is such an ostentatiously silly lyric, especially for one that recurs that many times, but it helps lighten a song that could otherwise be too self-serious in its stunting. LISA's got a likeable charisma, but she doesn’t fit imperious well, which is perhaps why her royal fanfare comes in the form of a mere Tame Impala sample. Likewise, that sample drops in just before the harsh pinging production threatens to become alienating. A pose of indomitability that is fortunate not to be as uncompromising as it imagines itself to be. [7]

Taylor Alatorre: The self-orientalizing doesn't land as hard as it should because it aims a bit too broadly -- after two decades of hallyu, it's more plausible that an oblivious fan would mistake Lisa for being Korean than Japanese. Hip hop is built on hyperbole, but the low-hanging "all look same" punchline represents a missed opportunity to foreground her status as the only Thai member of a flagship K-pop group. CL, while lacking such status, seemed to have more fun with her version of this trick on "Hello Bitches," zipping from Macau to Kakao to sake with breathless irreverence. But "Rockstar" is more stylishly produced than "Hello Bitches" was, with a refurbished griminess built of interlocking machine parts. If the end result is to evoke the kind of amalgamated cyber-Asia that forms the backbone of Bullet Train and Elon's Twitter feed, that isn't the worst possible thing; at least it gives the joke a proper setting. [6]

Will Adams: Much like a lesser known Rihanna single of a similar title, "Rockstar" is an endearing game of play-pretend that doesn't take itself too seriously. Do I believe LISA is actually a rock star? No. Do I believe she's having fun? Oh yeah. [7]

Ian Mathers: It didn't fuck me up when I saw people roughly my age noting that kids these days will sometimes refer to "taping" shows without understanding why we call it that, or that they don't recognize what the save icon is a picture of. But I did get a bit of a jolt listening to this and realizing that "rockstar" as a term is probably as referent-less these days as "dialing" a phone number is (and that's without getting into the precipitous and not wholly unwelcome decline of calling people). That doesn't mean the use of "rockstar" feels inappropriate here at all; for the length of "Rockstar" LISA certainly feels like one in the modern sense, even as the song doesn't even vaguely gesture towards the music genre that used to inform the term. But who cares? It kinda bangs. [7]

Nortey Dowuona: James Essien, a Ghanaian songwriter who cowrote "Hurt People" for Belizeian-Trinidadian pop singer Kamal., is one of the three co-writers (along with Delacey of "Drama Queen" and Lucy Healey of "imtyn"  by Grace Enger), alongside producers Ryan Tedder and Sam Homaee. These have nothing to do with the light faux Tame Impala drums that play for two bars, but I'd rather mention all of that than anything that happens in this song. [3]

Katherine St. Asaph: I don't know how I feel about Ryan Tedder being brat. [6]

Jacob Sujin Kuppermann: Perhaps the most obnoxious piece of music I've heard this year. [9]

[Read, comment and vote on The Singles Jukebox]

[lyaiozpress]

A Magical Mantra

Nia Pearl and Kelvin Momo unite in a harmonious dance of creativity, birthing the mesmerizing opus known as “Enchanted Mantra,” graced by the talents of Stixx and Mzizi. Upon my first listen, I traveled immediately to past versions of myself as if reintroducing myself to this current reality. It was DEEP!

This celestial fusion of deep house rhythms and soul-stirring melodies births a track that resonates with ethereal beauty and profound emotion.

The journey of “Enchanted Mantra” commences with a lush, otherworldly overture that whispers of the enchantment to come. Kelvin Momo, a maestro of immersive soundscapes, unveils his artistry in full bloom. His tapestry of sound, woven with deep bass pulses, intricate percussions, and ethereal synths, forms a hypnotic tapestry that beckons the soul.

Nia Pearl's vocals, a gift from the heavens, weave a spellbinding magic through the intricate maze of instrumentation. Her voice, at once potent and soothing, glides effortlessly, a celestial thread binding the music with grace. Meanwhile, in a recent collaboration, Daliwonga and Mas Musiq unveiled "My Love," featuring Nia Pearl, Nicole Elocin, and Bontle Smith, a testament to her ever-evolving artistry.

Stixx and Mzizi, with their unique artistry, sprinkle their essence upon the tapestry, adding layers of depth and complexity. Stixx's velvety harmonies and poetic verses dance in harmony with Nia Pearl's vocals, while Mzizi's melodies weave a rich tapestry that seamlessly intertwines with the existing symphony.

The production, crisp and polished, unveils the full majesty of the sonic landscape, inviting the listener to immerse themselves fully in its beauty. “Enchanted Mantra” shines brightly in the realm of deep house, a beacon of artistry and innovation. Together, Nia Pearl, Kelvin Momo, Stixx, and Mzizi have birthed a creation that transcends the ordinary, offering a musical experience that is both immersive and transformative.

This collaboration is expressed as a testament to the sonic enchantment that unfolds when talented souls merge their creativity, crafting a force that transcends time and space.

To indulge in this otic odyssey, please click the link:

The House District appreciates your contribution to our sonic landscape. We are excited for South Africa. Honestly, what a time! The future of house music is indeed in safe hands.

[dustedmagazine]

Actress — Statik (Smalltown Supersound)

Photo by Ola Rindal

Darren Cunningham AKA Actress begins his latest album in “Hell.” Silence, then scraping granular beats, a grey-scale palette, tapping into The Wicker Man vibe of Boards of Canada at their darkest. Yet in the background, faintly celestial tones sound, as if the trajectory is upwards via the grinding of dungeon tools and babble of dementing voices. As the rhythms mutate, the balance shifts more urgently between dread and hope. Resolution withheld for now, Cunningham spends the remainder of Statik in ascent, reassembling elements of club music into ambient soundscapes that flow over a glitchy crunch of percussive effects.

Gradually adding light and warmth Cunningham plays with dichotomies of movement and stasis, light and dark, insularity and co-existence. He treats his tracks like a scientist, studying the behavior of his musical molecules as they orbit and collide. As he introduces new elements there are moments of readjustment, of acceptance and reaction. Gamelans, RnB vocal samples, warm synth pads, thudding kick drums, sometimes upfront and smooth then pushed beneath vinyl crackle, reverbed, distorted, or atomized and reconstituted. For all this Cunningham seems more interested in a search for calm amidst the bustle. On “Six” his bass tones are like a thick carpet beneath the clicking beat. The static feels like the gentle lapping of wavelets against a dinghy. If there’s a portent of storm, it’s not coming this way. By “Cafe De Mars,” the music begins to swell and twinkle, the abrasive edges eroded to a background swish as Cunningham expands the track in concentric rings. There’s a couple of odd detours that somehow add to the mystery of Statik. The parping synth line in “Dolphin Spray” brings Falco to mind whilst the whipcracks and drones of “System Verse” sound like a malfunctioning submersible sinking to the seabed.

This is head music, discursive in a suggestive rather than rambling manner. As Cunningham pans across the channels, his sound design strikes the ears and creates synaptic leaps that draw pull the listener’s focus. Many of constituents will be familiar to fans of Boards of Canada, Two Lone Swordsmen and Aphex Twin and if the early tracks of Statik sound more challenging in their discordances, you will feel borne along by the idiosyncratic juxtapositions Cunningham creates.

Andrew Forell

[norunas]

Moon’s Brew

Indulge in the enchanting melodies and celestial rhythms of 'Moon’s Brew'! This mesmerizing track takes you on a cosmic journey through shimmering soundscapes and celestial harmonies. From the ethereal melodies to the pulsating beats, immerse yourself in the celestial ambiance and let your imagination soar to the moon and beyond. Sip on the intoxicating elixir of music with 'Moon’s Brew' and lose yourself in its otherworldly charm.

Unleash the beats! Click to listen now!

[wiperfluid]

Hello! I saw that you're taking requests for soundscape playlists (?) so have this I guess? I hope video game worlds are okay to request for.

Could I get a playlist based off of the Realms from Worldless, with lofi, ambience space/ sci-fi sounds and orchestral music please? Thank you in advance.

here you are! hopefully it’s to your desires :3 i do not know much about worldless, but after doing research for this, it seems like a a game right up my alley.

@octahedral-chaos

Length: 33 minutes

Songs:

Death Music? - Nikita Kryukov

Melancholic Undergo I - Berlinist and beGun

Break - Sitza

Eternity - Stellardrone

Lakeside Picnic - coldbrew

Astral Observatory - The Marcus Hedge Trend Orchestra

Wandering Flame (From “Final Fantasy X”) [Lofi Remix - Mwind

Bus Stop - Infinity Train

Star Charts - Slide20xx

Save Room (Theme from Resident Evil Zero) - Celestial Alignment

Aquatic Ambience - Noah Faulkner

Astrosat - Applefish

[slimim2000]

My top 20 kpop songs from October 2022:

.

20: Generation - tripleS

19: Underwater - KWON EUN BI

18: Blank - JO YURI

17: Simulation - KWON EUN BI

16: Same But Different - LEE CHAE YEON

15: CASE 143 - Stray Kids

14: No Celestial - LE SSERAFIM

13: Some Love - DREAMCATCHER

12: Dead Man Running - SEULGI

11: Rainy Day - DREAMCATCHER

10: Crown - SEULGI

9: Lovable - JO YURI

8: HUSH RUSH - LEE CHAE YEON

7: Tick Tick Boom - CLASS:y

6: Impurities - LE SSERAFIM

5: Youth - KIHYUN

4: Sweet Sorrow of Mother - BIBI

.

3: 28 Reasons - SEULGI

- listen. This song is just everything I wanted for seulgi’s solo debut. The vibe of the song fits her voice so incredibly well and the entire concept is just so cool. She’s one of the very few people in the industry rn that can pull off a song like this. The way it’s so stripped back really allows her vocals to shine. Rv honestly never disappoint. This entire EP was amazing -

.

2: ANTIFRAGILE - LE SSERAFIM

- dare I say,,, soty… honestly, antifragile is iconic, so incredibly catchy and also really refreshing with its soundscape compared to the current industry. This song is a big slay and deserves all the praise -

.

1: Anywhere But Home - SEULGI

- I fell in love with this song on first listen and just never fell out of love. It’s become sort of a comfort song for me and it never fails to make me feel nice and warm inside. Also just on a technical standpoint this song has such a good vibe. Idk how to express all the love for this song the is compressed in my body, but be assured it’s in there -

[spacepod]

[mywifeleftme]

335: Areski and Fontaine // L'Incendie

L'Incendie Areski and Fontaine 1973, BYG

The late ‘60s and early ‘70s were when the past half-century of avant-garde developments in theatre, literature, film, and art music began to break through into pop. The results of these early flirtations have a sense of discovery and possibility that has continued to captivate generations of new listeners to this day. Brigitte Fontaine and Areski Belkacem’s L’Incendie should absolutely be considered one of the towering classics of the era (and, among the Francophonie, it probably is), but I only came across it for the first time early last year. It reminds me of something from the Velvet Underground / John Cale / Nico universe, simultaneously emblematic of its time and so ahead of it as to sound anachronistic.

On “Les murailles,” tape of Fontaine’s exhalations and what sounds like a kalimba are snipped up and looped to create a tinkling, twitching soundscape that presages the Books or Boards of Canada; the track that follows, “L’engourdie,” layers howling wah-drenched electric guitar behind a pretty acoustic folk pop number that would fit right in on a Brigitte Bardot record; next, the stark “Nous avons tant parlé” could be a theatrical elegy set in a dilapidated seaside church. Every song feels stylistically distinct, but Areski and Fontaine’s creative vision remains consistent; I hear post-punk and Björk and Sonic Youth, and I hear French early music and Berber folk and the ‘50s sound poetry of Henri Chopin in the same measure.

It’s always a challenge reviewing non-English language records because you’re stuck speaking to its purely sonic characteristics, which increases the likelihood you’ll hilariously misread it—call a song a soothing folk idyll when it’s actually about smashing international Jewry or something. With political, lyric-forward stuff like L’Incendie, it also means failing to engage with its message, flattening it as an artwork. (Unfortunately, there is nothing I as a person of French ancestry living in a majority-French city could do or could have done in the past to better interpret this record.) I asked French-language correspondent and girlfriend of the podcast Mea for one of her classic vibe checks, but she told me the reams of notes she took while listening were too dotty to share, so I can only assume hearing and understanding Fontaine’s words in their original tongue unchains some celestial horror.

Few of the lyrics can be easily found online, which forces me to rely on Le Gendre’s analysis, but critic Kevin Le Gendre’s helpful liner notes paint a portrait of a wide-ranging album that engages with recent post-colonialist bloodshed (Jordan’s Black September civil war with PLO forces on “Le 6 septembre”); the medicalization of psychic distress (“Ragilia”); intimacy and coupledom; and much more besides. What I was able to find of Fontaine’s lyrics online have a spiky surrealist poetry to them. From “Après la guerre” (“After the War”):

“Happiness blows The eyelids lie gently The sexes glow The eyes, by moving, make you cum The men returned from the war And on their heads, the grass grows back.”

335/365

[beastwars-transformers]

Can you recommend me a track that emulates the feeling of being in a comfy bedroom in a spaceship, with a big window to watch the stars passing by

I can give you like whole albums girl. Space ambient is my forte.

Lost Transmissions is specifically about a Cosmonaut who suddenly becomes immortal and gets lost in space forever. And my favorite track on Apollo, Stars (just Stars, not Under Stars) has the perfect feeling was drifting through the universe, in awe of everything. And as a whole album Moons of Saturn is definitely the most relaxing. Celestial Union has some darker moments, but I like the theming of a grand unity between peoples of the galaxy.

One I wanted to link was Soundscapes of Near Earth Orbit by Atmospheres of Space but I cannot find it on YouTube…you might have to suffer Spotify for that one.

But if you’re short on time here’s some stand alone tracks

[soubndbanrs]

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