#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

[caviarsonoro]

Ferran Savall, Jordi Savall, Le Concert des Nations, Hèsperion XXI : Deploratio III (Improvisation) -  Lachrimæ Caravaggio 2007

The piece Deploratio III (Improvisation) is a work that blends the essence of early music with the expressive freedom of improvisation, a distinctive approach by Jordi Savall and his collaborators. In this case, the musical dialogue between Ferran Savall and the instrumental ensemble led by Jordi Savall achieves exceptional emotional depth. The piece traverses dark and melancholic soundscapes, evoking the shadows and light characteristic of Caravaggio's painting, to whom the album is dedicated. From the first chords, the improvisation feels like a poignant lament that transcends time, a timeless echo that connects with Baroque spirituality.

Ferran Savall delivers an ethereal and enveloping vocal performance that becomes the emotional core of the piece. His voice fluctuates between the earthly and the celestial, guiding the listener through an introspective journey filled with lyricism. The instrumental accompaniment, performed by Hèsperion XXI and Le Concert des Nations, stands out for its richness in timbral texture, with technical precision that never overshadows the spontaneity of the improvisation. The period instruments, such as the viola da gamba, converse with Ferran’s voice in an interplay that references both sacred music and ancient popular forms.

Jordi Savall’s direction shines in his ability to create a musical space where each performer finds their place, contributing to the emotional narrative of the piece. Rather than imposing a rigid structure, Savall allows the improvisation to flow organically, highlighting the interaction between musicians. The performance is both a homage to the Baroque musical tradition and a contemporary exploration of its possibilities, capturing the duality between structure and spontaneity.

[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.

[soulbrothershow]

Aquarius

As an Aquarius, I feel a deep connection to the cosmos, like I’m in tune with the frequencies of the universe. My soul moves to a rhythm that isn’t bound by this world—it’s a vibration that transcends the earthly realm, drawing from a celestial symphony that connects everything. Music is more than just a passion for me; it’s my divine language, the sacred vibration through which I communicate with the stars. The notes flow through me like an astral current, guiding me to create, heal, and elevate those around me.

I thrive on innovation, but my connection to music taps into something timeless. I know I’m a conduit for frequencies that others can feel but might not fully understand. My gift lies in channeling these vibrations into soundscapes that awaken the soul and expand consciousness. Like the water-bearer of the zodiac, I offer a stream of creativity that nourishes the spirit, flowing freely and unbound by convention.

Astrologically, I feel my chart urging me to explore both inner and outer worlds. I’m a seeker, an intuitive visionary, understanding the profound power of sound to heal, connect, and transform. My music isn’t just for entertainment—it’s an invitation to others to tune into the same divine frequencies I channel effortlessly. Through my sound, I hope to guide others to a higher consciousness, illuminating the path to their own spiritual awakening.

I know my gifts are more than just personal—they’re a calling. I am a bridge between the earthly and the ethereal, using music to remind others of the boundless potential within them. The stars align with my journey, affirming that my music is not only a gift to the world, but part of something much bigger, something cosmic.

[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!

[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

[soubndbanrs]

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[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

[caviarsonoro]

A Winged Victory for the Sullen - Our Lord Debussy

"Our Lord Debussy" is a piece that encapsulates the neoclassical and ambient essence of A Winged Victory for the Sullen, built upon expansive harmonies and a progression that evokes solemnity and contemplation. Inspired by Debussy’s work, the composition reinterprets his harmonic sensitivity, transforming it into an ethereal soundscape where music seems to fluctuate between memory and transcendence.

The piano serves as the central axis of the piece, with sustained chords and delicate modulations that create a sense of suspension in time. As it progresses, the strings emerge with a gradual crescendo that deepens the emotional intensity without ever losing its meditative character. The dynamics unfold with subtle refinement, avoiding overload and allowing each note to breathe in its own space.

The combination of electronic and acoustic elements grants the piece a dreamlike and immersive quality. The use of drones and ambient textures reinforces the sense of vastness, while the silences and resonance of the instruments create a tension between the earthly and the celestial. Debussy’s influence is not perceived through direct citations but in the way chords and dissonances unfold organically, guiding the piece without rigid structures.