Segue, wellknown by his releases on Autoplate, Kyoto_digital, Silent Season and duckbay, has done a fantastic track, and Resting Bell has the pleasure to release it:

RB035 - segue - a glass darkly

Please enjoy this great release!

The fabulous picture is taken by Nicholas_T (Lackawanna State Forest) and licensed under Creative Commons Attribution Generic 2.0 License (cc-by-2.0)

Just click the shirts

1. Koen Park - Nowhere Home (headphonica)

2. Etienne Michelet - OCTOLOGO sound project (la nouvelle dégelée)

3. Moabi - Sexe bourgeois (Dog Eared Records)

Please listen and enjoy

RB034 - calarco/juárez - tierra abierta

A 14-minutes piece done by the two great sound-artists Juan aJose Calarco and Adrian Juarez. Please enjoy.

“calendaires II” | Etienne Michelet

There is also a review of Etienne’s “Bleu Vespéral” published via La Nouvelle Dégelée online at phlow-magazine.com. Please read here.

Please read here >> walkman-podcast.blogspot.com

And listen here

1. Tiago Sousa - The Western Lands on netlabelsrevue by Benoît Richard (in french)

2. Etienne Michelet - Calendaires on earlabs by David Velez

RB033 - Simultan - Ich bin bei dir

4 very intense and moving pieces for Etty Hillesum.
Dramatic synth patterns, noisy glitches and haunting melodies all around.

First “Urban Holiday” on Lunar Flower >> just move over here

And shortly after that “Tents & Hills” was out on Luvsound >> you’ll find everything here

Both releases are really great, so please have a listen.

And have a close look on the graphics:

And the lovely “Tents & Hills”-Artwork, done by Kati Meden www.goyippi.net:

There is a review of Tiago Sousa’s great release “The Western Lands” on foxy digitalis!

You can find the review here >> www.digitalisindustries.com/foxyd/reviews.php?which=3427

Tiago Sousa “The Western Lands”

Resting Bell

Released simultaneously as a cdr and a free mp3 release on netlabel Resting Bell, Tiago Sousa’s “The Western Lands” is certainly an intriguing listen. The title will be familiar to anyone with a passing knowledge of William S. Burroughs, and the liners tell us that Sousa’s music is “far more than an interpretation of Burrough’s text”. Titles aside, the inspiration and connection is clear, but not heavy handed. And while the results never quite yield the “musical cut ups” promised in the liners, there’s no disappointment here. What we have instead is a lovely 40 minute collection of restrained compositions drawing on modern classical, folk, noise (albeit very gently) and ambient touchstones. The basic elements, electric guitar, piano, nylon stringed classical guitar, and some floating distortion, are woven together with confidence and purpose. There are points (such as the distorted guitar and melodic piano of the first track) where seemingly disparate voices are placed together, vying for the listener’s focus and creating a nice tension. More often than not however, this tension is suggested and flirted with, rather than drawn out and made obvious. There’s something very restrained and subtle about Tiago’s work which lends it a serious character. Nothing stays too long, and one gets the sense Sousa has a strong interest in quality control and dedication to his aesthetic. As with the best music of this type, it carries itself with a sort of grace and maturity. There’s not a whole lot of sonic grit here, and some may find its beauty a bit too pristine. But there’s always something to be said for skilled musicianship and lovely composition. Think of it as a nice antidote to the drones and dissonance so common in experimental music today. 7/10
– Eric Hardiman (20 May, 2008)