Rolling in like the autumn fog, Goldmund’s latest single “The One Who Stands By” is the perfect soundtrack to the exquisite gloom of the season.

Also known for his work as Helios and as one part of Mint Julep, Keith Kenniff’s recordings as Goldmund tread sincerely along paths laden with dusty timbres, diffuse synthesizer, and soaring string textures tinted by the muted glow of a cloudy analog sky above.

His output as Goldmund has established him alongside peers like Hauschka, Nils Frahm, and even his past collaborator Ryuichi Sakamoto, who himself once described Kenniff’s work as “so, so, so beautiful”.

New album The Time it Takes is out now via Western Vinyl.

https://www.unseen-music.com/
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ABOUT THE ARTIST:

Pennsylvania native Keith Kenniff’s output as Goldmund has established him as one of the preeminent composers of minimal piano-based ambient music alongside peers like Hauschka, Dustin O’Halloran, and even Ryuichi Sakamoto, who himself once described Kenniff’s work as “so, so, so beautiful”.

His recordings tread sincerely along paths laden with dusty timbres, diffuse synthesizer, and soaring string textures tinted by the muted glow of a cloudy analog sky above. On The Time it Takes, his newest book of aural polaroids out October 16th via Western Vinyl, Kenniff somehow manages to deepen the emotionality of his already affecting project, creating a space in which to unfold the sorrows of a troubling age and revel in the hope and beauty that follow thereafter. In this sense, The Time it Takes tackles grief head-on, unadorned by themes of escapism or pastorality, and marks another entry in an impressively consistent body of work.

From the first murmurs of this track, The Time it Takes calls to mind the cascading nature of mourning. There’s the first tragedy, the loss itself, then the second one, the dissipation of the memory of the thing lost. We start out grieving for a loss directly; years later, sorrow reappears not only for that loss, but for the idea that its meaning is slipping away with each turn of the calendar page. An aged piano thumps gently just beyond an impassable moat of time, its operator’s presence is evidenced by the shuffling of pedals and the shifting of mechanisms, and seraphic choirs seep in from places unseen. It’s a miniature diagram of how the outer world transitions to the inner, and vice versa. “Memory Itself” follows suit with earthy textures that become slowly buried by celestial ones as the seconds pass. Kenniff’s kindling of piano is gradually set ablaze with synth, choir, and trilling strings provided by his equally emotive label-mate Christopher Tignor. The track is a crescendo that imparts an equal amount of dread and relief depending on the mood of the listener.

As if we needed convincing, Kenniff further proves his skill of crafting sound-design vignettes that are personal, private, and hushed, yet simultaneously grand, colossal, and profound. Nostalgia sometimes suffers the role of low hanging fruit for the marketing world, or worse, a symptom of the stunted development of a generation facing backward in a world that moves unrelentingly forward. But instead of engaging in reductive and culpable pastiche, Kenniff dispels any notions of nostalgia’s counter-productivity by using our collective memory as just another brush to paint with, thereby wresting his music from any linear cultural timeline.

To that end there are few artistic voices as distinct as Goldmund’s. Magically conjuring grandeur from only a few simple ingredients (piano, synthesizer, reverb, and a little more) Kenniff’s sound has become so universal that you’d be forgiven for not knowing who it belongs to. Knock offs be damned, every Goldmund recording is cut from an inimitable fabric woven out of emotional realism, honesty, vivid imagination, and skillful restraint.

ABOUT THIS SONG:

“The song’s message is simple, and it is upfront and bold – “Now I Know what not to do.” This is a song detailing a person who has had bad experiences with relationships, and now that person has a grip on their desires, and what they truly want out of a relationship with a person. They know the signs and the red flags now, and they are hell-bent on not making the same mistake twice. It’s about giving your all, and only getting a little bit in return, and how unfair it is. It’s a warning to not get too attached to this new love interest because you can see the red flags, and you don’t want to get hurt again. The recording process took months to do. We started with little demos and little bits and pieces of songs that eventually we just pieced together. But it all started with a funky bassline and an in-your-face drum beat.” – Riley Michaels

ABOUT RILEY:

From Beamsville, ON, Riley Michaels started making music at 8 years old after winning 1st place in a local singing competition. When he received Guitar Hero for Christmas, he jumped deep into the “rabbit hole” of Classic Rock, Blues and other similar genres.

Today, the music Michaels makes is a combination of Pop and Adult Contemporary, with a range of influences. From his new releases, you can hear the smooth guitar playing of John Mayer, the subtlety and groove of Prince, the emotion of James Bay, and even some pop progressions that sound like Harry Styles or the Jonas Brothers. He even mixes in a little country, in the style of Chris Stapleton!

Riley’s new songs evoke the vibe of driving down the highway with the roof of your car open, a day at the beach, or even a dance club. Others offer intimate feelings that audiences will connect with on a deeper level.

In 2017, Michaels wrote, produced, recorded, mixed, and mastered his EP “Toxic Love” in his home studio, featuring 5 self-written songs with full-band instrumentation.He continues to write and record at his home studio in Beamsville, and he is currently planning the release of new music that he has been writing since March 2018.
https://www.instagram.com/rileymichaelsofficial/

“The Word” is a downtempo, electronic and ambient track, highly driven by synthesizer bass lines, with minimal loops filling in. The music video perfectly serves the purpose of the track’s zen and dark aspects.

The video is an abstract collage of images projected through incense smokes, of a man and a woman assumingely involved in an unhealthy love affair and both captured in this vicious cycle, until their greatest fear happens and ironically leads them to experiencing freedom for their soul.

Both of them separately end up finding freedom; the tattooed man praying behind prison bars and the woman staring at the sky acknowledging that “His yoke is easy and His burden is light” is not an unreachable saying, but a rather tough decision to make sometimes, yet one reminding her that heaven is the only place that offers everlasting love.

ABOUT THE ARTIST

DJ Carabine’s previous album, “VI”, entered the “iTunes Canada Top 200 All Genre Release Chart” in 2018 and reached #5 in the Electronic Music category and has known high peaks on the Spotify Discover Weekly playlist, bringing the first single, “IV”, to more than 150k streams and second single “III” to above 50k. Two years later, DJ Carabine is coming up with a third album.

“Fixed”, being released on September 25, has mainly been crafted during lockdown after a long period of creative struggles and battle against depression.

“I thought that 2019 was a terrible year. It felt like I was drowning more and more. Just before lockdown, I was even thinking that it couldn’t get any worse; I felt so much pressure. As crazy as it may sound, the lockdown became a glimmer of hope and my first reaction was to explode in laughter. I realized that I couldn’t control anything, so I let the music flow.”

ABOUT THE ALBUM, FIXED

Inspired by the likes of downtempo Bonobo, the electric tones of Daft Punk and a Kendrick Lamar touch on the lyrics, “Fixed” is an EDM musical essay that pictures the walk in the valley of the shadows of Carabine.

The album leads you in her everlasting circle of depression. The song “Falling” is an image of what happens when you are too stubborn to listen to any teachings. She said:

“I thought it’s a little funny to reach a point of being so stubborn that you don’t even listen to such things as: “Watch your step when you get off the train”, so you fall off the train… but I can be that stubborn sometimes.”

“City of Nothing” is about the moment you think “you are in full control”. The entire journey leads you to realizing that you are rather a slave of wanting to be in control until the pure moment of let go that is “The Word”.

http://instagram.com/springowls

Thoughts in the Ether’ is a slow-burning reflection on daydreaming. Analog synthesizers and orchestral textures intertwine, expanding as the reverie evolves and moves further into the distance. Treated piano adds gravity as crystalline synths glisten across the surface. The accompanying film by director Edward Harber is an aerial study of the North Sea from Happisburgh in Norfolk, documenting a week in the evolving appearance of the water.

Paul Cousins is a producer & composer based in London. Recently featured in FACT magazine’s ‘Patch Notes’ series, he creates ambient soundscapes using analog synthesizers, samples & field recordings. In addition to producing for a diverse range of artists such as Muck Spreader, August Child & Night Games, his other studio credits include Luke Evans, FOURS and Makeup & Vanity Set.
https://www.instagram.com/paulcousinsmusic/

Brand new reggae music about freedom and resistance from Swedish producer ChackaJack! Lead vocals recorded in the legendary Tuff Gong Studio in Kingston, Jamaica

The 6th track from High Water Bridge’s debut album Senescence sees the band take their craft down a different, dub-inspired path.

Sea Legs begins with a loopy and swaying bassline as layers of spacey effects get the listener on board for a voyage across open oceans with stormy swells.

Look out for the Euphonium adding brass riffs to a tongue in cheek lyrical and vocal ride, that will leave you tripping over your own legs, in search of the next trippy High Water Bridge tune.

High Water Bridge (HWB) is an experimental five-piece band from Port Elizabeth, South Africa, born in the winter of 2017 out of late-night jams in the derelict heart of their home city. Central to the formation of the band was a shared rehearsal space, as well as many shared bands over the years. As various projects formed and collapsed and merged at the jam spot, HWB came to be the latest incarnation of an inventive group of PE musicians who refuse to be swayed by the prevailing musical climate of cover versions and tribute shows, and continually strive to seek out new forms and sounds for their music.

HWB describe their sound as “spectral rock.” Encompassing elements of psychedelic rock, trip-hop, dub, garage rock, ambient and electronica, HWB take you on vivid, winding sound journeys of beautiful vocal melodies and harmonies, upbeat grooves drawn from an array of genres, chiming delay guitar riffs, and layered, shifting soundscapes composed of all manner of spectral ephemera: loops, obscure samples, keyboards/synths, programmed beats and euphonium. They also do a pretty mean ballad.

A strong feature of the music is the use of two distinct vocalists, who swap between lead and harmony (as well as bass guitar) depending on the song. Although the sound draws from a diverse well, and there are many surprise turns over the course of a set or album, HWB have sought to forge their own musical identity and approach to composition.

Thus far the focus of the band has been on writing as much music as possible, and the recording of their 2020 debut album, Senescence, but they hope to use the recording as an opportunity to spread their wings as a live act.

The band consists of Nick Erasmus (drums), Jason King (keyboards, samples), Alex Kromhout (vocals/bass), Nelis van Tonder (guitar) and Kendal Beadon (vocals, bass, keyboards, samples, euphonium).
https://www.instagram.com/highwaterbridgeband/

RESPONS releases his new single and video ‘Hilary’ featuring Samm Henshaw & Barney Artist.

The first new music since the release of his acclaimed debut project, ‘Virtually Everything Means Nothing’ released in May 2020, ‘Hilary’ sees RESPONS team up with London talent Samm Henshaw & Barney Artist and continue to make waves with his own brand of HipHop and Soul vibes. ​

Directed by Tom Ringsby (Intergalactic Studios, Husky Loops, Joy Anonymous & Bad Honey), the accompanying music video features footage shot in cine-8 and fisheye lens, capturing lo-fi visuals filmed in and around London.

Speaking of the track Samm Henshaw remarks; “It was a pleasure to jump on this track with both RESPONS who is a great new talent, and Barney who I’m a big fan of! Look forward to everyone hearing what we worked on!” Barney Artist added “I heard the demo and liked it straight away, also having Samm Henshaw on the song was the perfect fit as I supported him at Scala last year. Was fun to work with both Samm and RESPONS on a track.”

An exciting multi-disciplinary artist with talents that go beyond his songwriting; RESPONS (aka Billy Crabtree) is a British singer/rapper hailing not from an inner city, but rather the quiet suburbs of Leighton Buzzard. Not only comfortable with being different, he embraces it, delivering rhymes that veer from well-trodden ground with a realness and sensitivity which is clear from his considerate lyrical content, tackling vulnerability and mental health with surprising candour.

Having launched onto the scene in 2020 with the release of his debut EP ‘Virtually Everything Means Nothing’; RESPONS picked up critical acclaim from the likes of BBC 1XTtra, BBC Introducing, Complex & Clash to name a few. Over the long months of lockdown, he maintained a creative output of home studio sessions and performances and is set to release his second EP at the beginning of 2021

Billy Says; “Hilary is a fun song about people chatting about falling for a girl way too quick, in a time of their lives where they have no money or confidence haha. I actually met a girl called Hilary once and fell for her so it’s a real one for me.”

After conquering the radio frequencies with several hits in her home country, Norway, Ynga decided to step away from her comfort zone and explore new musical horizons. As part of the Thrace Music family, she released a couple of songs that has quickly drawn attention.

Ynga teamed up with Navour, a young prodigy producer, to launch Criminal. Her voice is waving graciously on the soft, romantic echoes of slow burning dance grooves, exactly what one should expect from an early Autumn soundtrack.

YNGA is the reinvented brainchild of Norwegian singer and songwriter Siv Marit Egseth who’s name we’ve seen before on Norwegian reality show «The Hit» and behind artist alias «Inga». After being radio listed on one of Norways biggest radio channels, NRKP3 with the debut single «Galaxy», having released an official remix for CLMDs «Slow Me Down» with close to 1 million streams and several critically acclaimed releases, accompanied by even more radio listings, she is now heading in new and different directions.

Newly signed to the popular Romanian label Thrace Music, she kicked off her a chapter with «Papi Papi»; a feature with the European starlet Brianna, who conquered the European audience with songs like «The Violin Song» and «Lost in Istanbul».
https://www.instagram.com/callmeynga/

Morgan Doctor is a Juno and Dora nominated performer and creator. She currently plays with Andy Kim (Arts and Crafts), Jill Barber, Amanda Rheaume, and Fefe Dobson. She has drummed with The Cliks (Warner/Tommyboy),Chantal Kreviazuk, Raine Maida, Ron Sexsmith, Kevin Drew, Alex Lifeson Feist, Sandra Bernhard and many others.

Morgan Doctor has performed and appeared on live National TV (MTV Live, David Letterman,MTV CRIBS, MTV Total Request Live, IFC, CNN, Craig Ferguson, etc) and live radio shows, awards ceremonies, TV and radio commercials, sold out theaters and arenas, music videos, and countless full length albums. Morgan also performed and won at MTV LOGO’s “Artist on the Brink” Award for 2008 with The Cliks. She received a Dora nomination for her sound design for Between Us Goddess in 2005 and earned a Juno and Dora nomination with her work with The Toronto Tabla Ensemble in 2001. Morgan’s session drumming can be heard on such TV and Film Soundtracks as the CBC Metro Morning, The L Word, and Grey’s Anatomy. Morgan is a big advocate of music education and teaches at Girls Rock Camp Toronto as a drum instructor and band coach.

In 2006 Morgan signed with Aporia Records and has released three solo albums. Her solo work has been used for TV shows such as WordTravels (OLN/National Geographics Channel, Food Network), and radio shows such as DNTO, Hear and Now and The Signal (theme song). Her most recent release, “Major Over Minor” is her first full length instrumental album. “… it is a rare musician who can make an instrumental album that seems confessional” – Toronto Star

Morgan is endorsed by Zildjian, Vic Firth, Yamaha Drums, Evans Drum Heads, Steinberg and Humes and Berg. She has also appeared in Modern Drummer Magazine and is a regular contributor to Tom Tom Drum Magazine. She is a Banff Centre Musician in Residence alumni.

When she’s not performing, recording, producing, or practicing yoga, Morgan enjoys time with her dachshund Cymbal.
https://morgandoctor.com