Electronic Music from the Eighties and Nineties

by Carl Stone

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brantly
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brantly Warm glitchy electronic drones that straddles a nice line between, Eno, Harold Budd and the electronic pastiche of Kranky records bands and Eleh who followed in Carl Stone's footsteps. Perfect for an overcast morning, coffee in hand, lazily moving towards the day.
STF
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STF Suggested by my friend Sean Clancy this album contains some of the most beautiful sounds I’ve heard from a long time. This is an essential record for everyone who loves minimalism and drone music.
Michael Mueller
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Michael Mueller I love this album for the first track; the rest is just a bonus.

Banteay Srey is like whale song. It's mournful, beautiful; it slowly unfurls, repeats, modulates and grows.

It echoes in layers; it communicates something deeper than thought and so rich in feeling as to be almost overwhelming. It locks you into meditative state, bordering on the transcendental.

Sonali's jittering stabs are terrific, and the others are great, too. but Banteay Srey is a masterpiece.
Favorite track: Banteay Srey.
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  • Record/Vinyl + Digital Album

    Vinyl cut at Dublates and Mastering by CGB. Gatefold sleeve featuring liner notes by Carl Stone, Tim Rutherford-Johnson, Robin Rimbaud

    Includes unlimited streaming of Electronic Music from the Eighties and Nineties via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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  • Full Digital Discography

    Get all 23 Unseen Worlds releases available on Bandcamp and save 50%.

    Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Baroo, Trust in Rock, I'd Rather Be Lucky Than Good, Unseen Worlds, EXTREEMIZMS early & late, Electronic Music from the Eighties and Nineties, Donnie and Laurie, J. Jasmine: My New Music, and 15 more. , and , .

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about

Electronic Music from the Eighties and Nineties presents the soothing, hallucinatory side of Stone’s slow-evolving, time-bending composition. While we can’t always identify the source, we can hear that his sounds come from somewhere, and that there is a “correct” or “complete” version of them in theory; and so we can hear when they are being changed. What drives Stone’s music is the flow that he draws out of those differences: the way an Indonesian gamelan morphs into a chorus built from one female vocalist over the course of “Mae Yao”’s twenty-three minutes, the surprise emergence of a Mozart chorus out of the synths and skip-glitches of “Sonali,” or the slow, ambient evolution of “Banteay Srey”. “Woo Lae Oak,” issued in a single side edit for the first time, is an exception. Its samples – a tremolo string and a bottle being blown across the top like a flute - are simple in the extreme. Yet the Stone hallmark is clearly present, he locates the inherent emotional properties of the sounds – the tingling anticipation of the string and the calm nobility of the wind – and takes them into unexpected expressive territory.

credits

released June 22, 2018

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