The question arises along the Pacific Northwest, who is theDGTL? To answer that question, we begin at the start of this current chapter, when Vito Maserati and Jacob Hillard began working with a young rapper by the name of Nobi and were starting to establish their sound and maturity. 808 heavy drums are cast against synth infused textures and sounds that drift from electronic to house to soul; frequently sampling and distorting vocals, saxophones, acoustic instruments and beginning to show their range and ability to create a dynamic sound that often leaves the listener in a different place than where they started. Combine that with the emergence of Vito's skills as a sound designer and placer, and Jake's continuing development as a multi instrumentalist, engineer, producer, and songwriter; "archive01" is an experiment in Hip Hop and Aesthetic, and are the roots of theDGTL, Vito Maserati and Jacob Hillard.
This album consists of seven tracks, which Snowsleep wrote between 2015 and 2018, but which he only got around to mixing in 2020. They all have a smooth vibe and blend a hint of dark atmosphere with classical electronic music, downtempo, techno, and ambient.
Recorded and produced by Kirill Salinski at Snowsleep's Home studio in Hamburg, Germany
April - August 2020
All tracks were composed, arranged and performed by Kirill Salinski
The 4th full album in the Electro Swing series, Jake takes you on a modern-meets-old-school ride through the swing, big band and gypsy jazz of the 30's, 40's and 50's all the way to modern day electronica and EDM (with a little bit of funk in there for good measure). There's a perfect time to play this album - and that's all the time.
The night is a strange country. Life withdraws from the streets; colours turn to a grayish blue; the din of the city is replaced by a silent orchestra of tactile sounds, one's field of vision reduced to two lonely street lamps glowing like torches in front of grimly towering trees. As the world is descending into rest, the mind begins to wander. For those tossing and turning in their beds, a curious journey begins: There are phases of rapid eye movement and passages of all but absolute stillness. The territory of dreams beckons, opening up and then dissolves into ashes and dust again. At around two o' clock, awareness plunges headlong into deep sleep, at four, body temperature has sunk to its low point. In just two hours from now, the sun will rise again, waking sleepers from their state of hibernation. But until then, embedded into a tiny pocket of time opening up in the trough between the material and the spiritual world, the shapes and structures of quotidian life are taking a break. This is the time of the Raag Lalit from the canon of Hindustani music, and for years, Amelia Cuni and Werner Durand have returned to it time and again to explore and work out its mood as precisely as possible. Their patience has paid off: On Already Awake in the Night, they are playing a centuries-old form of music like no one's ever heard it before.
Given their approach, that is a most astounding outcome. For although the three pieces contained on it, named ("Already Awake in the Night", "Wavering Twilight", "Morning Surge") to reflect the transition from the above mentioned early morning unreality to a hopeful and expectant post-sunrise ambiance, are not actually classical raags, they have very much been meticulously modeled on historical blueprints. In fact, large portions of the album appear to be entirely traditional, Cuni singing or breathing through a bamboo resonator and befriended instrumentalist David Trasoff contributing sarod lines on two occasions. It is, at least at a first glance, mainly in Durands parts that a transformation takes place. Instead of accompanying the soloists with the familiar stringed tanpura, he is working with sine waves tuned in the raag's original intervals and minutely processed through effect devices to create a sense of slow, sleepy movement. What may seem an insignificant change has a momentous impact on the compositions. Far softer in timbre than the tanpura, the sines are creating a tranquil cloud of gentle oscillation, a field resonating with corresponding and conflicting sensations of mystery, warmth, solitude and comfort. Tucked away behind it, the musicians are treading as carefully as though they were playing underneath a blanket, their sound peacefully muffled by a soft sourdine of silken fabric.
Text by Tobias Fischer
Description:
beautiful instrumental music spanning New Age, Electronica and Pop/Rock
Uplifting Funband features a collection of uplifting fun tunes recorded between 2014 and 2017, remixed and remastered in 2019. All of them were composed, recorded and mixed by David Szesztay alias Crowander.
Get ready for instrumental indie rock with catchy guitar riffs. The whole album has a positive and sometimes even romantic vibe.
