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Lofiles is a music and mp3 blog contains a collection of songs I love. MP3s are for sampling purposes only. If you like the music as much as I do, please go out and buy the records! .If you have a complaint about the ownership of a track, please contact me directly and I will be happy to take it down ASAP.
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Faded?

May 2nd, 2012

Maybe the photos have faded, but George’s music is still ringing in my ears. Faded Photographs is the most accomplished and accessible Absent Without Leave release to date, featuring guest appearances from some really great artists, including Port-Royal, Stafraenn Hakon, Epic 45, Millimetrik and members of Hood, The Declining Winter, Plumerai, Eksi Ekso, Tupolev, Slon and others too. Absent Without Leave is the solo project of George Mastrokostas, based in Athens, Greece.

Recording everything himself or sometimes with assistance from some good friends, he produces an ambient sound led by open clean guitar arpeggios accompanied by sweet landscapes and textures, reminds me of an old ambient Eno record.

Each cd is packaged in an elegant 4-panel digipak of recycled cardboard with the front cover image printed on photo paper! It’s a limited edition of 500 handmade collectible copies and each copy is unique with a different front cover image.You’d better hurry up cause there are only 27 copies left. Order it HERE

 


Is this eternal?

May 7th, 2011

He says he is Influenced by Eno, Budd and God. We have some unsolved issues with blind God believers, but it’s a long and tedious battle, and this is definitely not the time or place to discuss it. There were times we thought Eno was nearly God, but when he started interfering with earthly matters he knows nothing about, we understood he is as limited as any other human we know. There is no doubt Andrew G. Clark is as talented musically as he is as a visual artist. The roots of his music lie deep in Eighties synth pop. It might sound a little poppy for some of you, but we enjoyed listening to this musical project of his, ‘Future trends’, on this springy Saturday afternoon.

Is this eternal?


Should

March 27th, 2011

Should originated in Austin, Texas, writing, recording, and performing under the name shiFt. Inspired after hearing Lilys In the Presence of Nothing on Slumberland, Marc Ostermeier formed Should together with Tanya Maus and his brother Eric. Their last album, Like a fire without sound will be released in April 2011. A record sounding a bit like Eno`s first solo albums, Another green world, Before and after science, Here come the warm jets, well crafted simple minimalistic tunes. You only hear what should be heard

Turned Tables


Evan Abeele

March 16th, 2011

I have been listening to Evan Abeele`s EP this week, titled Lineage, and if you`d follow them roots, you would probably stumble upon an Eno ambient record. Evan Abeele is the mind behind Memoryhouse, and you could download this 6 track gem for the meager amount of $5. I guess I have abused this record during the last couple of days cause it has enabled me to forget the awefull sights of Japan, and closer, the butchered Fogel family in Itamar.


The Pantaleimon Lofiles interview

October 20th, 2010

Although we have never met her in person, she seems like one of the sweetest, most gentle people you`ll ever come across. When I was first introduced to her wonderful music, it called to mind thoughts of innocence, naivety, somewhat child-like and pure, like a kid’s behavior, something yet untarnished by this world.

Andria Degens, aka Pantaleimon, lives by the ocean, in the small town of Hastings, England, and from the little I have seen of this small town, I can envision her sitting by the fireplace in her cozy home, watching the ocean and working on her new album. Her music, to those of you who never heard of her, is minimalistic, hypnotic, and mostly acoustic, like a soundtrack for the Yoga classes she has been teaching, where the spaces between the played notes are as important as the voices you hear. On ‘Trees Hold Time’, her 1999 mostly instrumental album, she demonstrated her Appalachian Dulcimer playing technique, an instrument she had mastered for two and a half years while in Southeast Asia. On ‘Mercy Oceans’, her 2nd album, released in 2005, she added her clear, angelic soft voice to a bunch of great songs (listen to ‘We Love’ and ‘At Dawn’), and few years later she released a different version of Mercy Oceans entitled ‘Heart of the Sun’, a collaborative unique ‘remix’ project that sounds like a great Eno ambient record with Pantaleimon’s added value to it, with contributions from all those friends and musicians, such as Collin Potter, Susan Stenger, Andrew W.K, and Strings of Consciousness. In between recording she has kept herself busy performing as Pantaleimon all over Europe with Antony and the Johnsons, James Blackshaw, Six Organs of Admittance, Matt Sweeney and Bonnie Prince Billy, as well as collaborations with Current 93, Hugo Race, and Susan Stenger to name a few. ‘Tall Trees’ was a gorgeous EP CD released by the Abaton book company, a follow up to ‘Heart of the Sun’. Her plans for the near future are to continue recoding her up and coming album and as she says on her site`s news section…” Follow your heart and have faith”…

Listen to samples

Continue to the interview


Parenthetical Girls launch new five part 12″ and video series, Privilege

January 24th, 2010

“We never meant you any harm.” Ever the pragmatists, Parenthetical Girls are set to release ‘Privilege’–the band’s new full length–as a box set of five extremely limited 12″ EPs on their own ‘Slender Means Society’ label. These EPs will be sold separately in sequence every quarter over the next 15 months, each as they are completed. They will not be distributed to stores. As the cycle concludes in May of 2011, the fifth and final 12″ will come packaged in a beautiful, aesthetically cohesive LP box designed to house all four of the preceding releases, forming the complete Privilege album. Limited to 500 physical copies per EP, the 12″s will each feature original art by renowned Swedish illustrator Jenny Mörtsell, and will be hand-numbered in the blood of their respective band members. The first 12″–subtitled On Death & Endearments–will be released on February 23, 2010.

When last we left Parenthetical Girls, the group had undergone a seismic shift in both scope and purpose, shedding the trappings of their past–and of indie rock altogether–with their critically acclaimed Orchestral Pop opus Entanglements. An experiment in Pop maximalism, Entanglements took perverse pleasure in blending the bloated chamber arrangements of a century’s worth of pop history with the rhythmic dissonance of modern classical composition–and then topping it all off with a dense, Joycean novella narrated in part by a pedophile. Needless to say, it was all a lot to swallow.

Having taken pop extravagance to its logical conclusion, Parenthetical Girls have given the orchestra their leave–and the resulting transformation is no less momentous. Returning to its core membership of vocalist/songwriter Zac Pennington, multi-instrumentalist Rachael Jensen, and producer/arranger Jherek Bischoff, the group set about a path that they have heretofore never really charted: that of sonic restraint. And though the results could scarcely be called subtle, the language of Privilege is direct and unambiguous–a new creative candor that’s felt in both its words and music. It’s Parenthetical Girls in fighting trim, and the difference is both immediate and undeniable.

The group inaugurates this ambitious experiment with Privilege, pt 1: On Death & Endearments–a compelling four-song suite drenched in the long-latent glam-racket so often suggested in Pennington’s androgynous lilt. Nowhere is this more apparent than with lead-off track “Evelyn McHale,” a Bolan-ian homage that–much like Entanglements’ “A Song For Ellie Greenwich”–imagines the infamous title character as a springboard for more allegorical confessions. The cinematic desperation of “Someone Else’s Muse” follows–its pulsing grandeur underscoring a tale of emasculation and resentment in the face of another’s deserved success. The deathbed march of On Death & Endearments–punctuated by gloriously gated snares and a haunting angel chorus–simultaneously recalls the staggering Hounds Of Love heights of Kate Bush, and the calculating, icy croon of early Roxy Music. The EP concludes with “Found Drama I,” a tragic, Eno-indebted lullaby whose atmospheric longing swells with heartbreaking sweetness. Together, they comprise a bold, strikingly cohesive pop clarion call that further solidifies Parenthetical Girls’ place amongst the most surprising and uncompromising pop groups at work today. And there’s more where that came from.

Listen


Here is what is

December 5th, 2008

It’s the third time I have been watching “Here is what is” -the relatively new Daniel Lanois “in the studio” documentary.I have been following Lanois career practically since Eno had discovered him and his brother`s studio work in Canada. Soft spoken, with heavy french accent, surrounded by celeb friends and megastar musicians, sitting in his incredible mansion/castle studios, where a control room/studio partition is not required. As Lanois is saying, the engineers should be sitting with the musicians, that way the result will sound more musical.Sitting in a room filled with vintage mics, amps, keboards and console, fingers on the faders, he teaches the viewer the ingridients of great album making. The movie is about feel, mutual respect,musicianship and lots of experience and knowledge. The recording chain is very important: Good sounding instrument, Good sounding amp, Great mic and placement and a suitable sounding room for that role, good compressors preamps and cables, good musicianship and feel. He succeeds in capturing all on tape.During the movie he is saying;”..I am trying to make a film that`s beautiful in itself, about beauty, about the source of the art rather than everything that surrounds the art”…. The movie is magical, and the players are incredible: Brian Blade, what a great sounding drummer and kit(an old Gretch), and the Genius of Garth Hudson with his incredible piano and Hammond playing. Last but not least, the “church in the suitcase” of his, the pedal steel, which is my favorite instrument and his forte, and you could hear his incredible playing through the whole movie..