Cerca:petals in sound

From time to time Fortunea Records gives us the chance to highlight and welcome new faces. And this one is Petals In Sound!

Louise Baldwin is a UK-based producer and DJ. After over a decade of living, working and partying in South East London, she relocated to Crosby in Liverpool. Following a number of years experimenting with music production, she finally found her groove during the 2020 Covid lockdown. In October 2020, she released under her moniker the well-received debut EP 'Palace’ on Boyanza Records, gaining support from the likes of NTS Radio and the Sloth Boogie Radio Show. Many releases on labels such as Closer To Truth, Dirt Crew and Inhale Exhale followed.

Louise playfully attacks the fabric of deep house, pushing and pulling the genre into modern territory with clever and precise production techniques. And now she will release her first vinyl record on the Austrian imprint. The ‚Days‘ EP includes 4 original tracks and a remix by the Vienna-based dj and producer Dzc.. Hypnotic rhythms and well crafted deepness defines this record.

Petals In Sound’s ‚Days’ EP will come out on december 19th. All tracks have been mastered by Patrick Pulsinger. The vinyl is limited to 200 copies and there will be no repress!

Double LP pressed on transparent neon pink and opaque neon green vinyl Including exclusive unreleased tracks Holographic gatefold sleeve Reversible artwork concept After months of overwhelmingly positive reviews on the game and half a million streams on the digital album, it is finally time to announce the physical release of the original soundtrack for Sorry We're Closed. Akupara Games, à la mode games and Black Screen Records put every effort into the vinyl that lives up to the one-of-a-kind nostalgic, survival horror game with rich lore, deep characters and multiple endings. While players explore unsettling locations in Sorry We're Closed, they're being haunted by the chilling tracks, created by C.Bedford, Okumura, Devix and Catton Arthur. The soundtrack is as diverse as its artists: From the atmospheric and minimalistic electronic pieces by C.Bedford, who involved in the development of the game, to the full-on hip hop tracks by Okumura, Devix is adding a sensible folk track, while Catton Arthur is finally throwing in some heavy guitars to complete this excentric and highly enjoyable mix. For the vinyl release of the Sorry We're Closed soundtrack, the teams of à la mode, Akupara and Black Screen created a package that has its twists and turns. It comes with colourful neon LPs, transparent pink and opaque green, that are housed in a shiny holographic gatefold sleeve that you can turn around to see a second, alternative artwork.

veins syncopating under your skin
not knowing how or from where
it washes over us, just that it stretches
light bulbs crashing in a storm slender
waxy petals of a wild plant splitting

gazing at a nocturnal ocean, ill-met by moonlight
this is where you spend your time
the taste of tangy citrus on your tongue
the pounding of familiar tools
sculpting deeper
the echoing of distant futures
in your ears

—
Ramble is the debut LP on vinyl from experimental electronic musician Sebastiano Carghini. An ambient-no-ambient journey, his sound art unfolds like a fractured memory loop—where degraded tape hiss, layered textures, drifting echoes, and minimalist pulses dissolve into a liminal, ever-shifting landscape of sonic perception. It is released by adventurous electronic music label topo2 on July 11, 2025. The record is pressed on 180 grams of ICCS-certified minty-ice colored bio-vinyl, housed in a heavy full-colour sleeve, and comes with a download-code to the full release. Mastering is done by Ike Zwanikken, artwork by courtesy of Tjobo Kho, and poetry written by Eelco Couvreur.

Mixed by master Fred Frith and released in Japan in 1985, this is Mizutama Shobodan’s sophomore album. Another dangerous ride with the fearless Polka Dots Fire Brigade and a further step into the Japanese dreamland.

»Mizutama Shobodan were a force of nature – powerful and original and unapologetic. I saw them live before I heard the first record and was very impressed. I liked the way the group interacted, it was a very good atmosphere between everybody. I really liked the contrasting sounds and styles of Kamura and Tenko, two very different kinds of voices that really worked well together.« (Fred Frith)

Am 25. April veröffentlicht d4vd sein mit Spannung erwartetes Debütalbum „WITHERED“, das ab sofort
vorbestellt werden kann. Das Album knüpft an seine erfolgreichen EPs „Petals to Thorns“ und ”The Lost
Petals” (2023) an.
d4vd hat sich in Rekordzeit als eine der aufregendsten Stimmen der Alternativszene etabliert. GQ nennt ihn
einen „undeniable mouthpiece for Gen Z“, das Interview Magazine spricht davon, dass er „die AlternativeSzene im Sturm erobert“, und die NME bezeichnet ihn als „Multi-Genre Visionary“.
Sein internationaler Durchbruch gelang ihm 2022 mit Romantic Homicide – einer Indie-Rock-Hymne, die
er komplett auf einem iPhone aufnahm. Der Song erreichte Platz 34 der Billboard Hot 100 und wurde
weltweit millionenfach gehört. Auch Here With Me (2023) wurde ein globaler Erfolg.
Ursprünglich als leidenschaftlicher Fortnite-Streamer bekannt, suchte der gebürtige David Burke nach Musik
für seinen Gaming-Kanal. Da seine Videos immer wieder Copyright-Strikes erhielten, schlug seine Mutter
vor, eigene Songs zu schreiben – also begann er kurzerhand, Musik im Kleiderschrank seiner Schwester
aufzunehmen.
Seitdem hat der 19-jährige Künstler eine beeindruckende Karriere hingelegt. Seine EP „Petals to Thorns“
erreichte innerhalb eines Jahres Gold-Status, und seine Musik wurde in Soundtracks von Serien wie „Invincible“ und „Arcane: League of Legends“ verwendet.

Acclaimed musicians Nitai Hershkovits and Daniel Dor will release their highly anticipated album, “The Garden Suite”, on Circus Company. Following their previous collaboration on Daniel Dor’s debut album, “Four Petals”, this new project sees the duo exploring uncharted musical territory with an innovative, Moog-based sound.
Inspired by the groundbreaking work of synth pioneer Malcolm Cecil, “The Garden Suite” marries electronic textures with the richness of orchestral sound. Drawing from a vast range of influences, including the works of Benjamin Britten and Fredrick Delius, Hershkovits and Dor meticulously composed each track, layering Moog synthesizer melodies to emulate various instruments from the orchestra - from French horn to percussion, guitar, brass, and woodwinds. The result is a sound that is lush yet light, deeply textured yet not dense.
“The Garden Suite” marks a significant evolution in the partnership between Hershkovits and Dor, with their new compositions shifting from the rhythmic focus of “Four Petals” to a more texture-driven approach. The album showcases their ability to create genre-defying soundscapes, blending Daniel’s rhythmic system, “The Flower,” with lush, ambient layers of sound created on the Moog.
Nitai Hershkovits, known for his extensive work in jazz and classical music, began his musical journey as a clarinetist before transitioning to piano at the age of 15. His early passion for improvisation and jazz earned him several jazz competition awards in Tel Aviv. Nitai’s career highlights include his fiveyear tenure with the Avishai Cohen Trio, and his numerous projects as a solo artist, including work with ECM and his band Apifera.
Daniel Dor, a drummer and multi-instrumentalist, was born into a family of musicians in Tel Aviv. He began exploring rhythm at the age of 10, building his first drum set out of household objects. His innovative rhythmic method, “The Flower”, gained attention with his debut solo piano album, “Four Petals”, which led to his collaboration with Hershkovits. Daniel has performed with notable artists such as NOA, Avishai Cohen, and Chano Dominguez, and regularly lectures on rhythmic symmetry and music.
With “The Garden Suite”, Hershkovits and Dor offer a unique listening experience that challenges traditional genre boundaries. Their seamless fusion of rhythm, melody, and texture creates a soundscape that is as experimental as it is captivating.

With its tenth record from Fortunato Durutti Marinetti, Quindi continues to celebrate songwriting and storytelling framed by curious musicality. In keeping with the label's trajectory to date, this is an album which draws on a universal human sentimentality and presents it with an uncommon flair. In the case of Toronto-based Daniel Colussi, the man behind Eight Waves In Search Of An Ocean, his melancholic poetry cuts through with a clarity which calls to mind all-time greats from Anette Peacock through to Lou Reed and Leonard Cohen.
Turin-born Colussi has drifted through various bands, guises and styles over the past 20 years, but since settling into Fortunato Durutti Marinetti as a vehicle for his songs, he's found a strong expressive impetus which transcends genre to become entirely hinged on the power of his words and melodies. The first album under this alias was a 2020 cassette album, Desire, later pressed on vinyl due to demand in tandem with the release of 2022's Memory's Fool. On each record, Colussi has found distinct arrangements of players to set the mood, ranging from gently lilting art and folk rock through to orchestrated balladry, but Eight Waves In Search Of An Ocean widens the palette of Fortunato Durutti Marinetti to create an album in which each song feels like a tale unto itself.
Colussi's renewed approach is instantly apparent as album opener 'Lightning On A Sunny Day' unfurls, informed greatly by producer Sandro Perri's input pursuing a hybrid electro-organic sound. The addition of drum machines and synths to the musical palette bring with them the strong connotations of pop while the sax and violin sounds similarly smooth and silky, and one can't help but think of John Martyn's slide into the digital sound of Sapphire or Kraftwerk's bittersweet synthetic tenderness.
Within this sound, there's still space for the energy to fluctuate according to the whims of songs. 'The Flowers' turns inward with a soft-touch composition as delicate as the petals Colussi describes falling to the floor. 'Misfit Streams' and first single 'Clerk Of Oblivion' savour the fluid, luxuriant tone of fretless bass with all the 80s connotations intact. Colussi remains the central focus whatever happens around him, in possession of the kind of unforced charisma which drives a song deep into the listener's heart. It's at once entirely his own style and yet comforting and familiar. The lyrics might sweep you into the singer's inner world, similarly to the experience listening to late 60s Tim Buckley, or you might well inhale the mellow jazziness of the harmonic movement like you would Joni Mitchell on Hejira.
The emotional direction of each track is never linear - 'Smash Your Head Against The Wall' snarls its rhythm section before the strings sow their aching beauty to cool the song's temper, winding up as a track of distinct halves jabbing at each other. "I Need You More' leaves space for spiralling flute solos and strangely stiff, militaristic drum rolls in the midst of a sweet, slightly sad synth ballad, the final wave receding back into the tidal undulations of Colussi's unique exploration of his muse.
The artist himself dubs his musical expression as "poetic jazz rock" with a sideways glance - it's not exactly poetry, far from trad jazz and it doesn't really rock, yet the tag feels uncannily like it fits, just like the curious music it's used to describe.

After his participation in a masterpiece such as Popol Vuh’s Hosianna Mantra, in the early 1980s Klaus Wiese produced a series of seminal works in the field of ambient-drone and healing music. The first of these, Baraka, was released on tape by Acquamarin in 1981, and already contained all the aspects of his future research into the mysticism of sound. Wiese shares the path with other German explorers such as Hamel, Fricke, Micus or Deuter, but he focuses his attention on the most essential nature of sounds, on their acoustic purity, which is always infinite spiral, vortex of frequencies and cosmic bath. It takes only a few means (zither, tampoura, cybals, singing bowls) to reach the absolute through vibration. Like the archaic mood of a great universal harmony, the sound suggests a complete state of otherworldly meditation, an enveloping cloud of peace in the eternity of the present. The musician is only the one who distributes and directs the thickenings of ethereal matter, microtonal agglomerates, cascades of celestial harmonics and emotional floods, petals and stems of devotion.

Fieldwave, Vol. 2 is the second release in our compilation series created by broadcaster, sound collector and Nonclassical A&R consultant, Nick Luscombe, bringing together artists with field recording at the heart of their work. This second volume focuses on the sounds of Japan, with tracks from Japanese musicians and from British artists who have gathered recordings via trips to Japan.

"I created the Fieldwave compilation series in 2020 as a window to the world of field recordings and wider acoustic ecology, via the work of recordists, sound artists and musicians from around the world", says Nick Luscombe, who compiles the series of releases. "For this, the second volume of Fieldwave, I decided to look to Japan as inspiration – surely one of the most sonically rich places on earth."

In these dark times of Covid we still have our music. We have the sounds to soothe us, distract and take our minds away from the chaos and uncertainty.
We can't dance like we used to but we can hear and feel. Our release must be found in another way, we must look within. We find solace and grant ourselves space and time in the music.

Sam McQueen (Indio co-producer with John Beltran, Indigo Aera, Delsin Records, Furthur Electronix) presents his debut album Dreams In Sepia for Mojuba sub label a.r.t.less and hits us with a real time soundscape of the moment, an epic-like document of these times. The rhythms are subtle, sometimes broken, the time structures often complex, this is not primarily dance floor orientated music. These sounds are way more cerebral, for the heads. They reflect perfectly the complexities of life we are experiencing in 2020.

The edges are rounded with occasional strolling bass lines and comfy chords. Slabs of keys and spaced out female vocals like a psychedelic journey that scares you at first yet comforts you soon after. Sam McQueen's mediatory sounds give an overwhelming sense of the moment. The music makes you take time out and listen. Its purposeful manner suggests there are more hours in the day, like time slowing down a pause, like the sun slithering slowly behind the horizon. These are sunset sounds for dark back-rooms.

Daytime or night, it works. This is the soundtrack for the other room, the deeper sounds not designed to make you dance. This music doesn't get in your face, it creeps up and smacks you on the ass. There are elements of early nineties UK Techno, a warmth and delicateness that pervades a distinct lack of four four dance floor in the beat structures, a softer tone throughout than the harder Detroit techno sounds of the same era but still nods and acknowledgements to the D in the layout and way the sounds present themselves. Think John Beltran, Symbols and Instruments, Black Dog or Kirk DeGiorgio, mid 90s Berlin sounds from Basic Channel / Rhythm & Sound, but in lockdown. Music for today's modern lacking landscape. The sounds often familiar, analogue, the drums, hi hats and snares, shimmer, jazz style. They accentuate and push the rest of the elements around them.
?In a bygone era this would be crudely classed as Chill Out music. In 2020 Covid era its about how it makes you feel as you relax and really listen to it. It is about emotion and empathy, a oneness, a new unknown and a deeper train of thought for the listener. Much like 2020, Sam McQueen lays the pieces round the edge of the jigsaw and lets you fill in the rest.