Monday, July 22, 2019

Amek BUMMER NIGHTS w/ OOHS!, ate, Cyberian, krāllār и Nocktern (gallery)





Photos by Nikola Kostov.

Photos by Ivan Shentov.

Photos by Zlat Noisiaz.

OOHS!, ate, Cyberian, krāllār и Nocktern
"Васил Априлов" 14 / ХлеБар

Friday, July 19, 2019

amek036 Non Photo Blue "Crawling Into Tomorrow" CS

‘Crawling Into Tomorrow’ is the first solo album of Daniel Donchov (Leaver) under the name Non Photo Blue. It sees him experimenting with synth-centered, beatless and free-form music after years of handling the guitar or bass in bands like Sofia’s Expectations. His debut is comfortably spanning over six drone ambient autobiographical snapshots. ‘Crawling Into Tomorrow’ is like a long bike ride somewhere in the North, like a delayed flight to an unknown city and is as sincere as the struggle to fight your new home without losing touch with all memories, people and places that made you who you are.

Limited to 50 copies.

We closely followed Daniel’s process during the creation of this album. It coincided with the beginning of his new life some 2000 kms away from everything he knew for over 30 years. We saw colors been carefully layered on his fragile sonic sketches. The bits become pieces, the pieces became fragments of the world of a very observant person and a songwriter with an ear for delicate melodies distributed like a puzzle of synth voices. The final touches were done by Bucharest-based producer Marius Costache who gave Non Photo Blue’s misty soundscapes a needed push to endure the Northern winds, no matter how harsh they might become.

Written and performed by Daniel Donchov 
Mastered by Marius Costache ( 
Artwork by Kovlen Studio (

amek035 OOHS! "Plutonic Love Songs" CS

Like most things in life, Plutonic Love Songs started with a cup of tea and a few stray thoughts on the nature of deep listening, our relative perception of time and whether three teaspoons is entirely too much sugar. A few more cups down the line, the questions only seemed to intensify. Is our perception of time inherently linked to the circadian rhythm of Earth? What is the breaking point at which melody crumbles into sequenced noise? What would pop music, beamed from the edges of the solar system, sound like? Would these sounds appear coherent, or would our natural tendency to discern patterns, in the vaguest suggestions, take over?

Tape limited to 60 copies. 

Thus, Plutonic Love Songs was set up as an after-hours experiment conducted in our little home studio. The process involved selecting two fairly up-tempo recorded performances, breaking them down into individual tracks, manipulating their playback speed, then assembling them back together.

The reference point for the speed manipulation was the difference in planetary RPM between Earth and Pluto, hence all tracks were slowed down by 670%. The pop structure of the original performances was preserved, with liberties only taken in the mixing and panning of the tracks. Upon completion, the experiment yielded two long-form pieces that were epic in sheer size, dense in texture, yet intimate in sound. The Plutonic Wall Of Sound was born.

 For the public unveiling of the Plutonic sound we collaborated with artist Silvana Ilieva, who created one-shot films that suggest the vastness of space or the intricacies of a molecular landscape, to accompany the musical pieces. The Plutonic Love Songs installation ran at Æther Art Space, Sofia, between June 29 and July 5, 2018.

All songs written, performed, deformed and produced by OOHS! 
Mixing by Maxim Mokdad and Alyn Sclosa.  
Mastering by Alyn Sclosa at Sclosa Post Audio. 
Photography by Dimitar Karanikolov.

Thursday, July 11, 2019