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Recorded in the heart of Alfama! I recorded these rain sound effects from our apartment with open windows and from the rooftop terrasse.

Alfama is known for its beautiful small winding roads and tight sidewalks. Almost all streets are entirely made of cobblestone. Alone this fact makes this sound so unique because it creates a completely different sound as it would drip on regular concrete.

As a bonus, I included another binaural recording while walking around with an umbrella!
This sound library is perfect to recreate soundscapes that are taking place in Lisbon or in any city with lots of cobblestones!

Files: 12 files • Including metadata
Size: 3 GB
Sample Rate: 192-32/192-24 WAV
Duration: Approx. 30 min
Gear: Zoom F6, Zoom F8n, SAAM, Binaural Soundman
Delivery: Instant - blazingly-fast - digital download on Bandcamp
License type: Royalty-free & no credit required

You know we are still traveling the world recording sounds so feel free to check out what we are doing right now!
DAILY IG Stories: www.instagram.com/freetousesounds
NEW UPDATES ON FACEBOOK: www.facebook.com/freetousesounds
& OUR SOUND LIBRARY WEBSITE: www.freetousesounds.com

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With the world in Covid-19 lockdown and the events industry stopped in its tracks, artists and online media like ourselves have been left financially vulnerable and, well...pretty bored.

In an effort to alleviate both, Stamp The Wax launches Isolation Therapy, an emergency compilation built from scratch at lightning speed. We reached out to as many friends of the site as we could who may need a hand, and gave them three days to make a track from scratch in isolation. 27 artists rose to the challenge.

For the artwork, illustrator Jess Ebsworth has depicted the comfort represented by collective isolation as the music industry rallies together to face its biggest challenge in a generation.

In order to provide artists with financial support as quickly as possible, royalty splits have been increased and accounting periods have been reduced to fortnightly during Coronavirus restrictions. Isolation Therapy will also provides much-needed funds for STW, having been hit heavily by the collapse of the events industry and postponement of all our media partnerships. If you can afford to buy the album, even if you don't like every track, it will be a massive support for independent journalism and go a long way to help us fight through this lockdown.⁣⁣



A Final Thought...

We’ve been amazed to see how many artists have risen to our challenge and how good their tracks with such little time, but in one aspect we need to hold our hands up. Equality is massively important to everything we do. We reached out to a diverse pool of artists but given a multitude of reasons many weren’t able to take part. We will redress this for future releases to make sure we reach the same level as our on site features and mixes.

Credits:
Compiled by Aaron L and Rosie Ama
Artwork by Jess Ebsworth
Mastered by Adam Scrimshire

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Jeffrey Silverstein is a songwriter living in Portland, Oregon. He has been making music for over a decade. Prior to relocating to Portland, Silverstein released music with Brooklyn-based duo Nassau and Baltimore’s Secret Mountains, projects who received praise from NPR, Stereogum and the New York Times. How On Earth (2019), his debut solo EP for Driftless Recordings, was developed as an artist-in-residence at the Sou’wester Lodge on the coast of Washington where Silverstein lived, wrote and demoed material inside a vintage Ford motorhome turned recording studio.

In between solo tours, weekend runs and local performances, Silverstein laid groundwork for You Become The Mountain, his first LP for Arrowhawk Records (Spring 2020). Recorded and produced by Ryan Oxford (Y La Bamba, Matt Dorrien, Jacob Miller) at Color Therapy Recording, the nine songs that comprise YBTM are heavily inspired by the landscapes of the Pacific Northwest, meditation, long-distance running and Silverstein’s work as a special education teacher. Expanding on the minimalist approach (guitar/vocals/drum machine) heard on How on Earth, Silverstein invited pedal-steelist Barry Walker Jr. (Mouth Painter, Roselit Bone) and bassist Alex Chapman (Parson Redheads, Evan Thomas Way) to round-out an increasingly meditative sound. Led by the spirit of late Detroit musician Ted Lucas, Silverstein was moved to create an album featuring both instrumental and lyric-based compositions. Silverstein casts a wide net in 40 minutes, offering fans of both traditional and experimental folk entry points into his universe. Primarily tracked live and void of heavily processed sounds, the LP serves as a proper introduction to a songwriter who celebrates patience and restraint in the highest regard.


Note: “Joy was at the center of making this record and I could not be more excited to put it into the cosmos. I have immense gratitude for Ryan, Barry, and Alex for helping actualize this record and to all my friends and family for their support. Listening back to the initial mixes, I found myself laughing and crying simultaneously. It was the closest I had come in years to being able to translate ideas and emotion into sound. I hope it resonates with you.” - Jeffrey Silverstein


"and when you feel ready to
seeing if you can bring the mountain into your own body
so that your body sitting here and the mountain in your mind’s eye become one
so that as you sit here you share in the massiveness and the stillness and the majesty of the mountain
you become the mountain"
- Jon Kabat-Zinn 

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A BIT ABOUT CONTOUR:

Contour is a songwriter/producer from South Carolina. His brand of composition is primarily influenced by jazz, soul, and psych, but he draws influence as well from a variety of different sources. His live show is presented either in the form of a solo performance using electronics or a four piece ensemble consisting of drums, bass, keys, and guitar as well as vocals. He began solely in the production world, but since beginning to release songwriting work in 2017 he has continued to evolve and expand the project, most notably/recently working as one of eight artists in NTS’ WIP artist development program in 2019.

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Brooklyn based multi genre composer and producer Peter Bark presents "Astral Ecotone", the much anticipated follow up to the 2019 release "Eventide". Peter Bark digs deeper into tape loops on his 4 track Tascam, looping pedals, plethora of synthesizers and sequencers to create an album that is hauntingly beautiful and rich. While the timbre and mood are subtly darker, the beauty is never diminished with each composition enveloping the listener in warm tape saturation and expansive horizons.

Modern ambient music can fall into the trap of being too experimental and unfocused, or too "pretty" and predictable. Peter Bark has shown time and again that he's very comfortable sitting right in that balanced sweet spot; focused and original with his own signature sound that is modern with nods of the past.

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Glåsbird's anonymous and imaginary travels to far flung locations continues, with this next excursion landing at the Norwegian fjords. The first two releases dealt with the more treacherous locations of Greenland and Svalbard but in Norskfjǫrðr, the dramatic and breathtaking landscape is underpinned by a road network which connects islands, peninsulas and mountains. A human thread of highway runs through this wild and rugged setting, passing lonely wood cabins and flashes of green.

To reflect this landscape, Glåsbird imagined a journey north to the edge of the Arctic sea over several days, stopping to capture the intimate acoustics of painted wooden shacks and drawing in the landscape through tiny window panes. Whilst the previous releases use reverb-heavy strings or tape-decaying piano to reflect the cold, stark expanse of snow, Norskfjǫrðr makes use of acoustic timbres with more emphasis on the raw sound. Various creaks and scrapes rustle underneath these melodies to reflect the sound from inside the cabin, micro-sound fragments being all the more audible due to the silent outdoors. A hint of folk is present at times in the form of bowed and plucked strings, to reflect the fauna and flora present across the West of Scandinavia. The familiar modern classical tones of piano and strings breathe a stark and chilling spine from time to time before the gently dramatic Endeligfjord marks the end of the journey, looking back out to the Barents sea.

Credits
Written and produced by Glåsbird
Mastered by James Edward Armstrong
Photography by Aldona Pivoriene

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There is a moment early on in 'Riderstorm' (releasing April 3rd, 2020 via Lost Tribe Sound) where a submarine-like pulse swells, then fades into the void. “Truth is a wave,” Kael Smith pronounces, “A rave I just can’t hear.” On Smith’s second album under the Mute Forest moniker, truth seems to slip in and out of his hands like a moth. Amongst the album's ten sonically rich and verdant songs produced by Mike Bridavsky (Magnolia Electric Co, Rivulets) these moments of clarity are bountiful; textural brush strokes strip away, the lens focuses in, and with a magnifying glass the listener peers directly into Smith’s vulnerability.

“This has been the most difficult record of my life to make... or at least to get started,” Smith explains.

Tragedy befell Smith (aka Mombi) in 2017 when his father died from alcohol abuse. Smith mentions, “There was a very long stretch after my dad died that I didn’t play music, my love for it was gone. I had an incredibly difficult time coming to terms with the idea my father would never hear another song of mine. And when you feel your best music is still to come, it’s hard to cope with that notion.”

It took a workmanlike approach to finally kickstart the material that would ultimately find its way onto 'Riderstorm.' Smith elaborates, “I climbed out of the muck by forcing myself to play open mics with only sketches of songs written. Sometimes I had so little to work with I would just go on stage and improvise with guitar loops and lyrics. Having that weekly deadline forced my hand and often times it was thrilling.”

That thrilling energy is captured exquisitely on 'Riderstorm.' The album is flush with guitars, bass clarinet, saxophone, organ, backing choirs, drums and more. All help flesh out what is by far Smith’s most mature release and a bold step in ear-percolating production. “Once I had about 10 songs mapped out I knew I needed the recordings to be special. Early on I decided I wanted to make a record of purity, capturing live takes with little-to-no computer processing of sounds. That’s when Mike (Russian Recording) was introduced to me,” describes Smith.

Smith spent 12 days recording in the bucolic, funky college town of Bloomington, IN. It was there at Bridavsky’s revered Russian Recording, he found the tools to fill his guitar tracings with flesh and blood. “We filled Russian’s beautiful live room with some of the finest session musicians in the area, all recorded though Mike’s massive Soviet-era vintage microphones and console. When I heard the tracks played back for the first time, I was stunned by their beauty and detail,” Smith recalls.

A bitter-sweet current seems to run throughout the veins of 'Riderstorm' and Smith agrees, “There are songs on here I wish my father could hear…and there are also songs and lyrics I would have never written had he not passed.” He divulges, “I’ve always felt music can be a teleport and there are songs on here that can teleport me to when he was alive. The hope is the album can teleport someone else out there somewhere beautiful too.”

Credits
All songs and lyrics written by Kael Smith
Mixed and mastered for vinyl and digital by Mike Bridavsky at Russian Recording
Recorded by Mike Bridavsky and Kirk Clausen
Bass clarinet and saxophone performed by Joe Donnelly
Drums on “The Wave” and “Helio Gap” performed by Zach West
Drums on “Dance the Spell”, “Crater Laugh”, “Riderstorm” and “The Riven Sun” by Ben Lumsdaine
Choir on “Morning Guitar” and “Crater Laugh” comprised of Madeline Robinson, Mike Adams, Kenzie Main, Jonathan Meador and Lewis Rogers
Additional textures on “Blue Chamber” by Matthew Herron
Cover photo by Gundula Blumi
Layout and design by Ryan Keane and Kelly O’Brien
© Kael Smith / Lost Tribe Sound, LLC
℗ Settled Scores LLC (ASCAP) 2020

Video footage for "Crater Laugh" was used and modified under CC by 3.0
Taken from Hanna Ueda's film "Kaidou"

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"Through A Vulnerable Occur" is the result of a dialogue between the photographer Sophie Gabrielle and the musician Seabuckthorn, initiated by IIKKI between June 2019 and February 2020.

All music by Andy Cartwright : Guitars, Saz, Charango, Effects.
Gareth Davis : Clarinet on 'Through A Vulnerable Occur' and 'Place Memory'.
Recorded & mixed in Veynes, France between Summer 2019 – Winter 2020.
Mastered by James Plotkin
Artwork by Sophie Gabrielle
Design by sprflxgrfzm

Seabuckthorn is an alias used for the solo work of English acoustic guitarist & multi-instrumentalist Andy Cartwright since 2009.He uses finger picking & bowing techniques combined with various open tunings to form a mixture of approaches, often with layered accompaniments. Generally the songs lean towards to the experimental genre, whilst on the edge of the ambient and folk. "Through A Vulnerable Occur" is his 9th releases.

Sophie Gabrielle is a Melbourne based contemporary photographer and curator working in both analog and digital mediums. Graduating from Photography Studies College, Melbourne in 2015, she has been one of the Lensculture Art Awards finalist in 2018, then Foam Talent winner in 2019. Her work has been exhibited in Australia, Malaysia, New York and the UK. Through her fine art practice, Sophie has channelled her interest in mythology, spiritualism and psychology to create poetic works that reflect our sense of self, place and the ambiguity of memory. Her works are an exploration into the world of the unseen, through optics, chemical interactions and the investigative processes used to photograph something invisible to the naked eye.

More info on Sophie Gabrielle's photography :
www.sophiegabriellephoto.com

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A warm show for chilly times this week courtesy of the nerve soothing Music For Dreams radio station. A nice ambient starts soon eases into cosmic future folk before oddball percussion, global ambiguity & North African flavours take the reins leading to some classic roots reggae and a percussive, astral boogie, house flourish.

Endless Melancholy - Caught In A Memory (Sound In Silence)
Matt LaJoie - Branchwork (Flower Room)
The Breathing Effect - Photosynthesis (Alpha Pup)
Future Museums - Shallows (Bandcamp Self Release)
Jeffrey Silverstein - A Dog's Age (Arrowhawk promo)
Jean-Pierre Boistel & Tony Kenneybrew - Remedios (Left Ear)
Priscilla Ermel - Martim Pescador (Music From Memory)
Masaa - Hala (Traumton)
Tamikrest feat. Hindi Zahra - Timtarin (Glitterbeat)
Cedric Im Brooks - Africa Calling (Dub Store)
K-Lone - In The Pines (Wisdon Teeth)
Cafe Ale - Will It b Tropik? (Simball)
Flottant - Auscultation (100% Silk)