🫁

(a Bandcamp Friday post,
but with lungs)

https://romeorucha.bandcamp.com/album/boom

#ElectronicMusic #ExperimentalMusic #plunderphonics #SoundCollage #AvantPop #ExperimentalPop #IDM #SynthPop #PostVaporwave #vaporwave #PostIndustrial #industrial #PostPunk #glitch #WeirdMusic #IndieMusic #music #musodon #BandcampFriday

Mezzanine Swimmers - Miserable Miracle (2023)

https://mezzanineswimmers.bandcamp.com/album/miserable-miracle

#ElectronicMusic #ExperimentalMusic #HypnagogicPop #AvantPop #psychedelic #music #musodon

#nowplaying #bandcamp

Boom
by Romeo Rucha @romeorucha

https://romeorucha.bandcamp.com/album/boom

#music #fedimusic #mastomusic #musodon #experimental #idm #avantpop #experimental #pop #industrial #outsider #bass #plunderphonics #postpunk #postvaporwave #soundcollage #spokenword #synthpop

Wire - I Am The Fly (1978)

From the album Chairs Missing

Chairs Missing is the second studio album by the English rock band Wire. It was released on 8 September 1978 through Harvest Records. It uses more developed song structures than the minimalist punk rock of the group’s first album. The record was met with widespread critical acclaim.

The album peaked at number 48 in the UK Albums Chart. The single “Outdoor Miner” was a minor hit, peaking at number 51 in the UK singles chart.

Although it features some of the minimalist punk rock of the band’s debut Pink Flag, Chairs Missing contains more developed song structure (taking some cues from 1970s prog-rock, psychedelia, and art rock), keyboard and synthesizer elements brought in by producer Mike Thorne, and a broader palette of emotional and intellectual subject matter. The title is said to be a British slang term for a mildly disturbed person, as in “that guy has a few chairs missing in his front room”.

The album was released through Harvest Records on 8 September 1979.
https://en.wikipedia.org/wiki/Chairs_Missing

Song
https://www.youtube.com/watch?v=svcAqVL2l28

Tender Ender – Black Swan

When a record aims for cinematic scale, it often ends up merely sounding big. But Tender Ender‘s Black Swan, the latest ambitious offering by Tender Ender, achieves soundscapes that could easily become your new soundtrack. It’s music built from the ground up for wide-screen moments, a sprawling, gorgeous, opulent and dangerously fragile movie landscape. Thomas Schmidiger has delivered a masterpiece of emotional contradiction, a sound that fuses the scale of orchestral rock with the intellectual playfulness of avant-pop, tied together by a thread of pure indie melancholy. Forget your tidy genre boxes. This album is a sonic collage, exemplifying what happens when classic grandeur meets modern deconstruction. The foundation has a rock muscle, but it’s stretched, warped, and decorated with so many layers of sonic experimentation that it becomes something a kind of high-stakes, high-art pop. It’s an album preoccupied with the concept of the “black swan,” the improbable, the beautiful accident, and it sounds exactly like a captivating result you can’t look away from. It’s challenging, yet immediately comforting, inviting the listener to step into a carefully crafted world that arrives like the last great party on a sinking ship.

The piano is the backbone of this lavish production. It is the steady heartbeat, the foundation upon which towering sonic structures are built. The piano isn’t just accompaniment, but an expressive centre, equally capable of delivering moments of heartbreaking simplicity and sweeping, thunderous drama. Synths act like a fluid orchestra as well. They swell, shimmer, and bleed into the sonic spectrum, creating soundscapes that suggest everything from distant violins to abstract, ethereal soundscapes. This careful interplay between the acoustic weight of the piano and the limitless possibilities of the electronic palette is where the album finds its unique voice. While the total sound is immense, individual elements know when to step back. The drums, for instance, are rarely deployed for mere volume. Instead, they operate with a complex, often understated syncopation that drives the music forward with a jazz-like intricacy before delivering shattering, powerful climaxes. Similarly, the guitars are the ghost-in-the-machine. They are subtle to the point of being textural, appearing not as conventional riff-makers, but as sharp, metallic edges or warm, echoing atmosphere. They season the drama rather than initiating it. The bass grounds the entire affair, a deep, resonant hum that the songs remain tied to a human pulse.

Thomas Schmidiger uses these elaborate, gorgeous musical landscapes to explore complex, unresolved emotional states. It’s the soundtrack of taking life’s inevitable difficulties and presenting them wrapped in such immaculate, sugary sonic production that they become edible. You find yourself smiling while contemplating profound melancholy, comforted by the rich arrangements even as the underlying message speaks of unease and fracture. This is how the record succeeds in being cynical and profoundly moving at the same time. The vocal performance is equally critical in bridging this gap between rock epic and indie contemplation. Schmidiger takes on the persona of a timeless crooner, someone who has seen it all but retains a spark of vulnerable hope. The voice is dynamic and clear, navigating the dense instrumentation with a magnetic presence, never allowing the rich textures to swallow the narrative. It’s a performance of emotional weight, delivering complexity through nuanced phrasing and an implied story that carries the listener through the album’s labyrinthine emotional core. The album begins with a grand, almost theatrical introduction, establishing the sheer scale and the immediate emotional terrain. It then journeys into a highly mutable mid-section, where the art pop and experimental elements take control, allowing the arrangements to twist into less conventional forms and the emotional expression to become more fragmented. This middle act is where the record risks falling apart, but it’s tied by Schmidiger’s unerring instinct for melody. Even the most abstract moments are built around a strong, memorable core.

The final third of the album brings the entire orchestral and rock apparatus back together for a breathtaking culmination. The drama accelerates, the textures reach their most dense and lush, culminating in a powerful, slow-burning farewell. It’s a moment of luxurious, drawn-out finality, leaving the listener in a state of comfortable, existential ambiguity. The entire experience feels like a continuous sonic landscape, leaving a question mark hanging beautifully in the air. Black Swan shows how rock music can still aspire to the grandest artistic ambitions, using pop sensibilities to make the complex accessible and the difficult beautiful. It’s music that defies time and category, positioning Thomas Schmidiger as a composer unafraid to build a velvet world for the inevitable storm.

#ambient #artPop #artRock #avantPop #cinematic #indie #music #orchestral #reviews #rock #tenderEnder

Gavgav - Bodies (2025)

https://whatwasyourintention.bandcamp.com/album/bodies

#AvantPop #ArtPop #jazz #music #musodon

Have I mentioned I make music?

Well, I probably have.

https://romeorucha.bandcamp.com/album/boom

#ElectronicMusic #plunderphonics #SoundCollage #ExperimentalMusic #AvantPop #ExperimentalPop #IDM #vaporwave #industrial #PostPunk #SynthPop #SpokenWord #WeirdMusic #IndieMusic #music #musodon

Icebeing - Elf Music (2025)

https://icebeing.bandcamp.com/album/elf-music

#PsychPop #AvantPop #BaroquePop #ArtPop #PsychRock #psychedelic #IndieMusic #music #musodon