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picnic
Bonus

Bonus
BonusBonusBonusBonusBonusBonusBonusBonus

Artists

picnic

Catno

deis, 7.1 none

Formats

2x Vinyl LP Stereo

Country

Australia

Release date

Sep 3, 2021

picnic - Bonus | Daisart (deis, 7.1)

boomkat: ...One of 2021’s lushest ambient sides, ‘Picnic’ is a proper friends and family affair helmed by the duo’s mdo & Ju Ca, a pair of Melbourne-based souls who share that region’s prevailing grasp of ambient warmth and elemental utility. Where their debut LP, proper, also included guest spots from the likes of Huerco S., The Humble Bee, Dntel, and DJ Paradise, this new 'Bonus' follows suit to infuse the far flung yet mutual spirits of the modern ambient rhizome, dialling in subtle reflections on the originals, as well as new collaborations, that diffuse and extend its pleasures into the gauzy mid-distance.

Media: Mi
Sleeve: M

$70*

*Taxes included, shipping price excluded

A1

picnic - dewey (Nadia Khan version)

5:23

A2

picnic - leaving a conversation (with Pepper, Monkey Twenty, Low Flung)

6:23

A3

picnic - dewey (NAP version)

6:11

B1

picnic - elkhorn (Other Joe remix ft. Nico Niquo)

8:47

B2

picnic - folds and rips (JR Chaparro version)

9:01

C1

picnic - dewey (Ura version)

5:58

C2

picnic - basket (Haji K. remix)

6:57

D1

picnic - drops in the water (Ben Bondy version)

5:04

D2

picnic - cliff drive

5:52

D3

picnic - dewey (Newworldaquarium version)

6:27

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Editions Mego: ...Heaven is a work of contemporary church music. Centrally occupied with the subject of death, its conceptualisation was catalysed by Spiluttini’s discovering his mother’s preparations both for her own death and for his. He arrived at her home in 2015 to be led into the local church and shown the two adjacent places she had reserved for their urns. The tracks on Heaven together consist of an analogously personal and anticipatory negotiation with death.Partly derived from organ recordings made in the same church, the album frequently enlists Arvo Pärt’s compositional method of tintinnabuli. Aside from the thematic logic of its sacred associations, the method suits Spiluttini’s tendency, in spite of heavy and dynamic passages, to minimise tonal complexity. His characteristic uses of gnashing bass, restlessly irregular pacing and serrated distortion return. This time, they combine with pads, harps, fluttering organs and swooping choirs.