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we were living that life…

grateful for everyone who has soaked up a bit of the 𝘓𝘰𝘷𝘦𝘭𝘪𝘨𝘩𝘵𝘴 so far.

🎥 @carterbrice_ at @reverbandechostudio

#indiefolk #newmusic #folkmusic #altfolk

@chris_bartels (aka @elskavon) shares his favorite vocal patch from the Elskavon Toolkit.

I just wanted to destroy things.
take sounds to places I hadn’t yet.
fight any urges to keep things safe, or too familiar.

Origins Fragments in the result.

a new Elskavon album built from sounds, stems, bits and pieces of 2023’s Origins LP.

you know how sometimes ambient music gets pegged as “easy listening.”

this ain’t that.
it’s a bit more… well… difficult listening.
brokenness. clipping. more clipping.
Reversing, repitching, slowing, automating, sampling and resampling and resampling the re-samples.

rules? none.
accidents? many.

thank you for listening.
-chris

@westernvinyl
@anthemfalls
@secretlydistribution

I just wanted to destroy things.
take sounds to places I hadn’t yet.
fight any urges to keep things safe, or too familiar.

Origins Fragments in the result.

a new Elskavon album built from sounds, stems, bits and pieces of 2023’s Origins LP.

you know how sometimes ambient music gets pegged as “easy listening.”

this ain’t that.
it’s a bit more… well… difficult listening.
brokenness. clipping. more clipping.
Reversing, repitching, slowing, automating, sampling and resampling and resampling the re-samples.

rules? none.
accidents? many.

thank you for listening.
-chris

@westernvinyl
@anthemfalls
@secretlydistribution

I just wanted to destroy things.
take sounds to places I hadn’t yet.
fight any urges to keep things safe, or too familiar.

Origins Fragments in the result.

a new Elskavon album built from sounds, stems, bits and pieces of 2023’s Origins LP.

you know how sometimes ambient music gets pegged as “easy listening.”

this ain’t that.
it’s a bit more… well… difficult listening.
brokenness. clipping. more clipping.
Reversing, repitching, slowing, automating, sampling and resampling and resampling the re-samples.

rules? none.
accidents? many.

thank you for listening.
-chris

@westernvinyl
@anthemfalls
@secretlydistribution

I just wanted to destroy things.
take sounds to places I hadn’t yet.
fight any urges to keep things safe, or too familiar.

Origins Fragments in the result.

a new Elskavon album built from sounds, stems, bits and pieces of 2023’s Origins LP.

you know how sometimes ambient music gets pegged as “easy listening.”

this ain’t that.
it’s a bit more… well… difficult listening.
brokenness. clipping. more clipping.
Reversing, repitching, slowing, automating, sampling and resampling and resampling the re-samples.

rules? none.
accidents? many.

thank you for listening.
-chris

@westernvinyl
@anthemfalls
@secretlydistribution

I just wanted to destroy things.
take sounds to places I hadn’t yet.
fight any urges to keep things safe, or too familiar.

Origins Fragments in the result.

a new Elskavon album built from sounds, stems, bits and pieces of 2023’s Origins LP.

you know how sometimes ambient music gets pegged as “easy listening.”

this ain’t that.
it’s a bit more… well… difficult listening.
brokenness. clipping. more clipping.
Reversing, repitching, slowing, automating, sampling and resampling and resampling the re-samples.

rules? none.
accidents? many.

thank you for listening.
-chris

@westernvinyl
@anthemfalls
@secretlydistribution

“did you find it?”

yeah. yeah he did. he’s noble noises. he always finds the lineeeeeeeeeeeeeeeeee

‘Impulso (often referred to as Hyper Bois)’ - released in the world anywhere you stream music

Wrote this track with @chris_bartels years ago and it’s been a favorite of ours to play live in concerts. Excited that it finally sees the light of day. Would mean a great deal if you listened/add it to a playlist/shared it with your mom/etc….!!

Exclusively available to license on @musicbed

“I can’t lie to you
We can see this through.”

friday lunch crowd dj/live moments with @bennoblemusic at @horseradishkitchen 🪴🎛️🥗

released songs:
Laus - @elskavon
Someday, Again - @gemlemonmusic

friday lunch crowd dj/live moments with @bennoblemusic at @horseradishkitchen 🪴🎛️🥗

released songs:
Laus - @elskavon
Someday, Again - @gemlemonmusic

friday lunch crowd dj/live moments with @bennoblemusic at @horseradishkitchen 🪴🎛️🥗

released songs:
Laus - @elskavon
Someday, Again - @gemlemonmusic

friday lunch crowd dj/live moments with @bennoblemusic at @horseradishkitchen 🪴🎛️🥗

released songs:
Laus - @elskavon
Someday, Again - @gemlemonmusic

Out today is @blurstem ‘s newest single ‘borroso’
This one is such a beautiful solo piano piece. Definitely check it out wherever you listen to music✌️

Out today is @blurstem ‘s newest single ‘borroso’
This one is such a beautiful solo piano piece. Definitely check it out wherever you listen to music✌️

Out today is @blurstem ‘s newest single ‘borroso’
This one is such a beautiful solo piano piece. Definitely check it out wherever you listen to music✌️

Out today is @blurstem ‘s newest single ‘borroso’
This one is such a beautiful solo piano piece. Definitely check it out wherever you listen to music✌️

Out today is @blurstem ‘s newest single ‘borroso’
This one is such a beautiful solo piano piece. Definitely check it out wherever you listen to music✌️

@blurstem ‘s next single is out tomorrow, so we thought you might like to get to know him a bit more!
This is part 2 of his introduction series.

It’s album release day for @lumadomusic’s “Midnight Motions” 🎙️🕕

Across his many projects, Chris Bartels has treated sound less as arrangement and more as environment. With Lumado, that approach gradually converged on one element - the voice - not as a focal point, but as material. Over years of experimenting, stretching, and re-recording, his vocals began slipping between roles: sometimes a melody, sometimes a pad, sometimes a percussive fragment, sometimes barely human at all.

That evolution reaches its clearest form on Midnight Motions. Here the voice moves in and out of the music’s center of gravity - dissolving into synth tones, reappearing as warmth, or breaking into small rhythmic artifacts that carry emotion without announcing it. The songs don’t frame vocals over production; they breathe through it.

The result is a cohesive emotional space rather than a collection of tracks. Slow grooves and softened pulses allow feelings to linger, while the vocal presence anchors them just enough to feel shared. Listeners recognize themselves in it, even as the sound remains distinctly its own - electronic music where humanity isn’t added on top, but embedded inside the texture.

Midnight Motions captures that balance: the moment a voice stops performing emotion and simply becomes part of the atmosphere that holds it.

It’s album release day for @lumadomusic’s “Midnight Motions” 🎙️🕕

Across his many projects, Chris Bartels has treated sound less as arrangement and more as environment. With Lumado, that approach gradually converged on one element - the voice - not as a focal point, but as material. Over years of experimenting, stretching, and re-recording, his vocals began slipping between roles: sometimes a melody, sometimes a pad, sometimes a percussive fragment, sometimes barely human at all.

That evolution reaches its clearest form on Midnight Motions. Here the voice moves in and out of the music’s center of gravity - dissolving into synth tones, reappearing as warmth, or breaking into small rhythmic artifacts that carry emotion without announcing it. The songs don’t frame vocals over production; they breathe through it.

The result is a cohesive emotional space rather than a collection of tracks. Slow grooves and softened pulses allow feelings to linger, while the vocal presence anchors them just enough to feel shared. Listeners recognize themselves in it, even as the sound remains distinctly its own - electronic music where humanity isn’t added on top, but embedded inside the texture.

Midnight Motions captures that balance: the moment a voice stops performing emotion and simply becomes part of the atmosphere that holds it.

It’s album release day for @lumadomusic’s “Midnight Motions” 🎙️🕕

Across his many projects, Chris Bartels has treated sound less as arrangement and more as environment. With Lumado, that approach gradually converged on one element - the voice - not as a focal point, but as material. Over years of experimenting, stretching, and re-recording, his vocals began slipping between roles: sometimes a melody, sometimes a pad, sometimes a percussive fragment, sometimes barely human at all.

That evolution reaches its clearest form on Midnight Motions. Here the voice moves in and out of the music’s center of gravity - dissolving into synth tones, reappearing as warmth, or breaking into small rhythmic artifacts that carry emotion without announcing it. The songs don’t frame vocals over production; they breathe through it.

The result is a cohesive emotional space rather than a collection of tracks. Slow grooves and softened pulses allow feelings to linger, while the vocal presence anchors them just enough to feel shared. Listeners recognize themselves in it, even as the sound remains distinctly its own - electronic music where humanity isn’t added on top, but embedded inside the texture.

Midnight Motions captures that balance: the moment a voice stops performing emotion and simply becomes part of the atmosphere that holds it.

It’s album release day for @lumadomusic’s “Midnight Motions” 🎙️🕕

Across his many projects, Chris Bartels has treated sound less as arrangement and more as environment. With Lumado, that approach gradually converged on one element - the voice - not as a focal point, but as material. Over years of experimenting, stretching, and re-recording, his vocals began slipping between roles: sometimes a melody, sometimes a pad, sometimes a percussive fragment, sometimes barely human at all.

That evolution reaches its clearest form on Midnight Motions. Here the voice moves in and out of the music’s center of gravity - dissolving into synth tones, reappearing as warmth, or breaking into small rhythmic artifacts that carry emotion without announcing it. The songs don’t frame vocals over production; they breathe through it.

The result is a cohesive emotional space rather than a collection of tracks. Slow grooves and softened pulses allow feelings to linger, while the vocal presence anchors them just enough to feel shared. Listeners recognize themselves in it, even as the sound remains distinctly its own - electronic music where humanity isn’t added on top, but embedded inside the texture.

Midnight Motions captures that balance: the moment a voice stops performing emotion and simply becomes part of the atmosphere that holds it.

It’s album release day for @lumadomusic’s “Midnight Motions” 🎙️🕕

Across his many projects, Chris Bartels has treated sound less as arrangement and more as environment. With Lumado, that approach gradually converged on one element - the voice - not as a focal point, but as material. Over years of experimenting, stretching, and re-recording, his vocals began slipping between roles: sometimes a melody, sometimes a pad, sometimes a percussive fragment, sometimes barely human at all.

That evolution reaches its clearest form on Midnight Motions. Here the voice moves in and out of the music’s center of gravity - dissolving into synth tones, reappearing as warmth, or breaking into small rhythmic artifacts that carry emotion without announcing it. The songs don’t frame vocals over production; they breathe through it.

The result is a cohesive emotional space rather than a collection of tracks. Slow grooves and softened pulses allow feelings to linger, while the vocal presence anchors them just enough to feel shared. Listeners recognize themselves in it, even as the sound remains distinctly its own - electronic music where humanity isn’t added on top, but embedded inside the texture.

Midnight Motions captures that balance: the moment a voice stops performing emotion and simply becomes part of the atmosphere that holds it.

It’s album release day for @lumadomusic’s “Midnight Motions” 🎙️🕕

Across his many projects, Chris Bartels has treated sound less as arrangement and more as environment. With Lumado, that approach gradually converged on one element - the voice - not as a focal point, but as material. Over years of experimenting, stretching, and re-recording, his vocals began slipping between roles: sometimes a melody, sometimes a pad, sometimes a percussive fragment, sometimes barely human at all.

That evolution reaches its clearest form on Midnight Motions. Here the voice moves in and out of the music’s center of gravity - dissolving into synth tones, reappearing as warmth, or breaking into small rhythmic artifacts that carry emotion without announcing it. The songs don’t frame vocals over production; they breathe through it.

The result is a cohesive emotional space rather than a collection of tracks. Slow grooves and softened pulses allow feelings to linger, while the vocal presence anchors them just enough to feel shared. Listeners recognize themselves in it, even as the sound remains distinctly its own - electronic music where humanity isn’t added on top, but embedded inside the texture.

Midnight Motions captures that balance: the moment a voice stops performing emotion and simply becomes part of the atmosphere that holds it.

It’s album release day for @lumadomusic’s “Midnight Motions” 🎙️🕕

Across his many projects, Chris Bartels has treated sound less as arrangement and more as environment. With Lumado, that approach gradually converged on one element - the voice - not as a focal point, but as material. Over years of experimenting, stretching, and re-recording, his vocals began slipping between roles: sometimes a melody, sometimes a pad, sometimes a percussive fragment, sometimes barely human at all.

That evolution reaches its clearest form on Midnight Motions. Here the voice moves in and out of the music’s center of gravity - dissolving into synth tones, reappearing as warmth, or breaking into small rhythmic artifacts that carry emotion without announcing it. The songs don’t frame vocals over production; they breathe through it.

The result is a cohesive emotional space rather than a collection of tracks. Slow grooves and softened pulses allow feelings to linger, while the vocal presence anchors them just enough to feel shared. Listeners recognize themselves in it, even as the sound remains distinctly its own - electronic music where humanity isn’t added on top, but embedded inside the texture.

Midnight Motions captures that balance: the moment a voice stops performing emotion and simply becomes part of the atmosphere that holds it.

It’s album release day for @lumadomusic’s “Midnight Motions” 🎙️🕕

Across his many projects, Chris Bartels has treated sound less as arrangement and more as environment. With Lumado, that approach gradually converged on one element - the voice - not as a focal point, but as material. Over years of experimenting, stretching, and re-recording, his vocals began slipping between roles: sometimes a melody, sometimes a pad, sometimes a percussive fragment, sometimes barely human at all.

That evolution reaches its clearest form on Midnight Motions. Here the voice moves in and out of the music’s center of gravity - dissolving into synth tones, reappearing as warmth, or breaking into small rhythmic artifacts that carry emotion without announcing it. The songs don’t frame vocals over production; they breathe through it.

The result is a cohesive emotional space rather than a collection of tracks. Slow grooves and softened pulses allow feelings to linger, while the vocal presence anchors them just enough to feel shared. Listeners recognize themselves in it, even as the sound remains distinctly its own - electronic music where humanity isn’t added on top, but embedded inside the texture.

Midnight Motions captures that balance: the moment a voice stops performing emotion and simply becomes part of the atmosphere that holds it.

It’s album release day for @lumadomusic’s “Midnight Motions” 🎙️🕕

Across his many projects, Chris Bartels has treated sound less as arrangement and more as environment. With Lumado, that approach gradually converged on one element - the voice - not as a focal point, but as material. Over years of experimenting, stretching, and re-recording, his vocals began slipping between roles: sometimes a melody, sometimes a pad, sometimes a percussive fragment, sometimes barely human at all.

That evolution reaches its clearest form on Midnight Motions. Here the voice moves in and out of the music’s center of gravity - dissolving into synth tones, reappearing as warmth, or breaking into small rhythmic artifacts that carry emotion without announcing it. The songs don’t frame vocals over production; they breathe through it.

The result is a cohesive emotional space rather than a collection of tracks. Slow grooves and softened pulses allow feelings to linger, while the vocal presence anchors them just enough to feel shared. Listeners recognize themselves in it, even as the sound remains distinctly its own - electronic music where humanity isn’t added on top, but embedded inside the texture.

Midnight Motions captures that balance: the moment a voice stops performing emotion and simply becomes part of the atmosphere that holds it.

synth bass line written bespoke for that first lawn mow of the year. the slow motion walk out to the garage, grass-stained sneakers on. garage door code engaged, perfectly executed with the first attempt. you’re sweating already. a good sweat. a real sweat. this is your moment. this is your time. what you’ve been waiting for.

oil has been changed. gasoline brimming. the pull cord is within reach.

it’s ok. it’s ok to be emotional. this... this is what it’s all about. embrace the moment.

the mowment.

“we’re not leaving our love behind just yet...”