28,00

only 1 left

about the record

Since Lieven Martens Moana’s (Dolphins Into The Future) previous full-length, the massively overlooked Music from the Guardhouse, the composer has moved from the islands of Okinawa to the swampland of Mexico City to the Portuguese countryside, composing music for ensemble and commercials. This very pluralistic lifestyle and commitment has led us to his first full-length record since 2014: Idylls.

Presented as a 12-page book with an LP, the listener first hears concentrated and intentional sound-prose poems of the life of Robert Louis Stevenson, as Martens attempts to “see through the eyes of RLS.” Because of Martens’ ability to poetically reflect Stevens’ obsessions, we can hear field recordings not just as documents, but as compositions and imaginative storyboards of a poet’s journals in the locales of Polynesia.

  1. 1 - Le Tombeau De Robert Louis Stevenson 17:43
  2. 2 - A Transcript From Ambae Isle, Aria 04:42
  3. 3 - A Transcript From Ambae Isle, Scherzo I 03:23
  4. 4 - A Transcript From Ambae Isle, Scherzo II 03:55
  5. 5 - A Transcript From Ambae Isle, Coda 02:30
  6. 6 - Grondements Du Volcan De L’ile 03:26
  7. 7 - Cylinder 1011_13 01:46

28,00

only 1 left

  1. 1 - Le Tombeau De Robert Louis Stevenson 17:43
  2. 2 - A Transcript From Ambae Isle, Aria 04:42
  3. 3 - A Transcript From Ambae Isle, Scherzo I 03:23
  4. 4 - A Transcript From Ambae Isle, Scherzo II 03:55
  5. 5 - A Transcript From Ambae Isle, Coda 02:30
  6. 6 - Grondements Du Volcan De L’ile 03:26
  7. 7 - Cylinder 1011_13 01:46

about the record

Since Lieven Martens Moana’s (Dolphins Into The Future) previous full-length, the massively overlooked Music from the Guardhouse, the composer has moved from the islands of Okinawa to the swampland of Mexico City to the Portuguese countryside, composing music for ensemble and commercials. This very pluralistic lifestyle and commitment has led us to his first full-length record since 2014: Idylls.

Presented as a 12-page book with an LP, the listener first hears concentrated and intentional sound-prose poems of the life of Robert Louis Stevenson, as Martens attempts to “see through the eyes of RLS.” Because of Martens’ ability to poetically reflect Stevens’ obsessions, we can hear field recordings not just as documents, but as compositions and imaginative storyboards of a poet’s journals in the locales of Polynesia.

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