Land of Clouds - MP3 download


Land of Clouds - MP3 download

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Land of Clouds

by Yaman Palak

© Copyright - Yaman Palak / Yaman Palak 

Yaman Palak is a music producer and multi-instrumentalist based in Queens NY. At times electronica and other times alternative, Yaman’s music invites the listener to cinematic atmospheres, seductive and liberating.

Genre: Electronic: Synthpop

Release Date: 2018


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Inspired by the new and the old, the shattered and the whole, a voyage of delight and wonder.

Composition/Performance/Production by Yaman Palak

Mastering by Carl Saff at Saff Mastering

Artwork and graphic design by Jaime Silveira
Introduction to The Dome: spoken word by Siegfried Zielinski

A warm thank you to Yeliz Palak, Miro Schawalder and phlanlab for 'Land of Clouds' music video directing and production.

April 2018, Queens NY, USA

Artist Statement

Yaman Palak, Mills College Oakland, CA, 11.19.2011

Getting acquainted with the realm “music practice” as an autodidact in my early youth enabled me to explore my creativity without boundaries. My environment at that time did not impose any musical trajectory; rather it challenged me to strive for creative retrieval. My involvement as a guitarist and singer in a rock band was an important exposure that influenced the forming of my musical perception. We created our pieces by composing and arranging together, thus the process of creating music and performing music was inseparable. Equally, my early involvement with “music practice” combined creating and performing music simultaneously. 

I have maintained this deductive approach towards my music creativity. It enables me to compose music while maintaining my role as a performer and perform music while maintaining the role of a composer. In order to voice a composed thought I have to be able to express/ perform it. This interconnectivity is represented in the term “music practice” that I have introduced above. 

The term “music practice” also voices my aspiration to approach music with its integrity. In order to encounter my “music practice” without judgment, I try to disintegrate musical idioms. The composite palette of musical options liberates me to choose material intuitively. However, the challenge is to distill the appropriate material for every practice anew. 

I consider the forming of my musical perception dynamic rather than static. It can be described as a fluctuation between anticipation and regression, a negation of progress, the flourishing of the ever-present, and an affirmation of the atemporal.