Ivan Black has reinvented himself with this new full-length album, in Somnium Hypnotic displays his well known style of high level ambient perfectly fusioned with an oriental touch. Occasionally, there are major revelations in contemporary music, do not miss this one.
Daniel Robert Lahey makes his debut on CerebralAudio with Uncultivated Upland. Daniel started fiddling with the keys of a piano as soon as he could reach them and whenever he could get away with it. He took guitar lessons at 10 and got very serious about it by the age of 15. (Of course, he figured it would help him pick up girls.) He devoted 12 years to the classical guitar repertoire before he’d had enough of so much work for no pay.
Toward the end of his time as a guitarist, he started playing around with Synthesizers. He has been playing keyboards for over 50 years at this point. He grew up with a love for classical music, and has studied many of the great composition masters through the years. This knowledge of classical music is what informs his current works.
On Uncultivated Upland Daniel presents six new works that reflect his perspective on life today. Some of these compositions are a reflection of life in our world today, sometimes from
a slightly off-center perspective (like on “The Zookeeper Escapes” or “Baked”), while other times appealing on a purely emotional basis (like “Uncultivated Upland” or “Tears”).
Give these compositions a close listening. There is a lot to experience and a lot to savor in these well crafted, exquisitely produced recordings.
Hey kids… do you like beats and rhymes? Are you ready for some dope new music? Well we’ve got a treat for you today! We’ve got a brand new EP by those crazy Japan-based Canadians Cheese N Pot-C. It’s not an ordinary CNP EP… either. This one features the incredible beats of Jodo Shinshuu Buddhist monk / DJ / Producer / beatboxer… TA2MI. That’s right, a Buddhist monk who can rock those funky beats.
CNP and TA2MI go back to 2001 when a mutual friend introduced them. In 2011, TA2MI was featured in the documentary KanZeOn and is now set to launch his whirlwind interview and show tour. Today’s release is a taste of a full-length project that’s set to drop in 2017.
A very special thank you goes out to TA2MI, HighSnow, Long John & Cheese N Pot-C for this dope new EP! I look forward to the LP next year!
Of course, thanks once again to you for downloading & listening. We always strive to deliver the music you’ll love. Please spread the word about blocSonic, if you enjoy what we do. Remember… everything we release is cool to share! Always keep the music moving… share it… blog it… podcast it! If you’re in radio… support independent music and broadcast it!
Nothing could better define this collection of tracks than “Early Years”. The first experimentations and works from J4ck Sh4rk show their electronic music foundations since the beginning and demonstrate that their sound will always be eclectic.
Erich Schall gehört einfach zu den ganz Guten. Nicht nur, weil dies bereits sein drittes Album auf dem kleinen grünen Würfel ist. Sondern auch, weil er es schafft, sich nicht zu wiederholen. In der Rockmusik spricht man gerne vom schwierigen dritten Album. Erich Schall ficht das nicht an. Er hat schon lange zu seiner Musiksprache gefunden, wobei hier eigentlich die Mehrzahl angebracht ist. Denn, um bei diesem Bild einmal zu bleiben, Erich Schall spricht fließend Dub-Techno, Minimal, Elektro und neuerdings auch IDM und Downtempo. Aber wen interessieren in unserer Postmoderne noch Genre-Grenzen?
Niemanden, genau. Ach so, war eine rhetorische Frage. Egal.
Die freie Wahl der Mittel stellt Erich Schall vor das Problem, nicht in die Beliebgkeit abzudriften. Er löst dies ganz meisterhaft durch Selbstbeschränkung. Jedes Stück verfolgt exakt eine Idee und das ganz konsequent. Seien es nun Sounds von elektronischen Klanghölzern in „Sticks“, von einem Saxophon in „Saxblock“ oder von einem Klavier in „Quantifier“ – stets lotet er alle Möglichkeiten und Variationen bis ins letzte aus. Auch scheint es, als habe er zudem noch verschieden Tempi erforschen wollen. Denn vom extrem treibenden Peaktime Kracher „Tropical Dodge“ über hypnotische Midtempo Stücke für die Aufwärmphase wie „Outside the Tent“ oder „Seep“ bis hin zum abschließenden, chillig langsamen Rausschmeißer „Dew“ werden alle Zeiten bedient.
Ein Album für einen ganzen Abend also, mit einer wunderbaren Spannungskurve. Kann man gut durchhören. Aber natürlich darf sich auch jeder gerne seine Perle herauspicken. Und das Schöne dabei: Perlen gibt es für alle genug bei diesem Album.
Pueblo Nuevo Netlabel is pleased to present “Dos Puertas y un Puente para una Banda Sonora“, album from chilean musician and producer F600.
“The most recent work of Miguel Conejeros, aka F600, corresponds to the soundtrack for the artistic installation “Dos Puertas y un Puente para una Banda Sonora (Two Doors and a Bridge for a Sound Track),” a collaborative montage between Miguel and the artist Rodrigo Vergara. The work, which combined sculpture and music, was exhibited in the International Museum of Chile – Gallery MICh, in Santiago, Chile, between the 17th and the 24th of June 2016.
The sonic montage in its original version was developed in a multichannel (5.1) format, in order to be appreciated by the viewer/listener as he or she transverses the space of the exhibition, where the sounds are released from the four corners of the hall, projecting a sensation of spatiality and movement, in contrast to the apparent inertia of the sculpture.
In the words of Sebastián Riffo, Director of the Gallery MICh, “The pieces exhibited were erected from the concrete, free of abstract sentimentalisms, interior life and/or conceptual and/or symbolic over-determination. They were there, alone, supported above structures of metal in order to say nothing. They wouldn’t share stories, messages, nor morals, they were only embedded in our floor and extending themselves through space. Of a palpable nature, realizing distinct material layers and sounds, as if dealing with geological strata; enigmas impossible to resolve without the help of an attentive ear and a dilated interest.”
This disc contains a demonstration in stereo of the work of F600, valuable as a historic register of the creative processes of Miguel, moreover, it provides the listeners the possibility to appreciate in a new instance the materiality of his sounds, those that are capable in and of themselves, of telling us this and other stories, of opening doors and laying new bridges.”
(Santiago, Chile. Octubre / October 2016)
“The intimate and unrepeatable process of the construction of this piece is captured through the sounds that inhabit the studio.
They are the acoustic frequencies from the manipulation of the distinct elements that raise the scaffolding of this sound track.
Much like the materiality of a sculpture is intervened with pigments, molds, and tools: the captured sounds are processed electronically and digitally, imprinting their own character in the result.
‘Dos puertas y un puente para una banda sonora’, is an exercise in congruence between materialities that plant themselves like a tale of a tactile, optic and acoustic construction in order to be traversed, contemplated, and inhabited from their interior.”
Miguel Conejeros (aka F600)
(Santiago, Chile. Junio / June 2016)
Visual artist. He has participated in more than 40 expositions, including 6 individual. His work has been shown in diverse countries in Europe and America, and he has also been published in more than 25 media specialized in art, as much in Chile as foreign. He has obtained three distinctions in concourses and 5 state financed grants. He has realized residences in Brazil and Argentina.
Enter The Temple
Dark Side Of The Mental
Pripyat’s Whispering Curse
The Cursed Gospel
My Least Favorite Life
From Veliko was in part, inspired by a recent visit to Veliko Tarnovo (the medieval capital of Bulgaria). Most days I wandered to The Monument Of The Assens. I sat and contemplated the old town across the Yantra river, where the ‘hanging houses’ cling precariously to the steep hillside, some are literally crumbling and sliding towards the river below. This seeming fragility is reflected in both the music & lyrics I composed for this project. ‘’The Road From Veliko’ is also a metaphor for a psychological journey – from the darkness of depression back towards the light.
You almost have to draw breath after the album finished, this listener suddenly realised that he had been holding his, hanging on every note. There is genuine power held in these songs, quiet and drifting as they are; they have an intensity that is bewitching and all encompassing. This is music for the liminal hours, for dawn or dusk, for candlelight. Highly recommended, this album deserves your close attention.
Excerpt of review by Grey Malkin (The Hare & The Moon) for The Active Listener blog.
Susan Matthews is a UK based composer/musician, known for her intense, ambitious, hypnotic harmonies and industrial noise creations.
Composed, performed, and produced by Susan Matthews
Photography and design by Mark Ingram
Do you miss Nirvana? Hot-new awesome release! Straight from Baltimore/USA – Lucian Freud band and “Lucrid” material.
Just listen to “The Gift of the Grubs” or “Covered in Blood”! What a sound! Nirvana comparison is not overblown at all. But it’s not enough to describe what Lucian Freud’s music is. And it’s not fair to try. Netlabel’s discovery of the year so far!
Lucian Freud’s inspirations: Nirvana, Van Halen, Agent Orange, The Cure, Black Sabbath, Blue Oyster Cult, Butthole Surfers, Cop Shoot Cop, Cream, David Bowie, Ryu Umemoto, California X, Dead Kennedys, The Talking Heads, Devo, Archers of Loaf, Dinosaur Jr., Elliot Smith, Failure, Shellac, Pavement, Pixes, The Police, Rush, Sonic Youth, Thin Lizzy, Tony Molina, Trans Am, The Who.
Deftechnixks explores the core of noisy rock music, by stripping it of all non-essentials. All that is left is energetic experimental post-punk clatter featuring unschooled screaming, a drumset consisting of boxes and tins, and an electric guitar with strings crossed. This results in a heap of joyful, noisy rock-bashing in the amateur, passionate spirit characteristic for all underpolen releases.
A short but ever so sweet release coming up from new guest artist NNYz? (don’t forget the ?) called Acceptance EP. Perhaps a deeper meaning of a new unknown artist wanting to be accepted by his peers, or just requesting an accepted listening of his work.
Acceptance EP is an interesting mashup of different styles, such as subtle guitars overlaid an electronic background, epic ambient passages with hardcore analog or detailed minimal electronics getting you to stretch your ears.
An interesting but perhaps little short introduction to NNYz? Let’s hope for more, longer work in the future! Track of choice, the coolest Emilove!
My first introduction to the work of Ambelion was in 2014 when I found a remastered copy of his 2008 release Waiting for Quarters. I was taken by his ability to mix Ambient, IDM, Berlin School and a host of other electronic music styles. Now with Quasi-Stationary Ambelion has brought his distinctive approach to electronic music to CerebralAudio.
This release sees Ambelion’s more IDM approach to electronic music: lots of beats and breaks, with hints of swirling ambiance at times, and other times more mechanical counterpoint. This is really a return to the style of the 90’s, but with a modern touch that only Ambelion could envisage.
” A Spectacular Dawn Blinds My Eyes And Again I Stand On The Summit. Last Bow In Honor Of My Youth. How History Repeats Itself. And The Aches Of The Past Stab Me. The Disposable Events Of A Life That Cannot Rewind. I Remember My Childhood, Dreams That Are Too Far Away. Why Must It Be So Sad To Die?”
This is the eighth album from Javier Piñango’s i.r.real series, using only a Korg MS-20 analog synth and some sonic effects treatments. “i.r.real 8” is structured as a classic double album with the SOUTH as underlying concept in the emotional, the geographical, and of course, the sonic sense. It is an ambitious, complex work directly connected with personal memory and environment – deeply poetic and deeply political. Its sound goes one step further in the evolution of the i.r.real project, sharing some timbres and sounds with the previous album “i.r.real 7”, but focusing now on compositions which are sometimes based on highly evolutionary structures –the feeling of descent and fall– and at other times on structures with a progressive fragmentation and subsequent defragmentation of the sound, and of the composition itself; breaking, starting, muting, returning to its origin, uniting, restarting… All greatly related with the landscape of the Alpujarra region in Granada (Andalucía, Spain), which acts as inspiration and symbolic location for the entire album; going from hill to endless verticality, breaking into pieces and finally reuniting lower down…
“In this new album there is a considerable and decisive personal, emotional load. I’ve already felt for some years the need to work with the poetic, political, and geographical concept of the SOUTH, both as a creative motor and as a vehicle of resistance, at a personal level and at a purely sonic one. I’ve somehow also felt a special need to connect this concept with my own circumstances; using the Alpujarra region in Granada as a reference seemed to be the logical personal space around which I should build this “i.r.real 8”. The album is a metaphor of the dissidence and necessary resistance that I identify with the SOUTH as a concept. However, as I’ve already said, there is a personal space in this land located next to the enormous wall formed by Sierra Nevada, which appears as a barricade, separating this world from an unreal world – a deeply i.r.real world. My father, born in a village of Alpujarra named Cádiar, used to speak about the ‘hill’ (‘el cerro’, the 3.479m high Mulhacén Peak), as a static guard that filled up the horizon towards the North and that somehow fell thousands of metres down towards the South, through that other world, with the sea as its final destination…”
javier piñango: synthesizer (korg ms-20) and effects
recorded, mixed and mastered at madrid
After more than five years in recording and production, Tim Kays has released an album that reaches past the influences of Tangerine Dream, Vangelis, Biran Eno and other electronic artists and reconnects with his long time passion for progressive rock music (ala Pink Floyd, Alan Parsons, Yes, D.O.A., and Gentle Giant): The Way Home.
That re-connection is apropos for an album that is about finding The Way Home. Tim’s approach to the concept of “home” is about more than just the lodging that one might have. It’s about the emotional home, the strength of beliefs, and the patience it takes to find one’s true home.
Having the forbearance to work on a release for five years is tantamount to the journey that it can take a person to find their home. Tim has created a release that is the most personal expression of this journey.
We welcome Tim to CerebralAudio with this release, and hope you will enjoy it as much as we have in working on bringing this release to you. It’s truly an honor for us to be entrusted with a release that has taken Tim many years to bring to its most perfect form.