Carlos Suárez is, now a days, one of the most interesting musicians exploring the compositional possibilities of field recordings in Spain. His work has been widely regarded as a revelation on how to present processed field recordings as elements of a very bast and complex symphonic music system or language.
Moreover, Suárez has been able to develop something quite bold in the realm of field recordings, this is his ability to have a certain sound identity that defines his oeuvre. Through the usage of silence, textures and noise, Suárez has been able to create a very personal and creative sound world that ultimately becomes a language by itself.
After his acclaimed work “Transit Mundi” (Luscinia 2012) Suarez has been developing that very own language, following that premise, a month ago Exp_Net released “O Tempo Do Desengano” which explored similar accents and phrases such as the ones found on this album but reversing the sound sources. In the album at Exp_Net Suarez focuses on the us e of a modular synth (Doepfer A-100) and here, with Fin Da Terra, Suárez tries to do the opposite, to work mainly with field recordings and just a bit of analogue synthesis.
Fin da Terra is a compositional exploration of sounds gathered in costal areas, beaches, breakwaters and different locations in the Atlantic galician coast, where Suárez currently lives. What’s interesting of this piece is the usage of those recordings and how they have been moulded to become “voices” at the service of Suárez sound language.
Also, Fin Da Terra uses field recordings as a canvas, a surface where to play different experiments and combinations. The soundscapes are relegated and become background to the sonic accents that define Carlos Suárez oeuvre, even, he allows himself to add, here and there, elements such as a modular synthesizer that appears hidden but present if we carefully listen as a reminder of his previous work on Exp_Net.
The overall conclusion is that Fin Da Terra cannot be understood if not listened after “Transit Mundi” and “O Tempo Do Desengano”, all of it form a consequent evolution and exemplification of creative process.
Sonic transcription of a laudanum trip. You enter a fluffy space. Your mind try to catch the sounds but the more you approach them, the more they move away.
Artist : Chrome Pontex
Title : Laudanum Dreams
Catalog # : TXR061
Duration : 49:31
Date of release : December 4, 2013
Genres : dark ambient, drone
Format : digital (FLAC and MP3)
“There is a light that shines beyond all things on earth, beyond the highest, the very highest heavens. This is the light that shines in your heart” (Chandogya Upanishad)
“Remember the clear light, the pure clear white light from which everything in the universe comes, to which everything in the universe returns; the original nature of your own mind. The natural state of the universe unmanifest. Let go into the clear light, trust it, merge with it. It is your own true nature, it is home”.
(Tibetan Book of the Dead)
“If you light a lamp for someone else,
it will also brighten your path”.
“Sometimes our light goes out but is blown again into flame by another human being. Each of us owes deepest thanks to those who have rekindled this inner light.”
Music composed and played by Ars Sonor and M.Nomized.
Recorded at Fraction Studio (France) and Pennfodralet (Sweden).
Cover and digital art by M.Nomized, additional processing by Ars Sonor.
All rights reserved P.2013.
Minimal parcel of sounds slowly evolving in deep atonal flux unveiling a world of pure sonic intensities
Artist : Darvillers Ghost
Title : Fake Polarity
Catalog # : TXR060
Duration : 39:23
Date of release : November 20, 2013
Genres : dark ambient, drone, atonal
Format : digital (FLAC and MP3)
Free download link :
Gaetano Fontanazza, a.k.a. Pseudo, guitarist and musician extraordinaire, offers his first release on Sucu Music, the beautifully entitled “Music for Toys Meditation”. As usual, he explores all of the most extreme and fantastic territories his guitar and his array of effects, musical skill and inventive, can take him (and us) to.
It is a short-length release, clocking off at 25 minutes, where ambient, glitch, noise and soundscapes create a unique aural and emotional experience in the listener. Not to forget some acoustic moments which, unexpected as they may sound, given the profoundly electronic feel of the work, do not appear strange or gratuitous at all.
Die Musikpiraten haben heute ihren CC-Adventskalender gestartet. Jeden Tag kann man einen weiteren Song runterladen. Den Anfang macht “Can’t Afford Another Christmas (ft. Copperhead, Robert Siekawitch)” von Steven M Bryant.
[teilweiser crosspost von iRights.info] Es hat länger gedauert als gedacht, ziemlich genau doppelt so lang, aber am heutigen 25. November 2013 wird sie endlich vorgestellt: Die Version 4.0 der Creative-Commons-Lizenzen, kurz CCPL4. Dies soll so etwas wie “die endgültige Version” sein und wenn die Abstände zwischen den Versionen weiter so zunehmen, wäre mit e […]
Bei Creative Commons gehen die praktischen Vorbereitungen für die anstehende Lizenzenversion 4.0 gerade in die heiße Phase. Ein wichtiger Teil der Vorbereitung ist die Übersetzung der Textbausteine, aus denen die “Commons Deed” (die vereinfachte Darstellung der jeweiligen CC-Lizenz) auf dem Server von CC zusammengebaut wird. Es sollen so viele Sprachen wie m […]