Bryan Holmes – Arak Saya

[pn108]

Bryan Holmes

“Arak Saya”

“I have always approached electroacoustic music as an art of sonic re-contextualization. And it was as such that this genre was born. Objects, de-contextualized from their origin, reunite and in the aspect of their diversity they create new aural worlds, known also as musical works. While contributing to a new sonic discourse, objects become more complex, interrelating and forming a whole that is greater than the simple sum of its parts. The way in which this is realized is what some call the ‘musical language’ of the composer, although personally I prefer to think that such ‘discourse’ does not necessarily constitute language per se, but rather another kind of structural conception that is of itself and that responds to its own nature.

‘Arak Saya‘ shows a possible evolution of said discourse in the music that I wrote during the last decade. However, it is presented here in reverse order, as involution or, better still, as de-evolution. This way of seeing time ‘backwards’, where the past is ahead and the future behind, is characteristic of the Aymara cosmovision, from which the title of this album also arises. ‘Arak Saya’ means something like ‘the place above’, which denominates the geo-socio-political organization of the Aymara people as opposed to ‘Manka Saya’ (place or part from below). This is, moreover, the title of the only mixed work present here (for tarka and electroacoustic means).

Despite an eventual discursive evolution, works distant in time like ‘Epitunga’ (2006) and ‘Arak Saya’ (2013) itself demonstrate common influences like, in this case, the Andean Highlands, or ‘Desembocaduras’ (2008) and ‘Glosa de Clímax Púrpura’ (2012), that use sounds of Mapuche instruments, symbolizing the resistance of this people against colonizers and etnocides.

Thus, changes in time have been in the aesthetic and technical domains rather than in symbolic aspects. Still with exceptions, I believe this production –which goes from the end of 2015 to the beginning of 2016– could be divided between a before and an after in relation to my contact with the theories of Pierre Schaeffer regarding the sound object and typo-morphology, a phase that began with ‘Desembocaduras’ (2008). At the same time, another evolutionary level could be observed in the field of textural complexity and density: at the beginning I was working normally –by sheer precariousness– with minimum sound materials, trying to extract something interesting by means of their ‘Explotación’ (‘Exploitation’) (EP released in 2008 by Menthe de Chat and TimeTheory netlabels). Over time, the density and variety of materials was increased, reaching an apex in ‘Convolved Dream’ (2016, a work which I composed especially to finish this album), whose poly-spaces and multi-layers arise from a discourse overcharged with disparate information. What could be argued as a constant in the compositional aspect is that the works should always represent a challenge for me. This is say, all were conceived as experimental ‘studies’ in which I had to solve issues that were specific to each.

I leave you, then, with this personal journey… I hope never to find the definitive path, so I am able to continue in the search for new possible sonic worlds.”

Bryan Holmes
(Río de Janeiro, Brasil. Julio / July 2016)

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Yan Terrien – Music For Corridors

[SCM-1607]

Yan Terrien

“Music For Corridors”

Yan Terrien comes back with this second release on Sucu Music talking about the suspended atmosphere of hospital corridors.

Music For Corridors magnificently renders that sense of waiting. Each track infact shows the multifaceted aspects of a waiting in a hospital corridor, whether it is you waiting for your own fate or one of your loved ones is.

A waiting which sometime is trustful, powerless, serene, hopeless, heroic, hopeful. It’s a music that’s plenty of intense feeling and emotion, it’s a music that empowers the listener to understand further dimensions starting from lucidly observating details, common objects, views, as the songs’ titles suggest.

The album is mainly piano based, melody and harmony of each track develops accompained with light synths sounds and textures, quirky noises and low distant voices. The sensation is just like if our thoughts were focused on their own, barely distracted by what comes around.

We’re very happy to present a release of a great artist like Yan Terrien for the Netlabel Day 2016 special event, wishing him to present us more and more music in the future.​

– Gaetano Fontanazza

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Various – Pfff! Monument to The Noise

[0kbps001]

Various

“Pfff! Monument to The Noise”

Pfff! Monument to The Noise

There’s no music here. Music has been outdated. This release is a Monument to The Noise.
It’s the hundredth and simultaneously the first release of MAV Records.
We adopted the dead drop method, ideated by Aram Bartholl and consisting of the installation of USB devices in public spaces. Anyone can use our dead drops for sharing, uploading or modifing audio files.
Pfff! flows and evolves through different realities, dis/integrating into the environment, getting vaporized.

———————————–

Pfff! Monumento al Rumore

Non c’è nessuna musica qua. La musica è stata superata. Questa pubblicazione costituisce un Monumento al Rumore.
È la centesima e contemporaneamente la prima pubblicazione della MAV Records; abbiamo adottato il metodo del dead drop, ideato da Aram Bartholl e consistente nell’installazione di dispositivi USB in spazi pubblici. Chiunque può usare i nostri dead drop per scaricare, caricare o modificare file audio.
Pfff fluisce e si evolve nelle varie realtà, dis/integrandosi nell’ambiente, vaporizzandosi.

00 – mAvvertenze
01 – hiyohiyoipseniyo – p o s t b L a b L a B L A
02 – Laika Facsimile – Tagli della morte
03 – Tommaso Busatto – Vvv
04 – Multimedia Sepulchri – Finding
05 – Rocco Perciante – snare75
06 – Vitaldo Conte + Antonio Saccoccio + Helena Velena – Sì solo po emi (Pulsional RU.MO.RE!)
07 – Jukka-Pekka Kervinen – calibration point
08 – Infector http:// – Phase One
09 – Stefano Balice – Mozzafiato (tattilofonia)
10 – Koobaatoo Asparagus – Uhh Man & Women
11 – The Finer Points Of Sadism – Cultivate
12 – NOS project – x-f
13 – 7tn4cc – MAV Helicopter E-attack
14 – Hank the Think Thank – ep1K oU!
15 – Nostra Orchestra Estemporanea – Gigi
16 – Sounddog65 – In Primis
17 – Nascitari – Breve introduzione alla dottrina dell’isolamento
18 – Eugene Furrno – zwischenheit
19 – Rome Kapone – Electrovoice Demo #-1 (voice altered by Moduler Gee)
20 – Ben Presto – Chanel Cristo n. 34 (Ipercoop approved)
21 – Marco Olivieri Circus – Dedicato a Viola nascitura
22 – Trapianto di Fegato – Zzzachete
23 – Toxic Chicken – I Want It
24 – Max Scordamaglia – Errore
25 – Hengedal – Sørvind
26 – Mustard-In-Law – Grey Poupon For Bing Bong
27 – Jesus Cremoso + Obasquiat – Embryonic
28 – DJ Crivellator – Sulle avanguardie pseudoartistiche nate nell’internet
29 – Blade Painnet – Pubblico di mmerda (musicoralità)
30 – Movimento per l’Arte Vaporizzata – Antidefinizione

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ISH IL SEGNO – QUIYXOTL

[IYE013]

ISH IL SEGNO

“QUIYXOTL”

Bjorn Jordan is a musician who already know, being a member of Phobos 3. Here with Matteo Pinna at the drums gives us the new single of Ish The sign, a very interesting project that takes us between esoteric mysteries, Tool and good writing at the edge of wet forests on the edge of the sea . You will be impressed by the power of images to what is Bjorn, or a modern shaman, who leads us where he wants, where there is peace.
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Marco Lucchi – Se da lontano

[brhnet43]

Marco Lucchi

“Se da lontano”

The skillful composer Marco Lucchi reafirm his talent once again with this lovely music album presented to us under the name Se da lontano. His particular atmospheric sound have the right balance between the classic and vanguard worlds.

Music by Marco Lucchi except for “Psiche Abbandonata”, music by Matteo Marchisano-Adamo and Paulo Chagas, recomposed by Marco Lucchi.
Marco Lucchi – piano, mellotron, synth and tools with Paulo Chagas – oboe and Matteo Marchisano-Adamo – piano, in “Psiche Abbandonata”.

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José Gallardo A. – Sinfonía para un hombre solo… en su casa

[pn107]

José Gallardo A.

“Sinfonía para un hombre solo… en su casa”

“Sinfonía para un hombre solo… en su casa” (Symphony for a man alone… in his home), a piece composed in the second half of 2015 based on recordings made in the parks of the neighborhood of “Conquistadores” in the city of Medellin, in apartment 203 of the building “Los Vikingos” in the same neighborhood, and on the day of San Jose in the year 2013 or 2014 in the district of Santa Elena on the outskirts of Medellin. This piece is a tribute to Pierre Schaeffer and Pierre Henry, dedicated to María Juliana and our new home; to Peluza, Azuka, and Mizu and their new parks, and to the men alone in their houses full of possibly expressive sounds.

José Gallardo A.
(Medellín, Colombia, Junio / June 2016)

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Stefano Balice – Senza titolo col troglodita

[0kbps099]

Stefano Balice

“Senza titolo col troglodita”

Stefano Balice
Senza titolo col troglodita (cinque sfoggi d’ignoranza e due musichette per spirito di contraddizione) [0kbps099]

01 – no
02 – usignoli
03 – sbruffone due volte
04 – animaletti del mare
05 – non umano
06 – malelingue
07 – carcasse

MAV [0kbps] Records, May 2016

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Emanuele Fais – Spleen Tra I Palazzi Di Milano

[0kbps096]

Emanuele Fais

“Spleen Tra I Palazzi Di Milano”

Emanuele Fais

Spleen tra i palazzi di Milano [0kbps096]

01 – Low Pressure
02 – Il silenzio delle immagini sacre
03 – There’s Life Outside
04 – The Scent of Female Flesh
05 – せんずり
06 – Nello scantinato degli orrori inconsci
07 – Escursione termica
08 – I suoi occhi sono verdi come foglie di ninfea nel più limpido degli specchi d’acqua
09 – La quiete nel mezzo della tempesta

MAV [0kbps] Records

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Hypercube – Knobular

[0kbps095]

Hypercube

“Knobular”

Hypercube

Knobular [0kbps095]

01 – Visceral Algorythms
02 – After Life Upgrade
03 – Spasmodic Turbolence
04 – Body Fuct
05 – Methods of Abnegation
06 – Abortion
07 – Drop the Pants
08 – Playground Memories
09 – Echoes of Expansion
10 – Subfallen
11 – Social Mutilation
12 – Where’s your Glitch

Electronic Music producer HYPERCUBE (born Rodrigo Passannanti) debuted with a full-length Album (Earobics) on Hypnotic / Cleopatra USA label in 1996, the album received a substantial level of interest among listeners and labels at the time and as result several tracks appeared on various world-wide compilations in the years to follow bringing timeless status to the Album which is still obtainable on major retails today (ITunes, Amazon etc)
Since then HYPERCUBE has been producing and releasing numerous recordings under different names among labels such as Blue Room UK – Klang Galerie (Austria) – Nova Tek (Germany) – Criminal Records UK – SPV (Poland) – Nova Zembla (Belgium) etc including live gigs and a long term collaboration with Producer Andy Hughes (former member of the ORB)
Almost 20 years later HYPERCUBE is releasing his second full-length Album which embraces all sonic explorations and experiences achieved during this time. This Album focuses on experimentation with extensive use of software effect plugins, audio editors and sound processors within the computer environment.

MAV [0kbps] Records

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Koobaatoo Asparagus – Paul Mcharsknee

[0kbps094]

Koobaatoo Asparagus

“Paul Mcharsknee”

Paul Mcharsknee

Koobaatoo Asparagus [0kbps094]

. DR0000_0596

MAV [0kbps] Records

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√IXI – Dal Fango alle Stelle

[0kbps093]

√IXI

“Dal Fango alle Stelle”

√IXI

Dal Fango alle Stelle [0kbps093]

01 – Siamo come Candele
02 – Paura dell’Eternità
03 – Essere Umani
04 – Condannati
05 – Sacro e Profano
06 – Nessuno
07 – Dal Fango alle Stelle

MAV [0kbps] Records

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Saso – Mysterium

Saso

“Mysterium”

Dublin based duo Jim Lawler and Ben Rawlins (aka Saso) return after a 5 year hiatus with the release on their 5th studio album titled Mysterium.

Where the duo’s previous albums centred around guitar and vocals, Mysterium is primarily a collection of piano based instrumentals occasionally lit by Lawler’s fragile vocals.

The band abandoned formal structure letting the music unfold naturally, using silence and room ambience as instruments in themselves.

Replacing guitars with the more pastoral sounds of an upright piano and acoustic organ, the album was recorded in one room and the duo invited musicians from diverse musical backgrounds to perform certain parts and improvise around sounds and melodies. The compositions are sprinkled with acoustic drums, double bass, woodwinds, brass and neo-classical vocals adding moments of colour and contrast to the otherwise minimalist sound.

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Ken Moore & Daniel Barbiero – Frequency Drift

[pyr177]

Ken Moore & Daniel Barbiero

“Frequency Drift”

frequency drift is a collection of seven collaborative compositions for double bass and tam tams. the compositions were created sequentially: the double bass parts were composed and recorded first, after which the tam tam parts were recorded and mixed with the bass parts. the appeal of the project lay in the opportunity to create work exploring the compositional possibilities opened up by the subtle timbral dissonance between the double bass’s bowed strings and the tam tams’ struck and rubbed metal.
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Uglisse feat. Hank the Think Thank – Le CONVENZIONI di Ginevra

[0kbps090]

Uglisse feat. Hank the Think Thank

“Le CONVENZIONI di Ginevra”

Italian suffering songwriter Uglisse meets the weird master Hank the Think Thank in this really uncomfortable album. Mmh, “enjoy”?

Le CONVENZIONI di Ginevra [0kbps090]

01 – ALTERNATIVA MA NON TROPPO
02 – GLI AMICI NON BASTANO MAI
03 – PROFILO PUBBLICO
04 – l’ASPETTO FISICO NON CONTA
05 – UN FUTURO LUMINOSO
06 – BBONUZ TrRrAK – BaS3 4UGLISzSEh (ByYy Hank the Think Thank)

MAV [0kbps] Records

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Oscar Santis – Desde La Caja

[pn103]

Oscar Santis

“Desde La Caja”

“Óscar Santis, great artist of respect and renown, it has already been several years since I’ve known and recognized his trajectory, and it never ceases to be a true luxury and pleasure to hear his sounds. On this occasion he delivers sounds sufficiently well worked, so much so that they remind me of the late Akifumi Nakajima in the sense of achieving true soundscapes, with a density still greater than that to which one might become accustomed.

Each sound is a story and if you expand your mind, you will be able to capture to the maximum all the sounds that he manages to collect on these eight sound pieces. Glitches, sound strikes, all very well worked, note the treatment in each of the sounds, and the dedication to destroy each fragment, every millisecond, every detail delivers a different perception, its worth really disconnecting and hearing that which was dusted off from the box.”

“Óscar Santis, gran artista de respeto y renombre, hace varios años ya que conozco y reconozco su trayectoria, y no deja de ser un verdadero lujo y placer escuchar sus sonoridades. En esta ocasión entrega unos sonidos bastante bien trabajados, tanto así que me recuerdan al difunto Akifumi Nakajima en el sentido de lograr verdaderos paisajes sonoros, con una densidad aún mayor a la cual se pudiese estar acostumbrado.

Cada sonido es una historia y si expandes tu mente, lograrás captar al máximo todos los sonidos que logra recoger en estas ocho piezas sonoras. Glitches, golpes sonoros, todos muy bien trabajados, se nota el tratamiento en cada uno de los sonidos, y la dedicación a destrozar cada fragmento, cada mili-segundo, cada detalle entrega una percepción distinta, vale la pena realmente desconectarse y escuchar lo que desde la caja fue desempolvado.”

Sebastián Ortiz
Amigos de la Contaminación Sonora
(Rancagua, Chile, Febrero / February 2016)

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Cagey House – Cry One Best Demo

[0kbps087]

Cagey House

“Cry One Best Demo”

Cagey House

Cry One Best Demo [0kbps087]

01 Phase Sync Study (jk)
02 The Bad Summer
03 Earased Clarinet
04 Isou Takes The Ice
05 Circle and Clumk
06 Cry One Best

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FRVSNT – Lote

[pn102]

FRVSNT

“Lote”

“The duo FRVSNT navigates the convergence of at least three grand streams: contemporary music, electroacoustic in real time, and free improvisation.

Luciano Giambastiani makes use of clarinets in different registers to provide a sound world that is based on the broad spectrum of instrumental techniques associated with contemporary music, passing through materials defined by pitch, multiphonics, keyed percussion and the classic rough sonorities of the frullatos.

For his part, Rodrigo Castellanos contributes the electroacoustics through digital processing, where the aural richness is not always easy to explain, but certain techniques may be recognized, such as sampling and transposition of the sound captured by the computer, synthesis, delay and reverb among others, all in real time.

The general feeling is of symbiosis, an integration in terms of color that generally has a continuous evolution, sometimes accentuated by gestures of greater contrast. It is probable that Castellanos makes use of complex techniques such as monitoring of pitch, spectrums and dynamics or granular synthesis, and if the latter is true, it does not appear clearly or with the typical quality common in mixed music.

It is interesting to note that, according to the musicians, they never rehearse; rather they simply get together and play. Of course they do not start completely from scratch, as they know each other (eight years ago to be exact), they know what the sound space of their counterpart is, but from there they launch a dialogue that goes vibrating in a spontaneous and ‘effervescent’ way. They call it creation in situ, and this, as one may appreciate, they link not only to a determined physical space wherein the music awakens, but also to mental, emotional and conceptual spaces. Their previous communications are realized on a more generic level, where they discuss ideas of diverse nature, beyond the purely musical question.

Because this is a stereo recording, unfortunately it remains distinct from the multichannel component manipulated by Castellanos in the duo’s live performances, where the use of loudspeaker systems delivers an enveloping spatial element truer to their creative vision.

The album is a collection of miniatures, pieces that situate themselves in a minute and a half, two minutes, three and a fraction or at most five minutes and sixteen seconds. Juxtaposed with these pieces are micro-compositions of a few seconds (16, 18, or 24 seconds), of a concise and effective style, that exploit a sonority, rather a gesture that closes itself in but is able to connect with the preceding and the ensuing, with the general coloration awarded by the authors materials.

We hope this album is only the beginning of one or more subsequent contributions, either in stereo or why not in some multichannel format.”

Alejandro Albornoz
(Sheffield, England, Febrero / February 2016)

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K.Markov – Excerpt One

[366]

K.Markov

“Excerpt One”

The first release for 2016 is from guest artist K.Markov. A ten track ambient album showcasing a selection from three of his existing albums – The Mist, Transmission and Liquid, which you can find on his bandcamp page.

Following on from his first release on Kahvi under the name Phrulex (which was a single several years ago) K.Markov shows us that his style has evolved into a more mature ambient and chilled out vibe, much akin to Curious Diversions and Solar Fields.

Gently floating atmospheres, mixed with sweeping arpeggios and melodical interludes to keep you listening closely.

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Sam Fendrich – LIFE (terms and conditions apply)

[LOR 077D]

Sam Fendrich

“LIFE (terms and conditions apply)”

Composer Sam Fendrich’s latest collection (his fourth for Linear Obsessional) continues in the vein of the shorter works heard on “The Unquestioned Answer”, with concise, maximal, dense structures punctuated by allusions to other genres (in this case including jazz,blues and rock) and all employing the restless imagination and mordant wit that characterises his work.

“LIFE” (terms and conditions apply) however has an added urgency – all the pieces are recent compositions, worked on in grasped moments throughout a year that has seen a significant amount of personal turmoil.

Composed and Produced by Sam Fendrich in 2015.

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DRONARIVM – Into The White (New Year’s 2016 free compilation)

[DR-35]

DRONARIVM

“Into The White (New Year’s 2016 free compilation)”

Year’s end, all
corners of this
floating world, swept.

– Basho

credits
released January 3, 2016

Compiled by Bartosz Dziadosz (Pleq) & Dmitry Taldykin
Mastered by Porya Hatami
Cover photo by Lena Lello


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