This is what surrounds you and what you cannot escape from. Broken feelings and abandoned inner worlds. Dead hopes and forgotten desires. This is what you get when you are frank and open to the world. Despair, aggression and numbness mixed together here in three tracks.
Monofónicos presenta el regreso de Roedor con su nuevo álbum Simbiosis.
Tras su segundo trabajo “Onirismo” publicado en 2013, no había vuelto a salir de la madriguera el Roedor. Al parecer había estado combinando nuevos sonidos todo este tiempo, hoy condensados en un álbum que aunque mantiene ciertas reminiscencias a objetos encontrados y la grabación de campo, viaja en sintes y ritmos que abren nuevos panoramas en su sonido.
“Simbiosis es música hecha con todo lo que aparezca. Es encuentro, diálogo, intercambio, mezcla. De sonidos, de sueños, de vidas, de objetos; de máquinas, paisajes, noches, silencios, recuerdos, sonrisas; datos, formas, colores, amor.”
Beta is the second of a series of releases by Grid Resistor, the new project of Thomas Park (also known as Mystified or Mister Vapor). Grid Resistor focuses on using field recordings of machines, weaving post-industrial ambient sounds. Best consumed with headphones. Photo by Jimmy Gunawan.
Nikos Theologitis / Stamatis Theologitis / Giannis Theologitis / Antoni Robert
The notion of folk culture has definitely been transformed through the course of the centuries. More particularly, tradition and its authenticity and spontaneity in the context of orality seem somehow to have been mutilated and reconstructed, as soon as globalization and multiculturalism became one of the dominant discourses during the 21st century. Folk songs haven’t been an exclusion in this particular case, as revivalism and folklorism have emerged as a devastating force in the production of folk music. In “Amorgos Soundscape” by Antoni Robert, a paradox occurs: One could say that these folk songs are seen through the eyes of a foreign visitor and the recording could be seen as an exotic sound diary of a trip on a Greek Island. On the other hand, Antoni Robert’s recordings of the Theologitis’ family of musicians reveal an impressive approach on the concept of orality and its proud survival in the Greek folk culture.
Antoni Robert talks about Amorgos Soundscape:
“This is my fourth soundscape, but it is of a totally different nature with respect to the previous ones. Initially, I just wanted to proceed in a similar way that I did for the St Petersburg one, but once on the island, I realized that this idea was not adequate. St Petersbourg is a noisy place, while Amorgos it is not. Generally speaking, the island soundtrack is the wind and the sea. And at once the title “Wind on Water” came to my mind, but unfortunately, that title was already used by Fripp & Eno. But it was adequate indeed. I had the chance to listen to some goats also; the island is the hometown for a huge quantity of goats. So I was wondering about those simple things when it happened. It was dinner time, and we went to the small town of Tholaria looking for a taverna, and we found the Panorama Tavern. We started dining and at a given moment the musicians appeared and started to play great music from the islands. I recorded two complete sets, in two unforgettable nights. More than four hours of live performance. And I was said they do it every night. Once at home, while listening to that music I understood that it would have been inadequate to edit bits of it in order to build something more personal. The main feeling was a deep respect for the work of those musicians, and so the best thing to do was to choose two or three songs and use them as they were performed, in spite of the recording problems and the noise of the taverna clients. The only things I’ve added are the intro and the links between songs because wind and sea had to be there anyway. The results are a real soundscape of a dinner at Panorama Tavern, with the music played by three real artists. Stamatis Theologitis plays the violin and sings, Giannis Theologitis plays Laouto and sings, and the great Nikos Theologitis, 90 years old at the moment of the recording, and the owner of the tavern sings, claps hands, dances and explains jokes whenever he wants. I don’t know if I will reach that age. Probably not. But if I ever I’m 90 years old I want to be like Nikos. A happy man full of energy and passion. So this soundscape is a respectful tribute to The Theologitis Trio. It is their record. The rock band is The Cave Children, from Athens, included because our stay there coincided with a 4 days rock festival, and it was a part of the soundtrack too.”
released July 30, 2017
Recorded in July 2016
Processed in September 2016
Nikos Theologitis: voice and clapping hands
Stamatis Theologitis: violin and voice
Giannis Theologitis: laouto and voice
Antoni Robert: production, field recordings, and effects
Photography: Antoni Robert
‘Arquitectura espectral’ is the second work by sound artist MRTN CSTR (Martín Castro) from Córdoba, Argentina for netlabel ‘Modismo’. In this EP made up of three tracks we are able to appreciate and enjoy once again digital atmospheres which are characteristic in his musical duty: gliding melodies, delicate rhythms, fine atmospheres, counterpoints. Martín builds his songs from technology, he experiments with creation of waveworms, sound synthesis, complex structures created with specialized sequencers and instruments for the software Reaktor. However, the results are far from being robotics or dehumanized because the structures (the ‘buildings’ of this architecture) become cozy, puzzling at the same time and profound, inviting us to inhabit them. Moving musical ideas based on algorithm and mathematical formulae from theory to practice tends to be a challenge that is rarely well resolved, as elevating a structure from paper to physical reality, and by ‘well resolved’ I mean experimenting the beauty of a good listening at last, the pleasure of self-abandonment to contemplation beyond the techniques or technologies utilized for its construction, which it is fully accomplished in ‘Arquitectura espectral’. As a good sculptor, Castro reveals the shape of his compositions from the development of sound layers that are added, subtracted, that interact and move around space, generating tensions and distensions, creating sounds-cells and sonic-organisms pieces that evolve in their route. This is the difference between the robot and its perfect and synchronized movements, versus the organic bodies-muscles with their subtle differences and their impossibility of doing exactly the same, the same way, all the time, where one could be more efficient than the other, but never more interesting to contemplate or, in this case, to listen.
Mika Martini, electronic musician. Santiago, July 2017
At the heart of it all lies a choreography of sounds – noises and tones and everything in-between. Of course there’s always the body. And its movement. Mental images flashing somewhere in the brain, a foot tapping, that feeling in the stomach and somewhere down the lungs when you’re hit with an emotional resonance. The whole brain is lighting up. And we never know it. Perhaps you are standing up already and you move to the beat. Lightly. The hips or knees jerking. Or you are a two-year old that is all open before your brain connections are pruned already and you start restricting your immediate impulses. Or you are just curled on the bed with headphones on with a torrent within.
I cannot hide the desire that this music would perhaps be heard beyond from what it was made for at first. That it should be thought without the missing component which it was made to harmonize with, to be a support to. It’s a standalone. Or so I wish. It irrevocably connects to its past, to its sources. Many threads have been drawn from many spindles to knit it. Some were planned, some not. Some were conscious, some not. And then there’s also an atmosphere. A socio-sonic environment. It’s where the listener comes in with all her baggage. And joining happens – through very particular nodes: those who moved to it, those who pressed buttons so it became a recording, those who thought about it and searched for moves, those who organized the sounds, bodies, reflections, feed-backs, and experiences. And then, reaching the ears and auditory cortex the music reorganizes itself again. Thus, it has an irrevocable future, and more resonance.
Albatrosses: it’s how they looked like, how they moved. It’s how they were called, how they named themselves and carried that name proudly.
I’m grateful to: Maja, Urška, 4H of 2016/17 SVŠGL class, Igor, Tina, Matjaž, my Patreon patrons, Emanat, SVŠGL, Iljus Wifmo, The Internet, Little Simz, and Dmitri Shostakovich.
released July 31, 2017
written and produced by Luka Prinčič
piano and theme by Matjaž Predanič (1,2 and 7)
mastering by Igor Vuk
illustration by Emma Lazauski
design by Tina Ivezić
“To have the honour of digging through the Dutch audio archives was like a dream come true! I was very excited to delve in and explore the vast differences between those countries. It was also an important responsibility to approach the project with respect for the sources of recordings, as many were from the ex-Colonies of the Netherlands.” -Clap! Clap!
Unlocking Sounds revives Amsterdam’s Tropenmuseum audio collection which features thousands of original field recordings from around the globe dating back to the 1920s. This collection was started by Dutch conservationist J.C. Lamster and Jaap Kunst, who would eventually coin the term ‘ethnomusicology’.
To connect with the source material and explore the multitude of intricacies that accompany topics like ethnomusicology, anthropology and cultural appropriation, all the artists visited the Netherlands where they conferred with leading researchers from the University of Amsterdam, Utrecht University, Leiden University, and the Royal Netherlands Institute of Southeast Asian and Caribbean Studies.
Much like the sampled source material, each artist translates the world sounds through their individual styles. Clap! Clap! – DIG! DELVE! DAMN! (Dutch Archive Edition) strips down his bombastic, multilayered take on global rhythms, jazz, and footwork, letting the samples take center stage. Drawing on the archive’s recordings from Afghanistan, Suriname, Zambia, Bali, Libya, India, Uzbekistan & Morocco, accompanying and accentuating them with his singular voice.
“Absolutely uncategorizable combination of rock, casio-electronics, lo-fi, majestic pop, punk, post-punk, krautrock, full of colliding samples, guitars, keyboards, whiny effects, but also beautiful melodies and non-dumb lyrics. For lack of a better term called by me “psychedelic chaos-pop”. A work of constantly sleep-deprived madman, made with love and as carefully as the modest setup allowed, so as to depict, as closely as possible, the inside of his tired head.”
“Qualquer Arte Derivativa É Melhor Que Arte Nenhuma”
after her first attempt at an album-a-day in late 2016, Cairo Braga decided to revisit it and derive material from it, leading with an english version of the title track and following with a mashup and a bunch of instrumental mixes. what does it mean to derive art from crap art? let’s find out!
this release is part of Netlabel Day 2017, go to netlabelday.com to listen and download from more than 100 free digital music releases.
(…) An album, recorded quasi overnight, when check lists, fault-finder and top producer sleep. Thus escaping forward, handbrake released and handluggage only: A bunch of broke, a fistfull of wire brush chords, a cup of dreamy speckles, the bass unleashed during walking, the drums dashed downstairs with rumble, outside in front of the door after all everything spontaneously and happily exaled with a deep sigh. (…)
Twenty-three works of ambient doodling’s, short soundscapes, or possible soundtracks. The idea behind the project was to allow artists, film directors or animators to use them with their work. If I get mentioned in the project for providing the music. Allowing the works to work with or inspire other works. It would be great to build on this idea so groups of artists are working together on small projects all over the world, sharing ideas and concepts together.
If you haven’t already figured it out, Luck & Doc are the real deal when it comes to bringing you that classic boom bap original rap. You know, that stuff that makes others want to throw in the towel. What… you haven’t? Well get to downloading… you’ve got some listening to do. When you’re done… check out their other releases, too, it’s time for school.
Thanks again to BADLUCK & C-Doc for continuing to contribute to hip-hop’s great legacy via blocSonic! Keep on keeping on with the dope beats and rhymes.
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!
We are so happy to release another Lezet’s work on Etched Traumas.
Lezet is Igor Jovanovic and comes from Požega, Serbia. Lezet is an one-man experimental music project in 2005 and he has released more than 45 albums. “Someone’s comment about the sound of Lezet (Igor Jovanović) was ‘like Zorn without saxophone’…And indeed, Lezet’s work could remind the results of “the game theory”, which John Zorn exercised on his debut “Locus Solus”, for example…The fact that Lezet doesn’t use only live instruments will probably disconnect it from the avant garde free jazz scene, but I suppose the coming under some specific style wasn’t the intent in this case anyway. It’s about free experiments with sound captures in search for the surprises. And it can’t be pretentious as such…” (extract taken from the “Black Syrup” zine #2 (Serbia, 2007)).
Nueva referencia que nos llega desde Canada. “One Hundred Sights” es el nombre de este extraordinario EP a cargo del productor francés Geolm. 4 cortes de exquisita Electrónica donde los sintetizadores, ejemplarmente ejecutados, toman el mando para ofrecer un producto repleto de melodías espaciales. Cortes como “Outer Rim” y “Picking up signals” son un buen ejemplo de ello, pero es con “Cruise control battle” donde este EP alcanza su mayo esplendor. Sin más dilaciones te invitamos a que lo escuches y disfrutes tanto como nosotros.
Auf dieser Seite weisen verschiedene Netzlabels auf ihre neuen freien Veröffentlichungen hin. Bei Interesse kannst du dir die Musik auf den Seiten des jeweiligen Labels herunterladen. Die meisten Labels veröffentlichen ihre Musik unter einer creative commons Lizens.