The 50th release by this experimental music producer from west Russia aka Steam flow, Nihilistic Delusion etc. Unlike most of his ambient and noise music albums, this one is performed in IDM key, sometimes dark and sometimes thoughtful and “liquidised” by encoding of 32 kbps. There are also 2 Suicide Commando remixes.
“Die! Avant-Garde” is the Third Official record by Radio for the Daydreamers. Aloof and completely detached from the ongoing triptych (Praying for the Be(a)st), this record is breathing space for our minds and concentrates on a different chaotic wile.
Including collaborations with and remixes from some brilliant artists, this record is dedicated to our fans for their continued support and love.
For those fond of meanings, looking for a story is sometimes as futile as looking for the origin of chaos. It is here and we are a part of it.
released 15 October 2012
We would like to thank M.Nomized, Seiswork, Sylphides, Teresa Tam, Cesar Naves and Axial Films for the collaborations.
01 – Wasted Faces (Seiswork Remix)
02 – Ennui
03 – Goodbye Voltaire
04 – Curl Up, Time To Die (Street Hop Remix)
05 – Phantastic Finity of Fortitude (Seiswork remix)
06 – Interzone (The Buried Barnacles of Burroughs Version)
07 – With Wings, You Will Learn To Fall (The Sylphides Deconstruction)
08 – Sky Is Dust. Thunder Crawls Like Rust.
09 – No One Ever Comes Here, But Me (Seiswork Remix)
10 – Neither Of Us Will Live On (The Burden Of Purpose Acoustic Version)
11 – Goodbye Voltaire (Without You, They Will Never Find Me)
12 – …And Neither Of Us Will Die
13 – Curl Up, Time To Die (Gentle Death Mix)
14 – Black River Time Bombs (Avenge the Usurper Remix)
15 – The Devil’s Laws
Jori Borla is a multi-instrumental musician and a Pizza lover from Salta (north of Argentina), a huge-state with a small number of people. When he was 16 creates the a punk-rock band “Sinvueltas” and, after many years, an ambient/rock duet called “Estrelicia”. Sounds Child was born during a transfer to Buenos Aires, one of the sleepless nights, the smell of the north came into his mind,nostalgy of childhood and fears too. Sounds Child was created to fill the space of the far-away home, to wake up the child and let him kick us right in the botton of our minds, it’ s a “retrospective” (read it like a old cosmic wise man would read that word).
■ bonus item
artwork (back) & wallpaper for iPhone 4 (lock & home screen…4type) & PDFBOOK…12p (If print out, can be used as a postcard)
all tracks & main artwork & visual by SHOMOMOSE
other design by ono(elementperspective)
the operator of an independent label “SILO”, and sound artist.
the fragment of the error sound caused intentionally is polished thoroughly.
it changes to an original sound which we have not experienced until now.
Per Aspera Ad Astra (in English : Through Hardships To The Stars) is the third album of Moebius containing 10 tracks, produced between 2011 and 2012. Ranges from deep basses with sluggish beats and dreamy melodies to hard basses with breakbeats and filtered leads, all seasoned with a distinct pinch of dub elements.
“A Goose is a Horse” finds Scottish improviser Ivor Kallin using field recordings as a basis for vocal improvisations. These range from an extended raga-like vocal workout to the surprisingly hypnotic strains of a concrete pumper, to a lilting tune on the Cal Mac Ferry, and a bizarre rant on the London Underground by his pseudonymous poetic creation Ambrosia Rasputin.
Release includes PDF booklet of notes and images.
Ivor Kallin – Vocal and Recordings. Harmonium on “Fleech, fleech, a contermashious fleech”.
Cover photograph by Rob Anderman.
Booklet design and Executive Production by Richard Sanderson.
the two-man orchestra presents – the story of the apocalypse in three acts at 120 beats per minute
an moku, noise mono mollist from zurich and bnibs, beat-harmonist from hamburg deliver their successor to “kids at play”: one20
a bleak, electronic musical fireworks display of 12:57 minutes length.
ladies and gentleman: your soundtrack for doomsday!
Rifts. Sound distortions create empty places. Stop. We wake up again. Natlek and his brand new work released by the indie net-label Sostanze Records chases us, leaving the time to reflect about a production characterized by spaces precisely outlined. Suddenly we find ourselves dancing, trying to get what we wanna listen to. And we already know it. The original mix is embellished by the hype remix of another artist, Digi G’Alessio, who is always more appreciated by the critics and will soon release other works. Natlek in his production mixs a conceptual work and the clubbin’ atmosphere, spinning into the headphones of the listener bass lines that recall the last productions by Crookers, but pushing at the same time an original idea of clubbing, in his own way. Yes we Natlek.
ARTIST: Rock Sucks
RELEASE TITLE: Suite 801 EP
CAT Nº: TRANZ047
RELEASE DATE: 22 October 2012
FORMAT: Mp3 / 320kbps/ 44.100 MHZ
SUB-GENRE: House, Nu-Disco, Deep House
TOTAL TIME: 45:23
SIZE: 117 MB
01. Suite 801 (Original Vocal Mix) (10:38)
02. Suite 801 (Funky Bacon Vocal By Andre Bacon) (11:11)
03. Suite 801 (Kidcult Remix) (7:22)
04. Suite 801 (Marcelo Tavares Deep Space Dub) (5:34)
05. Suite 801 (Original Dub Mix) (10:38)
“Apparatus for Controlling the Mechanism of Floating Vessels”
01 -apparatus of control(3:39)
02 -trapdoor to escape floods(3:24)
03 -biorhythm (a love letter for anonymous)(3:11)
04 -train whistle forget-me-nots(4:39)
05 -the drought (a blister)(2:35)
06 -repaying a debt(3:43)
07 -a good day for raising ships(3:11)
08 -home movies of the 90’s(2:42)
09 -disaster porn. the nihilist myth of collapse(3:39)
10 -the slow death of irony(5:25)
11 -come back to new orleans(4:18)
Explore the magic of experimental music directly in this amazing performance by Marino69. He expresses the underground-style as something alluring. On the other hand, this style is usually considered to be on the edge of mainstream. Come on, absorb it and stand out from the flock.
“When I started writing the music for The Unjazz, I was attempting to create a jam session between technically advanced jazz musicians that could only exist in the hyper-realistic realms of sequencers and digital audio synthesis. After the first song was finished, I realized that it was too clean. So, I went back into the track and carefully created small misalignments in timing and rhythm to add the human factor into the music. As a result, the parts jump, move, and slide around as if performed by professional musicians.”