Released: 26th May 2013
Licence: CC BY-NC-SA 3.0
SAMIZDAT is a floppy series dedicated to low bit-rate music and other low-tech wonders.
Each participant is free to release and give out SAMIZDAT’s copies as he wants, using recycled diskettes, giving them to friends or hiding them among the shelves of a shopping center – or more.
A SAMIZDAT floppy disk is a noisy act of love against the music busssinessss.
LET’S VAPORIZE!
Tracklisting:
01. TVinki & Echo 15 – Inception (5:56)
02. TVinki & Echo 15 – Horror (5:36)
03. TVinki & Echo 15 – Under Universe (4:58)
Kai Nobuko
One [0kbps033]
01 – One
02 – One Two
03 – One Two Three
04 – One (Covolux Remix)
05 – One Two (Covolux Remix)
06 – One Two Three (Covolux Remix)
07 – One (Do It Yourself Sample Pack)
All music made with only one unmanipulated sample.
This sample is included for pure Do It Yourself pleasure.
MAV [0kbps] Records, May 2013
Echonaif is a southern italian instrumental rock band: bass, guitar and drums. On 2011 their first EP called “primo” with five songs , features sounds close to the psychedelic rock of the ’70s. The second work now released on Nostress Netlabel is a newest EP called “la logica delle falene”. Five new and more aggressive tracks with a complex and sometimes noisy structures, frequently change of dynamics woven with guitar riffs, all originated from the immediacy of instinct creative jam that turn into songs. The recordings have an approach almost live-concert with few overdubs and post production.
Echonaif è una post rock band dal sud Italia. Un trio (basso, chitarra, batteria) di rock strumentale con all’attivo un EP di cinque pezzi dal titolo “primo” (2011) caratterizzato da sonorità vicine al rock psichedelico degli anni ’70. Questo nuovo secondo lavoro, un EP dal titolo “la logica delle falene”, esce per Nostress Netlabel. Le composizioni del nuovo lavoro hanno un sound più aggressivo, a tratti rumoristico, dove strutture complesse e cambi di tempo si intrecciano a riff effettati di chitarra, il tutto scaturito dall’immediatezza dell’istinto creativo di jam che si trasformano in brani. Le registrazioni hanno un approccio quasi live con poche sovraincisioni e post produzione ridotta all’essenziale.
[fr]
“Du son bien explosé, rapide, dense et brutal en provenance du 45 HxC Krew basé à Orléans. Les deux trasheurs hiphopeurs MC Massacre et MC Checy qu’Orlando a eu la bonne idée d’inviter apportent une touche d’humanité déglinguée au milieu des rafales de kicks, des amens dépecés, des glitches épileptiques et autres bordels hardcore sonores. Orlando Gabber HxC new style in your face, on vous aura prévenu !”
Otto Psy [NKS International]
Zombie Media is a 4 titles EP that speaks of Google, LOL cats and of up-up-down-down-left-right-left-right-BA. Compositions on LSDJ (the famous Game Boy tracker), nuts breakcore that are actually melodies worthy to the best video games of the early 90’s (japanese trend). Jakenpopp gives us an EP super dancefloor and exclusively of great hits.
This guy remains true to himself and these four titles are the perfect example of a pop culture that shows us that in the year 2013 the geeks are cool, that can be really fun, handsome and that you can also make your performance in bathing suit.
Mixed and mastered by Jean-Christophe Andréoni at Micro Studio. Cover by Jankenpopp.
Horror Pleni is experimental techno in contemporary form of minimalism, between Actress and Four Tet, but it crumbles in the subsoil or better in underworld red as blood. The album carries the listener in psychedelic fogs and isolate atmospheres, while the incessant advance of 4/4 gets more granitic. The moving through the nine tracks is made by stable and inescapable steps, between clear and obsessive visions of the past and noising dreams for men from the future. Mind is free to fly, while body slides through seediest part of hell. The album begins with a palpitation “Wasted Summer”: something got wrong and rhythm chases changeable and enraged, with heavy pace. “Dreaming Baby Balcony” is light and shadow, between acid rays of sun and rasping wind, under an orange sky. “Live Twice” converts in sound two beings in opposition: sweetly gloomy melody and frenetic rhythm fuse in balanced contradiction. “Inside a Candy” is a scary trip who first digests you and lately spits you in a highly toxic mixture. In the very middle of the album, “Leave the Land” is a fugitive heart from its missing beat, in the Space. With the unique vocal of the album, “Rana Delay” it’s a pause from obsessive atmospheres, replaced with gothic taste for a while. “Horror Pleni” condenses all suggestions in stratified and chasing emotions. “Sidi Bouzid to Cairo” (Checkpoint 303 reworked) doesn’t take prisoners, shooting on sight in 4/4. “Krome” says goodbye to the first artistic album from Idga, getting to subsoil by procession of killer percussions. Mind is already free, just remains sinking body. [Maracuja&Plasman]
This is a very important release for us, since it marks an important step into the most modern music releasing approach. You can use this music whatever you like as far as it is for a private use/context. Please, feel free to copy-paste-send this release to your best friend or dj and to play it during your own private parties –>enjoy it !!
At the same time these works are regularly registered to the Danish Collecting Rights Society “Koda”, which will collect royalties in the behalf of the artist/composer: IDGA, and the publisher: 51beats, when this music will be employed in any commercial context.
We believe this is close to the ideal approach toward the most intelligent way of publishing music and arts, today.
MUD, is basically a systemic study of an instrument and its resonance capabilities. Also is the culmination of the mixture between sound processing and live improvisation with a very limited palette of sounds and effects.
As usual in Saavedra’s work one can grasp the enormous amount of time invested on developing, to get the finest results, in terms of sound. Earlier in spring, Saavedra stated (while talking about this album) that his idea was to squeeze all the capabilities of this instrument until depletion. So he did, and this is the modus operandi of Saavedra, to be able to extract the most of it of his instruments and deliver a closed-up project, without cracks, a full album, enclosed and finished.
