A new album from the mysterious project called The darkening machine. As all previous releases, this album is more about creating a mood than calling attention of itself. The listener seems to plunge into a dark, viscous and claustrophobic endless night. The darkening machine uses layers of analog synthesizers drifting sometimes to dissonant tones and melts them with spare piano notes that evoke the last apparition of sunrays just before the sunset.
Artist : The Darkening Machine
Title : Progression In The Haze
Catalog # : TXR066
Duration : 36:18
Date of release : January 29, 2014
Genres : dark ambient, drone, noise
Format : digital (FLAC and MP3)
After the self-released “Perpetual Emotion” EP, Indican Sound drops his “A Fine Time To Be” LP with Dusted Wax Kingdom.
9 tranquil downtempo tracks built upon deep warm ambience, phat trip-hop grooves and psychedelic guitar riffs.
The first Dubkey release for 2014 is a crucial roots/steppers/dub album by UK producer Reuben Addis. A highly respected veteran of the British roots scene, Reuben gives us 10 glorious tracks, ranging from classic one drops to heavy digital steppers.
The main singers on the album are longtime Unitone collaborator Zebby Blax, the Junior Delgado-influenced Hatta Benji, and Reuben’s own daughter Dinah. Maltese melodica specialist David Magro (Mind’s Eye Dub) appears on the splendid 14-minute-long TROD MOUNT ZION CHANT extravaganza. Another Maltese connection on the album is Manwel Tabone’s old Reggae Club Radio Malta show which provides us with 2 exclusive Unitone dub plates from 2003.
Nuff intricate dubscapes spice things up throughout this spiritual offering, the experience enhanced by a mystical ETHIOPIAN DAWN photo by Niall Crotty on the cover.
01 – Quello che volevo sentire
02 – I king del burger king
03 – Post-punk post tutto
04 – Balice, il tuo furby ha problemi
05 – Quella roba che puzza di mangime per pesci
06 – Nessuno mi risponde a Milano a parte Teo
07 – Al binario
08 – Cipster, noccioline ed altro
gianpaolo fausto, marta blu, matteo donà, stefano balice, tommaso busatto: kazoo, bell, electronic, uneasiness guitar, mobile telephone, car, various percussion, chips and nuts
recorded live in turin and milan, 01-01-2014, 02-01-2014, 03-01-2014
Rete del disagio (the uneasiness network) is not a band, and has no stable line-up.
Rete del disagio was born when followers and supporters from different web communities as upupachan, vaporized art movement, deep lake records and mav [0kbps] records, start to physically meet to bring the noise from the net to the streets.
This audio is part of the collection: Onorezdi -Netlabel (sub of Verezani Records)
It also belongs to collection: Netlabels
Artist/Composer: I.Z. aka IDzeroNo
Keywords: Giovannie Hernandez; TheFeeDunk Star; TheDeepr; The Corner; I.Z. aka IDzeroNo; Ames Nick Solder; The Pee Punk BROTHA; D-Ram; Dj RuffShraker; Melvin Clark; The Informers; 95 & Sailaway; D – Ram; hip-hop; media; remix; hip_hop; flyingteam; nyc; classic
British sound artist, saxophonist and noise maker Mark Browne follows up his 2012 album “Malapert and Erratic” with this EP- featuring improvisations on percussion, bowed guitar,thigh bone and saxophone recorded on the evening of the 7th December 2013.
“The Prejudices Of History”
Or as I remain pleased with part 1, “Malapert and Erratic part 2″
Over the years I have become increasingly aware of what I do as a musician and the need to at least appear to conform to some ideal whether real or imaginary. This may be an attempt to answer the question: What epitaph will adorn my headstone?
It has been documented that I play the saxophone, and indeed this has been the case for around 30 years. The problem comes with the definition of saxophonist. For me picking up a saxophone, alto initially, was required in an effort to undo the learning that I had acquired over several years of classical guitar playing. The guitar still has the feeling of being someone else’s territory and I could not see myself developing in a manner that would create an approach and style that I could call my own. The uniqueness of a musician’s approach struck me as being important at that time, aged 16.
And so the saxophone was selected as my new instrument: its methods and approach being the antithesis of those of the guitar. Looking at some notes from this period it seems that I believed the ideal piece of music (naturally an improvisation) should aspire to infinite variation in dynamics, timbre and colouration, and rhythm. In later years the need for and development of form (rhythm in a wider sense) has become more important.
So the saxophone is not a guitar. Neither are many other instruments. Am I a saxophonist? Am I a percussionist? Probably neither, I am a collector of sound making devices â the saxophone, in a single instrument, fulfils a number of those early requirements. The other instruments are used to augment the repertoire, adding contrast to the saxophone and expanding the music’s soundscape.
As well as a collector, I am an arranger of sounds and occasional organiser of people. Nothing more.
The pieces were all recorded evening Saturday 7th December 2013”
-Mark Browne (from the sleevenotes available as a PDF with the download.
Linear Obsessional is delighted to present this new release from Chris Whitehead – A EP of sonic environments to encourage the cultivation of metal plants,with an accompanying detailed PDF guide…
This CD was released simultaneously with Mark Browne’s “The Prejudices of History” (LOR049) – with which it shares some concerns and sounds.
“Since the Industrial Revolution the soil in Britain has changed considerably in its formulation. Where once it almost exclusively consisted of organic matter, it is now likely to hold high levels of metallic elements such as iron, aluminium and copper. Areas where industrial processes took place in the past but have since been reclaimed by nature are particularly rich in this residual metal content.
Plants growing in these environments have, by means of Darwinian natural selection coupled with sheer determination to survive, managed to incorporate various metals into their very DNA. The resulting species display a variety of features only made possible at the point where biology and metallurgy combine.
The aim of this guide is to assist the amateur metallobotanist in identifying these enigmatic plants, and also to instil enthusiasm into those armchair readers who have never searched the disused foundries of Sheffield for a reclusive Cutleri silvaservicia or listened attentively on the hills of West Yorkshire for the soothing sound of a clump of Alpine Cog Daisies (Coggi interlockia) gently turning in the breeze.
The two sound recordings included here have been developed to aid the growth of these unusual plants. By placing a speaker at either side of the specimen (ideally they should be equidistant and each no closer than two feet away) the sound produced will acoustically recreate a very favourable growing environment. Once brought indoors and planted in any kind of container what these organisms miss most are sound vibrations of a metallic nature.
By regularly subjecting your plants to these carefully composed and scientifically tested sounds (about twice a week is the recommended frequency) you should begin to see them flourish and possibly even bear fruit. Of course not all varieties are suitable to collect. Some are protected by law and others are just too bad tempered, quite frankly”
-Chris Whitehead, from the introduction to the booklet “Flora Metallicum Britannica- a field guide to the metallic plants of the Britsh Isles” (included with this download)
For its 24th release, Da! Heard It Records indulges in a wild irony doped with the borne absurdity of the three Infecticide trolls. With “Chansons Tristes” (“Sad Songs”), the trio proposes a first album, impossible to classify according to any musical catalog.
As an anthology of a five-year infected epic, “Chansons Tristes” takes us through the whims of its cold rhythms, distended synths, hopping basses, and crude and dirty riffs—a rare and jarring mix carried by a remarkable attention, where voice, keyboard, drums, and electric guitar harmonize to create a peculiarly offsetting universe.
Fifteen pieces with neo-Dadaist lyrics will leave speechless all spirit unable to go beyond the first degree and enrapture personalities in a displacing way. With its soft references to Liaisons Dangereuses, Detroit Grand Pubahs, or Front 242, the production’s finesse will caress the pointiest ears all the whilst (festively) readjusting the pointiest hats—dark and festive humor thus serving serious matters.
In addition to excelling in the production of these aural jewels dotted with electro-punk-wave sonorities, the three Infecticide lads distinguish themselves even more with their scenic presence (and cosmic costumes), which will motivate the jaded and depressed nobody in the back of the room to come closer to the stage and exchange sweat and liberating cries. Cathartic.
“Chansons Tristes,” Da ! Heard It Records’ 24th release is distributed under Creative Commons license BY-NC-ND. The album may be downloaded at the following address: http://www.daheardit-records.net/en/discography/dhr-24
This music is minimalist and rough , but it makes your head swing to the beat, as much as it makes you feel the rhythm whistling in the pipes, gurgling in the tap, dripping like raindrops on the window sill, cats meowing and the fridge purring. All this turns into a rhythmic march of existence, the music of a musical box, or crammed tricky electronic circuits. As if robots were singing an ode to existence.
After a year in 2013 and four albums made for three different labels (Eg0cide Productions, Batenim, Textural Records), Morphine Bandit is back for his first release in 2014.
This release is quite short compared to previous ones but contains three tracks very different in terms of atmosphere and style that sweep the sonic possibilities of Morphine Bandit.
So what is this new album about ? Singing mystical sirens lost in a modern city, stretched notes mingling with the sound of distant bells punctuating the course of a forgotten meaning ceremony, unreal languages pronounced in a fall night, echoes of monolithic machineries coming from beyond the horizon…
Artist : Morphine Bandit
Title : Ruin and Oblivion
Catalog # : TXR065
Duration : 22:10
Date of release : January 22, 2014
Genres : dark ambient, drone, noise
Format : digital (FLAC and MP3)
01 – Fabio Crivellaro – dKrogg – mArCh Of ReCyCle
02 – Exclamation Point – [ ! ]
03 – Beira – VGA on GBA
04 – Max Scordamaglia – Unalog – 09
05 – undermindlimb & khaotic molly – grandfather paradox 1.56-12.52
06 – Toxic Chicken – featherhead unplugged
07 – Tommaso Busatto – gotEmoftoe
08 – stefano balice – quattro passi sulle lame
09 – sounddog65 – ‘galve,nîz
10 – Eugenio Furrno – flompodiskoteque
11 – Pioggia d’Ambra – Trauma del lobo temporale
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.
Midnight Radio compilation various artists, your place for underground music and sounds. enjoy and spread it worldwide. come with me.
[being part of one (or more) of next compilations various artists?
all styles are allowed. contact me.
(artist name, track name, website link [infos about you?] )
WAV, FLAC, MP3, etc.
send to (ask me email adress)
notice, some people think, this is a radio station and ask me to play her favorite song. this is not a radio station. this ist a free download compliation with various artists and her own, hand or software made music.
SOT45 presents a collection of previously unpublished recordings, gathered throughout the 10 years of the project’s existence.Starting off with 3 early found sound constructions, ritualistic in their abrasiveness, the album then progresses to a minimalist deconstruction of a choir loop, slowly reducing it to a set of drones. It is then followed by two tracks from a discarded Momolot remix album – two approaches to rock music deconstruction – one busy and whirring, the second one blurry and dreamy. “Wintery Russia” is an ambient piece made out of a mangled cassette tape with accordion melodies. The set is concluded by an experiment in chance operations on a set of found sound samples, consitituting a disconcerting bouncy collage adventure.
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