“The Unearthly Demagogue And His Amber Of Sorrows”
When you remain alone for a long period of time, confined between four or more walls, but still confined nonetheless, an inner dialogue takes place inside you, thus the Unearthly Demagogue is born. Like in Fernando Pessoa’s psychobiography, many a personalities of varying stages of development, take over your psyche and engage in an everlasting psychoactive dialogue. As rich as this dialogue is and can be, you are nonetheless still locked between the prison walls of your own psychological limitations. This prison, in due time, becomes your safe haven; your very own Amber Of Sorrows, the very place you always escape to when the outside world threatens of annihilate your sense of self-identity.
This is however a Golden Cage. This world based upon interpersonal relationships, and for the most part, our spiritual/cultural development and progress take shape as a result of an interactive interaction with the world around us and its multitude of inhabitants, that is our fellow human beings. Consciousness is not an isolated solipsistic substance – it always expresses itself in a larger social framework and context. Therefore, as safe as your Amber of Sorrows might be, in order to keep moving and exploring new terrains, you must break free!
Slowly but surely, unleash the Unearthly Demagogue, with all the pain and longing it entails, to engage freely in the world, actively contribute and be contributed back, to love others platonically and romantically and be loved for who you are, a fragile multi-layered and vulnerable, all too vulnerable, human being.
Gaetano Fontanazza’s latest release, ‘Sounds on Canvas’ is the live soundtrack to an exhibition of paintings by his father, the late Edoardo Fontanazza. As people admired the remarkable works of art hanging on the walls of a gallery in Enna, Gaetano supplied a live soundtrack to the event which was then recorded for this release. This is music that, although conceived as support to an event, stands on its own feet and is fantastic even after the event. Enjoy!
unfoundsound kicks off the year 2015 with the second release from raymundo mendoza of el paso, texas — this time with a walloping 9-track album. on lost massage, you get a mixed bag of dancefloor killers and deep leftfield obscurities. your mind and body are whomped by an array of dirty, gritty techno ranging from dark to quirky — all fueled by wailing synthesizers and dusty rhythms. grab it, play it, and get dirty.
01 – Il risveglio del carrozziere (1)
02 – Il risveglio del carrozziere (2)
03 – Il risveglio del carrozziere (3)
04 – Salivo e respiravo affannosamente
05 – L’orchestra da sogno (1)
06 – L’orchestra da sogno (2)
01 – Ambuja (intro)
02 – Blatta Orientalis
03 – The Consistency of Inclusion (part1)
04 – Colias Croceus
05 – Kusumita
06 – Yuezhi
Artwork by Gianfranco Bonadies
LINER NOTES NOE’:
Immaginiamo per un momento un’orchestra timbricamente completa che suona senza direttive, senza partiture, senza determinazioni di alcun genere.
Così, giocando con la sensibilità dei singoli musicisti, nasce NOÈ (Nostra Orchestra Estemporanea).
È noto che l’improvvisazione si nutre delle incredibili connessioni etiche fra coloro che agiscono nell’esatto momento dell’agire.
L’ordinato riferimento estetico cui siamo abituati non conta; suonare nell’orchestra, o semplicemente ascoltarla, significa sospendere, almeno momentaneamente, ogni atteggiamento critico di carattere storico-letterario.
Forse pirati, altroché nipoti del diluvio, navigando in mari sconosciuti e terribili, in quel momento utile si riconosce l’entità di quel viaggio necessario a fissare l’essere, il divenire di questa musica in questa orchestra.
Le persone che ne fanno parte, lo sanno bene: NOÈ prosegue, semplicemente, la strada intrapresa da NED (Nostra Etichetta Discografica) verso l’indefinita ricerca dell’estemporaneità in musica e non soltanto.
Imagine for a moment a full orchestra timbre that rings with no guidelines, no scores, no determinations of any kind.
So, playing with the sensitivity of the individual musician, born ‘Our Extemporaneous Orchestra’.
And ‘well-known that this type of music is nourished by the incredible ethical connections between the musicians in the exact moment of noise.
The orderly aesthetic reference we used does not matter playing in this orchestra, or just listen, you stay, at least temporarily, any aesthetic judgment-mindedness and critical of any historical-literary.
Perhaps pirates, grandchildren of the flood, navigating in unknown seas and terrible, then useful to recognize the extent of the stops on the trip needed to produce this music in this orchestra.
People who are dedicated to do this, know this: NOE continues, simply, the road taken by NED to search indefinite extemporary music.
CORDE: Quinto Fabriziani, Mauro Tiberi, Marco Maurizi, Chris Blazen, Clangore
FIATI: Andrea Tosi, Claudio Nitti, Anna Guidi, Giuseppe Savino, Gaetano Corallo, Pico Sadun, Lorenzo Labagnara
VOCI: Benedetto Fanna, Antonio Saccoccio, Helena Velena, Patrizia Rotonda, Michele Tuozzolo
TASTIERE: Kapitan Mikonos, Luca Miti, Marco Olivieri, Benedetto Fanna, Giuseppe Cubelli
PERCUSSIONI: Simona Verrusio, Dario Nitti, Diego Mazzoni, Patrizio Pica, Marco Ariano, Roberto Dogustan
ELETTRONICHE: Stefano Balice, Tommaso Busatto, Lorenzo Lustri, Cristiano Luciani, Giancarlo Esposito, Alessandro Cerratti
FONICA: Paolo Sinigaglia
LINEAR NOTES OLEO:
Projeto que teve inicio em 23/ agosto/2014d.C
Idéia inicial do projeto era a intenção de usufruir da criatividade e improviso livre que visa em criar novos conceitos e sons(explorando o eletrônico e o orgânico).
Focando musica e artes, mesclando elementos à idéia surgiu.
Criou-se e desenvolveu-se em uma amplitude maior com mais cabeças pensantes, nova idéia de som e atitude.
O que ajudou em tudo isso foi esse tipo de “experimentalismo conceitual, musical” por isso esse projeto foi feito.
Algumas das faixas são de improviso no “flow” e de uma maneira bem despretensiosa, tão despretensiosa que ainda a espaço para novas “instrumentalizações” e participações… Pois o que conta é ultrapassar barreiras e criar novos ambientes e timbres.
Todo esse conceito, não seria possível sem o conceito:
“Faça você mesmo!”.
Pois tudo se gera disso o conceito de improvisação é principalmente a habilidade de, simultaneamente, produzir e interpretar, dentro ou não de parâmetros harmônicos ou rítmicos, melodias, ritmos ou vocalizações.
Project that started in 23 / August / 2014d.C
Initial idea of the project was intended to take advantage of free improvisation and creativity aimed at creating new concepts and sounds (exploring the electronic and organic).
Focusing on music and arts, blending elements to the idea arose.
It was created and developed on a larger scale with more talking heads, new idea of sound and attitude.
What helped in all this was that kind of “conceptual experimentalism, musical” so this project was done.
Some of the tracks are improvised on the “flow” and a very unassuming, unpretentious way so that even the space for new “instrumentalist” and shares… What matters is to overcome barriers and create new environments and sounds.
This whole concept would not be possible without the concept:
“Do it yourself”.
For everything that generates the concept of improvisation is mainly the ability to simultaneously produce and interpret within or without harmonic or rhythmic parameters, melodies, rhythms and vocalizations.
SAXOPHONE: Nando Souza
TRUMPET: Romulo Alexis
DRUMS: Jeferson Peres
BASS: Marco Antonio
NOISE EFFECTS AND KEYBOARD: Guina
(PARTICIPATION / GUEST) EFFECTS/AMBIENT NOISE: O.s125
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“Saudade” is a word difficult to define, which expresses a sense of melancholy, yearning or longing. A beautiful memory for what has been lived and painful because will not come back.
In this new work, [Miga51] “S A U D A D E”, from Burdeos in our netlabel, all these feelings pile up while listening the 8 tracks that give shape to this release. Electronic music as way of expression and created to generate emotions..
All I ever wanted is to create. It happened so that I chose music. This is where I feel like I belong.
I’m not a very cheerful person in real life and I’m very easy to annoy so my music is not fun at all.
I try to hold onto emotional experience people get in life.
My songs tell stories of exciting, sometimes strange or creepy phenomena that touched my feelings once.
This music is not for everyone. But if you like it, it means we got intouch.
“Alan Backdrop” is the project started by Alessio Meneghello, an italian artist born and raised in the north of Italy.
For a long time fascinated by electronic music and inspired by the nature, Alessio is concentrated in the realization of atmospheric musical journeys like producer as well as Dj.
“Not Subliminal” has just been released on the Control Valve netlabel. There is no direct link to the album, due to the way the netlabel is structured. You need to visit http://controlvalve.net and click the photo to get to the download page.
The netlabel’s succinct description of the work is “cassette experiments”. Pretty accurate.
I experimented a lot with cassette players & cassettes this Summer. Further releases will document the full extent of the results of these experiments. This particular set of recordings is primarily improvisations with multiple handheld tape recorders and players. I scavenged a bunch of these and a bunch of tapes from thrift stores this Summer. Much of the process involved recording some stuff onto one tape while playing back previously recorded stuff on the other tape players, and letting it all mix together out loud… recording everything onto the shitty little onboard microphones that these handheld tape recorders had. The sounds I recorded mingled together with environmental sounds and got grittier and more lo-fi as continually overdubbed. Some results were extremely distorted, others just muffled and gritty.
One exception to the method used on most of this album is “Gala Video ’94”. In that track, I took a found video cassette and cut strips out of the tape down to 1/8″ so that they could play on a standard cassette player. You can hear the video data as audio in this track, and on occasion the audio soundtrack cuts in. When I sliced the video tape I tried to do it in a curving way so that different areas of the 1/2″ wide video tape would be exposed to the 1/8″ player head as the tape advanced. This explains the changing nature of the track as it progresses.
So, a lot of what I released this year might be described as “pretty”, or “approachable”… this release can’t really be described that way, but I think it’s really interesting to listen to. I hope you will too.
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