Feast your ears! This eagerly-awaited EP is a musical summit in all respects: a meeting of minds returned from remote audio peaks with a knapsack of treasure.
The Canteens fuse their digital experiments with the wiles of ancient folklore, creating a palette that is all their own. Each track is a bittersweet quest, moving from melodic flute ditties to sonic fuzz barrage, from lo-fi tinkering to laser-synth pyrotechnics. These warm-hearted tunes are guided by a firm hand on the tiller, with a daydream nod to the darker shores…
So, lay back and relax on this trans-Europa express and immerse your lobes in a mildly-threatening aural treat!
From Jhansi, India, this fresh and gorgeous chillout-ambient-downtempo release is incredibly enjoyable and almost palpable. It brings to mind a perfect combination of the worlds of Ulrich Schnauss and The Album Leaf.
Monoliths, the fourth full-length Thuuooom release (released on the same day as Aste EP), was conceived during the Kaiut sessions in 2014. With these four tracks, Tuomo experimented with even longer form than on the Kaiut tracks. As result, each of these tracks – dubbed ‘monoliths’ by Tuomo – clocks between 22 and 28 minutes.
Instruments used on this record: acoustic guitar, human voice, music box, piano.
Aste EP, released on the same day as Monoliths full-length, includes three tracks that were conceived during the Kaiut sessions but did not fit on the said album. As their sounds complement each other, they are presented here as a separate, shorter release.
Instruments used on this record: acoustic guitar, Elka Consolette organ.
Stato Elettrico presents Linguaggio Macchina v.1.3 by Linguaggio Macchina. If you like Alva Noto and Raster Noton’ sound here you can find some really good satisfaction for your ears. All songs are composed with databent/sonified data files.
Dragon has its place, where the music becomes material and breathes playing. The new work of Phobos 3 is a journey from old coordinates to regain what we have lost. La Casa Del Drago is the second work of a triptych that will unfold as the culmination of a great power. A very delicate music and totally out of our dimension.
At the top as at the bottom, in a timber as in one quantum.
La casa del Drago è dove il potere ha la sua dimora, dove la musica diventa materia e respira suonando. Il nuovo lavoro dei Phobos 3 è un viaggio secondo antiche coordinate per ritrovare ciò che abbiamo perso. La Casa Del Drago è il secondo lavoro di un trittico che avrà come culmine il dispiegarsi di una grande energia. Una musica delicatissima e totalmente fuori dalla nostra dimensione.
In alto come in basso, in un legno come in un quanto.
Home is where the power of the Dragon has its place, where the music becomes material and breathes playing. The new work of Phobos 3 is a journey from old coordinates to regain what we have lost. La Casa Del Drago is the second work of a triptych that will unfold as the culmination of a great power. A very delicate music and totally out of our dimension.
italy’s matteo gomez returns to unfoundsound, yet again. and again. and again. this time around, he delivers a beautiful 13-track album entitled ecce — ranging from dubby minimal techno to leftfield ambient to deep tech to acid to….whatever. you work it out. but work it out with an open heart, and an open mind.
Today The Impossebulls return with their first album of all new material since 2014’s impressive “Everything Has Changed; Nothing Is Different”! The new album, “The Devils You Know” is another dope selection of joints that simultaneously take you back to that classic boom bap sound, while also remaining fresh and new.
As with the previous album, The Bulls enlist a little help from good friends and legends… the most notable of which is one of the founding members of the great Stetsasonic and one of the most distinctive voices in hip-hop… Daddy-O! Of course that’s not all… the great Kyle Jason lends his voice to the album… as does the talented Anime Oscen. Last, but surely not least… our own The Honorable Sleaze drops a verse!
This dope new album isn’t all, though… in the coming five months, The Bulls are dropping the 5×5 series of EPs. One each month featuring more new music! Also, very soon, fans will be able to purchase “Devil’s Work”… a limited edition box set containing the album and all five EPs, so fans don’t have to wait to get all that fresh music into their ears! We’ll let you know when that becomes available. For now… we hope you enjoy the new album.
A very sincere thank you to The Impossebulls and all collaborators for delivering yet another underground / independent / netlabel hip-hop classic. Sleepers will sleep… those who are woke will hear it. blocSonic’s going to continue to wake ’em. Word.
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!
Democratization potential of online distribution of music has disrupted the landscape of music industry. While life is moving into information networks and capital and desire for profit are creating unregulated attention economies, an artist is able to create her own production, distribution and communication channels. By using Creative Commons licenses she ensures that the listeners and users are not criminalized for sharing. “Some rights reserved” also supports the idea that without free culture we are doomed to corporatization and control of all culture and art. The commons might cease to exist. Perhaps the role of the netlabel in the neo-liberal late-capitalist landscape is to help with curation, filtering, distribution, promotion and communication of unfettered and uncompromising artistic sonic output and making sure it is properly archived for future generations. A netlabel, an entity that is objectively external, allows the author to be critical about her work, while making sure that her work is published, shared, heard and archived.
With all that in mind Kamizdat is joining the celebration of low-barier D.I.Y. music publishing revolution, the annual celebration day called The Netlabel Day on 14. July.
The title of this collection of Slovenian artists refers to an idea that the debate around free, libre and open access enabled almost costlessly by the Internet is framed by the understanding of the concept of property. This seems almost an historical point, a disruption that has marked almost two decades since the appearance of the MP3, but we believe it is still one of main roots of the many problems regarding online culture and art today.
“Drei- und Vierstimmige Interventionen & Polymorphe Vivisektion”
Over a couple of months, Svann Langguth soldered numerous electronic tone and noise generators and finally packed them in lunch boxes (Tupperware, anyone?). Therein, boards with the following chips are used:
The recordings are experiments with DIY tone and noise generators, with Svann working systematically, exploring the unique features of the specific circuits of his lunchboxes on a track-by-track basis.
Track titles should be understood according to this classification, and consequently also the separation into part A and B. A number of rhythmical and enriched Bass’n’Noise tracks are mixed in between pure complementary metal–oxide–semiconductor tracks.
The release is conceived as a classic double album, with two covers, two titles and two chronologies regarding the tracks on the respective album. Please consider these chronologies.
The title could suggest that this is a debut, [“Jan the first the elder”], but it is far from the truth – this album is JS’s 60th (sixtieth!) release overall and 8th under his own name. But at the same time, after years of refining, meandering and looking for his “own sound”, the sworn-lofi experimental casio rocker claims to finally have achieved the middle ground between all his influences and interests on this one. And although jumping between many styles, it is in fact his most balanced yet – synth-pop, post-punk, shoegaze, chillwave, experimental tendencies leave enough space to breathe for pop sensibilities and epic synths – and as usual DIY spirit ensures that nothing is ever too calculated and lifeless – things constantly move, snap to place, click and keep the sounds flowing organically. And all Jan Strach trademarks are still here, distorted synths, some heavy guitars, some lovely delayed noodlings, romantic strings, odd time signatures, noisy outbursts, curious samples, and plenty of plain weirdness.
Proudly released on July 14th as part of the global Netlabel Day 2016, on the best Polish place for the homemade DIY lofi weirdness, Underpolen Netlabel.
Formato: Lp digital
País / Ciudad: España / Madrid
Fecha Publicación: Julio 2016
Estilo: Downtempo, techno, acid
Portada: Inês Barroso
1. Succesfull Failer
2. Falling Up Stairs
3. The Kult
7. Drone People
8. Forevers Aloners
9. Loop Trip
Nacido en Madrid (España), Alberto Vázquez, conocido artísticamente bajo el alias de Chuzausen, vive y crece en Vigo desde los 3 años de edad. Lleva realizando desde hace más de 12 años música en trackers (Impulse Tracker, Scream Tracker…). Ha sido integrante del Netlabel Alemán “Rump Funk Records” y del Portugués “Enough Records”. También ha colaborado en directo con el sello Vigues “Parafuso”. También como músico y técnico de sonido en distintos proyectos audiovisuales.
“I have always approached electroacoustic music as an art of sonic re-contextualization. And it was as such that this genre was born. Objects, de-contextualized from their origin, reunite and in the aspect of their diversity they create new aural worlds, known also as musical works. While contributing to a new sonic discourse, objects become more complex, interrelating and forming a whole that is greater than the simple sum of its parts. The way in which this is realized is what some call the ‘musical language’ of the composer, although personally I prefer to think that such ‘discourse’ does not necessarily constitute language per se, but rather another kind of structural conception that is of itself and that responds to its own nature.
‘Arak Saya‘ shows a possible evolution of said discourse in the music that I wrote during the last decade. However, it is presented here in reverse order, as involution or, better still, as de-evolution. This way of seeing time ‘backwards’, where the past is ahead and the future behind, is characteristic of the Aymara cosmovision, from which the title of this album also arises. ‘Arak Saya’ means something like ‘the place above’, which denominates the geo-socio-political organization of the Aymara people as opposed to ‘Manka Saya’ (place or part from below). This is, moreover, the title of the only mixed work present here (for tarka and electroacoustic means).
Despite an eventual discursive evolution, works distant in time like ‘Epitunga’ (2006) and ‘Arak Saya’ (2013) itself demonstrate common influences like, in this case, the Andean Highlands, or ‘Desembocaduras’ (2008) and ‘Glosa de Clímax Púrpura’ (2012), that use sounds of Mapuche instruments, symbolizing the resistance of this people against colonizers and etnocides.
Thus, changes in time have been in the aesthetic and technical domains rather than in symbolic aspects. Still with exceptions, I believe this production –which goes from the end of 2015 to the beginning of 2016– could be divided between a before and an after in relation to my contact with the theories of Pierre Schaeffer regarding the sound object and typo-morphology, a phase that began with ‘Desembocaduras’ (2008). At the same time, another evolutionary level could be observed in the field of textural complexity and density: at the beginning I was working normally –by sheer precariousness– with minimum sound materials, trying to extract something interesting by means of their ‘Explotación’ (‘Exploitation’) (EP released in 2008 by Menthe de Chat and TimeTheory netlabels). Over time, the density and variety of materials was increased, reaching an apex in ‘Convolved Dream’ (2016, a work which I composed especially to finish this album), whose poly-spaces and multi-layers arise from a discourse overcharged with disparate information. What could be argued as a constant in the compositional aspect is that the works should always represent a challenge for me. This is say, all were conceived as experimental ‘studies’ in which I had to solve issues that were specific to each.
I leave you, then, with this personal journey… I hope never to find the definitive path, so I am able to continue in the search for new possible sonic worlds.”
(Río de Janeiro, Brasil. Julio / July 2016)
CerebralAudio is proud to present it’s first ever Netlabel Day Release: Into The Rift: Volume One!
Several months ago we put out a call to the netlabel community for submissions for a new compilation. And, we were stunned by the number of people and group that chose to support this effort. Initially, we hoped to create a solid, single-disc length release (about an hour in length). However, this release grew and grew until it became a three disc (3.5 hours) length release. By then end of the submissions thirty artists form around the world submitted works for Into The Rift: Volume One, and have made it into a diverse and eclectic listening experience.
«Все три трека этого релиза были написаны в 2013 году под влиянием Experimental и Glitch-направлений, а также сборника Clicks & Cuts (Mille Plateaux rec.), который в своё время оказал на меня колоссальное впечатление.» — Eva Schlegel
Special for Netlabel Day 2016
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