This self-produced EP is the first work by Go Ask Alice: eight instrumental tracks, composed between 2012 and 2013, recorded and mixed by Matteo Spinazzé, in collaboration with Curzio Ferri playing drums and Andrea Oggiano with his acoustic guitar.
Perfection is terrible is the first verse of Sylvia Plath’s poem “The Munich Mannequins”.
“Perfection” here is completeness, closure, inability to evolve and reborn, perfection is death.
Perfection is indeed terrible, can’t have a child, just as Plath’s Munich Mannequins, cold marble statues, beautiful and perfect, frozen with us in a never ending present, the immense futureless present of the “capitalist realism”: the end of history.
“Playing Standards Very Differently (Original Avant-Garde Solo Piano Improvisations)”
“Wings of an Angel continues to boldly explore new sonic territory and with this latest release, he does that with one instrument, the piano. He has taken some of the world’s most famous classical pieces, turned them inside out, added his own signature improvisatory style and created breath-taking works of spiraling psychedelia/Avant-Garde complexity which will lead you into dreams and visions you never thought possible.
His playing is expressive, emotive and yet he brings the classics into a new dimensional space with precision all the while, creating a playful atmosphere on an album you don’t want to miss.”
Contemporary classical music album by Russian projects Alex Mason and The Minor Emotion in collaboration. Music that can stop the heart. Music that evokes the most painful memories, the nostalgia of unimaginable power in that place, at that time, over that man. Music that will stir up something in the depths of the soul, in its very darkness, something that can not even be imagined.
Basic Elements is back on CerebralAudio with Drum and Bones. The first drum and bass style electronica release on CerebralAudio. It seems that Basic Elements is set on making as many firsts on CererbralAudio as he can, and we approve!
With this release he set out to produce an old school DnB release, harking back to the roots of Jungle music and the influences of producers like LTJ Bukem, Nightmares On Wax and The Prodigy. Breakbeats and Amen break inspired rhythms are the core of this release.
But it is much more. It is a listening experience: you will listen to from start to finish, and add to your playlist. There is not a weak track on this release. Bit this is the way Pim van Dorst works as Basic Elements, if he isn’t satisfied that his music can be listened to from start to finish, he won’t release it. He is a perfectionist, and it shows in his music.
This is a recommended headphone listening release for all lover of DnB and Jungle music styles!
“As every Tuesday night falls in the city of Viña del Mar; Moraga, Arellano and Castro meet to play and record what happens. Based on a spirit of camaraderie, they turn on their synthesizers, drum machines, effects and computers and once again begin their exercises in creating amusing and amiable improvisations. From these extensive sessions, recorded according to the dogma of the trio -directly to a stereo track-, they extract the passages that constitute each one of the six tracks that compose ‘Se dice Misterioso‘ (Its called mysterious).
Published by the indispensable Pueblo Nuevo, this is the third work of Mr. & Oso, an ensemble in electronic format that with its creative exercises transports us to the most inspiring grounds of Intelligent techno and the Ambient of the 90s, where electronica was – and here still is – a space of personal discovery, and at the same time a point of spiritual communion.
Either accompanying the beginning or end of the day; as much in solitude as among friends; wandering along the coast or without getting up from our chair, Se dice misterioso may be enjoyed equally, becoming an excellent soundtrack for a journey in which physical displacement is not necessary, since it is concentrated enough on the present to take us as far as we please.
With smiles of complicity and satisfaction, Mr. & Osos end the session tonight. It will not be until next week when they meet again and return to their instruments to exchange musings in a musical key.”
Juan Cristobal Saavedra
(Barcelona, España / Spain. Agosto / August, 2017)
getdizzzy is a composer, DJ and game designer living in Chicago. drawing from from ambient, hip-hop, techno, experimental sound collage and noise, getdizzzy’s music is rewardingly idiosyncratic, unfamiliar, colorful and accessible.
Today I’m happy to present to you, KIN/LUCK, another incredible project that finds BADLUCK partnering with a great new addition to blocSonic… Kin. Hailing from Burlington, Vermont, Kin delivers his own brand of lyrical dexterity. Together he and Luck deliver a stupendous new album, giving fans new and old that classic hip-hop… an embarassing backslap to the mainstream, no doubt.
“Antithesis” is BADLUCK’s 3rd project in as many months that finds him partnering with talents of such a high caliber and delivering hip-hop of such excellence, it’s simply mind-blowing. I hope it’s the first of many projects by KIN/LUCK.
Luck, you’re a hip-hop god in the making… you already know I’m a fan. Kin… incredible work… welcome to the blocSonic fam. I can’t wait to further introduce bloc’s listeners to your talent. Thanks also goes out to all producers and featured artists… you all shined immensely.
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!
Daniel Robert Lahey returns to CerebralAudio with a suite of four works on Epiphany Counterfeit.
This release starts with the serene, floating Given Time. This work is brooding at times, filled with internal tensions and conflict. It has the feeling of the internal struggle that we go through with our own mortality, that relationship with time that we cannot escape and yet we have a feeling of want or need to understand, a desire to bargain with it to understand our lives and our desires better.
Daniel has a penchant for offering pieces with titles that are puns, and Present Tents is no exception. At first it seems to be an odd title, is it a play on the military phrase “present arms”? or maybe it’s a reference to camping equipment. And, then there is the play on the phrase “present tense”, in which case it could be a reference to current tension, or a reference to grammar. Based on the context of the work, I would think that it is a play on the grammatical construction, but then again, maybe Daniel has a fondness for camping gear that he hasn’t told me about.
The third track is the main focus of this release. It’s a reminder that sometimes things we think, or things that we are lead to believe can be false. On one level it’s an interesting struggle that artists go through actually working to build knowledge, and to find a perspective on that knowledge to be able to communicate it in another form. It’s almost a disaster to realize that the knowledge that has been built is not accurate, it’s false, and potentially destroys the work(s) one has built around them.
The final piece of this release is a another playful title from Daniel, Quatre Morceaux, can be a reference to this release (which contains four pieces), or it could be a reference to the work itself being comprised of four pieces. Either way it’s a very fitting way to close out Epiphany Counterfeit.
This is what surrounds you and what you cannot escape from. Broken feelings and abandoned inner worlds. Dead hopes and forgotten desires. This is what you get when you are frank and open to the world. Despair, aggression and numbness mixed together here in three tracks.
Monofónicos presenta el regreso de Roedor con su nuevo álbum Simbiosis.
Tras su segundo trabajo “Onirismo” publicado en 2013, no había vuelto a salir de la madriguera el Roedor. Al parecer había estado combinando nuevos sonidos todo este tiempo, hoy condensados en un álbum que aunque mantiene ciertas reminiscencias a objetos encontrados y la grabación de campo, viaja en sintes y ritmos que abren nuevos panoramas en su sonido.
“Simbiosis es música hecha con todo lo que aparezca. Es encuentro, diálogo, intercambio, mezcla. De sonidos, de sueños, de vidas, de objetos; de máquinas, paisajes, noches, silencios, recuerdos, sonrisas; datos, formas, colores, amor.”
Beta is the second of a series of releases by Grid Resistor, the new project of Thomas Park (also known as Mystified or Mister Vapor). Grid Resistor focuses on using field recordings of machines, weaving post-industrial ambient sounds. Best consumed with headphones. Photo by Jimmy Gunawan.
Nikos Theologitis / Stamatis Theologitis / Giannis Theologitis / Antoni Robert
The notion of folk culture has definitely been transformed through the course of the centuries. More particularly, tradition and its authenticity and spontaneity in the context of orality seem somehow to have been mutilated and reconstructed, as soon as globalization and multiculturalism became one of the dominant discourses during the 21st century. Folk songs haven’t been an exclusion in this particular case, as revivalism and folklorism have emerged as a devastating force in the production of folk music. In “Amorgos Soundscape” by Antoni Robert, a paradox occurs: One could say that these folk songs are seen through the eyes of a foreign visitor and the recording could be seen as an exotic sound diary of a trip on a Greek Island. On the other hand, Antoni Robert’s recordings of the Theologitis’ family of musicians reveal an impressive approach on the concept of orality and its proud survival in the Greek folk culture.
Antoni Robert talks about Amorgos Soundscape:
“This is my fourth soundscape, but it is of a totally different nature with respect to the previous ones. Initially, I just wanted to proceed in a similar way that I did for the St Petersburg one, but once on the island, I realized that this idea was not adequate. St Petersbourg is a noisy place, while Amorgos it is not. Generally speaking, the island soundtrack is the wind and the sea. And at once the title “Wind on Water” came to my mind, but unfortunately, that title was already used by Fripp & Eno. But it was adequate indeed. I had the chance to listen to some goats also; the island is the hometown for a huge quantity of goats. So I was wondering about those simple things when it happened. It was dinner time, and we went to the small town of Tholaria looking for a taverna, and we found the Panorama Tavern. We started dining and at a given moment the musicians appeared and started to play great music from the islands. I recorded two complete sets, in two unforgettable nights. More than four hours of live performance. And I was said they do it every night. Once at home, while listening to that music I understood that it would have been inadequate to edit bits of it in order to build something more personal. The main feeling was a deep respect for the work of those musicians, and so the best thing to do was to choose two or three songs and use them as they were performed, in spite of the recording problems and the noise of the taverna clients. The only things I’ve added are the intro and the links between songs because wind and sea had to be there anyway. The results are a real soundscape of a dinner at Panorama Tavern, with the music played by three real artists. Stamatis Theologitis plays the violin and sings, Giannis Theologitis plays Laouto and sings, and the great Nikos Theologitis, 90 years old at the moment of the recording, and the owner of the tavern sings, claps hands, dances and explains jokes whenever he wants. I don’t know if I will reach that age. Probably not. But if I ever I’m 90 years old I want to be like Nikos. A happy man full of energy and passion. So this soundscape is a respectful tribute to The Theologitis Trio. It is their record. The rock band is The Cave Children, from Athens, included because our stay there coincided with a 4 days rock festival, and it was a part of the soundtrack too.”
released July 30, 2017
Recorded in July 2016
Processed in September 2016
Nikos Theologitis: voice and clapping hands
Stamatis Theologitis: violin and voice
Giannis Theologitis: laouto and voice
Antoni Robert: production, field recordings, and effects
Photography: Antoni Robert
‘Arquitectura espectral’ is the second work by sound artist MRTN CSTR (Martín Castro) from Córdoba, Argentina for netlabel ‘Modismo’. In this EP made up of three tracks we are able to appreciate and enjoy once again digital atmospheres which are characteristic in his musical duty: gliding melodies, delicate rhythms, fine atmospheres, counterpoints. Martín builds his songs from technology, he experiments with creation of waveworms, sound synthesis, complex structures created with specialized sequencers and instruments for the software Reaktor. However, the results are far from being robotics or dehumanized because the structures (the ‘buildings’ of this architecture) become cozy, puzzling at the same time and profound, inviting us to inhabit them. Moving musical ideas based on algorithm and mathematical formulae from theory to practice tends to be a challenge that is rarely well resolved, as elevating a structure from paper to physical reality, and by ‘well resolved’ I mean experimenting the beauty of a good listening at last, the pleasure of self-abandonment to contemplation beyond the techniques or technologies utilized for its construction, which it is fully accomplished in ‘Arquitectura espectral’. As a good sculptor, Castro reveals the shape of his compositions from the development of sound layers that are added, subtracted, that interact and move around space, generating tensions and distensions, creating sounds-cells and sonic-organisms pieces that evolve in their route. This is the difference between the robot and its perfect and synchronized movements, versus the organic bodies-muscles with their subtle differences and their impossibility of doing exactly the same, the same way, all the time, where one could be more efficient than the other, but never more interesting to contemplate or, in this case, to listen.
Mika Martini, electronic musician. Santiago, July 2017
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