Composed by Matteo Minetti, Valerio Cottarelli, Stefano Damiano, Alessandro Mattei, Fabio Pieri, Paolo Chiriatti, Andrea Mazzini, Andrea Baldasseroni
Arranged by I Neurologici and Alessandro Mattei
Produced by I Neurologici
Tay_ploops is a solo project of multidisciplinary Canadian artist (painter, performer, puppeteer, musician) Jessica Gabriel. She initially conceived Ta_rot as a concept album of sad experimental songs to be released on 30 november 2018, for the international remembrance day for lost species.
Unexpected events of the cycle of life and death intervened in the genesis of this project and delayed it several times- but the wheel continues to turn and we are glad to finally to share this touching sonic testimony created with fragile materials.ta_rot is sound collage born from death
…the moon…..the wheel of time…
gone again end again
love to shell
Some time a go, when I was digging in my graveyard to get rid of some bodies, I stumbled over some clay tablets with strange geometrical patterns on it. After much research I found out that they belong to the Sredni Stog Culture of the DDII settlements at the Dnieper valley and constitute the oldest musical notations known to archeology. Interestingly, they are a couple of centuries older than any known text so far.
I spent the last months deciphering the instructions to recreate the music of these pre-archaic indo-europeans using modern means of sound creation and processing. Of course we do not know what instruments they originally used to play these notations and which frequency correlates exactly to which note in the sheet – future research may shed some light on this topic; all I can do at this moment is to give you my subjective interpretation of these clay tablets.
For its 39th release, Da ! Heard It Records gives birth to a new alchemy.
As an emblematic figure of the French alternative scene of the 70s and 80s, Bernard Filipetti has been heating up his analog synthesizers’ circuits within the band Camizole along with Dominique Grimaud, and with his solo project Art & Technique. Raw, industrial, and without concession, Bernard’s recordings of that time resonate among those of a new generation of mavericks, whom he discovers with enthusiasm at the heart of the Parisian musical network of Rue des Gardes. He then surrounds himself with Mathieu Habig, the energetic drummer of Guili Guili Goulag and Spoliature, to fire up his machines during the Merguez Electroniques festival in June 2017. This memorable concert is the origin of the present cassette, born from the spontaneous invitation of the Da ! Heard It label and the arrival of Ravi Shardja, (GOL Couloir Gang) into this new formula.
For three days, after strategically placing mics and ventilators in an overheated cave in Porte de la Villette, the formation of varying geometry cans nearly 12 hours of material in July 2018. From these largely improvised sessions arise unpublished sonorous structures, marked by the canicular atmosphere of the place.
A true celebration of the alloy of complementary personalities, the saturated cloths gradually ignite the speakers to reveal the sustained play of Mathieu Habig. Synthetic volutes briefly appear and melt into these long compact shores, as if shaped directly in the material. In two of the four tracks on the album, Ravi Shardja’s bass brings in a krautock flow to add to these stretched out compositions, extended and forged compulsively in the heat of this underground studio. Reminiscent of the various sonorous strata machined at the forefront of this percussive assembly, the sleeve that accompanies this production was conceived with precision by Pia Mélissa Laroche. Inside, the magnetic tapes that capture the vivid energy of these sessions give a fair idea of their concerts and invite to a collective frenzy.
Thirty years after its debut, Art & Technique reinvents itself with tribal rhythms, obstinate bass lines wrapped in a dense, psychedelic, and perpetually boiling electronic.
Old, but not dead yet.
The ocean of Air is still our vast home.
Take a deep breath, soon.Happy New Yeahh, dear citizen of Earth, stellar inhabitants and lifeforms in alternate dimensions. Our new ambassador of peace, relaxation and serious joy, Sami Konzo, brings you three marvelous tunes directly from Skt. Petersburg to your ears. Please enjoy the tracks as much as we did & do.
This is an ep that has been sent to one of my old email-addresses in 2012 but unfortunately, it got, like so many other submissions, lost between all the spam. I just discovered the submission at the end of last December. After the 20kbps sweet compilation came out, I once more searched through all the spam and finally found this gem. It’s like a message from a parallel universe where the clone of me managed to deal with the spam.
Hello. I stumbled across your blog and now want to throw my plug at you. I just released A Flat Thing, my ninth album as The Hathaway Family Plot. If you’ve never heard of me before (and you probably haven’t), my music could be described as avant-garde noise/pop from Buffalo, New York. I like the term “garage art.” It’s mostly piano and electronics and distorted kazoo. Some singing and some straight-up yelling. Trying my best to come up with something that sounds new and different and interesting.
All my albums are Creative Commons BY-NC-SA. I don’t imagine becoming wildly successful, so I just want to be heard by some sympathetic ears. I hope you like it.
Thanks for listening,
The Hathaway Family Plot
Melinda & Maciek is a project started in February 2018 thanks to an accidental Instagram connection between 2 musicians. Melinda Ligeti is a composer/singer/multiinstrumentalist/arranger/producer from Serbia, living in Italy, while Maciek Cieslak is a drummer from Poland, living in France. It all started with Melinda’s old wish to write music based on a bare drum track. Maciek happened to have some ready, recorded drumparts that he sent to her, and she used them to build music upon it, using piano, synth and bass. It was an experimental approach to composition Melinda always wanted to try, and it finally happened. The result is 4 songs, mixing jazz, prog, fusion, chillout, contemporary… imagined as a mini album, giving the taste of what this project might become if developed further. 3 of them are instrumental, and one is also involving Maciek’s vocals that got caught on microphones while recording the drumpart, a selfironic song that makes fun of the hardship of singing and playing at the same time, in his native Polish language. Jazz Frit is a symbolic title for this album, for the fact that musicians involved are living in (Fr)ance and (It)aly, but also, and so much more, for the meaning of frit word, which by Oxford dictionary definition is the mixture of silica and fluxes which is fused at high temperature to make glass, plus – according to urban dictionary means intoxicating/exciting, as well as ligthly fried.
“erasing memories” was an idea developed for music to live and die on stage. Taking the past concept of music that dies on stage, Carlos Suero composed this unique piece of one hour, with various segments within, for this purpuse only. But, after reconsidering the idea of losing these tracks for ever; and having talks with friends, he decided to release it in order to making it avalable for everyone that couldn´t make to that night.
The night was the concert played the 17/11/2018 and organised by RATORMOUTE in Madrid.
The day after he set up the instruments again like the night before and performed the same concert this time in the studio.
The music included here is without cuts or extras added, its is exatcly as it was the night before; live.
Recorded at HomeStudios (Madrid).
Mastered by CSH at HomeStudios (Madrid).
This album is about beat impressionism, when the beat does not make the rhythm, but the mood instead. Breakcore and IDM inspired mess of beats and breaks and plastic.
When I was a child I used to gather all the wooden, metal and plastic boxes to make my “drum set”. I played my drums with spoons and sang aloud: “The cat has cometh!”. My passion for rhythmic music never faded, so, after growing up I still gathered all wooden, metal and plastic samples to make my virtual drum set.
I like when the beat is not merely a metronome, even my favourite rock bands have drummer leaders – “Magma” with Christian Vander and “高円寺百景” with Tatsuya Yoshida. I like when the beat is flow, when it creates melody, when it gives tempo not only by beating the drum faster or slower but by creating the feeling of speed or chill. I do not intend to create a total abstract avant-garde mess, which ceases to sound musical, instead, I want to create the impressionist-like approach, when complex structures give rise to clear and almost tangible impressions.
This “beat impressionism” might sound a bit harsh to an untrained ear, because that is how massive plastic sounds like. Just like metal music is basically harsh rock, so my plastic music is harsh IDM.
Most of the tracks were created 15 years ago. Maybe they were ahead of time? Or maybe they sound like your childhood? Because they definitely sound like my childhood.
KMPST brings the best of the Moscow underground electroacoustic free improv tablet electronica and marks the beginning of a new exciting era on top-40.org with back-to-the-roots hidden gems, original hits, and more entertaining explorations of the unknown.
KMPZ SESSIONS are designed as an acoustic labyrinth without exits but with many escape routes through paradoxical gaps in the aural continuum. Primordial, almost shamanic rhythms meet futuristic mech-a-droids in the vortex of high-freq noises and digital glitches, Amnesia Scanner versus self-mutated Autechre audio algorithms, dark soundscapes, and Muslimgauze’esque faux ethnic vibes.
The opening track KMPZ 015, a rudimentary clicks’n’çutz dark breakbeat anthem, sends us off on a rather epic hour-long journey through an abstract experimentalist interacoustic universe. From suspenseful, uncanny deep dub pulsations on KMPZ 001 to a slowly unfolding, swampy bass micro-ambient soundscape KMPZ 004, with a slightly attenuated KMPZ 008’s distant motive and granular proto-rhythmic vibrations and entrancing melodies of KMPZ 012, KMPST presents a compelling yet highly abstract musical story.
“P8 phase 3” presents another side of the work of our regular contributor Doedelzak. This time he used an hybrid methodology of improvisation, generative music and post-production manipulations. The 3 phases indicated in the title refer to the three main stages of the creative process used here :
phase 1 : improvisation on MIDI piano
phase 2 : extension on multiple virtual instruments, using aleatory distributions
phase 3 : superpositions, accelerations/decelerations, volumes
The result is multi-layered composition which is in the same time easy to the ear (thanks to its smooth sounds and melodic components) and very complex and ever changing. It could be enjoyed as background music but is also fascinating for a more focused listening which will let you discover many details and subtleties of the piece.
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