“The longing for (inner) silence leads the/our being(s) to take the(ir) sound to the outside, exposing it/them as a natural/peculiar/idiosyncratic happening.
This sound is also influenced by collective unconscious – i. e. a global < > local society.
What are we to find in this transcendental process?: all/nothing, a receiver/Pandora’s box, feeding back this inner space which happens to be mute(d).
What are we to do if Monserrat Bustamante Laferte came out of the blue? Our amazement would allow this silence to expand in space-time, procrastinating an explanation.
All these processes/experiences/longings turn this album into a snapshot, a here-and-now portrait, a possible chart for adventurers, uncertain for our recent past, stamping our existence until the end of silence.
For this is no comfort zone approach: neither pop nor tape music nor free improv, but all of them instead, a García Canclini-like hybrid, pointing out an emerging possibility for our countries.
Who are these people?
This makes it even more interesting: deeply rooted in crossover practices, GMSs play cumbia on Monday, jazz on Tuesday, and experimentalia on Wednesday.
Martín/Benavides (M/B), one of the most outstanding musicians nowadays, accompanying Chilean acts such as Francisca Valenzuela, Chancho en Piedra, Los Tres, and many others. He is also a great performer in an extremely complex and mesmerizing instrument, such as the theremin.
Gerardo/Figueroa (G/F), composer and musicologist, participant in several Chilean underground scenes and venues from early on: radio shows, such as Musiclaje, and Pueblo Nuevo en Conexión Social; producer of singer-songwriter Camila Moreno’s early recordings. A sui géneris ol’ skool, chatting freewheelingly and unhamperedly with newer generations.
Seiten/Wall (S/W), young composer prone to challenging audiences with unconventional ideas and practices. representing the twilight zone where all sounds and formats meet. At present, he is also a board member of Comunidad Electroacústica de Chile (CECH).”
Gilman Mom has compiled their three albums into a single release, A Trilogy of Perspective. Meant to showcase growth, the collection exemplifies perseverance and fortitude. You can also purchase Gilman Mom’s masterpiece in box set form at a pay-what-you-want pricing scale. Half of all proceeds go to the charity of your choosing.
in a bathing suit | on an island far away | i see hot air balloons | and they’re headed our way | yeah i know it’s you | you’re sending all the balloons | i’d like to know why i see battle balloons | i need to know why you’re sending in your battle balloons to me
This 3 track EP from Osiris4 is nothing short of mountain-moving. It contains cutting-edge sound design, unrelenting atmospheres and rich, organic textures that will have your eyes closed, drawing you in deeper and deeper. Between the tracks you’ll find lush, dreamy pads, massive synths and melancholic melodic progressions cohesively interwoven amongst driving rhythm sections and haunting vocals. These black diamonds contain powerful originality and will leave you feeling transcendentally fulfilled.
Roots Masashi is a Roots Rock / New Roots composer from Osaka, Japan. He drew his inspiration from friends in high school and fell in love with conscious reggae music. He was fascinated by Osaka’s dub scene, especially after meeting the “Dub I Roots crew” and “Rebel Culture” in 2012 and soon after, he started building “Roots Far I”, his OWN Sound System and Digital Live project, based in Kishiwada of South Osaka. His devotion to Roots Rock Reggae, New Roots and Dub guided him all around Japan, touring with the soundsystem and urging him to reach new musical heights
His first release on Dubophonic Records is a musical and holy salutation to the Auspicious one, an adoration to the Most High. Based on one of the most important Mantras in the Shaivism tradition, Namah Shivaya is associated with qualities of prayer, divine-love, grace, truth, and blissfulness. It calms the mind and brings spiritual insight and knowledge. Traditionally, it is accepted to be a powerful healing mantra beneficial for all physical and mental ailments. “Na” sound represents the earth, “Mah” sound represents the water, “Shi” sound represents the fire, “Va” sound represents the air and “Ya” sound represents thesky. Its total meaning is that “universal consciousness is one”. The recitation of these syllables is sound therapy for the body and nectar for the inner self and the soul.
Jose María Pastor – drums; David Ramos – speak and spell, Casio SK-1 (circuit bent), Piano Roland EXR -3, Microkorg, Korg Poly 800, Drone Thing and TW3, TW5 and Noise Machine (selfmade); J.G. Entonado (a.k.a. Arín Dodó) – voice, piano, electric guitar, harmonica, Ventris Dual Reverb
“Principe d’incertitude des espaces imperceptibles”
Composed of modulated quantum capsules, this album analyzes the principle of uncertainty, or, more correctly, the principle of indeterminacy of Heisenberg, under the meta-sonic influence of Berthelot’s theorem on the curvature of imperceptible spaces.
In quantum mechanics, the precise value of a particle’s physical parameters, such as its position or velocity, is not determined until it is measured. A quantum object could therefore be “in several places at the same time” (this is what my neighbor Schrödinger says about his cat, but I think he is using too much wine from the Loire Valley).
But this paradox is only apparent because classical scalar magnitudes are insufficient to describe quantum reality.
We then use the sound wave functions of Berthelot’s theorem, modular vectors that demonstrate that the uncertainty principle invariably leads to imperceptible spaces of infinite dimensions.
If the principle of indeterminacy of Heisenberg is a quantum reality, Berthelot’s theorem is not one.
Only the meta-sound analysis of this album remains, consisting mainly of analogically tangible and numerically virtual electronic structures.
Listening with good quality non-quantum headphones is recommended.
Selected cuts of the 303 jams in the dub style direction.
It’s like when we are far away “flying” in experiments, into rhythmic noise, in the process of jam, but there is a daredevil who declares: “Let’s play dub!”.It’s like something about dub and techno, somwhere close to noise with broken rhythm. It’s like something with bass and chords and melody, it is mostly rhythmic, stumbles somewhere, sticks somewhere, it is electronic and connected to the “network” …
Attention! illocanblo (11,12,13) and Potential DifferenSe (14) participated in several jams. Thank you.
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