M.A.K.T. Sono ‘s new release TTTango is an improvisation recorded in november 2018 by Magali Albespy & Kecap Tuyul with the same kind of lo-fi set-up as the one used on album “11 Songs”
Magali Albespy : amplifiers, microphones, synthesizer, voice.
Kecap Tuyul : amplifiers, microphones, synthesizer, mix.
This is what Francesco Lenzi does in his latest release, in the truest psychedelic spirit: Playing his guitars, he offers us a remarkable palette of psychedelic sonic landscapes with no traces of a song format
This first Orgonon Sound Machine’s release on Sucumusic, out for the Netlabel Day 2019, aims to be what the title suggests: a dangerous overload of radiations.
That’s what you’ll be exposed to.
The creative mind of Salvatore, behind the project, lets us exlopre what pure instinct and composition flow means in electronic music. So you can’t say if you’re listening to IDM, breakbeats, industrial or some kind of weird dance music, coloured sometime by ninety-ish rhythmic and synths shades.
“On her back over distances rode not even a bird.”
(Liliana Herrero, Confesiones del viento)“When we look in our environment for the elements that can condition or enhance our character, the ways of bonding, the ways of our expression, we usually fix our eyes, our feelings and think about the earth that we tread, that we inhabit and that inhabits us. Its geographical features, its colors and textures. The species that thrive in the conditions that it positions before us. More difficult is to account for how the air defines us. Being an invisible matter and much less tangible than a piece of rock, to think of ourselves surrounded by that elastic medium and to meditate the consequences of that immersion is less probable. How is it that the air that surrounds Inti every day from the place on the planet where she decided (or not) to situate herself, to dwell and create, conditions and enhances her art? ‘Gran Madre’ (pn143) invites me to that exercise.
In the habitable dimension presented by the three tracks that are part of this release, I can immerse myself in that perception and reflect on the air in a vast spectrum. Thus a breeze appears in the form of her voice, to which she decides to tie the rest of the materials that she sonically molds. Sometimes she brings words, at others only tonalities that tighten and loosen the link with the electronic textures but that never try to impose their meaning and their ‘humanity’. From breeze to wind there are degrees of atmospheric pressure where the air is agitated and charged, in this case, dust and static. At various moments along the path that ‘Rea’ or ‘Mina’ lay out, it is this abrasiveness of the particles in suspension that defines the atmosphere, stripped of all dew, open to the sparks and micro-lightning so common when the air has 0% humidity. Mediating its duration, ‘Mina’ displays the sound of rain. But there is no indication of freshness or relief in its appearance, instead it makes the electricity even more palpable (and the added risk of walking through that sound space with feet bare and wet). What threats do those bursts of electronic static that shake the environment carry?
Every so often, as in that pulsating drum at the end of ‘Rea’, I think I’m listening to the radioactivity measurement of a Geiger counter. It is not clean air or purity that seems to matter to Inti and contamination can be felt here as a concept distilled from its negative connotations. Here we breathe strange and invisible agents that will inevitably modify our genetic constitution. Interestingly, I do not perceive an imposition in this action. This possibility is attractive, like a storm in the desert that advances towards us as we wish it to engulf us. Sand that hugs.
Already fused in these volatile molecules, ‘Ciprés (Cypress)’ arrives and the air becomes a whirlpool. We recover our body and integrity to be transported to a time that is not today or here, inhabited by ghosts. An old lament, a couplet, an epic of distance that reminds me of the pain of being separated from that which surrounds me.
So the air and its molecules that compress and expand to shake our eardrums. So the wind, now carrying seeds, now turning poplars. So is the atmosphere of this disc and this geographical and poetic site where Inti is planted to capture the ether and materialize its language.
In this edition, which is undoubtedly an artistic action in itself, for the beloved and respected Pueblo Nuevo label, a valuable Chilean publishing project, Inti plays with the air as well, investing the operation of the dry Argentinian winds. Then the mass of arid and rough air, decides for once to follow the Great Mother Son on its trajectory. Returning over her steps, she climbs the mountain range to look for the baggage of freshness and humidity that she hid there, to return to the sea that saw her leave once.”
Edgardo Palotta, clarinet, bass clarinet, Indian flute, double bass and percussion.
Ana Foutel, piano.
Gonzalo Manco, engineering and mixing.
Recorded live at Estudio Libres, Buenos Aires Argentina. February 2019.
Photo: Foutel / Peiretti
The moment, when sound waves surprisingly appear in vacuum.
A cosmic dream symphony,
presented by a playful gravitational wave orchestra.elAstrum is a conscious electronica cosmonaut from Russia, online already known from his releases at Kahvi lately and one album earlier on Otium, as well as different spacey noise releases, that can be found at archive.org.
You can expect masterly sounding melodic electronica, sometimes playful and also sometimes referencing old soviet-russian radio sounds or songs, rising to the uber hymn, the “Epic Rise and Fall”, where all the essentials: love, longing and hope come together for the climax in the Now, heading for the tomorrow, binding you with us and all the other listeners through spacetime.
xDEx is a project and main scene pseudonym of Victor Prodanov. Lately, the constant accelerating societal decay and de-stricturation, the alienating aspects of the globalisation processes and the so called “common thought” became, by their unavoidability and omnipresence, a field of inspiration and cynicism for this project. Victor’s longstanding fascination with DIY digital and analog electronics has put out a solid emprunt over his sound.
The release “PANTA RHEI” is his first and hopefully not the last on Mahorka, after years of discussions, preparations, variants and waiting for the right circumstances in the right moment to come for this debut on the label. Most of the drum parts are produced with 808 and 909 clones, the non-melodic sound layers are mostly filtered spring and digital reverbs, various overdrives and distortions, feedback loops; there are extensive modular synth recordings and most of the paddy parts originate from a FM8 clone and a Waldorf Blofeld. All tracks were recorded on a multitrack at one shot, with little post-editing.
It’s finally Summertime, but press play, close your eyes and you’d never be able to tell. Lamont Kohner’s third single for RP lands with a roomy bass pulse and a dusty loop that slowly splits open to reveal white noise-crusted dub chords and a thumping traincar rhythm. BECKONS does what it says on the tin, with minimal side effects, drawing us into the seedy nightlife of Kohner’s noir cityscapes and neon vapors. Following the irresistible groove of BECKONS is CLOSE IT, a slightly more traditional dub techno affair, recalling the Detroit strains of Deepchord and Echospace while also conjuring a thick-as-a-brick rhythmic foundation that goes even further back to the first couple Maurizio 12″s in Germany. The whole thing congeals into that trademark Kohner shuffle, and we’re once again sitting back in a darkened taxi, window half open, smoke wafting out into the greasy streets. Falling beneath the music’s spell, you feel compelled to close the window – we’re doing something intimate in here.
‘Feathers Blown Away’ is the 8th single on the Genetic Trance netlabel. Kinda has an adult contemporary kind of feel to my ears so that’s what I wrote into the ogg tag. I like this one a lot.. though my volunteer production advisors (renoise forums/discord) have since graciously pointed out it has some muddy lows–and it does at least in my car’s speaker at higher volumes..I may go back and fix it for the album of singles or if I make another renoise playback vid. but there’s a chance I might not since it already sounds great on headphones. Regardless, one of my favorite among the recent bunch. I’m thankful for how it turned out.
One of the songs that I don’t quite have the voice for and would want another vocalist to step in and give it the kind of vocals the track seems to need. Nevertheless, it was fun to compose and I delivered the best vocals I could
and try again and again
the lesson plan has always
been locked inside
you knew you’ve been ready
for anytime anywhere
and I surely want to see you there
out of our mind into their heads
we’ll be there with our hidden agendas
and brave the smirks that they shoot
their aim is off
they were grumpy since morning
you’re strong and know the secret I know
you won’t have to stay they can be the
ones to go
so much for home advantage
we’ll be there already pouring in love
the love they wanted but never knew
it was always growing among them
all this time
Today I am writing about colleagues, an activity that has become a habit, and I am celebrating because this allows me to surrender my ears to things that perhaps I would have missed otherwise. And yes, the pleasure of listening to a piece such as Nostromo is, at some points, so pleasant and repeatable that it gives you, as a first sensation, the urge to listen to it over again. It begins with tribal electronic beats. It is well mixed in terms of difference of style; that is to say, an excellent and very organic mix. It does not lose focus; it is simple and fascinating. Out of its three tracks, in my opinion and without a doubt, the second one, Northern Lights, gets all the applause, and let us say, it is the hit of the album, even though the whole work is consistent regarding composition, choice of sound palette and mixing. This track in particular has something hypnotic; with delicacy from beginning to end and maturity in respect of the used recipe. I just love it. The last track, Universal Consciousness, that gives the name to the album, is undeniably the most danceable song. It is full of good moments and it is part of a very homogeneous album, and at the same time it flows through different paths in each of the three songs. Maybe this last reason is the cause for listening to it many times. It is difficult to keep a clear identity when forms are shifted inside of the very same album, but Nostromo has succeeded. Each one of its tracks, with each one of their individualities, are worked flawlessly, dynamically and warmly. For me, Nostromo provides many reasons for exploring it and for exploring the catalog of Modismo, the Chilean record label where the album has been edited and released; an aside for the label that has been working since a long time ago, releasing several interesting works. It is a real sin not to pass through.
Thuoom is back from studio hiatus with his 7th full-length album, Organism. The sounds used on this record consist 100% of glitches. More precisely, the original sounds were produced by misusing a sound card and manipulating signal live during a practice session, soundcheck, and live performance (Ambient Evening Trashure Islands, Parainen, Finland) in November 2018. For the album, these sounds were then further mutated in a true Thuoom fashion.
A few months after the lovely P8 phase 3, our regular contributor Doedelzak comes back with another longform composition using an hybrid methodology and taking inspiration from various musical aesthetics. Ilpyd is subtle and catchy, hypnotic and surprising in the same time.
Notes by the artist
“Ilypd was created partially through algorithms, with a slow and alsmot imperceptible evolution. Though, there is a big change between the beginning and the end.
Although there are small internal changes, the evolution of the global structure is strictly continuous. The perception of changes (and notably the perception of acceleration) may appear intermittently as if on particular moments the listener’s mind was suddenly creating the image of a new step being crossed, but ilypd is perpetually changing.
Ilypd can be listened in one go, or on the contraty intermittently. It is not necessary to hear it from the beginning, nor until the end.
Inspiration for this work came from traditional African music, Gamelan, and Steve Reich. This is a musical material more than a composition – and I simply wanted to make this material beautiful”
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