ACEPHALE by ANTEPOP & PIRATE Tapes is an album created for Le Camembert Electrique netlabel camembertelectrique.bandcamp.com/ based on the self-titled french poetry review and hosting few other poems by Georges Bataille, available in free download here archive.org/details/ANTEPOP_PIRATE_Tapes_Acephale
For Flac and Wav formats it’s in paywhatyouwant zero include here camembertelectrique.bandcamp.com/album/ac-phale
The Acephalus includes the minotaur, Dionysus, Oedipus. He is an incarnation of the Nietzschean Superman. “He is not a man, he is not a god either, he is not me but he is more me than me”.
Acephalus recognized the intimate link between eroticism and death and he was able, thanks to that, to kill the father, to kill god, he cut off his head to have access to a higher lucidity and to obtain a belief.
This quote from ANTEPOP could suffice as a unique presentation of this album, yet I would detail a little its creation and its underlyings.
Was it chance that put Georges Bataille back in my path?
Years ago, I interpreted the Solar Anus https://www.youtube.com/watch?v=m0oPNLBK9-U charmed by its transgressive dimension, without however pursuing the exploration of his work further. Then during the 2016 edition of Back To The Tree event I discovered the existence of Acéphale thanks to a conference by Laurent Devèze https://www.youtube.com/watch?v=G4AosZvpo4E more enthused under the trappings of this strange cult is the back-to-nature dimension relatively similar to Henry David Thoreau’s Walden. Poetry is a sensitive tool for connecting to the universe and in the era of screen partitioning this reminder seems relevant to me. Also since the creation of the french website for the review “Le Grand Jeu” morne.free.fr/celluledessites/Game/index.htm it’s been my hobby to exhume the poetic journals that have emerged in over time in France. So after the review “Discontinuity” archive.org/details/pirate_tapes_discontinuite it made sense that PIRATE Tapes presents some excerpts from the review “Acéphale” accompanied by other poems by Georges Bataille. Also we are very happy that the lyrics are in french language, because despite the audience for musical experiments is very small here, it matters a lot to be able to use our native language in our music. If you want to get the english translations seems it’s findable online.
Originally, because of many affinities, I wanted to make an album in collaboration with ANTEPOP for Le Camembert Electrique. Hence the titles taking up the process of making the cancoillotte, just to not take ourselves too seriously and thus enjoy greater creative freedom. A first piece was extracted from this improvisation session and was completed by a field recording in order to participate in the Phonographies compilation camembertelectrique.bandcamp.com/album/v-a-3 This process therefore imposed itself as obvious for the development of the other tracks on the album. It is also the only track that has not been supplemented by poems. Curiously at the beginning we had recorded poems by Apollinaire, it was only later that the paths of intuition led us to prefer those of Georges Bataille. The verses of the unpublished Acéphale questioned me a lot, to the point that I hesitate to include it, but I preferred not to censor it and leave everyone free to make their own interpretation. It may be interesting to keep in tune with the present time, bringing hope and serenity, when its qualities are sorely lacking in the world in which we live. But it would be to misunderstand the mere revealing nature of art to seek to polarize it. It seems to me vital to preserve the roughness, the wanderings of thought, all that for me makes sense in the writings of Bataille is precisely to confront the monstrosities to question our dark side and perceive our deep non-dual nature. For me in everyone is the universe, all the good as all the bad, it is our choices that guide us, our actions that define us. Hence, the importance of the presence of monsters in fiction, like in the subconscious, not only allows them to be contained, but is also a space that allows them to be studied without real risk, like a virtual box machine that allows you to test a potentially dangerous executable. It is not by sanitizing the past, by practicing censorship, by concealing the traces of obscurantism that one can protect oneself from it*. On the contrary, it is by allowing us to experience confronting ourselves with what bothers us and therefore to train ourselves knowingly, that we can develop a critical mind that makes possible a future that does not reproduce the past mistakes.
As for the Acéphale, if my heteronym Ed End has the same meaning, it is not for nothing and that explains why it was difficult for me not to interfere more than I would have liked in the ANTEPOP part of this album. So which is actually more a kind of antepop ante-pirate tapes participation. Isn’t a part of the reason one loses one’s head to try to know the others better?
* Just to be clear, I specify that as much as I find it dangerous to rewrite past fiction as much as I find it necessary to intervene in the public space because in this case it is a question of putting an end to the glorification of monsters. Although my creative vision would be rather than destroying a statue of Colbert to put in front of it a statue of a slave who breaks his chains.
Credits
ANTEPOP jetfm.fr/site/-The-Russian-Fortune,165-.html elmutschwartz AT gmail.com
PIRATE Tapes www.horsnorme.org/PIRATE_Tapes/ including :
Daceed https://soundcloud.com/doktorkrackers
Studio 112 studio112.bandcamp.com/
Ed End ello.co/ed_end
The four compositions included in «Cr14tur4s» are songs composed since 2015. The author explores electronic percussive sonorities -from rhythm machines to soundfonts and samples- mixed with mid and high frequency synthesized with a propensity to stridency, adding recursive low-frequency loops, modulated in tune with the generated massive sound.
The Cr14tur4s proposed are forms going from the microscopic to the visible, mutated in imaginaries created under the intense influence of the accelerated, histeric times we are crossing as specie(s).
Jointly released by La Voix Dans Le Désert and IRM Netlabel.
Words from La Voix Dans Le Désert :
“La Voix Dans Le Désert is back with another record we are especially proud of. Jointly with our friends at IRM, we are releasing today Konejo’s new album “Drumloops, Gimmicks & Inner Creeps”. Those twenty tracks, like a series of sketches punctuated by film samples, will take listeners on a journey from 1950s’ Japan to Corman’s America, through Chabrol’s France or 1970s’ Italy and its edgy cop B-movies. Konejo unfolds his movie-buff obsessions and his taste for old school hip-hop rhythms, delivering here a particularly personal and intimate album where each quotation resonates more by its own evocative power than by its literal reference. Album obviously available as a pay-what-you-want release.”
FRENCH VERSION :
“La Voix Dans Le Désert revient avec une publication dont nous sommes particulièrement fiers. En co-production avec nos amis d’IRM, nous sortons aujourd’hui l’album “Drumloops, Gimmicks & Inner Creeps” de Konejo. Ces vingt titres, comme une succession de saynètes rythmées par des extraits de films, emmèneront auditrices et auditeurs du Japon des années 50 à l’Amérique de Corman en passant par la France de Chabrol ou l’Italie des seventies perfusée aux polars musclés. Konejo y développe ses obsessions cinéphiles et son goût pour les rythmiques hip-hop old school, livrant ici un album particulièrement personnel et intimiste où chaque citation résonne davantage par sa puissance évocatrice que par sa littéralité. Album bien évidemment disponible à prix libre.”
Also available here : lavoixdansledesert.bandcamp.com/album/drumloops-gimmicks-inner-creeps
released October 19, 2022
“Desacrated” was previously released as “Desacrated (you will not take people from this city)” and part of the “Support Modern Stalking Audio Family” compilation, whose benefits were used to help our friends from the Ukrainian label Modern Stalking Audio to get to safety at the beginning of the war : support-msa-family.bandcamp.com/album/support-modern-stalking-audio-family
Artwork by B-Maltais.
Enregistré en concert le samedi 15 septembre 2012 à la Compilothéque, 50 quai des péniches a Bruxelles.
Mixed in September 2022 by Do It Youssef !
“Du Rock ! Du Rock !” oui mais du free rock porté par le souffle du noise. Que le principe d’indétermination cher à nos particules joue ici tout son rôle en compagnie des sambas accélérées et des fuzz en série.”
David.B.
“Rock ! Rock !” yes but free rock carried by the gust of noise. May the uncertainty principle precious to our particles fully play its role here among accelerated sambas and fuzz burts.”
Photo/picture: Régine Abadia
released September 11, 2022
Random Record are :
David Bausseron : Guitare./Guitar.
Nicolas Chachignot : Batterie./Drums.
Margarida Guia : Voix et matières sonores./Vocals and sound effects.
“Il y a la voix, puissante, empreinte de chaleur, un peu éraillée, un peu fêlée. L’interprétation incarnée, vibrante qui restera.
Margarida, artiste et artisane d’un monde d’hospitalité, d’accueil, de rencontre et d’écoute de l’autre, des autres, créatrice et activiste dans un même don de soi, s’est éteinte le 19 juillet 2021 à l’âge de 48 ans . Mais son regard pétillant et son sourire solaire restent au travers de sa musique et de tout ce qu’elle a créé et édifié.”
Caro.C.
Hommage a Margarida Guia, Tribute to Margarida Guia,
Mercredi 26 octobre 2022 20h a l’Univers a Lille (France)
lunivers.org/evenements/viva-dada-viva-margarida/
“There is the voice ; powerful and warmful, a little raspy, a little cracked. The embodied and vibrating interpretation that will remain.
Margarida, artist and maker of a world of hospitality and welcome, of meeting and paying attention to other and others ; both creator and activist, with always the same self giving, passed away on July 19, 2021, at the age of 48. But her sparkling gaze and her solar smile will survive through her music and all she has created and built.”
Monofónicos Netlabel está feliz de presentar el nuevo lanzamiento de Sergio Escobar (Qk) con un disco de melodías exquisitas, muy variado y melódico llamado ‘For My Cat’.
Qk nos presenta una dosis exclusiva de ritmos y texturas de música inspirada en su michi, cuyo sonido se conecta directamente del viejo sonido de baile del House y unas líneas melódicas que, entre cálidos juegos vocales de corte retro, parecen avanzar in crescendo dándole así fuerza a todo un disco de tres maravillosas canciones.
‘For My Cat’ es un disco finamente bien producido, en la que la conjunción entre percusiones, melodías y vocales consigue que el oyente evoque indefectiblemente al delicado Deep House de los noventa.
Cada lanzamiento de Qk está siempre bien estudiado para trascender las fronteras de la pista de baile, y no es para menos con este nuevo EP mostrando su más que renovado sonido, un sonido que ha evolucionado hacía un formato mucho más bailable, pero lleno de sabor y calidad, y donde aún tiene muchas más sorpresas que ofrecer.
released June 27, 2022
Producido por QK – soundcloud.com/qkramacara
Masterizado por Pheek – audioservices.studio
Producido para Monofónicos Netlabel. Medellín, Colombia 2022.
![Various Artists – New Hearts [Special Launch Number Fifty]](https://www.clongclongmoo.org/wp/wp-content/uploads/https://f4.bcbits.com/img/a0897215065_10.jpg)
New Hearts is a special compilation on the occasion of our fiftieth launch, this special launch is in charge of both emerging and established artists who make very inspiring and interesting music but who we think deserve to be heard more and receive more attention.
This compilation is intended to showcase new artists who deserve to be more valued by giving them a space to publish their music and that the right ears are the ones who truly appreciate them… all of them are characterised by making well planned music full of feelings.
For this compilation we would have loved to include many more artists but for the time being we will have to limit ourselves to this handful of hearts for this surprise for our 50th release.
We are excited for this special release and want to thank you for listening, appreciating and appreciating what we do here, without you we could not go on.
An eternal thank you from everyone involved and members of this project.
____
This phonograms is a protected intellectual work in favor of its producer. Rights protected. ℗ & © 2022 Secuencias Temporales. The rights of this phonogram are recognized by the Federal Copyright Law.
Its production, reproduction, import, storage, transport, distribution, commercialization, sale or lease is prohibited, as well as its adaptation, transformation and direct communication to the public without the prior written authorization of the owner. The violation of this prohibition constitutes a crime and an infraction that are sanctioned according to articles 424 bis, 424 ter, of the Federal Penal Code; 232 section III and 232 section I of the Federal Copyright Law and other applicable regulations in force.
Mastering by Eafhm at Secuencias Temporales Studio in México City.
Secuencias Temporales ℗ & © 2022 – All Rights Reserved
released October 17, 2022
3 free WAV’s deep minimal techno tracks for monoKraK netlabel (www.monokrak.net)
mastering by Pheek (audioservices.studio)
Filmy Ghost is a dark experimental, vaporwitch, ghost drone project from Rancagua, Chile. Created by Sábila Orbe.-
For more music visit:
hearthis.at/filmy-ghost/
open.spotify.com/artist/0POUvA4r7hzETPMnrn59My
archive.org/details/fav-sabila_orbe02
freemusicarchive.org/music/Filmy_Ghost
All sounds mixed, cover collage by Sábila Orbe.
track 7: vocals, music background by {AN} EeL.-
track 8: instrumentation by IDTAL
track 9: original music by Cosmic Shock Absorber from his album: Burning Judas.
track 10: vocals, instrumentation by IDTAL
track 11: in collaboration with Thomas Park.
released October 14, 2022
Hudba: Alen
Texty: Alen (1,2,3,4,5,6,8,9,10,11,12), Martin E. Kyšperský (5,6,10), Jan Němec (7)
Alen: zpěv, klávesy, klavír (1,10), synth bass (4), akustická kytara (2,3,12), elektrická kytara (6,8),
didley bow (8), zvonkohra (8,12), tongue drum (12), harmonium (7)
Martin E. Kyšperský: zpěv (5), klávesy (2, 3), kontrabas (3, 6, 7, 8, 9, 12), baskytara (5, 11), synth bass
(2), akustická kytara (3, 4, 7), elektrická kytara (2, 4, 8), e-bow (1, 7), ukulele (9), zvonkohra (3), citera
(3), tongue drum (6, 12), monotron (7), beat (5), youtube (1)
Alois Zatloukal – housle a viola (1, 2, 8, 9)
Aleš Pilgr – beat (2, 11), tamburína (3)
Jakub Kočička – cajón (2), bicí a perkuse (4, 8)
Kateřina Koutná – violoncello (3, 9)
Veronika Anna Jedličková – vokály (5, 12)
David Liber – kontrabas (1)
Christoffer Strandh – trubka (10)
Ondřej Ježek – steel guitar (10)
Producent, aranže: Martin E. Kyšperský
Mix, mastering: Ondřej Ježek
Cover photo: Zara Wildmoons
Grafická úprava: Jakub Horský
Nahráno v letech 2020 – 2021 u Martina Kyšperského v domácím studiu Amakvaré, v Divadle na Orlí
s Dušanem Součkem (klavír) a u Ondřeje Ježka ve studiu Jámor (zpěv, piano).
V roce 2022 vydalo Polí5.
www.zenapolae.com/releases/zen258/zen258__Gears_in_the_Rain__Liminal__01_Liminal_1.mp3
The CVU series is designed to welcome repeat offenders, and boy howdy is 88756 emerging as a prominent, permanent contributor to the label. After first touching base with the label last year, releases on CVU008 and CVU020 (as well as some stunning visual work on the DVD), and collaborative gigs in Meanjin (Brisbane), Boorloo (Perth), and Naarm (Melbourne), it’s safe to say that the program’s place in the label mainframe is set.
Producing with rapidfire efficiency, CVU021 is another brilliant expression of the core 88756 sound, focusing on a blend of fat classic electro, and lopsided, rhythmic techno. We’re also thrilled to welcome Backpocket Slammers’ co-founder XYSid to the label, with a storming remix of the title track “Do You Believe In Me?”; tying off a rock-solid package.
With more musical and event collaborative goodness on the horizon, as well as the recent launch of 88756’s accessible rehearsal space in Naarm – Mechanical Soul, we’re excited to keep our sights thoroughly fixed on this artist in the future.
releases October 12, 2022
Production: 88756, Oscar Neenan
Mastering: ADMINISTRATOR
Graphic: Brooke Reilly
Text: ADMINISTRATOR
One of the joys of parenting is watching your child learn how to speak. In the process of figuring out which words to use while building a vocabulary, kids come up with creative and poetic ways to verbalize their emotions and describe the world around them. My son started using the word “lightdark” to describe both dusk and dawn and we have adopted it into the family vocabulary over the past few years.
Talons’ at Light/Dark pays tribute to this in-between time. A time between awake and asleep but also a time of uncertainty, transition and change. The music, built out of ebow-ed guitar and synthesizer, is meant to reflect this tension between rest and anxiety, calm and worry, day and night.
Seagulls:
At Light/Dark, I don’t know where I am
Almost 40 and even more lost than I was at 20
And have I ever really said how I feel without overwhelming guilt?
Guilt rules everything
And everyone’s a mess
Broken, broke and hoping for a little bit of luck.
Seagulls circling the dump
But despite what we believe, there is nothing down there for us.
released October 7, 2022
MT- guitar/eurorack/singing. Recorded at home in Ohio in 2021 for Dead Currencies. Recorded/Mixed for lathe-cut LP.
the 31st of july we released visuddhi (ogredung #16), composed by our virtuesman purusha, before leaving for the summer vacation. it was a weird ambient d’n’b track, with some trigging inflections brought by a style he would define as ‘ceramics’.
well our new musician hexa, from japan, is a master of idm/ambient/breakbeats, and seems to compose his music by reminding the track named above, with great deepness and emphasis, that is.
xpecially this c o [dub], astonishes us, as if a deep, melancholic melody slowly grows up from the very depths of our hearts, and once in our head, we can’t do anything but let it take us to the heavens.
Release Date: 2001/10/11
The Necrophile Hummingbird netlabel presents ARZAK by rADio eNd in free download here archive.org/details/rADio_eNd_ARZAK_Free_Download
“Abnormal Music for Abnormal People”
Since the very beginning when I coined the “hors-norme” (Outside of the Norm or Apart from Standard) as a style to define the music shared on this netlabel the main purpose was to make room for any musics rejected by the mainstream music. And this was not only a struggle against artistic conformism, but more about the society rejecting any differences by the reign of the Norm. If the society is rule by white old heterosexual you will get racialized people, women, lesbian gay trans queer, people with disabilities and young people, whatever, pushed into the margin.
This is a marginalization process. Same way that when scientists study nature they will not care of the singularity, example if the bonobos are not using patriarchal model they will avoid studying them and focus on other primates to get better proof to sustain their dominant ideology.
The first time we tried to bring the lights on this was in 2004 with the Tribute to Necktar archive.org/details/Tribute_to_Necktar We called this marginalization process “Deviance’s Genocide”. It could seem strong, but this is what it is, people sometime suicide not by choice but because of exclusion making it impossible for them to live. The society, or specifically, those who conform to the norm bullying them to the death, we wanted to say it’s a real genocide.
The normal people or indeed thinking to be normal, pushing the abnormal people to disappear, consciously or not. Same way, the mainstream pushing the underground out of sight.
So now we are in 2022 and there are reactions like Black Lives Matter, Metoo… but often doing like if it was only for certain categories of people, when it’s the rulers of the world against all the others.
When it’s the norm against any differences.
And that’s why I added Epaminondas speech to Spinalonga track, ( archive.org/details/l-ordre-1973-jean-daniel-pollet ) because the inhabitants of this leper colony after knowing what it is to be rejected by the whole society didn’t want to be back to the norm.
That’s what they learned, and I hope it could be an example for any rejected people instead to try to be included choice the sedition, the separatism, and build their own micro society, surely it won’t be perfect, but at human scale there are more chances to avoid exclusion and get more alternatives.
Thus, there are also tracks related to Moebius & Alejandro Jodorowsky Incal for the same reasons. For me in this comic “La Paterne” is more the pattern, alias the norm, and the same way that the energy of the dissident in the snowpiercer is used by the power to regenerate itself, the mainstream music grub everything coming from the underground, removing everything which is subversive inside, keeping only the shapes. Like the industry did for the organic food in the hexagone, when it was first at least half or more about build a local system free of intermediaries than to care about the food being not toxic.
And there is also a track about war, because to be aware that our differences are our salvation, goes to with the idea that no matter who is the other, only few are enough crazy to worship the nations and their rulers. Most are just only not strong enough to create choices when it seems impossible to get some.
Last but not least, the change of internet from a freedom tool to a self slavery tool. People mostly stuck in the social network bubbles except if it’s for buying something. It seems a lot of the remains of free culture may disappear at the same time the new norms are applied to control everything online with help of A.I. when needed. It reminds me imperialism colonization, after taking control of a land they eradicate the previous culture, under the fake excuse of few trolls, they hunt all the witches. For example, few weeks ago the Radio Free Albemut h o r s n o r m radioblog with only legal free download music on Tumblr (nearly 1000 releases) has been suspended without explanations and my main Tumblr Panoramagix too. Few months ago it was the Wild Worm Web YouTube channel erased with no warning despite without new publications for months. Only my personal examples.
Finally it’s only music, but these are the kind of dreams hidden behind that very instrumental album. Stay tuned, and please share your dreams and the other ones.
Dedicated to everyone who will be never define in a single word.
Ed End on all tracks
www.ello.co/ed_end
Speech on track 5 by Epaminondas Raimondakis
More information about rADio eNd
www.horsnorme.org/rADio_eNd/rADio_eNd_english.html
Video Art Clips :
ARTSAKH Ersatz.
ww.youtube.com/watch?v=nT8l4DJfUCI
www.bitchute.com/video/TFJgd6n07roj/
And La nOrme a remix of L’Ordre
http://www.youtube.com/watch?v=8OrFCxthjb4
For Flac and Wav formats or in case of trouble with downloading it’s also in free download on bandcamp here yoshiwaku.bandcamp.com/album/arzak
released October 7, 2022
Produced by Diego Lorenzini along with Claudius Rieth.
Mastered by Claudius Rieth & Arturo Zegers Giammarino.
Guest co-producers:
Daniél Cortés: “Como un guiri in Barcelona” and “Pelado el chancho” (Bogotá)
Erlend Øye and Marcin OZ: “Poesía Conspirativa” (Syracuse)
Milo Gomberoff: “Estúpido y sensual” and “Cliché cliché cliché” (Barcelona)
Arturo Zegers Giammarino: “El Demonio del mediodía” (Santiago)
All the lyrics written by Diego Lorenzini, but “Romance del Enamorado y la Muerte” written by an anonymous author.
All the songs composed by Diego Lorenzini but “Romance del Enamorado y la Muerte” written by an anonymous author, and also “Para la patada y el combo” and “Estúpido y Sensual”, composed by Diego Lorenzini along with Tomás Gubbins.
Diego Lorenzini: Vocals, Acoustic Guitar, Ukulele, U-Bass, Electric Bass, Cello, keyboards, drums, programming and percussion.
Guest musicians:
Javiera Paredes: Congas in “Chiquero”, “Photoshop Moral” and “Fake News”; Timbales in “Como un guiri en Barcelona”
Claudius Rieth: Backing vocals on “Para la patada y el combo” and “Chiquero”; Piano on “Photoshop Moral” and “Fake News”; Cello on “Le estan Diciendo”
Maite Pizarro Granada: Vocals in “TKM CTM”, backing vocals on “Como un guiri en Barcelona” and backing vocals on “Pelado el Chancho”
Alba Morena: Vocals and locution in “Fachada Continua”
Tiare Galaz (Storm Girl): Vocals in “El Demonio del mediodía”
Erlend Øye: Vocals and acoustic guitar in “Poesía Conspirativa”
Marco Castello: Vocals, guitar and trumpet in “Poesía Conspirativa”
Marcin Oz: Bass guitar and Backing vocals on “Poesía Conspirativa”
Stefano Ortisi: Backing vocals and baritone sax on “Poesía Conspirativa” and alto sax on “All-Time Favorite”
Luigi Orofino: Backing vocals, Cavaquinho and shaker in “Poesía Conspirativa”
Tomás Gubbins: Vocals and acoustic guitar in “Estúpido y Sensual” and Backing vocal in “Como un guiri en Barcelona”
Nicolás Lorenzini: Vocals and programming in “Estúpido y Sensual”, and hacking vocals in “Como un guiri en Barcelona”
Santiago Navas: Backing vocals in “Como un guiri en Barcelona”
Daniel Cortés: Backing vocals and percussions in “Como un guiri en Barcelona” and percussions in “Pelado el chancho”
Thaissa: Backing vocals in “Como un guiri en Barcelona”
Laura Otero: Backing vocals in “Como un guiri en Barcelona”
Federico Rincón: Backing vocals in “Como un guiri en Barcelona”
Catalina Torres: Backing vocals in “Como un guiri en Barcelona”
Antonio Iannola: Electric guitar on “Cliché cliché cliché”
Cover artwork: Diego Lorenzini
released October 8, 2022
W&P by soundcloud.com/farzan-badie
