Kalumet is back! The label veteran brings us his long awaited EP, delivering 3 original tracks and one remix. Each track is a refreshing wave of cutting edge music. The First Wave is tribalistic, the Second Wave is pumping, and the Third Wave is hypnotic. For the final track, the First Wave is waxed and polished for a deluxe retreatment by Immortal Sun. Each wave combines into a swelling sound trip into the deep!
27 february 2007…12 years ago… My first album in Pueblo Nuevo Netlabel.
“‘Mestizo‘ fusiona electrónica con sonoridades autóctonas y voces ancestrales, con el objeto de encontrar un lenguaje que se posicione en el presente, pero que a su vez, tenga su base en nuestra memoria sonora histórica.
‘Mestizo‘ es un trabajo colaborativo, donde han aportado con sonidos y samples los siguientes músicos e investigadores: José Pérez de Arce (samples del disco “Son-Ido” en tracks 1-3-4-5-6), Matorral (samples de guitarra acústica en track 2, voces en track 5), Lluvia Acida (samples de zampoñas y ocarinas en tracks 2-3-4), Michel Durot (samples del tema “Ying Yang” en track 4), Pablo Cornejo (diversos samples en tracks 2-3-4), Tatevari (sample de ocarina jarra en track 3). Gracias a ustedes esta música fue posible.”
“‘Mestizo‘ is a mixture of electronics and ancient local sounds and voices. The idea is finding a language based in our historical sound memory, but firmly placed in the present day.
‘Mestizo‘ is a collaborative work, where the following musicians and researchers contributed the sounds and samples below: José Pérez de Arce (samples from “Son-Ido” album in tracks 1-3-4-5-6), Matorral (acoustic guitar samples in track 2; voice in track 5), Lluvia Acida (zampoñas and ocarinas samples in tracks 2-3-4), Michel Durot (samples from “Ying Yang” theme in track 4), Pablo Cornejo (assorted samples in tracks 2-3-4), Tatevari (ocarina jarra sample in track 3). Thanks for making this music come true.”
A powerful trip ambient trip into the woods of a long winter, some steps into the snow and his rumours. Wonderful and terrible at the same time.
DR, born 1982, is a sound artist from Lower Saxony, Germany. Uses synthesizers, acoustic instruments (Ukulele & Cavaquinho ) field recordings, tape loops & granular synthesis to create melancholy ambient / drone soundscapes.
it is called “Nina Sergejewna”, the main person in a beautiful book from Lydia Tschukowskaja
Crève fumeur, cantado en francés, habla sobre los efectos de fumar. 囡囡 (NanNan), en Chino, explica porque ser lesbiana es un acto político 買狗養狗 (Get a dog pet a dog) describe como los perros están reemplazando a los niños en el Taiwán moderno.
Reelanzado y co-editado por Enough Records y Nación Libre Records.
The music of WHΛLT THISИEY is a solitary soundtrack to nowhere, a non-tourist map into the unknown; music and images to create new, fully immersive environments, an intriguing aural pilgrimage with no destination in time and space, nuances and labyrinths.
WHΛLT THISИEY selects and mixes music for the mind and body in the same quantities that emerges from encounters between the past and the present, drawing beauty of the commonplace, wiping, polishing it, giving it life again, so to produce the same effect of the original freshness and spontaneity, a mirror that transforms it absorbs and reflects.
WHΛLT THISИEY mixes impressionist piano atmospheres, spoken wordcore, drone, experimental, library, hypnotic escapism music. WHΛLT THISИEY aka Fernando Cerqueira is the founder member of Thisco record label and publisher of Antibothis anthologies.
Fernando Cerqueira was the founder member of the late 80’s SPH tape / record label.
For its 40th release, Da ! Heard It went and got a creator of feelings who founds her music on the intimacy she builds with the listener.
Tryphème is a painter of enchanting landscapes. From these territories that transport with a singular atmosphere rather than flashy colors, she fashions an environment into which one must blend. No sudden dives or sheer falls; this music’s charm comes from insinuation—an invitation softly whispered into the hollow of the ear. And here we are, with Thanks God for Air Emotions, in the middle of this unknown region, suspended by strings controlled by the Parisian woman’s delicate hands.
We’ve known this power of seducation for two years already. Her first album, Online Dating with CPU Records, established the outline. It was the manifestation of an artist who is well-aware of the possibilities that musical creation has to offer. She navigated among the most subtle genres of this art of time and made herself the master of our emotions. Already.
With Thanks God for Air Emotions, we reach the next level. Succeeding the innocence of the first opus is an album purified of all dispersion, focused on the listening of her feelings. These notorious “air emotions,” overflowing with useless affects, form a continuous murmur that is used as raw material for the production of her healing music. They are the soft energy that drives the turbines of a mutant IDM with evanescent voices and synthetic layers. Too easily would we ogle the English ambient masters of yesteryear, if it weren’t for Tryphème coming to add to it here and there her personal inspirations, where the culture of the perpetually learning artist, from hip-hop to new wave, mixes.
The painting’s composition conforms to the hopes promised by Tryphème’s unique talent: a world beyond, formed by a power whose sensuality and mastery are formidable weapons.Thanks God For Air Emotions, Da ! Heard It Record’s 40th release, is distributed under a Creative Commons BY-NC-ND. The album can be listened to and downloaded freely at the following link: https://www.daheardit-records.net/en/discography/40
“The perfect failure (?) vol. 6 : Imperfect failures”
Even bad things come to an end! This is the 6th and last volume of the perfect failure (?) / l’échec parfait (?). I must admit I failed to find any real or perfect failure among all the sounds submitted. Each of them inspired me for building interesting sound blocks, imagining new composition tactics, blurring the distinction between what I can find “good” or “bad” – although I won’t deny that many of these sounds were somehow headache-inducing when played on repeat while working on this 5 hours long mix. Will you love-hate all these “Imperfect failures” as much as I did while patiently gathering them during 7 years?
Many thanks to all the contributors who trusted me enough to send their secret / questionable material : 3/2, A.D. du nord, Ayato, Benoît Rouits, Charles premier, Cocotte Sapiens, David Pomlait, Doedelzak, Extrasystole, Gavin Prior, Half Evidence, Hellsings, Janne Nummela, Jules Valentin, The Kiriks, Luxalove, M.A.K.T. Sono, Mata-Hari, Natalia Kamia, Onde Poussière, Philippe Desclais, psph.S, Siu, tay_ploops, Torbill, Xavier Mussat, XtetX Ensemble, Yoshiwaku, 3HNT– and some anonymous people. I shamelessly contributed to this with some of the worst recordings of my solo projects Kecap Tuyul and Failure Circle.
The Two Thousand Eighties is a collection of song created between 2016 and 2018 by Demonic Sweaters. They range from ambient, chiptunes, experimental, rock, pop, and features live drums on several tracks, and plenty of synths.
“Un recuerdo de infancia común de quienes nacimos en el siglo pasado es el haber leído enciclopedias, con coloridas ilustraciones que nos mostraban como sería el Futuro. En esos días, en que con expectación calculábamos cuanto quedaba para el año 2000, la Tecnología aparecía ante nosotros como el Santo Grial, como una promesa de un mañana mejor. El tiempo ha pasado y nos volvimos adultos, con preocupaciones y deudas, siendo gran parte de nuestras vidas pauteadas y gestionadas mediante máquinas. ¿Estamos viviendo en ese futuro que esperábamos? Claro que no. Como simples ciudadanos no podemos viajar al Espacio Exterior. No hay ciudades ni en la Luna ni orbitando la Tierra. No hay robots haciendo tareas domésticas en nuestras casas. En cambio, sí llegaron muchas otras cosas que no aparecían en esas optimistas enciclopedias. Y no todas son buenas.
Pero la Música Electrónica, especialmente en sus vertiente ligadas al Techno, tiene el poder de revivir esa sensación de asombro y maravilla ante los productos del ingenio humano. Justamente eso es lo que hace la música de Felipe Baradit, compositor y productor porteño de larga trayectoria. Un creador de una gran constancia, que cultiva un sonido fiel a sus raíces. Sin oportunismos ni imposturas, Baradit teje ritmos y melodías de atmósfera sintética que sugieren una vida cotidiana mediatizada, en una Latinoamérica multicultural y en contínuo cambio. “Revolución Tecnológica” es un disco de sonido estilizado, que evoca paisajes completamente humanizados, con formas de vida diseñadas que crecen y se desarrollan a nuestro alrededor. Escuchar este trabajo es unir nuestra imaginación a la de su autor y es abrir nuestros sentidos a su particular energía. Captar sus vibraciones, que alguien dotado de sinestesia quizás visualice con colores iridiscentes, es experiencia que personalmente recomiendo vivir.”
“A common childhood memory of those who were born in the last century is to have read encyclopedias, with colorful illustrations that showed us what the future would be like. In those days, as we calculated with expectation how much time was left until the year 2000, technology appeared before us as the Holy Grail, as a promise of a better tomorrow. Time has passed and we became adults, with worries and debts, and with a large part of our lives influenced and managed by machines. Are we living in that future that we expected? Clearly not. As ordinary citizens we cannot travel to Outer Space. There are no cities on the Moon or orbiting the Earth. There are no robots doing housework in our homes. On the other hand, there were many other things that did not appear in these optimistic encyclopedias. And not all are good.
But Electronic Music, especially in its expressions linked to Techno, has the power to revive that feeling of amazement and wonder at the products of human ingenuity. This is precisely what defines the music of Felipe Baradit, a composer and producer from Valparaíso with a long career trajectory. A creator of great perseverance, who cultivates a sound true to his roots, without opportunism or posturing, Baradit weaves rhythms and melodies of synthetic atmosphere that suggest a mediated daily life, in a multicultural Latin America and continuously changing. “Revolución Tecnológica” (Technological Revolution) is a disc of stylized sound that evokes completely humanized landscapes, with forms of life designed to grow and develop around us. To listen to this work is to unite our imagination with that of its author and to open our senses to its peculiar energy. To capture its vibrations, which someone gifted with synesthesia might visualize with iridescent colors, is an experience that I personally recommend living.”
Miembro del dúo Lluvia Ácida / Lluvia Ácida member.
(Punta Arenas, Chile. Febrero / February, 2019)
Latest album from long term Enough Records collaborator Martin Rach from Lithuania, exploring some Unfinished Loops in his usual tripstep jazz influenced way. Expect eerie settings, deep wobbling bass sounds, cinematic constructs and strong silences dominating the structure of the tracks. Artwork by Martin Rach and ps.
A solo project by Shinya Nakashima.
In charge of music, arrangements, programming,bass guitar.
Also involved in working as a support musician doing sound manufacturing / live performances, etc.
Trip pop: creates space via music.
=- I sing a lot in this one.. moreso than in any of my previous releases. Most likely personal reflection reasons. I’m about to turn 39 soon and begin my 40th year of life. Red Zamboni was the second track of this family of songs recorded and I like it so much that I made a music video for it and sent it in to VideoRecords.ch. It’s different than the other four songs in that it didn’t receive any vocals, nevertheless, it’s in the same family as it was created the same way (arranging the chord progressions in chordbot on android then dropping them into renoise on pc where I do the recording, tracking, and rendering) as the other four. So instead of making Red Zamboni its own single and the four remaining songs an ep, I just decided to make it one ep altogether.
Every ice hockey arena needs a zamboni they can count on. And not just count on. One they can spell on too. Life isn’t always about numbers.
Red Zamboni by Origami Repetika is now avl on sub65 archive.org/details/s65010
#sub65media #easylistening #postpunk #melodramatic #lobit
“for in ember load dark ribs ere cedar of rotten deed in no grace soever”
01. GERALD FIEBIG – From A to B (Munich Time-Slip) 08:42
02. TRIBE OF ASTRONAUTS – Exterior Machine Unit 09:36
03. TONI DIMITROV – Backyard Rain 10:04
04. HgM – Cimitero Monumentale, Avgvsta Tavrinorvm 07:22
05. DREKKA – 45°45’03.1″N 4°49’13.7″E 27.IX.2018 18:23 11:43cover art by Claus Poulsen
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