Digital Album
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ARTIST: Unlitt
RELEASE TITLE: Free Weapons
CAT Nº:TRANZ066
RELEASE DATE:October01, 2017
FORMAT: Mp3 / 320kbps / 44.100MHZ
GENRE: Electronic
SUB-GENRE:Techno, Tech-house
TOTAL TIME: 22:34
SIZE: 63,8MB
TRACKLIST:
01.Floating (Original Mix) (6:43)
02. Hyperspace (Original Mix) (6:43)
03.Lo-Sci (Original Mix) (9:08)
Catalogue: DigitalDiamonds050L
Format: Compilation
Released: September 2017
Digital Diamonds is proud to present ‘Digital Decade’, an ambitious release that celebrates the label’s 10 years of activity in the underground scene and being run by Alic.
Artwork: Chris Lynn and Una Lee
The opening song “Zrobilem Sobie Spacer” sets the tone of the album with a wonderfully noodling guitar dancing throughout its ether, ultimately climaxing in howling melody. The album continues triumphantly with peaks and valleys, all weaving in and out of heartfelt lyrics and lush instrumentals. Coming full circle at the end with “Białe Pola,” a beautiful acoustic number reminiscent of the early days of poj.wlkp. Two bonus tracks grace the Unfinite Records release, both of which only add to the album’s allure. On the whole, ‘Do Zorzy’ is a crowning effort waiting to be explored on a rainy day in your heart of hearts.
Read more at: https://diacoustic-forest.blogspot.com/2017/09/df-3-parading-out-devil.html
Adrià Bofarull. 2017.
And it’s just that, a mixtape (or sketches) created while on holiday at the various locations in the track names (I’m guessing). Created entirely on one single piece of Swedish Engineered hardware (from the guys that made the Sidstation way back when) called the OP-1 (for those listeners interested).
Rephazer creates some fantastic moody, detailed and atmospheric Boards of Canada inspired tracks. Perhaps from the same sound palette for each track, but all with a chilled out vibe. Summer is drawing to a close but kick back and relax beside the pool listening to Rephazer!
In Trou
Was Dooh
Gesammtkunstwerk
Johan Burden
Note Blue
Call Basser
Baza
Unos
Composed and performed by Pablo Ribot
(Buenos Aires, Argentina 2017)
As on the former 4 parts of this series of EPs, the goal was to produce the tracks using vintage hardware exclusively.
This EP features good, old machines like the Roland TR-626, the Roland MC-303, the Roland D-50, the Roland JV-2080 and the EMU ESI-4000 – mixed on an analog mixing console by Allen&Heath.
Powerful, well produced vibes, influenced by elements of IDM and ambient, along with popular genres. Check out If you were sound for a rare appearance of vocals in a Kahvi release. Very cool!
Celesta
Magnetic Fields
Old Regular Stuff
Syntax Error Nostalgia 16
First Contact
Near And Within
Detuned Symphony
Sleeping Funk
From Far And Beyond
2 Days
I Was Once
Blurred And Forgot
Time Stamp
Sunwalker
Matters Of
Waves
Sticks & Stones
Old Waters
Human Condition
Starborn
SHE
Anima Mundi
Leaper
Antoni Robert talks about Amorgos Soundscape:
“This is my fourth soundscape, but it is of a totally different nature with respect to the previous ones. Initially, I just wanted to proceed in a similar way that I did for the St Petersburg one, but once on the island, I realized that this idea was not adequate. St Petersbourg is a noisy place, while Amorgos it is not. Generally speaking, the island soundtrack is the wind and the sea. And at once the title “Wind on Water” came to my mind, but unfortunately, that title was already used by Fripp & Eno. But it was adequate indeed. I had the chance to listen to some goats also; the island is the hometown for a huge quantity of goats. So I was wondering about those simple things when it happened. It was dinner time, and we went to the small town of Tholaria looking for a taverna, and we found the Panorama Tavern. We started dining and at a given moment the musicians appeared and started to play great music from the islands. I recorded two complete sets, in two unforgettable nights. More than four hours of live performance. And I was said they do it every night. Once at home, while listening to that music I understood that it would have been inadequate to edit bits of it in order to build something more personal. The main feeling was a deep respect for the work of those musicians, and so the best thing to do was to choose two or three songs and use them as they were performed, in spite of the recording problems and the noise of the taverna clients. The only things I’ve added are the intro and the links between songs because wind and sea had to be there anyway. The results are a real soundscape of a dinner at Panorama Tavern, with the music played by three real artists. Stamatis Theologitis plays the violin and sings, Giannis Theologitis plays Laouto and sings, and the great Nikos Theologitis, 90 years old at the moment of the recording, and the owner of the tavern sings, claps hands, dances and explains jokes whenever he wants. I don’t know if I will reach that age. Probably not. But if I ever I’m 90 years old I want to be like Nikos. A happy man full of energy and passion. So this soundscape is a respectful tribute to The Theologitis Trio. It is their record. The rock band is The Cave Children, from Athens, included because our stay there coincided with a 4 days rock festival, and it was a part of the soundtrack too.”
credits
released July 30, 2017
Recorded in July 2016
Processed in September 2016
Nikos Theologitis: voice and clapping hands
Stamatis Theologitis: violin and voice
Giannis Theologitis: laouto and voice
Antoni Robert: production, field recordings, and effects
Photography: Antoni Robert
Artwork: BroodingSideOfMadness
ET116 An Etched Traumas release July 2017
‘Arquitectura espectral’ is the second work by sound artist MRTN CSTR (Martín Castro) from Córdoba, Argentina for netlabel ‘Modismo’. In this EP made up of three tracks we are able to appreciate and enjoy once again digital atmospheres which are characteristic in his musical duty: gliding melodies, delicate rhythms, fine atmospheres, counterpoints. Martín builds his songs from technology, he experiments with creation of waveworms, sound synthesis, complex structures created with specialized sequencers and instruments for the software Reaktor. However, the results are far from being robotics or dehumanized because the structures (the ‘buildings’ of this architecture) become cozy, puzzling at the same time and profound, inviting us to inhabit them. Moving musical ideas based on algorithm and mathematical formulae from theory to practice tends to be a challenge that is rarely well resolved, as elevating a structure from paper to physical reality, and by ‘well resolved’ I mean experimenting the beauty of a good listening at last, the pleasure of self-abandonment to contemplation beyond the techniques or technologies utilized for its construction, which it is fully accomplished in ‘Arquitectura espectral’. As a good sculptor, Castro reveals the shape of his compositions from the development of sound layers that are added, subtracted, that interact and move around space, generating tensions and distensions, creating sounds-cells and sonic-organisms pieces that evolve in their route. This is the difference between the robot and its perfect and synchronized movements, versus the organic bodies-muscles with their subtle differences and their impossibility of doing exactly the same, the same way, all the time, where one could be more efficient than the other, but never more interesting to contemplate or, in this case, to listen.
Mika Martini, electronic musician. Santiago, July 2017
