Download: https://archive.org/details/mousemix096
Playlist:
aboombong – ANIDEIC
https://aboombong.bandcamp.com/album/anideic
https://creativecommons.org/licenses/by-nc-sa/3.0/
XAVIER CORBERA – Oda per al Patufet
https://archive.org/details/XavierCorberaFissures
https://creativecommons.org/licenses/by-nc-sa/4.0/
SPTW – Yeah Yeah the Birds
https://mahorka.bandcamp.com/album/at-the-foot-of-the-ladder
https://creativecommons.org/licenses/by-nc/3.0/
Mr. inn – Thirty Days In The Psyche Ward
https://archive.org/details/Novancancyforthwicked
https://creativecommons.org/licenses/by-nc-sa/4.0/
Peltiform – Mezo
https://section27.bandcamp.com/album/like-phantoms
https://creativecommons.org/licenses/by-nc-nd/3.0/
Alison Gunterglass – Micro
https://hueco-negro.blogspot.com/2024/04/hueco-negro-11-alison-gunterglass-xprmnt.html
https://creativecommons.org/licenses/by-nc-nd/4.0/
Floating Mind – Le 3ième Oeil
http://www.monokrak.net/monokrak-289-floating-mind-ballade-dimensionnelle%ef%bb%bf/
https://creativecommons.org/licenses/by-nc-sa/4.0/
vaimler – Thorn
https://digitaldistortions.bandcamp.com/album/voronoi
https://creativecommons.org/licenses/by-nc-nd/3.0/
rEmPiT g0dDe$$ – BLEED ft VIKTORIA
http://yesnowave.com/releases/yesno110/
https://creativecommons.org/licenses/by-nc/4.0/
Toishy Koshimi – Stellium
https://insectorama.bandcamp.com/album/stellium
https://creativecommons.org/licenses/by-nc-nd/3.0/
RE.vila – UDF 2457
https://pertin-nce.bandcamp.com/album/pertin-nce-101-re-vila-fusion-ep
https://creativecommons.org/licenses/by-nc-nd/3.0/
El disco fue grabado principalmente en la ciudad de Barcelona y en algunos sitios de Santiago. Recoge los recorridos de lxs autorxs por la ciudad, incorporando sus voces al relato y los sonidos que esta nos ofrece, con tal de dar cuenta que el “Paisaje Sonoro” se conforma también por las voces de las personas que le habitan, y que en ello existen vínculos que pasan por el afecto y la afectación de los distintos sucesos que acontecen en la urbe. Cada composición es fruto de una relación afectiva entre 2 personas, en donde una de ellas (Ana) invita a la otra (valo) a conocer y habitar este nuevo territorio. Siendo ambas migrantes, con Ana viviendo en Barcelona por una década, mientras que valo recién aterriza en esta ciudad. En definitiva, el disco manifesta el recorrida de 2 artistxs migras provenientes de un mismo territorio, quienes juntxs abren y comparten su escuha afectiva hacia un paisaje que es diferente al originario.
TRACKLIST
1 | Al mismo tiempo
2 | El equipo visitante
3 | Espacio compartido
4 | Superposición de tiempos
valo sonoro
artista sonorx y compositorx experimental, desarrollando trabajos principalmente en música para danza y audiovisuales. Actualmente investigando sobre la escucha y la intimidad, explorando en formato de documentales sonoros.
Ana Estrada Zuñiga
Artista sonora migrante que utiliza la noción de paisaje sonoro de manera expandida desde los inicios de su trabajo artístico (2021) Actualmente investiga la relación voz-escucha-cuerpa, por medio de una metodología autoetnográfica, que comprende la práctica como forma de investigar. Explora el acuerpamiento y la escucha afectiva con-hacia otras cuerpas feminizadas, desde el movimiento-danza y la escritura.
~
Producido por Ana Estrada Zuñiga y valo sonoro
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Mixed and mastered by ABOOMBONG in the basement at Pen & Mallet Studios.
“EROS Y TÁNATOS”: a recording for physically modeled piano and self-oscillator, both processed live. In composing this material, I’ve worked by inducing intermittent liminal sleep states, aiming to generate sustained feedback between music and sleep, or in other words, between my conscious and my musical subconscious.
Throughout the album, the clock ticks slowly in parallel with the music, under the vulnerability of liminal time. Meanwhile, the musical discourse traverses different compositional and improvisatory approaches, where the sound of the piano functions as a collective emotional memory that dialogues with electronics, like magnetic fields interfering with each other. This interaction questions the traditional hierarchical fiction between “main” and ornamental musical material.
The music contained in these pieces flows as an erotic act of life, an unconscious redeemer of the tearing caused by the inevitability of the disappearance of all we know.
Miguel Gil
(Madrid, España/Spain. Abril / April 2024)
In this work Miguel Gil navigates in sounds that come from diverse musical traditions, flowing in waters of diverse colors, guiding them, making them converge and immersing himself into them to interconnect spectral contents and dynamics. The color of the piano is expanded electronically and unfolds and converges again in a refined construction. Just as a material is transparent from the outset, the artist also presents elusive sound figures to the inevitable human mimetic need. In them, distortion at times seems to be an audible being, a séricule as Chion would say, indeterminate, novel, and at other times, a dense veil over a possible instrument played by a mysterious musician. Whatever the case, Gil dominates the structure, at times diachronic like a stroke of Chinese calligraphy and at other times spectrally orchestrated. At other times, the piano notes, in sensitive, tension-filled intervals, impressionistic if you will, can journey into delicately rough spaces through electronic iterations. A music that seems referential to various musical backgrounds, but at the same time timeless and of a richness elaborated from the subtle to the frank gesture thanks to the author’s extensive mastery of sound.
Alejandro Albornoz
PhD in Electroacoustic Music Composition, University of Sheffield.
(Valdivia, Chile. Abril / April 2024)
short sleep, a lot of HVAC and traffic, a bit of rain, hallway sounds, some snoring and rustling while away on work travel.
sony ICD-UX560 recorder placed on the windowsill of a 24th floor hotel room facing the industrial side of the city. soft noise wall overnight.
Please find a PDF containing details about the most enigmatic artists from the acid house scene in the downloaded file.
including:
Acid Aliance (Switzerland)
Raga Phlexy Rhythm (India)
Elektro Empire (Germany)
Acidific (France)
Blazer (Detroit)
Chakra Bass (Peru)
DJ FIJI (Cook Islands)
Sarah Eriksson (Sweden)
UC_225
Are you ready for some high energy pop infused punk music? Yeah?!? Of course… why wouldn’t you, right? Well, today is your lucky day because Louis Lingg and The Bombs have just dropped a tasty new EP called “Can You Hear The Uproar?”. Firing on all cylinders, the band rip through 3 brand new songs that are sure to become fan favorites. As an extra treat, they’ve included the instrumentals, too! So, hey… download it and enjoy.
Hey Louis Lingg and The Bombs… wow! A million thanks to everyone involved for releasing another great release here at blocSonic! Such infectious tunes!
Special thanks to Bandit Bandit Studio for the cover illustration!
Of course, thanks once again to you for downloading & listening. We always strive to deliver the music you’ll love. Please spread the word about blocSonic, if you enjoy what we do. Remember… everything we release is cool to share! Always keep the music moving… share it… blog it… podcast it! If you’re in radio… support independent music and broadcast it!
The most recent work by the restless Felipe Baradit offers us a delicious musical journey that opens with a brief ambient cut, an exercise that at this point seems almost an initiation ritual for any electronic work that is appreciated as such. The eleven songs that follow immerse us in a bath of fully enjoyable instrumental electro pop.
Baradit music usually transmits a certain positive energy, and this is no exception, as we are faced with a production that leaves us optimistic and pleased.
The sound palette is nourished by sophisticated analog keyboards, which gives the album traits of timelessness, as exemplified by the cut that gives its name to this musical delivery.
Within the first half of the album, the tandem formed by the dark Classic Machine Beats and the brilliant Tomita Cat Beats stand out, which elegantly evokes the legacy of Aphex Twin.
Baradit is a producer who knows, explores and exploits the privileges that life on the coastal edge of the Valparaíso region can offer and as can be deduced from titles such as Art in the Landscape, the 47 minutes of “South Pacific Waves” function as an enthusiastic love letter to those places.
Javier Moraga.
Composition, Recording, Mastering and Art by Felipe Baradit Stevenson. Concón 2024
On this album you can hear: Korg Monologue, Volca FM2, Volca Keys, Volca Drum, Roland TR6S, GS Apollo mini, Arturia V Collection 9.
Chronon Zone 24 is based on new master with improved mix and extended closing section (adding the 4 seconds which were obviously missing). The rest is completely new music.
Opaque Universe video can be seen on youtube: youtu.be/lEmJQ7AFN1g
The Necrophile Hummingbird Netlabel presents Tian Keng by Jeff Sampson & Ed End.
« Cosmic Ambient Music for Human Music Lovers »
It seems that this year there will only be one release per quarter on the netlabel. Listening to this album, you might think it’s due to a desire to achieve a certain level of refinement. This is a misconception; we did not seek to direct it towards any particular form, but rather explored its essence as the tracks developed around the title track. We did our best to listen to what was being created. Listening is a balance between flexibility and stability. Of course, our common taste for subtlety, which goes hand in hand with a certain sensitivity, has left its mark, but the intensity inherent in passion has also found its way. If its final form is more a result of its essence, it is necessary to understand that reality is more subtle, as is often the case when questioning the predominance of a projective mode over a perceptual mode or vice versa; the answer often lies in their interaction. That is why, even though it resembles the genre of ambient or dark ambient music, it is much more than that. Regardless of the quality of what is defined, it will always be only a tiny part of the undefined. Instrumental music has a universal reach because it welcomes the dreams of everyone. It resonates with our emotions without them being imprisoned by the staging of song lyrics.
Just as a sharp mind can uncover the unsaid in a sentence, a trained ear can perceive what lies beyond the surface of music.
We can play with the link between the visual and the audio to better understand the meaning of this music. Moreover, the visual of Awakening Ritual, by moving away from the ritual to focus on perception, refers to the incessant flow that pulls the sleeper out of their torpor. And it also refers to the incessant flow that plunges the sleeper into their torpor. It is undoubtedly a quantum state that can only be resolved by stepping out from behind the screen.
This is the extension of my escape from social networks since January 2024. The enslavement to the continuous flow of the news feed seems to me to be a perfect example of mystification. At most, some people fish for clickbait traps that they will share again. The content is terribly secondary behind the engagement rate. The ‘like’ has the merit of giving importance to both the giver and the receiver.
It wouldn’t bother me if it only concerned culture, but amidst it are delivered the very real horrors of our world, including massacres and catastrophes, all the news that serves no purpose other than as a pretext for the opinion wars in which players are summoned to participate.
But to ask for didactics, for these data to make sense, instead of serving to keep internet users captive and to brainwash them day after day, seems to be asking too much. It is very reminiscent of creation in large cities when cultural offerings are so abundant that we cannot even attend all the events of the week, and they are forgotten the following week. How can one create under these conditions without participating in cultural hyper-consumerism?
Why leave the comfort of routine to take the time to think for oneself and make one’s own choices?
Why cut off the flow of the netlabel, when on Bandcamp profiles the sessions are accumulating?
Because aware of the flood that awaits us with the arrival of Artificial Intelligence, to which sooner or later the listener will not be able to resist, like the series eater condemned to see several new ones appear every time one ends. The model of both art and entertainment will not be able to maintain its current form. It reminds me of the beginnings of shareware, when we could try out all the computer programs on the planet.
How to develop cultural intelligence? Just as with food, we try to avoid certain addictions like sugar and fat, we try to find a diversified and balanced diet, it is up to those who cultivate themselves to find out how to do it. I believe there is a name for those who do this: aesthetes. Only it would be necessary to abandon the pejorative sense of the word to return to its root aisthêtês, the one who feels. And perhaps replace the dogmatic beauty often associated with this word with something more open that encompasses everything that evokes emotions within us, why not the marvel ?
It is not new, since entertainment has supplanted culture; we are immersed in ‘junk food’. Excessive quantity, negligible quality, overemphasis on packaging and triumphant marketing. On one side. And on the other side, unprecedented access to all ‘craftsmanship’ on Bandcamp has absorbed much of the free music and independent music and offers a great diversity, often of quality.
Yet one must not misunderstand; when I speak of quality, it has nothing to do with technicality, aesthetics, or any kind of ranking like a top 50 of economic value or a top of artistic value by a music critic. But once again, returning to the analogy of food, what nourishes is authentic music that stems from life experience, not the artificial one grown in the hydroponic greenhouses of the entertainment industry.
It is therefore an invitation to a common reflection to discover how music can still exist in this frenetic society of perpetual saturation.
What place remains for singular music, which does not seek to appear and prefers to be imperfect, demanding to the point of often asking you to challenge your certainties?
Without financial value, society seeks to deny it. Yet it survives in the margins for those who try to live differently. It exists like no other, even in our own discographies. Authentic. Spontaneous. Anachronistic. Primitive. Unclassifiable. It is the meeting of three universes, the convergence of our universes with your universe. A cosmic experience towards the wonders of the intelligible world at the click of a button.
Dedicated to those who refuse to live in illusion.
