The necrophile hummingbird presents the third issue of Studio112 staggering “Radioactive Trilogy”.
Welcome to the depths of sound science experiments. Sometimes we would like to be able to glide into a parallel universe, music could be this place, to escape this universe where all the living are stabbed to death by industries, all victims of the capitalism’s insanity. And especially the humans killed by industrial junk food, air pollution, the consequences of the climate crisis and others horror. It is the slow genocide of our loves, of our friends, of our children. Will we let this system destroy life on earth any longer? Adjust sunglasses and cry, or struggle to end this race for false promises, there is no happiness in consumerism!
Studio112 is the main project of Alain Grille also electric guitarist and musicmaker in rADio eNd / Multiple Personality 3 / PIRATE Tapes / EVA Vertigo / TKno BeurK / MK-Ultra
The two previous issues Radioactive Woman and Radio Play will be publish next on the netlabel… time is a reverted process.
The previous “Alien Trilogy” is still here
https://archive.org/details/studio_112_Adorateurs_Du_Culte_Extraterrestre
https://archive.org/details/Music_for_Alien_Parties_Studio112
https://archive.org/details/A_Piece_Of_Sunlight_And_Other_Stories_Studio112
Illustration by Alain Grille
AUDIOSMOGG
Home Office Ambience
“When almost every other aspect of human society is suppressed, production must continue. The boundary between private and work life is sometimes non-existent and the dream is fulfilled. Every lockdown consists of moments of despair, hope and obligatory cover songs. It is what it is.”
Recording, mix, most of the sounds and cover photo by Márty.
Track 2 contains various samples from covid-era documents and news and intro from the 1968 WKBW Adaptation of “War of the Worlds” by Orson Welles.
Mastered by Daremes.
Recorded with significant pauses between spring and autumn 2020 at home, office and very few outdoor locations.
Be positive and stay negative.
credits
released November 24, 2020
COTA018 | “Not Illusion” by Soreboi
http://cota303.net/release/not-illusion/18
#idm #electronica #glitch #soreboi #cota303
I was interested in the idea that dreams can be controlled. I began to learn to provoke them and immerse myself in some kind of pictures that carried me further and further from reality. What was not an illusion along the way was preserved in the form of audio tracks.
https://t.me/cota303_records
released December 4, 2020
Music by Lone Cosmonaut
Mastered by Dental Drill at The Patisserie
Cover picture obtained with the assistance of Lone Cosmonaut
Design by Small Reel Films and DrillART
It’s a sad day for Caveiras and Arabia Saudade: no more the best Portuguese speakers in the lepers produtcions roster. Let’s enjoy one of the early works of Irmão Victor when it was not the star of today.
“I recorded Cronópio? during the year of 2017. It was when I decided to leave university in the city of Porto Alegre and to move to the Island of Florianópolis, to focus on my compositions and recordings. The álbum is in some way about the doubts I had in that time about my live and career choices. I recorded It while moving all the time. It was recorded in Passo Fundo – my hometown -, Porto Alegre, and Florianópolis, in different family and friends houses, and 3 or 4 songs where recorded in Dom Rodolfo Studio. A lot of the instruments were borrowed also, as I was always moving at the time – the situation is not that different now actually… It was released 3rd january 2018.”
More Irmão:
irmaovictor-popsup.bandcamp.com/album/irma-o-victor
popsuperette.bandcamp.com/album/maripos-rio
irmovictor.bandcamp.com
credits
released December 4, 2020
The necrophile hummingbird netlabel and HAMFUGGI Records present Sound Therapy by rADio eNd, an experiment around the musicology concept.
“Healing Music for Normal People”.
Perhaps normal people would not listen it, but if they do it, this surely would have a psychoactive effect to help them to become open minded.
Indeed it seems that is the storytelling of my own mutation.
You may notice that the lyrics are very importants in the other rADio eNd albums. For this one we chose to use mostly the voice without any words.
Because the emotions don’t need words to be express. Further more conceptual in “Introspection Prologue” it is the absence of voice which is meaningful.
Despite this voluntary constraint the last track host a little automatic poem channeled at the end of the process. The whole thing being a kind of sound therapy study.
Album credits : Farabi Toshiyuki Suzuki & Ed End
More information about Farabi Toshiyuki Suzuki
https://hamfugi.wixsite.com/hamfuggirecords/farabi-toshiyuki-suzuki
More information about Ed End
https://panoramamix.tumblr.com/post/623102835945537536/ed-ends-retrospective-a-free-to-share
More information about rADio eNd
http://www.horsnorme.org/rADio_eNd/
One extra track extract of “Electricity” is on Shorty Music “My City” compilation https://vpoiskahdodofriends.bandcamp.com/track/radio-end-peru-the-electricity-fairy
Here is Introspection poem (notice that the meaning is little bit change in the english translation)
No matter how much I drank from all sources,
I was always thirsty.
Until something breaks.
Until a fissure forms,
that a crack snakes,
let a drop fall,
then another,
that they become a ditch,
then that the stream,
forms a puddle.
Become torrent,
gushing out of me,
then it becomes a lake.
I am sitting in the middle.
And I feel as soon as someone walks on the shore,
and I see the sky reflected there,
and the sky is the reflection of the earth.
And I feel, I sense, I anticipate.
And I feel, I sense, I know.
And I feel, I sense, I keep the track.
J’ai eu beau boire à toutes les sources,
j’avais toujours soif,
jusqu’à ce que quelque chose se brise.
Jusqu’à ce qu’il se forme une fissure,
que serpente une lézarde,
qu’une goutte tombe,
puis une autre,
qu’elles deviennent rigole
puis que le mince filet,
forme une flaque.
Devenues torrent,
jaillissant hors de moi,
qu’elle devienne un lac.
Je suis assis au milieu.
Et je sens dès que que quelqu’un marche sur le rivage,
et je vois le ciel s’y refléter,
et le ciel est le reflet de la terre.
Et je sens, je ressens, je pressens.
Et je sens, je ressens, je pressens.
Et je sens, je ressens, je pressens.
More lyrics from rADio eNd here
https://www.wattpad.com/story/187938713-translation-of-french-lyrics-from-anachronic
Last but not least the material of this album was first recorded to create an album of A Symbiotic Experience. So there is also a bonus video with an extra track done by Gabriel Pereira Spurr. The track will be available on Fieldmice recordings ESVB Vol 3
https://radiomulot.bandcamp.com/
Bonus Video Art clips
Abstract Introspection
https://youtu.be/JzQqlqUkwRY
The electricity fairy
https://www.bitchute.com/video/EVyPbYO2ll8d/
An investigation – abstract
I’ve always been fascinated by watching and listening to the way we as human beings react to finding ourselves placed into different environments.
Specifically, I am intrigued by the way we manage the challenge of being in a space which is not created to be the stage where we can perform our personality and actively interact with the objects and the people who surround us, as a museum is.
Being in a museum limits our personality exposure, at the same time it engages our senses and sensitivity.
Is such context creating a push towards the outside in a context which makes such expression difficult to be exposed?
A modern art museum visit is able to stress such experience way further, visitors can sometimes be pushed to face languages and contents which run on the very border of comprehension and social acceptability.
As human beings we interact with habitats through different ways of using our physicality; I think that more or less consciously and intentionally our presence affirms itself through the sounds we make.
My first audio recording of my visit through a modern art exposition happened when visiting the Serpentine Galleries in London, a funny feeling of displacement imbued me because of sounds coming from both sides of the exposition internal entrance.
After visiting the Serpentine Galleries I visited the Tate Modern.
I recorded my walk through the different rooms, trying to notice the relation between the space, the exhibited works of art and the way people were managing their presence: imposing it or trying to be as transparent as possible.
While walking through the expositions’ rooms I was caught by another delicate emotional resonance.
A new element was coming into play, directly connected to a more emotional layer.
Temporal suspension and physical floating were somehow represented by the experience of walking through the artworks.
The peak was reached when I entered the room where the video work by Gülsün Karamustafa “Memory of a Square” was playing.
Something had happened.
By entering that room I understood what I would have done with the recordings I was collecting.
Back to my studio I recorded a musical dialogue over the environmental noise of walking through art spaces, art places.
A sort of counterpoint in play between my physicality and the sonic trace of the space.
I’ve been visiting and recording the space of modern art museums and expositions, such as: Guggenheim and MoMA NYC, MoMA SF, MOCA LA, MCA in Chicago, Modern art museum in Philadelphia, Mudam in Luxembourg, Stedelijk in Amdsterdam, Lenbachhaus in Munich, Serpentine and Tate Modern in London and Hangar Bicocca in Milan.
Luca Formentini:
Original recordings of the museums (visited in 2016 and 2017), all instruments, recording, mixing and mastering.
Concept and production.
Mastering consultancy by Stefano Castagna
This audio work is released under Creative Commons (BY-NC-SA) and free digital distribution via Laverna music label www.laverna.net
Cover: original painting by Patrizio Vanessi, 2019
THE INDIESCREET CHARM OF THE LEAP INTO THE VOID
(& THE CONSEQUENT TUMBLE)
Each work by the musician and composer Ricardo Tapia (Santiago RM, 1991) constitutes an experience in itself. Not only because of the multiple spaces and aliases he engages, but also through an almost permanent impossibility of anticipating the result. Nevertheless, a panoramic observation of his catalog allows us to distinguish certain inclinations or tendencies, better understood as an emphasis on a certain spectrum or stereo channel, just as an uncalibrated turntable would do in playing some record. This inclination enables a particular listening experience, arranged from that obscuration mentioned by Les Luthiers in “La bossa nostra” (1973)[1].
Like any composer born at the end of the 20th century, Ricardo carries a particular disposition to encompass a constantly expanding sonic environment – that is, increasingly saturated with information, storage technologies and timbres / colors. This can make it difficult to access the totality or corpus of the trajectory to be covered from what he draws or announces at the outset. On the contrary, we instead find ourselves with scraps, bits, zapping and clippings that intersect, interface[2] and metamorphose into the unspeakable, devoid of all control, prompting us to «turn off the mind, relax and float downstream» or to leave «running for our lives, if we can”[3].
In this sense, his complete work is an offering analogous to the aesthetics of the New York radio station WFMU, which does not seek to keep the listener captive, but to test the listener to the point of exasperation, to the point of turning off the radio or changing stations. In the case of “Veneno Libre” (Free Venom), we find a plunderphonic approach that is not afraid to approach from the Latin American perspective those areas of exasperation present in works like those of the concept’s originator (the Canadian John Oswald[4]) or in works by visual artists such as Britain’s Vicki Bennett (aka People Like Us).
The material taken can be manipulated or not, in an act of not doing (laissez-faire) usually punished by compositional schools that castigate the pleasure of “doing nothing”, as laziness that must be eradicated like the plague. The routes that originate these pieces constitute trial and error in its purest state, an approach also punished by these and other schools. In this transit, the tumbles do not cease to be and must be felt, with the greatest force, surpassing those alluded to by Carlos Cabezas Rocuant in “El frío misterio (The Cold Mystery)” (1987), becoming “honorable scars of war”, as is sung in one of the first stereophonic records recorded in Chile[5].
Thus, jumping into the void with the vocation of a stunt double, channeling as much reference as he is capable of amplifying, erasing stylistic boundaries with his computer like a child armed with pencils and university notebooks – and, incidentally, throwing the whole world on top, in -voluntarily-, Ricardo Tapia, in his Seiten Wall character, presents himself to us as a local counterpart of the beloved Rubén Albarrán, as a counter-mirror to the Chilean-German Uwe Schmidt, pushing as far as he can the always correct limits of the local sonic musical scene.
[1] See https://lesluthiers.org/verobra.php?ID=42 and https://youtu.be/RsoeDiu8veg. Accessed October 25, 2020.
[2] See the interview with Luis Alberto Spinetta (1950-2012) conducted in Santiago RM by Nelson Peña González in 1986 (minute 22 and forward): https://archive.org/details/lasintrvws/. Accessed October 25, 2020.
[3] Excerpts from “Tomorrow Never Knows” (1966) and “Run For Your Life” (1965), respectively.
[4] See his essay “Plunderphonics, or Audio Piracy as a Compositional Prerogative” (1985) in http://plunderphonics.com/xhtml/xplunder.html. Accessed October 25, 2020.
[5] Excerpts from “Los viejos estandartes”, (1966), track B1 from the Los Cuatro Cuartos album ¡Al “7° De Línea”!. See https://www.discogs.com/Los-Cuatro-Cuartos-Al-7-De-L%C3%ADnea/release/4795083. Accessed October 25, 2020.
Gerardo Figueroa Rodríguez
(Maipú, Chile. 25 octubre 2020, horas antes de votar #apruebocc / October 25 2020, hours before voting #apruebocc)
Listening Rose Bed On The Moon is like watching ghosts of Tuxedomoon waving goodbye to Genesis Breyer P-Orridge… in a lofi parralel universe.
Unvolontary full of our influences flavour with our own very improvised recipes,
well, pell out nostalgia skin to reach the delicious acid core.
Ingredients : pink flamingos, white rabbit, blue rosebud, in the mood for love, man on the moon, pink narcissus, trip/reset…
About the rapture of My Wagonnet Eretique Singer this is was not a joke !
But since that time he’s gone. For a better chonologic understanding it’s important to considere that this album is a kind of prequel, it has been done before Cosmic Hobos Cult.
https://archive.org/details/PIRATE_Tapes_Cosmic_Hobos_Cult
More info about PIRATE Tapes http://www.horsnorme.org/PIRATE_Tapes/
Paint by Alain Grille
Video Art Clip here (adults only)
Pink Narcissus Cinemix
https://www.youtube.com/watch?v=CGn8sSjfNXU
Recorded the 9th february 2020 at Cave Haven in Foucherans (france).
Alain Grille Electric Guitar & Prepared Sounds & FX.
https://studio112.bandcamp.com
Krackers Voices
https://soundcloud.com/doktorkrackers
Ed End Kaossilator & Turntable & Clarinet & FX
https://ello.co/ed_end
released November 27, 2020
…………………………
Música y letra: Diego Lorenzini
Arreglos: Diego Lorenzini y Stefano Ortisi
Diego Lorenzini: Voz, guitarra, teclados, batería y percusiones.
Stefano Ortisi: Saxo soprano.
Grabado y mezclado por Diego Lorenzini
Masterizado por Arturo Zegers en Estudio 050
Arte de portada: Diego Lorenzini
…………………………
Music and lyrics: Diego Lorenzini
Musical arrangements: Diego Lorenzini and Stefano Ortisi
Diego Lorenzini: Vocals, guitar, keyboards, drums and percussions.
Stefano Ortisi: Soprano saxophone.
Recorded and mixed by Diego Lorenzini
Mastered by Arturo Zegers in Estudio 050
Cover artwork: Diego Lorenzini
Bedebah atau disingkat BDBH, adalah proyek bebunyian yang dioperasikan oleh Tri Wahyuliyanto. Proyek ini sebenarnya sudah eksis di tahun 2015. Perlu waktu bertahun tahun meyakinkan proyek ini untuk akhirnya berani merilis karyanya.
Konsep awalnya adalah mencoba memadukan teks-teks jawa kuno seperti Jangka Jayabaya, Serat Centhini dengan musik noise. Menurut Tri Wahyulianto, Bedebah terbentuk karena banyaknya anak muda yang apatis dengan literasi Jawa, walaupun sebenarnya adalah otokritik. Padahal, banyak pelajaran yang tersurat maupun tersirat dari literatur-literatur Jawa ini.
Bunyi yang kasar dan cenderung lo fi dikarenakan dalam proses perekaman materi yang dilakukan secara sederhana, yakni dengan menggunakan mini voice recorder, menjadikan proyek ini menarik, karena dalam pengarsipan bunyi bunyian, bisa dilakukan dengan menggunakan peralatan yang terbatas.
Creado durante el periodo revuelta-pandemia, el EP fue producido en un taller de Santiago Centro, lugar en el que se puede percibir el paisaje sonoro compuesto por lo que emerge de las protestas y de la represión, energía que se sostiene dentro de una atmósfera que no logra vivir en silencio. Este EP habla sobre la naturaleza intrincada de los sistemas opresivos, entre el cuerpo, lo sonoro y la subjetividad hiper tecnologizada, sobre los márgenes que se subvierten durante el carnaval-protesta y sobre la estructura precaria y angustiante que soporta esta sociedad, la que se devela en esta época.
TRACKLIST
01 | Manifiesto
02 | Disciplina
03 | Biométrica
04 | Drogadicto, homosexual, traficante (feat. Aji Zú)
05 | Discipline (VGV Remix)
Desde el arte sonoro y la producción lo-fi, Gerardo Cruces aka. Rvsgr ha realizado performance e instalaciones sonoras audioreactivas en galerías de arte y museos, conformando piezas que dialogan con el minimal, drone y ambient, descontextualizando la música electrónica como operación artística. Como Dj, en sus sets se inclina hacia la selección de música electrónica latinoamericana de club, experimental y decolonial, para destacar la importancia de los productores locales como respuesta a la hegemonía europea en ese campo.
Producción y mezcla por Rvsgr
Máster por Imaabs, estudio Modos
Arte de portada por Biophilia Estudio
Diseño de portada por Ian Patrick
Fotografía promocional
Dirección de arte por Gustavo Valdés
Fotografía por Jonathan Lazo
escucha/ descarga/ colabora
Bandcamp | https://archivoveintidos.bandcamp.com/
Instagram | https://www.instagram.com/archivo_veintidos/
The Necrophile Hummingbird presents : a dream.
This album is such a joy because there has been no sampling album release on the netlabel since Size to Seizure 3 years ago. Mostly because the analogic side is growing out of control… and perhaps because turntablism is more fitting to that. Beyond the necessary struggle to an equal access to sample for everyone doing free music releases and not only the artists signed with major record companies, coming first is the right to use anything released in the public sphere as a right to answer with plunderphonics. The sampling art is more related to cut-up techniques and philosophy. It’s a way to re-interprete one’s reality. The same way that dreams are remixes of our waking lives. Perhaps this Snapping Back In is more a kind of art therapy to exorcise a nightmare. Whatever…
Here is Konejo presentation :
Recorded at home between June 11th and August 17th, 2020. About 150 sample sources were used in the making on this album (most of them from beloved movies from the 60s/70s), plus some cheap online apps and a Maschine MK2 for live beats and basslines. I hope you’ll find your own meaning in this deeply personal and haunted copied/pasted storytelling so it’ll have been worth the stealing.
Same as every previous release, this was already kind of a tribute to Ennio Morricone before the Maestro passed away. “Snapping Back In” is dedicated to him, like most music from the 21th century should be. RIP.
Artwork by B-Maltais & Konejo (first EP together coming soon).
Kindly and brilliantly mastered by Anatoly ‘Tokee’ Grinberg
Thanks to La Loupe Satanique for unknowingly helping me get my hand on most of the sampled sources.
