A few months after the lovely P8 phase 3, our regular contributor Doedelzak comes back with another longform composition using an hybrid methodology and taking inspiration from various musical aesthetics. Ilpyd is subtle and catchy, hypnotic and surprising in the same time.
Notes by the artist
“Ilypd was created partially through algorithms, with a slow and alsmot imperceptible evolution. Though, there is a big change between the beginning and the end.
Although there are small internal changes, the evolution of the global structure is strictly continuous. The perception of changes (and notably the perception of acceleration) may appear intermittently as if on particular moments the listener’s mind was suddenly creating the image of a new step being crossed, but ilypd is perpetually changing.
Ilypd can be listened in one go, or on the contraty intermittently. It is not necessary to hear it from the beginning, nor until the end.
Inspiration for this work came from traditional African music, Gamelan, and Steve Reich. This is a musical material more than a composition – and I simply wanted to make this material beautiful”
1. Hopelessness
2. Repression
Hey kids… great news… today we’ve got another couple dope A.Moss tracks for you to bump! Hopefully, along with one more scheduled fortyFive, they’ll hold you over a little longer until the July 19th release of his incredible, forthcoming EP “Gravel King”. Get ready!
Once again Moss… thank you, sir! It’s dope to get these joints out to bloc listeners. Wait until they hear Gravel King!
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!
“Melting Clinamen” was born from a small deviation from the methodology used by Failure Circle in this serie of compositions Frozen Clinamen that normally uses only sounds recorded while no human intervention is applied to the used set-up ( no-input mixer most of the time). The creation of the first track of this album followed the same rules – except that it used a recording that features some little changes created manually (this sound can be heard between 3min11 et 12m06). This is also the first release in which Failure Circle doesn’t use a no-input mixer but a semi-modular analog synthesizer, the Neutron by Behringer, with no effects except its built-in ones. Another notable difference with the past volumes lies into the way the material has been edited & mixed. The other track of the album (Frozen Clinamen #2M) follows more strictly the Frozen Clinamen methodology, but all sounds were also created with synthesizer. Thus, Melting Clinamen is and isn’t part of the Frozen Clinamen serie.
Methodology of the Frozen Clinamen serie
step (1) Tweaking the set-up until it produces some seemingly autonomously self-sustained sound sequences.
step (2) Stopping tweaking and recording for at least 20 minutes without any intervention on the set-up.
step (3) Repeating steps (1) & (2) several times.
step (4) Using the generated sounds as only source in a posteriori compositions. The only variations used while mixing are equalization, panoramics and volume levels.
step (5) play it at low/high volume with open/closed window while complety asleep / fully conscious.
“The longing for (inner) silence leads the/our being(s) to take the(ir) sound to the outside, exposing it/them as a natural/peculiar/idiosyncratic happening.
This sound is also influenced by collective unconscious – i. e. a global < > local society.
What are we to find in this transcendental process?: all/nothing, a receiver/Pandora’s box, feeding back this inner space which happens to be mute(d).
What are we to do if Monserrat Bustamante Laferte came out of the blue? Our amazement would allow this silence to expand in space-time, procrastinating an explanation.
All these processes/experiences/longings turn this album into a snapshot, a here-and-now portrait, a possible chart for adventurers, uncertain for our recent past, stamping our existence until the end of silence.
For this is no comfort zone approach: neither pop nor tape music nor free improv, but all of them instead, a García Canclini-like hybrid, pointing out an emerging possibility for our countries.
Who are these people?
This makes it even more interesting: deeply rooted in crossover practices, GMSs play cumbia on Monday, jazz on Tuesday, and experimentalia on Wednesday.
Martín/Benavides (M/B), one of the most outstanding musicians nowadays, accompanying Chilean acts such as Francisca Valenzuela, Chancho en Piedra, Los Tres, and many others. He is also a great performer in an extremely complex and mesmerizing instrument, such as the theremin.
Gerardo/Figueroa (G/F), composer and musicologist, participant in several Chilean underground scenes and venues from early on: radio shows, such as Musiclaje, and Pueblo Nuevo en Conexión Social; producer of singer-songwriter Camila Moreno’s early recordings. A sui géneris ol’ skool, chatting freewheelingly and unhamperedly with newer generations.
Seiten/Wall (S/W), young composer prone to challenging audiences with unconventional ideas and practices. representing the twilight zone where all sounds and formats meet. At present, he is also a board member of Comunidad Electroacústica de Chile (CECH).”
Víctor Tapia Herrera
(Santiago, Chile. Junio/June 2019)
Composed of modulated quantum capsules, this album analyzes the principle of uncertainty, or, more correctly, the principle of indeterminacy of Heisenberg, under the meta-sonic influence of Berthelot’s theorem on the curvature of imperceptible spaces.
In quantum mechanics, the precise value of a particle’s physical parameters, such as its position or velocity, is not determined until it is measured. A quantum object could therefore be “in several places at the same time” (this is what my neighbor Schrödinger says about his cat, but I think he is using too much wine from the Loire Valley).
But this paradox is only apparent because classical scalar magnitudes are insufficient to describe quantum reality.
We then use the sound wave functions of Berthelot’s theorem, modular vectors that demonstrate that the uncertainty principle invariably leads to imperceptible spaces of infinite dimensions.
If the principle of indeterminacy of Heisenberg is a quantum reality, Berthelot’s theorem is not one.
Only the meta-sound analysis of this album remains, consisting mainly of analogically tangible and numerically virtual electronic structures.
Listening with good quality non-quantum headphones is recommended.
Attention! illocanblo (11,12,13) and Potential DifferenSe (14) participated in several jams. Thank you.
Laura Cavan is a french visual artist who also works with sounds, and especially natural ones like in her first album Unsuspicious. This project started in 2016 when Laura Cavan was studying arts in Marseille and created an installation using pieces of wood found in the area of her school (which is located close to a forest). The insertion of contact microphones in these pieces of woods allowed to transmit small vibrations emitted by its inhabitants : termites. The resulting sounds were sent in real time through headphones for the installation’s visitors.
Early 2019, some of these sounds have been selected, edited and mixed by Kecap Tuyul in for the realisation of this album. Different, light treatments (mostly equalization) have been applied to the orginal tracks, without trying to hide the recorder’s hiss nor other unwanted sounds, but rather with the aim of letting appear all aspects of the recordings in an organic way. The results don’t pretend to give an accurate reproduction of termit’s sound but should rather be considered like sound pieces where the recording technology is a part of the material and not a transparent medium. As a sequel of this release, Kecap Tuyul is currently working on tracks mixing electronic sounds with Laura Cavan’s recordings.
The artwork is made of a selection of Laura Cavan’s drawings of these wood pieces which that were created for her installation.
Toxic Chicken’s Noodle Soup.
free download, fun -hot and spicy, electronic, experimental, weird music!
Back in early 2010 a Charlotte, North Carolina based label Black Flag Records was kinda blowing up with the release of a DJ Green Lantern presented mixtape. That compilation featured joints from their talented roster of artists. Although there was lots of fire on that comp, one artist stood out to me with his unique and on point delivery. That artist, A.Moss went on to release a solo album and a couple features on other releases. After that… crickets. Not just from him… from the label too. What seemed to be a promising label, proved to be short lived.
Then at some point around 2014, I found A.Moss’ Soundcloud page and saw that he had posted something new! The new song was incredible… I was psyched to see that he wasn’t done delivering music. Then… crickets… for little longer. Anyway… fast-forward to sometime the following year or so when I tweeted to him an open offer to release music at blocSonic. Fast-forward a few more months… he tweeted he was interested in talking about it… and now here we are!
Today we kick off the lead up to his first EP, “Gravel King”, which is set to drop on July 19th. His first new release since 2010! Leading up to the release of the EP… we’ll be dropping three fortyFives featuring previously unreleased gems from his archives and joints he released via soundcloud. This one features “Carolina Raised”, originally released as “Who killed it” on Soundcloud and “MB”, some fire from the archives. So download it… bump it loud… offend some neighbors… but most of all… enjoy.
Hey Moss… it’s great to finally have you on board here at blocSonic! Thank you, sir. Can’t wait to release Gravel King! Welcome to the blocSonic fam.
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!
A.d.du.nord is a musician who doesn’t work in a particular style but is guided by ideas of the moment without feeling compelled to maintain a single sound aesthetic. His first releases have been a few minimalist drone tracks published in 2018. He now aims to create some kind of “post-music” that is “strange and dysfunctional”. In short, a.d.du.nord is a project for free experimentation, where everything is possible.
Sana Grano is some kind of mixtape that gathers ten one minute long improvised sequences created with granular synthesis tools. The choice of samples was purely intuitive, and the results are partially aleatory. But if you listen between the lines, you may find reminscences of dub and afrobeat.
a musical journey along Zenapolæ’s timeline celebrating its 20th anniversary
Nik, aka 4T Thieves, from Finland, has crafted an awesome 4-deck live remix of 23 tracks taken from Zenapolæ’s catalog, in roughly chronological order. this 40-minute continuous remix track beautifully reflects the label’s development over time, at the same time creating its own, unique atmosphere. from our electronic beginnings, through the dark ambient phase, into its present more experimental orientation.
The work we are presenting today is part of a process of research, creation and listening carried out by a team of researchers, collaborators, and auditors, under the direction of the faculty of Psychology at the Universidad Diego Portales. An initiative that involved numerous people, including those who ultimately worked on the final design of the written document, its translation into English, and on the features that extend this process beyond the text.
This represents an interdisciplinary work, published under a Creative Commons license, whose hybrid imprint includes a book, a recording, and a web presence. Three channels of action and circulation mutually nourish one other. A printed book, also in PDF digital version. A CD featuring the musical creation entitled “Lo Inquietante” (The Uncanny) by Federico Schumacher, who also serves as a researcher and editor of the book. And, finally, a playlist of acousmatic musical pieces by the same author, uploaded to the Pueblo Nuevo website, where they can be visited in a manner that is personalized and free. Hence, there are three ways in which the reader, listener and navigator are summoned jointly to read, listen and participate, either by introducing themselves to the theoretical discussions, by listening to the accompanying musical creation, or by immersing themselves freely in the playlist that extends the format of the book to unprecedented reconfigurations yet to come…
Every single sound on my new album was made with online instruments that you play in internet browsers.
There’s a tape for 10 bucks and a download you can have for free.
The download comes with a list of links to all the websites I used to make the sounds.
