Colin Webster: Tenor and baritone saxophones
Graham Dunning: Turntable, mixer and dubplates.
Recorded on 12th January and 15th August 2012 in a storage facility in South London.
All tracks recorded live. No overdubs or cuts.
Download includes PDF brochure of notes and images.
Currently, he is experimenting with the creation of his own software, working on patches for Native Instrument, his own “wavetables” and sound synthesis with complex structures in the style of Monolake or Richard Devine, who are his greatest influences. His sound is reminiscent of that of Parsons. Martin´s compositional ideas position him within the current of “Psychedelic Industrial Ambient”.
MRTN-CSTR is his alias for a disc constructed with only his own software: “Synthetic Instrument”.
The compilation includes Headshotboyz feat. Dalma Berger, Kelpe, Mute Speaker, FVLCRVM, Oddlogic, Shatter Hands, Yuki Sato, Sina., Fallgrapp, The Black Arrow., sosiego/金, Jimmy Pé, KONCH!S, Stratasoul, Nolan House, Broc Berrigan, GLGN, Je$u$ and Jetsam.
Thank you all for getting involved, whether you are on the compilation or not, and making this possible.
Tracklisting:
01. Mr.Dee – Between (Original Mix) (6:20)
02. Mr.Dee – Between (Sergey PX Remix) (5:05)
03. Mr.Dee – Between (Olympic Smoker Remix) (5:18)
04. Mr.Dee – Between (Flint LSD25 Jungle Effects Remix) (9:21)
05. Mr.Dee – Between (Fcode Remix) (5:20)
06. Mr.Dee – Between (D-Remix) (7:23)
07. Mr.Dee – Between (Schockierender Remix) (6:30)
1:11:11 [0kbps055]
. 1.11.11
MAV [0kbps] Records, January 2014
Record by Nekrasov Emptypate
Masterimg by Anton Pavlov
Relentless is an experimental sound creation project based on saxophone. Coming from free improvisation, their current proposals are focused on different practices of sound art. Specificities of the performance space, exploration of their musical instruments and ways to relate with the public are the foundations of their work. For the past few years, they have been looking into the relations between dancing, video and improvised music. Relentless is, in a way, the sound layer that settled through these investigations. Long tones, circular breathing, multiphonics, objects, are some recurring elements always renewed in a dialog between an idiom that settles through practice, and the necessity to improvise to create a music that takes into account each sound and each instant in its composition.
Artist : The Darkening Machine
Title : Progression In The Haze
Catalog # : TXR066
Duration : 36:18
Date of release : January 29, 2014
Genres : dark ambient, drone, noise
Format : digital (FLAC and MP3)
Tracklisting:
01. MrEH – Isys (4:36)
02. MrEH – Face-A-Face (5:35)
03. MrEH – Coeurisme (6:01)
Vino Balicio [0kbps054]
01 – Quello che volevo sentire
02 – I king del burger king
03 – Post-punk post tutto
04 – Balice, il tuo furby ha problemi
05 – Quella roba che puzza di mangime per pesci
06 – Nessuno mi risponde a Milano a parte Teo
07 – Al binario
08 – Cipster, noccioline ed altro
gianpaolo fausto, marta blu, matteo donà, stefano balice, tommaso busatto: kazoo, bell, electronic, uneasiness guitar, mobile telephone, car, various percussion, chips and nuts
recorded live in turin and milan, 01-01-2014, 02-01-2014, 03-01-2014
Rete del disagio (the uneasiness network) is not a band, and has no stable line-up.
Rete del disagio was born when followers and supporters from different web communities as upupachan, vaporized art movement, deep lake records and mav [0kbps] records, start to physically meet to bring the noise from the net to the streets.
MAV [0kbps] Records, January 2013
“The Prejudices Of History”
Or as I remain pleased with part 1, “Malapert and Erratic part 2″
Over the years I have become increasingly aware of what I do as a musician and the need to at least appear to conform to some ideal whether real or imaginary. This may be an attempt to answer the question: What epitaph will adorn my headstone?
It has been documented that I play the saxophone, and indeed this has been the case for around 30 years. The problem comes with the definition of saxophonist. For me picking up a saxophone, alto initially, was required in an effort to undo the learning that I had acquired over several years of classical guitar playing. The guitar still has the feeling of being someone else’s territory and I could not see myself developing in a manner that would create an approach and style that I could call my own. The uniqueness of a musician’s approach struck me as being important at that time, aged 16.
And so the saxophone was selected as my new instrument: its methods and approach being the antithesis of those of the guitar. Looking at some notes from this period it seems that I believed the ideal piece of music (naturally an improvisation) should aspire to infinite variation in dynamics, timbre and colouration, and rhythm. In later years the need for and development of form (rhythm in a wider sense) has become more important.
So the saxophone is not a guitar. Neither are many other instruments. Am I a saxophonist? Am I a percussionist? Probably neither, I am a collector of sound making devices â the saxophone, in a single instrument, fulfils a number of those early requirements. The other instruments are used to augment the repertoire, adding contrast to the saxophone and expanding the music’s soundscape.
As well as a collector, I am an arranger of sounds and occasional organiser of people. Nothing more.
The pieces were all recorded evening Saturday 7th December 2013”
-Mark Browne (from the sleevenotes available as a PDF with the download.
This CD was released simultaneously with Mark Browne’s “The Prejudices of History” (LOR049) – with which it shares some concerns and sounds.
“Since the Industrial Revolution the soil in Britain has changed considerably in its formulation. Where once it almost exclusively consisted of organic matter, it is now likely to hold high levels of metallic elements such as iron, aluminium and copper. Areas where industrial processes took place in the past but have since been reclaimed by nature are particularly rich in this residual metal content.
Plants growing in these environments have, by means of Darwinian natural selection coupled with sheer determination to survive, managed to incorporate various metals into their very DNA. The resulting species display a variety of features only made possible at the point where biology and metallurgy combine.
The aim of this guide is to assist the amateur metallobotanist in identifying these enigmatic plants, and also to instil enthusiasm into those armchair readers who have never searched the disused foundries of Sheffield for a reclusive Cutleri silvaservicia or listened attentively on the hills of West Yorkshire for the soothing sound of a clump of Alpine Cog Daisies (Coggi interlockia) gently turning in the breeze.
The two sound recordings included here have been developed to aid the growth of these unusual plants. By placing a speaker at either side of the specimen (ideally they should be equidistant and each no closer than two feet away) the sound produced will acoustically recreate a very favourable growing environment. Once brought indoors and planted in any kind of container what these organisms miss most are sound vibrations of a metallic nature.
By regularly subjecting your plants to these carefully composed and scientifically tested sounds (about twice a week is the recommended frequency) you should begin to see them flourish and possibly even bear fruit. Of course not all varieties are suitable to collect. Some are protected by law and others are just too bad tempered, quite frankly”
-Chris Whitehead, from the introduction to the booklet “Flora Metallicum Britannica- a field guide to the metallic plants of the Britsh Isles” (included with this download)
01 – Fabio Crivellaro – dKrogg – mArCh Of ReCyCle
02 – Exclamation Point – [ ! ]
03 – Beira – VGA on GBA
04 – Max Scordamaglia – Unalog – 09
05 – undermindlimb & khaotic molly – grandfather paradox 1.56-12.52
06 – Toxic Chicken – featherhead unplugged
07 – Tommaso Busatto – gotEmoftoe
08 – stefano balice – quattro passi sulle lame
09 – sounddog65 – ‘galve,nîz
10 – Eugenio Furrno – flompodiskoteque
11 – Pioggia d’Ambra – Trauma del lobo temporale
SAMIZDAT is a floppy series dedicated to low bit-rate music and other low-tech wonders.
Each participant is free to release and give out SAMIZDAT’s copies as he wants,
using recycled diskettes, giving them to friends or hiding them among the shelves of a shopping center – or more.
A SAMIZDAT floppy disk is a noisy act of love against the music busssinessss.
LET’S VAPORIZE!
MAV [0kbps] Records, January 2014
Tracklisting:
01. Leadsquid – Evenings (9:33)
02. Leadsquid – Unstable Attraction (7:25)
03. Leadsquid – White (7:30)
04. Leadsquid – In 4 Dimensions (9:28)
