An experiment with functions the composition and sound design take in communicating the idea of music.
All of the tracks share the same lead melodies and most of the patterns, but they use completely different samples.
Which part of the music remains the same? The ideas or the ways they are perceived? If the perception is different, how do you know the ideas were the same?
Part 4 out of 8 from Joy of Creation.
Calvary, the latest work from the Japanese project Mimamamis, is a deep dive into the abyss of harsh noise, a true auditory calvary that pushes the listener to the limits of sonic endurance.
The album, consisting of just three tracks, brings chronic feedback, massive distortions, and extreme saturation. Each track is an attempt to force the listener to confront the discomfort of repetitive, brutally compressed sounds.
Mimamamis makes no concessions, and the result is a work that approaches the concept of calvary: an unrelenting journey that is difficult to endure, yet fascinating at the same time. In terms of structure, the tracks of Calvary are minimalist, but not in a conventional sense. They slowly build in heavy layers of noise, creating a sense of suffocation and oppression.
In summary, Calvary by Mimamamis is a radical work within the harsh noise genre, distinguished by its ability to provoke discomfort, pushing the listener to confront their own emotional resistance to the brutality of the sound.
Hyakunenme EP is the latest release from Gnyonpix, who dives into the world of chiptune in an innovative and engaging way. Combining the retro aesthetic of 8-bit music with a contemporary production style.
The four tracks are a true journey through time, capturing the energy of classic ’80s and ’90s video games, but with an added layer of sophistication.
While chiptune is often associated with instrumental themes, Gnyonpix incorporates vocals in a subtle yet effective way, as seen in the title track “Hyakunenme,” which also gives its name to the EP.
Hyakunenme EP is an album that captures the essence of chiptune and 8-bit music, offering a true tribute to the digital aesthetic, but with a forward-thinking approach to the future of electronic music.
Fifty Years and beyond since… “El Computador Virtuoso” by José Vicente Asuar.
This album, “TECNOASUAR”, was created to commemorate the 50th anniversary of “El Computador Virtuoso”, an educational album produced by the Sound Technology Research Group of the Faculty of Musical and Performing Arts Sciences at the University of Chile. The project was conceptualized and led by José Vicente Asuar, an acoustics professor at the university, with Víctor Rivera, an Electrical Engineering and Sound Technology student, responsible for the design and implementation of the devices and systems, and Cristian Vergara, a Composition student, contributing to the stylistic development of several pieces. Other students from the Sound Technology program also collaborated at various stages of the project. The album was produced using a PDP-8 computer from Digital Equipment Corporation (DEC) between January and March 1973.
José Vicente Asuar is one of South America’s most important electronic musicians. He created the first computer exclusively for music in Chile (the COMDASUAR) and, in 1958, established Latin America’s first Electronic Music Studio at the Pontifical Catholic University of Chile.
This homage, tribute, recognition, and act of memory celebrates Asuar’s contributions, his unique approach to sound, his way of “interpreting” and teaching, and is dedicated to all who took part in that initial project, especially to José Vicente Asuar and his legacy. The sound-based archival work for this project was realized by music producer Johannes Concha (aka S3T3) and Pablo Castex (aka DJ Castex) between January and March 2023, honoring the 50th anniversary of “El Computador Virtuoso”. We believe in the importance of preserving the sonic heritage of our territory, understanding its impact, and appreciating the far-reaching influence of this achievement, as well as highlighting Asuar’s immense contribution—a vast sonic archive full of recordings and frequencies, inviting us to explore and embrace new sounds.
The development of the COMDASUAR and Asuar’s pedagogical work in music and sound are equally groundbreaking. In his teachings, Asuar connected the musical traditions of Bach, folklore, and popular music, explaining in a didactic way the principal ideas of the theory of sound and acoustics, and placing them within reach of all. Still, Asuar’s work neither began nor ended with “El Computador Virtuoso”; he had already established an extensive career as a professor and composer at the University of Chile. Fortunately, he continued producing material and sharing his knowledge until his passing in 2017.
Pablo Castex
(Santiago, Chile. Noviembre / November 2024)
download album / download flac / donate to zaman international*
release date: October 5, 2024.
Saxophone and objects: Raymond MacDonald
Saxophone and objects: Robert Burke
Double bass: Una MacGlone
Theremin and cello: Jessica Argo
Percussion: David Robertson
Piano: Maria Sappho
Recorded by Murray Collier on April 10th 2024 at La Chunky Studio Glasgow
Mixed and Mastered by Robert Burke
I remember from childhood; my favorite section of a river walk we’d do most Sunday afternoons. The path became stonier, it started twisting, the trees and undergrowth became taller and denser, enveloping the space. I loved the feeling that I was leaving the familiar. I would always imagine that the path itself could decide to change and then I could move to a different river, a new town.
Rob is coming from Australia to stay with me, and we make preparations to record together. Emails and phone calls ensue as I try to confirm where and when to record, and who is available. The dates, times, location and personnel evolve and change, and even on the day itself I am not quite sure exactly who will be there and what instruments will be played. As the day unfolds people come and go as their schedule permits. Surprise appearances are made, and the music ebbs and flows in response to the arrivals and departures and, of course, the banter.
My train was canceled so I find myself in Glasgow for an extra day. I need some clean clothes and more importantly some piano preparations… Off I go to the local friendly hardware man who is baffled by my explanation of looking for things for inside the piano. I find a lovely orange three piece suit in the charity shop. I spill coffee all down the front of said new suit and I dig about in the piano with clothes pegs and steel rods… grateful there are string players with some rosin to share.
Going out to work with my bass is moving down three flights of stairs, making tiny changes in angles, carefully carrying, left hand tracing the wall on the way down. We move together.
My experience of this collaboration feels like an extension of friendship. It began with Raymond through our ongoing musical and research collaborations, then extended to Maria, and more recently to Jessica and Una. I met David on the day of the project! The lead-up was centered around the idea of coming together to create something – improvisation is how we function, and that’s exactly how it unfolded. We improvised every step of the way, from planning to recording. The music we created was entirely improvised, with each of us bringing our shared belief that improvisation lies at the heart of our creative expression. We thrive on the chaos of getting the studio organized and then arriving. Excitement about what is possible. Creating new extensions and understandings of our relationship with one other. Total trust in the music, the process and each other. Is there any other way?
Out of the door, one of hundreds of ritual journeys walking towards the space, not knowing, never knowing exactly how it will be. The walk is time traveling, the space connects to all of the other improvisations, and creative connectivity. The people, the stream of music.
Searching over a bridge crossing the river, a tunnel over the trains, bike over the road, following a feeling and a burrito.
I returned to lachunky, or as I call it “my living room” for what must have been the 100th time. I am used to rehearsing and recording fixed repeatable protest songs for activism… but I was so excited as the room filled with string instruments, synthesisers, saxophones, hardware store contraptions, childrens toys, world instruments and multiple saxophones to play whatever arises – playing the theremin led me to weave my arm over, round and under other players, our limbs tangling like branches, the cables like vines…
From start to finish two constants keep our confidence and spirits high. The friendships that we all share, and our trust in the process of improvisation. The music is improvised, and any situation that arises becomes an emergent feature of our recording and gently folded into the music. We trust this process completely and implicitly. Our friendships not only mean we trust each other with our artistic vulnerabilities and give each other permission to be what we want and need to be in the moment, but our friendships also facilitate the music to flow from the joyful community we are part of. We look forward to and revel in the joy of being together in the music. Improvisation and community are what makes this encounter joyous and rewarding.
Crossing the road, through the tunnel, the cobbles are uneven. On the wall someone has graffitied ‘shaking voices raised together are loud and beautiful’
As I dash off to my new train I realize I have forgotten my purse… another missed train.
An exploration trying to answer a curiosity-driven question – what distinguishes a combination of sounds from music?
Why do we like certain tracks and why do we make them like that in the first place? Experiments with engagement in music, to find out why the enjoyment that comes from listening has nothing to do with the joy itself.
Throughout the album, it becomes apparent that it has something to say. It is a communication.
Part 2 out of 8 from Joy of Creation.
The starting point of musical discovery, using the signature step sequencer of Fruity Loops 3.
Quirky and weird experiments with sounds, with no intent to tell anything at all. A fun activity for a five year old, having no other purpose than enjoying the endless ways to experiment with samples and composition.
The album develops the idea of engagement in music out of enjoyment, which turns the fun activity into something meaningful.
Part 1 out of 8 from Joy of Creation.
Pueblo Nuevo Netlabel se complace en presentar “Campo de Deportes”, un mixtape creado por el productor electrónico chileno El Buga, conmemorando los 19 Años del sello.
Este mixtape es un ejercicio de tomar dentro del vasto catálogo de Pueblo Nuevo, pistas que se puedan llevar al plano de la pista de baile, siendo el baile una de las formas más completas de ejercicio. Desde el dub, al house, la cumbia y el hip-hop, la idea de conectar y poner en valor distintos ritmos es parte de mi exploración personal en la música, lo que me llevó a conectar desde el principio de mi búsqueda con el sello.
Pueblo Nuevo Netlabel is pleased to present “Campo de Deportes”, new mixtape by Chilean electronic producer El Buga, celebrating the label’s 19 years.
This mixtape is an exercise of taking from the vast Pueblo Nuevo catalog, tracks that can be taken to the dance floor, dance being one of the most complete forms of exercise. From dub, to house, cumbia and hip-hop, the idea of connecting and highlighting different rhythms is part of my personal exploration in music, which led me to connect from the beginning of my search with the label.
El Buga
(Santiago, Chile. Noviembre / November 2024)
A new freshman has arrived at MiMi Records. Shikisokuzemu, is a Japanese electronic music producer, and brings us a fascinating album that mixes breakbeat rhythms, vocaloid vocals and otaku influences.
Known for intricate production, Shikisokuzemu’s work here is meticulously, pairing the frenetic energy of breakbeat with voices from imaginary anime series.
With its seamless blend of breakbeat, Vocaloid and Japanese otaku elements, Shikisokuzemu offers a new perspective on electronic music, fusing past and future in a fascinating sonic journey.
A true gem for otaku music lovers.
released November 7, 2024
Nahráno březen-červen 2024 v Richtigmusic studiu v Praze a Tetově
Pavel Richter – el. kytara, kytarový syntezátor, klávesy, samply, elektronika, feeld recording. Nahrávka, mix a mastering.
Foto – Jonáš Richter
Pavel Richter o albu:
Na začátku roku 2024 jsem byl tak trochu osloven pro mě dosud neznámou elektronickou hudbou, se všemi těmi drony, škrábáním, šušláním, praskáním apod. Což mě popravdě nijak zvlášť neoslovilo. Posléze jsem byl vyzván k účasti na projektu, který se však nevyvíjel podle mých představ. Nicméně inspirován, jsem vytvořil tuto nahrávku. Takže vznikl, ne programově, jakýsi pohled z dronu, který se vznáší nad smutnou krajinou. A raději beze slov.
Pouze bych dodal, že se nejedná o ambientní hudbu, ale o hudbu k spíše zadumanému poslechu.
Many thanks to all artists who make this compilation something very special with their track.
In the symphony of a distant world, seasons were played in chords.
Spring arrived as a light, gentle hum, its notes shimmering through
the air like a distant echo. Summer roared with vibrant,
esonant chords, filling the sky with heat and harmony.
Autumn fell in rich, slow minor scales, leaves swirling
in its fading echoes. Winter, a quiet, hollow hum,
pulsed through frozen air, each note sharp and distant.
The planet turned, its seasons woven in endless cycles
of sound—chords stretching through time, echoes bouncing
softly across the horizon, never fading completely.
