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01. Shanty 02:26
02. Dimorphite 07:57
03. Vinolence (ft. Dissolved) 07:41
04. Disperser 04:19
05. Nonesuch 04:39
06. Mezo 06:34
07. Sunfishes 05:02
08. Like Phantoms 07:37
released April 23, 2024
Written & produced by Peltiform (N. Story / T. Ferrans)
soundcloud.com/peltiform
Additional production on “Vinolence” by Dissolved (P. Daniels)
soundcloud.com/dissolved-1
Released by S27
section27.bandcamp.com
The distances between the seeds dictate the patterns and rhythms of the soundscape. Close seeds generate similar sounds, creating harmonies or repeating motifs, while distant seeds introduce contrast and variation.
As the sounds evolve and interact, influenced by the shifting boundaries and relationships between the Voronoi cells. Some regions may grow louder and more dominant, while others fade into the background, creating a dynamic and indelible mark on the sonic landscape.
elAstrum’s delicate melodies evoke a longing for a time when innocence reigned and the world seemed gentler.
Each track is a wistful echo, inviting listeners to revisit the past through a shimmering sonic lens.
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
released April 20, 2024
Rebecca Smit – no-input mixing board, radio
Eli Wallis – trombone (1,3), bassoon (2,4)
1 recorded 17/4/PN79
2-4 recorded 18/4/PN79
Seemingly suspended yet forever falling, celestial bodies proceed with stoic inevitability. Orbits subtly shift – a never-ending precession.
Featuring world drums, orchestra, synthesizer, choir, and guzheng.
“The tune itself is of the shorter breed, featuring alternating thumb picking finger-style slide guitar. This good old stylistic tradition is embedded in a futuristic environment, while the mix parades all the Western-ghost reverb that the cosmos would have if it was possible for sound to travel in vacuum. All in all, the effect is cinematic. The single is released as A and B sides, with the extended video version and album version, respectively.” [Sound Cafe Magazine]
music video:
Mixed and mastered by ABOOMBONG in the basement at Pen & Mallet Studios.
Creado en momentos de ocio a contratiempo de los trabajos de investigación científica sobre clonación molecular humana en Berlín, Alison Gunterglass produce abstracciones sonoras en base a observaciones de la cotidianeidad; plazas; objetos inertes; libros descatalogados; el movimiento físico de la naturaleza entre otros. XPRMNT fue creado en una computadora laptop en un departamento en un crudo invierno- Quizás sea una sinestesia de aquello que solo Alison escucha en su microscopio.
Alison Gunterglass: manipulación de muestras, generación de sonidos sintéticos y composición secuencial sobre línea de tiempo.
Roberto Massoni: análisis y modificación de audio previo a exportación final.
Me ow. Me wait. Me bored. Me want.
Me ow. Me need. Me down. Me wonder.
Featuring synthesizers and drum machine.
Credit me.
“We must address, individually and collectively, moral and ethical issues raised by cutting-edge research in artificial intelligence and biotechnology, which will enable significant life extension, designer babies, and memory extraction.” —Klaus Schwab
“Some people call this artificial intelligence, but the reality is this technology will enhance us. So instead of artificial intelligence, I think we’ll augment our intelligence.” —Ginni Rometty
“I’m more frightened than interested by artificial intelligence – in fact, perhaps fright and interest are not far away from one another. Things can become real in your mind, you can be tricked, and you believe things you wouldn’t ordinarily. A world run by automatons doesn’t seem completely unrealistic anymore. It’s a bit chilling.” —Gemma Whelan
He is another artist making his debut on MiMi Records. From the city of Barcelos comes Vitor Oliveira with “桃” – Momo, a seven-track album of mesmerizing electronic music, drones and enigmatic soundscapes.
“桃” – Momo dives deep into experimental electronic music, offering listeners an auditory experience. An album with a crescendo from track to track and perhaps that’s why the names of the songs are just numbers and ordered in ascending order.
With each track, Vitor Oliveira invites the listener to a sonic journey full of intricate layers, haunting melodies and evocative rhythms, where influences from artists such as ben frost or oneothrix point never can be noted.
An album to discover and remember pink is the new black!!
Dowtown Deceit is:
Some Succubus Coalition & Kοκκαλα
Lyrics by Boari Nicola & Akis Karanos
Kοκκαλα
kokkala.bandcamp.com
Artwork by Akis Karanos
www.instagram.com/rain_tumor/
Samples list:
source instagram / tiktok
1.Where do we go from here?
2.Best way to spot an idiot
3.Enzo Traverso – Left Wing Melancholia
4.How to get people to answer ‘yes’ to your questions.
5.”We don’t care.We don’t care. Make it a major world war”
6.Charles Bukowski, on Freedom
7.People running and not getting anywhere
8.“Selling recycling sells plastic” – Laura Sullivan
9.How Americans Reacted to The Drink Driving Ban in the 1980s
10.Want to start a revolution for real? Then stop participating with the system and say NO.
11.The episode that aired after Bob Ross lost his wife
12.ALPHA CUCKS SIT DOWN
13.’The Human Use of Human Beings’
14.How to write a screenplay by David Lynch
15.Dali speaks against meaning in his art
16.marcel duchamp on the power of art
17.6 Psychology tricks
+
Classic TV Commercials of the 50’s and 60’s
Handmade CDr ricepaper jewel case as Spettro Records’ first 4 releases in 2010. Includes A4 by Akis Karanos in handknit sleeve made by my grandma.
“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)
All good things must come to an end – the end of the end would be the end of good things. To the end of the end of the end!
Featuring orchestral strings, woodwinds, synth, piano, organ, and children’s choir.
