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
“Voy contra el viento
Calle Real, Esquina Parvada
No queda nada (No importa nada)
La soledad es hoy
Mis dos agujas lloran…”
Todos los temas y el arte de tapa fueron escritos y creado por “Aramis Rivero” (Solymar Norte, Ciudad de La Costa, Canelones, Uruguay).
*Gracias a Joel Correa por prestarme su tecladito para ambientar los temas “Su escalón” y “Serpentario”!
*Gracias a mi familia, amigos y quienes me apoyan. Por existir.
*Álbum dedicado a mi familia y amigxs.
(Estará pronto y disponible a oídos en la siguiente Re-Encarnación…Ya llegó la Re-Encarnación…).
credits
released December 4, 2020
dacrilarecords.bandcamp.com
orgiadeextincion.bandcamp.com
aramisrivero.bandcamp.com
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
released December 4, 2020
OMOIDE 217 fictional simulated memories EP remixes
Planning and production by Telematic Visions
Released by OMOIDE LABEL
Catalogue Number : OMOIDE 217
Unfiltered. Unedited. .. with tracks …
Stay Home, by High Low. Southend On Sea, England. [In Stereo Records]
Cumamo Bivalemo (Umoja Edit), by Africa Negra. São Tomé and Príncipe, Africa.[Mawimbi Records]
Unedited Unfiltered (Genuine Craft), by Sojourn. [Illect Recordings]
Darkened Mornings, by Emma Thomas. [Ultra Vague]
Yabalini (feat. Maälem Hicham Bilali), by Cheb Runner. Brussels, Belgium. [NYP Records]
Save Birds, by PhonianadFlore. France. [Maree Bass]
Gold Silver and Brawn, by Mental Health Consumer. Colorado, USA. [Believe in Billy Records]
Session Funk, by 2XM. New Zealand. [Chikyu-u Records]
Axcellent, by Axis Dancehall &Kristbjörg Lára Gunnarsdóttir. Reykjavík, Iceland. [Post-Dreifing]
Deadhoofer, by Deepcut. UK. [Odrex Music]
Militant (feat. Guru Pope), by Black Beanie Dub. Marseille, France. [ODG]
Kyoto Minimal, by X-Radio-X. Greece.[Toxic Fly]
Fara Way, by FloatingMind. Geneva, Switzerland. [Monokrak]
This podcast is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC-NT-NC-ND 4.0) License
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
Artists: Adhémar
[Brussels, Belgium]
Format: Digital
Release Date: November 30th 2020
Cat: ST024
Free Download
This phonograms is a protected intellectual work in favor of its producer. Rights protected. ℗ & © 2020 Secuencias Temporales. The rights of this phonogram are recognized by the Federal Copyright Law. Its production, reproduction, import, storage, transport, distribution, commercialization, sale or lease is prohibited, as well as its adaptation, transformation and direct communication to the public without the prior written authorization of the owner. The violation of this prohibition constitutes a crime and an infraction that are sanctioned according to articles 424 bis, 424 ter, of the Federal Penal Code; 232 section III and 232 section I of the Federal Copyright Law and other applicable regulations in force.
Written and Produced by Clément Davout in Brussels, Belgium .
Mastering by Jorge Eafhm at Secuencias Temporales Studio in México City.
Secuencias Temporales ℗ & © 2020 – All Rights Reserved
credits
released November 30, 2020
released December 1, 2020
Music by
dope soundcloud.com/wegotthedope
Remixes by
Starkey soundcloud.com/starkbot
Deadcrow soundcloud.com/deadcrxw
Dj Ride soundcloud.com/djride
Smoakland soundcloud.com/smoakland
SIGKILL soundcloud.com/sigkillbass
Mastering by
Saif Bari @ fixedmastering.com
Artwork by
Thomas Wahle
This is chapter 1 of 2 of the echoes compilation.
Chapter 1 comes with 21 tracks by artists from all over the world who cover all facets of dubtechno. That is pure dubtechno there is nothing more to say.
Relax, lean back and enjoy the journey through space and time and lose yourself in the vastness of the echoes in this cold season.
Many thanks to all artists who made this compilation possible with their tracks.
credits
released December 2, 2020
insectorama091
mastering and cover design by Markus Masuhr
Lockdown? What Lockdown?…. with tracks …
Brumal Mud, by Helengard. Kiev, Ukraine. [Bandcamp]
Go Bang, by Sideproject. Reykjavík, Iceland. [Post-Dreifing]
Big Loco (feat. Leah Concialdi), by Megan Hamilton & Balkan Bump. Minneapolis, Minnesota. [Bandcamp]
Liv, by Haxo. Rouen, France. [Tiger Class Records]
Deuteranomaly, by Les Hayden. Leicester, England. [Bandcamp]
The Passing Of The Elders, by Secret Archives of the Vatican. Croydon, England. [Broken Drum Records]
A Little Lost, by Guylashes. Reykjavík, Iceland. [Post-Dreifing]
The Dead Dreamer, by Orgonon Sound Machine. Sicily, Italy. [Soisloscerdos Netlabel]
Ruffa Dan Dem, by Ben Hash Plant. Rouen, France. [Tiger Class Records]
Knowlesville, by Tintamare. Montréal, Québec, Canada. [Bandcamp]
Knowtice, by Samara Alofa. Auckland, New Zealand. [Bandcamp]
Babylon Soon Fall (Rockers 7inch mix), by Subatomic Sound & Screechy Dan. New York USA. [RDX Promo]
Empyrean, by David Starfire. Bay Area California, USA. [Bandcamp]
This podcast is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC-NT-NC-ND 4.0) License
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)
Experiential composer Austin Rockman paints upon the canvas of silence with seemingly supernatural projections of sound. These amalgamations point towards tones of an almost uncertain origin and are very much characterized by a certain place in time. His debut album ‘Plum God’ represents a transitory state. An uncertainty, which brings along states of confusion, exhaustion, intensity.. coexisting within these emotions resides hope and the inevitable beauty and gravity of consciousness. We are swayed like trees against an invisible wind, currents that press upon us, like shores, constantly reoccurring and reemerging from a seemingly infinite source. Beyond us. This elusive control navigates our existence, and in this sway we must have trust in ourselves, this is only the beginning..
As Austin Rockman’s debut on Mahorka “Plum God” has been revisited, on tape, and with the “bonus” track (tape322), this is only the beginning..
Press Coverage:
‘Plum God is a beautiful reminder of human fragility, and a welcomed breath of fresh air in an environment too often symbolized by a seductive superficiality.ʼ – Massimo Ricci/Touching Extremes
‘Beautifully mangled sound rests on the periphery of conscious awareness, pulling the mind back from untethered states with anxious and processed machinelike errors and blurred distortions of texture.ʼ – Tone Harvest
‘The symbiosis he develops between the beckoning of the music and the willing acquiescence of the ear and mind makes this album a bracing experience.ʼ -Andrew Forell/Dusted Magazine
Released November 29, 2020 as free download and limited edition cassette.
Composed and produced by: Austin Rockman
MM is an industrial music-inspired EP by Sinage. It’s a journey back in time, to the roots of Sinage sound – noisy yet still melodic synths, banging metal sounding percussion, and methodical machine-like rhythms.
MM is a metal machine, alive and cold. Full of madness, sadness, and curiosity to explore life all around.
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
Today we’re happy to present to you “EFFECTED”, the terrific new EP by Headsnack & Primo Sol. A selection of eleven songs that each prominently make use of a particular effect from the H9 Bundle by legendary effects company, Eventide. A sort of experimental ode by a couple fanboys to the company that has been innovating since 1971. For more background about this fascinating release, be sure to check out the PDF for the full story. So, go ahead download and enjoy!
Headsnack & Primo Sol, thank you so much for this great new release! Primo Sol, 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!
Back with another re-release is Bon-Psy with his sun kissed chillout tune ‘Old Souls’.
A mix between dreamy Electronica and groove, ‘Old Souls’ was another fan favourite of Bon-Psy’s laced with plucky synth lines and feel good vocals brightening the darkest of days. Released at the beginning of 2018, the track shows how far Bon-Psy has developed in the last few years, hinting at the staples of his sound that were yet to be truly discovered.
Amassing over 23,000 streams across Soundcloud and Spotify, with a feature on the well-known ‘Chill Masters’ YouTube channel, ‘Old Souls’ returns to streaming platforms once again.
