they play instruments like: cello, trombone, a bit of electronics, maybe some tuba, a touch of clarinet, plus e.g. recorder and other flutes, double bass, alpine horn, voice, bird calls, a few toys, and whatever else they come across that might produce some type of sound.
they improvise.
they are half swiss living in hamburg (germany), half french living in geneva (switzerland).
occasionally both halves meet in one place, and that’s when sound happens.
their first album for pyr, le fils de la prophétesse is a two disc set that clocks in at over two hours. the first disc contains almost sixty miniature improvisations the create a whole. the second disc is more long-form, but the two relate as one.
Back from the depths of Russia, we have a five track ep (playing time 30 minutes) of some of the coolest ambient and easy listening tracks to hit Kahvi this year. But of course, you expect no less from Reii!
Some amazing depth features in the tracks, with a slightly ‘imperfect edge’ to the tracks, giving them more of a human feel. Love Is is an epic journey into sound, where sqnc3 is a fantastic look at just how great arpeggios can sound with a master at the controls! Each track is a work of art, so enjoy this fantastic EP before the Kahvi Christmas release 2013!
Tracklisting:
01. Blastculture – Dimensione Onirica (7:37)
02. Blastculture – Masahiko Vs. Saseko (6:13)
03. Blastculture – A Dangerous Flight Over Manaus (7:25)
04. Blastculture – Crackle Cockhyaena (7:20)
05. Blastculture – Pulser (4:40)
Ep tracklist :
1) She has floated through her winter and through her summer [4:48]
2) There is no quiet here, nor silence [3:53]
3) The trees were dark in color [3:52]
4) Beneath the red eye of the sun [2:55]
released 15 December 2013 on Tape Safe records
All tracks composed, mixed and mastered by Adrien Quievre
There are a few different styles – drum and bass with an IDM ambient edge, my tribute to the Commodore 64 and a couple of classic 90s techno sounding tracks (similar to orbital or underworld).
Hugo Filipe Lopes
I guess this is supposed to be mainly electronic dance music but to actually call it that would be an insult to dance music. Although rightfully bouncy and even catchy from time to time, this seems more like a twelve year old with severe ADHD heard three dance tunes from the nineties and proceded to replicate it using sampling techniques from the eighties. Sometimes it goes very well, sometimes it’s hard to figure out what the author intended. It is sloppy, amateurish, crude and possibly illegal. It is right up our alley. Enjoy.
-Jan Strach, Underpolen Netlabel
FREE DOWNLOAD:
www.noisybeat.altervista.org
www.ephedrinanetlabel.wordpress.com
Listen and enjoy..
Moreover, Suárez has been able to develop something quite bold in the realm of field recordings, this is his ability to have a certain sound identity that defines his oeuvre. Through the usage of silence, textures and noise, Suárez has been able to create a very personal and creative sound world that ultimately becomes a language by itself.
After his acclaimed work “Transit Mundi” (Luscinia 2012) Suarez has been developing that very own language, following that premise, a month ago Exp_Net released “O Tempo Do Desengano” which explored similar accents and phrases such as the ones found on this album but reversing the sound sources. In the album at Exp_Net Suarez focuses on the us e of a modular synth (Doepfer A-100) and here, with Fin Da Terra, Suárez tries to do the opposite, to work mainly with field recordings and just a bit of analogue synthesis.
Fin da Terra is a compositional exploration of sounds gathered in costal areas, beaches, breakwaters and different locations in the Atlantic galician coast, where Suárez currently lives. What’s interesting of this piece is the usage of those recordings and how they have been moulded to become “voices” at the service of Suárez sound language.
Also, Fin Da Terra uses field recordings as a canvas, a surface where to play different experiments and combinations. The soundscapes are relegated and become background to the sonic accents that define Carlos Suárez oeuvre, even, he allows himself to add, here and there, elements such as a modular synthesizer that appears hidden but present if we carefully listen as a reminder of his previous work on Exp_Net.
The overall conclusion is that Fin Da Terra cannot be understood if not listened after “Transit Mundi” and “O Tempo Do Desengano”, all of it form a consequent evolution and exemplification of creative process.
