A melodic, chaotic, deep and melancholic maxi-single, slow at its beginning but becomes faster and cheerful. Lyrics are just basically phrases they came out with while they played the songs. Distraught shrieking is just a background texture.
This album is a result of bad days as human beings, and some kind of catharsis for all. ‘Santa Rosa de Lima’ is a reminder that life goes on while we are sitting here, waiting for something to happen.
released September 29, 2012
Recorded at: SoundRoom Mitras
Composed by: Ángel Amaya, Daniel Castillo, Javier Ibarra and Víctor Arguello
Voice samples on track 2 were taken from “Garden State” (movie).
Recorded live at Fundación Mercedes Sosa, Buenos Aires,
16th September 2018
Jorge Sad (Argentina), Renzo Filinich (Perú) and Pablo Bas (Argentina).
Stereo Mix from the Octophonic performance.
Cover / Audiovisual Art: Pablo Magne
Face à face, épisode 2, saison 1, the new album of Ayato is the 2nd part of a cut-up recomposition series recorded and mixed at La Ferme Là, Olivet, France between 2015 and 2017. It consists of playing in real time two tapes with two different multitrack recorders, which gives 4 stereo sounds side A in normal play and side B in reverse added to others sounds played depending on which way the wind is blowing with the others devices. Some Loops have been created during the mixing process. Cassettes are from private collection, gifts, prepared and found tapes, archives…
Discontinuation Of Treatment is the creative project of Giuseppe D’aiuto. Behind this moniker he needs to get close the dark and deep sounds and treat them as a bad memory…when it’s gone, the past will remain in the past.
His urgent creative needs are mostly influenced by mental illness and behavioural disorders…Post-punk!
I confide in your ability to push back the obscure and noisy nightmare.
Many many thanks to Gufo Records !!! https://archive.org/details/guforecords
~ A Deep Remorse ~
Music composed by Discontinuation Of Treatment https://discontinuationoftreatment.bandcamp.com/
Album Produced by MonkeYear https://monkeyear.bandcamp.com/
Album Art by Gianbattista Barbieri a.k.a. Jemba
‘Bekatul Maut’ merupakan hasil gagasan tentang potensi pangan alternatif dari Johanes Handjono dan Gerry Pindonta lewat proyek elektronik, The Anarchist Society of Youth Anger atau yang disingkat TASYA. Bekatul sendiri merupakan hasil produk sampingan dari pengolahan padi yang sering dijadikan sebagai pakan ternak. Lewat proyek TASYA, duo personil Samber Nyawa ini mengubah fungsionalitas bekatul menjadi lebih menyehatkan, bermanfaat dan pastinya ‘maut’.
After his strong EP “Silhouettes”, Digital Diamonds presents KUNI’s debut album! 13 unique tracks, each constituting their own narrative. In a world driven by perpetual change and a yearning for freedom, KUNI represents a sonic reality that is not restricted by any rules. This is reflected in the album title ‘Coalesce’ meaning ‘come together to form one mass or whole’… which is what this versatile artist embodies. Immerse yourselves in the journey.
The Argentinean dub monkeys are back! After being included in the compilation Explorations In Dub (2013), their guest appearance on the Red Star Martyr’s album Time for Tea (2014) and the release of their own album Simona (2015), the brothers Mauro and Federico Salina from Mentoza (ARG) are back with more vibrations.
Their new album is entitled Sun Is Dub and includes eight musical dub-works. Compared to their previous works, their 2019 sound is much more mature, which is normal for every artist who respect his work and strives to evolve.
Starting with Navidub and following with Combination (with a vocal sample of the classic Indian singer Shruti Katkar) the album is a journey into the dub sounds and the cultures of the world. Sometimes melodic and organic, other times rhythmical and heavyweight, the dub is to be heard in all eight tunes of the album. The last track Simona, is a reference to their previous album, newly re-done ft. Unidub Estereo.
Second digital album in Nostress for Tonoptik from Saint Petersburg (Russia). This new digital LP “Practical” was played and recorded with the artist zll’. Organic sound of analog synthesis is presented in the form of “sound sculptures” smoothly changing in time.
01-The Aloja who sang to me in the Lake – TEFE-25-2019-04-07-08-55-36 – 00:03:45.14
02-I played Chess with a Bubota – TEFE-25-2019-04-07-09-00-51 – 00:03:24.34
03-The Cocollona flies with the Full Moon – TEFE-25-2019-04-07-09-04-46 – 00:04:26.75
04-I’ve been Bitten by a Dip! – TEFE-25-2019-04-07-09-11-32 – 00:04:11.89
05-The Cult of Marraco – TEFE-25-2019-04-07-09-18-02 – 00:06:30.84
06-Trip to Iltirta- TEFE-25-2019-04-07-09-24-55 – 00:03:28.79
07-Pesanta does not let me Breathe – TEFE-25-2019-04-07-16-09-13 – 00:05:38.08
08-The Birth of the Tombatossals during the Storm – TEFE-25-2019-04-07-16-17-03 – 00:07:08.73
09-Will you remind me if I Kill the Víbria?- TEFE-25-2019-04-07-16-25-17 – 00:02:30.84
Total time: 00:41:05.40
About The Eternal Feedback of Existence:
It is an acousmatic diary. With the samples and images of each day an instrument for livecoding improvisation is built.
TEFE025 | The Stone House of the Minairons (Gralla: Giovanna Parera)
TEFE014 | Piano Keys Inside the Quarks (Piano: José Guillén)
TEFE012 | The Flute that Sounds in the Center of the Universe (Flute: Javi)
If you play an instrument or have a group and you want your samples to be chopped, abused and mixed with noises and screams, you can send them to: email@example.com
Share — copy and redistribute the material in any medium or format
Adapt — remix, transform, and build upon the material
for any purpose, even commercially.
This license is acceptable for Free Cultural Works.
The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms:
Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
A Dream Itself Is But A Shadow was written in response to Disquiet Junto Project 0379: Open Studios
Step 1: The purpose of this week’s project is to provide participants opportunities to get feedback on works-in-progress. Consider work you’re doing you’d appreciate responses to from fellow Junto participants.
Step 2: Either upload an existing recording (sketches and mid-process takes may prove optimal), or record something new and post it online for feedback. If there are some things in particular you’d like feedback on, mention what they are.
A Dream Itself Is But A Shadow is, of course, a quote from Shakespeare’s Hamlet. I started writing it in response to the haiku by Portuguese author Corine Timmer:
the falling tide
tugs at my dream –
I was not able to complete the piece in time for inclusion with naviarhaiku272. I have returned to it off and on and am at a place comfortable where I believe that it can be shared.
A Dream Itself Is But A Shadow was written for Flute, Clarinet, Bassoon, Horn, Trombone, Vibraphone, Violin, Viola, Cello and String Bass.
This track is about the narcissist mother of family murderer Chris Watts who in an interview blamed her pregnant dead daughter-in-law for her own killing as well as the killing of her two girls.
The second track is a rework by Willi. It was produced at Cadmium Studio.
This release ended in the disbandment of the band Das All that consisted of Willi and me. I offered Willi to mention Cadium Studio on the cover of this release after he mentioned to me he was looking for publicity. He thought the idea so ridiculous that he ended all collaboration with me.
Anastasia Vronski is a versatile experimental musician from Perm, Russia. Since years she has been creating an impressive and quite diverse body of work. Many of her tracks can be classified as “drone “or “noise”, but they always have a specific, often intriguing qualities. Above all, she’s not an artist who will do the same twice, and maybe that’s why some of her pieces are sometimes published separately. Since we thought many of them deserved more exposure, we decided to make a selection of such works in a compilation album : Estrangements, published in two volumes. While first one consisted of 4 minimal conceptual pieces, second one is made of 10 shorter tracks focusing on mysterious ambiances and dense sound textures. One of them, “the pack” wasn’t published before and was made specially for this compilation. The selection of tracks was made by the artist and the label, trying to make the compilation as cohesive as possible. We hope it will make you curious to discover more works from her.
Duality Micro (aka eVade) is a producer from lower Saxony who’s been active since the mid 90s, releasing on a plethora of labels. He’s the inventor of a cable to sync up Game Boys with Korg drum machines.
Previously, he appeared on two 20kbps compilations but this ablum is his first release on our label under this moniker. All of the eight songs of the EP are solid, but one that imo stands out is Guten Abend Leute (Nixtauger Mix 2), an addictive minimal tech-house track, where you’ll automatically start to shake along.
“Divertimento al Amanecer”
José Vicente Asuar RemixesElectronic music by José Vicente Asuar has influenced several generations of composers, both within the realm of electroacoustic music and other genres using technology as a means, ranging from techno to hip-hop, the latter at least in Chile. This has been proven, especially in recent years, with the growing rediscovery of his figure and work and his definitive positioning in the musical spectrum via academic writings and , especially, his complete electroacoustic oeuvre release (“Obra Electroacústica” / pncd08 / Pueblo Nuevo 2011) and Variaciones Espectrales documentary, by Carlos Lértora (2013).Therefore, and after several tributes due to Asuar’s death in January 2017, we wanted to carry out a new tribute, this time inviting the entire community to revisit the electronic body of work of the Chilean pioneer.
We have got together two perspectives, two schools: the electroacoustic one, which creates new pieces up from short sounds or sections from pieces by the honouree; the other one, in the vein of remix and sampling, also creates from the same sources, generating new works or tracks located in techno, ambient, hip-hop, and other related aesthetics.
In this deconstructive exercise, which we have called Divertimento al Amanecer, the pieces to work with were, precisely, Divertimento (1967) and Amanecer (1977).
The restriction was the use of one piece as an only source for a version, remix, etc., not merging both pieces into a single new one. Each author had to choose one or another work to participate, since the result of this call would be organized into a two-part compilation (sides A and B, corresponding to one of the two pieces each), participants were required to concentrate their efforts into on of the options.
About Asuar original works:
Divertimento “is a piece with great dynamism and speed, full of very elaborated articulations which are constructing the musical discourse with its structural and spectro-morphological richness, that due to its great fluidity, organic liveliness and contrasts that could be said to have a certain baroque character. Something amazing at the same time are rough textures got by modulations and high-speed iterations, that somehow anticipate the birth of granular synthesis and could be related with some moments of works by later authors like Curtis Roads. This work would get the first prize of the Dartmouth Electronic Music International contest, USA, 1970” (Albornoz 2017).
On the other hand, Amanecer is a piece labeled by Asuar as impressionistic, “in the sense of trying to describe, by musical means, the sensations or impressions that the author has about some natural event. In this case it is about sleeping nature that little by little it begins to revive until arriving at a final dance full of life and energy” (Asuar 1989). From a certain point of view, we could say that it is a contemplative work, close to ambient.
Call for works was so successful we were forced to go through a long, steady listening task in order to get the final pace for this release; thus, it presents a wide collection of works inspired by, quoting and appropriating the sound materials straightforwardly, nourished by the expresive and adventurous spirit of José Vicente Asuar. We hope they interest, inspire, and and become sources of enjoyment for all.
(Valle Hermoso, La Ligua, Chile, Marzo / March 2019)
(*) Albornoz, A. (2017) “Asuar: diez obras electroacústicas. Una breve reseña” (Unpublished).
(**) Asuar, J. (1989) “Música Electroacústica, José Vicente Asuar, Compositor Chileno” [Cassette] Santiago de Chile: Santiago Vera Producciones.
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