A respite is welcome – but is generally temporary. The bittersweet feeling at the end of a break signifies a rest well-done. And after labor resumes, one can both recall past pleasures and anticipate more in the future.
Featuring jazz sextet of upright bass, piano, drum kit, guitar, vibraphone, and baritone sax.
released April 12, 2023
check artist bandcamp cyberlust.bandcamp.com/album/online-4ever
Compilation of past humanfobia tracks inspired on the classic horror movie series “FRIDAY THE 13TH” also some collaborations about it.
– All tracks mixed, remixed, cover collage by Sábila Orbe.
– Accompained by respective collaborators in each track. (except tracks 3 & 7 solo humanfobia tracks)
– Vocals in tracks: 1,2,4,5.6,7 & 9, model in the cover: Mist Spectra.
Humanfobia is a dark experimental, witch house, ghostly electronic music duo from Rancagua,Chile. Members: Sábila Orbe (sound mixer and male vocals) & Mist Spectra (lead female vocalist)
https://humanfobia-official.bandcamp.com/
https://hearthis.at/humanfobia/
https://archive.org/details/fav-mist_spectra
Recorded in November/December 2020 by Étienne Soulier.
Mixed by Robin Fleutiaux.
Mastered at Dead Air Studio by Will Killingsworth.
Design/layout by Brique Noire.
Harp on “Fragments” by Ange Halliwell.
Saxophone on “La Colère Est Aveugle” by Léa Cuny-Bret.
Co-released with Seitan’s Hell Bike Punks.
released October 31, 2022
How much surf is too much? An overindulgence of aquatic affairs can doubtlessly cause complication. But even in excess, there is a soothing rhythm to the undulations of the waves.
Featuring synthesizers, harp glissandi, female vocals, and an ocean beach.
Bilocation: Specters of Marx
Searches find their place, means find their forms, rhythm finds its balance. “Bilocación”, from musician, producer, DJ, and cultural manager Daniel Klauser, is dance, trance, and manifesto; an EP that opens up new soundscapes within a register that has gone in different directions: techno, house, hip hop, Latin American jazz, or rock are part of this musician’s continuous search, who has made his way by assembling and dismantling aesthetics, discourses, sounds, and scenes to, in this new work, invoke the ghosts of what once was not music, but the underground discourses that once inhabited it.
Featuring musician Tristán Sotomayor (AOI and Nonlocal Society) as a guest, “Ft Tristán” is a track that makes us wonder, at what point did we arrive at this place? Through minimal means and lo-fi sound as a discursive weapon, Klauser moves us imperceptibly from one room to another, from one landscape to another, from one atmosphere to another; from the rawness of the sound to starchy groovy passages of rhythms, almost tribal, that build up or rather melt into a lysergic, warm, soft, and enveloping flow.
“Trumpet Lesson” is imagery taken from the dream of a trumpet traveling through the acid particles spat out by Miles Davis; or it could be a hallucinogenic journey in the midst of Kerouac’s arid road, or a dark and dystopian hallucination of Burroughs, or perhaps it rises as the cosmic and psychedelic intensity of Herbie Hancock in Sextant; what is certain is that here, Klauser’s processed trumpet delivers something retro-futuristic, accompanied by arpeggios and bass lines that take us back to a biological and hallucinatory tribal dance.
Daniel Klauser‘s voice in “Yo te quise” adds an additional note to this work which, like a laboratory of ideas, supports, and means, invites us to immerse ourselves in a sinuous movement, reminding us that what we hear is not a dance but a ceremony, and that there, in that middle zone, between “I love you” and “I loved you”, there is also a boundary – an abyssal zone – between the real and the unreal or between the surface and the deep.
“De tu mirada” is the closing of this manifesto of ghosts, retromanias, references, aesthetics, and discourses, where the sound space becomes a container of multiple intensities that seem to slide between poles, extremes, and middle zones that immerse us and make us emerge among soft whispers that moisten the listening, making it acidic and fractal.
“Bilocación” is the supernatural appearance of sounds that, gathered in this ceremony, celebrate the arrival of the specters that transit and break with the censorship, prohibition, and stigma that the industry has created around underground, marginal, pristine, and consequent music.
Sebastián Herrera
(Santiago, Chile. April 2023)
3 free tracks for monoKraK netlabel (http://www.monokrak.net)
mastering by Pheek (https://audioservices.studio)
Live improvised electronic, glitch, dubstep
dAMIAN lINTELL-sMITH – sYNTHS,SAMPLER,CIRCUITS
lEON rEADER – vOCALS
tOM cLOSE – dRUMS (ACOUSTIC)
dAVE mCGRAIN – dRUMS (ELECTRONIC)
rECORDED BY CTCVN
mIXED & mASTERED BY pSYCHICEYECLIX
VIDEO FOR G FAQTION – youtu.be/u4GbenJCjcc
Markus Masuhr – The Dub Theory „Chapter Eight“ (Insectorama156)
It’s time for the next part of my Dub Theory Series. The Dub Theory Chapter Eight brings 8 new purely functional loop-based dubtechno tracks designed to take you on a journey through forests and mountains to the sea. Slow down your life and go in search of rest and relaxation into the depths of echoes and chords, surrounded by wobbling basses and constructs of danceability.
Echoes of a distant past,
Delays that seem to forever last,
Reverb through the valleys wide,
Textures of the earth collide.
Landscapes painted with such care,
A symphony for all to share,
The crunch of leaves, the rustle of trees,
Textures that are sure to please.
Echoes of a world that’s old,
Delays that tell of stories told,
Reverb that resounds with might,
Textures that bring pure delight.
So let us listen to the echoes of time,
And let the delays create a rhyme,
Let the reverb fill our hearts with grace,
And textures of the land take their place.
Tracklist:
1.Echoes in the Mind
2.Waves of Tranquillity
3.Recognized Illusions
4.Deep Valley Blues
5.Contemplative Journey
6.Contemplating the Unknown
7.Delving into the Abyss
8.Lake of Serenity
Insectorama156
all tracks by Markus Masuhr
Mastering & Artwork by Markus Masuhr
Вилино коло – Vilje Kolo, or “Fairy Ring” – is a common toponym. Places with this name were associated with legends that said that fairies used to play there. A fairy ring is a circle or semicircle of grass that differs from the surrounding grass (it is more lush or stunted, a different color). It is often found in a clearing, on top of a hill, or near a spring. It could be marked by a circle of mushrooms in a meadow (a fairy tale). If there was an elevation within this circle, it was said that a bagpiper or some other player was standing on it, while the fairies danced around it. Other similar toponyms indicate the same belief (Vilina Voda, Vilina izvor).
There was a fear of illness and death among the people who would step on the fairy ring. A man who stumbled upon a fairy’s playground (or dinner, found a fairy bathing or enjoying some other kind of pleasure) would be severely punished. The severity of this offense is so serious because fairy rites are mysterious, prohibit the presence of the uninitiated and take place in taboo places. In the legend about the fairy ring, the practice of initiation rites is reflected. A girl is considered a girl from the day she first enters the circle and goes through this important rite of passage. The offender was punished by deprivation of sight or hearing, paralysis, or death.
Forgiveness of sins and healing could only be given to him by the fairy. The trampling of the fairy’s playground and the outcome of this transgression are sung by the Sibinian folk song Janko s vila. For fairies and other demons, the game has a very reasonable strength. Fairies get angry if someone interrupts them in a game uninvited, while, on the other hand, their favorite pastime is to bring someone into the circle and “outplay” them. They would transfer part of their supernatural power to the grass they were playing on, so it became “dangerous” or “miraculous”.
Guitare affolée ou bluesy, field recordings,
batterie entrainante ou taiseuse, chant d’oiseaux,
saxophone en mode méditatif ou intempestif,
murmures, mélodies atones, lumière basse…
cet album vous emmène par des mouvements tempétueux
vers d’étranges contrées fulgurantes où tout s’emmêle, se démêle, se démène vers un ailleurs arboré, au grand air, parmi les vibrations du monde.
On n’avait plus de nouvelles de CollAGE D depuis 2019 et “CollAGE D(une)” qui faisait suite la même année à… “CollAGE D(eux)” chez nos illustres confrères du label bulgare Mahorka. Deux, puis un… un apparent désordre que Romain (aka Le Crapaud, de l’excellent groupe blues/prog/post-rock chanté en français, Le Crapaud et la Morue) et Philippe Neau (ex Nobodisoundz) aiment à cultiver avec ce projet largement improvisé par échange de guitares, batterie, sax et autres field recordings que les deux complices découpent, collent, superposent et trafiquent ensuite à distance pour donner ces étranges fantasmagories magnétiques et libertaires, quelque part entre noise atmosphérique, marécages clairs-obscurs, jams déstructurés et même une sorte d’ambient-jazz orageux (“Chante encore”). Maelstroms de larsens et de textures grouillantes et abrasives (“Fuir en silence”) y côtoient des méditations de guitare presque à nu (“Décembre dans la rue”) et de longs serpentins percussifs et psyché au chaos paradoxalement hypnotique (“Le soir, en t’attendant”). Tentez l’aventure !
released April 3, 2023
Philippe Neau : soundscapes, artwork.
Romain (Le Crapaud) : guitare, sax, batterie, mix.
Baptiste (La Morue) : basse sur “Le soir, en t’attendant”.
A new album from guest artist ‘Architect of Echoes’. With strong influences of Tangerine Dream, Circulus takes us on an ambient ride.
released April 4, 2023
