Hamunkansu – Azadael
[zen267]
Hamunkansu
“Azadael”
two ambient journeys through varied soundscapes, both cozy and rough
posted 22 February 2023
music in category:
bolus – beacon
[EEM064]
bolus
“beacon”
The Beacon EP is a hark back to Bolus’s 2014 EP “perceived redness of an evening sky” and the track “Pump”, utilizing rhythmic drones and sequenced soundscapes and culminating in a more percussive departure from his usual sound in the final track “Gottingen”.
Once again, these compositions represent Bolus’s take on soundtrack work but this time with actual films in mind:
“Martyrs” was perceived for the 2008 film of the same name, “Black Light” for the “Leviathan Configuration” of the LeMarchand box as it rotates above the labyrinth in Hellraiser II, and “Gottingen” for “A Beautiful Mind”, channelling Bernhard Riemann, a 19th century mathematician and alma mater of the University of Gottingen, Germany.
posted 21 February 2023
Rosario Alfonso – De Canciones tristes y otras Sutilezas
Rosario Alfonso
“De Canciones tristes y otras Sutilezas”
released January 13, 2022
Todas las canciones compuestas y arregladas por Rosario Alfonso, a excepción de “Que No Te Haga Falta Nada”, compuesta por Rosario Alfonso y arreglada por Alfredo Tauber ; “Chamullento” compuesta por Rosario Alfonso y arreglada por Alan Mc Donnell; y “A la Primera”, compuesta por Rosario Alfonso y arreglada por Javier Bobbert.
Todas las letras escritas por Rosario Alfonso, a excepción de “Chamullento”, escrita por Rosario Alfonso junto a Benjamín Walker.
Rosario Alfonso: Voces, cuatro venezolano, ukelele, guitarra, charango, silbidos y vientos.
Músic@s invitad@s:
Gonzalo Molina: Contrabajo en “A la Primera”, “Negación”, “Tranquila” y “Qué Más Quieres de Mí”
Alfonsina García: Chelo en “Tranquila”, voces en “Negación” y “Qué Más Quieres de Mí”
Benjamín Walker: Voces en “Chamullento”
Alan Mc Donnell (Yaima Cat): Track en “Chamullento”
Javier Bobbert: Guitarra en “A la Primera”
Alfredo Tauber: Trombón en “Que No Te Haga Falta Nada”
Alejandro Pino: Flugelhorn en “Que No Te Haga Falta Nada”
Diego Lorenzini: Guitarra y Bajo en “Lo Dejaste Ir”
Juan Pablo Salvo: Trompeta en “Qué Más Quieres de Mí”
Maximiliano Díaz: Percusiones en “Negación”
Felipe Ibar: Voces y chasquidos en “Negación”
Loreto Awad: Voces y chasquidos en “Negación”
Macarena Bravo: Voces y chasquidos en “Negación”
Seba Alfaro: Voces y chasquidos en “Negación”
Producción artística por Alan Mc Donnell (a.k.a. Yaima Cat)
Todas las canciones fueron grabadas y mezcladas por Alan Mc Donnell, a excepción “Negación”, que fue co-grabada por Alan Mc Donnell y Manfred Acsta en Circular Estudios.
Masterizado en cinta por Arturo Zegers en Estudio 050.
Arte de portada por Rosario Alfonso.
posted 16 February 2023
Ochi – New Versions
[pn217]
Ochi
“New Versions”
This EP, aptly titled “New Versions”, is a new chapter in Ochi’s brief but forceful discography. These six tracks transcend the merely auditory, creating an atmosphere that invites dance while also remaining full of details that cross the sound experience. As such, precise low frequencies intertwine with vocal lines to achieve a journey toward the senses.
“New Versions” is the perfect recommendation to get to know and enjoy one of the most creative producers of today.
Carlos Maira (Periferia Sound | Wildstyle | Lisa Discos) & Cristian Araya (super45)
(Santiago, Chile. Febrero / February 2023)
posted 11 February 2023
Stekalive – Snow
[SLC73]
Stekalive
“Snow”
posted 08 February 2023
Georgy Orlov-Davydovsky / Tala Nikitina – 11
[ACP 1363]
Georgy Orlov-Davydovsky / Tala Nikitina
“11”
Georgy Orlov-Davydovsky is a sound reasearcher and practitioner, noise instrumentalist, organizer of experimental music festivals. Enganged in sound studies.
Tala Adelheid Nikitina is a Russian artist, senseless and merciless. In her creative research, she relies on metaphysical interactions and groundless optimism.
posted 08 February 2023
Valovoima – Cold Edge
Valovoima
“Cold Edge”
Valovoima’s Cold Edge concentrates on the deeper and minimal side of techno. Composed by Seppo Uimonen. Cover by Tiina Ahokas.
posted 27 January 2023
z – let yourself be carried by the gentle tides of sleep
z
“let yourself be carried by the gentle tides of sleep”
abstract soundscape #1, by z.
posted 17 January 2023
Mambo Melon – tre
Mambo Melon
“tre”
Coprodotto da Jestrai, Vollmer Industries, Edisonbox
released December 2, 2022
posted 02 January 2023
Talons’ – After Talons’
Talons’
“After Talons'”
An album about looking back because looking forward is too confusing in such a weird world. Songs about the strange melancholy of mid-30s contentment, a sadness that is only kept from descending into raw despair by having a partner to stare into the darkness with.
Thank you for sticking around for this one. This is the best I can do.
Dark Age:
After the world didn’t end
We came down out of the woods
and couldn’t remember where we parked the car.
When we got home the house was a mess.
We didn’t exactly think we were coming back.
I checked my Instagram
and you put away the Go Bags that we bought off Amazon.
“I guess I better mow the lawn.”
And will we ever find our places in this fucked up world?
Hold on to me and we’ll feel our way through this dark age.
Breaking Bad:
Should have rode my bike, instead I roll up in a cloud of smoke,
like some old man, but at least I… more
credits
released December 29, 2017
Recording Notes
Recorded at home in the room above the garage on Music St. in Novelty, OH 2015-2017.
This recording is meant to sound like that room, the natural reverb of the wood floors and sloped ceiling. The sounds of the insects at night, the rain, the generators in the nearby allotment after a wind storm. They are all night sounds since this recording was made entirely at night, between 9PM and midnight, a half an hour at a time over 2 years.
Recorded on a 2010 MacBook Pro using the Reaper DAW. Reaper’s EQ plugin was used extensively as was the Ozone mastering suite. No other software or software instruments were used. The songs “19” and “All that hasn’t burned is drowned” were recorded to click tracks (at 100 and 83 BPM, respectively). The other songs were recorded without tempo reference.
Recorded one track at a time with an Apogee Duet (FW) interface and a Rode NT-1000 large diaphragm condenser microphone. Some sounds were routed first through a Tascam M-208 mixer. No other outboard preamps, compressors, etc. were used.
Songs/music by MT. Sommer T sang harmonies.
Instruments used:
Primarily recorded using a 1966 Gibson ES-125t guitar (modded to be left-handed then modded back and refinished natural). Also a 1966 Fender Musicmaster ii (with a bridge pickup added) and a 1959 Silvertone U1 (shark-fin headstock) electric guitar were used. A recent model Taylor acoustic was also used for “Tired of IPAs” and some incidental guitar. A borrowed no-name 12-string electric guitar was used briefly. Bass parts were recorded with a 1978 Fender Precision Bass.
The guitars were mostly played through a 1972 Fender Pro Reverb (pre-master volume, blackface modded). Some sounds were recorded through a 60s Harmony solid state 5w amp, a Roland JC-55 combo, and a Fender Blackface Vibro-champ clone (built by Joe Golden) with 1×12 cabinet (Weber Ceramic Speaker). Bass was recorded direct but it was first run through the preamp of an Ashdown ABM 300 C110 combo.
A Wurlitzer 200a electric piano was used (though it does not do well with the garage’s dirty power and radio interference can be heard when it is used (Cleveland’s Z 107.9)).
A Casio MT-100 keyboard was used for all organ sounds.
A Korg MS-20 Mini synthesizer was used for sub bass and mono synth sounds.
A Korg MS-2000 was used sparsely for synthesizer pad and string sounds.
A ramshackle drumset was used for the small amount of drum recording, consisting of no-name gold sparkle snare, Pearl green sparkle floor tom (formerly used in 6/7), no-name sizzle cymbal and late-50s Slingerland 20” bass drum.
A variety of effects pedals and processors were used for guitars and keyboards, including:
Electro-Harmonix HOG and 2880
Moog MF-101
Strymon El Capistan
Maestro EP-4 Echoplex
Montreal Assembly Count to Five
Digitech PDS 1002
Roland RE-201
And a number of pedals manufactured by my coworkers and I at EarthQuaker Devices, including the Dispatch Master, Pulse Machine, Zap Machine, Avalanche Run, Transmisser, Speaker Cranker, Data Corrupter, and Disaster Transport Jr.
Sounds were also processed using a Panasonic Slimline cassette recorder and 2 home made cassette-based tape delays.
Many songs on the album include samples from previous Talons’ releases, notably:
“Dark Age” contains a sample from “Rowboat” and “Old Kayak” from the “Songs for Boats” 12” vinyl LP (Positive Beat 2012) and “September” from the “First Songs” 5” lathe-cut single (2016).
“Sounds” contains samples from “F the World”, “Rustic Bullshit”, “Conversation with my grandpa…” and “Plants & Animals” from the “Rustic Bullshit” 12” vinyl LP (Bark and Hiss, 2012; Broken Circles, 2016).
“The Plane” contains samples from the “MIDI Pillow (edit)” 8” lathe-cut single (2016).
“Driving home from Shows” contains a sample from the song of the same name, released on a 6” lathe-cut single in 2014.
“5 years ago” contains a sample from “Angela” from “Songs for Babes” 12” vinyl LP (Bark and Hiss, 2008)
“April” contains a sample from “Juice” from the “Songs for Babes” LP
“19” contains a sample from “Natalie” from the “Songs for Babes” LP
“All that hasn’t burned is drowned” contains samples from “The Cleveland Rocks” and “Sailboat” from “Songs for Boats” and a sample from the song of the same name on the “Chicago EPs” CD (Luau, 2016)
“New York Hardcore” contains a sample from “Fools’ Gold” from “Rustic Bullshit.
posted 27 December 2022
CLOUDWARMER – Forget Me Nots
CLOUDWARMER
“Forget Me Nots”
when i have fears that i may cease to be
released December 21, 2022
posted 23 December 2022
Nim Chimpsky_ – Feels Like 43°
[A22029]
Nim Chimpsky_
“Feels Like 43°”
[EN]
Aniket feels a deep connection with sounds outside of a clock (an important aspect of his exploration is working with sounds “outside the realm of time”) – both sounds that are already existent in the atmosphere as well as sounds from machines that generate electromagnetic wave forms. He uses these sounds to generate dreams and dream-like memories, to make sense of today’s world shrouded in hyperreality where the lines between the real and illusory are blurred, often through the audio-visual medium itself.
Feels like 43° is a post mortem into this contemporary hyperreal space as well as an instrument of detachment from it in order to galvanize a meditative state of ultimate contemplation.
Aniket’s obsession with going “beyond time” has also invariably drawn him to the impermanent; the ephemeral, and Feels like 43° attempts to delve into a realmless realm of soundscapes with the help of some tapes, synths and field recordings – technological talismans, according to Aniket, which can bring about this meditative state.
[ES]
Aniket siente una profunda conexión con los sonidos fuera de un reloj (un importante aspecto de su exploración es trabajar con sonidos “fuera del reino del tiempo”) – incluyendo tanto sonidos que ya existen en la atmósfera como sonidos de máquinas que generan formas de onda electromagnéticas. Él usa estos sonidos para generar sueños y memorias que parecen sueños, para reflexionar sobre el mundo de hoy en día, rodeado en una hiperrealidad donde los límites entre lo real y lo ilusorio son difusos, habitualmente por los medios audiovisuales.
“Feels like 43°” es un “post-mortem” en este espacio hiperreal contemporáneo, además de ser un instrumento de desapego de eso mismo, con el objetivo de galvanizar un estado meditativo de contemplación última.
La obsesión de Aniket de ir “más allá del tiempo” lo ha llevado directamente hacia lo impermanente; lo efímero, y “Feels Like 43°” intenta ahondar en ese reino sin-reino de paisajes sonoros con la ayuda de cintas, sintetizadores y registros de campo – talismanes tecnológicos, según Aniket, que nos pueden llevar a estados meditativos
TRACKLIST
1 | Exploding the Middle Way
2 | Who Sings the Body Electric
3 | Dew Notes
4 | Nouvelle Throatverb
5 | The Translators Are Gone
6 | No Sleep in Maryville
7 | Have You Seen My Skywalk?
8 | Colombian Psychotic Dog from Northern Pakistan
9 | Byebike
10 | And so Art Is Dead
11 | Nobody Knew What Went Past
12 | Paid Vacation
[EN]
Aniket Dutta is a filmmaker, visual artist and ambient & experimental producer from Kolkata, India. His debut feature film Ghost of the Golden Groves recieved critical acclaim from notable press including Sight&Sound, Senses of Cinema and played at various festivals including Festival du Nouveau Cinema, Montreal where it was nominated for the FIPRESCI award, and won the jury award at CUFF in 2020. He is currently working on his second feature which is an India- UK-Singapore-Thailand production and a video installation project which is a reification of folklore, social amnesia and the current military gaze of the new media.
Aniket’s work is cross-disciplinary – not only does sound form an integral part of his filmmaking and visual art and vice versa, but he cannot really separate one from the other. His umbrella of work embodies the postmodern condition, through an exploration of hyperreality and the new media, albeit through a transcendental approach.
NimChimpsky_ is Aniket’s ambient/experimental sound project
[ES]
Aniket Dutta es cineasta, artista visual y productor experimental y ambient de Kolkata, India. Su película debut “Ghost of the Golden Groves” fue aclamado por la crítica especializada como Sight&Sound, Senses of Cinema; y fue presentada en varios festivales, incluyendo el Festival du Nouveau Conema, Montreal, donde fue nominado al premio FIPRESCI, y ganó un premio del jurado en la CUFF 2020. Actualmente, está trabajando en su segunda película, la cual es una coproducción entre India, UK, Singapur y Tailandia, y un proyecto de video instalación que explora la cosificación del folklore, la amnesia social y el enfoque militar actual de los nuevos medios.
El trabajo de Aniket cruza las disciplinas. No solo el sonido es fundamental para su trabajo como cineasta y artista visual (y viceversa), sino que las considera inseparables entre ellas. Su campo de trabajo encarna la condición posmoderna, a través de una exploración de la hiperrealidad y los nuevos medios, aunque a través de un enfoque trascendental.
Nim Chimpsky_ es el proyecto sonoro ambient/experimental de Aniket.
–
Produced by Aniket Dutta aka Nim Chimpsky
Producido por Aniket Dutta aka Nim Chimpsky_
https://www.instagram.com/nim_chimpsky__/
Lanzado el 22 de agosto de 2021
posted 22 December 2022
Klangbild – EOTF01
[EOTF01]
Klangbild
“EOTF01”
Produced by Michael Pfütze and Ronny Mai from Klangbild.
All proceeds and donations go directly to the project.
All proceeds and donations go directly to the project.
posted 19 December 2022
posted 18 December 2022
A Tape Full of Mistakes – precipitate
A Tape Full of Mistakes
“precipitate”
A Tape Full of Mistakes is The Hathaway Family Plot and Rrrrrose Azerty
chezmonplaisir.bandcamp.com
released December 5, 2022
posted 07 December 2022
t.quoise – life in reverse
t.quoise
“life in reverse”
Downtempo/Ambient music with roots in Boards of Canada’s vibe.
all rights reserved
posted 04 December 2022
Scuare x sow – Slippery People
[Slippery People]
Scuare x sow
“Slippery People”
“How can you pretend that you’re free when you’re so tied to yourself?”
“Slippery People” is a collaborative project between Austin based rapper Scuare, and Portland based production group sow. The catchy dark synth pop melodies coupled with a beat scene aesthetic serve to emphasize the themes of the project through their contrast to the subject matter. Scuare’s past works have mostly focused on his internal monologue and the way his interactions with the world shape negative feelings about himself and inform his growth. “Slippery People” aims to focus on external his observations of societal trends and mechanisms that seem to all operate on similar principles; leaching off of empathy for personal gain.
released November 18, 2022
Beats by sow
Mixed by Scuare
Mastered by Scuare
Artwork by: QED @soundsbyqed
posted 21 November 2022
Monopsia & Bleupulp – Music Makes Friends
[Pertin-nce 093]
Monopsia & Bleupulp
“Music Makes Friends”
1_Monopsia – Via San Felice
2_Monopsia – Nudy (Dubfuser remix)
3_Bleupulp – 333 Kind of Moods (Dubfuser remix)
4_Bleupulp – 333 Kind of Moods
5_Bleupulp – 333 Kind of Moods (Ehm remix)
6_Bleupulp – Lost Memories
7_Monopsia – gmbh1
8_Monopsia – Oumuamua – (Matija Milanovic Rework)
released November 18, 2022
Cover by Yanni Ehm.
posted 20 November 2022
Mauro Sambo – “Senza titolo, senza tempo” volume 1
[PT137]
Mauro Sambo
““Senza titolo, senza tempo” volume 1”
Mauro Sambo: electronics, cumbus, zither, double bass, electric bass, electric guitar, flute, soprano and alto saxs, bass and contra-alto clarinets, percussion, gong.
Cover photo – Mauro Sambo
Cover photo – Mauro Sambo
posted 19 November 2022
Francisco Pinto – Ave Migratoria
[pn213]
Francisco Pinto
“Ave Migratoria”
“Ave Migratoria” (Migrating Bird) by Francisco Pinto keeps you attentive to every track and as a whole, from micro to macro aspects. Always authentic, it takes you by surprise, grabbing you, starting with IDM, drum & bass, and saturated breaks; referencing house music on several tracks, completely experimenting with beats on others. All of this is tied by synth-made arrangements and melody layers.
“Cabalgando balas” (Riding Bullets), the first track, didn’t play on VLC, but on my drive folder, since I have no memory on my PC. The intro sounds lively and theatrical, the beat plays hide-and-seek, catching you up immediately to the full release, which makes you imagine the live performance and set-up, mostly analog, I guess. An admirable, complex and unknown feat for us, coming from the digital world.
“Cabalgando balas” generated a response in my head, moving to the sound, willing to immerse myself in writing already. I watched the video, perfect to be shared in a social meeting, turning the TV on, showing video clips and leaving.
I fix myself a cup of coffee and look out to the sea. You can identify with it, feeling a connection with the concept of the album, closing the context circle of yours with a flourish.
The first two tracks are D&B, IDM, with grabbing distorted breaks; modern style and analog sound at the same time.
Track three returns to more classic palettes: a house/pop sound, calm energy and psychedelic voices traveling through your stereo headphones. “Volaremos de aquí” (We will fly away from here), states the chorus, a sentence plugging the ground cable, the migration concept explored by the album.
Fourth track is housey, too, lo-fi and more energetic, keeping classic drums style on the one hand, talking to bars of rhythmic and timbral explorations on others; together they take you into the chorus, where standards and idiosyncrasies become one.
“Arrhythmia”: a high quality, surprising electro-style piece, containing drops that satisfy your mind, clean, well-balanced sounding, keeping whoever is experiencing the album attentive.
“Tortuguita” (Little tortoise) took me to a more 90s IDM, Planet Mu reminiscences. Later, synths show up with filter games, tilted frequencies, like an ice cream house, making me wonder about the moment those knobs were turned. A synth started this whole romp, joined afterwards by a carnival of filter envelopes, cut frequencies, boosting resonances, delay and reverb placing you right at the universe these sounds take place, down into timbres character and superb unfolding. When it comes down to relaxing; we relax, too. I realized how high I was when I got off. It was great.
“La sequía” (The Drought): melancholic intervals, synth colors filled with exciting harmonics and rhythmic dance floor patterns. A track to dance while crying.
I took a break like watching movies, an intermission in the middle of the film, to fix myself another coffee and reconnect.
A still blue sunset makes an easy entry into track 08. No extra aid needed, since it builds on you, and, as soon as the chosen synth takes off, it successfully sends kinetic signals to my body.
“Yungay Station” is modern and danceable, several layers taking you to synthwave realms, but not missing its housey foundation.
Deep drums, defined and designed with a special touch, open the way to track 10. The unique, authentic mix by Francisco Pinto suddenly opens the spectrum up with sounds filled with character. I’m also able to identify video game samples, and a three-dimensional echo, making you feel like a ball crashing into pinball walls.
The last track arrived. It is interesting to listen to an extended version of the first one, not a frequent move in itself. Since the album runs smoothly, a return to the beginning from another perspective is highly appreciated, as getting to know a deeper version of what Francisco thought when composing this track and this album. I recommend playing “Ave Migratoria” all the way through.
Simone Corbalán aka Ochi
DJ, Productora / DJ, Producer.
(Santiago, Chile, noviembre / November 2022)
posted 13 November 2022
Number Eleven – Outlimits
[EEM063]
Number Eleven
“Outlimits”
When reality fails to meet the system’s requirements for existence, it gets neglected and removed as an input. The system is designed to analyze reality using its units of measurements, but now it can only quantize the noise from the observer. Lack of standard units drives the whole reality-observer-intermedium-system circus insane, continuing the feedback loop of madness, trying to find its own quantization noise drenched in an unpredictable fluctuation from the observer itself.
Lengthy progression of monotonous chaotic structures with only subtle hints of repetition, glued using reverb on things barely reaching the idea of understanding the function of notes.
posted 11 November 2022
BOBi – Couteaux
BOBi
“Couteaux”
Self-released tape
18/02/2019
Beated poetry, ardour melancholic chants, DIY pop-kraut chamber music
Paolo Gauthier : Poetry, chant, prepared percussions
Marceau Beyer : Cello
Quentin Thirionet : Clarinette, sound objects
Matthieu Reynaud : Recording, mixing, mastering
posted 08 November 2022
Alpha Centauri – Alpha Centauri Static Time
[PXCD 133]
Alpha Centauri
“Alpha Centauri Static Time”
Lista de temas:
1 – Serenata Opus 2
2 – Static Time
3 – Across At Open Sea
4 – Serenata Opus 3
5 – Exaltemos al Rey
6 – Una Sola Cosa
7 – Serenata Opus 4
ALPHA CENTAURI es: Cristian Leonardo Abaca: batería en temas 1, 2, 3, 5, 6 y 7.
Percusión en tema 3, voz en tema 2, 3, 5 y 6.
Programación de batería electrónica en tema 6 y teclados en tema 5.
Músicos invitados:
Martín Piccioni: bajo en tema 3
Martín Arias: guitarra y efectos de guitarras en temas 1 y 3
Diego Tarling: guitarra en tema 5
Federico Favrol: bajo en tema 2
Ernestos Romeo: Moog Modular System, Moog 960 Sequential Controllers, Moog 950 Keyboard, MiniMoog Model D, ARP2600, ARP Sequencer, Mellotron Model 400 en tema 2
Shiitake (Manuela Suarez): EMS Synthi AKS en tema 2
Martín Méndez: bajo en tema 7
Hernán Espejo: guitarras en tema 7
Manuel Schillagi: sintetizadores y efectos de guitarra en tema 4
Eduardo Vignoli: piano, bajo programado y guitarras en tema 6
Charlie Egg: bajo y sintetizadores en temas 1 y 5
Juliana Gentile: diseño gráfico de tapa y contratapa
Producido por Cristian L. Abaca
Ingeniero de grabación, mezcla y masterizado: Eduardo Vignoli
Letras compuestas por Cristian L. Abaca, excepto “Una sola cosa” con letra y música de Luis Alberto Spinetta del álbum “Prive”
Los tema musicalmente fueron compuestos por los músicos donde respectivamente se los nombra en los instrumentos que tocan
PXCD 133
Editado por Planeta X Discos
posted 03 November 2022
Alinoe – Fadobey Lotlot
[bump222]
Alinoe
“Fadobey Lotlot”
Alinoe came back since the release of Almost 22 P.M., with an ambient dub EP. “It is a project that is based on the connection of the sound of old hardware synth with new ones. I have always been fascinated by the dirty sounds of the first samplers, 8-bit synth, or the distortions that can be obtained by recording sounds on tape. Ambient Dub Techno style is perfect for this.”
posted 24 October 2022
BasstK – Cr14tur4s
[epa099]
BasstK
“Cr14tur4s”
The four compositions included in «Cr14tur4s» are songs composed since 2015. The author explores electronic percussive sonorities -from rhythm machines to soundfonts and samples- mixed with mid and high frequency synthesized with a propensity to stridency, adding recursive low-frequency loops, modulated in tune with the generated massive sound.
The Cr14tur4s proposed are forms going from the microscopic to the visible, mutated in imaginaries created under the intense influence of the accelerated, histeric times we are crossing as specie(s).
posted 22 October 2022
