Christos Sakellaridis – infinity sketchbook
composition, performance & production
by Christos Sakellaridis
Christos Sakellaridis is a pianist and sound artist/composer. A graduate of the F.Liszt academy in Budapest, from very early he specialized in contemporary music and received further coaching by members of the Ensemble Modern.
He has performed all over Europe in concert halls and festivals as a member of the Pincetic/Sakellaridis piano duo and the Ergon Contemporary music ensemble.
His interest in new sounds and technology led him to create music for the last 7 years using mainly instrumental recordings and sonic manipulation aiming to achieve a balance between natural sounds and technology. His commissions include music for the Greek National Ballet Company as well as silent film soundtracks and collaborations with video artists. He has released a tape for Bastakyia records in collaboration with electronic sound artist C.Skourlis under the name of Ekkert.
This is his first solo release as a composer.
As I’m about to depart for a few months of backpacking (to work on white blazes 2) I decided it was only appropriate to start things off with a clean slate. So I’ve organized the few random tracks I’ve got floating around in unreleased states into the ep you have before you. A smattering of downtempo and more upbeat electronics for your listening pleasures. Dedicated to my little friend and constant companion Sydney the cockatoo who’s handsome face graces the cover
Back at the end of August, Ant The Symbol sent me a few new songs to check out. I downloaded them and listened… like, whoa! I instantly felt that the seven songs I was listening to were the most inspired that he’d created thus far, as The Symbol. Of course I had to release them, so that you can enjoy, too.
With You Are Here: Downtown Ant manages to take his downtempo sound into new territory. In doing so, he has moments that reminds you of Aphex Twin and others that could be what Art of Noise would sound like if they tried to make music like him. Moments of humor, adventure, bliss and beauty all come together in an immediate and addictive set. IMO, he’s hit the nail on the head… HIS sound has been defined… maybe he’ll surprise us with more goodies in the coming months? I sure hope so. In the meantime, enjoy this EP. Wear out your hard-drives, playing it.
Please Ant, don’t hurt ’em! Jeebus, man… this was an ill surprise. I think the kids are gonna dig it.
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!
This collaboration album, arose from the inspiration and endless talent of the artists Øystein Jørgensen & Chris Silver T., exhales and ultimately catapults the listener into a fascinating melange of multitudinous space particles and technocratic galaxies of aural ether. The obscure flow of sound constantly flashes into a physiognomy of percussion, rhythm patterns and beat spectrum that only make the aulic darker parts much more isolating and hence threatening. The sonic paradox is: Look into brightness to make the surroundings turn dark. Each one of these “DOORS” opens towards boundless universes to discover, explore and solemnly embrace.
1) South Road_Intro
2) North Road
3) West Road
4) East Road
5) Let’s go Mars_Outro
6) South Road Intro (Osinski Late Night Rmx)
7) South Road Intro (Osinski Shoreditch Rmx)
8) East Road (D_Smoker Rmx)
9) North Road (TYM Rmx)
10) West Road (Bakra dub Rmx)
Collaborations with Lutz Pruditsch of Tarkatak seem to have an extremely long gestation period. When we first collaborated on The Druser Pricid, the recording was completed in 2000, but not released until 2003. The same is true of Azure Bell, Midnight Well. Lutz and I exchanged sources long enough ago that I completely have forgotten when it was. The sources sat for a long time, unused. Then music began to take form, then the unfinished mixes sat for a few more years. I determined myself to get the mixes finished sometime last year, only to find that my contact info for Lutz was out of date, and he no longer has much internet presence! I finally sent the masters to him in April 2016 and we agreed to go ahead with this release. Our first release together has always had a lot of admirers, I hope this one also finds receptive ears. ////////
All sounds on this release were manipulated, arranged and composed by C. Reider, using sound sources provided by Lutz Pruditsch.
Martinas Rakshtinas returns to Enough Records releases with 5 track tripstep collaboration work between Marrach, Bat Poet and Chtin Mara. Expect raw, dark schizoid off-beats, robotic voodoo, autistic terror, animal instincts, etc.
For its 30th release, Da ! Heard It Records gives a touching testimony: that of Klaten’s computer’s last days. Inspired by the epileptic glitches of a video card used up to its circuit, this disc’s seven pieces form a meticulous assembly of violent unknown flying objects from which otherworldly melodies emerge.
“Tergiversure”, “Déglutogène”, “Exoplaste”: each track seems to be an attempt at a graft to sustain the life of a microprocessor on its last legs for a just a few moments more. Klaten, a professional 3D infographist, has indeed retained from his practice an extreme attention to detail and a taste for peculiar universes, as evidenced by the disc’s sleeve, signed Elise Kobisch-Miana, a panorama of crystals with shattered perspectives reminiscent of the album’s numerous landforms.
Leading the way with Stipulite, Klaten takes the listener into the winding tunnels of a labyrinthian cave where bouncing rhythms sometimes trigger the tinting of dim mineral glows. Digging deeper into the matter, he pursues his course head hung low, through the sparkling reflections of Exoplaste and the sharp breakbeats of Tergiversure. Once at the heart of an aural boiling magma from which he draws new metallic materials (Phoryaphile, Gramafion), he completes his journey through the breath of Stratiformis in order to cool down the overheating vents of his machine positively controlled at all the VST. Alas, it is already too late…
Ultimate souvenir from this voyage, the Parisian C_C concludes with his own vision of the trip: a remix with massive rhythms and the sound of his analog machines humming in the background. A tribute to the complex landscapes of Autechre and the experiments of the label Schematic, this disc, with its rich and startling imaginary, remains nameless. Like a challenge, the sonorities it deploys give all the hints necessary for the listener to find it a name.
After two years of silence, Gridline came back. “This is a collection of tracks I created in the last two years. They are all in some way connected to dreams, sleep, night time, and other similar themes. Music For Sleepers is the sequel to the previous album Videogame, but it is about another virtual reality. This is the music for all the people, because we all sleep and dream, but it is not the music to fall asleep to.”
Dublin based duo Jim Lawler and Ben Rawlins (aka Saso) return after a 5 year hiatus with the release on their 5th studio album titled Mysterium.
Where the duo’s previous albums centred around guitar and vocals, Mysterium is primarily a collection of piano based instrumentals occasionally lit by Lawler’s fragile vocals.
The band abandoned formal structure letting the music unfold naturally, using silence and room ambience as instruments in themselves.
Replacing guitars with the more pastoral sounds of an upright piano and acoustic organ, the album was recorded in one room and the duo invited musicians from diverse musical backgrounds to perform certain parts and improvise around sounds and melodies. The compositions are sprinkled with acoustic drums, double bass, woodwinds, brass and neo-classical vocals adding moments of colour and contrast to the otherwise minimalist sound.
Album made with tablets and phones in various foresty places, coffee shops, beaches, and balconies with Caustic 3 for Android. Mastered with Mastering (beta) on the beach on my Android tablet. Both Caustic 3 and Mastering (beta) are by Single Cell Software (www.singlecellsoftware.com)
“Professor Zacarías Malden could very well be an ‘alien’ who fell to Earth decades ago to gather the ABC’s of previous understandings regarding the ‘laws of electricity’, which had been developed along with others in the 18th century, and not without some rejections and incredulities on the part of the academic and scientific establishment confronted with Georg Simon Ohm convinced by his theory, the so-called ‘OHM’s law’. Theories related to electricity and the variables that affect the process of transmission.
Before and not far away, another central figure, also in the city of Quilpué, the Doctor Gozne, had published ‘Non Human’ (pn090) at the end of 2014, a work perhaps more human than what its title indicated and on the other side more rhythmic (in the classic and resounding sense) in relation to that which the new work of the ‘alter-ego’ Zacarías Malden instead insinuates. Probably his musical laboratory never required studies of the laws of Physics (‘probably…’) nor too much already more enclosed from Electricity, even so, you will find the ‘current’ vibrating in each track.
‘Rítmica’ (pn104), would seem to open a journey or a deep view to the stars and galaxies visible from his study or perhaps already from the controls his spaceship.
The listener may be invited by the Professor and in fact transferred to ‘the electric circuits’ of a Mission, ‘initial essential miniaturization’ of the passengers disposed to such risks; they then situate themselves in the marrow of analog and digital circuits and to periods of bitter struggle between mutant insects, contaminants, and interferences of electronic commands and their flow and that of an army of ‘Pacman’s’ pursuers acting as antibodies that sometimes manage to resolve and free from interference necessary sequences of the processes of transmission. So they sound to digital errors and they are obviously more than reminiscent of the ‘Click & Cuts’ present around the year 2000 and the electric ‘delicacies’ of the work.
The buzz of the insectoids in the most analog circuits sometimes disappears and opens a ambient layer of relaxed drones, but always accompanied by rough fabrics and textures, stratified sheets of vibrating scrap almost of a palpable materiality.
In ‘Rítmica’ (pn104) there is of course ‘rhythm’ but still, it must be understood in a different way and this forms part of the mysteries of this work, even in those occasions where it may seem almost absent. The melodies have to be on this occasion almost imagined.
The journey of ‘Rítmica’ (pn104) takes place very briefly, it opens and closes, and in a flash perhaps you wake up to reality neither more nor less than in the studio of the Dear Professor Zacarías Malden!
Don’t worry, the ‘system’ guarantees the return to natural size upon your return. You will not return as “miniatures,” nor will you have been devoured by the insectoids or by the ‘Pac-mans’
Luckily the electricity will not have disappeared out there! What is more we know that we can count on Professor Zacarías to deliver new and future entries of adventure in the form of installments and albums.
Felipe Raurich Böttiger
Capitán del Nautilus en el programa musical on-line:
20.000 Leguas de Viaje Submarino (Un Mundo de Aventuras Musicales)
(Valparaíso, Chile. Marzo / March 2016)
6th round for the famous Digital Family compilation series, carefully selected by labelheads Alic.
Once again we receive an outstanding collection of unreleased tracks. Starting by the labels main artists Trilingo, Ben Rama, Point, Simmetune and of course Alic as well as some fresh upstarters like Bratenschneider, L.T. and Code Therapy.
Jitter and Fredrik Astevall, also known as ‘Krumelur’, are completing this high end selection of finest psy-touched Techno!
it’s time for a little bit of serbia! being long overdue, finally we present to you another chapter of unfoundsound’s “location series” — which features compilations of artists based in one city. first, we did buenos aires, then marseille, then melbourne, and then philadelphia. this time around, it’s novi sad (serbia’s second largest city). unfoundsound’s cofounder sean o’neal (a.k.a. someone else) continues to travel often and move around. after he himself has been living for a couple of years in novi sad, he realized it was time to put together a compilation of some of the finest electronic music artists in the city. very soon after he relocated to novi sad, sean quickly discovered that the city has an intelligent and thriving underground electronic music scene. so maybe it’s time to help put this city on the map. on happy in novi sad, you get a whopping 15 tracks ranging from minimal techno to deep tech-house to ambient to glitchy experimental, and there’s even a touch of loopy indie rock thrown in for good measure. the novi sad-based artists on this compilation include dako loop orchestra, fall apart (featuring the voice of radoje cupic), otto von disko, klaus pp, sloxxx, yoma, nebes, mthaza, daniel fritz, noise destruction (featuring dj z and dj fakir), daniel alexandar and mika technika. so, be happy…in novi sad!
« The look of which I know is the look he knows me »
This sentence is taken from Western Exile, thoughts and mystical story of the Persian philosopher Suhrawardi. It sums up the album. Hykayat in Iran, is a mystical story. Western exile is a journey to the celestial pole, to immaterial palaces.
This album is a tribute to the Persian thinkers and scientists of medieval Islam. It invites the listener to travel throughout eastern lights, axioms of creative imagination that influenced alchemists, mathematicians, astronomers and western philosophers. It was designed to stimulate your light guides to accompany your souls to the house of chants. It passes through time and space through hybridization of genres, rhythms and tones (metal, swing, electro, rock, philharmonic…).
It’s a light album: live performance is played on stage with lights DMX reacting to sounds. The album artwork is black and white, inviting the listener to focus on sound work, on composition and to develop a photism experience (feel color through another sense than vision). Live performances are still ecstatic, energetic, wobbly and increased by some unusual instruments like a guitar tuned with a wiimote, a MIDI flute, and sometimes a robot santoor.
Freiheit will in diesen Tagen nicht nur immer wieder erkämpft und verteidigt sein. Freiheit muss auch ausgehalten werden wenn es brenzlig wird. Genau so, wie es mit der Toleranz immer dann spannend wird, wenn sie einen herausfordert und zwangsläufig zu Akzeptanz und eben nicht Ignoranz führen muss, genau so wird es mit der Freiheit dann spannend, wenn sie ihren Preis einfordert und sich gleichsam selbst auf dem Altar des diffusen Verlangens nach mehr gefühlter Sicherheit zum Opfer anbietet.
Machen wir uns nichts vor: Freiheit für mehr vermeintliche Sicherheit zu opfern ist eine bescheuerte Idee. Umso blöder, wenn es am Ende noch nicht einmal mehr wirkliche Sicherheit gibt.
Was zu tun ist, sollte jedem Einzelnen klar sein. Doch verharren wir in Agonie, pflegen unser Phlegma und überlegen ernsthaft, ob Resignation nicht doch eine Option ist. Die alte Hoffnung Revolution? Bitch, please. Bequem geht die Welt zu Grunde. Viel Spaß dabei.
“The day that forgot to break” is the third album by Purple Mountain Peal.
This release marks a more piano driven declination of what the duo has to offer in terms of improvisation, creativity and madness. To sum up, what you are about to witness is less chaos and more melody. Take it with a grain of salt by the way, it’s Purple Mountain Peal after all…
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