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Since 2010, many netlabels and artists publish their new free music releases on the clongclongmoo website. Free means that you don't have to pay anything or register to download music. However, you can usually pay something to support the artists. Please note the licenses under which the music is published. This is important to know what you are allowed to do with the music. Please visit the labels' homepages to get the free music. Most files are published under a creative commons licence. At netlabellist you will find an extensive list of websites that also offer (or have offered) free music. If you run a netlabel yourself or offer your music for free and want to draw attention to it, you are welcome to use the submission form. And remember that clongclongmoo is not there to do business, because “Business Is Not My Music.”

update, 28.1.2026

Hello, I have made a few changes to the site. Unfortunately, I am not quite finished yet, but it should continue without interruption. I hope you find the changes useful. Stay tuned. Konrad

Me In The Bath – We Ain’t Got Time

Me In The Bath – We Ain't Got Time

Me In The Bath

“We Ain’t Got Time”

Me In The Bath is once again back with a new album looking toward, as of per usual, lofi rock, noisepop and garage. While this album has being produced over one year, between August 2020 and July 2021, tracks were published for streaming only all over this very year, and the album became finally available on July 14th for Netlabel Day for free download, with the publishing of the final track “Like A Gnat Drowned In A Glass”.

audio.clewn.org/audio/MeInTheBath-WeAintGotTime-03-YouReMarvelous.mp3

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posted 01 August 2021

Jo Jet i Maria Ribot – sant llorenç / cara b

Jo Jet i Maria Ribot – sant llorenç / cara b

Jo Jet i Maria Ribot

“sant llorenç / cara b”

‘sant llorenç / cara b’ és un EP que recull de cinc temes del disc ‘sant llorenç’ revisitats amb col·laboracions d’artistes que admirem i estimem molt.

Marala, El Noi de Tona, Carlota Flâneur, The Bird Yellow i Socunbohemio posen la veu i donen una mirada nova a les cançons.
credits
released May 28, 2021

Totes les cançons escrites i composades per Jordi Serra Morales excepte ‘invocar el silenci’, escrita i composada per Maria Ribot Farrés.

Jo Jet i Maria Ribot (guitarra i veus)
Josep Cordobés Miravitlles (bateria)
Mesclat i masteritzat per Jan Valls

Disseny per Elisabet Mateu i Ignasi Àvila.

Amb la col·aboració de:

El Noi de Tona a ‘ja t’havia escrit un cop’
Socunbohemio a ‘vinc del teu estiu’
Marala a ‘dies clars’
The Bird Yellow a ‘invocar el silenci’
Carlota Flâneur a ‘sant llorenç’

Aquest EP forma part del projecte artístic ‘sant llorenç’ i ha estat concebut pel seu propi equip creatiu: Elisabet Mateu, Raquel Albareda González i Ignasi Àvila i també per l’Anna i la Joana de Niu Management.

Editat i produït per Jo Jet i Maria Ribot. Tots els drets d’aquestes obres estan gestionats per JBC MUSIC info@jbcmusic.es / JBC MUSIC PUBLISHING Cristòfol Grober 4a local 29 17001 Girona ©

jojetimariaribot.cat

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posted 30 July 2021

Amplidyne Effect & Toni Dimitrov – Live at ToBeContinued​.​.​. 2021

Amplidyne Effect & Toni Dimitrov – Live at ToBeContinued​.​.​. 2021
[ACP 1322]

Amplidyne Effect & Toni Dimitrov

“Live at ToBeContinued​.​.​. 2021”

photo by Toni Dimitrov
design by EMERGE

Performance done for the 12th edition of ToBeContinued… 2021, original concert lasting 24 hours (from 00 to 24 of March 24th, Central Europe Time), during which musicians from many countries world-wide are connected to broadcast their live music.

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posted 30 July 2021

GOZNE – MCMLXX

GOZNE – MCMLXX
[pn193]

GOZNE

“MCMLXX”

01000001 01001100 01000010 01010101 01001101 00100000 01000011 01010010 01000101 01000001 01010100 01000101 01000100 00100000 01010101 01001110 01000100 01000101 01010010 00100000 01010100 01001000 01000101 00100000 01000011 01001111 01001110 01000011 01000101 01010000 01010100 00100000 01001111 01000110 00100000 01010101 01001110 01001001 01011000 00100000 01001111 01010010 00100000 01010000 01001111 01010011 01001001 01011000 00100000 01010100 01001001 01001101 01000101 00101100 00100000 01001110 01001111 01001110 00101101 01001100 01001001 01001110 01000101 01000001 01010010 00100000 01001111 01010010 00100000 01010100 01010010 01010101 01000101 00100000 01010100 01001000 01000001 01010100 00100000 01010011 01010100 01000001 01010010 01010100 01000101 01000100 00100000 01001111 01001110 00100000 01001010 01000001 01001110 01010101 01000001 01010010 01011001 00100000 00110001 00101100 00100000 00110001 00111001 00110111 00110000 00100000 01010101 01001110 01010100 01001001 01001100 00100000 01011001 01001111 01010101 00100000 01010010 01000101 01000001 01000100 00101110 00100000 01001011 01000101 01000101 01010000 00100000 01001001 01001110 00100000 01001101 01001001 01001110 01000100 00100000 01010100 01001000 01000001 01010100 00100000 01010100 01001000 01000101 00100000 01010000 01010010 01000101 01010011 01000101 01001110 01010100 00100000 01010100 01000101 01001110 01010011 01000101 00100000 01000100 01001111 01000101 01010011 00100000 01001110 01001111 01010100 00100000 01000101 01011000 01001001 01010011 01010100 00101110

REVIEW IN ENGLISH:
ALBUM CREATED UNDER THE CONCEPT OF UNIX OR POSIX TIME, NON-LINEAR OR TRUE THAT STARTED ON JANUARY 1, 1970 UNTIL YOU READ. KEEP IN MIND THAT THE PRESENT TENSE DOES NOT EXIST.

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posted 26 July 2021

Callejas – Páramo

Callejas – Páramo
[MNF041]

Callejas

“Páramo”

Monofónicos Netlabel presenta orgullosamente el lanzamiento de Callejas con un brillante disco de texturas modernas, beats suaves acercándonos a la música Dub Techno con su toque futurista y emocional.

Mateo Callejas presenta una exploración espacial continua hasta el más allá. Alcanzando un lugar de máxima actividad con música cargada de Techno hipnótico, que se impone oscuro e imparable, con melodías que envuelven al oyente en una temática esencial: hipnótico, atemporal y potente.

Su concepto de la música trasciende lo habitual y brinda una experiencia única cargada de personalidad, fruto de una pasión y dedicación que siempre lleva al límite, re-codificando ideas y formando la música Techno como un elemento de peso, ordenado, poderoso, sólido y oscuro. Callejas es un artista local de esos completos que siempre logran crear un sonido muy personal.

Un disco que viene acompañado de 4 super estelares remixes, con el productor estadounidense Brendon Moeller, también conocido por sus alias de Echologist y Beat Pharmacy, tener en Monofónicos Netlabel a un artista como Brendon es un orgullo de primera clase por su sonido innovador, marcado por la estela del Techno rápido y planeador, que seguramente te llevará a lo más profundo del particular universo musical de Brendon Moeller.

El talento local llega con Magdalena y Archaic Revival, dos artistas locales con una respetada y admirada trayectoria por su sonidos futurista de Techno y experimentación por los sonidos densos, con una escencia que va creando atmósferas oscuras y siniestras. Mucha experiencia y dedicación se evidencia en estos dos remixes, demostrando toda la personalidad con una afinidad de ritmos vanguardistas, que marcan el talento exclusivo que posee Magdalena y Archaic Revival.

Por último tenemos el remix de Eviru Dibad, amigo de esta casa radicado en Estados Unidos y que lleva su propio sello Backdoor Records. Dsum nos lleva por su alias más experimental donde su maestría musical nos propone un sonido más ácido, vibrante, moderno y pistero para deleitar a todo el mundo con mucha clase.

Un disco muy bonito de Callejas destinado a mentes abiertas hacia un viaje sideral, que evita caer en cualquier clase de convencionalidad, para mantenerse fiel a la vertiente más ensoñadora y evocadora del sonido que nació hace casi 40 años en Detroit. Larga vida al Dub Techno.!

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posted 26 July 2021

Rien virgule – Trente Jours A Grande Echelle

Rien virgule – Trente Jours A Grande Echelle

Rien virgule

“Trente Jours A Grande Echelle”

Vinyle 12 pouce tiré à 500 exemplaires.
Enregistré par Manuel Duval & Stéphane Torre-Trueba.
Masterisé par Mathieu Berthet
Pochette : Anne Careil
Musiciens :
Mathias Pontévia
Jean-Marc Reilla
Anne Careil
Manuel Duval
credits
released November 1, 2015

Co-produced by :
La République Des Granges – Les Potagers Natures – Permafrost – micr0lab – Animal Biscuit – Attila Tralala – Phase! Records and Do It Youssef !

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posted 26 July 2021

Ana Foutel / Edgardo Palotta – Ritual

Ana Foutel / Edgardo Palotta – Ritual
[PT121]

Ana Foutel / Edgardo Palotta

“Ritual”

Edgardo Palotta: clarinete, clarinete bajo, flauta india, contrabajo y accesorios.
Ana Foutel: piano, spring drum, campana y cuenco.
Imagen de portada: Omar Grandoso
Grabado y masterizado por Gonzalo Manco. Mezclado por Gonzalo Manco y Edgardo Palotta en Estudio Libres, Buenos Aires, Argentina. Enero-Mayo 2021.
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posted 22 July 2021

Gleam – Empty Sounds

Gleam – Empty Sounds
[A22026]

Gleam

“Empty Sounds”

La creación de este disco vino por la necesidad de expresar las sensaciones sobre la situación que hemos estado viviendo a nivel global, por el Covid.
En un principio fue contemplado ser una continuación de un EP previo, sin embargo, durante la formación de éste el rumbo cambió, hacia la creación la historia de una persona que está viajando por el espacio en la búsqueda de sí mismo.
Aunque esta experiencia puede ser relacionada con todo lo vivido durante esta pandemia, las sensaciones de distancia, esperanza, dudas, miedos y todo lleva a indagar respuestas durante tiempos de incertidumbre.
Este trabajo fue grabado en el hogar del creador, de una forma muy sencilla: un laptop, un pendrive auxiliar de audio (micrófono), guitarra, bajo y baterías creadas en Guitar Pro.
El proceso comenzó a fines del 2020 y en febrero de este año ya tenía decidido poner en marcha la grabación, la cuál tomó un tiempo de un mes en grabar todo y casi dos meses en editar, masterizar, crear el arte de este disco. Cada tema que se encuentra en Bandcamp tiene una narración que va vinculada al relato del “protagonista” de esta obra.

TRACKLIST

1 | Echo
2 | Distant
3 | 119 mv
4 | Warped
5 | Gravity
6 | Hover
7 | Serenity
8 | Disturbance
9 | Disruption
10 | Void

Gleam (Camilo Vergara) es profesional del área del turismo y traductor inglés – español e incursiona en la música por curiosidad y el deseo de poder crear algo que viene desde su interior.

Composición, producción, grabación, mezcla, mastering y arte de portada por Gleam

gleamcl.bandcamp.com/

Lanzado el 22 de julio de 2021

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posted 22 July 2021

das_synthikat – end of file

das_synthikat – end of file

das_synthikat

“end of file”

No, this is not our last album – we promise. We’ve arranged with the apocalypse that they’ll wait a bit longer. Until then, listen to it, download it, spread it around – without copy protection and restrictions.

The bible has revealed it – everything is perishing. There is no point in following all its rules. Nobody really understands that book anyway: the language is outdated, the norms no longer make sense today. That’s how one may also feel when one goes to an office.

No wonder that mankind longs for the apocalypse – after all, the end of the world promises the end of bureaucracy, capitalism, church, and everything else that annoys us. At the end of the story only the frustration about the botched revolution remains, and the little note: end of file, that’s it. Or is it?

Maybe not quite. The world doesn’t end everywhere at once. In the niches over which cyberpunk dystopia no longer has control, a tender little plant is growing.
credits
released July 21, 2021

Nami (vocals + guitar, additional production), ph4nt. (synthesizers, production, additional vocals). Many thanks to Christoph Lefherz for the virtuoso saxophone in _unkraut and _womanhood, and vocals and accordion in _puzzle. Also to Mike the Dyke for the beautiful second voices in _womanhood and _puzzle. And many thanks to Adena Sead for the terrific album cover. <3

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posted 21 July 2021

Gustavo Becerra-Schmidt – Obra Electroacustica

Gustavo Becerra-Schmidt – Obra Electroacustica
[pn036]

Gustavo Becerra-Schmidt

“Obra Electroacustica”

(10 Years Ago)

Any review or comment about Chilean art music necessarily mentions composer Gustavo Becerra-Schmidt. This is not the case for his electronic and electroacoustic music, which seemed to be somewhat hidden or overlooked (until the uploading of his «Obra electroacústica» in 2008 by Pueblo Nuevo Netlabel), far from those who have wanted to approach this Becerra realm, where time seems to be standing still. These pieces -the ones played by machines- create a strange, disturbing sound space. Here, silence makes sound disappear, mingling with it, making it mutate. As if muted by a black hole, generating a gravity field absorbing everything around, but, because of this very quality, densifying it, making it murmur.

The release of almost all electronic works by Becerra (including mixed media, electronic, and electroacoustic pieces,) is an important and extremely necessary gesture for Chile, where the commitment for recovering immaterial heritage easily falls into oblivion. Through these works, the fortunate use of technologies around in the 70s, the 80s, and years to come, Becerra seemed to grasp the turn this kind of work would offer to compositional inventiveness as a whole: synthesizers, all kinds of artifacts and computers were used by him to generate other sounds, other forms and structures, other rhythms, weird harmonies.

As expressed by musical environment around him (in no way restricted to scores, for folklore, popular music and pieces for theater and movies were also part of his surroundings), Becerra has left a fundamental legacy, not just as a composer -being this an enormous opus. Cirilo Vila, Gabriel Brncic, and Fernando García -among many outstanding musicians in Chilean scene- were his students, which eloquently proves Becerra’s panache for teaching, even though for him the concepts of «talent» and «teaching» music (confusing matters these two), were profoundly questioned in two acclaimed papers of his: «El mito del talento en música» (1969) and «Crisis de la enseñanza de la composición en occidente» (1958-1959). In the latter, Becerra accounts for a disease that, through the years, seems to have spread out to a fair amount of composers’ brains: «Never as today there is a tiresome insistence in writing music according to a theory, i. e., to a set of mostly intellectual hypotheses. This has taken, as we said, not only to a distance between the composer and the audience, but also between himself and his work.

Juan Pablo Abalo
Compositor. Crítico musical / Composer. Music critic.
(Santiago, Chile. Julio / July 2010)

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posted 20 July 2021

Jose Vicente Asuar – Obra Electroacustica

Jose Vicente Asuar – Obra Electroacustica
[pncd08]

Jose Vicente Asuar

“Obra Electroacustica”

(10 Years Ago!)

We are proud, pleased and glad to present, at last, this CD release of the electroacoustic work by José Vicente Asuar.

This is a carefully crafted compilation, both a record and a symbol of a unique oeuvre coming from Chile – an aim thoroughly pursued by Comunidad Electroacústica de Chile, Pueblo Nuevo Netlabel, and Escuela de Música de la Universidad Arcis (via Laboratorio de Informática Musical) in this new joint venture.

The strange and anomalous presence of this visionary in our Arts history, fully acknowledged as a creative music pioneer both in Chile and abroad, has generated a slowly growing interest in several realms of our local culture. In order to understand this fully, checking local and foreign literature on Asuar’s releases, prizes and commissions -proof of recognition and value of his work- suffices. During the 90’s, his presence fades, as he turns away from composition, to be rescued and rediscovered by the early 2000s. Harmonic mixture of composer and engineer, Mr. Asuar researched and generated electronic sound technologies, creating with them a deeply expressive and personal music: maybe the first devices created and modified in Chile in the late 50’s; the first fully synthesized work composed in our country and/or Latin America, in 1959; the implementation of Sound Technology career at Universidad de Chile, in 1969; setting up electroacoustic music studios in Germany (1960) and Venezuela (1966), are all consequences of his pursuit, as well as the composition of works that explored sound/ music continuities and discontinuities, ranging from natural to human to synthetic materials; designing a music-making-oriented computer of his own, unique in the world at that time (1978), all landmarks of a paradigmatic local pioneer. His work presents the convergence of certain aspects of musique concrète, linked to an Art Music context, where serialism techniques, computer-assisted composition via heuristic processes, and an exquisite flair for sound synthesis, flow in a particularly free and personal way.

Nowadays, his technical and artistic work is both a direct and indirect catalyst for musicians and artists from all disciplines and generations. In more than one realm he is recognized as an influence: in his electroacoustic music, his pioneer, multidisciplinary approach to computer music; his albums, devoted to teaching and uncovering the potential possibilities of electronic music; his aesthetic-technical writings on electroacoustic music. Even factors superficially addressed by popular culture, such as the longtime mystery concerning his whereabouts, or the retro aesthetic of a couple of his LPs.

History presents Asuar as an precedent, but I would point him out also as a present-day ‘cedent’ (if it’s possible to put it that way), for he’s still signalling, gravitating, and pushing a way of understanding, creating, but, most of all, dreaming. He represents not only the blending of the musician and the engineer, but also the committed scholar and the supportive maestro, who wants technology to put the wonder of Music onto our hands…

All those features, so commonplace nowadays, were dreamt years ago by José Vicente Asuar.

Alejandro Albornoz
Secretario Comunidad Electroacústica de Chile CECh.
Curador / Curator. Co-productor / Co-producer Colección Electrocústica 2010.
(Santiago, Chile. Marzo / March 2011)

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posted 20 July 2021

Cairo Braga – Ultimatum / Imediatum

Cairo Braga – Ultimatum / Imediatum

Cairo Braga

“Ultimatum / Imediatum”

This little diptych was made from scratch between 12/07/2021 at 23h00 and 13/07/2021 at 23h, specifically to be released as part of Netlabel Day 2021. Visit netlabelday.com to know more and listen to hundreds of new songs, all available freely under Creative Commons licenses and released by netlabels.

This release is very important to me because it represents the end of a severe writer’s block caused by trauma, because it is the last ever official release on the netlabel I founded, Elegant Elephant, which is ending operations, and because this is my pandemic record.

Hope you enjoy it and spread the word! Don’t forget to tell me what you think about it, feedback is greatly appreciated.

I also have an up-and-coming Patreon page at patreon.com/cairobraga and I will be posting exclusive material from this release there, so don’t miss out, join me there. :D

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posted 19 July 2021