1. Love Is Dead
2. Equality (Begundal Lowokwaru Cover) ft Arief Budianto
3. Feminist Justice ft Wisnu Adi
3. Love Song Of Albert Camus
4. Origin Of Species
5. Radical Ecology
6. State Orgasm
7. To Much Punk Will Kill You
Without ambiguity “Three” is Torn’s third album. After his largely on guitar and singing reduced second album “Temples”, here he picks up the moods from his first album “Beaches” again, but adds his very own idea of pop to all even more. With his music he draws a flashy bow from almost schlager-like Beat Music, over Broken Dilletante Lofi Rock up to Drone Guitar Noise. Strangely intimate. Unadapted and mainstream.
PGR (neither related to an old project of Kim Cascone nor to the Italian band).
Non empathic, annoying, unemotional crap. Medicine for life boredom.
>From dynamic to static as-loud-as-possible violence.
insectorama presents the 80. Release and we say hello to a new artist on insectorama. his name is Antias and he bring us 2 perfect dubtechno tracks for the cold days. pure rhythm with chords , delays and echoes.i found no more words for this fantastic sound. listen and understand dubtechno!!!!!!!!
A seven track ambient album from K.Markov showcasing a selection from three of his existing albums – Organic, After the storm and Species, which you can find on his bandcamp page.
Following on from his first release on Kahvi under the name Phrulex (which was a single several years ago), and part one of the excerpts, K.Markov gives more of the detailed, progressive ambient work that appeared in part one.
Gently floating atmospheres, mixed with sweeping arpeggios and melodical interludes to keep you listening closely.
Much more minimalist than “Wandering in Dust” that we published in 2015, Carillon, the new album of Doedelzak is made of almost nothing. It will discretly merge with your surroundings and the hidden things of your daily life. Maybe you will not notice it at all, which is fine too.
Sentimental Value is a record of which we fell in love from the beginning, with its particular feeling, its tranquility and its power, its making you travel gently. Everything is explained below by its author
I first started playing music back in 2014 when i was 16 as a drummer in a local Melodic Death Metal band. After going over 2 years with my band, i’ve decided to quit and start doing more projects on my own. I started a Grindcore band and joined several other bands/projects from Sherbrooke, going from Skate Punk to Rap, Black Metal and Screamo. After a year or so, I’ve decided to take a break from the local underground scene to start focusing more on my solo projects.
I first started experiencing with several softwares and analog equipement, but quickly went full on with DAWs, as i felt that i wanted to make music with the bare minimum equipement, due to, mostly, lack of space and money. I now work with FL Studio, Cubase 5 and Protools 12. The only hardware that i use is a 25 keys AKAI MIDI keyboard, a Behringer Xenyx 1002fx mixing board and a Novation Launchpad.
Sentimental Value as been composed between July 2017 and Febuary 2018. The title kinda speaks for itself, because every song as been written in connection with a very specific moment in my life. I really wanted to recreate and embody the mood and the atmosphere of these moments and shape it into music. I think is the closest way anybody could ever re-experience them. Sit back, put on your best pair of headphone and let yourself float into this mellow little journey.
“Gradient Descent” is the fourth Metalogue EP. Exploring variations on a single melodic theme, the record travels from dark cavernous ambience to precise digital structures, crossing through sweeping synthetic textures and industrial claustrophobia along the way.
Gradient Descent was written and performed for a Chaos Theory event headlined by Jarboe and Farther Murphy, at St Pancras Old Church, London on 23rd October 2017. The piece features custom made electro-acoustic instruments, field recordings and live electronics. The release on Abstrakt Reflections is a studio arrangement of the original material, integrating additional sound design and layers of live sound from the church performance.
Getting lost and trying to find serenity. Unable to stay calm even for a moment and the unquenched thirst to create new problems. An ear-splitting explosion and a sinful wave of aggression. The solitude and the awakening of the Beast.
“Sinwave”, the second album of Sinage, a neurotic and chaotic trip to the depths of the emotion and feeling. It’s a refined and melodic album filled with dance beats packed inside a unique sound aesthetic that clashes chiptune synths and rave sounds.
Single ini adalah versi edit/remix dari Sunmantra, trio leftfield elektronik asal ibukota. Jojo, Fritz dan Barhel mengambil lagu Seek Six Sick berjudul Antimacho Rockstar secara liar dari YouTube lalu menggubahnya menjadi perkakas lantai dansa bertemakan techno eksperimental/disko-post punk-new beat/ebm atau gaya musik-musik dansa lainnya yang menyampaikan kerasnya kehidupan. Acara dengan genre musik ini sedang berkembang secara signifikan dalam kurun dua tahun ini di seputaran Jakarta-Jogja-Bandung-Bali.
Dibandingkan dengan versi asalnya, remix Sunmantra ini memiliki gaya disko/techno minimal/elektro minor yang tingkat noise-nya lebih rendah dengan tata aransemen yang lebih linear. Repetisi dari potongan lagu asli, unsur elektronik ber-resonansi rendah dan lolongan frasa “Antimacho Rockstar”pun terdengar seiring naiknya tingkat efek delay/echo yang berharmoni dengan ‘acid line’ yang dihasilkannya mampu menghipnotis pendengar dalam lorong ber-strobo diselingi kedap-kedip lampu merah. Ini adalah musik kelab malam bagi orang-orang apatis dan depresi. Musik dansa untuk kaum anti sosial. Inspirasi atas bangkitnya kembali versi lain dari musik dansa elektronik indie/punk electro rock yang bukan metal.
Skena musik eksperimental terus mencari suara-suara dan teknik yang baru serta kemampuan pendengaran baru bagi pendengarnya. Suara lama diolah menjadi gelombang baru. Suasana aneh yang lambat laun secara intens menjadi sesuatu yang indah. Remix ini bukan untuk penggemar deep house, deep techno, deep trance, juga bukan musik kelab malam dengan drum kick macho tebal atau disko gitar wah-wah dengan ketipang-ketipung cerianya. Namun juga bukan hal yang terlalu aneh karena masih mempunyai kick, snare dan suara lain yang ritmis dan konstan yang bisa diikuti telinga dan otak dengan sederhana. Karya ini juga diproduksi/mixing dengan rapi sehingga terdengar jelas dan nyaman. Dansa atau tidak dansa, Anda patut mencoba menelusuri gelombang baru ini. —Aditya Permana (Dekadenz)
Back in 2013 CM aka Creative independently released a album packed with dope beats, rhymes & collabos… including a feature by Maryland based EMCEE Substiantial. Today we’ve got the re-release of that album done the only way we know how, as an Xtended Edition with a bonus disc packed with new remixes by Cheese N Pot-C, Off Beat Entertainment, Bigga Thomas and many more! That’s right kids… more beats and rhymes for you to bump in your rides! Enjoy.
I know it took hella long to finally get this special Xtended Edition out to your blocSonic fans… THANK YOU for your patience, CM! Psyched to finally drop it! Thanks as well to all original and remix collaborators!
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!
” Solo Duo Trio #01 : Failure Circle / Godjira / Ugut”
Eg0cide Productions teams up with another french label, Apocope, to organize live concerts folowing a simple format: three parts, one solo, one duo, one trio. Artists are invited to present new projects, and to try to new encounters (for one live set or more). Each concert is recorded, and then made available for free download. This project aims to present a panorama ofthe vivid & diverse french the experimental scene at a given time. All these recordings will be co-released by eg0cide and Apocope’s digital section : https://label-apocope.wixsite.com/apocope/numerique
The first event of this serie took place at La Pointe Lafayette on february 17 of 2018.
It featured :
– Failure Circle (a solo project of Kecap Tuyul aka eg0cide S.A.) : this was his first solo show, using a no-input mixer and effects, creating unstable sound situations that can turn to silence, ears-plitting feedback, irregular beats, deep drones…
– Godjira : Frederick Galiay (bass) & Benjamin Pagier (bass) . Two basses plugged in the same monolithic totem-amplifier.
– Ugut : Augustin Bette (drums), Xavier Mussat (guitar), Basile Naudet (saxophone) : this was their first show, mixing radical free improv with experimental noise-rock infused guitar
Recorded by JJGfree & Benjamin Pagier
Mixed and mastered by Benjamin Pagier
Artwork by Xavier Mussat
Special Thanks to Michèle / Doxa Esta
Time for a special and long overdue release here at noisyvagabond! For our 50th release we present a gigantic collection of tracks (43 to be exact for a total of 6 hours of music!) from Split Phase. Split Phase was a live electronic duo hailing from Upstate NY consisting of myself (c. ‘transient’ martin) and Mike McInotsh active for a period roughly through 2010-2014. For our live shows, we were joined by Nate Vanslyke on lights and visuals. I provided the musical backing via loopers and a plethora of synths and effect processors while Mike provided the rhythms via an acoustic and electronic drum kit. Split Phase was an attempt to make music in real time which generally was made with sequencers or computers and bring those types of sounds into an improvised live process. As such, the music lost some of it’s precision but gained much in the way of humanized passionate expression. Presented here is a small selection of the countless hours of recordings we amassed practicing and creating on a near daily basis. You will find an eclectic mix of genres ranging from jazz, funk, drum and bass, dub, techno, downtempo, and more as we were never interested in pigeonholing ourselves into any particular sound. I hope you can find something in this compendium that moves you. One day the fates will realigned and new Split Phase music will be churned out. Until then, ENJOY!
Acknowledgements: Thanks to Carmen Chiles for letting us include our remix of her track ‘Love is’ and Sarah Winton for providing vocals for ‘Compromise’.
The first release in 2018 came from Denmark. Jonas Reif provided us
three track EP. Svimmel (means dizzy): “I wanted this track to express shifting emotions, I also wanted to blend different signature elements of genres
such as acid, DnB, Breakbeat”. Faser (means phases): A movement through different states of mind. Flerform (means multiple forms): “I was inspired by 80’s aesthetics and
old skool funk, which I wanted to put in the context of acid/IDM”.
The tracks 1 & 2 &3 are based on Simenon « La Porte » from 1962, not a crime novel from the master who created Maigret.
The tracks 4 and 5 are based on Silverberg’s « Man in the Maze » from 1969, SF at its best.
The following songs are chants reflecting the variations.
I thank the label for accepting me in the never ending list of great releases.
This album is dedicated to you, for your enthusiasm on new sounds and curiosity.
Your dear I,Eternal
We are so happy to release ‘Noise Band in My Garden‘ by Dako Loop Orchestra and Lezet.
Lezet introduces a true music hero, the inimitable Darko Jovanovic, to the Etched Traumas community, by means of a split/collab “why the dance rhythm? l definitely live in the loop, and I do things the way I should.”
Listening Satellites appears as Guest artist this time with a small four track EP called ‘Everything is a Glitch’. Lots of oldskool sounds and beats and melodies, with modern inspirations.
The name of the music stays the same over the years but the feel and construction evolves and this EP is a good example of todays vibe reflected in retro sounds. Mellow, Air-esque basslines, Sven Vath inspired beats, ambient pads. Dreamy.
“For some years now, the Córdoban producer Martín Castro, aka MRTN-CSTR, has been surprising us with his creations, ever since releasing his debut album “Kr0m” through Pueblo Nuevo in 2014. This time he presents “((- -SEKU -_- EKU- -))“, an album comprising 7 tracks with an aesthetic he has developed through “patches”, which he designs himself for the software “Reaktor” from “Native Instrument.” These allows him to create an idiosyncratic style, with industrial sounds, granular trips, and glitches, as he develops a penetrating IDM with intense and sometimes devastating environments that make us think for a few minutes that we are in an empty and abandoned city, where only robots live and humans are extinct.
With a sound marked by broken and changing percussion, approaching that of new-acid, “((- -SEKU -_- EKU- -))“, produced by one of the most talented current musicians in Argentine electronics, is a highly recommended album.”
(Valparaíso, Chile. Marzo / March 2018).
Onde Poussière is the experimental / free improvisation duo of Doedelzak (analog synthesizer) and Kecap Tuyul (prepared guitar (2015-2016), no-input mixer (2017-…))
ThaBaaz was born in 1974, classical studies of percussion instruments and acoustic drums, disparate musical interests: from dodecaphonic serialism to minimal electronic and to the IDM, just to expose only a few. His latest project, the most articulated, is entitled -reb0und- , it’s a concept album, year of creation 2008, 59 minutes of frequencies collected in 2 Suites respectively of 4 and 3 movements, 13 tracks; “an ascent in the disturbed darkness from fragments of noise “.
The work evokes a “system” at its last stage in fast introversion, the disruption is massive, directed to the chaotic darkness, to the cold disorder towards the “non-human noise”.
The solar and luminous scenarios of the 2 movements of the first Suite curve and slide rapidly into the deep “interior”; the “musical form” that we had known so far is running out; we are at the end of “music” (in the broad sense of the term) heading for an authentic solitude of bright dazzles in nocturnal and deserted isolated, non-systemic, atypical highways.
The second Suite invades the soul: the existential fear is director, places the audience constantly on the edge of a chasm, dissolves the last “fragments” of the “conventional” themes at the beginning and separates them, dissolves them in Larsen of frequencies strongly destabilizing.
The Metaphysics is the central theme of Suite II, we try to “portray” the inaudible sound spectrum, we try to recreate the “end” of every tangible empiricism; to this complex task we use sound generators, krell patches, collages (samples) of contemporary (musical genre) and what transcends the traditional and academic: structure, melody, harmony and metric they are almost totally “informal”.
ThaBaaz in -reb0und- inserts and “deforms” short phrases and solos (woodwind, violin, piano) taken from works by important exponents of contemporary music and avant-gard of the ‘900 (Pierre Boulez, Edgard Varése, Igor Stravinsky) with these ” citations “stands out, beyond the importance of innovation of such masterpieces, the multifaceted contribution to music in all its expressions; importing them in “foreign” contexts and distant from their origin (virtual modules, oscillators and automatisms of envelopes) are colored by oppressed and gloomy tones that we could approximate to those of the dark ambient genre but not only, can be identified (in the whole album) serialism (musical current) that translates into these generic guidelines: avoiding repetition and symmetry at all structural levels by working with a limited number of compositional elements for each musical cell (in the piece). This in order to synthesize and label, describe in a few lines the supporting columns of -reb0und-.
We need the “tradition” of the avant-gard itself to search for another.
The work does not present rhythmic and percussive lines, only in 2 pieces we recognize some measures in sinusoidal pulsations, this almost total “rhythmic absence” has “freed” the time from the usual role and task of metric and timbral constant, repetitive, “symmetrical” quantization “.
Using an exquisitely didactic vocabulary: the crown, the breath; the almost absolute absence of timbral pulsation reiterates itself emphasizing, emphasizing the incessant sound disruption that takes place in the succession of the two Suites before the listener.
Last but not least, the final mastering part was followed with “meticulous” attention by Kill KRT (friend of the author of -reb0und-) who tried to “accelerate” some “dissonant” color both on the timbral dynamics and on waveforms.
>From the “warmth” of the wave (sawtooth) to the “emptiness” of the white noise; to you -reb0und-
I follow subtle seismic ambient vibrations that immerse me in a deep state in-between the world of dreams and the dream about distant worlds covered in a fog of colours.
Rhythmic and slow landscapes.
The sound is sometimes described as slow IDM. The distinct feature of the album is that only a few tracks have real drum samples, however, almost all of them are quite rhythmical. Rhythms are created just the way J. M. Jarre did that on “Zoolook” – using weird sounds, pulsing synths, and very clear melodies. Due to the lack of easily recognized drums, the album is sometimes ascribed to ambient, however, I’d call it “seismic ambient”, because of extremely heavy basslines.
Premier album de 6klop, Naskigo est le fruit d’un an et demi de travaux aussi bien expérimentaux que plus traditionnels.
L’album relate une histoire qu’on ne raconte pas, parle des choses qu’on ne dit pas.
Ce n’est pas un voyage, encore moins un périple, au contraire.
First album of 6klop, Naskigo is the result of one year and half of work.
It tells a story that we can’t tell, talk about things that we can’t speak.
It’s not a journey, not a trip, quite the reverse.
Recorded in Dieppe (France) between 2015 and 2017.
Music composed by Romain Aupaix-Lecloux-Bésiat [Alb].
Artwork by Cassiopée Facheris.
Art Electronix comes back releasing with our netlabel offering you a straight remix EP of one of their tracks. Just like the style of the genre, this release is the stirring in various forms of the primal matter of the first track, and stil it renders a powerful shot of all the Artist’s feature.
But let Egene and Katerina themselves tell about the concept of “Inside The Box EP:
«At the end of this summer our colleague from Poland (who works under the pseudonym Ixirell) wrote to us to send him samples from the title track.
After that, we invited another DJ and musician from Ukraine (Breaksage) to write down his version as well.
The cover was developed by the VJ Lena Dzhurina.
The concept of this work is primarily in the minimalism and psychological mental hooks, which often have to be worked out by creative people working with a limited set of tools. Thus, the idea of this collection is an example of how a musician using a small set of instruments, depending on personal perceptions, skills and psychological qualities, is able to come up, develop and transform a certain musical idea, inviting an outside observer to immerse himself in the inner world of the creator and his approach.
And it is this minimal approach that suggested the title of the track, since the music was made using only two box devices (a bass synth and a drum machine).
We recently learned about the experiment of Ludwig Wittgenstein, who showed that people are not able to understand each other to the end. This experiment was called “The Beetle in a Box” and we were interested in the concept that there are many interpretations of how the creative idea should develop and only when compared with already known paradigms a person can make some sort of conclusion, such as: it’s original, and it is primitive, or it pleases, and it saddens, but these conclusions can still be wrong or misunderstood. Therefore, we decided to tie together the idea of imperfection of human relations, the frequent inability to correctly understand one’s inner world and the chance to minimalism, as a way to return to the source. To that state without piling up with all sorts of concepts, where you can try to realize what kind of “Beetle or bug” is inside your box, and also whether you can be considered a beetle what lies in your neighbor’s box».
Edition number 7 of the popular Digital Family compilation series. 11 unreleased tunes, carefully orchestrated by label conductors Alic.
On the decks you can find new talents like Whoknowswhocares, Stoertebeker, Medular, Nicorus or Adamson (aka 50% of Alic), MNGRM, One Dub Connection and well-known label-veterans such as Trilingo, Daäna, Bratenschneider and Point! Expect deep groovers, progressive hypnotics, chunky breaks and melodic minimalism.
The 3-rd edition of The Feel of DEFIL project = 37 tracks and over 2 hours of vintage guitars music and different styles (progrock, alternative rock, metal, blues, chillout, improvisation, you name it).
Collective composition: An Attempt for Balance
Four individual sequences were mixed together. The structure was left intact – as it is – however overall volume levels of each contribution were adjusted in hope to create situation which would validate and accommodate all participating sounds as well is possible.
Mixed by Slavek Kwi, January 2018. Many thanks to Tony, Dallas and Darius for agreeing to this little experiment and to Chris for making it available to your ears.
Darius Ciuta: kadk2
Slavek Kwi: Time_R
Usually, when I am staying somewhere overnight and there is a clock ticking, it is rapidly removed from the room and ends up behind the doors. However, ticking sounds of clocks – even grandfather’s giant chiming clock – were part of my sound environment in my childhood. The sound of ticking has certain determination to it; destination-like quality. You can always hear it. For this piece I decided to use ticking sounds and the end of resonance of chime as basic material to evolve.
Recorded in January 2018, Mountshannon, Ireland.
Dallas Simpson: Vibrating Air: Wood / Metal / Water / Stone.
An environmental observation and improvisation recorded live on location near the village of Lambley, Nottinghamshire, UK on 4th February 2018 at 7am to 8am in a single take. All sounds and spatial choreography was created live on location. The recording was edited and mixed as my contribution to the Plus Timbre collaboration release in 2018.
Many thanks to Plus Timbre and the other artists participating: Darius Ciuta / Slavek Kwi / Tony Whitehead.
dallas simpson 05/02/18
Tony Whitehead: By the river, in the forest
Improvisations with natural objects. Dartington Hall and East Dartmoor.
Collective composition: As It Is
Four individual sequences were mixed together without any adjustments. Mixed by Slavek Kwi, January 2018. Many thanks to Tony, Dallas and Darius for agreeing to this little experiment and to Chris for making it available to your ears.
“Railway Footbridge Improvisation For One Adult and Two Children”
This work was created as a result of both joining a local walking group, the Netherfield Strollers and inspiration from an environmental improvisation workshop that was conducted at Hull University earlier this year as part of their Sound + Environment 2017 conference.
A walk with the Strollers earlier in the year introduced me to Carol and her two grandchildren, Eben (10) and Finlay (7). During our walk we crossed over a railway footbridge and then followed a footpath where I introduced the children to some simple sound making using a found stick and the railway boundary metal fence, then blowing ‘cawing’ sounds using our thumbs and a blade of grass. They loved it. And so the seeds of a freeform intuitive environmental improvisation were sown using both a prepared environment and found sound objects in the manner of the Hull Workshop at the location of the railway footbridge we discovered on the walk. This would feature Eben, Finlay and myself as freeform performers / improvisers.
As preparation for the performance I visited some of the houses adjacent to the footbridge to warn them of our activities at night just in case they may be disturbed by our soundings. The response varied from mild hostility, to curiosity, to support and even one couple asking if they could join in! I replied that they were most welcome.
Having obtained permissions from their mother Nicola, we gathered on the 9th December 2017 first at my house for a bit of instruction in making sounds with the objects I was preparing the location with (Aluminium Searchlight Mirror, 4 inch Fired Brass Gun Shell, Bull Roarer, various Plastic Pipes of different widths and lengths, Gong Beater, Long Thin Spring and a few other sundry items.) Following this brief instruction we went to the location in the dark at about 7:30pm and after placing the sound objects to prepare the location, we had a few moments silence, then made a short walk in to the start of our improvisation.
The performance consisted of two Movements:
First Movement: Outward (Practise, Vox ad-lib) Joyous.
Second Movement: Return (Performance, Vox tacit) More Meditative.
I was struck by the zeal and enthusiasm of the two children. They followed my example and were soon experimenting and making their own sonic discoveries. Found sound objects included the structural metalwork of the bridge itself, the metal fencing and lamp posts. Other found items included various pieces of discarded litter, drinks cans, plastic bags, drinking straws, sticks, branches, leaves and stones.
The only additional instructions given were that during the Outward (Practise) we could speak if we wished, but not to speak on the Return (Performance) movement. Quite spontaneously they incorporated the ‘thumb cawing’ sounds into the Second Return (Performance) Movement and made many exciting sonic discoveries such as the ‘frog sounds’. A few passers-by were briefly present while crossing the footbridge.
All audio was recorded binaurally and continuously as single takes using custom modified in-ear DPA4060 microphones directly into a Sound Devices 744T digital recorder.
All spatial choreography was created intuitively during the recording by dallas simpson.
Editing and minor corrective EQ was done using Cockos Reaper software.
Headphone listening is recommended for a full 3-D surround sound experience.
Photographs by dallas simpson.
Sincere thanks to Eben and Finlay for their inspiring participation, and to Carol and Nicola for their approval, plus supporting and helping during the preparation and performance.
Dallas Simpson, December, 2017.
“games of sounds” = m.i.y. (mix it yourself)
organize 2 (or more) groups of modules and play it simultaneously in random mode
(or alternatively you can decide yourself about combinations) from 2 (or more)
based on Uchat M
Composed by Slavek Kwi in between June 2017 and January 2018,
Cave Studio, Ireland. Based on various field recordings,
focused mainly on animal voices, collected around the planet Earth,
underwater and in ultrasonic zone included.
A few brief appearances of James Kwi singing while clapping bones.
2. Just Pretending to Understand
3. Kol Nidre
6. Semoga Mimpi Indah dalam Meninggalkan Dunia
7. Slinkies Whispering Feverishly In A Wet Tunnel
8. This is Half a Duet
Stylistically, the music on Botox – a debut full length for Warrego Valles – seems to draw influences from a deep underground electronic dance music, but it is based on its contemporary deconstruction, which results in a dark minimalist abstract post-genre electro and glitchy sonic landscapes. The album’s thematic undercurrents tell a story about the present times: ephemerality of all action and destruction of the planet due to climate change and slavery. A grim vision of a world ruled by psychopaths driven by the will to control, greed and domination.
“How else can the drive for immortality be manifest than as an unstoppable exploitation, an endless extraction of resources, a seemingly limitless growth on a finite planet? In a dystopian post-apocalyptic vision called forth into the present in these abstract sounds with words buried in sombre electronic beats and glitches, there’s no sign of mankind after we’ve lost the red sun, our land and sky. We are loosing and destroying our environment. We are fostering more slavery than ever by refusing immigrants, stuffing them in camps and treating them like animals. In these relationships, humanity is lost while feelings of abandonment, defeat and solitude grow within the personal realm.
Underpinning these tracks is a grim vision of the world ruled by psychopaths, driven by a will to overpower and dominate. Only through submission of one’s own body (and mind) will it be possible to find »success«. The greed, the insensitivity, the lust for profit and power, the ability to kneel and to kill.” — extract from liner notes
The prolific as ever Zach Bridier is back on Mahorka with his main genre-merging and style-hopping electronic music project Captive Portal with another 5 track EP! This time around, it’s guitar based music in a shoegaze-like style. Sit back, relax, and enjoy. Gazing at shoes is not obligatory. And, this time around, the EP comes also as a very limited edition cassette co-release with Zach’s own DBD Tapes.
live @ re:flexions ° villa, Augsburg, 08.12.17
photography by Dan Penschuck
recording, mastering and design by EMERGE
FEDERICO DAL POZZO (Venice,1976) lives in Turin, Italy.
Concrete Composer and Musician, studied drumming with Mario Bracco and Vittorio Panza. In 1999 he joined the DADADANG (percussion parade in motion) with he has playing around the biggest festivals in Europe and beyond (Moscow, Paris, London, Graz,…).
Jam’s marks the 51beats’ 10 years anniversary with a touching piano-based ambient release of unique deepness and melancholy. In 2010, during the first quite exceptional participation of 51beats to the Qwartz Electronic Music Awards in Paris, we got in contact with Jam’s, which later released his debut-album “Homeless Soul” with us. It is an immense pleasure to host Jam’s again on 51beats to celebrate our first 10 years. Sit down, relax and enjoy.
“When listening to a sound work, the first thing that presents itself is the sound as a mass; however, in this work of Baltazár, it is the space that is defined around these masses which constitutes an equal or greater presence. I do not mean the silence, but the wake that each sound wave leaves when it is diluted in the process that produces a particular effect or modulation. The sum of these sonic wakes composes a new plane that is separated from the melodies and blocks of noise that make up this work. From “reading between the lines” one passes to “hearing between layers”. It is a constant game of associating and linking what is happening between these, entering the rhythm from the multiple directions through which reality appears to us on a daily basis.
As for sound, it oscillates between acoustic melodic parts and granules of noise that collapse in a cloud of digital processing; in the range of phrases composed of saturated coupling and the reverberation of pure tones.
If we had to make a parallel with painting, we could say that the figure and the background are clearly defined in each piece of “After Kansai” and both alternate in order to approach and move away from the plane in which we inhabit as listeners. The first tending to have few elements with clearly defined lines and the second like a great density of volumes that move in independent directions and sensations that come together and disentangle themselves.
Silence exists in the form as well as the emptiness in the background, but never between them. The sound leaves traces and these traces are those that are structured as the fundamental component of this work.”
Planetary Dislocations” is a journey through space, from lush garden worlds to barren exoplanets. It is a sonic landscape intent on portraying inconceivably far away places and unimaginable circumstances, a dream about intelligence, technology and the future.
Simulations of random behaviour lead us through an artificial organic space. The machines become our nature, as we venture into the abyss.
Energy is harnessed from natural elements by the use of power plants and this industrial EP shines a light on the inner workings of such places. Each power plant has a different feel and process but heavy basslines and tight rhythms will ensure a continuous operation.
Jukpic is a duet of Benoît Rouits (Oboe) and Kecap Tuyul (no-input mixer with effects). They started to improvise regularly together in summer 2017. This is their first album, made of four unstable cocktails: it’s spicy & fruity – to be served very fresh.
Only two personel of this band, Jose a.k.a Pepenk dan his wife. the materials ideas are based on his life journey, start from dating until married. even now, they have kids!. Enjoy three disco track from them
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