Say Hello to synth electronica artist Mikk Rebane from Tallinn, Estonia,
presenting his newest album here at Phonocake.His music is softly depressing and mildly pushing at the same time,
kind of an athletic and powerful melancholy.
An electrifying poetic view on life.
Third round of our new interview series also brings a little insight
on Mikk Rebanes life and music.
Sai, the dedicated studio project of Yasen Penchev, has been evolving a lot throughout the years, including since his debut album “Perspective seen from different point of view” was released in the summer of 2016, but the core of the project remains in experimentation with analogue and digital recording techniques and extensive use of various string instruments, with results varying from minimalistic ambient atmospheres and melancholic soundscapes to furious polyrhythmic drum patterns syncopated with loads of guitars and progressive rhythmic and melodic structures, music that has usually been fitted under Post rock, Math rock, Ambient and Trip rock and such.
3 years after releasing his outstanding debut Mahorka proudly presents “Random motion of particles”, Sai’s second masterpiece for the label and a notable milestone in the project’s evolution. Keeping the polymetric and polyrhytmic structural approaches and unique sound production techniques, he further extends and builds upon, this time less processed, even clean, guitars, less distortion, more melodic and harmonic compositions, more cinematic and atmospheric overall feeling with more and lusher ambient passages that include even whole tracks on their own.
“Random motion of particles” comes as free (cc) digital download and a precious limited edition (50 pcs) cassette release with outstanding design by Angel Draganov and Yasen Penchev himself. The tape has a different version of the album where the tracks have been redone in different edits and fused together by the artist for two side-long (30 minutes each) trips.
All music produced and recorded by: Yasen Penchev
Artwork design: Angel Draganov and Yasen Penchev
Released: June 16, 2019
Produced and recorded between 2008 and 2019, “II” is Himalayha’s latest EP. A result of a simple and direct production. Himalayha’s music does not escape its cinematic essence, using piano, strings, minimal electronic and field recordings captured from various environments. “II” is a soundwalk accompanied by emotion, a contained but still soothing inner search. There is darkness, but there is also light.
The project has existed since 2014. Located in Moscow, Russia.
Concerning the name of the project: in Spanish, “que” means “what” or “what,” so the name can be considered as the question “what to fear?”. In Russian, the word pronounced “kefir” (or “kephir” – a fermented milk drink).
I’m interested in experimenting with sound. I like to combine different noises and strange samples, effects. I love to improvise.
I use a variety of tools, from traditional to homemade. MS-20 Mini, Kaossilator and Kaoss Pad, the Mopho Keyboard, LYRA, casio sk-8. In addition to them, I use different percussion, tambourines. I impose noise and sounds recorded on the telephone recorder. Sometimes I add my poetry and lyrics.
The result is a kind of collage, a mixture of sounds and noises.
“Melting Clinamen” was born from a small deviation from the methodology used by Failure Circle in this serie of compositions Frozen Clinamen that normally uses only sounds recorded while no human intervention is applied to the used set-up ( no-input mixer most of the time). The creation of the first track of this album followed the same rules – except that it used a recording that features some little changes created manually (this sound can be heard between 3min11 et 12m06). This is also the first release in which Failure Circle doesn’t use a no-input mixer but a semi-modular analog synthesizer, the Neutron by Behringer, with no effects except its built-in ones. Another notable difference with the past volumes lies into the way the material has been edited & mixed. The other track of the album (Frozen Clinamen #2M) follows more strictly the Frozen Clinamen methodology, but all sounds were also created with synthesizer. Thus, Melting Clinamen is and isn’t part of the Frozen Clinamen serie.
Methodology of the Frozen Clinamen serie
step (1) Tweaking the set-up until it produces some seemingly autonomously self-sustained sound sequences.
step (2) Stopping tweaking and recording for at least 20 minutes without any intervention on the set-up.
step (3) Repeating steps (1) & (2) several times.
step (4) Using the generated sounds as only source in a posteriori compositions. The only variations used while mixing are equalization, panoramics and volume levels.
step (5) play it at low/high volume with open/closed window while complety asleep / fully conscious.
New Abstract Techno EP on New Jersey’s netlabel sub65. Six tracks from the Swiss underground experimental duo Das All. The first track “Don’t Fuck With Das All” is an edit of an exclusive contribution to the eight episode of the lobit procpod podcast.
“The longing for (inner) silence leads the/our being(s) to take the(ir) sound to the outside, exposing it/them as a natural/peculiar/idiosyncratic happening.
This sound is also influenced by collective unconscious – i. e. a global < > local society.
What are we to find in this transcendental process?: all/nothing, a receiver/Pandora’s box, feeding back this inner space which happens to be mute(d).
What are we to do if Monserrat Bustamante Laferte came out of the blue? Our amazement would allow this silence to expand in space-time, procrastinating an explanation.
All these processes/experiences/longings turn this album into a snapshot, a here-and-now portrait, a possible chart for adventurers, uncertain for our recent past, stamping our existence until the end of silence.
For this is no comfort zone approach: neither pop nor tape music nor free improv, but all of them instead, a García Canclini-like hybrid, pointing out an emerging possibility for our countries.
Who are these people?
This makes it even more interesting: deeply rooted in crossover practices, GMSs play cumbia on Monday, jazz on Tuesday, and experimentalia on Wednesday.
Martín/Benavides (M/B), one of the most outstanding musicians nowadays, accompanying Chilean acts such as Francisca Valenzuela, Chancho en Piedra, Los Tres, and many others. He is also a great performer in an extremely complex and mesmerizing instrument, such as the theremin.
Gerardo/Figueroa (G/F), composer and musicologist, participant in several Chilean underground scenes and venues from early on: radio shows, such as Musiclaje, and Pueblo Nuevo en Conexión Social; producer of singer-songwriter Camila Moreno’s early recordings. A sui géneris ol’ skool, chatting freewheelingly and unhamperedly with newer generations.
Seiten/Wall (S/W), young composer prone to challenging audiences with unconventional ideas and practices. representing the twilight zone where all sounds and formats meet. At present, he is also a board member of Comunidad Electroacústica de Chile (CECH).”
Gilman Mom has compiled their three albums into a single release, A Trilogy of Perspective. Meant to showcase growth, the collection exemplifies perseverance and fortitude. You can also purchase Gilman Mom’s masterpiece in box set form at a pay-what-you-want pricing scale. Half of all proceeds go to the charity of your choosing.
in a bathing suit | on an island far away | i see hot air balloons | and they’re headed our way | yeah i know it’s you | you’re sending all the balloons | i’d like to know why i see battle balloons | i need to know why you’re sending in your battle balloons to me
This 3 track EP from Osiris4 is nothing short of mountain-moving. It contains cutting-edge sound design, unrelenting atmospheres and rich, organic textures that will have your eyes closed, drawing you in deeper and deeper. Between the tracks you’ll find lush, dreamy pads, massive synths and melancholic melodic progressions cohesively interwoven amongst driving rhythm sections and haunting vocals. These black diamonds contain powerful originality and will leave you feeling transcendentally fulfilled.
Roots Masashi is a Roots Rock / New Roots composer from Osaka, Japan. He drew his inspiration from friends in high school and fell in love with conscious reggae music. He was fascinated by Osaka’s dub scene, especially after meeting the “Dub I Roots crew” and “Rebel Culture” in 2012 and soon after, he started building “Roots Far I”, his OWN Sound System and Digital Live project, based in Kishiwada of South Osaka. His devotion to Roots Rock Reggae, New Roots and Dub guided him all around Japan, touring with the soundsystem and urging him to reach new musical heights
His first release on Dubophonic Records is a musical and holy salutation to the Auspicious one, an adoration to the Most High. Based on one of the most important Mantras in the Shaivism tradition, Namah Shivaya is associated with qualities of prayer, divine-love, grace, truth, and blissfulness. It calms the mind and brings spiritual insight and knowledge. Traditionally, it is accepted to be a powerful healing mantra beneficial for all physical and mental ailments. “Na” sound represents the earth, “Mah” sound represents the water, “Shi” sound represents the fire, “Va” sound represents the air and “Ya” sound represents thesky. Its total meaning is that “universal consciousness is one”. The recitation of these syllables is sound therapy for the body and nectar for the inner self and the soul.
Jose María Pastor – drums; David Ramos – speak and spell, Casio SK-1 (circuit bent), Piano Roland EXR -3, Microkorg, Korg Poly 800, Drone Thing and TW3, TW5 and Noise Machine (selfmade); J.G. Entonado (a.k.a. Arín Dodó) – voice, piano, electric guitar, harmonica, Ventris Dual Reverb
“Principe d’incertitude des espaces imperceptibles”
Composed of modulated quantum capsules, this album analyzes the principle of uncertainty, or, more correctly, the principle of indeterminacy of Heisenberg, under the meta-sonic influence of Berthelot’s theorem on the curvature of imperceptible spaces.
In quantum mechanics, the precise value of a particle’s physical parameters, such as its position or velocity, is not determined until it is measured. A quantum object could therefore be “in several places at the same time” (this is what my neighbor Schrödinger says about his cat, but I think he is using too much wine from the Loire Valley).
But this paradox is only apparent because classical scalar magnitudes are insufficient to describe quantum reality.
We then use the sound wave functions of Berthelot’s theorem, modular vectors that demonstrate that the uncertainty principle invariably leads to imperceptible spaces of infinite dimensions.
If the principle of indeterminacy of Heisenberg is a quantum reality, Berthelot’s theorem is not one.
Only the meta-sound analysis of this album remains, consisting mainly of analogically tangible and numerically virtual electronic structures.
Listening with good quality non-quantum headphones is recommended.
Selected cuts of the 303 jams in the dub style direction.
It’s like when we are far away “flying” in experiments, into rhythmic noise, in the process of jam, but there is a daredevil who declares: “Let’s play dub!”.It’s like something about dub and techno, somwhere close to noise with broken rhythm. It’s like something with bass and chords and melody, it is mostly rhythmic, stumbles somewhere, sticks somewhere, it is electronic and connected to the “network” …
Attention! illocanblo (11,12,13) and Potential DifferenSe (14) participated in several jams. Thank you.
We’ve featured Hardwired before in a previous VA compilation, but thought it would be good to feature the man again in his own EP release. Liminal is a selection of works from Hardwired back catalogue.
Some retro sounds (angular), very autechre sounding work (folding rna) and even Boards inspired (2nd last dream, 3rd last dream). Mellow, chilled out, atmospheric, in time for the summer sun.
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