01. BUG – Radio Session at Radio On Berlin Seismografie des sons et des fréquences
02. MODELBAU – fade
03. KSHATRIY – Time Is The Enemy (live version)
04. STAR TURBINE – new river III
05. ELMA – snake woman
06. DOC WÖR MIRRAN – The Erdogan Insult
07. SMALL THINGS ON SUNDAYS – second language
08. CIRCUITNOISE – SEP 161003
09. FLAUB – Alien code from Urlot Episode one
10. RRR – Xpert
11. KINGA TOTH – salivaspeech
“And if I failed to mention this detail in its proper place, it is because you cannot mention everything in its proper place, you must choose, between the things not worth mentioning and those even less so. For if you set out to mention everything you would never be done, and that’s what counts, to be done, to have done.” SB
“I have nothing to say and I am saying it.” JC
Composed by Suspektema
Produced by rr.gross
As Thuoom closes his second grand cycle in order to begin a studio hiatus, there are two compilation albums released simultaneously.
During the last ten years or so, while working on the Thuoom sound, Tuomo has also experimented with several (harsh) noise/avant-garde themes. As these pieces never quite fitted any other place, they are presented here for the first time, together and in a chronological order. Spellonia features Mala playing synth with Thuoom.
Instruments used on this record: algorithms, breathing, broken cord, Casio CTK-601 synth, coin, computer keyboard, cord, diarrhoea, electric guitar, electroacoustic guitar, faucet, glitches, human voice, kettle, midi, note book, sofa, speaker feedback, staple, table
The sound of melting floe, captured by a hydrophone, crackling under a female enchanting voice that repeats the same words continuously, like a gentle mermaid calling towards fatal cliffs, and whirring sounds rotating like ghost ships passing.
The landscape is white and grey and cold but open to a myriad possibilities of northern lights and very distant fires in the sky.
HUH (recorded drum ver.):
Kyosuke Terada (guitar/voice)
Takuma Mori (drums from sampler/voice)
live @ re:flexions ° Die Ganze Bäckerei, Augsburg, 27.01.17
photography by Dan Penschuck (feindesign.de)
recording, mastering and design by EMERGE
HUH is formed in July 2007 in Tokyo Japan by Kyosuke Terada (guitar/voice) & Takuma Mori (drums/voice).
They are presenting a new jazz with free improvisation.
They keep looking for the melting point of the groove and the noise, junk jazz, no wave punk by free form improvisation.
They have many various releases, that not limiter to the domestic,and regardless to the form.
And planing many many independence events in Tokyo.
They began independence label “OOOSOUND” with GEVABOW and VAU! in Tokyo since 2012.
Their collaboration guest name…
T.Mikawa (Incapacitants), ASTRO, Tadashi Kumihara (Gunjogacrayon), GOVRENMENT ALPHA, Jin Harada, Atsuhiro Ito, Punkuboi, Hahanosikyu, Cal Lyall, Python vs Cobra, Les Conferences Bunker, Coco, Naoki Nomoto, PUNSUCA, DJ MEMAI, etc…
OOOSOUND(JPN/Self label), attenuation circuit(Germany), WORD iS OUT!(JPN), Productora Mutante(Chilli), Grindocore Karaoke(US), bumtapes(UK), etc…
live @ re:flexions ° k15, Augsburg, 23.06.17
photography by Lorenzo Abattoir
recording, mastering and design by EMERGE
Lorenzo Abattoir is an italian based audio engineer, noise artist since 2008. Founder of several projects into noise scene [ Nascitari, Psicopompo ] & sound art [ Mare di Dirac, Tevet Icetone Process ].Unconventional methods of composition to generate textures & installations with use of: electroacoustic instruments, isolation from environment, mental sound’s manipulation.
His work takes shape in a context of underground extreme music to become accesible through various projects related to contemporary art.
/inter is an album based on a certain visuality of sound. It has various sounds in it (field recordings, instrument samples, pure frequencies, and glitch/feedback noise), however, the core of this album was an experiment – an analog connection of sound and image. By sending a sound signal to a screen in such a way as if it were visual information the screens started to show imagery and by testing four different approaches towards using sound and testing how they look in this particular connection /inter was formed.
Vague Seconde, the second album of Onde Poussière, documents the group’s evolution since their beginnings and their first album Silent Rain. Doedelzak now plays interconnected analog synthesiszers, and Kecap Tuyul has dropped the guitar and uses a “no-input mixer” with effects. Their improvisations are based on the creation of unstable situations in which some accidental sounds might happen at any time…
Nature expresses itself through its structure, it has no function or intention to communicate feelings or ideas. If nature speaks to us, she does so through her relationship with us, since we are part of her. The music presented by Marcos Bernabé (aka scmute) in “Sumic Semurnb” is like nature, its structure is algorithms, instructions for its generation that resonate us by its relation with our psychology of attention. The game with attention is the key, as a vehicle to enjoy the sounds, the dynamics and, ultimately, to provide us with a singular perceptual experience.
scmute gives us, in addition, an extra gift in track number two, because it gives space to the silence that we so much appreciate in this netlabel.
This is music for sound explorers who want to explore the canyons of sound but keep near the touchstone of melody. David Alan Krebs’ “Tides” discovers gently evolving drone sounds and, in particular, the textures within sound variations. Each track feels like a visit to a garden of diverse Baja California—each piece is distinct, solitary, spiky in its own way, and pleasantly alien. The pieces range from less than a minute to a few minutes each. The listener is pulled into a single musical in each track, which is investigated thoroughly and dispassionately. Listening is a pleasure rather than a laboratory explosion. Every piece presents the listener with its own bit of sonic intrigue. This is music that is clinical in its experiments while retaining its humanity. The artist eschews beats, time-signature-melodies, and pat ambient themes. Instead, pieces like “Draping Slowly” and “Crevices” contain music which neither panders to nor pulverizes the listener. No two pieces are faintly alike, but all the pieces fit well together. In “Cloud Base (Stage Two)” the drone hovers in that angelic space between the familiar and the strange, where the insights feel within grasp but the conclusions are wordless. The dozen tracks which make up “Tides” are ideal listening for an Autumn day, or an autumnal mood. David Alan Krebs takes us on a journey, and we are delighted to hike along.
attenuation effect ° 1012 ° 2017
live @ re:flexions – silent series, Ganze Bäckerei, Augsburg, 02.09.17
recording, mastering, photography and design by EMERGE
Guitarist, multi-instrumentalist, composer and bandleader based in Winterthur, Switzerland.
After graduating as a jazz guitarist from the Zurich School of Music and Drama (Hochschule für Musik und Theater Zürich), Beat Keller obtained a Master of Arts in composition from the Lucerne School of Music (Musikhochschule Luzern).
Among his current projects are Keller’s 10, Gunfire Orchestra (CH/NO/SA), Bowee.Keller (CH), Peckinpah Trio (CH/USA), Beat Keller, Darius Ciuata (CH/LIT) and Tilo Weber’s Animate Repose (DE).
His compositions have been played and recorded by NDR Bigband, Lucerne Jazz Orchestra, Ballbreaker Ensemble, Composer’s Group Ensemble, Keller’s 10 and the Haiku String Trio.
Beat Keller has played concerts at renowned festivals in Switzerland, in neighbouring Europe, the United States and on the African continent.
Record releases on: Unit Records, Alpinechic (both CH), Edition Wandelweiser Records, Attenuation Circuit, Shoebill Records (all DE), Silken Tofu (BE), Plus Timbre (GR) and others.
Fabio Keiner explores the landscape of the post-nuclear fallout of Nagasaki and Hiroshima on Black Rain.
In the days following the United States bombing of Hiroshima and Nagasaki at the end of World War II, the residents were left to deal with the fallout from the devices. Nuclear fallout is commonly known as Black Rain. Fabio Keiner has recorded a series of works that looks at the exposure to radioactive fallout in terms of ambiguous time perspective. The X on Black Rain could be interpreted as days, weeks or even months.
Fabio Keiner hails from Vienna, Austria. He creates musical pieces and photographs. His credits include his contribution to the soundtrack to the 2015 award winning short film “Reformation” by director Hoyon Jung.
Active in the netlabel scene for years, his soundscapes, melodies and drones criss-cross the borders among ambient, dark ambient, abstract experimental and melodic electronica. His work is atmospheric and imaginative, with a sound that seems narrative without quite telling specific stories in defined words. His releases have appeared on numerous labels, including Treetrunk Netlabel, Webbed Hand Netlabel, Petroglyph Music, and Cian Orbe netlabel.
A set of electronic music of different moods with deep emotional shades. In reality, all the original projects of these tracks were destroyed by cryptovirus, the author managed to save these several tracks. The album is full of melodies and textures, synthetic experiments, glitches and rhythmic fills.
‘Words in the Winds : Sounds’ is the new collaborative series by
Chris Lynn and Una Lee. The project rose from recognising that
we as field recordists often try our best to disguise our presence
within the sound recordings despite the fact that their mere
existence implies the involvement of human activity. As a result,
we started to mark our presence through reciting our original
haikus and poems, whilst making the field recordings, the
content of which were based on or inspired by our sonic
Each track effectively contains a short poem written and recited
either by Chris or Una, which would be sent to the other who in
exchange would create an accompaniment whether in a musical
format such as piano or vocal improvisation or with another piece
of field recording as a response.
This process is an evolved version of several projects previously
and currently conducted by the duo, such as ‘Miniature
Landscape Correspondences’ and ‘Word in the Winds’, the word/
image-based project in which an image was sent from one to the
other person who subsequently would respond to it with a short
OST “Music Book” is soundtrack album to the animated film “Music Book” created by the production full cycle “Luma Studio”. Systematic atmospheres, glitchy textures, are blended with ambient numbers and timbres of live instruments. Dreaminess and morality, sadness and anxiety. This album is a kaleidoscope of human experiences on the hard way of self-discovery, self-determination in this unpredictable world.
All audio material is recorded, mixed and mastered by Andrew Sprrw in 2016-2017.
Thomas Jackson Park (formerly known as Mystified) has undertaken a new approach to post-industrial age music with Grid Resistor. For this project he used contact microphones to make recordings of machines and appliances. These recordings were then processed digitally to find the hidden harmonics and rhythms. His latest release, Mu, focuses on finding the harmonies and rhythms in the noise produced by old shortwave radios.
Grid Resistor is Thomas Jackson Park’s first post-Mystified project. The Grid resister series is limited to twenty four releases, one for each letter of the Greek alphabet. (With a couple of side-project collaborations.) Mu is the final recording to be released in the series.
Some of the titles of this work refer to different stages of the evolution of human consciousness as well as general concepts of the new stream of thought known as speculative realism. In some cases these ideas have defined the structure and character of the compositions.
Thus, Object Permanence explores the sound field produced by a small group of children playing in a closed space with different materials (wood, metal, cork …) with a particularity: of the collected original samples, all sound evidence of the presence of the children (voices, etc.) has been eliminated by selection of fragments and cuts of frequency; the resulting material has been sampled and touched with the intention that the objects appear in the piece to float by themselves. The title refers to the phenomenon according to which children of early age do not have a clear conscience of the independence of the object with respect to themselves. That is to say if they are not seeing or touching the object they do not conceive its existence. This is the one shown here released from any human trace.
Reflex Schema Stage works like a stable mechanism in which sudden appearances produce variations in the original scheme, always changing but of static appearance.
Semiotics points to small tonal nuances as the last referential link of a discourse that needs new dialectics in its relationship with the nonhuman.
OOO is the acronym of object orients ontology, a school that flees from the anthropocentric view of post-Kantian philosophy and claims a more balanced view of man with respect to his immediate environment.
Primary Circular Reaction and Cognitive Skills also refer to aspects of the awakening of consciousness to its environment and to its resources and abilities to relate to it.
In no case does this work pretend to be an exhaustive study of the questions that it poses; these are simply the backdrop that has suggested and motivated some of the compositions that it contains.
Many Cousin Silas works are built on the concepts found in science fiction and science. It is one of the most fertile grounds for exploration in an artistic context that is available.
Cold Star is a long-form recording that creates the ambiance of a long journey to another planet. This journey concludes with the view of a brown dwarf star, known as a “cold star”. Cold stars have long been the subject of science fiction, having been referenced in many novels and TV series. In science cold stars are commonly known as brown dwarfs, (or “failed stars”) which are unable to create their own energy.
Consists in 7 tracks that fuses elements of electronic music including industrial, noise, clicks, cuts and glitches which are manipulated by different overlapping frequencies that appear and disappear creating at times rhythmic cells, or working as a dialogue of noises into the musical narrative.
Acoustical elements, malfunctioning beats get integrated into abstract and complex mechanical forms that are combined with intervals of cosmic and etheric textures, giving birth to those signals that will lead us to transit into that space.
Composed and performed by Pablo Ribot
(Buenos Aires, Argentina 2017)
SoundChaser has been fascinated with the concept of transformation. Especially with the concept of taking a single piece of source audio and transforming it into something completely different, something that is un-recognizable from it’s original form. This release is exactly an example of such a transformation.
Starting with a public domain reading of Henry David Thoreau’s Woof of the Sun, SoundChaser took the recording and mangled, manipulated, chopped up, layered, and reassembled it into a work that is completely different from what it started off as. And, after completing transformation he found that he couldn’t leave well enough alone, and further modified two of the layers, which produced a second version that is nearly identical and yet different from the first version.
So, Drone Thoreau One version 1 & 2 form the main listening portion of this release. However, here is where the fun begins: SoundChaser has decided to go a step further by including all the original stems
(layers) of the tracks used to create this release. There are two reasons for this:
SoundChaser believes some people might enjoy listening to the individual stems on their own (especially the Drone stem, which gets mixed into the background in the main tracks), and
He wants others to take the tracks and create their own works. Fold them, spindle, mutilate them, add beats, add other instruments, make them into something else. The less recognizable, the better.
Scott Lawlor is a sonic explorer of great skill and knowledge. For this work he found a passage in The Outermost House: A Year of Life On The Great Beach of Cape Cod by Henry Beston that was appealing to him and set out to interpret it as an audio work.
This work is comprised of three pieces, the titles of which are each a passage from the book: “…they fear, rather, the energies and creatures to whom night gives power.” and “Yet to love thus, to know only artificial night is as absurd and evil as to know only artificial day.”
Stylistically this work is reminiscent of 1970’s Klaus Schulze recordings, like Timewind.
Dominic Razlaff (aka DR) returns to CerebralAudio with a new release: This Way.
Dominic’s minimal approach to drone music makes for excellent listening any time: driving, or studying, working or meditating.
This Way is a statement about music, and particularly drone works. He is sticking close to the original Brian Eno inspired concept of drone works: they should be minimal in terms of structure and movement. They have the capacity to both be listened to and ignored at the same time. Ambient music by it’s very nature, is an audio experience that enhances the environment.
The album is conceived as a three-part cosmic trip including a take-off, learning and final landing.
Drawing from his deep and prolonged listening of composers like Krzysztof Penderecki, Karlheinz Stockhausen, Jonny Greenwood, Brian Eno e John Cage, MiDiLe creates and assembles sonic landscapes of different nature
‘Blow Cuts’ is a collection of raw hip-hop beats with very little embellishment. They provide a blank canvas for imagination. Ideally, the listener should fill the gaps. The aim is to fuel a contemplative state of mind. These tracks were made effortlessly, during a state of flow, and it shows. Most of the samples used have been collected over the years from movies and various other sources. As an artist, Ι’m glad to have managed to produce something coherent in form and content. I enjoy visiting my Blow Cuts from time to time—when the mood is right—and Ι hope you will, too.
“The threshold scarcely crossed that’s how it is.”
An over(in my opinion)grown tree limb, guided by the wind, rubs against the window of an apartment building.
A human in the apartment – annoyed and intrigued – attaches two contact microphones to the window, then spends the next few weeks processing and editing the recorded sounds.
And for what? Nothing, of course, nothing.
For its 34th release, Da ! Heard It Records is warming up the machines to trace some new paths.
Impendulo is C_C’s new cassette.
Packaged in quasi-monochrome illustrations with quasi-absurd architectural tendencies, the visuals emphasize the kinetic art and foreshadow what one is about to hear: chain reactions and strange angles; it all moves and it all hits.
This cassette is an absolute beat garage!
Think of a little place where things are done by hand, geared towards total customization, fine-tuning; truly without concession and C_C is the boss. He’s the one with his nose under the hood and adjusting everything by ear. In total contrast with factory and chain-work sound, C_C knows how to use a system as Low-Cost as Low-Fi. Not afraid of getting his hands dirty!
The electronic sound is played from the fingertips, and it’s audible: the patterns aren’t dull and the rhythms brilliant.
It also plays with codes, and plays with them in a laid-back way, arm hanging out the window, headlights fully on. It advances tirelessly, entertaining without using, definitely more auto-reverse than auto-stop. Natural born bottom-of-time, C_C plays it in four-wheel drive, for all terrains, and completely versatile in all respects. He alternates straight hitting lines, feedback turns, and reverb drifts, and allows himself to ride right in the middle, his kick as pressed as the pedal, larsen melodies comfortably settled in the backseat.
At full speed, it’s blinking from all sides, counterpoint at every corner. With always one ear on the rearview mirror, and the GPS evidently out of order… drifting away from the roots is inevitable. In Impendulo, one is thus neither here nor there, but rather on unknown territory with no markers, never safe, but always sound. Welcome to the fourth (rid)dimension, this four-track game that summons hormones and neurons, active listening, and active dancing.
The drum is electronic and its skin is unbreakable, and in a thousand miles, it will still be playing, unfettered. One hit up, one hit down, the rhythmics spar without any low hits and most importantly without the rotundity that fishing for sound can bring. With C_C, it’s refined and chiseled by ear on the mixing side. The composition is stripped of anything superfluous, reduced to the bones, and you feel it in your bones: trans, love it or leave it.
Impendulo, the 34th release of Da ! Heard It Records is distributed under a Creative Commons BY_NC_ND license.
The album is fully listenable and downloadable at the following address: http://www.daheardit-records.net/en/discography/dhr-34
Genetic Transplant album by Hypercube can be described as an inner journey into osmotic abstract ambient defining the space over post-humanity evaporated circuits and multi dimensional genetic modified patterns, a way to explore unpredictable forms and intramural visions in relation to life and extinct systems.
The resulting music does at times resemble anxious rhythms and complex configurations of tranquillized expressions.