Today we are proud to release the first full-length release from Mystified: There Is No Wall No Nothing. This is Mystified’s second appearance on CerebralAudio. His first appearance was back in July on Into The Rift: Volume One. However, comparison’s between the two tracks would not be valuable. Thomas has the habit of being able to find completely different sounds and structures, even when he is exploring similar source materials and techniques for working with them.
There Is No Wall No Nothing might be a continuation of his exploration of using 78 rpm and Cylinder recordings as source material. However, this work does not have the mechanical grinding sounds present in the
previous work. Instead these sounds are placed well into the background, the basis for the drone element of this work without drowning out the other elements.
The intriguing element to this release is the voice: it’s distorted and manipulated to the point of sounding either alien or bug-like. Hearing it set against the cavernous drone sound makes one think that we are in
some kind of prehistoric era, listening to the formation of life itself.
And with those elements only scratch the surface of this work. There are all sorts of hidden suprises and subtleties throughout this piece that will give your mind a lot to chew on.
This is the eighth album from Javier Piñango’s i.r.real series, using only a Korg MS-20 analog synth and some sonic effects treatments. “i.r.real 8” is structured as a classic double album with the SOUTH as underlying concept in the emotional, the geographical, and of course, the sonic sense. It is an ambitious, complex work directly connected with personal memory and environment – deeply poetic and deeply political. Its sound goes one step further in the evolution of the i.r.real project, sharing some timbres and sounds with the previous album “i.r.real 7”, but focusing now on compositions which are sometimes based on highly evolutionary structures –the feeling of descent and fall– and at other times on structures with a progressive fragmentation and subsequent defragmentation of the sound, and of the composition itself; breaking, starting, muting, returning to its origin, uniting, restarting… All greatly related with the landscape of the Alpujarra region in Granada (Andalucía, Spain), which acts as inspiration and symbolic location for the entire album; going from hill to endless verticality, breaking into pieces and finally reuniting lower down…
“In this new album there is a considerable and decisive personal, emotional load. I’ve already felt for some years the need to work with the poetic, political, and geographical concept of the SOUTH, both as a creative motor and as a vehicle of resistance, at a personal level and at a purely sonic one. I’ve somehow also felt a special need to connect this concept with my own circumstances; using the Alpujarra region in Granada as a reference seemed to be the logical personal space around which I should build this “i.r.real 8”. The album is a metaphor of the dissidence and necessary resistance that I identify with the SOUTH as a concept. However, as I’ve already said, there is a personal space in this land located next to the enormous wall formed by Sierra Nevada, which appears as a barricade, separating this world from an unreal world – a deeply i.r.real world. My father, born in a village of Alpujarra named Cádiar, used to speak about the ‘hill’ (‘el cerro’, the 3.479m high Mulhacén Peak), as a static guard that filled up the horizon towards the North and that somehow fell thousands of metres down towards the South, through that other world, with the sea as its final destination…”
javier piñango: synthesizer (korg ms-20) and effects
recorded, mixed and mastered at madrid
Furthermore is a medium lenght concept EP in which Lefterna offers a range of static, slowly changing moods through five ambient/drones and noise sketches. Quoting a famous phrase by Brian Eno about ambient music, Lefterna’s five tracks simply happen. They don’t develop. You won’t find an intro, a fade in, a theme, an outro. Everything the artist wants to tell us unfold in its entirety to our ears as soon as you press play. We wanted to see what happened providing you a 6th bonus track where all the playlist is played and mixed continously. This alternative listening approach will lead you to an interesting journey in which you will experience how five static soundscapes mutate into one another, landing in a final destination you won’t expect how far from the starting point is.
Comme son nom l’indique plus ou moins directement, cet album est un ensemble d’anecdotes sonores à géométrie variable, une suite d’anecdotes agglutinées les unes aux autres pour former des histoires vraisemblablement plausibles.
Anecdote de trente secondes ou anecdote de deux minutes, elle doit trouver sa place dans la trame intemporelle de l’histoire en devenir (je dis intemporelle car la rigueur métrique et métronomique n’a pas sa place ici), et surtout donner à entendre une sorte de cohérence dans le collage sonore.
Décrire toutes ces infimes anecdotes reviendrait à faire un inventaire à la Prévert, et, vu le temps magnifique, je n’ai pas le désir de le faire, la promenade me tentant plus que tout état des lieux phonique.
De retour de vadrouille, je reviens à mes anecdotes qui, pour simplifier à l’extrême, sont forgées de sons de percussions et des bruits d’un piano disloqué (oui, de bruits, car l’état de l’instrument déglingué ne permet plus la restitution de sons harmonieux; ça ne me dérange pas, j’aime bien les bruits).
Pour s’extraire de la schématisation extrême susnommée, on trouve aussi des anecdotes électroniques saupoudrées de voix improbables, et des anecdotes humides de par leur nature “field recordings” (ou “enregistrements de terrain”, mais ça sonne moins bien).
Le plus délicat, et c’est là qu’intervient la glu, a été de transformer cette accumulation de sons hétérogènes en un polyèdre gracieux découpé en six anecdotes substantielles.
Mais, n’hésitons pas une seconde à effacer ce texte anecdotique pour nous concentrer plutôt sur ces sons et la musique en résultant, de préférence avec un casque audio de bonne qualité.
Album enregistré par temps clair en Eure-et-Loir (Juillet 2016).
Peinture par Hieronymus Bosch; détail anecdotique de l’Enfer, partie droite du triptyque “Le Jardin des délices” (1504).
Photo par Ironside. Design par Graph’Hypnotic.
New album of experimental improvisations for melodeon (diatonic button accordion) from London based squeezebox player, morris dancer and head of Linear Obsessional Recordings. “A Thousand Concreted Pearls” goes even further than previous albums, the melodeon is amplified and put through effects pedals and mixed with feedback, or put through a modular synth. This resolutely melodic instrument, and workhorse of English folk is here thrust into an entirely new world.
Dirch Blewn is the project of musician David Bloor. He records and performs the instruments of Peter Blasser. Recorded live with a few overdubs this music is the sound of capacitors charging and dissipating, of gesture with no finesse, of fish guts and physical connection with wires. Flexing wood and the smell of tung oil. It’s about the drum of Tommy Lee added to some drama from Pamela, the heady mix of surfboards and silicon. The remnants of squeezing jelly ass signal into 8 bits and ultrasound. The sound of woodpile, chaos theory, kiri with a cardboard box, industrial components and paradox.
Linear Obsessional is delighted to release this mesmeric work as a free download as a precursor to an album of shorter works to be released later in the year…
released July 17, 2016
Capacity & Resistance was recorded on two plumbutters, cocoquantus, sidrax and tetrax.
“Extrañas líneas de bajo, sampledelia, voces y raros conceptos son el hilo conductor de éste trabajo difícil de categorizar dentro de una línea musical, pues los ritmos y la música electrónica se mantienen bajo una arritmia y sonidos orgánicos: la contradicción en sí misma. Un disco que suena a un viaje lisérgico, como una pesadilla que deja un buen gusto al despertar”
Ragazzi D’inverno fueron un dúo de experimentación sonora formado y disuelto hace unos años atrás, alcanzaron a sacar un EP llamado “Iaio Wheelchair Army” y éste su único LP. rescatamos éste trabajo medio perdido en el tiempo, y poco tomado en cuenta pues nos gusta su sonido, el que aun pasando por muchos filtros digitales sigue sonando análogo y sucio.
There’s no music here. Music has been outdated. This release is a Monument to The Noise.
It’s the hundredth and simultaneously the first release of MAV Records.
We adopted the dead drop method, ideated by Aram Bartholl and consisting of the installation of USB devices in public spaces. Anyone can use our dead drops for sharing, uploading or modifing audio files.
Pfff! flows and evolves through different realities, dis/integrating into the environment, getting vaporized.
Pfff! Monumento al Rumore
Non c’è nessuna musica qua. La musica è stata superata. Questa pubblicazione costituisce un Monumento al Rumore.
È la centesima e contemporaneamente la prima pubblicazione della MAV Records; abbiamo adottato il metodo del dead drop, ideato da Aram Bartholl e consistente nell’installazione di dispositivi USB in spazi pubblici. Chiunque può usare i nostri dead drop per scaricare, caricare o modificare file audio.
Pfff fluisce e si evolve nelle varie realtà, dis/integrandosi nell’ambiente, vaporizzandosi.
00 – mAvvertenze
01 – hiyohiyoipseniyo – p o s t b L a b L a B L A
02 – Laika Facsimile – Tagli della morte
03 – Tommaso Busatto – Vvv
04 – Multimedia Sepulchri – Finding
05 – Rocco Perciante – snare75
06 – Vitaldo Conte + Antonio Saccoccio + Helena Velena – Sì solo po emi (Pulsional RU.MO.RE!)
07 – Jukka-Pekka Kervinen – calibration point
08 – Infector http:// – Phase One
09 – Stefano Balice – Mozzafiato (tattilofonia)
10 – Koobaatoo Asparagus – Uhh Man & Women
11 – The Finer Points Of Sadism – Cultivate
12 – NOS project – x-f
13 – 7tn4cc – MAV Helicopter E-attack
14 – Hank the Think Thank – ep1K oU!
15 – Nostra Orchestra Estemporanea – Gigi
16 – Sounddog65 – In Primis
17 – Nascitari – Breve introduzione alla dottrina dell’isolamento
18 – Eugene Furrno – zwischenheit
19 – Rome Kapone – Electrovoice Demo #-1 (voice altered by Moduler Gee)
20 – Ben Presto – Chanel Cristo n. 34 (Ipercoop approved)
21 – Marco Olivieri Circus – Dedicato a Viola nascitura
22 – Trapianto di Fegato – Zzzachete
23 – Toxic Chicken – I Want It
24 – Max Scordamaglia – Errore
25 – Hengedal – Sørvind
26 – Mustard-In-Law – Grey Poupon For Bing Bong
27 – Jesus Cremoso + Obasquiat – Embryonic
28 – DJ Crivellator – Sulle avanguardie pseudoartistiche nate nell’internet
29 – Blade Painnet – Pubblico di mmerda (musicoralità)
30 – Movimento per l’Arte Vaporizzata – Antidefinizione
“this this” is an extraordinary collection of sounds made with a Raspberry Pi (the credit card sized bit of circuitry which is used to teach kids about coding). Maguire manages to create a world of microscopic sounds, clicks, whirrs and fields of electrical noise that are compellingly alien, and yet capture something of the excitement of those early forays into “glitch” music of the mid ’90s. It’s a whole new delicate beauty..
NEW RELEASE on PLUS TIMBRE
Daniel Barbiero & Chris Lynn | Doubting All Things Aligned
Chris Lynn: field recordings; piano; chance piano; Yamaha synthesizer (6); implicit Super 8 imagery.
Daniel Barbiero: Double bass; prepared double bass (2, 4); analogue synthesizer app (5); virtual duet (9).
“This work tells about the transition of a beloved person, one night in a hospital.
With no dramatic or compassionate intention, I created “La Noche” to amplify our separation and our unitive annihilation, like a song whispered in the ear of the one who goes away, and the one who stays. An ode to everything we experience by this loss, and everything that we know stays behind forever once the body of the beloved one is gone.
This song should be heard at night, in absolute darkness and through headphones, so that one can, after initial resistance, “obey” and follow the sound. It intends to act as the nail that pierced the veil of mourning, showing the fullness of the non-place, of all that was lost.
You are not forced to follow my narrative proposal, but…
The first two tracks oppose “Siamese Twins” separated sound extremes and sonic subjectivities. Mine: the aseptic silence in the hospital room, which is also an imminent “final”. Hers: the sound of the relentless progression of septic invasion on her body.
This excision reconnects us with a humble gesture, track #3: A Kiss on Our Original Placenta. Finally, when the transition is finished, the window of the next day – letting in the cool air from the Genil river – is open. With some melodic, nostalgic souls flying to heaven, a past tense of platonic flavour. It is the light of the next day on earth. The only material we have.
I recorded and mixed “La Noche” at La Antena Noética Studio (Almería, Spain), during a period of several nights in autumn 2015, using a theremin and a computer. It was mastered by Dal Verme and myself.
It is dedicated to Maria Josefa Megías Cuadros, and to all those who would have this whispered song when the sun goes down”.
guillotine hairshaver is a musician in Osaka,Japan.
This album is his 4th album.He renewed the production environment and style,then his sound world spread with that.has both hard-style and ambient.It is such an emotional album.
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