“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 Music has been outdated.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.
This album comes with an eclectic mixture of Drone, Noise, field rec of rain and some spoken word. It captures the spirit of confession in a nutshell – maybe doing it in another way, maybe in the same way. Who knows? This album draws you into itself, you will get sucked in and you will be forced to listen but you will enjoy every second.
These are improvised pieces using grand piano samples and playing them through some simple software programs i found on the net (www.ixi-software.net) – for the first piece it was lauki, for the second – crystals. Both of them (pieces) owing a lot to the abilities/failures – especially the second one – of my already ‘dead’ pc.
Esteban Peña aka Eban Kröcher presents his “001 Art” EP, three minimalist and atmospheric movements. While not completely setting aside his usual sounds, more linked to minimal house and chill out, this time the compositions seem to placidly float on ocean currents swept away by warm breezes. Small melodies appear alongside micro-sounds, creaks and granular sweeps, emphasizing the sense of tranquility but not stillness. They are rather creating mysterious atmospheres, without being disruptive, making it easy to imagine lonely forests and deserted beaches. Letting serene sounds flow at ease, not only is an exploratory way for the author but also a gift for those who listen. Because getting away from the stress that urban life causes us, even for the few minutes that this album lasts, is an experience that will always be welcomed.
02-Feast In Time Of Plague(6:55)
03-Premonition Of Civil War(6:40)
04-What Is It(6:40)
Netlabel Pan y Rosas Discos has released a new collaborative album from C. Reider and Jeph Jerman. The album consists of a single 30 minute track comprised of edited vinyl pops and crackles. C. Reider wrote the following about the album:
in 2015, my friend jeph jerman sent me a very lovely lathe-cut record. one side has a twelve minute track of the pops and crackles that are typical of vinyl records. all of the sounds in pop variations were derived from that recording, using various techniques, like running the pops & clicks through a de-clicking algorithm, or slowing down the recording to the point where you can hear the needle bouncing at each pop.
You can download the full release from the label’s website
“The duo FRVSNT navigates the convergence of at least three grand streams: contemporary music, electroacoustic in real time, and free improvisation.
Luciano Giambastiani makes use of clarinets in different registers to provide a sound world that is based on the broad spectrum of instrumental techniques associated with contemporary music, passing through materials defined by pitch, multiphonics, keyed percussion and the classic rough sonorities of the frullatos.
For his part, Rodrigo Castellanos contributes the electroacoustics through digital processing, where the aural richness is not always easy to explain, but certain techniques may be recognized, such as sampling and transposition of the sound captured by the computer, synthesis, delay and reverb among others, all in real time.
The general feeling is of symbiosis, an integration in terms of color that generally has a continuous evolution, sometimes accentuated by gestures of greater contrast. It is probable that Castellanos makes use of complex techniques such as monitoring of pitch, spectrums and dynamics or granular synthesis, and if the latter is true, it does not appear clearly or with the typical quality common in mixed music.
It is interesting to note that, according to the musicians, they never rehearse; rather they simply get together and play. Of course they do not start completely from scratch, as they know each other (eight years ago to be exact), they know what the sound space of their counterpart is, but from there they launch a dialogue that goes vibrating in a spontaneous and ‘effervescent’ way. They call it creation in situ, and this, as one may appreciate, they link not only to a determined physical space wherein the music awakens, but also to mental, emotional and conceptual spaces. Their previous communications are realized on a more generic level, where they discuss ideas of diverse nature, beyond the purely musical question.
Because this is a stereo recording, unfortunately it remains distinct from the multichannel component manipulated by Castellanos in the duo’s live performances, where the use of loudspeaker systems delivers an enveloping spatial element truer to their creative vision.
The album is a collection of miniatures, pieces that situate themselves in a minute and a half, two minutes, three and a fraction or at most five minutes and sixteen seconds. Juxtaposed with these pieces are micro-compositions of a few seconds (16, 18, or 24 seconds), of a concise and effective style, that exploit a sonority, rather a gesture that closes itself in but is able to connect with the preceding and the ensuing, with the general coloration awarded by the authors materials.
We hope this album is only the beginning of one or more subsequent contributions, either in stereo or why not in some multichannel format.”
(Sheffield, England, Febrero / February 2016)
Here we are again, with a new release, our first one for 2016. We would like to thank José Soberanes, who honoured us by entrusting us to start our journey into this new year in his company.
José Soberanes | Letras, sonidos y composiciones que causan conflicto
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