update, 28.2.2026

Hello, I have made a few changes to the site. Unfortunately, I am not quite finished yet, but it should continue without interruption. I hope you find the changes useful. Stay tuned. Konrad

acousmatic

Oka – Larv

Oka – Larv

Oka

“Larv”

(NB: this album will be name-your-price after it is released)

Larv is an intimate diary for the future, moved by water and constant change. Human, as a water body — fluid, permeable, and susceptible to internal tides — is an integral motif behind the compositions that gently unfold through drifting voices, crunchy field recordings, modulated electro-acoustic samples, and synthetic glitch-style tones. Imperfections, artifacts, and instability are not hidden but embraced, sounding the traces of a connected body in flux. Through exploration and learning, the water body can become a body of quiet resistance, communicating through shifting states.

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posted 08 October 2025

José Miguel Candela – Afectos del Desastre

José Miguel Candela – Afectos del Desastre
[pn245]

José Miguel Candela

“Afectos del Desastre”

“Afectos del Desastre” (Affects of Disaster) was an immersive performance installation created in 2023 by DESARTES, the Arts and Disasters Unit of CIGIDEN (Research Center for Integrated Disaster Risk Management, Chile). Its objective was to delve into the emotional dimension of the human experience in the face of socio-environmental disasters related to economic practices. The installation combined live performance with new media elements to convey the experiences of three disasters that occurred in Chile, based on social research conducted by CIGIDEN: the fires in Santa Olga (consequence of the practices of the timber industry), the pollution in Puchuncaví, and the drought in Quillagua (both consequences of the mining industry’s practices). Each event was explored through a specific tunnel within the installation, offering a unique perspective on the performance. A quadraphonic acousmatic composition related to the addressed case was presented in each tunnel (which interacted with the performance), along with texts of testimonies from those who experienced these disasters firsthand. The music’s structure included a random distribution of some materials, allowing different versions to emerge each time. This album is, therefore, one of the many possible versions of the work.

From outside the installation, one could hear the three quadraphonic environments interweaving into a 12-channel sonic whole, an experience I attempted to replicate in the final track of this album, titled “Afectos del Desastre” (Affects of Disaster).

The papers related with the research carried out by CIGIDEN mentioned above are the following:

1) Puchuncaví: Tironi, M. (2018). Hypo-interventions: Intimate activism in toxic environments. Social Studies of Science, 48(3), 438-455.

2) Quillagua: Acuña, V., & Tironi, M. (2022). Extractivist droughts: Indigenous hydrosocial endurance in Quillagua, Chile. The Extractive Industries and Society, 9, 101027.

3) Santa Olga: González Gálvez, M., Gallegos, F., & Turén, V. (2021). Unfinished extinction and the velocities of capitalist sacrifices in the woodlands of central Chile. Tapuya: Latin American Science, Technology and Society, 4(1), 1939491.

José Miguel Candela
(Santiago, Chile. Septiembre / September 2025)

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posted 03 September 2025

Christophe Bailleau O’Farrell – Locust Bean Gum

Christophe Bailleau O’Farrell – Locust Bean Gum
[mhrk445]

Christophe Bailleau O’Farrell

“Locust Bean Gum”

“…A creation turned reflex and an almost immediate – and sharp – realization: Christophe Bailleau O’Farrell refuses and abhors the obvious.

This new EP, marking yet another milestone in an already rich collaboration with the Mahorka label, denounces in every way the easy choices – too often deliberate – and the nervousness of an era where frequency has replaced rarity as a standard of value. “Locust bean gum” is a work that seeks the unexpected, the possibly necessary coherence, and finds a new sensation.

From the porous boundaries of an acoustic approach to the deepest and most striking abstractions, “Locust bean gum” continues to open countless perspectives – and just as many present thrills.

Endless investigation deserves a few rewards!”

–Thierry Massard

Christophe Bailleau O’Farrell: composition, production, guitar, piano, flute
Julien Ash: sax on track 2
Grosso Gadgetto: noises on track 3
AI: help and inspiration for track 4

Images by Christophe Bailleau

In memory of Christophe’s close friend Philippe Franck.

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posted 10 June 2025

Xu + Oberlin – Velvet Meadow Resonance Fragment

Xu + Oberlin – Velvet Meadow Resonance Fragment
[mhrk435]

Xu + Oberlin

“Velvet Meadow Resonance Fragment”

Oberlin is the musical project of Alexander Holtz from Koblenz (Coblence), Germany. The centerpiece of his instruments is a modular eurorack synthesizer, which he often combines with guitar, piano and field-recordings. His music invites the listener to contemplate, it often is developing quite slowly, it never demands to be in a certain focus of attention, but it never tries to fulfil any ambient-clichees in the sense of creating just an aural wallpaper either. It is musical improvisation maybe in a more subtle kind of way. Oberlin has released music on Handstitched*, cosmic winnetou, Thirsty Leaves, Vaagner, Hibernate, Secret Press, AOsmosis, some tapes and downloads by himself and, notably two beautiful cassette albums on Mahorka.

Xu is Nicola Fornasari from Cremona, Italy. He began his musical career in 1995 as the bass player and singer for the hardcore band Entropia. Starting in 2007, he began exploring new musical projects, including Xu(e) (a duo with Andrea Poli), Xu (his solo project), La Petite Vague (a duo with Diego Balconi), and That Which is Not (a duo with Pier Giorgio Storti / Belaqua Shua) in 2020. His music has been released on a variety of labels, including Fluid, Whitelabrecs, Shimmering Moods, Slow Tone Collages, Krysalisound, Eilean, Flaming Pines, Rottenman Editions, Rohs! / Lontano, Twice Removed, Cathedral Transmissions, Triple Moon, Thirsty Leaves Music, Audio Gourmet, Tessellate, Haze, Many Feet Under, Subterranean Tide, and Laverna. He has collaborated with artists such as Darren Harper, Bill Seaman and Francis Gri.

“Velvet Meadow Resonance Fragment” is the third collaborative album between Xu and Oberlin. For this project, Oberlin provided acoustic guitar sketches, asking Xu to process and transform them into the foundation of the tracks. The recordings were then manipulated through a modular Eurorack system or altered using the Samplr iPad app. Oberlin handled the final polishing and mastering. This work marks the first chapter of an ongoing experiment. In the next chapter, currently in progress, it will be Oberlin who develops everything, starting from the material provided by Xu. Stay tuned.

Released March 23, 2025 as free (cc) digital download and beautiful limited cassette edition.

Recorded in the Summer of 2023 in Koblenz, Germany and Cremona, Italy

Xu: electronics
Oberlin: guitar

Artwork photo taken and edited by Alexander Holtz
Artwork design by Angel Draganov

“Many thanks to Ivo Petrov and the Mahorka label for taking care of this release”

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posted 01 April 2025

Julien Palomo + Fabien Robbe – Miniatures

Julien Palomo + Fabien Robbe – Miniatures
[mhrk410]

Julien Palomo + Fabien Robbe

“Miniatures”

Released September 21, 2024 as free (cc) download and beautiful limited edition digipak CD.

“This, our second album, is a collection of synthesized short pieces.

Whether you deem them abstractions due to their strange harmonic contents, or figurative of strange places, is up to you. The key word here is “atmosphere”. They convey no message, they were not created with any intent.

In saying what they’re not, we’re saying they are pure imagination at play. They deal with mental images and perceptions, before language creates order – and falsehoods – out of the plasma of free association.

During their making we never discussed them, bar a few technical points ; never defined them, never worded anything. We never ever mentioned we were actually “doing” them, and really discovered them afterwards.

Of course, we will never succeed in saying nothing. We’re subjects. And the very fact we have to write something about it is the heart of the paradox. But at least we can try. We all deserve a good vacation from meaning. There are other forces at play, like sound.”

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posted 24 September 2024

Joachim Stiller – Music For Wireless Telegraphs

Joachim Stiller – Music For Wireless Telegraphs
[mhrk398]

Joachim Stiller

“Music For Wireless Telegraphs”

Two one hour sound works inspired by and based on, and I quote: “the ominous feeling of winter, dark clouds, the fear of getting lost – and nesting somewhere that feels safe”.

Influences include the soundtracks of Petscop and Nier: Automata, Autechre, 7038634357, COIL, ‘Tomorrow, In A Year’ (The Knife, PlanningToRock, Mt. Sims) and a recurring nightmare.

Released on Mahorka June 17, 2024 as free (cc) digital download and limited double cassette edition.

Commissioned by Sanneke Kleingeld, one of Radio Tempo Não Pàra’s curators, for their ‘ik houd het nest warm’ radio program that aired on the 15th of December 2023.

TNP’s curator Kleingeld had heard an episode of Sounds Between Here and Nowhere (a radioshow by Luca Heydt and Mees Joachim) on Big Toilet Radio and proceeded to discover the artist’s Paradise Mixes made for the 2023 Birds of Paradise exhibition – which featured many unreleased tracks made under Mees Joachim’s Joachim Stiller, Absolute Candor and Zalmroze monikers – and proceeded to commission the artist to create a special mix for the radio station.

The sound work began to live a life on its own – becoming a sound collage of self-sampled unreleased works and new recordings centered around, but not limited to, synthesized sound.

As a fairly ambient / new age sound was warranted for the occasion, Mees Joachim took on their Joachim Stiller moniker to create two entirely original 1 hour sound works, with ‘Radiophonic Sound bath #2’ being the selected piece to be aired on Radio TNP.

The Stiller moniker has been around for a while, albeit used for art / karaoke performances, installations and video works prior to 2023, when it was first used for a music release: ‘And The Overstaying of Welcomes’ in collaboration with Absolute Candor.

Joachim Stiller’s debut album, ‘In Shallow Water’, was released by Bad Boy Jesus Tape Club in April 2024. With these two sound works, released on Mahorka in May 2024, expanding the sound of Joachim Stiller even further.

Credits:
Performed, Produced, Recorded, Mixed, Mastered, etc. by Mees Joachim as Joachim Stiller in 2023, with some recordings dating back to 2021.

Featuring several synthesizers, sequencers, guitar, harp, trumpet and a Nintendo DS.

Synth by Joachim Stiller
Drum Programming by Absolute Candor
Guitar, harp, trumpet by Zalmroze
Artwork by Mees Joachim

Special thanks to Ivo Petrov, Sanneke Kleingeld, Cara Mayer, Luca Heydt, Mitko Mitkov, ambient overlord Brian Eno and Birds of Paradise Festival.

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posted 18 June 2024

Miguel Gil – EROS Y TANATOS

Miguel Gil – EROS Y TANATOS
[pn230]

Miguel Gil

“EROS Y TANATOS”

“EROS Y TÁNATOS”: a recording for physically modeled piano and self-oscillator, both processed live. In composing this material, I’ve worked by inducing intermittent liminal sleep states, aiming to generate sustained feedback between music and sleep, or in other words, between my conscious and my musical subconscious.

Throughout the album, the clock ticks slowly in parallel with the music, under the vulnerability of liminal time. Meanwhile, the musical discourse traverses different compositional and improvisatory approaches, where the sound of the piano functions as a collective emotional memory that dialogues with electronics, like magnetic fields interfering with each other. This interaction questions the traditional hierarchical fiction between “main” and ornamental musical material.

The music contained in these pieces flows as an erotic act of life, an unconscious redeemer of the tearing caused by the inevitability of the disappearance of all we know.

Miguel Gil
(Madrid, España/Spain. Abril / April 2024)

In this work Miguel Gil navigates in sounds that come from diverse musical traditions, flowing in waters of diverse colors, guiding them, making them converge and immersing himself into them to interconnect spectral contents and dynamics. The color of the piano is expanded electronically and unfolds and converges again in a refined construction. Just as a material is transparent from the outset, the artist also presents elusive sound figures to the inevitable human mimetic need. In them, distortion at times seems to be an audible being, a séricule as Chion would say, indeterminate, novel, and at other times, a dense veil over a possible instrument played by a mysterious musician. Whatever the case, Gil dominates the structure, at times diachronic like a stroke of Chinese calligraphy and at other times spectrally orchestrated. At other times, the piano notes, in sensitive, tension-filled intervals, impressionistic if you will, can journey into delicately rough spaces through electronic iterations. A music that seems referential to various musical backgrounds, but at the same time timeless and of a richness elaborated from the subtle to the frank gesture thanks to the author’s extensive mastery of sound.

Alejandro Albornoz
PhD in Electroacoustic Music Composition, University of Sheffield.
(Valdivia, Chile. Abril / April 2024)

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posted 14 April 2024

Pedro Linde – Motu proprio

Pedro Linde – Motu proprio
[Fortín 18]

Pedro Linde

“Motu proprio”

Fortín artesonoro 2024

| Fortín 18 |

PEDRO LINDE
“MOTU PROPRIO”

1. Frontera de cristal. 5:38
2. Nereidas. 4:54
3. Motu proprio. 4:50
4. Podorozh. 3:17
5. Ama tu ritmo, Chiara. 10:27
6. Despedida. 4:52

Motu proprio es una expresión latina que significa movimiento propio. En este caso, pienso en esta locución como movimiento en el sentido de ritmo, pero también impulso, propulsión hacia adelante; y propio como personal, fruto de una búsqueda interior que ha dado como fruto estas 6 piezas musicales con movimiento propio, que se encadenan con eslabones singulares, formando un conjunto de variedad sonora tornasolada y multiforme. El proyecto se completa con la incorporación de video en algunas de ellas.

Cada pieza expresa un carácter propio e independiente, pero todas ellas forman, sin embargo, un organismo con extremidades complementarias que articulan un conjunto unificado. Cada obra está hecha con un instrumento diferente, aunque el piano digital participa en tres de ellas. Sus títulos dan una idea de esa variedad multiforme de la que hablamos.

La obra se completa con 5 entremeses greguescos que se intercalan a modo de polizones intempestivos entre pieza y pieza o entre vagón y vagón de este tren sonoro, aportando el desvarío que el instrumento electroacústico expresa desde su delirante y experimental atalaya.

Pedro Linde. Noviembre 2023.

Duración: 33:57

all rights reserved
posted 23 January 2024

Valentina Maza and Veronica Zondek – Cantos a la grieta encendida

Valentina Maza and Veronica Zondek – Cantos a la grieta encendida
[pn227]

Valentina Maza and Veronica Zondek

“Cantos a la grieta encendida”

The story of Vagido, the poetry book by Verónica Zondek, is intense and extensive. The first publication in 1990 (Ediciones Embalaje, Colombia) took its author by surprise. The second edition appeared the following year at Editorial Último Reino in Buenos Aires. It wasn’t until 2014 that we encountered it in Chile, thanks to Alquimia Ediciones, in a special release that included a new poem, a work of poetic art, fragments of interviews, and critical texts. A perfect box set, as we might call it in musical terms.

Some of these texts are heard in Cantos a la grieta encendida, ), this album published by Pueblo Nuevo, a label that, while offering its productions for digital download, takes care to surround the music with reviews, credits, and artwork, all those elements that belonged to the album covers of our cassettes and CDs and that have now disappeared inside streaming lists. Thanks to this information, then, we can learn in more detail that, in addition to Verónica Zondek‘s poems, Valentina Maza composed, produced, interpreted the machines and violas, and participated in the mixing. A mix, by the way, in which the author’s voice is predominantly in the foreground most of the time.

In the epilogue to the second edition of Vagido, María Teresa Adriasola (Elvira Hernández) warned of “the phonic redundancy of this poetry (internal rhymes, alliterations, assonances, annomination, etc.), repetitions that also extend in words, verses, without harmonizing. These sounds, producers of a concert of disconcerting internal echoes, beats, clatter, are relentless, and their discord is part of the anguishing migraine that surrounds childbirth and the wails of the newborn.” It is very valuable to read this description in light of the interpretation that unfolds here: fragmented words, detached from their pronouns, where some playful acts stand out, like the “T” of the first track (which, as noted in a footnote of the book, refers to both the dative condition and the “T” of the intrauterine device, as well as the first letter of the name Tamara and “anything else that can be attributed to the sound of that letter that drumrolls and makes itself present”). These repetitions remain rooted in a constant rhythm, where the anxiety of the pulsations that are piling up is perceived.

“She found the rhythm”, Verónica tells me about the music that Valentina Maza created after recording her voice. And she has also created a completely different dimension. If we imagine the interior space as a flow of slow and muted sounds, here the exterior emerges, and we can hear birds, winds, stars, galactic explosions, as real as unreal, populating an immense landscape. A symbol comes to mind, the mandorla, wherein the superimposition of two circles produces an almond shape that, as Juan Eduardo Cirlot explains, represents the “union, the zone of intersection and interpretation” of the upper and lower worlds, of heaven and earth, and also represents “the perpetual sacrifice that renews creative force through the double current of ascent and descent (appearance, life and death, evolution and involution”.

I believe I have heard something of that sacrificial character in some specific moments where the scraping on the viola’s strings sounds with clear definition, those strings that must be sufficiently tense to vibrate. Perhaps in this we can find the point of greatest connection between Valentina Maza ‘s music and Verónica Zondek‘s poetry, for whom the word “must sometimes twist to find the way it returns to be charged with meaning. (…) Poetry estranges the word from its natural habitat to make it speak. The poetic word stretches an unquestioned reality.” Let’s adjust our eyes, our ears, and our bodies to vibrate in sympathy with that same tension.

Felipe Cussen
(Santiago, Chile. November 2023)

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posted 26 November 2023

Jayson Hernandez – Flayte Neo Sur

Jayson Hernandez – Flayte Neo Sur
[pn226]

Jayson Hernandez

“Flayte Neo Sur”

“Flayte Neo Sur” summarizes the methodologies of 10 years of sound composition for performing arts by the composer Jayson Hernández (1992). The main inspiration for this work is the collaboration with five electroacoustic composers: Valentina Aguilera, Ariel Fernández, Matias Alarcón, Antonia Valladares and José Miguel Candela, who, in a featuring capacity, contribute to the composition of the album.

The album comprises 5 pieces, each of which is infused with elements inspired by Granja Sur, multifocality, and the re-signification of a territory that emerged post-dictatorship in Chile, located in the southern outskirts of the capital. Each piece is associated with an aphorism proposed by the composer. The invitation was to improvise in an electroacoustic key and then compose based on this experience, induced through a somatic practice that allowed a connection with the archives and repertoires of the geography.

Inspired by observation and recording, the album seeks to challenge the concept of the periphery from a political perspective. Its primary influences are local artists from the southern area of the capital, such as muralist Oficio Erico and the UFO Group, poet Juan Carreño and the Vlop Cinema Collective. The album also reflects on aesthetic experiences in peripheral territories, particularly in Granja Sur and its surroundings, where the composer gathers local testimonies and symbols as elements that shape the soundscapes of the compositions.

Jayson Hernández
(Santiago, Chile. November 2023)

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posted 06 November 2023

René Muñoz Córdova – TYRUM

René Muñoz Córdova – TYRUM

René Muñoz Córdova

“TYRUM”

Composed and produced by René Muñoz Córdova.
Cover art by René Muñoz Córdova.

The sound work was composed between months Aug. 2023 to Sep. 2023 using different kind of not traditional music instrument, sonic material recycles of society’s debris, and also with computer music.

Advice for optimal results:
Download Zip file 24bit/96khz release.

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posted 08 September 2023

Adrià Bofarull – inner aurochs

Adrià Bofarull – inner aurochs
[a35]

Adrià Bofarull

“inner aurochs”

The aurochs (bos primigenius) are an extinguished kind of cattle.

Solo music improvised and recorded at golgoth studio between January/July of 2020. This sound activity, flow subtle around the idea of the linear develop of the facts (musical also) and how its paw prints in our memory determine our way of think.

The inner aurochs. 2020 Adrià Bofarull: electronics.
More about it: https://adriabofarull.blogspot.com

all rights reserved
posted 23 June 2023

YAMA YUKI – Tufan

YAMA YUKI – Tufan
[IHab154]

YAMA YUKI

“Tufan”

For this work I used solely the sounds of a typhoon that I experienced over the summer. That day, I recorded what happened during the 24 hours from the arrival of the typhoon, then, I composed a track upon these materials.
The strong winds caused abrupt changes in the soundscape, hitting the surface of things outside. Rain washed over the streets, water flew rapidly, and insects seemed to respond to the surrounding noises with their singing.

This track was created as part of my study to understand how intensely humans and surrounding objects/beings are subjected to external natural forces. If you happen to be outside during a natural hazard, there is no way you can avoid being involved in it. Throughout human history, we have continuously tried to protect ourselves from the force of nature, but that is still an impossible task, and we always find ourselves vulnerable to it. In this work, I wanted to explore the theme of vulnerability of human existence within this world. Tufan means “rainstorm” or “flood’ in Turkish and it has its origin in Arabic, but similar words are found in many languages, including the Japanese “Taifu”.»

Recorded and assembled by Yama Yuki.

-Yama Yuki is a composer based in Japan

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posted 25 May 2023

René Muñoz Córdova – A Piece of Eternal Consciousness

René Muñoz Córdova – A Piece of Eternal Consciousness

René Muñoz Córdova

“A Piece of Eternal Consciousness”

A Piece of Eternal Consciousness, is René Muñoz Córdova’s sixth digital Album, which again leads us towards a deep musical universe created by a constant deconstruction and abstraction of sound elements. The work is based on stochastic models, atonal and classic, in which priority is given to digital manipulation of sound sources, while in isolation, perceives the presence of both conventional and unconventional musical instruments as well as poetry. In the words of the author “The work was conceived throght deep introspection”.

Composed and produced by René Muñoz Córdova.
Cover art and poetry by René Muñoz Córdova.
24bit/96khz release.
Remastered on April 22, 2023
[Ubuntu Studio]

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posted 27 April 2023

René Muñoz Córdova – Mundo Real

René Muñoz Córdova – Mundo Real

René Muñoz Córdova

“Mundo Real”

About the work:

It has been more than 20 years since I composed my first audio work “Mundo Real”, and although in 2010, Petcord Netlabel released the track “Mundo Real – Part 5” on their compilation “Petcord Volume 1 – The Audio Fringe”, the work itself had never been released in its entirety.
I thank all the people who participated in the production of the work because without them “Mundo Real” would never have existed… it is for you!

Composed and produced by René Muñoz Córdova – 2002.
Poetry by René Muñoz Córdova.
Cover art by René Muñoz Córdova – 2023.
24bit/96khz release.
Remastered on April 24, 2023 [Ardour, Audacity, GIMP – Ubuntu Studio].

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posted 27 April 2023

Antonio Isaac Gomez – Libre Albedrio

Antonio Isaac Gomez – Libre Albedrio
[pn219]

Antonio Isaac Gomez

“Libre Albedrio”

Libre Albedrío / Free Will is the first installment of a series that the artist has conceived from the resistance to the algorithm of the system and programmed obsolescence, in a hyperconnected world surrounded by noise and saturated with options in a rarefied highly complex environment, this album proposes that the ability to decision continues to be a ray of light, both personal and collective, where we are effectively able to continue choosing what to listen to and when to do it. Highly emotional and contemplative, Libre Albedrío / Free Will is a journey through the hive mind where all of us are connected, taking us from the cyberpunk sky of “Balloons Flying in White Noise” to imaginary landscapes fueled by science on our own planet. As part of the author’s creative axis, this album continues to tell us about the relationship between human beings and the important balance that must be restored with their environment, in this path “Forest of Souls” is based on the swarm behavior observed in the visit of the Monarch Butterfly in Mexico during its great migration. In contrast, “Stochastic Horizon” presents us with the manifestation of the complexity reached by the economic relations of current, highly technified and globalized markets, which, despite being artificial, are extraordinarily similar to the behavior of those swarms of insects. Libre Albedrío / Free Will is also a continuous sonification a work in process, it take us to celebrate life but also to commemorate death, “Little seed star” is the final piece of the album but the beginning of a new stage that for the author represents resurgence and rebirth, not only of the beautiful mountain flower on which it is based (Eryngium proteiflorum, documentary film on whose soundtrack this composition is found) but the possibility of deeply assimilating a cyber spatial form in which he is immersed for the permanent dialogue that he maintains with his audience. Libre Albedrío / Free Will integrates 1Z4K, a cyborg with the same name as its creator who, through the use of artificial intelligence systems and the appropriation of the biosensors of the human that compliments him, generates his own aesthetic experience, the first in a cyborg entity, and who as a result sings for all of us throughout the album in a mysterious way and totally integrated into the total soundscape of the complete work, quite a feat to discover each cyborg chant.

Technically speaking, Libre Albedrío / Free Will is an album composed through modular analog synthesis, avoiding the intervention of notes as a human-machine interface and working much more on the concept of frequencies, a foundation that the author takes to its limit by using sub frequencies, binaural sound, ambisonics and ultrasound for the generation of induced states of consciousness referring to the expressive forms of the complete work additionally enriched with visual artwork and immersive installation available in virtual reality. He uses a lot of analog elements with just a few digital nuances for advanced synthesis techniques like granular and impulse convolution processing.

The album has been recorded completely live and there is an available version in multichannel virtual reality that the author occasionally presents as part of his live sound interventions.

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posted 18 March 2023

Bruno Bernard – Textures

Bruno Bernard – Textures
[earS111]

Bruno Bernard

“Textures”

Acousmatic & Headphone music is back on earsheltering with “Textures”, an amazing trip created by Bruno Bernard

1-disorders:
emotional disorder, sight disorder, hearing disorder, cloudy water, being troubled..
2-fibers:
like a sound fabric intertwined with loops..
listening with headphones recommended, surround sound.
3-catacombs:
a dive into our own inner mysteries..
4-breaks:
our breaks, our flaws, our cracks, our interior chasms..
surround sound, headphones recommended
5-skins:
hard skin, soft skin, hatching, chrysalis..
3D sound, headphones recommended

1-troubles :
trouble émotionnel, trouble de la vue, trouble auditif, eau trouble, être troublé..
2-fibres :
comme un tissu sonore entrelacé de loops..
écoute au casque recommandée, son ambiphonique.
3-catacombes :
un plongeon dans nos propres arcanes intérieures..
4-brisures :
nos brisures, nos failles, nos fêlures,nos gouffres intérieurs..
ambiphonie, écoute au casque recommandée
5-peaux :
peau dure, peau douce,éclosion, chrysalide..
son 3D, écoute au casque recommandé

acousmatic, electroacoustic, electronic, headphone music

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posted 08 March 2023

Various Artists – INTENT 2023: Sehnsucht

Various Artists – INTENT 2023: Sehnsucht
[mhrk335]

Various Artists

“INTENT 2023: Sehnsucht”

The INTENT compilation series provides a platform for electronic and experimental music artists to share their work and set goals for the coming year, encouraging and inspiring creativity, innovation, and artistic vision from all corners of the globe. Since its launch in 2019, INTENT has become a powerful resource for artists aiming to realize their ambitions and monitor their progress over time. We are proud to continue providing INTENT as a compilation that goes beyond the ordinary, providing a truly transformative and ever-evolving experience.

“Sehnsucht” is the second of two volumes dedicated exclusively to the captivating world of Musique Concrete and Electroacoustic music. Blending the organic and the digital, “Sehnsucht” is a unique, unexpected journey into the depths of sonic experimentation, elevating listeners to an entirely new auditory experience, one that is both captivating and thought-provoking. The works presented on this volume showcase the daring creativity of the contributing artists and their willingness to explore the unknown.

Released January 30, 2023

More about INTENT: github.com/linfri/INTENT

Compiled by Nierika Productions in January 2023.
Image by Ahmed Zayan from Unsplash (February 2020)
Text, mastering and graphic design by LR Friberg.

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posted 31 January 2023

OCDS 104_22.12.22 – A Voz do Mundo II (parte 3)

OCDS 104_22.12.22 – A Voz do Mundo II (parte 3)
[OCDS 104]

OCDS 104_22.12.22

“A Voz do Mundo II (parte 3)”

A emissão 103 d’O Colecionador de Sons apresenta pela primeira vez, depois do evento “Dar a Ouvir. Paisagens Sonoras da Cidade”, que entre julho e agosto marcou a programação cultural do Convento São Francisco, em Coimbra, em torno do universo da arte sonora, a 2ª parte da instalação sonora “A Voz do Mundo II”, com curadoria deste Colecionador de Sons, composta por 3 horas de duração com contributos da netlabel portuguesa Green Field Recordings (www.greenfieldrecordings.yolasite.com), da plataforma Audiotalaia, do artista sonoro espanhol Edu Comelles (http://www.audiotalaia.net) e também do mapa sonoro à escala mundial Cities & Memory, da responsabilidade do artista sonoro inglês Stuart Fowkes (https://citiesandmemory.com).

Para esta 3ª parte, apresentamos a composição sonora da responsabilidade de Edu Comelles e a sua Audiotalaia.

Bem-vindos!

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posted 27 December 2022

Philippe Neau – A Quiet Place

Philippe Neau – A Quiet Place
[mhrk325]

Philippe Neau

“A Quiet Place”

“”A quiet place” is an album where we are immersed in the imaginary and sound vision of a motionless traveller. This trip was built from field recordings recorded in real places, inside or outside. To these sounds are added analog ambient sounds. This sound mass is worked, mixed, kneaded, “sculpted” to create a “new landscape”, stratified and polyphonic. This vision took shape during more or less dreamy encounters and walks with the elements of the landscapes. The sounds mingled and overlapped, as did the places, gradually in my memory. From layer to layer, I let the “sound material do” in order to prolong its meditative states. I followed the vibrations. The sound material has thickened to give shape to a long reverie in one/several imagined/invented places, sort of separate spaces …. non-places? My thoughts and sounds are thus fixed around the trees, the clouds, the light, the movements of the sun, the sea, the water, the birds, the night, the wind, the little secret noises, the displacements. Of the fullness of the landscape, of the perception of the landscape, of the impressions. From the sound of my mind. From the presence…”

Released November 26, 2022 as free (cc) download and beautiful limited edition cassette

Composed and produced by Philippe Neau

Photo and painting by Philippe Neau

Cover design by Angel Draganov

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posted 27 November 2022

Alejandro Albornoz – La Lumiere Artificielle

Alejandro Albornoz – La Lumiere Artificielle
[pncd12]

Alejandro Albornoz

“La Lumiere Artificielle”

The cycle La lumière artificielle

This is an acousmatic octophonic cycle which was composed as part of my PhD Thesis portfolio (Albornoz 2018) between 2015 and 2018 at the University of Sheffield Sound Studios, UK. In this album you can listen to the five pieces of the cycle in stereo binaural versions. The original eight channel version and a coming soon special 5.1 version of the cycle can be downloaded using the link provided by Pueblo Nuevo netlabel.

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posted 25 November 2022

MTUA – Mira

MTUA – Mira

MTUA

“Mira”

Meeting between a composer and an illustrator, on the madness of this world.

Released by Mauvaise Foi Editions, October 2021.

Composition, recordind and mix : Matthieu Reynaud

Mastering : Lorenzo Targhetta & Matthieu Reynaud

Scenario, graphics, design and drawings : Hugo Charpentier

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posted 07 October 2022

Artificial Memory Trace + Nimbostrata – Aura Colemount

Artificial Memory Trace + Nimbostrata – Aura Colemount
[mhrk320]

Artificial Memory Trace + Nimbostrata

“Aura Colemount”

The bubbling device by Artificial Memory Trace meets deep and layered electronica by Nimbostrata on this album. Artificial Memory Trace was inspired by the image from Vedic scriptures of Vishnu sleeping while he dreams bubbles, and each bubble becoming a different universe. Nimbostrata’s music brings to mind the vastness of space and the endless possibilities that exist within it.

Released August 28, 2022

Produced by Artificial Memory Trace and Nimbostrata during 2022.

Image by Annie Spratt from Unsplash (December 2020)

Text, mastering and graphic design by LR Friberg.

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posted 29 August 2022

Néstor Ciravolo – Harmonicae differentia

Néstor Ciravolo – Harmonicae differentia
[Fortín 10]

Néstor Ciravolo

“Harmonicae differentia”

Fortín artesonoro 2022

| Fortín 10 |

NÉSTOR CIRAVOLO
“HARMONICAE DIFFERENTIA”

1. Gerardus, el Gran Dini
2. Fiat lux
I Descende caelo
II Harmonicae differentia
III Finis adest operi
3. Ana – Non – Anan
4. Spondilium
I Introito
II Obsesión
III La luna de Pierrot
IV Ricerca
5. Masacre

Publicado el 19 de agosto de 2022
Todos los derechos reservados.

FORTÍN ARTESONORO
fortin.es

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posted 19 August 2022

organon contemporaneous & Lärmschutz – QETESH

organon contemporaneous & Lärmschutz – QETESH
[ACP 1353]

organon contemporaneous & Lärmschutz

“QETESH”

In a multidimensional way through sound search and deepening of temporal and atonal of different sounds reproduced acoustically and electro-acoustically. The temporal relations come from different forms of sound treatment, from the outset. During the process have used distended techniques, growth and development of solo processes and group music having as premise the articulation between different sounds being them of that provenance.
temporal level that intercedes on the micro-,and macro-scale levels of the consubstantiation of sounds in their morphological dimension. being its atonal profusions resulting from the addition of timbric layers that, in their relationship arising from a psycho-semantic relationship held by different instrumentalists, covers the scope through which different instrumentalists make music, the search for exploring the limits of exploration of their own instruments.
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posted 05 July 2022

O Colecionador de Sons – Torre da Paz

O Colecionador de Sons – Torre da Paz
[emissão 96]

O Colecionador de Sons

“Torre da Paz”

Esta emissão d’O Colecionador de Sons viaja até à aldeia do xisto da Benfeita, concelho de Arganil, para escutar as badaladas e a mecânica do antigo relógio da Torre da Paz, erguida ali em homenagem ao facto de Portugal não ter participado na II Guerra Mundial e que todos os anos, a 7 de maio, toca 1620 badaladas, uma por cada dia que demorou o conflito.

Seguimos viagem e paramos no Convento São Francisco, em Coimbra, para recordar o concerto dado no ano passado, no âmbito do Dar a Ouvir, Paisagens Sonoras da Cidade, na companhia do trompetista João Silva e do guitarrista Pedro Martins, com o Mobiliário Sonoro MS02 a fazer as honras da casa, repleto de paisagens sonoras do Arquivo Sonoro do Centro Histórico de Coimbra.

Bem-vindos!

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posted 16 May 2022

voice of no(i)sense – Basszikaden

voice of no(i)sense – Basszikaden

voice of no(i)sense

“Basszikaden”

Basszikaden resulted from a project of sonic exchange carried out by Flora Könemann and Margarethe Maierhofer-Lischka. Sharing thoughts, images and sounds across the isolation through the pandemic, the project is a search for establishing togetherness across distance, looking for the poetics in small everyday observations.
The album resulted from a live session played at Radio Helsinki in summer 2021 which got subsequently released as a CD. Field recordings, instruments (sho, double bass, recorders) and voice is used to weave dense textures that invite for a deep listening.
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posted 02 March 2022

Audiosmogg – Any Type of Void Can Be Amplified

Audiosmogg – Any Type of Void Can Be Amplified
[BE25]

Audiosmogg

“Any Type of Void Can Be Amplified”

Sunrise in a landscape, which can be an acacia park, an internet simulation, another planet or something else. The rattling pieces of metal and the knocking of wood as an anchor with reality. Visit 50.3699269N, 15.6481319E
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posted 01 February 2022

Jose Miguel Candela – Ciclo Electroacustico Panegírico

Jose Miguel Candela – Ciclo Electroacustico Panegírico
[pn199]

Jose Miguel Candela

“Ciclo Electroacustico Panegírico”

My first motivation to start composing this cycle of works 15 years ago was to pay tribute to a group of Chilean masters of electroacoustic composition. His inspiration has permeated many decisions concerning creating the pieces I present here. His influence has meant profound revisions of my own musical language. I proposed the aesthetic idea of combining elements present in the language of the works of composers to whom “Panegírico” is dedicated. Mainly through creative “dialogues” with one piece of each one of them. These are not “variations” or “versions” in the strict sense, but rather personal sound opinions about these creations. Thus, this cycle of experimental works (all acousmatic) responds to the musical reflections proposed by this group of essential creators, necessarily adopting an aesthetic diversity following such substantial and varied legacies. Its creation represented a crucial personal challenge for me since it invited (and still invite) me to question my work along the lines that they did (and do).

José Miguel Candela
(Santiago, Chile. Diciembre / December 2021)

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posted 10 December 2021

Studio 112 – Visions Mystiques D’Hildegarde De Bingen

Studio 112 – Visions Mystiques D'Hildegarde De Bingen
[LCNLP136]

Studio 112

“Visions Mystiques D’Hildegarde De Bingen”

The Necrophile Hummingbird netlabel presents Christmas on Titan by Studio 112.
“Mystical Music for Mysterious People”.
A kind of out of time symphony, as the title told it’s a very synaesthetic music blooming Hildegard Von Bingen visions front of your eyes.
More about her on wikipedia en.wikipedia.org/wiki/Hildegard_of_Bingen

Studio112 is the main project of Alain Grille also electric guitarist and musicmaker in rADio eNd / Multiple Personality 3 / PIRATE Tapes / EVA Vertigo / TKno BeurK / MK-Ultra

Previous albums by Studio 112 in the Internet Archive
archive.org/search.php?query=creator%3A%22Studio112%22

Illustration by Alain Grille

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posted 20 October 2021

Laurent Fairon – Redivivus

Laurent Fairon – Redivivus

Laurent Fairon

“Redivivus”

Musique concrète suite for bullroarer, church organ, cimbalom, vocoder, boat horns, Romanian Catholic choir, Indian ashram temple bell, Radio Afghanistan station ID, and other aural ablutions. Researching melodic patterns in musique concrète.

Recorded in July–August, 2021 in Paris and Poitiers, France.
L.F.: found sounds, samples, loops, sound collage, virtual synth, artwork.

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posted 08 September 2021

evoked response & CLOrk – untitled​/​revisited (Live at Concordia University)

evoked response & CLOrk – untitled​/​revisited (Live at Concordia University)
[ACP 1323]

evoked response & CLOrk

“untitled​/​revisited (Live at Concordia University)”

evoked response: Eric Boivin & Albérick

CLOrk : Mo Abbas, Marcus Aterman, Didier Bergeron, Nicholas Brown-Hernandez, Aidan Charlton, Arthur Yi Duo Chen, Thomas Christie, Kevin Cogen, Bennett Dobni, William Graham-Simpkins, Jared Jukes, Simon Lacelle, Tyler Lewis, Dario Lozano-Thornton, Timothy MacKenzie, David Macri, Ryan Jeffrey Ockenden, Andres Andy Poblete, Adrian Roy Taylor, David Philip R. Russell, Thomas Speakman, Vanessa Zaurrini.
Eldad Tsabary, dir.

Recorded live at Concordia University, Room 8.245, January 29th 2015.
Recorded & mixed by Eldad Tsabary.

photos by Dan Penschuck (feindesign.de)
design by EMERGE

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posted 16 August 2021

Gustavo Becerra-Schmidt – Obra Electroacustica

Gustavo Becerra-Schmidt – Obra Electroacustica
[pn036]

Gustavo Becerra-Schmidt

“Obra Electroacustica”

(10 Years Ago)

Any review or comment about Chilean art music necessarily mentions composer Gustavo Becerra-Schmidt. This is not the case for his electronic and electroacoustic music, which seemed to be somewhat hidden or overlooked (until the uploading of his «Obra electroacústica» in 2008 by Pueblo Nuevo Netlabel), far from those who have wanted to approach this Becerra realm, where time seems to be standing still. These pieces -the ones played by machines- create a strange, disturbing sound space. Here, silence makes sound disappear, mingling with it, making it mutate. As if muted by a black hole, generating a gravity field absorbing everything around, but, because of this very quality, densifying it, making it murmur.

The release of almost all electronic works by Becerra (including mixed media, electronic, and electroacoustic pieces,) is an important and extremely necessary gesture for Chile, where the commitment for recovering immaterial heritage easily falls into oblivion. Through these works, the fortunate use of technologies around in the 70s, the 80s, and years to come, Becerra seemed to grasp the turn this kind of work would offer to compositional inventiveness as a whole: synthesizers, all kinds of artifacts and computers were used by him to generate other sounds, other forms and structures, other rhythms, weird harmonies.

As expressed by musical environment around him (in no way restricted to scores, for folklore, popular music and pieces for theater and movies were also part of his surroundings), Becerra has left a fundamental legacy, not just as a composer -being this an enormous opus. Cirilo Vila, Gabriel Brncic, and Fernando García -among many outstanding musicians in Chilean scene- were his students, which eloquently proves Becerra’s panache for teaching, even though for him the concepts of «talent» and «teaching» music (confusing matters these two), were profoundly questioned in two acclaimed papers of his: «El mito del talento en música» (1969) and «Crisis de la enseñanza de la composición en occidente» (1958-1959). In the latter, Becerra accounts for a disease that, through the years, seems to have spread out to a fair amount of composers’ brains: «Never as today there is a tiresome insistence in writing music according to a theory, i. e., to a set of mostly intellectual hypotheses. This has taken, as we said, not only to a distance between the composer and the audience, but also between himself and his work.

Juan Pablo Abalo
Compositor. Crítico musical / Composer. Music critic.
(Santiago, Chile. Julio / July 2010)

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posted 20 July 2021

Jose Vicente Asuar – Obra Electroacustica

Jose Vicente Asuar – Obra Electroacustica
[pncd08]

Jose Vicente Asuar

“Obra Electroacustica”

(10 Years Ago!)

We are proud, pleased and glad to present, at last, this CD release of the electroacoustic work by José Vicente Asuar.

This is a carefully crafted compilation, both a record and a symbol of a unique oeuvre coming from Chile – an aim thoroughly pursued by Comunidad Electroacústica de Chile, Pueblo Nuevo Netlabel, and Escuela de Música de la Universidad Arcis (via Laboratorio de Informática Musical) in this new joint venture.

The strange and anomalous presence of this visionary in our Arts history, fully acknowledged as a creative music pioneer both in Chile and abroad, has generated a slowly growing interest in several realms of our local culture. In order to understand this fully, checking local and foreign literature on Asuar’s releases, prizes and commissions -proof of recognition and value of his work- suffices. During the 90’s, his presence fades, as he turns away from composition, to be rescued and rediscovered by the early 2000s. Harmonic mixture of composer and engineer, Mr. Asuar researched and generated electronic sound technologies, creating with them a deeply expressive and personal music: maybe the first devices created and modified in Chile in the late 50’s; the first fully synthesized work composed in our country and/or Latin America, in 1959; the implementation of Sound Technology career at Universidad de Chile, in 1969; setting up electroacoustic music studios in Germany (1960) and Venezuela (1966), are all consequences of his pursuit, as well as the composition of works that explored sound/ music continuities and discontinuities, ranging from natural to human to synthetic materials; designing a music-making-oriented computer of his own, unique in the world at that time (1978), all landmarks of a paradigmatic local pioneer. His work presents the convergence of certain aspects of musique concrète, linked to an Art Music context, where serialism techniques, computer-assisted composition via heuristic processes, and an exquisite flair for sound synthesis, flow in a particularly free and personal way.

Nowadays, his technical and artistic work is both a direct and indirect catalyst for musicians and artists from all disciplines and generations. In more than one realm he is recognized as an influence: in his electroacoustic music, his pioneer, multidisciplinary approach to computer music; his albums, devoted to teaching and uncovering the potential possibilities of electronic music; his aesthetic-technical writings on electroacoustic music. Even factors superficially addressed by popular culture, such as the longtime mystery concerning his whereabouts, or the retro aesthetic of a couple of his LPs.

History presents Asuar as an precedent, but I would point him out also as a present-day ‘cedent’ (if it’s possible to put it that way), for he’s still signalling, gravitating, and pushing a way of understanding, creating, but, most of all, dreaming. He represents not only the blending of the musician and the engineer, but also the committed scholar and the supportive maestro, who wants technology to put the wonder of Music onto our hands…

All those features, so commonplace nowadays, were dreamt years ago by José Vicente Asuar.

Alejandro Albornoz
Secretario Comunidad Electroacústica de Chile CECh.
Curador / Curator. Co-productor / Co-producer Colección Electrocústica 2010.
(Santiago, Chile. Marzo / March 2011)

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posted 20 July 2021