Melinda & Maciek is a project started in February 2018 thanks to an accidental Instagram connection between 2 musicians. Melinda Ligeti is a composer/singer/multiinstrumentalist/arranger/producer from Serbia, living in Italy, while Maciek Cieslak is a drummer from Poland, living in France. It all started with Melinda’s old wish to write music based on a bare drum track. Maciek happened to have some ready, recorded drumparts that he sent to her, and she used them to build music upon it, using piano, synth and bass. It was an experimental approach to composition Melinda always wanted to try, and it finally happened. The result is 4 songs, mixing jazz, prog, fusion, chillout, contemporary… imagined as a mini album, giving the taste of what this project might become if developed further. 3 of them are instrumental, and one is also involving Maciek’s vocals that got caught on microphones while recording the drumpart, a selfironic song that makes fun of the hardship of singing and playing at the same time, in his native Polish language. Jazz Frit is a symbolic title for this album, for the fact that musicians involved are living in (Fr)ance and (It)aly, but also, and so much more, for the meaning of frit word, which by Oxford dictionary definition is the mixture of silica and fluxes which is fused at high temperature to make glass, plus – according to urban dictionary means intoxicating/exciting, as well as ligthly fried.
The Saddest Part Is When We Quit 36:362.
Bewildering Variations Of The Self-Mutilating Tricks We Play With Obsessively To Fool Ourselves Into Believing That We Are Better Than Everyone Else 01:16:243.
Eternal Fragments Of Interplanetary Glaciers Breaking Into Cosmic Smithereens, Carrying Particles Of Every Manmade Hope Ever Dreamt Of, Like God’s Charcoal Figure With Muscular Hands And Feminine Brows, Interrogating The Fallen Angels About The Bitter Fate Of Humanity Out Of Despair To Fix Creation 57:37
Winter is coming slowly. The sorrow penetrates through the window of a house lit by a faint sun. The bells ring out far. A woman sings her dreams of escape, while a man turns around a square seeking for his desappeared love. The snow fall down insistently. Voices chant litany to celebrate the end of life. noises interfere with the rarefied melodies of a piano that tries to draw landscapes of purity. With the cold, innocence seems to have to die. Yet in a courtyard, the children resist winter by playing under the cold eyes of adults, and here and there, little birds survive in the snow.
these pieces were created from 2016-2018 as part of a collaborative project in three stages. lauren redhead created scores, texts, samples, and concepts for performance. alistair zaldua then took part in the realisation of the works for live performance through the development of performance practices and live electronic interfaces. in the final stage of the project, lauren and alistair were joined in the studio by josh cannon who contributed creative studio practices and mixed and mastered the final tracks. this music is therefore a result of live performances, studio composition and of collaborative exchanges.
PARENTAL ADVISORY: non-sense EVP data (electronic voice phenomena). 3 days of sleep depravation (possibly way too much neural stimulaton due to sitting for a lot of time in front of computer). doing fine at the moment. feeling sleepy like hell at time of posting this record. recording will be updated in a couple of days.
transparent points on four axes is a layered, electroacoustic studio collaboration. each track began with a ground layer of a composed or improvised performance on double bass or synthesizer, in tandem with a directed, auto generated soundscape produced by an analogue modular synthesizer. the tracks were finished with a further layering of synthesizer, electronics and percussion.
daniel barbiero: double bass (2, 5, 6, 7 & 8); sylosynth app (1 & 3); microbrute synthesizer (4).
ken moore: crackle box (2); minimoog (8); emax sampler (1, 5, 6) ; tam tams (3, 4, 7); steel pan drum (8); glockenspiel (8); bells, bowls and other percussion (all tracks).
dave vosh: analogue modular synthesizer (all tracks).
recorded january & february 2018 in silver spring md, upper marlboro md, and cuyahoga falls, oh.
assembled in cuyahoga falls, oh, february 2018, at anvil creations studio.
cover photography courtesy of hollishots by mark hollis, baltimore, maryland.
Yesterday was today.
Tomorrow will be today.
The frontier between oustide & inside just gets a bit more blurred.Recorded live at the Zorba, Paris, France, on february 24, 2018.
Mixed by Jossé.
Artwork by Torbill.
The two new songs by the Karelian vagabond notforme! make up a postcard from the days past, and every postcard have two sides. The front is a bright, yet frantic picture, inspired by the Steven Hall’s imagery, with his shark feeding on people’s memories and a desperate wish to find a fragile balance in life. The back is a simple, but ironically sharp message to oneself. Without a stamp. To be wrapped in cellophane and hidden in the inner pocket. To remember.
Lyrics, guitar and vocals: Pavel Mokhort Bass guitar and backing vocals: Vladimir Zhmurin Drums: Nikolai Kuskov
Cover design by Vladimir Zhmurin and Pavel Mokhort
Recorded at Kukkovka Hell Studios, Petrozavodsk, Karelia, May, 2018 Mixing & mastering by Anatoly Nikulin, Brno, Czech Republic, May, 2018
Thanks a lot to all of you, who believed in, helped with and waited for the record to happen! See ya’ll in autumn!
Dmitry Smaznov: “In general, positive music – acoustic sound with the addition of electrical sound and some use of Gothic and folk motives. Musical instruments can be different. Only the music and the mood that it creates are important”.
Bass guitars (preferably the Fender VI) and analogue synths, lots of them. Marco was a member of various indie, post rock and electronic bands before he released his first solo album in 2012. File under post- and/or kraut-rock if you wish. This is his second album for Cologne, Germany based Netlabel Der Kleine Grüne Würfel.
We are so happy to release ‘Noise Band in My Garden‘ by Dako Loop Orchestra and Lezet.
Lezet introduces a true music hero, the inimitable Darko Jovanovic, to the Etched Traumas community, by means of a split/collab “why the dance rhythm? l definitely live in the loop, and I do things the way I should.”
The 3-rd edition of The Feel of DEFIL project = 37 tracks and over 2 hours of vintage guitars music and different styles (progrock, alternative rock, metal, blues, chillout, improvisation, you name it).
melophobia comes from Greece. He likes to experiment with long noise and drone sounds intermingled with field recordings and acoustic sounds. melophobia is heavily influenced by contemporary artists such as Merzbow and early ’90s shoegaze scene. He is active with his ultra-limited releases of his 3″/5″ CDr label ‘illicit-tapes’. He cherishes the piles of his priceless jap noise C-xx tapes and obscure vinyls.
BroodingSideOfMadness is interested in phonemes, graph theory, realism and any dystopian ambiance. He seeks for the generative element in his tracks. He is the founder of Etched Traumas netlabel.
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