GvM has dropped ‘Slide Sonatas I.’, his new album of futuristic slide guitar sounds.
The neo-cubist, semi-deconstructionist blues protagonist returns in full swing, delivering 12 tunes of boogie, chill, inventiveness and craftsmanship. One, ‘Space Digger #1’, has already been out for a while as the first single, accompanied by a spectacular Lego Classic Space 1980’s retro sci-fi music video: https://youtu.be/S4dWDOW2dG0
“Fono Mental” (Mental Phone) was born with the idea of making use of the metallophone, an instrument with a school-like character, to generate experimental and decidedly ambient sound pieces. With this chromatic instrument as a starting point, Jorge Cabieses-Valdes and Marcelo Peña (Miopec) realized two sessions of improvisation and experimentation during the year 2020 in a small and isolated town in the fourth region of Chile, on the outskirts of the city of Ovalle.
The recorded material was then edited and mixed in order to generate a piece that can be heard specifically in outdoor spaces, finally becoming in this version an album entitled “Fábulas”. Musically, the result allows other environmental sounds to integrate with the listening experience and mix themselves in aleatoric fashion to generate a new composition each time it is heard.
Jorge Cabieses-Valdes.
English version by Ryan Bodiford.
A Netlabel Day 2022 Release
The artist invites us into an experience of pure drone and to imagine ourselves perhaps as we might be on an omni-biological level: individuals under the sway of waves of sensual stimulation and response in a Great Link.
Words from the artist:
“Days in the Hive” parts 1 & 2 are the title and concluding tracks from the forthcoming album by The Gold Miner’s Tusk.*
An audio speculation of what human life would be like if lived ‘hive-bound’. Here suspended in the bees’ complex atmosphere of neural extremes, all human perceptions of scent, sound, texture and taste require an adapted form of sensory equilibrium.
*A collaboration between Wood Ship (Keyboards and production) and rakerman (Cello and electric guitar)
Tracks:
Days in the Hive Pt. 1
Skeps
Apis Mellifera – Only The Females Sting
Propolis
In The King’s Garden
Days in the Hive Pt. 2
woodship.bandcamp.com
www.instagram.com/wood_ship_band/
released July 14, 2022
“Aún tenemos donde descansar” is the first EP produced by Santiago-based dúo “malaqh” (Francisco Sánchez, drums; Felipe Zenteno, electronics and programming). The EP is composed of three tracks. Each of them has an individual identity in terms of timbres and textures, but all of them have movement as the underlying premise. A risky proposition, this EP inhabits the rudimentary and futuristic giving way to a fresh and rhythmatic listening experience.
At its core, this release is about improvised music. Elements of ambient, jazz, and noise come together to create a soundscape where digital language is conjugated by the body language of the drummer, resulting in a hybrid plasticity that is felt as pure possibility.
The cover was made by Chilean visual artist Camila Vilches, who represented malaqh‘s proposed soundscape of apparent opposites.
malaqh
(Santiago, Chile. July, 2022)
The single comes with a Lego Classic Space animation music video: https://youtu.be/S4dWDOW2dG0
Notes On The Artwork:
As you’ll read below, the original name and artwork of this album came at a pessimistic time of my life. Five years later, I decided that the whale deserves another chance to fly.
~~
A Letter From The Composer:
After a decade of making music I didn’t think I’d write another album after this one. At least, not publicly.
In 2017 I was kinda miserable. It was my first year as a full time teacher, which was a source of an incredible amount of stress. I was living on my own for the first time, making just enough to pay rent and my bills, in a tiny little apartment I have since come to refer to as “the shoe box”.
The thing with teaching is that it largely obliterates your spare time, if you let it – and gosh was I letting it. I didn’t foresee a future where I could continue doing that work and also have music as a quasi-professional pursuit on the side. There simply wasn’t enough time.
To quote a certain supernatural whale in a video game…
So I went about figuring out what an album would look like. I’d only written one in the past – a daft little thing called Wednesday I wrote when I was an even more miserable university student who’d just discovered brickwall limiting and was listening to too much Ben Folds. I thought if I was going to stop I should at least stop on my own terms and put a capstone on the whole thing. I reinterpreted and renamed some older pieces (Time, Relic, Home, Owl Temple, Theme For A Friend) and wrote some new ones (Farewell, Castle Gate) and also for good measure snuck in that one piece of mine that had actually got any traction. We all know the one and why. I packaged it all up with a collage of public domain images, put it out into the universe, and stepped back satisfied that it was over.
That didn’t work out, did it?
2022 marks a decade of being Reeder, and five years since this record, so I thought I’d finally get around to mastering it. I kinda skipped that part the first time around because I didn’t really think anybody would listen and people mystify the mastering process so much that I thought I wouldn’t be able to do it justice. Now, with five more years of production experience behind me, I finally feel confident enough to go back in and finish Dreams.
I am unfathomably grateful that this music has reached the number of people that it has, and continues to. I’m thrilled that it has found people’s hearts the way I had only dreamed it would. That this only happened because of a wild stroke of luck and one person with a large audience is not beyond me.
Thank you to everybody who listened, and a special thank you to everybody who hung around. I can’t wait to see what I’m gonna make in the next decade. I hope it’s good.
– Reeder, Feb 6 2022
credits
released March 18, 2022
Artwork by Alice Jooren – alicejooren.nl.
All pieces composed or improvised by Reeder.
Engineering by Reeder.
If you enjoy this music please consider sharing it.
Poker Face/
Live@GatewayArts Holyoke MA
March 18 2022
Vance Provey trumpet
Eric Zinman piano, percussion
1)As the Paradigm Trembles,
2) play
3) your hand.
All proceedings aiming at Unicef UK and Red Cross UK
credits
released April 10, 2022
whispers from the cradle
Running highway through the night-time-cold, morning rainbow in a narrow snow-edged road, slim curves claiming skills and then the mountains, as seen from above
hearth at the heart of the earth
Labouring the harvest at the core of it all, something introspectivally experimental will burn, not by guilt but for one last bloom
far out camp
Dubious map of our own reality, whisking through the wind the directions of divine fatality
around and about
Way off the passing tunnel, there is a moment in time for the glimpse of eternity, now is when we all meet again
olhar em Van Gogh
Tudo para trazer os corvos da aurora, a distante primavera em sensação de luz pela manhã
Musica Fractal Aeterna
All we know without knowing, unexpected clue, this is a mirror through the eternal archive, where one contemplates the whole journey
cobaia nova
Surge dentro de um (corpo) em todas as direcções e todas as formas, divide-se em coisa enorme que enfrenta tudo e que tudo une
Sou uma cobaia, com todas as forças (do bolor) e não quebra, uma cobaia (dentro de) todas as direcções
O globo em chamas exclusivas, uma cobaia em todos os sentidos, uma cobaia da minha lógica
Sou uma cobaia da minha inteligência, em todos os sentidos e em todas as direcções
Cobaia, em todos os átomos (a) espuma furiosa, a chuva como pedra, sou uma cobaia (a vida é nisto) obrigada ao meu corpo
Sou uma cobaia dentro do meu corpo, uma cobaia a transbordar da minha alma
Que ruge, estoira, vence e quebra, dentro do meu corpo uma cobaia a transbordar da minha alma
Que ruge, estoira, vence e quebra, sou uma cobaia dentro do meu corpo, uma cobaia a transbordar da minha alma
Que ruge, estoira, vence e quebra
Et Caetera: clean air and clean water
This is the ultimate well-being, the turn of a last resource, the tune from a fullfilled drop of a life-time, period. Accept the cycle, it is in the hands of receiving, the clean air, the clean water, etc.
Run Lab Dub
Let us all come to an end but not without an extended moment of joy for being alive, rejoyce with the manifestation of all the invisible sightseeings
Sounds from different sources, different locations, different times, unrelated picture, all of them creating a new reality.
Your reality will never be mine, I am the only person who knows where all those sounds come from and when they were recorded and how they were assembled.
credits
released February 4, 2022
Composed, recorded, mixed, mastered by Cedrik Fermont at Syrphe, 2022.
𝕋𝕠 𝕕𝕖𝕤𝕥𝕣𝕠𝕪 𝕥𝕙𝕖 𝕔𝕝𝕠𝕦𝕕𝕤
𝕋𝕠 𝕡𝕠𝕝𝕚𝕤𝕙 𝕥𝕙𝕖 𝕤𝕥𝕒𝕣𝕤
𝕋𝕠 𝕗𝕖𝕣𝕥𝕚𝕝𝕚𝕫𝕖 𝕥𝕙𝕖 𝕤𝕠𝕦𝕝𝕤
𝕋𝕠 𝕤𝕥𝕠𝕡 𝕥𝕙𝕖 𝕣𝕒𝕚𝕟
𝕠𝕣 𝕥𝕠 𝕞𝕒𝕜𝕖 𝕚𝕥 𝕣𝕒𝕚𝕟
𝕋𝕠 𝕥𝕒𝕔𝕜 𝕥𝕙𝕖 𝕤𝕦𝕟 𝕚𝕟
𝕋𝕠 𝕔𝕒𝕝𝕞 𝕥𝕙𝕖 𝕨𝕠𝕝𝕧𝕖𝕤
𝕥𝕙𝕖 𝕔𝕚𝕔𝕒𝕕𝕒𝕤 𝕜𝕟𝕠𝕨 𝕚𝕥
𝕥𝕙𝕖 𝕗𝕚𝕤𝕙 𝕜𝕟𝕠𝕨 𝕚𝕥
𝕟𝕠𝕨 𝕪𝕠𝕦 𝕜𝕟𝕠𝕨 𝕚𝕥 𝕥𝕠𝕠
𝕒𝕝𝕝 𝕚𝕥 𝕥𝕒𝕜𝕖𝕤 𝕚𝕤 𝕠𝕟𝕖 𝕚𝕕𝕚𝕠𝕥
Fresh Κόκκαλα // 8 numbered tapes or free digital download //
Available at kokkala.bandcamp.com/album/all-it-takes-is-one-idiot
Akis Karanos – rest / montage / artwork
Nicola Boari – acoustic guitar
Chebeen Teriya is a unique 5 piece band lead by singer/multi-instrumentalist Dramane Bakwan, who brings original music from his homeland of Burkina Faso. From a young age, Dramane participated in the sacred musical traditions of the Gourounsi people of Burkina Faso (West Africa). His insatiable appetite for music drove him to study the myriad of rhythms and melodies of ethnic groups throughout the region. A love of country and continent has inspired him to write over one hundred original songs with lyrics in five languages. His work explores social, environmental, and political themes with the aim of inspiring people to take care of one another and the planet they share.
The album Douhaou is their second release on the label. Nevertheless, this album was chronologically written before the EP Ajabro, which was released last year. It was written in 2018 and was the first time we got connected with Chebeen’s music. It is written in the Djula language (spoken in Burkina Faso, Mali and Ivory Coast) and includes nine tracks in an afro-fusion style, sung by the band’s frontman Dramane Bakwan.
Dramane explains: “Douhaou means benediction or blessings and the album is about social issues. Sabary talks about forgiveness as the way forward in life. Diy is about remembering your roots and honouring your culture as well as those of others. Bimogo is about hypocrisy in politics. Pogo-nere is a love song and Africa is for the whole continent, to unify behind our causes.”
CREDITS: All songs written by Aime Bakwan / bass: Francois Hien / Josue Banazaro (guitar) / Jean-Bosco Sorogo (batterie) / Lassina Dembele (djembe) / Jean Eudes Zoungrana (synthesizer) / Aime Bakwan (castagnetes) / Armelie Metta (choeurs) / Recorded in Ouagadugu 2018 / Artwork by Amanda Deibert
bonimedia.pl/samples/sample_plg2_track3.mp3
To complement the release of The Foundation Trilogy of albums by Brazilian contemporary classical ensemble Coletivo NSLO
CHARLATÓRIO tcfsr.bandcamp.com/album/charlat-rio
Sururus Perdidos tcfsr.bandcamp.com/album/sururus-perdidos
Rosa dos Ventos tcfsr.bandcamp.com/album/rosa-dos-ventos
we present this collection of remixes by TCFSR associates, using source material from these albums.
Some contributions are remixes of individual tracks, some have combined samples from a variety of tracks and some have taken sound events from the albums and sculpted them far from the original.
Releases by Andreas Brüning, Gimu, Trixie Delight, Lone Cosmonaut and Dental Drill Slips can be found elsewhere on the TCFSR bandcamp.
Trixie Delight has an album released on dhatūrā records dhaturarecords.bandcamp.com/album/peeling-strawberries
She also runs the label ‘Trixie Delight For Charity’ raising money for the charity Phone Credit For Refugees And Displaced People trixiedelightforcharity.bandcamp.com
Andreas Brüning in addition to his solo work, is part of various groups:
Audiomat tcfsr.bandcamp.com/album/audiomat
BASS tcfsr.bandcamp.com/album/extended-technique
Gimu has released albums on a variety of labels, his releases are now collected at gimu.bandcamp.com
Coletivo NSLO present instrumental compositions by Heitor Oliveira, performed by Dario Rodrigues Silva (piano), Gina Arantxa Arbeláez (flute), Renan Simões and Sabrina Souza (guitars).
credits
released October 1, 2021
The Foundation Trilogy was mixed by Fred Garibalde
All remixes were produced by the artist,
except tracks 1,4,5,6, and 7, which were mastered by Dental Drill at The Patisserie.
Album master by Dental Drill for TCFSR.
Cover design by DRILLArt, a composite of original cover art by Flaviana OX
Fortín artesonoro 2021
| Fortín 6 |
CURIEL / WILDE / RATTO / CIRAVOLO
“ARS CONTEMPORANEA”
1 Fernando Curiel “Vectores Mágicos 3”
2 Eduardo Wilde “Trío para oboe, clarinete y piano”
3 Damián Ratto “Hitherto”
4 Néstor Ciravolo “La permeabilidad del tiempo”
Los compositores Fernando Curiel, Eduardo Wilde, Damián Ratto y Néstor Ciravolo son, a día de hoy, los integrantes de la asociación musical argentina sin ánimo de lucro Ars Contemporanea, que promueve y difunde obras de autores locales y del exterior.
En nuestra primera aproximación a esta asociación desde el sello Fortín Artesonoro, hemos querido dar muestra de su faceta acústica instrumental, reuniendo cuatro obras, una por cada uno de los miembros. Damos lugar, de este modo también, a la primera referencia con obras exclusivamente acústicas en nuestro sello. Una selección de obras en las que intervienen la flauta travesera solista, un trío para oboe, clarinete y piano, el violonchelo solista, y un cuarteto de viento madera (flauta travesera, oboe, clarinete y fagot) y que tiene una muy bella y elegante expresividad tímbrica e interpretativa, ofreciendo un repertorio especialmente emocionante y cuidado, y que tiene también el atractivo de una concepción en la que la energía de cada gesto de los intérpretes es correlativa a una energía sonora musical a través del instrumento, sin otros ingredientes.
CD only bonus tracks:
B1. Por que o pôr do sol fica rosa às vezes (6:01)
B2. Futuro (7:55)
Remixes:
R1. Coletivo NSLO and Trixie Delight – CharlaTrix (remix) (4:11)
R2. Coletivo NSLO and Lone Cosmonaut – Novos Sururus E Quiprocós De Um Convescote Chumbrega [Enhancement] (9:33)
Rosa dos Ventos presents instrumental compositions by Heitor Oliveira, performed by Dario Rodrigues Silva (piano), Gina Arantxa Arbeláez (flute), Renan Simões and Sabrina Souza (guitars). With significant independent artistic and academic trajectories, the musicians join forces for a collaborative endeavour that result in a series of phonographic releases, of which Rosa dos Ventos is the third.
The album Rosa dos Ventos presents three more pieces from the authorial repertoire of Coletivo N.S.L.O, closing the cycle of phonographic releases related to the founding project of the group. In the pieces of this album, the musical materials are cells that at times support games of guided improvisation, at other times they are presented with ostinatos and rhythmic lag procedures. In the duos El viejo de bien, for flautist and guitarist, and The meme loop, for pianist and guitarist, references to memories shared by the performers frame energetic instrumental performances. The track Rosa dos Ventos is a quartet that refers to the very experience of the group’s creative process in its multiple movements, directions, alternating roles and encounters.
The other albums are here
Charlatório: tcfsr.bandcamp.com/album/charlat-rio
Sururus Perdidos: tcfsr.bandcamp.com/album/sururus-perdidos
credits
released July 3, 2021
Mixed by Fred Garibalde
Cover by Flaviana OX
Formed in January 2016, the duo “Mono o Estéreo?”, made up of Loreto Ríos Montecinos and José Toro Concha, released their debut album “Clics” in December 2017. The band, which had only published a few demos on their Soundcloud account, with the release of the single “Iguales Distintos”, increased their presence in specialized media, which gave them the confidence to unveil the rest of their musical proposal.
The album, with 6 songs and 38 minutes long, exposes the personal songbook that José Toro Concha created between 2007 and 2015, to later give it its final form with the production of “Mono o Estéreo?”, also with the participation of Diego Gilabert Valiente, Pablo Muñoz from Janeiros Estudios, Diego Ridolfi, photographer José Moraga, Carolina Cue Silva and Francisco Holzmann from Clio Mastering.
“Clics” went on sale on digital media such as Bandcamp, iTunes, and for listening on streaming platforms, such as Spotify, Apple Music or Deezer. Now, with this reissue in Pueblo Nuevo, it is available for the enjoyment of all those interested in this attractive combination of electronics and avant-rock.
Composed from September 2020 to May 2021, home-crafted in Jard-sur-Mer (H6 zoom, Acid pro).
credits
released May 15, 2021
Classical guitar Cuenca, fretless micro-bass, voices, arrangements (sample work on synths, drums, brass, FX) – Kohree aka Mournful Skank
Thanks to Joseph Sardin for his free sounds and Erin O’Rourke for her reading of ‘A vampire’ of Luigi Capuana on ‘Fangs’.
To Lucie.
Higgledy-piggledy dedicated to : Djob’, Likma, Vinzou, Tat’, Bav’, Manoche, Brujita, Le Matt’, So, Le Sarg’, Bloody Hell, Ladj’, Pa & Ma, Philou, Le Baron, Christophe ‘Le doc’, Ze Struff family, Djé, Jij’, La Ratch’.
(Under ccbyncsa licence : you can freely download, sample, play even in public provided you name the source properly, indicate changes, publish under the same licence and never use comercially)
May free culture live long !!
Do not hesitate to contact me for infos, use of my songs or projects :)
From Centre France
Marthe Tourret : violons, chant, pieds
Elisa Trebouville : banjo, électronique, chant
Enregistré et mixé à Rampoux par Jacques Puech, François Dumeaux et Elisa Trebouville
Sururus Perdidos presents instrumental compositions by Heitor Oliveira, performed by Dario Rodrigues Silva (piano), Gina Arantxa Arbeláez (flute), Renan Simões and Sabrina Souza (guitars). With significant independent artistic and academic trajectories, the musicians join forces for a collaborative endeavour that result in a series of phonographic releases, of which Sururus Perdidos is the second.
Sururus Perdidos presents three pieces from the authorial repertoire of the Collective NSLO. The duet Novos sururus and quiprocós de um convescote chumbrega contain fragmented narratives: a game that flutist and pianist build from collections of more or less obsolete materials. The duet Tudo é perdido quando o desejo fica repartido, for a couple of guitarists, sonically stages the drama of ambition and its consequences. In Desfotografia, structured improvisation for a quartet, it goes like this: “you remember and then… more
credits
released May 7, 2021
Coletivo NSLO are:
Heitor Oliveira, composer
Dario Rodrigues Silva, piano
Gina Arantxa Arbeláez, flute
Renan Simões, guitar
Sabrina Souza, guitar
Coletivo NSLO brings together a group of musical creators and performers who reside in different regions of Brazil. The letters of the acronym mean north, south, east and west and represent the diversity of where the musicians come from: Palmas (Tocantins), Caçapava (São Paulo), Cali (Colombia) and Mossoró (Rio Grande do Norte).
The genesis of the group took place at the post-graduate program in Music at the Federal University of Rio Grande do Sul, where all the musicians did or are doing their doctorates. The group came together due to personal and artistic affinities that culminated in the sponsorship by Rumos Itaú Cultural of a two-year project to create a new repertoire. To do this the group carry out activities open to the public, in recitals, workshops, round tables, among others, as well as experimentation, rehearsal and production within the collective. The artistic goal was the gradual creation of an original repertoire based on interaction, expressive potential and experiences shared by musicians.
Through a project selected by the Rumos Itaú Cultural 2017-2018 program, between November 2018 and February 2020 Coletivo NSLO performed at various locations in Brazil and Colombia. The repertoire of the group was built and refined during these trips. In 2020, the sponsorship of Banco da Amazônia made phonographic and audiovisual production viable
See Coletivo NSLO perform the compositions from Charlatório, and other works, on their YouTube channel www.youtube.com/channel/UCMWAseVT_AJ9g6phrMtLsAQ
Layered vibrational improvisations on membranes, keys & strings, and metallophones.
Asynartetic – containing disparate or unconnected rhythmic units.
credits
released August 7, 2020
aboombong: piano, trap set, double sanza, wooden-headed dumbek, taganing, elephant bell, temple bell; forest photography. Thanks to Random for design consultation.
