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music tagged with: acoustic

The Maravines – Shippen

The Maravines – Shippen
[MARAV066A]

The Maravines

“Shippen”

Shippen is the fourteenth Studio album, that is by the Maravines. The complete album is available for download on the Internet Archive, in late January of 2023.
There are three cover versions of songs on Shippen, by Sean Faust, Underlined Passages, and Relays, as well as one instrumental song. The first released song, “S. Feclofus” appears on the charity compilation The Light Between – Songs of Hope and Mercy, with all of the proceeds for Saint Jude Children’s Hospital. The song “Sentinel” is on the fourth volume of Rock against Hate, for Planned Parenthood. For The Jersey Journal’s review of the album, the Maravines write that “a woman has the right to choose when she wants to have children, like a man has the right to be free, like all life has the right to live.”
In an interview with BlowUpRadio, on August 12th, Sean Faust remarks that the Maravines “did the second part, Without a Name” and they “went for that more ethereal air about it, georgeous.” The song is called “outstanding” in the on line music magazine New Jersey Stage, on September 5th, and it premiered on BlowUpRadio’s New N. J. Music Playlist that day, at 7 P. m. JPeck of Margate, New Jersey’s Alternative Rock band Bosco and Peck writes that the song “Recall and Return” puts him “in a trance,” and that he “really likes the track.” BlowUpRadio adds that the vibe is “mellow, but compelling, with strong lyrics.” “Recall, and Return” is on the Banding Together compilation, in conjunction with the Spondylitis Webathon.
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posted 05 March 2023

Emilian Gatsov – Mall Womb

Emilian Gatsov – Mall Womb
[mhrk338]

Emilian Gatsov

“Mall Womb”

somber jazz | a shelter | voices under a glass;
hymns ‘ dyscordia’/ orphans within a womb[
their sorrow / a prayer \ of winter darkness / the sun
heartbeat drummers || their shadows || the beauty \ of
[rays of light in abandoned buildings]
*use this in dreams*

Released February 25, 2023

Music and artwork by Emilian Gatsov

Composed and produced 2019-2022

The recording of this album has been realised with the financial support of National Culture Fund of Bulgaria

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posted 26 February 2023

Rosario Alfonso – De Canciones tristes y otras Sutilezas

Rosario Alfonso – De Canciones tristes y otras Sutilezas

Rosario Alfonso

“De Canciones tristes y otras Sutilezas”

released January 13, 2022

Todas las canciones compuestas y arregladas por Rosario Alfonso, a excepción de “Que No Te Haga Falta Nada”, compuesta por Rosario Alfonso y arreglada por Alfredo Tauber ; “Chamullento” compuesta por Rosario Alfonso y arreglada por Alan Mc Donnell; y “A la Primera”, compuesta por Rosario Alfonso y arreglada por Javier Bobbert.

Todas las letras escritas por Rosario Alfonso, a excepción de “Chamullento”, escrita por Rosario Alfonso junto a Benjamín Walker.

Rosario Alfonso: Voces, cuatro venezolano, ukelele, guitarra, charango, silbidos y vientos.

Músic@s invitad@s:

Gonzalo Molina: Contrabajo en “A la Primera”, “Negación”, “Tranquila” y “Qué Más Quieres de Mí”
Alfonsina García: Chelo en “Tranquila”, voces en “Negación” y “Qué Más Quieres de Mí”
Benjamín Walker: Voces en “Chamullento”
Alan Mc Donnell (Yaima Cat): Track en “Chamullento”
Javier Bobbert: Guitarra en “A la Primera”
Alfredo Tauber: Trombón en “Que No Te Haga Falta Nada”
Alejandro Pino: Flugelhorn en “Que No Te Haga Falta Nada”
Diego Lorenzini: Guitarra y Bajo en “Lo Dejaste Ir”
Juan Pablo Salvo: Trompeta en “Qué Más Quieres de Mí”
Maximiliano Díaz: Percusiones en “Negación”
Felipe Ibar: Voces y chasquidos en “Negación”
Loreto Awad: Voces y chasquidos en “Negación”
Macarena Bravo: Voces y chasquidos en “Negación”
Seba Alfaro: Voces y chasquidos en “Negación”

Producción artística por Alan Mc Donnell (a.k.a. Yaima Cat)

Todas las canciones fueron grabadas y mezcladas por Alan Mc Donnell, a excepción “Negación”, que fue co-grabada por Alan Mc Donnell y Manfred Acsta en Circular Estudios.

Masterizado en cinta por Arturo Zegers en Estudio 050.

Arte de portada por Rosario Alfonso.

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posted 16 February 2023

Geiger von Müller – Space Digger #2

Geiger von Müller – Space Digger #2

Geiger von Müller

“Space Digger #2”

“London based acoustic slide guitarist Geiger von Müller has released a video for Space Digger #2, a track from his Slide Sonatas I album: “While most Sci-Fi inspired music goes for an all out extravagant sound Von Müller uses accessible patterns that unfold gradually. Each note has an important role as he feels his way through the tracks. He is a musician’s musician, quite content to fly under the radar, while he reaches for the heavens”. He used the Lego meets Sci-Fi again, just like he did for Space Digger #1.” -Here Comes The Flood

music vid:
https://youtu.be/m_yrYJE556E

audio single:
Side-A: Space Digger #2
Side-B: Blue Moon Frequency #4 [Xqui Remix]

all rights reserved
posted 02 January 2023

Avokaduo – Zmatená Zmatená

Avokaduo – Zmatená Zmatená

Avokaduo

“Zmatená Zmatená”

released December 15, 2022

Anežka Matoušková – zpěv, kytara
Klára Pudláková – kontrabas, zpěv, no-input v písni 8

Natočeno ve studiu ExAvik, natáčel a mixoval Pavel Brom (asistoval Václav Čermák)
Master Přemysl Haas
Cover – Anežka Matoušková, Klára Pudláková (počítačové centrum HAMU)

Poděkování:
Děkujeme za všechny zvraty, smíření a posilující bolesti, k jejichž přijetí nám pomohly tyto písničky.

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posted 27 December 2022

Various Artists – The Feel of DEFIL vol.7

Various Artists – The Feel of DEFIL vol.7
[BM07R22]

Various Artists

“The Feel of DEFIL vol.7”

DEFIL vintage polish guitars are coming back with “The Feel of DEFIL 7” compilation! But not only guitars and basses. Check out some recordings with banjo, mandola, violins and “Defilele”! What music genres you can expect? The answer is “YES” ;) But seriously. Almost 75 minutes of rock, alternative, blues and the dog only knows what else.
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posted 20 December 2022

Lenard Ahmad – El Cepo

Lenard Ahmad – El Cepo
[pn214]

Lenard Ahmad

“El Cepo”

Lenard Ahmad, (Juan Ignacio Morales, Estación Central, Santiago de Chile, 1979), states that his “[…] materials and their usual sound result have inspired [him] an idea of belonging and identification with Latin American ancient cultures and native peoples.” The range of themes, resources, expressive and cultural values that make up the contemporary panorama of early Latin American nations were clearly portrayed on “Nagual”, his Pueblo Nuevo 2010 release, and appear again on “El Cepo”, his new installment, also released via this prestigious netlabel.

Considering the consonance of his solo work and the aforementioned panorama, Juan Ignacio adds that “[…] I always wanted to capture in sound the idea of a resisting trench, in this case, directly inspired by Mapuche resistance, but also by their suffering and dispossession.” Some of this becomes clear by the graphic material illustrating “El Cepo”: a montage based on heritage photographs – which, it is worth mentioning, were sold as postcards and souvenirs, – where a child and a Mapuche adult are disciplined inside the trap. The illustration appeals to a colonial barbarism experience, persisting even at the beginning of C 20. Taking into account historical circumstances inevitably determining our social life and its consequently expressive forms, Juan Ignacio points out that “[…] in my case, my resistance weapons are my precarious materials -iron and springs-, as opposed to an electronic music culture increasingly disposable, capitalist and bombarded by the synthesizer collecting fetish”.

This album presents a precise, seemingly simple exercise when it comes to instrument resources, but challenging when it comes to listening. Among other issues, because it does not resort to the ancestral or ethnically marked Mapuche sounds common sense would suggest to embody these aboriginal affections and identifications. Such resources – in practical terms, traditional Mapuche organology – clearly facilitate the identification of sound representations of music, whether popular or experimental, with a position pro Mapuche culture and identity, at Wallmapu or at Warria and, in some cases, with different political, humanitarian and territorial claims. There are many examples of these, ranging from committed mainstream pop to assorted conceptualist and experimental experiences.

Juan Ignacio does not resort to these elements. Far from this trend, he appeals to electroacoustic abstraction in order to disperse these and other meanings. On “El Cepo”, he subjects the listener to a severe sound design, where ancestralism makes room for brutalism, freed from obvious contents. This improvisational / compositional work, based on precarious materials and electronic feedback, would appeal to an incidental listening of sorts – if you like, – noise suggesting chainsaws, helicopters, drones, firearms or tactical vehicles. Thus, the album articulates the current condition of extractivism, colonialism, material poverty and militarization of the Wallmapu, with no conceptualizations or symbolism whatsoever.

Ignacio Ramos Rodillo
(Santiago, Diciembre / December 2022)
Versión en inglés por / English version by Carlos McPherson, Poste Restante, Correo Central Santiago, Chile.

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posted 17 December 2022

Jazzaria – Clever Amoeba

Jazzaria – Clever Amoeba

Jazzaria

“Clever Amoeba”

The movement of an amoeba may seem mere randomness – Brownian motion through an indifferent space. We believe our own machinations to be much cleverer, an improvement over the past. Are we in fact so sophisticated? Consider your own perturbations, while listening to this deliberation of a clever amoeba.

Featuring a jazz trio of piano, drum kit, and upright bass.

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posted 12 December 2022

Cistem Failure – Cistem Failure

Cistem Failure – Cistem Failure

Cistem Failure

“Cistem Failure”

Content Warning for the album – in our songs we talk about sexual assault, misogyny, police abuse, animal exploitation, the prison system, and state repression as consequences of living under capitalism and patriarchy. Its important to discuss and open up space for these topics so that we can fight domination and hieriarchies, but this takes a lot of strength when we are surrounded by the reality of this brutal system and sometimes those reminders are too strong and triggering even in the things that we love. so we hope that by giving some content warnings (some songs have a bigger one than others) that everyone can make their own decisions about what to be confronted by.

After some times of playing music on the street together, and writing songs, this album and band was given life.
We feel that we life in a very absurd time, where alot of things are changing. We want to create more of a politcal presence within the punk and radical scene, and create a space for female associated people, queer and trans folk to play music, join campaigns, do direct actions and feel empowered. Patriarchy is alive and kicking, even within our radical movements and we feel that this has to be confronted.

We feel our music should be free to download for everyone, that is why our bandcamp says, name your price. But ofcourse, touring and making cds costs some money sometimes, so if you feel like supporting us in that way (if you can) then thats cool!

Released December 14, 2015

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posted 21 November 2022

Lenard Ahmad – Nagual

Lenard Ahmad – Nagual
[pn055]

Lenard Ahmad

“Nagual”

So let’s talk about Ignacio Morales. About Leonardo Ahumada. About Nawito Dúo, which isn’t a dúo after all. About the baldy one in El Banco Mundial. About the baldest baldy in Ensamble Majamama. About the only man in Guorl Miusic.

Let’s talk about feedback. But not about electroacoustic feedback – extensively exerted by Nawito – but the one that presents a way of thinking (about) the music one makes when listening to it. That one where the cause is indistinguishable from the effect, where the effect is not necessarily predicated in the cause, where materials precede the shape that forms the materials.

Let’s listen to a jungle music – it’s impossible to avoid metaphores by now – born from José Vicente Asuar Guararia Repanoo; but it is not representing jungle, but coming from there. Infinite organisms in friction, superimposing each other in harmony. At the moment of listening, finding out what was acoustic, electroacoustic or digital is rendered useless in the first place, the jungle factory turns original, filtered or simulated indistinguishable, but the painstaking work which erected it sounds in its complexity, it is the making sounding.

Real hard work: let’s talk about fingers, nails, tact, epidermis of Nawito’s fingertips. That is – in David Tudor’ words – the most sensitive control point in a machine.

Apparati and their connections, colombina’s strings tension, diagrams, patches, springs and iron pieces, are temporary line-ups, nodes, pretexts, software; the operator that sets up and makes the machine, the real jungle territory. There are coagulations, geological faces, pressure points, complex detail zones, energies in the point of transformation, not choosing this or that way: a cave with countless leakage and drain pipes, thick, resounding tones – the wind blows outside the cave – feedback screeches, rumors from a beehive’s working mode, mechanisms rattling, the jingling of exotic birds which cannot be seen covered by the leaves, metal on metal (yes, in every sense of the word); white noise’s faceted roaring, the Mekano girls worn-out sticker; Providencia’s buzzing, hissing in unknown time; an unexpected ringtone; and the most remarkable, particular characterístic in music: a multiplicity of realms and activities, what was called polyphony in the good old days. The mystified concreteness of the on-screen software, where modules are connected, expanding and contracting, and the material proof of the tamed sound idea: a trompe and an mbira.

After almost a decade devoted to electroacous-tic music, Nawito, Leonardo, the ‘noise he-baby’, whoever he would be there inside him, makes news of headway in “Nagual”, not in a militant avant-garde fashion sense – please, let’s keep avant-garde requiescat in pace – but of a curious passerby carelessly strolling thru the park.

Nicolás Carrasco
(Santiago, Marzo / March 2010)

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posted 10 November 2022

BOBi – Couteaux

BOBi – Couteaux

BOBi

“Couteaux”

Self-released tape
18/02/2019

Beated poetry, ardour melancholic chants, DIY pop-kraut chamber music

Paolo Gauthier : Poetry, chant, prepared percussions
Marceau Beyer : Cello
Quentin Thirionet : Clarinette, sound objects
Matthieu Reynaud : Recording, mixing, mastering

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posted 08 November 2022

Geiger von Müller – Slide Sonatas I.

Geiger von Müller – Slide Sonatas I.

Geiger von Müller

“Slide Sonatas I.”

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

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posted 02 September 2022

Fono Mental – Fabulas

Fono Mental – Fabulas
[pn209]

Fono Mental

“Fabulas”

“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.

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posted 15 August 2022

The Gold Miner’s Tusk – Days in the Hive

The Gold Miner's Tusk – Days in the Hive

The Gold Miner’s Tusk

“Days in the Hive”

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

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posted 20 July 2022

malaqh – Aun tenemos donde descansar

malaqh – Aun tenemos donde descansar
[pn208]

malaqh

“Aun tenemos donde descansar”

“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)

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posted 01 July 2022

Geiger von Müller – Space Digger #1

eiger von Müller – Space Digger #1

Geiger von Müller

“Space Digger #1”

‘Space Digger #1’ is the first single off the upcoming 2022 album Slide Sonatas I. The tune is a mid-tempo instrumental hit, combining the slide theme with unexpected guitar harmonics: von Muller’s trademark sound, pretty much. Hunt no further for proof that one guitar can create such a rich sonic fabric.

The single comes with a Lego Classic Space animation music video: https://youtu.be/S4dWDOW2dG0

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posted 05 June 2022

Reeder – It Is The Nature Of Dreams To End (Anniversary Remaster)

Reeder – It Is The Nature Of Dreams To End (Anniversary Remaster)

Reeder

“It Is The Nature Of Dreams To End (Anniversary Remaster)”

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.

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posted 18 April 2022

Eric Zinman and Vance Provey – Poker Face/ Live​@​Gateway Arts Holyoke MA March 18 2022

Eric Zinman and Vance Provey – Poker Face/ Live​@​Gateway Arts Holyoke MA March 18 2022

Eric Zinman and Vance Provey

“Poker Face/ Live​@​Gateway Arts Holyoke MA March 18 2022″

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

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posted 14 April 2022