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Since 2010, many netlabels and artists publish their new free music releases on the clongclongmoo website. Free means that you don't have to pay anything or register to download music. However, you can usually pay something to support the artists. Please note the licenses under which the music is published. This is important to know what you are allowed to do with the music. Please visit the labels' homepages to get the free music. Most files are published under a creative commons licence. At netlabellist you will find an extensive list of websites that also offer (or have offered) free music. If you run a netlabel yourself or offer your music for free and want to draw attention to it, you are welcome to use the submission form. And remember that clongclongmoo is not there to do business, because “Business Is Not My Music.”

update, February 1st, 2026

Dear friends and followers of clongclongmoo. It's great to have you here. As you may have noticed, the site has changed a bit. Some people wanted to be able to access the music with fewer clicks. That should work again now. Here's a quick note to everyone who uses relatively new platforms such as Mirlo, Faircamp, or Coop: feel free to use the submit form to draw attention to your new music. I'd especially appreciate hearing from anyone who runs a netlabel with free Creative Commons music. Thank you! Konrad from clongclongmoo

music tagged with: ambient

Alaskaapenas – Minimalism is the new maximalism

Alaskaapenas – Minimalism is the new maximalism
[mi309]

Alaskaapenas

“Minimalism is the new maximalism”

Once upon a time he was Yamashita Takuya, now he appears on MiMi Records with a new release and with a new alter-ego, Alaskaapenas.

“Minimalism is the new maximalism”, is a 20 minutes EP where the beats merge with the ambient.

From minimalist lo-fi to more relaxed chill, Alaskaapenas offers us a quick trip through four different but nostalgic destinations and for that reason it’s quite possible that we’ll press play after finishing the first ride.
A must listening!

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posted 25 January 2024

Niclas Tamas – The Music from Undiscovered Civilisations

Niclas Tamas – The Music from Undiscovered Civilisations
[zen283]

Niclas Tamas

“The Music from Undiscovered Civilisations”

dark atmospheric orchestral music with vague and mysterious undertones that touch the soul
Button: by-nc-sa
posted 20 January 2024

Sarah Peebles – In the Canopy

Sarah Peebles – In the Canopy
[PAN 110]

Sarah Peebles

“In the Canopy”

“In 2003 I was invited to Aotearoa by Matthew Leonard, the producer of the programme Revolutions Per Minute†, to create a new radio work that would draw from Aotearoa’s natural landscapes. On the North and South Islands and while in transit back to Canada through Singapore, I recorded sounds of birds, insects, amphibians and rivers. The essence of my experiences listening to the abundance of life surrounding me, often out of sight, was reflected in a phrase that came up in conversation while visiting the Kāpiti coast: that which is just beyond our perception. The essence of my spending long, focused periods of time in nature while recording and while simply being – taking time – doesn’t easily translate into words for me; it’s nonverbal. The tree canopy, the bushes, ground, air and waters held life I could often hear but couldn’t see: insect buzz and hums floating on the breeze, birds chattering in distance treetops, mysterious rummaging above my head, sudden exuberant birdsong bursting from nearby bushes. As the presence of beings shifted into my awareness, I began to ponder my initial interpretation of that phrase, wondering, exactly what was just beyond my perception? Were animals such as the kaka above (parrots, perhaps watching me) or an emerging cicada, perceivable? At what point was shifting weather beyond my ability to perceive? Or the larger view: the complexity of the biosphere with Earth’s constantly evolving micro and macro communities of living things, with their individual lives, habitats and interconnections – which aspects of this infinite feedback loop lay just beyond our perception?

While in Paraparaumu, across from Kapiti Island, Kāpiti coast resident Gary Millan shared with me some of his thoughts and knowledge about the Māori Ngā kete o te Wānanga (Baskets of Knowledge). Referring to the third basket, Te Kete Tuatea (basket of light), he’d brought up the concept of “that which is just beyond our perception.” Twenty years later, I have only now come to understand and appreciate Gary’s Māori context of the phrase. This knowledge kete, Te Kete Tuatea, “is mindful of, and pays attention to, the past, our spiritual realities, the importance of space and time, and tikanga (customs), as well as kawa (ceremonial rituals).”1 In speaking about that which is just beyond our perception, Gary was referring to ways of knowing the world around us that are inherent to Māori ancestral experience and culture (and to many Indigenous cultures): a knowledge acquired through living one’s life on the land that involves a subconscious knowledge, a sensibility, of things to come, as opposed to quantifying or analyzing our senses or experiences as we might through a science-oriented lens. This includes a dimension of the universe or cosmos beyond “the world of sense perception, the natural world around us” (yet available to seers and sages) held to be ultimate reality, Tua-Atea.2,4

I, as a guest in Aotearoa, chose to reflect on my visceral experiences and North American sensibilities in the places I recorded sound3, savouring landscapes totally unfamiliar to me whose rhythms were beyond my grasp. This soundwork reflects those sonic, psychological and embodied explorations.

The unique relationships between Aotearoa’s native plants, their historic pollinators (native birds and bees) and people can be heard in that landscape: in rich and diverse birdsong, plants rustling in breezes, subtle wing beats of digger bees hovering over sandy slopes, in the sounds of gathering and weaving of harakeke and wharariki (flax). These sounds are a fraction of the abundance and diversity of what once existed in these islands, particularly before deforestation & introduced species that occurred with European settlement – and with ongoing industrial agriculture, apiculture (with introduced bee species), industry, invasive rodents and climate change. However, these voices and the relationships they reflect, continue to thrive. They are in process. They continue to instruct, compel, inspire and inform the identity, cultures and practices of all people in Aotearoa and others (like me) who experience this incredible, dynamic place.

The forest canopy here and everywhere supports much that we cannot perceive and do not (yet) know – some of which we hear, smell, touch, see and feel; all of which is connected. The canopy itself, the life within her (including ourselves), the soil beneath her, the water she filters, the oxygen she creates, the weather she generates & moderates – all interweave to create this place, this Earth, as we know her. She is Papatuanuku, a living organism.4”
—Sarah Peebles, November 2022

all rights reserved
posted 18 January 2024

ЧЕРНИХОВ | CERNICHOV – We are all deaf

audio ЧЕРНИХОВ | CERNICHOV – We are all deaf
[mrk380]

ЧЕРНИХОВ | CERNICHOV

“We are all deaf”

“We are all deaf” is the third full length album by ЧЕРНИХОВ | CERNICHOV, a noise/ambient duo based between Brussels and Milan, of US (David Gutman) and Italian (Marco Mazzucchelli) nationality.

“The album’s concept gravitates around the deep and actual contraposition given by the human strive for exploration: on one hand there is the total deafness towards the heartbeat of planet Earth, from a vibrational perspective expressed by the Schuman frequency, a sub bass frequency that can be resumed as the intimate physical expression of how our ecosystem relates in its environment. On the other hand, the exploration’s focus is monopolised by the infinite horizon that the eyes define. The Sputnik satellite becomes the first extraterrestrial exploration means, kept in contact with signals emitted at 40Hz. On these two main frequency inputs, the first as carrier for cross-modulation treatment and the second as a BPM driver, we explored a possible scenario of sonic interactions, ending with what we see as the soundtrack of our personal existence in this 4 dimensional world.”

Released January 14, 2024 as free (cc) digital download and limited digipak CD edition.

Recorded by Marco Mazzucchelli and David Gutman

Produced and Mixed by David Gutman

Mastered by Anacleto Vitolo

Artwork by Marco Mazzucchelli

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posted 15 January 2024

Trance*Industrial*Toy Orchestra – tears of a modest ox andaloup – happy new esra 2023

Trance*Industrial*Toy Orchestra – tears of a modest ox andaloup – happy new esra 2023
[ACP 1384]

Trance*Industrial*Toy Orchestra

“tears of a modest ox andaloup – happy new esra 2023”

brandstifter : casio sk-1, korg monotron, vocals, guitar, orff-trommel, toys;
jürgen fastje ‘chock’ : microkorg, guitar, banjo, ukulele, rhythm ace FR-1, stylophone S-1, stylophone beatbox, okarina, toys;
herr penschuck : korg microsampler, korg mini kaosspad, mikroplankton/nintendo DS, voice, vocals, toys;remixes by- chaotalion
– lars vogel
– heidrun schramm/nicolas wiese
– anja kreysing
– pharmakustik
– toenungsfluid
– thorsten soltau
– herrpenschuck
– meinein
– lil tindermann

Button: by
posted 15 January 2024

ANARCO – Técnicas de polarización social

ANARCO – Técnicas de polarización social

ANARCO

“Técnicas de polarización social”

Manifesto:

Social polarization, environmental destruction, state subjugation to large corporations, and the use of new technologies for people control are issues that were already addressed by George Orwell and Aldous Huxley and are very present in our society.

Anarco observes with interest how the influence of social media, large media outlets, and political and economic systems affect the behavior of the population.

Anarco supports art in any of its forms as a way of fighting against the simplicity of political discourse. As a way of fighting against the absence of reaction and response to the drift of our society.

Manifiesto:

La polarización social, la destrucción del medio ambiente, el sometimiento de los estados frente a las grandes corporaciones y el uso de las nuevas tecnologías para el control de las personas, son cuestiones que ya trataron en su día George Orwell o Aldous Huxley y que están muy presentes en nuestra sociedad.

Anarco observa con interés como la influencia de las redes sociales, los grandes medios de comunicación
y los sistemas politicos y económicos afectan el comportamiento de la población.

Anarco apoya el arte en cualquiera de sus vertientes como forma de lucha contra la simplicidad de los discursos politicos.
Como forma de lucha frente a la ausencia de reacción y respuesta a la deriva de nuestra sociedad.

Button: by-nc-sa
posted 11 January 2024

We Fall – Sine Lime Paradise

We Fall – Sine Lime Paradise
[20k378]

We Fall

“Sine Lime Paradise”

New year, new sounds! Enjoy with us this epic length ambient/soundscape/experimental release from artist We Fall. Generator bleep bubbles and hazy drones abound.
all rights reserved
posted 10 January 2024

Makunouchi Bento – The Virtual Bluescreen-Collar Choir (Live at Progress. Paradigm Shifts #5)

Makunouchi Bento – The Virtual Bluescreen-Collar Choir (Live at Progress. Paradigm Shifts #5)

Makunouchi Bento

“The Virtual Bluescreen-Collar Choir (Live at Progress. Paradigm Shifts #5)”

The recording of our live act from “Progress. Paradigm Shifts #5” (18.11.2023, Muzeul Corneliu Mikloși, Timișoara, Romania), powered by Simultan, curated by Arne Hendriks & Ștefan Tiron.

www.facebook.com/events/1139362020111750/

00:00 01 Intro
01:28 02 Blu Marin Messa
05:32 03 One Strung Counterpoint
11:55 04 Director’s Barbers Moment
15:38 05 The Pink Trombone Thief
19:58 06 Our Lady of the Soup Kitchen
26:12 07 Cantata for Cats and Spoons
31:56 08 Tatar Throataches
38:13 09 Daydream in the Factory Dispensary
43:59 10 A Serpentine Queue to Folly

-̖͑-̑̋͂–̝̤͉̘̜͚-͕̩̤͓̹̼̝ͯ̑͐̉͛̔ͭ-̲͖̗̣͙͎ͦ͑͗̉̔̒-͚͔̩͐̊ͤ̚ͅ-͖̫͔-̥͉͎͎̫̝ͮ̇̓̆̂ͧ-̱̲̙͓͊̐ͣͫ—-͚̦̤̙͎̑̀̒ͬ̋͆ͅ–̙͔̲̗̮̰ͤͤ́̅̆ͥ–͈̥̻̬̹̀̎̽̎ͨ-̬̗͍̼ͯ͛̽̒-̠̤̒ͬ–̳̫̒̒-͐-̪̹̪͆̒͂-̗̉-͈̄–͔̮̦͚̀̅̂͑ͦͮͅͅ-̥̺̫ͯ̓̚-ͣ͒͂̽̔-̺̘͙̌͒̊̾ͅ-̹͔̝̗̙̱–̳̯̻̬̦͕̯̆̐ͦͣ̌̈̊-̖͔̦͎̭̰̓̂̅͆̂̿-͇̫̏͒-̞͉̻̳̗̺-̃̏̈́́͒ͯ͋–̩̲͓̮̳͌ͬ̇ͤ̚–́-̰̱-̥̜̲̦̥̺—-̭̙͇͓ͦ͊ͤ͐ͧͅ-͍͎̙͚͖̜̺͂͛̋ͪ͋͒ͮ-̰͍̩͕̣̤̝ͧ̍̎̄̊͌̒-ͭͭ̄-̤-̈́̇̚–̭͖ͯ̓-̘̭̠͉̫-̿ͤ̽̊̂-͚̬̫͚͑͋ͩ̽-͉-̻͍͚ͅ–̠̝̞̟̾ͣ͛̚–̭̯ͮ͛-͔͌-̻-̰̏-͈̼̙̯̞̀̃̇ͥ̑-̩͎̫̖̖ͩͥ̑͑ͫ-͇̬̺͕̤͑̈́͌͋̓-̩̱̻͖͑̀̓ͭ-͖̠̠̉̃̿-͇̰̲͔̫͎ͅ-͈̼͖̳̠̼̔͛̅͛̎̂-̲͖̗̪̬̬̤ͨ̂̔̎͑ͣ̚-̄̇-̦̹͎̝̲̺͎-͋̄ͧ-͇̣̲̼̞ͯ̉̈̓ͫ-ͪ-̦̠͚̤̘̲͔ͨ̔̀ͤ͌̓̚-̱-͈̬̹̎͒̚–͕̰-͌̊̈͗ͨͭͨ-͇͖̦̈̓͆-̙̝̹̪̯͉̟̓̾͋̔̀͊̚-͓̜̓͆-͛̀ͪͨ-̹̟

Ladies and gentlemen, welcome to the sonic journey of “The Virtual Bluescreen-Collar Choir”. This experimental music project delves into the realm of the surreal, where technology meets the nostalgia of a bygone era.

Inspired by the working men’s clubs of yesteryear, where camaraderie and community were forged through song, we have created a virtual choir that pays homage to these forgotten spaces. But here’s the twist – our choir consists solely of synthesized and re-synthesized voices, blending the past with the present in a futuristic soundscape.

As French philosopher Jean Baudrillard once said, “Simulation is no longer that of a territory, a referential being, but rather that of a code, a differential equation.” In this vein, The Virtual Workmen’s Choir challenges the notion of authenticity and questions whether technology can truly replicate the human experience.

Our soundscapes transport listeners to a world where the boundaries between reality and fantasy blur. Imagine strolling through a smoky, dimly-lit room filled with the echoes of laughter and chatter, only to find yourself enveloped by a cappella harmonies that seem almost otherworldly. That’s what you’ll encounter in our virtual choir, where the synthesized voices take on a life of their own.

But there’s also a hint of melancholy woven throughout our compositions. As German philosopher Martin Heidegger mused, “The essence of technology is by no means anything technological.” In simulating the voices of a lost community, we’re reminded that progress often comes at a cost. We ponder the price of innovation and ask: What do we sacrifice when we exchange the warmth of human connection for the convenience of digital reproduction?

And yet, within this dreamlike atmosphere, we discover a strange sort of beauty. Our virtual choir becomes a metaphor for the fragmented nature of modern society, where individuals come together virtually but remain disconnected physically. It’s a reflection of our times, where social media reigns supreme and online personas supplant face-to-face interactions.

So let us embrace the surrealism of The Virtual Bluescreen-Collar Choir, allowing ourselves to be enchanted by its haunting allure. Let us ponder the philosophical underpinnings that govern our relationship with technology and confront the existential queries it raises. For in doing so, we may just uncover hidden truths about ourselves and the world we inhabit. Thank you for joining us on this thought-provoking sonic adventure.

–ͫ̔͂̐̅-̗͙̦̯̙͈̻̐ͫ͋͂͌͌̌–̻̱̦̯̈̃ͭͫ-̪ͥ-̱̗̼͔–ͫͧ̇ͨͯ-͇́-̥-̰̻̰͚̃͗͛̂̌̃ͅͅ-̞-̣͛-͓͕̦͙͒̀̓̂-̼͇ͤ́-̦̪̘̮̝͚̄͌͌̆̑ͪ-̻̟͚͎͙̈ͣ̔́̚-̆̊-͌̿ͤͤͥ̊̚-͓̮̤̥͖–̲̟͙̞͕͙-͓̤͙̫͒͑̈́ͪ-̈́̽ͮ̾̐ͦ-̗̥̼̣͖̳-ͬͨ̎̉–̪̗̙̙̜̮̓͐ͥ͒̐ͦ̋ͅ-̭̘̈́̍-̘ͦ-͑-̳̱̓̿-͚̈́̚ͅ-̤͓̯ͅ–̩͉̠̟̯̘-̟̹͓̥̠͎̘̾͑͐͛̃͐ͮ–͖̙̀͆̚ͅ-̪͕̒ͭ-ͅ—-̯͇̟̙ͯ͛̈́͆-͕͔͕̬͔̙ͅ-̥̦͉̓́̇-̾ͦ-̦̼̱̞̘̬̆̆͂ͨͦͬ-̖̻̟̯̮̫̘̎͌ͪ̆ͮ̒̊-͑ͥͭ̓ͦ-̩̯͙ͣͪ̓-͖̯̣̹-̻̠̼͕̻̬̥ͬ̈́͐ͣͬͦ̅–̦̳-̜͉͚̺͇̠̥-̥̗͈̮͚̝-̫̞-͈̭̤͓ͨ͆ͫ͒̋ͅ-͙͖͚̥̻̘̩͛͒ͮͧ͛͒̎-̪̖͕̣̻ͥ̊͊́̀—̩͍̹͌̋̈́–̈́ͨ̏ͭ̽̚̚-͇̳̜̒̔̈́-̬̰̙̠–̰̭͈͖̹͈ͩ̿̽̀͂̐-ͧ-̩͊–̱̙̹͔͑̑ͦ̋-̬̫̳-̬͌–̫̥̦̗͎̦̄͐̀̍̓̇–͖-͍̭̫͕̬̽ͬ̋̒͌-̱̠̼-͖͓̅̅-͎̜̺̊ͦ͐-͙̻͕̼̬̜ͧ͂ͧ͛̓ͤ-̻̮̅ͯ-̑ͪ͆-ͧ͋͒-

Doamnelor și domnilor, bine ați venit în călătoria sonoră a „The Virtual Bluescreen-Collar Choir”. Acest proiect muzical experimental sondează profund tărâmul suprarealismului, unde tehnologia întâlnește nostalgia unei epoci trecute.

Inspirați de cluburile de altădată ale bărbaților muncitori, unde camaraderia și comunitatea s-au făurit prin cântec, am creat un cor virtual care aduce un omagiu acestor spații uitate. Dar iată întorsătura – corul nostru este format numai din voci sintetizate și resintetizate, îmbinând trecutul cu prezentul într-un peisaj sonor futurist.

După cum spunea odată filosoful francez Jean Baudrillard, „Simularea nu mai este aceea a unui teritoriu, a unei ființe referențiale, ci mai degrabă cea a unui cod, a unei ecuații diferențiale”. În acest sens, Corul Muncitorilor Virtuali contestă noțiunea de autenticitate și chestionează dacă tehnologia poate reproduce cu adevărat experiența umană.

Peisajele noastre sonore transportă ascultătorii într-o lume în care granițele dintre realitate și fantezie se estompează. Imaginați-vă că vă plimbați printr-o cameră fumurie, slab luminată, plină de ecouri de râsete și vorbărie, doar pentru a vă regăsi învăluiți de armonii a capella care par aproape din altă lume. Asta veți întâlni în corul nostru virtual, unde vocile sintetizate capătă viață proprie.

Dar există și un indiciu de melancolie țesut în compozițiile noastre. Așa cum medita filozoful german Martin Heidegger, „Esența tehnologiei nu este în niciun caz ceva tehnologic”. În simularea vocilor unei comunități pierdute, ni se reamintește că progresul are adesea un cost. Reflectând la prețul inovației ne întrebăm: Ce sacrificăm atunci când schimbăm căldura conexiunii umane pentru comoditatea reproducerii digitale?

Și totuși, în această atmosferă de vis, descoperim un fel ciudat de frumusețe. Corul nostru virtual devine o metaforă a naturii fragmentate a societății moderne, în care indivizii se unesc virtual, dar rămân deconectați fizic. Este o reflectare a vremurilor noastre, în care rețelele sociale dețin supremația, iar personajele online înlocuiesc interacțiunile față în față.

Așa că haideți să îmbrățișăm suprarealismul Corului Virtual Bluescreen-Collar, lăsându-ne vrăjiți de farmecul său obsedant. Să reflectăm la fundamentele filozofice care guvernează relația noastră cu tehnologia și să ne confruntăm cu întrebările existențiale pe care le ridică. Căci, făcând acest lucru, este posibil să descoperim adevăruri ascunse despre noi înșine și despre lumea în care locuim.
Vă mulțumim că v-ați alăturat în această aventură sonoră care provoacă gândirea.

Button: by-nc-sa
posted 09 January 2024

Takuro Takeda – ETHEREAL

Takuro Takeda – ETHEREAL
[mi308]

Takuro Takeda

“ETHEREAL”

“Extremely light and delicate, as if not of this world” is the definition of Ethereal in the Online Cambridge dictionary.

On this record, electronics and field recordings intersect in a dialogue between the earthly and the ethereal.

There is something visceral in these sounds, in this combination of noises, organic and minimal sounds.

Halfway through the record we enter a hypnotic trance, we ascend to a place of peace and harmony and then, in go, we become irritable, disruptive and we come in direct confrontation with our brain.

Button: by-nc-nd
posted 05 January 2024

Tristan Sotomayor – Conjunto Vacio

Tristan Sotomayor – Conjunto Vacio
[pn228]

Tristan Sotomayor

“Conjunto Vacio”

A journey into emptiness, into the unknown of a knowledge that, because it is known, is forgotten. When the learned becomes commonplace, it disappears, and a new language is constructed to hold ideas. In Tristán Sotomayor‘s “Conjunto Vacío” (“Empty Set”), the primary focus is the body, the way it encounters experience and listening; what is forgotten becomes instinct, ways of inhabiting and traversing the world and its landscapes.

Elements, stories, signs, traces, and references unfold amid pristine, dark, and evocative spaces that challenge and reveal, paraphrasing the musician, artist, and writer David Toop, in sequences where the solid, fixed, stable, and concrete dissolve into the depths of the singular, different, deterritorialized, and immersive.

We witness the construction of a story made up of 7 fragments in which intensities coexist with expansive or contained spaces, traversing moments filled with absorbed information in chiaroscuros that subtly show and hide the place where the sounds originate and coexist.

An invitation to listen to the abstract nature of space, its designs, and structures; the ideas through which one can “float freely in a liquid space of nonlinear time”, as Toop also wrote. It presents an ethereal world translated through aromas, silences, and noises that give meaning in circumstances that constantly change. “Conjunto Vacío” is the sound and image of a story that possesses its own language to narrate the world, its course, and intensity.

Sebastián Herrera
(Santiago, Chile. January 2024)

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posted 03 January 2024

Various Artist – EPOCH

Various Artist – EPOCH

Various Artist

“EPOCH”

Artists were given the single word ‘EPOCH’ to interpret with whatever audio they deemed appropriate. There were no instructions other than a deadline for contributions.

Releases by Andreas Brüning, Audiomat, Dental Drill Slips, GLOBAL SYSTEMS INTNL., and WarpCensorcan be found elsewhere on the TCFSR bandcamp.
—————————————————————————————-\
—————————————————————————————–>
—————————————————————————————-/

We are pleased to welcome three artists from Burnt Seed Records of Western Australia burntseedrecords.bandcamp.com
Lost Ether lostether.bandcamp.com
Bilg burntseedrecords.bandcamp.com/album/sprouted-volume-i dogparkrecords.bandcamp.com/album/rain
Scientia scientia.bandcamp.com

Releases by vacant possession are at vacant possession records and <1
vacantpossession.bandcamp.com
lessthanone.bandcamp.com/album/return-of-the-dark-ages

Andreas Brüning, in addition to his solo work, is part of various groups:
Audiomat tcfsr.bandcamp.com/album/audiomat
Gruppe BASS tcfsr.bandcamp.com/album/extended-technique

Digital releases by Unearth Noise are at unearthnoise.bandcamp.com
Vinyl and cassettes from lullabiesforinsomniacslabel.bandcamp.com

Autistatic releases are at autistatic.bandcamp.com Also, he runs the Zenflesh Records label zenfleshrecords.bandcamp.com

Amina aminamusic.bandcamp.com is an ambient incarnation of Argentinian creator also known as Dyb dybmusic.bandcamp.com

Releases by GLOBAL SYSTEMS INTNL. are on the Hand Canyon Label handcanyon.bandcamp.com and also at globalsystemsintnl.bandcamp.com

EPOCH is the 15th TCFSR Solo Word project, following Twilight, NEW, OLD, Agency, Zucker, Melancholy, Anteontem, Cloister, EARTH, Geräuschkörper, Yellow, Sentience, RUST and AIR.
tcfsr.bandcamp.com/album/twilight
tcfsr.bandcamp.com/album/new
tcfsr.bandcamp.com/album/old
tcfsr.bandcamp.com/album/agency
tcfsr.bandcamp.com/album/zucker
tcfsr.bandcamp.com/album/melancholy
tcfsr.bandcamp.com/album/anteontem
tcfsr.bandcamp.com/album/cloister
tcfsr.bandcamp.com/album/earth
tcfsr.bandcamp.com/album/ger-uschk-rper
tcfsr.bandcamp.com/album/yellow
tcfsr.bandcamp.com/album/sentience
tcfsr.bandcamp.com/album/rust
tcfsr.bandcamp.com/album/air

Button: by-nc-sa
posted 02 January 2024

TFSL – 23 / 24

TFSL – 23 / 24
[mhrk379]

TFSL

“23 / 24”

Music, Guitars, Drums, Bass, Synths, Mix: Kaloyan Ivanov
Mastering: Yasen Penchev
Cover artwork: Angel Draganov

The track “23 / 24” is an edited version of a TFSL live performance for the “ToBe Continued – Stop TB Day” music marathon on stazioneditopolo.it radio station, broadcast on 24.03.2023, World Tuberculosis Day.

“Voyager” video by: Mei Dark (of My Fury)

The “Voyager” audio-visual project was realised with the support of Национален фонд „Култура“/ National Culture Fund, Bulgaria, as part of the “Musical initiatives 2021” programme.

Thanks to the support of: Angel Draganov, Ivo Petrov, Yasen Penchev, Vasil Goranov, Tsvetan Tsvetanov, Boyan Avramov and all others.

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posted 01 January 2024

xenoton – un

xenoton – un
[tonAtom.145]

xenoton

“un”

un’ is built on a linguistic motif, with each track’s title (whether in German or English) beginning with the prefix ‘un’, such as ‘unRest’, ‘unStet’, ‘unBalanced’, ‘unStern’ and ‘unErwartet’. the album’s structure allows each track to function independently, while collectively forming a narrative that is intricately detailed and gains depth with repeated listening.

musically, this album marks xenoton’s shift towards more ambient and cinematic soundscapes. while it may seem like a departure from previous work, it maintains continuity with his artistic journey. “un” continues to blend deep, reflective soundscapes with his signature melodic style. the album echoes his previous works ‘crescent’ (2020) and ‘traveller’ (2015), but also explores new sonic spaces, offering a sophisticated and layered listening experience, a journey into the unexpressed and undiscovered in sound.

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posted 01 January 2024

Wave Resistance – Cooper Pairs vol​.​1

Wave Resistance – Cooper Pairs vol​.​1

Wave Resistance

“Cooper Pairs vol​.​1”

Released December 20, 2023

“In some cases, during jam sessions, it is possible to reach a certain interesting state, during which intriguing compositions are born, which often do not require further post-processing. Such a unique creative phenomenon of musician collaboration resembles the pairing of electrons into Cooper pairs in a superconductor. The classical theory of superconductivity states that, below a specific critical temperature, electrons in a metal pair up to create bosons called Cooper pairs. These bosons form a phase-coherent condensate that can flow through a material without scattering – the result being superconductivity.

“Cooper Pairs vol.1” consists of three compositions: the first was recorded with Room V during numerous sessions in the pre-pandemic years in Moscow and its suburbs, the second was realized in collaboration with Fukte in 2019 in Crespano del Grappa after performing at “Noises From The Basement” in Belluno in the Dolomites, northern Italy, and the third recording was born as a result of a jam session with II:II during my last visit to St. Petersburg after performing at Sound Museum in January 2022, before leaving for Australia. All tracks combine a unique blend of genres. “Machine” is experimental techno and IDM, resulting from the combination of the sounds of analog modular and digital synthesizers. “Breakdown” is a mixture of noise from DIY electroacoustic instruments with experimental electronics, while “Collapse of Empire” is rhythmic noise and dark ambient with processed electric guitar.” –Theo Kovalev a.k.a. Wave Resistance

Wave Resistance is a project of Theo Kovalev (also releasing as Waldgrenze), an experimental electronic sound laboratory circa 2013 based under Moscow and currently in Australia. The project is focused on IDM, post-industrial, techno, rhythmic noise, dark ambient and experimental electronic genres. A philosophical journey to the reverse side of our world and consciousness through the language of the technogenic music. Besides on Mahorka, Wave Resistance has released albums on Abstrakt Reflections (Argentine), CRL Studios (USA), Eternal Turns (Russia), Noyade Records (Russia) and Null Sonics (Russia).

Room V, the project of Vadim Rumyantsev, formerly releasing under his name, represents a significant evolution in his stylistic exploration. While once confined to the exclusive realms of drone-ambient, Room V now ventures into uncharted musical territories. This evolution is marked by the seamless integration of dynamic rhythms and broader melodic lines, moving beyond the initial ambient confines. The project skilfully blends soundscapes influenced by Rumyantsev’s experiences in south-east Asia with emotive moods inherited from other corners of the world. In essence, Room V has transformed into a multi-dimensional sonic journey, capturing the artist’s willingness to experiment and explore beyond previous constraints.

Fukte is the main project of Fabrizio De Bon who is also the owner of the label Toxic Industries. The sound of the project is mostly Harsh Noise with HNW and industrial influences.

II.II is experimental electronic music project from Moscow, Russia, created in 2018 by Vorobiev Andrey, also known with the projects: ἐγρήγορος, Echo Сoma, p3o, Mesosphere, The Crawling Chaos, Ил, Cдоба, Magnetic TarTrap. The project name can be read as “11:11”. The music is performed on the analog modular synthesizer. It’s atmospheric and cinematographic, it slowly crawls into the frame like a black cloud of giant sprout and rolling everything around the not transparent darkness. Distant industrial bits and smooth bewitching drone, all as you love. Rumours are that his musical developments he leads secretly, in abandoned old factories, conducts mass on radioactive graves in Russian forests and he suits underground festivals in deep forests.

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posted 20 December 2023

Lluvia Acida – Puntarenazo

Lluvia Acida – Puntarenazo
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Lluvia Acida

“Puntarenazo”

The Puntarenazo and the strike of a beast.

We are facing a documentary work capable of communicating an open wound, the slash of a predatory beast that slipped through the cracks of our history. The musical group Lluvia Ácida has offered an account of testimonies and images that document, “El Puntarenazo”, the first demonstration against dictator Augusto Pinochet in his presence, which took place on February 26, 1984, in the main square of the city of Punta Arenas. There, the tyrant in his uniform from uncertain battles and his gray cape encountered the reaction of a people who, behind the bars of the cathedral, accused him of his crimes, baseness, and felonies. All of this led to a series of episodes linked to the political expression of the regime, culminating in the tragic events of October 6 of that same year: the installation of a bomb that destroyed the parish of “Nuestra Señora de Fátima (Our Lady of Fatima)” and which also ended the life of the army lieutenant who placed the explosive.

The music and the progression of the documentary provide the viewer with a significant universe, an eloquence to appreciate, on the one hand, a mark of pain. And in another sense, the beautiful symphony of civic organization. I am aware that as a musical group and also as audiovisual artists, Lluvia Ácida have a long history of developing themes related to the social struggles of our southern community.

“Puntarenazo” is a work where the voices of the past coexist to convey a new pact with history. It goes without saying that many times there is a tendency to emphasize the Coup and the dictatorship as something that mainly happened in Santiago, the political and administrative capital of our country. But there was also Dawson, Tejas Verdes, Isla Quiriquina, Pisagua, and, in the same way, citizens from different areas of the territory protested against tyranny. In this case, the southernmost continental city in the world was the stage for that gesture of rebellion, forged in different town hall meetings held in the heart of the community.

Where do the silenced words and the pains that never healed persist? It is a truth and a certainty that art is often there to interrogate that trauma, to dive into the depths and bring back the lessons of history, sometimes even exposing the matrix of an era. Therefore, Lluvia Ácida has created a unique, impeccable document that unearths a time when horror and infamy were the daily currency. Amid the amnesiac choruses that some propose in our present, they have addressed the need for memory and the epic of a distant community that rose up against the dictates of a hooded and cruel general who betrayed the most elementary principles of a republic.

Oscar Barrientos Bradasic
Escritor / Writer
(Punta Arenas, Magallanes, Chile. December 2023)

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posted 20 December 2023