V/A Compilation inspired in dreamcore aesthetic.
compiled, cover artwork by Sábila Orbe.
each track composed by the respective artist. Links:
– Humanfobia: humanfobia-official.bandcamp.com/
– SunWave: archive.org/details/SN007SW
– Yikii: yikii.bandcamp.com/
– Verimoro: archive.org/details/MNMN392
– Andrew Cauthen: archive.org/details/tpd110
– Furtherset: archive.org/details/Veilles_EP-12622
– My Own Cubic Stone: myowncubicstone.bandcamp.com/
– Filmy Ghost: humanfobia.jimdofree.com/filmy-ghost/
– l l y d i a: https://soundcloud.com/llydiacross
– Waluigifan: archive.org/details/Daydream_526
– Eldrich Blake: archive.org/details/LAM004/
– Arkeyetexture: archive.org/details/BigWaveRecords_LagoDeSonhos_Arkeyetexture_BWR16/
– Babau: archive.org/details/petroglyph_069_Babau-Tapes_from_the_bedroom
– Yaka-anima: humanfobia.jimdofree.com/yaka-anima/
archive.org/compress/v-a-dreamcore-music/formats=VBR%20MP3&file=/v-a-dreamcore-music.zip
www.zenapolae.com/releases/zen239/zen239__Shinpal__Aspiration__01_Bloom.mp3
Compilation of Humanfobia past tracks inspired mainly dreamy/dreamcore aesthetic.
some tracks are also part of the solo project by Sábila Orbe: “Filmy Ghost”.
vocals in tracks: 1,2,8,10 & 14, model in the artwork: Mist Spectra.
all tracks mixed, cover collage, programmed, vocals only in track 5: Sábila Orbe.
Humanfobia is an experimental, dreamcore, witch house project from Rancagua, Chile. Links:
humanfobia-official.bandcamp.com/
https://open.spotify.com/artist/04WVEhq4UDRTKpWEfMSeZT
hearthis.at/humanfobia/
ello.co/mistspectra
www.discogs.com/es/artist/5341348-Humanfobia
The Open Circle – Höfn
The Open Circle from Belgium is back on insectorama with its second release. over 50 minutes of incredibly deep emotional dubtechno. A journey through space and time that lets you forget everything.
Tracklist:
1.Höfn
2.Runaway
3.Monday Morning
4.Jungle Walk
5.Monday Morning (ambient mix)
6.Out
7.Höfn (Dalai Lama remix)
all Tracks by The Open Circle
insecotama116
Sometimes music evokes feelings and feelings in turn evoke music. I have always tried to put as much of my feelings as possible into my music. I want to tell stories or rather make untold stories heard.
This whole album is based around death, loss, grief and despair. While most of the tracks were made a few months ago, after the untimely passing of my mother I felt I needed to make some more music just to try and cope with the situation. This how the title track and “We are all ghosts” came into place. The latter of those tracks features a short poem by Thomas Mathie which I also included in a farewell letter to Mum.
Helene was my mother’s middle name and so I felt it was appropriate to name the album after her. It features a very reduced setup, consisting of Android apps, my electric guitar, field recordings of a nearby forest or my cat’s purring as well as my air conditioning.
I’m sure my mother wouldn’t have liked my music itself but she would be quite content with me doing what I like and maybe being there for others as well.
Thanks for everything, Mum. 07.01.1959 – 25.08.2021
-Ben
—-
When Ben Room approached me with a demo, I was intrigued. I had recently reconnected with Ben and was interested in hearing what he had composed. I was absolutely delighted to note the album he had sent on hit the right spot in terms of what I look for with weareallghosts and emphatically agree to release what he had submitted.
Then tragedy struck and Ben’s mother passed away. I was rather moved by the tribute Ben gave his mother and, inspired, I penned a short poem for him as a way to give my condolences. Not only did Ben read this poem at the Service of Remembrance held for his mother, he has incorporated it into the album you have in front of you, “Helene (waag_rel151)”.
We all handle death and loss and grief in different ways … and I greatly admire Ben for channelling all these feelings into this album, especially the title track, “Helene”, an engaging 22-minute longform ambient piece … and “We are all ghosts”, where Ben recites the poem I sent him accompanied by a deeply layered and discordant soundscape that is expertly overlaid with birdsong and other found sounds.
I really hope this album speaks to you as it has done me?
As before, a 320kbps version of this release will be available, for free, here on Archive with a lossless version available over on Bandcamp for ‘pay what you want’.
Late 2009 Felix von Montfort started
uploading free samples for 3 days as
FX666. 12 years and a few projects
later Felix combines them all.
photos by Felix Montfort
design by EMERGE
To be in a state of resolve toward art means that the ways of approaching form or sound are always changing, beyond what could be called a style or a habitual manner of creation. It is this doubt that drives curiosity and determination to venture into unknown fields.
The music of Luis Marte in recent times has been prolific and now, with the release of “Space Mobile”, we find ourselves face to face with one of his many outlooks, in which he moves away from the nature of machines and dives headfirst into digital processes.
We begin to hear a theme in which time is a diffuse entity that is paused before taking course. Sound speaks more of volumes and places than of events, where what we hear can be recognized with physical and tactile references.
The city resounds like a specter. All this to place us in a sort of canon, in which its two stories modulate a haze with blows, interruptions, and knots.
The third piece features the collaboration of Pablo Reche. Together they create a series of rolls in which the grains of noise contract and disappear. Changes are outlined before the shapes and timbres of things.
Time keeps ticking, the reverberation becomes the pulse and a piece of techno places in order that from which almost everything has been subtracted.
This work forms a reconstruction of the environment, as if the processes were a lens for looking at things again from another place. Thus, all the information and data to which we are exposed day after day is transformed into material, in which the sonic conception of Luis Marte digs to reveal the light of isolation and singularity.
Óscar Santis
(Concón, Chile. October 2021)
Sarmata is an analysis of emotional concepts that do not give in to any intuitive format of explanation.
A few years ago close members of my family had tragically passed, several dear relationships had been severed and multiple toxic ones established eventually leading me to a complete breakdown.
With nothing else but wonky synthesizers and impractical sound design choices to keep my company an idea to rip out the heavy emotional background noise that I experienced daily was born.
Through audial exploration I managed to return to my child-like self, along with values I thought I had scattered along the way.
I leave this with you as a monument to the time I believed to be the dawn of my being.
A Fractales Multipolares sonic epiphany/experience
“There is no Brian Cox-style smiling mediator to console the listener, nor any daft simulation of alien invaders or meteor attacks. Just an immense suspension of light and sound, not cool, not cold, not warm. Their very relationship to time and place, their evocation of those distant corners of space that always existed and always will, irreducible to melody or narrative, accounts for their timelessness.”
Excerpt From: David Stubbs. “Future Days.” Apple Books. Pages 497-498.
I remember sitting beside a small stage at Universidad Católica de Chile’s music school auditorium. In front of me, a 24-channel mixing desk, panning and amplifying an impressive array of synthesizers, rhythm machines, effects, cables and keyboard stands stacked in front of an eager audience, ready for a “sonic epiphany”. It’s a “Fractales Multipolares” concert, booked as part of the second “Voltajes Aleatorios” synth event, curated by the homonymous Foundation. I’m still holding the mike I introduced Renzo Torti-Forno and Guillermo Morán with to a crowded space. The experience starts slowly, mysteriously: “guttural”, unaccurate. Metallic sounds take over the first minutes of the concert. Machines warming their transistors, microchips, and circuits up for performance. Slowly, but persistently, a thick, fat, subtle sonic palette takes over the entire auditorium, wrapping us around.
Electronic dinosaurs awakening, roaring in large numbers, delivering a varied sonic palette (once again!). Electricity takes over the auditorium and us, attentive listeners identifying and vibrating with the landscapes, textures, sonic atmospheres, subtly, accurately mixed by the synths. Shrieking, elated sounds coming from those machines, resonating with their surrounding sonic range on us all. These experimental surfaces by “Fractales Multipolares”, Renzo Torti-Forno and Guillermo Morán, took us on a textural, atmospheric trip, reminiscent of the 1970s Tangerine Dream. Torti-Forno and Morán painstakingly set up a huge collection of synths and rhythm machines on that small stage before, just to play it in front of an excited audience, yearning for the event to come.
Around minute eight, a low, reverberant wave emerges, filling up the place and setting us on an thick realm: melodies, rhythms, moving in slow intervals, reappearing along different scales; a dense, powerful journey for the listener, result of the experienced link between machines and the two synthesists. Sound history echoes old school step sequencers, invoking that glorious, epic Tangerine Dream, Klaus Schulze Berlin scene to the experienced listener.
While listening to “Fractales Multipolares”, it is worth bearing in mind that, according to Wikipedia, a fractal is “a rough or fragmented geometric shape that can be split into parts, each of which is (at least approximately) a reduced-size copy of the whole”. We can find this particular geometry in Nature itself. Multipolarity points to an absence of a center or unity, favoring diverse poles of action, imaginary and ideology. A multipolar fractal, then, is a geometric experience that acquires a fragmented and irregular quality in a diversity of poles of action, no center needed. An infinite repetition of different scales. Considering this definition, it contains a repetitive, irregular, fragmented reverberation that, as the quotation above suggests, generates a relationship with time and space, an evocation of those distant corners of the universe that existed and will exist forever, irreducible to any melody or narrative, accounting for the timeless character “Fractales Multipolares” melodies, leads, and sequences presented that 2019 evening. Towards the end of almost 35 minutes of music, a synesthetic, angelic image brings us closer to pop, Air-like structures, calling and sonically opening those doors, delivered by additive sounds from a Seiko DS-250 synthesizer. It feels like entering the sky, driven by high-quality, deep atmospheres, a soft, but steady rhythm, presented at the end as a mysterious whole before the applause, like briefly meeting an entity that, despite my efforts, I’m not able to describe.
Listening to this only performance (by now) by this learned, fragmented, repetitive duo, opens up a multiple experience, meeting a complex and vigorous palette, connecting different synthesizers, rhythm machines, and effects styles, techniques, treatments, taking us through ambiences in deep darkness, opening up the ether of Heaven. But this experience, beyond possible visual projections, is multi-sensory, “the kind of music you saw as well as heard” as David Stubbs states in his book Future Days. Krautrock and the Building of Modern Germany (Faber & Faber, 2014) dealing with Tangerine Dream -an important “Fractales Multipolares” reference-, who developed a unique sound palette using modular systems, sequencers, effects and tape hiss, a language “that drew on a wider, academic training rather than simply looking to hone iconic postures of rock attitude.” (excerpt from: David Stubbs. “Future Days.” Apple Books (492)).
My experience is over, while I remember and listen to the audio file again, an imaginary and synesthetic meeting in mind, but, alas, unable to figure out what it is made of. We just rejoice ourselves in the powerful, different, necessary delivery that, at times, stays away from both a certain rhythm and the usual genre frames, raising up glimpses of a multipolar, multi-referential way of understanding, feeling and making synthesizer music at this southern end. I can remember that sonic epiphany now because of this recording. “Fractales Multipolares” delves into strange regions, not included in Chilean cartophony or sonic maps, but roaring to get on the scene. The invitation is to make yourself comfortable, turn the volume up and travel freely through this sonic landscape!
Andrés Grumann Sölter aka Andérs Klümppe
Profesor universitario y creador sonoro / Professor, sound creator.
(Santiago, Chile. Octubre / October 2021)
www.zenapolae.com/releases/zen237/zen237__(((M)))__00_)))(((.mp3
Markus Masuhr – The Dub Theory „Chapter Four“ (Insectorama115)
This is the fourth part of the dub theory series with 10 new tracks that should take you on a journey through forests and mountains to the sea. Slow down your life and go in search of serenity and relaxation into the depths of echoes and chords surrounded by wobbling basses and constructs of danceability.
Tracklist:
1.Light over the Valley
2.Difficult Climb
3.The Meadow
4.Late Summer
5.Autumn Dusk
6.Swinging Flowers
7.Planetarium
8.Through the Galaxy
9.Approaching over the Sea
10.Fair of the Senses
Insectorama115
all tracks produced with a Modular System by Markus Masuhr
Mastering and Design by Markus Masuhr
A new album, then. Seemingly casually screwed together from the wrist. Dominik doesn’t make many words about it:
“The tracks are (as usual) one-take recordings of the modular system, partly also with generative elements.
Often carried by 2 modular CS-80 voices and almost beatless, the tracks on this album are rather minimalistic, emotional and intimate.”
This description is technically accurate, but of course does not do justice at all to the monumental sound and sense spaces of his music. It’s about as if a Cologne resident would say, “Yes, and at Roncalliplatz there’s a big church, quite a lot of stones were laid for it.”
And indeed, Dominik Vogel’s tracks are surrounded by a certain sacral air. On the one hand, because they come along carried and in places dissolving in long reverb tails. On the other hand, because all the titles can be understood as small, spiritual impulses. If you want to.
Of course, you can also simply enjoy the whole thing as ingenious sound play and not be misled by the titles. And yet we have the well-founded suspicion that there must be more than we initially want to perceive.
Great art always holds a secret.
Faestos – Departure From Sol (Insectorama114)
Faestos landed on Insectorama with its first publication. 5 unbelievably atmospheric dense tracks, which lead from ambient to soundscapes to wonderful dubtechno and take you on a cosmic journey that you will not soon forget. So lean back, the spaceship in the direction of Jupiter will now take off.
Tracklist:
1.Orbital Station Gaia Prime
2.Navigating The Asteroid Field
3.Jupiter Gravity Assist
4.Journey Through The Oort Cloud
5.Interstellar Drift
![rADio eNd – Paroxysmic Rhapsody [Part 2]](https://archive.org/download/rADio_eNd_Paroxysmic_Rhapsody_Part_2/cover.jpg)
The Necrophile Hummingbird presents Paroxysmic Rhapsody by rADio eNd. “Dialectic Music for Holistic people”
The origin spark happens while I was reading the notice of that George Gershwin record “Rhapsody in Blue”.
So this album maybe also a kind of experiment in modern music. It seems that in this album there are two points of view on the reality around, first from… an isolated cell, next from.. the subconscious constellation. The album is split in two parts because of this, and also to fit with that time of small attention span.
Where is the synthesis ? Anyway music is worth more than any talk and deeper than any thoughs.
This said it could seems to be a conceptual avantgarde album. Maybe it’s more a primitive recreation of classical music.
My only certainty is that to be free generate more freedom. What you are listening is building up your reality.Our balance balance the world.
May I dream ?
Thanks so much to all the friends who are members of rADio eNd in this album. For the first part long time friend Ben Presto & Planetaldol. For the second part Innocent but Guilty, Tarka & Myrh, Studio 112, Walt Thisney.
And to you dear listener for welcoming our dreams in your reality.
Free Download in Wav & Flac on the bandcamp.
yoshiwaku.bandcamp.com/album/paroxysmic-rhapsody
Members credits :
Track 1/2/4 Ben Presto https://soundcloud.com/oinko
Track 11 Bissecta SâVge https://soundcloud.com/bissecta & Myrh https://soundcloud.com/myrhyum
Track 7 & 8 Innocent But Guilty apocalypsesounds.bandcamp.com/
Track 3 Planetaldol planetaldol.free.fr
Track 8/9/13 Studio 112 studio112.bandcamp.com
Track 6 Walt Thisney walthisney.bandcamp.com
Ed End ello.co/ed_end
More info about rADio eNd process.
www.horsnorme.org/rADio_eNd/rADio_eNd_english.html
Here are the lyrics of Will-O’-the-Wisp over the world.
Les étincelles originelles. The original sparks.
Dans la nuit dansent des lueurs.
In the night glowing lights are dancing.
Nous ne sommes pas des balises de détresses.
We aren’t emergency locator transmitters.
Nous connaissons les émotions qui palpitent en toi.
We know the bursting feelings in you.
Animal en cage dans une société d’esclavage.
Caged animal in a slavery society.
Nous te comprenons. We understand you. Nous sommes avec toi. We are here with You.
Nous sommes un appel à la vie.
We are life. Life is calling you.Listen the call of life.
Pulsations qui franchissent l’espace et le temps,
Pulsations from beyond time and space,
pour atteindre celles et ceux qui dorment derrière leur écrans.
For reach those asleep behind their screen.
Nos clameurs percent les ténèbres.
Our clamors break through the darkness.
Nous ne sommes pas des étoiles lointaines.
We aren’t distant stars.
Nous sommes les étincelles originelles,
We are the origin sparks,
qui cherchent à entrer en contact trying to get in touch avec toi. with You.
Nous sommes ta part d’humanité qui cherche à te réveiller.
We are your humanity core trying to awake.
L’humanité aveuglée s’est condamnée à la peine capitaliste.
The blind humanity condemned itself to capitalist punishment.
Blessure mortelle qui ravage cette terre.
Deadly wound which ravages this earth.
A travers leurs barreaux virtuels les prisonniers entendent nos musiques étranges.
Through their virtual bars the prisonners listen our stange music.
Ils pensent à une hallucination, alors que c’est ce qui leur semble réel l’hallucination.
They think of a hallucination, when it is what they think is real the hallucination.
Leurs cerveaux l’ont construite pour supporter la dure réalité de la prison de fer.
Their brains built it to face the harsh reality of the iron prison.
Déconnectés de la vie, Disconnected from life, ils sont bombardés d’informations, they are bombarded with information, comme on gave les passagers des avions transcontinentaux, like cramming passengers on transcontinental planes, pour oublier la mort qui guette. to forget the lurking death. Programmés à se soumettre au dictât du profit et de la dette.
Programmed to submit to the dictates of profit and debt.
Nous étions les rêveurs de ce monde, ce que nous rêvions prenait forme.
We were the dreamers of this world, what we dreamed of came to life.
Le poison injecté dans nos cœurs nous a fait croire que nous étions incapables.
The poison injected into our hearts made us believe that we were unable to do so.
Le pouvoir occulte nous a volé le pouvoir de la création.
The occult power has robbed us the power of creation.
Sur ce qui était un jardin, il a étendu l’uniformité du béton,
On what was a garden he extended the uniformity of concrete,
une science sans conscience, des lois et des dogmes pour donner l’illusion que tout est sous contrôle. A science without conscience, laws and dogmas to give the illusion that everything is under control. Jusqu’à ce que tout soit sous contrôle. Until everything is under control.
Projection d’un film catastrophe pour annihiler toute résistance.
Projection of a disaster movie to annihilate all resistance.
L’humanité a été condamnée le jour où elle a accepté cette sentence comme une fatalité.
Humankind was doomed the day it accepted this sentence as fatality.
Nous sommes nos propres bourreaux chaque fois que nous portons un jugement.
We are our own tormentors whenever we judge someone.
Nous exécutons la sentence chaque fois que nous oublions l’amour.
We carry out the sentence whenever we forget about love.
Chaque fois que nous renonçons à la liberté.
Whenever we give up to freedom.
Il n’y a pas de savoir à transmettre, pas de solution, autre que l’amour est la vie.
There is no knowledge to impart, no solution, other than love is life.
Mais l’amour n’est pas ailleurs qu’en toi.
But love is not elsewhere than in you.
Si tu vis, tu aimes et tu crées l’envie autour de toi, l’envie de la vie, de connaître l’amour en soi.
If you live, you love and you create the desire around you, the desire for life, to know love in yourself.
Celui qui libère, qui invite au partage, à dépasser nos peurs, à faire nos propres choix.
Quels qu’ils soient.
The one who liberates, who invites us to share, to overcome our fears, to make our own choices. Whatever they are.
Notre message répété sans fin, sous toutes formes, spolié et dévoyé par les religions,
Our message repeated endlessly, in all forms, despoiled and misled by religions,
qui s’inscrit en chacune et chacun, le jour où il née de l’expérience de la vie.
Which is inscribed in every one, the day it is born from the experience of life.
Dans l’amour, il y a toutes les autres émotions, comme en toi, pas d’adversaire,
In love there are all the other emotions, like in you, no adversary,
si tu te diriges tu n’as plus besoin d’exclure, si tu n’as pas peur, chaque chose t’apporte du bonheur, dans la souffrance comme dans la joie.
if you direct yourself you no longer need to exclude, if you are not afraid, everything brings you happiness, in suffering as in joy.
La réalité est une lecture consciente d’une trame non déterminée, nous façonnons nos vies.
Les histoires figées, les livres, les films ou les jeux ne sont que des reproductions extrêmement limités de la vie. Les sacraliser c’est nous condamner à ne pas pouvoir apprécier ce qui nous rend réellement heureux.
Reality is a conscious reading of an undetermined frame, we shape our lives.
Frozen stories, books, movies or games are only extremely limited reproductions of life. To idolize them is to condemn us to not being able to appreciate what makes us really happy.
Morne, Foucherans the 23th October 2020 for rADio eNd.
Also a Video Art Clip will be soon here www.bitchute.com/channel/mixuptv/
The Necrophile Hummingbird presents “A Live Au Sanctuaire” by PIRATE Tapes. Last of 2 concerts recorded before and after the first lockdown. A way to show how the spontaneous music that we call “improvisation” is slightly closer of Karlheinz Stockhausen’s intuitive music than of the jazz improvisation. Indeed it’s mostly a live session as we use to do when we record one of our album before split it in several parts and title them as tracks… but with public.
Merely nothing prepared, we plug and play that’s all : total improvisation.
Free Download in Wav & Flac on the bandcamp zonefusion.bandcamp.com/album/a-live-au-sanctuaire
Improvised music recorded live in the sanctuary of the Mont-Roland (france) the Sunday 28th June 2020.
Members :
Alain Grille studio112.bandcamp.com
Ed End ello.co/ed_end
Krackers https://soundcloud.com/doktorkrackers
3 free WAV tracks of ambient/chillout music for monoKraK netlabel (www.monokrak.net)
mastering by Pheek (audioservices.studio)
