Brainquake is Marc, originating from the mail-art/tape-art scene in the late eighties and composing and collecting sounds since then under this moniker and few others. Ranging from ambient, soundcollages to electro, dark wave, from noise to industrial or even poplike tunes embedded in electronics or, the way he himself labels his sounds on recent releases, “endzeit emotronica”, the music of Brainquake is allways lengthy, strong in build-up and quite often heavily emotional.
On “Adrift” we hear Brainquake as a deja vu from his first releases: an intro, an outro, dissonants blending into bleakness, waves of emotion rumbling. The feeling of being adrift in a world of depravity and desillusion. Brainquake’s music takes time, time to evolve and time to be taken in. It’s about chaos blending in structure and blending out again. There seems to be no place for optimism in here but, in the distance, or in the details, there allways is. These sounds and this overwhelming sadness you feel like bad chemical taste from within, are not to simply to be listened to but to be unavoidably felt. Patience and darkness are our friends.
Released July 3, 2020
All sounds collected and processed February-May 2020
Recorded during a live session on May 2 2020 at Hemel Centraal, Belgium.
This project began over 2 years ago, when Gurdonark posted a tweet to MrDoob’s online art-site Harmony, and I suggested we each draw four pictures, and then other had to compose a piece of music to match the drawings.
Through many delays (including a cross-country move for myself) the drawings and songs were completed and you can see each drawing by clicking on the title of the song. If the music is by Gurdonark, the corresponding drawing is by Lee, and vise versa.
Gurdonark:
“Although I resist the impulse to believe that all instrumental music should trace back to a narrative or image in the way of a tone poem, I find my own music frequently arises from a feeling or a tells a kind of story. I liked that in these songs the two artists each created a single-image narrative, however simple and unadorned, and then used one another’s images to create new songs. A bit like a shape-note singing, the important thing was not the skill or lack of skill in the creation of the images or the music. The important thing, in image or song, was to participate and share..”
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credits
released June 30, 2020
More about Gurdonark: www.gurdonark.com
Special thanks to MrDoob for his Harmony art project that spawned this album
mrdoob.com/projects/harmony/
EMPTY BELL (INTRO)
ALL TO BE DEAD (BEINGS OF IMBERINDUS)
SENSE OF SENSES
LEONARD (INTERLUDE)
ICH BIN GEGANGEN, OHNE AUF WIEDERSEHEN ZU SAGEN
live @ Ganze Bäckerei, Augsburg, 30.11.19
mastering and photography by DREKKA
recording and design by EMERGE
All music by Imperatrix.
Vocals, model in the cover: Mist Spectra.
additional mix, voice effects, cover artwork design: Sábila Orbe.
Imperatrix is a composer from Vienna, Austria.
more music in: https://www.youtube.com/user/LabyrinthEditor/videos
updates: https://www.facebook.com/Imperatrix-245501002148590
Humanfobia is a dark experimental music duo from Chile.
https://humanfobia-official.bandcamp.com/
https://hearthis.at/humanfobia/
Pandacetamol is turning into a regular feature on Kahvi in recent times, this time he’s back with a twelve track album of minimal beats, dark factory atmospheres and a tasting of Autechre influences.
Off key leads, glitchy, shifting direction constantly. Something to chillout to in the summer sun with an ice cold beer or two.
Watch out for Pandacetamol’s retro sound of choice – classic acid.
credits
released June 23, 2020
From Sapporo, the japanese noise artist Yasuyuki Uesugi brings us eight tracks of old school noise.
The sounds on this album are repetitive with deep textures and exotic timbres. The drones unfold and unfurl into a huge soundscape giving us the impression to the listeners that we’re on a factory
This album is the view of an artist who dialogues with previous observation and impressive demonstration, dark and abyssal, however the sounds are not abrasive. sometimes mesmerising, sometimes close to harsh noise wall. A must listen!
credits
released June 23, 2020
April 2020.
The multidisciplinary platform Avantgardening commissioned to sound artist Shari DeLorian a music project to be performed at the first online edition of the festival. This become soon an a/v project in collaboration with French video artist Alice Bachmann.
This is the recording of the performance, called INESSERE, which has been performed on 19th April 2020.
Inessere is an audio/visual portrait of a place created by human beings, a place where you can’t and can be at the same time: a paradox of absence and presence. A world on a human scale, but deprived of its humanity; the spacial acoustics as the proof of its absence.
Credits:
Shari DeLorian: music
https://soundcloud.com/sharidelorian
Alice Bachmann: video
https://vimeo.com/entropiquestropiques
INESSERE
Racconto sonoro di un luogo creato dall’essere umano, in cui non può esserci ma allo stesso tempo c’è, in un paradosso di presenza/assenza. Un mondo a scala umana ma privato della sua umanità, l’acustica spaziale come fredda testimonianza della sua assenza.
Compiled, cover artwork design by Sábila Orbe.
pics taken from public domain use.
All Cian Orbe Netlabel releases: https://humanfobia.jimdofree.com/cian-orbe-netlabel/
updates: https://www.facebook.com/cianorbenetlabel/
https://ello.co/creativecommonsmusic
Insectorama presents the new Album from Ekodust. 7 Tracks that move between Dubtechno and Detroit.
credits
released June 11, 2020
all tracks produced by Ekodust
mastering by Wayne @ Obsessed Audio
At times, a tent appears in the hallways of a giant shopping center announcing a collective desire to elope. The times of cynicism and sitting on the beach chair, believing that nothing was going to melt from its foundations, are over.
The exercise of power is a pressure cooker, using (re)pression. Machinery requires to generate a drowning, and drown every slap made by the oppressed. It represses it with physical and economical violence, and with tons of images alluding to static structures. A majority category, a common point, to agree, but fundamentally unreachable and inaccessible in its totality. And there is a minority counterpart: poor, ugly, violeted, spectator of its own minority but immersed in the dream of being included, someday, by the majority.
But there is a third category, the one who does not want or need to continue playing the rules of a game that was created so that they would lose it. People with defective bodies, physically weak, second-level genres, depressed, shy and mutant, although they don’t stop moving. They require shaking and articulating themselves, know each other and look at each other, and so they realize that they were not so alone, and that they did not need the normality that the repressive images proposed to them. Seek the not obvious and realize yourself as a constant flow, that shakes and makes uncomfortable the status; questions, says and screams, and whose only way to be stopped completely, to be killed, is by condemning it to oblivion. Unfortunately, we have a good memory.
“minoritario” is an album that inserts us in a constant intermittency. Short rhythms and textures that draw a landscape where we are forced to be alert. The challenge of paying attention and perceiving what is around usduring a change of decade where we have the challenge of living with uncertainty every day. Musical pieces that announce the arrival of a momentthat does not stop becoming present, and in turn the challenge of facing what surrounds usto follow our constant march.
César Fuenzalida.
Comunicador Audiovisual.
(Santiago, junio / June, 2020)
Marghera
Presentazione dell’album
Marghera è un’esperienza sonora. Marghera è un itinerario musicale ed emotivo che porta a interpretare i suoni, a interiorizzare un messaggio soggettivo, personale, privato. Marghera è un’elaborazione di idee. Marghera è un riappropriarsi di un luogo-non luogo non antropizzato. Marghera è un gioco velato di sfondi.
Tinte malinconiche si alternano a spazi meditativi, tra densità e rarefazione. Suoni scolpiti, dialoghi, rumori, ritmi discreti; luoghi virtuali che diventano intimi, familiari; atmosfere eteree, vibranti, gassose, prodighe di suggestioni a tratti quasi rituali; ambienti sonori in cui abbandonarsi a sequenze di elettronica sofisticata, con tessiture ambient-glitch, o che indagano con pennellate tenui i diversi territori del suono. Un mondo ambient, lievemente pianistico. Un album che gioca sulle immagini, che presenta visioni di spazi esterni e di luoghi interni, da indagare con un punto di vista nuovo. Tutto questo è Marghera. Il resto va scoperto…
