Fernando Cerqueira aka Rasalasad started its activities in the late 80s with the Atonal fanzine and the SPH label, where he released Jim O’Rourke, Merzbow, Smersh, Maeror Tri, Brume, The Haters, Telectu , etc.
Founder of Thisco records, which has released cds from Rasalasad, Merzbow, Kk Null, Rapoon, Lasse Marhaugh, Jarboe, Von Magnet, shhh … among many others.
Alongside Thisco is editor of the occultural anthologies Antibothis which features texts and sound works from Hakim Bey, V. Vale, Carl Abrahamson, Andrew Mckenzie (Halfler Trio), Critical Art Ensemble, Pentti Linkola, Erik Davies, Robin Rimbaud, Francisco Lopez, etc.
He has several works released through on Symbiose, Thisco, SPH, Grado, Blocsonic, Illuminated Paths, La Nostalgie de la Boue, Grain of Sound, Digitalldizzy, Spettro Rec., Petroglyph.
His most recent releases includes collaborations with Matthew Waldron (irr.app (ext) / Nurse with Wound ), Merzbow, Emil Beaulieau, Jarboe (ex: Swans), Von Magnet, Hiroshi Hasegawa, Smell & Quim, Wildshores Antonym, Amantra among others. ”
From the Great Beyond. Brief summary from the exploration log of “La Mirada del Sonido” (The view of sound).
“We might expect that in the convergence of the works of Mika Martini and Iñaki Muñoz, one would encounter realizations that contain the most essential of the experimental music and visuality from this territory. From the auditory, Martini integrates sound clusters inspired by the electroacoustic ancestors of this generation, and from the visual, the glazes in motion of La Bella Violencia evoke the chromatic layers of Roberto Matta, adding without doubt, the chaotic force of chance and error.
Martini and Muñoz have experimented with the transit between materializations analogous and numerical, tangible and intangible. The work is configured as a portal. In ‘La Mirada del Sonido’ images and sounds are integrated, relieving a friendly narrative tension, it could be the soundtrack of an initiatory trip towards the center of our brain, where the neuronal transmissions seem to be granted an aesthetic through this work, chemically activating the DMT that exists in our systems.
These materializations, which function as neuronal chemical releasers, deliver a sensorial experience that determines a respectful concentration, where music and images are integrated into an organic volume that is perhaps unrepeatable, inconsistent, based on the unique experience of turning seeing and hearing into a total virtuality.”
Researcher, Curator y Audiovisual Artist
(Santiago, Chile. May, 2017)
From aeras, ayra; meaning wind, breeze, aura. In this compilation: Glenn Sogge, Atrio Serenade, Lingua Lustra, In Vitro and Inés Liedo, Boson Spin, Ivan Black, Twin Peetz, Capisconne, Moolsaasa, Eckul feat. La Marée, DDO, Doublereflect, Portchistot, Bicho Raro, Ohuican, mrscientificterms, Theo Nugraha, Ovni Noir, TSS Tortue Super Sonic .
Rough distorted rhythms and hazy melodies. A combination of raw machine jams and jagged textures of lo-fi pads. Fuzzy aesthetics built by field recordings, samples and personal memories. In his debut on sonic moiré nnls musically refers to streets of his home in Italy. Every track is a musical quote of a drive or journey, every title a reference to an existing road. A musical cartography of the artists environment. This piece portrays a persons connection to its environment and its paths, which is captured in the title of the album.
This album is also available as a limited, elaborate tape version and includes a mirroreffect packaging, booklet, download code, bonus tracks and a sticker.
Introspective drone / ambient / noise / shoegaze album. This album is about yearning for the deeper meaning of things, asking yourself if you really want to climb those steep slopes that drive you further and deeper into the mountain range. Why do we crave what is out of reach? Why do we want the unsustainable? What drives some to blindly follow their dream while others settle for the safe obscurity? Photo by Sandra Vallaure.
A “quipu”, was a method used by the Incas and other ancient Andean cultures to keep records and communicate information. In the ancient Quechua language of the Andes, “quipu” means “knot”. A Quipu is in fact a set of knotted loops, tied by a thicker rope supporting them.
Quipu is also a project created by Atome Primitf, a collective of musicians and “dreamers” from Europe, a project inspired by that same method of knots, stringing artistic ties and new collaborations, through cross-genre musical interpretations and audio-visual concepts.
In fact Quipu was born as an audio-visual concept. The four tracks of the EP started as original compositions of Atome Primitif, with the elements of voice, violin and acoustic guitar modeling an unplugged sound. Quipu traveled all around Europe, involving artists from different countries, each one adding their own personal knot, inspired by the compositions of Clelia Patrono.
Andrea Presicce aka No Finger Nails adds his own musical knot through his musical experience, ranging from Electronica to Dub. The EP consists of four remixed tracks, offering a very dub-ambient and mystical alternative, using the original organic sounds. The project expands also audio-visually, with videos and visuals being produced, on that same quipu idea. Dubophonic is very proud and honored to be part of this, tying its own knot in this continuously evolving project!
Gomon is the product of cold city sounds, which is mixed with guitar riffs and chthonic myths. The music of this project is a search for the atmosphere in the world of dreams for a breath of fresh air. The first album Kenoma comes from the faceless emptiness of human nature. We praise the biological body, its voice, its movements, which is decorated by plastic and metal. We bathe in post-rock among the stars, listen to the folk-echoes of our ancestors and descend into the depths of the subconscious with the help of ambient and drone elements.
“Red Kite” (‘Cometa Roja’ in Spanish) is a project by Sergio Sánchez, sound artist and anointed experimental musician in Murcia (Spain), that is born from the need to bring together several of his scattered works that did not follow the aesthetic criteria of his better known alias, ‘Jazznoize‘.
These compositions are differentiated by the use of distinct sound sources. While with ‘Jazznoize‘, the principle element for sonic experimentation is the field recording, with ‘Red Kite‘ it is precisely the opposite, electronic music as a compositional basis for generating sound structures that participate in what Kim Cascone called ‘Aesthetic of error’, centered on the less complacent drone and ambient genres. The post-digital sounds, with the use of software and instruments such as samplers and some low fi synthesizers, are the principle reference coupled with a Marxist ideological posture in the conception of his works.
An example of this is his new work under this pseudonym. It is titled ‘#1‘, and brings together topics inspired by some moments of the twentieth century, such as the revolution in Germany organized by the Spartakus League, or the Argentine dictatorship with his criticism of the 1978 World Cup that celebrated goals while a genuine genocide and the suppression of liberties was occuring, and also the revindication of revolutionary and anti-imperialist Marxism by a well known figure, Ernesto Che Guevara. The other two recordings move away from the political commitment to concetrate on highlighting figures like the composer Eliane Radigue. And in the case of ‘Olimpo’ (Olympus) it is a stylistic exercise, a simple re-reading of the previous themes using samplers from some micro-sounds. The most significant influences for generating the textures of ‘Red Kite‘ are Oval (his first works), Tim Hecker, Fennesz, Adam Pacione, Alva Noto, but with an isolationist edge in his sound and with a sense of repetition as a nodular element that redirects the noises and the melodies of his compositions.”
(Murcia, España / Spain. Abril / April, 2017)
Project [mikra] is a permanent resident of PZ104ORBIT. And the Izvнe project is presented for the first time. This is an electric musical duo of Sasha Polanski and Arina Kalinina from Velsk (Arkhangelsk region, Russia).
Split album “Deformation” consists of two “bonus” tracks, which were conceptually dropped from the current project material [mikra] and Izvнe. It turned out that the split all began to sound harmoniously and acquired its completeness.
4T Thieves es el productor a cargo de nuestra referencia número 87. Siendo un habitual de la escena netlabel, este productor nos ofrece un ejemplar trabajo de electrónica de corte ambiental con ritmos que fluyen a lo largo de una estructura en constante evolución. Dense un respiro y disfruten de Winter EP, donde el frío pasa a convertirse en un cálido comfort.
For its 33rd release, Da ! Heard It Records dives into the origins of Creation.
Recorded in five days in London, at James Ogilvie’s studio in 2010, Dragon’s Teeth is the confrontation of eddie 135’s experimental tweaks and Shitblaster’s science of mix. Saturated like the oil from the fish and chips that three musicians greedily gulp up between two work sessions, the series of improvisations produced by Adrien, Matthieu, and James one evening, serves as the sizzling play-do used to conceive this future disc. From this initial magma that blends rhythm boxes, Juno synthesizer, and a deluge of pyrotechnical effects, accidental beaches form and reveal little by little large blankets that wrap the listener into an actual flow of lava. Petrified, the listener thus takes all the time needed to let oneself become invaded by the ensemble’s numerous textures…
Taking everything with them on their way, the four gobbling geezers deployed here evolve in jolts to bring back from the depths this mysterious dragon’s tooth. Instinctive, brutal, yet mastered, this album’s boiling energy proves once more that the first idea is often the right one.
Dragon’s Teeth, the 33rd release of Da! Heard It Records, is distributed under a Creative Commons License BY-NC-ND. The album is available for free listening and downloading at the following link:
This album is about volatile things and moments. Friendships, relationships, life, random situations. It’s about the importance of finding yourself, knowing yourself, not losing track of what’s important. Getting used to navigate through the acid burns that life flings at you, but also learning to understand others, learning to understand yourself. This album is meant to be listened at home alone at 3 AM. Considering other people don’t appreciate loud sounds at 3 AM you might want to use headphones.
Tracks 1 and 2 feature instrument samples by Amir Baghiri and samples from the movie Still Alice.
Track 3 features samples from the series Making a Murderer and the movies Reservoir Dogs, Drunken Master and Zero Theorem.
Tracks 4, 5, 6, 7 and 8 feature spoken word passages read from the book The Vegetarian.
Track 9 features samples from the movie Zero Theorem, Curtis Hoard Videogames, The Straight Road and from a random 80s educational video on Missile Guidance Systems.
Tracks 10 and 11 features samples from the series Fargo.
Track 11 features sample from the movie Deadpool.
All other sounds in this album were conjured by Filipe ‘ps’ Cruz using Jeskola Buzz. Mixed down using Reaper.
“Of a tranquil but sure evolution, and generous in melodies that awaken the ear insistently, and to the precise extent, is this new album by the Valparaiso based electronic musician Baradit, a key figure in the scene constructed with machines and danceable beats in studios and clubs in the Fifth Region, being one of the founders of the excellent netlabel Epa Sonidos in 2001.
In this work, the author passes comfortably through many of the influences that have permeated his creation over time, always with interesting results, from musical movements that have remained in perpetuity due to their importance and teachings, such as the EBM, or the ever present and transformable synth pop, techno and other aspects that coexist within the most welcoming and evocative universe of electronics.
Scenes well built and cemented in electro beats, analog basses of good company, notes suggestive of contemplative feelings, are the basis of several of his compositions, like ‘Pruss Pruss’, ‘Guitar Day’, ‘Ocean’, ‘I Need’, to name a few. A good invitation to explore the electro pop happening outside the limits of our self-absorbed and centralized reality. Certainly, a pleasant experience.”
(Santiago, Chile. Abril / April, 2017)
The album is based on five melodic idioms. As any other repeated action their frequency occurs neither with monotony nor with irreflection but with a kind of advertence. This frequency gradually organizes all structures of consciousness, giving birth to genuine contemplation. ‘however, I desire to speak five words with my mind so that I may instruct others also, rather than ten thousand words in a tongue’ (1 Cor. 14:19).
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