This this this is this is this is you this is you this is you hearing this is you hearing this is you this is you this is this is this this.
Featuring overdubbed clarinet and vintage tape delay (emulation of the Echoplex EP3).
Tags: alternative, electronic, alternative rock, experiemental, folk, jazz and improvised music, underground, Czech Republic,
Creative Commons License “by-nc-nd”
Hlavní město Praha, Czech Republic
Adrien d’Elzius – Silent Revolution
www.abstraktreflections.net/releases/adrien-delzius-silent-revolution
A hallowed place, a special space – where secret codes adjure, conjuring delectable sustenance. Beware tipping your hand prematurely, lest the beast strike!
Featuring choir, snare and tom drums, orchestral strings, french horn, flute, oboe, organ, affected piano, and low woodwinds.
Composed and produced by René Muñoz Córdova.
Cover art by René Muñoz Córdova.
The sound work was composed between months Aug. 2023 to Sep. 2023 using different kind of not traditional music instrument, sonic material recycles of society’s debris, and also with computer music.
Advice for optimal results:
Download Zip file 24bit/96khz release.
Island Flux remixes brings together a diverse group of artists who were given the raw elements from Dissolved’s 2022 album “Island Flux”.
Given no restrictions, each artist has placed their own unique stamp on the tracks, resulting in a collection that stretches and morphs into new expanses while allowing the ghosts of the originals to still exist. The original album cover depicted an unknown and strangely isolated island, located ‘somewhere’.
To reflect the way these remixes expand and change the originals, the original photo has been artificially expanded, revealing a new expanse of ocean and sky, somehow making the island even more remote and mysterious and allowing the music to take you on a different voyage.
Original tracks taken from the album “Island Flux” by Dissolved.
https://dissolved.bandcamp.com/album/island-flux
Reinterpreted by the respective artists.
Released by S27
Cat No. [S27-201]
https://section27.bandcamp.com
Thanks:
AtOm_AnT
atomant.bandcamp.com
Weldroid
weldroid.net
Pinklogik
pinklogik.bandcamp.com
Peltiform
discogs.com/artist/11854205-Peltiform
exm
exmat.bandcamp.com
Michael Valentine West
uvg212.bandcamp.com
Apydiagirls
apydiagrils.bandcamp.com
Room of Wires
roomofwires.bandcamp.com
Kim Cosmik
kimcosmik.bandcamp.com
Christopher Lombardo
christopher-lombardo.com
Floating Spirits
floatingspirits.bandcamp.com
Mitoma
mitoma.bandcamp.com
Algid Tapes
(……………?)
The Space Between Numbers
mrsjynx1.bandcamp.com
Milieu
milieu.bandcamp.com
Sweguno
soundcloud.com/sweguno
Yukari is a 3-track EP that brings us barren, almost deadly industrial landscapes that fuse vastness and apocalyptic vibes with an oddly personal paranoia.
This is a release for noise connoisseurs who love listening to a record and letting themselves be carried away by madness or senescence depending on how they feel about this style of music.
Each track composed by the respective artist. Links:
– DANNY IMPULSIV: https://dannyimpulsiv2.bandcamp.com/
– Humanfobia: https://humanfobia-official.bandcamp.com/
– ONKVLO: https://soundcloud.com/onkvlo
– Quick on the Drawing: https://soundcloud.com/pieter-rotthier
– Redskalli: https://modelomoney.bandcamp.com/
– DJ LOSKA: https://djloska.bandcamp.com/
– TROPIC∆L P5∆LM5: https://tropicalpsalms.bandcamp.com/
– JUST01: https://soundcloud.com/justzero1
– The Hypergiants ASMR: https://hypergiantsasmr.bandcamp.com/
– Story of the Lie: https://storyofthelie.bandcamp.com/
– ₩нΔ† Jø¥ †нэяэ î$ îи Lîvîиg:
https://whatjoyisthereinliving.bandcamp.com/
– H∐ϻ▲NҒØɃᏆ▲: https://archive.org/details/fav-mist_spectra
– Filmy Ghost: https://archive.org/details/fav-sabila_orbe02
– Order 0v Thee Octopi: https://soundcloud.com/jameshootman/tracks
– Wivresse ᚂ: https://soundcloud.com/wivresse2/tracks
– Charnel House: https://soundcloud.com/charnelhouse1/tracks
– {AN} Eel: https://heel2.bandcamp.com/
Featuring shakers, strings, piano, upright bass, clarinet, bass clarinet, synths, voice, electric guitar, electric bass, drum kit, and granular oboe, flute, and cello.
Fields Ohio – Don’t Stare at the Sun When Your Hands are on Fire
Bien que moins souvent à l’honneur dans nos pages que d’autres projets du New-Yorkais Eddie Palmer (citons Cloudwarmer, Aries Death Cult ou feu The Fucked Up Beat en plus de ses albums solo), ce duo plus acoustique et psyché qui l’associe à la multi-instrumentiste et vocaliste Christine Annarino fait preuve d’une belle constance depuis une dizaine d’années d’existence, avec une quinzaine de sorties au compteur, pour l’essentiel en long format.
Déjà auteurs cette année de l’excellent “Valkyrie”, typique de l’univers des Américains entre trip-hop mystique aux accents world music, downtempo-patchouli densément arrangé et touches electro hédonistes, on imaginait les Fields Ohio persister et signer dans leur admirable pré carré Ninja-Tunesque (de la belle époque) avec cette suite. Loin s’en faut ! Si “Don’t Stare at the Sun When Your Hands are on Fire” se décline au gré de la double-hélice d’un ADN désormais bien connu, il donne également l’occasion aux deux musiciens de se réinventer avec subtilité. Les rythmiques ici sont souvent plus feutrées, les textures plus oniriques et gorgées de reverb au diapason des nappes de synthés scintillantes d’Eddie, les lignes acoustiques et vocales de Christine fondues dans l’ensemble avec une homogénéité toute particulière, les mélodies presque serpentines et d’une fluidité qui évoque l’eau, élément omniprésent sur le disque.
Souvent inspiré par la contemplation de la rivière Hudson que surplombe son appartement new-yorkais ou par ses sorties au bord de l’océan, Eddie Palmer y trouve en effet matière à se concentrer sur le présent, autre thème central de l’album. “Don’t Stare at the Sun When Your Hands are on Fire” sonne ainsi comme un rappel à l’ordre que l’on se fait, dans ces moments de chaos que la vie nous réserve : affronter les problèmes un à un, un jour après l’autre, sans se préoccuper de trop d’un futur encore lointain et abstrait. Autant de sensations – ligne d’horizon, impermanence et abstraction – qui président à cette superbe collection d’instrumentaux au groove impressionniste et hypnotique.
—–
ENGLISH VERSION
Although not featured in our website’s columns as often as other projects by New Yorker Eddie Palmer (including Cloudwarmer, Aries Death Cult or the late great The Fucked Up Beat, in addition to his solo albums), this more acoustic and psychedelic duo associating him with multi-instrumentalist and vocalist Christine Annarino has shown great consistency over the span of its ten years of existence, with about fifteen releases so far.
After dropping earlier this year the excellent “Valkyrie”, representative of the band’s signature sound somewhere between mystical trip-hop with “world music” elements, densely arranged downtempo psychedelics and hedonistic electronic touches, we imagined that Fields Ohio would go on with that “great Ninja Tune era” trademark with its follow-up. Not exactly though ! Even if “Don’t Stare at the Sun When Your Hands are on Fire” remains consistent with that henceforth well-known DNA, it also gives the two musicians the opportunity to subtly reinvent themselves. The beats here are often more subdued, the textures more dreamlike and bursting with reverb in tune with Eddie’s scintillating synth pads, Christine’s acoustic and vocal lines melt into the whole with more homogeneity, and the melodies’ fluidity evoke water, an omnipresent element on the record.
The contemplation of the Hudson River from his New York apartment or his outings by the ocean indeed help Eddie Palmer to focus on the present, another central theme of the album. “Don’t Stare at the Sun When Your Hands are on Fire” thus sounds like a reminder, in these moments of chaos that life has in store for us: facing the problems one by one, one day after another, without worrying too much about a still distant and abstract future. So many sensations – the horizon, impermanence and abstraction – which preside over the impressionistic and hypnotic groove of this impressive new collection of instrumentals.
Are birds always prepared? Some may be, but the Add Hawk most likely isn’t. Great speed equals much distance over little time – crossing such stretches so swiftly leaves little time for precautions.
Featuring synth (including Sega Genesis and Gameboy), orchestra, piano, and hawk.
Smoother than ice, and twice as nice – desired by mice, a vice to entice. Despite the device, an imprecise vise – a tasty slice, spice at any price.
Featuring synthesizers, orchestral strings, brushed drums, fretless bass, tubular bells, and effects.
Ten new trips to the future by LjdB with artwork by the infamous D.
Track one is inspired by the Belmez Faces in Spain, very intriguing stuff,look it up
Track 2 is inspired by the lovely D and Puzi-Cat
Track 3 is a Birthdaygift For the lovely Bria
Track 4 is just broken in many ways
Track 5 Is dedicated and inspired by the lovely Erin
Track 6 is dedicated to Peevee Herman and the title is just a play on words,nothing more
Track 7 Is about the rollercoaster at Bakken amusement park
Track 8 is dedicated to my friends Benjamin and Mille i met in the park at night
Track 9 is Disco but in reverse
Track 10 is Dedicated to Benjamin and Mille’s cute kitten Gumi
That about covers it <3
LjdB
Tick, tock, goes the clock – chimes are on, then they’re not. Sometimes we observe a pause, yet it lacks a likely cause. Onwards too we tick ourselves, and someday tock right off the shelf.
Featuring orchestral strings, woodwinds, female choir, drum kit, synthesizer, upright bass, acoustic guitar, tenor saxophone, and piano.
Yasuko Ko (故やす子) manages in this “Panda Breeding Diary” (パンダの飼育日誌) to pull us back and forth in an act of creation that transcends us.
From Japan only good winds and excellent creators. The tracks — in which the titles are dates (March 25, July 16, October 22 and March 20) — tell us about a small odyssey between the time that insists on being late and the rush to get to the right place.
Electronics, samplers, and vocals combined over 4 tracks that will make your body move.
It’s on this trip that we meet Yasuko Ko, who calls himself Mathcore Vocaloid Producer and who presents succinctly and intensely on this MiMi record.
Written / produced by Dissolved & Nonima
Released by S27
Cat No. [S27-200]
DISSOLVED
dissolved.bandcamp.com
NONIMA
nonima.bandcamp.com
For more like this:
DISSEMINATION FALL
section27.bandcamp.com/album/dissemination-fall
MACRO FLINCHING
section27.bandcamp.com/album/macro-flinching
FOIL SPLINTERS
section27.bandcamp.com/album/foil-splinters
Travel occurs for many reasons, yet a true journey implies discovery. Inherently uncertain, ambiguity can cause fear – but also excitement. What is discovered when one goes beyond the realms of prior exploration?
Featuring orchestral brass, strings, woodwinds, snare drum, piano, synth, choir, and upright bass.
Side 2 moves from the introspective minimalism of Andrew Greaves, to Spirit of Gravity founders This Sound Bureaucracy reminiscing on the psychohistory of the ‘Gravity, and ending up with Gun Boiler’s maths-as-mayhem banger.
Representing the range of what we do at SoG, from lurching breakbeats to free noise and many points in between, this album is a slice of our musical life.
Sometimes, something is sent – with intent to arrive at a particular place. Yet this intent, inattentively attended, is not attained. Instead, its receipt is actualized in an unexpected locale.
Featuring clarinet.
Beliefs keep us grounded – contrariwise, they imply possession of the opposing disbelief. But there are times where we should suspend both extremes, and allow ourselves to float in between belief and disbelief. Like sand in a shaker, our temporary defiance of ideational gravity can enable us to express things beyond our conscious imaginings.
Featuring orchestral strings, choir, piano, shakers, synthesizers, brushed drums, flute, and bass.
In 2022, Essl embarked on a daring exploration of new avenues in electronic music, shifting away from computers and digital tools to embrace the captivating world of analog modular synthesizers. This artistic journey birthed two captivating works: “Coastlines,” a work-in-progress performed on a MakeNoise O-COAST modular synth, and the suite “Throbbing Crystals,” a four-movement masterpiece played on a Doepfer DARK ENERGY synth. In these compositions, Essl discarded conventional keyboards and sequencers, opting instead for non-linear feedback systems that offered chaotic and enthralling sonic landscapes. He likened performing live on this “wild instrument” to riding a spirited horse across Lake Constance, where constant control and adjustment of countless knobs forged an unforgettable sonic trail.
In 2023, Essl ventured further into the uncharted territory of sound by exploring a broken analog mixer he stumbled upon in his studio. Remaining faithful to the concept of non-linear feedback systems, he experimented with different modes of interaction, generating sounds solely by feeding the output back into the input. This unique approach was orchestrated through instrumental control, utilizing faders and knobs to manipulate the sound, with even the slightest finger movement causing dramatic shifts in the sonic output.
In a whirlwind of creativity spanning just three days, from July 3 to 5, 2023, Essl recorded the seven tracks that comprise his magnum opus “Studies for No-Input Mixer.” Each track employed a distinct number of “voices” arranged in counterpoint, paying homage to Conlon Nancarrow’s legendary “Studies for Player Piano,” which served as an inspirational and motivational source, pushing Essl to brave the unexplored territories of sound.
*****
Beyond his remarkable accomplishments as a composer and performer, Essl’s journey in music has been enriched by diverse roles as an improviser, media artist, and software developer. He studied composition under Friedrich Cerha in Vienna and furthered his passion for musicology, completing his studies with a dissertation on Anton Webern. His tenure as composer-in-residence at the Darmstadt Summer School (1990-94) and IRCAM in Paris (1991-93) further fueled his artistic growth.
With a profound affinity for the poetics of serial music, Essl’s pioneering work with computers and algorithmic composition significantly influenced his approach to composition. During the 1990s, he explored innovative projects for the Internet while increasingly immersing himself in the world of improvisation. His prominence as a composer led to his feature at the prestigious Salzburg Festival in 1997.
In addition to his work in instrumental music, Karlheinz Essl is a trailblazer in electronic music, interactive real-time compositions, and sound installations. He crafts software environments to facilitate algorithmic composition and live electronics, allowing him to play his unique computer-based composition setups, as well as an array of instruments ranging from toy piano and electric guitar to analog synthesizers.
Karlheinz Essl’s musical odyssey is one of constant exploration and innovation, pushing the boundaries of modern music aesthetics and leaving an indelible mark on the landscape of contemporary electronic and experimental music.
Wriggle, squiggle – perhaps giggle. Wiggle, jiggle – down a big hill. Many a worm has many times squirmed, a term to confirms a firm worm that affirms.
Featuring bodhran, Irish flute and whistle, bouzouki, concertina, harp, fiddle, bagpipes, and acoustic guitar.
Vulpiano Records is proud to present a sprawling chronicle of the transcendent compositions released through the label during 2022, including Netlabel Day, by our generous and talented collaborators for a singular listening experience.
There is a continuous sonic motif of the sublime, and the possible impressions within contain multitudes: time and place, knowing, chaos, Gaia, the vastness of space, death, life, suffering, nirvana…In the long traditions of drone and ambient music, it is a canvas for the listener and an acoustic salve that opens channels new and subtly re-wires our senses.
Breathing out while listening, you sense the artists vaporizing and reshaping the rubble of the last few years – gifting us precious moments to do the same.
The label will likely be on hiatus for the rest of 2023 while we regroup and ascertain where to go from here.
A truly international production, as mastered by Andrew Beard from Beard Noise Sound (Northern Ireland) while enjoying the work of illustrations and artwork by Australian artist, Nicola Hardy.
Per Wikipedia – “400 (four hundred) is the natural number following 399 and preceding 401. 400 is the square of 20. 400 is the sum of the powers of 7 from 0 to 3, thus making it a repdigit in base 7 (1111).”
400 is also the name and number of this track – the 400th release of Jazzaria.
Featuring clarinet.
His issues are nothing, however, to what she brings to the band. Quinnissa, who was 13 when First Aid Kit was recorded has skills. “She’s a total ringer and a complete pro in a live setting,” Mulkerin acknowldges. “She’s a lot more reliable than her grumpy parents.” Indeed, Quinnisa’s voice has developed into an astonishing powerhouse of force. While she has been contributing to Big Blood records almost since birth, First Aid Kit solidifies her clear talent. All her lyrics are improvised in the moment while recording, a real shock to realize considering how insightful and perfectly suited to the song they are. “Never Ending Nightmare” candidly and perfectly describes the anxieties of being a teenager today: “The quiet growing inside me is louder/I should have known not to trust another stranger.” Or the heartache of “1000 Times”: “I think about you at least 1000 times a day/I can’t even say hi/What’s wrong, what’s wrong, what’s wrong with me?” What more, her natural ability to perform amazes her parents. “She’ll be slopping around all practice, and you are convinced she doesn’t have it,” Kinsella says. “Then we record and she nails the guitar and vocals, even does something better. She’s in control.”
Teenage impulses fit right in with the band’s intent, which is making music that’s honest, inclusive and flawed. Inventiveness in the moment wins out over belabored, repeated takes, as the group is in a constant state of creation. Songs sound fully built and realized, but they actually rise out of improvisation. Big Blood channel the moment and let go once they finish. “I think about Ursula Le Guinn and how she talks about everything she takes in becoming compost,” Kinsella says. “It mixes together, and when it comes out there’s all that stuff in it, sometimes it’s direct and sometimes not.” Mulkerin’s descriptions of different songs on the record run like faint recalled dreams. “I don’t remember much other than it flowed from the three of us absurdly quick,” he says of opener “In My Head”. “Haunted” has intriguing lyrics like “I’m haunted by your pictures/That faded like a memory” but, as Mulkerin says, “Colleen is not one to try for things in any sort of premeditated way, it just flows and evolves.” Many songs touch on the fear and horrors outside a safe home space, fitting for a record made during COVID. They sing about their feelings in the moment, so lyrics are often topical. “Makes Me Wonder” is about Ma’kihia Bryant, a 16 year-old black girl shot by police (“Be still the mess you make/The life you squeeze, you take,” and later in the song…”She should be alive today.”)
While any fan of the band will tell you that no two albums sound very much alike, First Aid Kit displaying for the first time their affinity for the emotional effects of bands like The Cure, Bauhaus and The Clean, there’s a clear thread throughout all their records. First, there’s Kinsella’s voice, which pivots from upbeat fun to pure dread, presumably based on how she was feeling that day she recorded. Secondly, Mulkerin’s production preserves layers of could-have-beens by keeping the ghostly presence of past takes alive in the background of tracks like subliminal thoughts. Their songs achieve the double satisfaction of being immediate, catchy and memorable, while also revealing inner depths at repeated listens. Some of the best experimental music is cloaked as mundane.
First Aid Kit was recorded entirely at the family’s home onto 1” eight-track tape. It achieves the magic of capturing a moment and making a lasting impression. There aren’t many family bands, and there’s definitely no other band like this.
-Ben Goldberg
