The album “Discrete Objects” was conceived whilst observing geometry in nature and trying to make a connection between it, neuroscience and abstract physics theories. This led to the question; could using a series of ‘discrete objects’ intentionally cause a cognitive change in the listener?
To test this idea, a number of processes (discrete objects) were used to enhance the recordings. This envolved the subtle usage of neural oscillators (alpha, beta, delta, gamma and theta waves), isochronic tones, binaural beats, harmonic counterpoint and stereo placement.
The result was a slowly evolving musical body of work in which the listener is gradually coaxed into an altered state, vaguely equivalent to ‘tripping’.
In order to fully take advantage of this album, playback on decent stereo speakers that are optimally placed, or good headphones are recommended. However, Discrete Objects can still be enjoyed from a purely musical aspect without these recommendations.
“The album De Sica is made using custom modular patching systems for synthesis and composition in which the analogue and the digital join hands: a continuous signal through patch cables performing analogue voltage control of an almost infinite variety of parameters and available hardware modules.
Many forms of music simultaneously existing locally and accessible in the global exchange are creating a continuum of events–geographically and historically–musical works that transcend discrete performances. Relatively differentiated musical objects (releases, labels, creators) or images of music can be ‘dequantized’ into a continuity of known and undiscovered structures. Music is continuous with everyday life from which it emerges.
The creative force on this album is sourced from personal stories and since it is part of an infinite music space, its undulations between music and noise are deeply interconnected with community, society, and politics.” (excerpt from liner notes on the USB-booklet)
released May 8, 2019
Miha Šajina · composition, recording, production
Blacklisted Mastering · mastering
Maruša Hren · USB booklet
Luka Prinčič · liner notes, design, executive production
Lina Rica · video support, source graphics
Stella Ivšek · promo design, Rentgen streaming
Second digital album in Nostress for Tonoptik from Saint Petersburg (Russia). This new digital LP “Practical” was played and recorded with the artist zll’. Organic sound of analog synthesis is presented in the form of “sound sculptures” smoothly changing in time.
KMPST brings the best of the Moscow underground electroacoustic free improv tablet electronica and marks the beginning of a new exciting era on top-40.org with back-to-the-roots hidden gems, original hits, and more entertaining explorations of the unknown.
KMPZ SESSIONS are designed as an acoustic labyrinth without exits but with many escape routes through paradoxical gaps in the aural continuum. Primordial, almost shamanic rhythms meet futuristic mech-a-droids in the vortex of high-freq noises and digital glitches, Amnesia Scanner versus self-mutated Autechre audio algorithms, dark soundscapes, and Muslimgauze’esque faux ethnic vibes.
The opening track KMPZ 015, a rudimentary clicks’n’çutz dark breakbeat anthem, sends us off on a rather epic hour-long journey through an abstract experimentalist interacoustic universe. From suspenseful, uncanny deep dub pulsations on KMPZ 001 to a slowly unfolding, swampy bass micro-ambient soundscape KMPZ 004, with a slightly attenuated KMPZ 008’s distant motive and granular proto-rhythmic vibrations and entrancing melodies of KMPZ 012, KMPST presents a compelling yet highly abstract musical story.
“Pueblo Nuevo Netlabel is always honored to present. This time it’s my honor -and I really mean it- to present #soloshow, recorded by the very talented Gerardo Figueroa.
The story begins when Lorena López Araya, Chilean artist based in Villa Alemana, gave Gerardo a series of audio files containing readings of poems of her own to “do as he pleased”. This was 2016. A couple of years later, he selected fragments of one of those files and decided experimenting with them at a very special occasion: an improvised live-act in the context of a poetry festival in Padre Hurtado, where he shared his choices using a DJ software (Mixxx).
#soloshow is mainly and strictly organized around the poem, so each and every sound/noise in it is nothing but a mixed-up/looped/reversed/accelerated/paused single female voice. Volume goes up and down sometimes, speed and pitch also swing. Sometimes, words mingle in unison, becoming strange and detached, with no clear message behind.
Inside Inside Inside Inside is repeated several times, while words like hurting, crack, pouring pouring and oscillating are heard louder. Deconstructed and reconstructed verses, ordering/disordering patterns, altering the way we are used to listen to poetry. Words tend to disappear, resurfacing reversed, in seductive, odd-to-listen, hard-to-write utterances.
Sewing machines, a Ford factory with a row of ladies working, alienated; a rusty, slow truck down the countryside, an electric hammer breaking up some hard cement, a plane moving propeller before taking off, a minimal music electronic party or an Atari machine stuck in the middle of a game are some of the sounds this record seems to evoke, in seamless fashion.
It is not an easy record, this one: #soloshow is a poem turning into a sound piece, mixed and remixed using a limited amount of effects, turning prose into a journey through noise, in a deep sea, full of different textures, where voice becomes something so disparate you can’t even trace the source, a poem crowned with an powerful, alluring image:
D I R T Y B L O O D.”
Camila Sierra Madrid
(Santiago, Chile. Octubre / October 2018)
The music of oculoss is mainly of an atmospheric nature. Sometimes less is more, making his music ideal for listening while working, sleeping or doing other things.
In “Parallel Path” oculoss explores texture, consistency, and a type of variety that could be called subtle. This is not the utopian ambient of the typical soundscape artist. This EP is serious music for serious people.
Milanese Nwas is the sound of weightless bytes, carefully weaved to accompany the listener into a realm of self-generated paradoxical melodies. It’s music freed from the heaviness of pulse, liberated from the dictatorship of sequences and the weight of measurement.
Each track lives, like insects and plants, as if autonomous agents of a digital biosphere taken control of the computer and created a collection of aural epiphanies.
Working with custom designed softwares and advanced digital synthesis techniques, OOAME builds a self evolving micro-world of augmented harmonies in which the composer’s will acts as a mean of observation, rather than control, focusing on details of a larger and everchanging autonomous process.
Delicacy and fragility merge with pulverized melodies, fractional phrases and quasi conscious noise bursts, giving life to the Nwas concept (“noise” pronounced in French). Milanese Nwas is an experimental act of investigation of self-organizing art, searching for emotion and poetry in the silicon mind: a journey in the beauties of an impalpable artificial wildlife.
Chains of musical events collected in the album. The regularities set by the author are reflected in the listeners and create a pleasant, mysterious world of sound experiments and abstractions. Technical futuristic music with pleasant consequences.
“this this” is an extraordinary collection of sounds made with a Raspberry Pi (the credit card sized bit of circuitry which is used to teach kids about coding). Maguire manages to create a world of microscopic sounds, clicks, whirrs and fields of electrical noise that are compellingly alien, and yet capture something of the excitement of those early forays into “glitch” music of the mid ’90s. It’s a whole new delicate beauty..
“Professor Zacarías Malden could very well be an ‘alien’ who fell to Earth decades ago to gather the ABC’s of previous understandings regarding the ‘laws of electricity’, which had been developed along with others in the 18th century, and not without some rejections and incredulities on the part of the academic and scientific establishment confronted with Georg Simon Ohm convinced by his theory, the so-called ‘OHM’s law’. Theories related to electricity and the variables that affect the process of transmission.
Before and not far away, another central figure, also in the city of Quilpué, the Doctor Gozne, had published ‘Non Human’ (pn090) at the end of 2014, a work perhaps more human than what its title indicated and on the other side more rhythmic (in the classic and resounding sense) in relation to that which the new work of the ‘alter-ego’ Zacarías Malden instead insinuates. Probably his musical laboratory never required studies of the laws of Physics (‘probably…’) nor too much already more enclosed from Electricity, even so, you will find the ‘current’ vibrating in each track.
‘Rítmica’ (pn104), would seem to open a journey or a deep view to the stars and galaxies visible from his study or perhaps already from the controls his spaceship.
The listener may be invited by the Professor and in fact transferred to ‘the electric circuits’ of a Mission, ‘initial essential miniaturization’ of the passengers disposed to such risks; they then situate themselves in the marrow of analog and digital circuits and to periods of bitter struggle between mutant insects, contaminants, and interferences of electronic commands and their flow and that of an army of ‘Pacman’s’ pursuers acting as antibodies that sometimes manage to resolve and free from interference necessary sequences of the processes of transmission. So they sound to digital errors and they are obviously more than reminiscent of the ‘Click & Cuts’ present around the year 2000 and the electric ‘delicacies’ of the work.
The buzz of the insectoids in the most analog circuits sometimes disappears and opens a ambient layer of relaxed drones, but always accompanied by rough fabrics and textures, stratified sheets of vibrating scrap almost of a palpable materiality.
In ‘Rítmica’ (pn104) there is of course ‘rhythm’ but still, it must be understood in a different way and this forms part of the mysteries of this work, even in those occasions where it may seem almost absent. The melodies have to be on this occasion almost imagined.
The journey of ‘Rítmica’ (pn104) takes place very briefly, it opens and closes, and in a flash perhaps you wake up to reality neither more nor less than in the studio of the Dear Professor Zacarías Malden!
Don’t worry, the ‘system’ guarantees the return to natural size upon your return. You will not return as “miniatures,” nor will you have been devoured by the insectoids or by the ‘Pac-mans’
Luckily the electricity will not have disappeared out there! What is more we know that we can count on Professor Zacarías to deliver new and future entries of adventure in the form of installments and albums.
Felipe Raurich Böttiger
Capitán del Nautilus en el programa musical on-line:
20.000 Leguas de Viaje Submarino (Un Mundo de Aventuras Musicales)
(Valparaíso, Chile. Marzo / March 2016)
Abjective first arrived on Kahvi back in December as part of the VA compilation (Waves). Now they’re back with an album entitled ‘Into the Labyrinth’.
Heading towards the more glitchy end of the audio spectrum, the nine track album scratches on the edges of ambient (slightly reminiscient of Curious Inversions or the Orb), while including a touch of Autectre to give the tracks more of a distinct feel.
The album could be seen as a cleanse of the palette, taking the listener to more pleasant times, a summertime shower, or spring sunshine.
Tracks of choice: Summoning of the muse, Organium drone.
Netlabel Pan y Rosas Discos has released a new collaborative album from C. Reider and Jeph Jerman. The album consists of a single 30 minute track comprised of edited vinyl pops and crackles. C. Reider wrote the following about the album:
in 2015, my friend jeph jerman sent me a very lovely lathe-cut record. one side has a twelve minute track of the pops and crackles that are typical of vinyl records. all of the sounds in pop variations were derived from that recording, using various techniques, like running the pops & clicks through a de-clicking algorithm, or slowing down the recording to the point where you can hear the needle bouncing at each pop.
You can download the full release from the label’s website
Amigos de Cooptrol (Friends of Cooptrol) is a compilation of Uruguayan electronic music artists. The purpose of this compilation is to integrate and promote artists from the Uruguayan electronic music scene. These 26 tracks were produced exclusively for this compilation. The artists were given two simple guidelines: to make a “misterious” track, and to keep its duration under 3.30 minutes. The tracks are in alphabetical order of artist names. If you click on each track you can see the artist info and image.
serbia’s daniel aleksandar delivers a leftfield, heady eight-track album entitled retrospective. here you get an abstract and experimental array of minimalism with jazzy and ambient undertones — at times almost on the edge of soft idm. plus, two tracks feature collaborations with his fellow serbians, sloxxx and aleksandar nikolic. this album may soothe your mind. it may fry your mind. or both. either way, your mind will be expanded.
From 1979 to 1983, the Australian Terse Tapes label made cassette compilations. These are in danger of becoming “classics”, a complete betrayal of the energy that made them. There is no better antidote to cloying nostalgia than the corpse getting up and refusing the funeral.
So instead say that from 1979 to 2015, Terse Tapes made compilations, and here is more of the same. You could put it on a cassette if that matters.
I invited a few people I know, and they invited a few people they know, and music started to arrive in my inbox. I refused to listen to any of it until April Fools day. No one curated anything, although some people were nice enough to chase up their friends.
Having heard this music over the last 24 hours I can divide it into some useful ‘sides’, but keep in mind you are able to arrange it however you like in this non-linear wonderland in which we are trapped.
Side A: people who have doubts about music.
Side B: people who do not fear a pretty tune.
Side C: people that make graphs and grids.
Side D: people who could plausibly perform in a public ale house
Side T: time lords
Although supplied for no payment, there are specific rights attached to the recordings, which remain the property of the artists. Do not sell this music for a profit, do not use this music for any commercial purpose, including but not limited to, placement alongside advertisements or behind paywalls.
released 01 April 2015
Organised by Tom Ellard at Terse Tapes, Sydney, Australia. Contents made in the USA, UK, Canada, Switzerland, Australia and other parts of the universe that man may visit from time to time. May contain nuts.
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