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■ EPV_122
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■ bonus item
wallpaper for iPhone4&5 (lock & home screen) &
wallpaper for PC
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all tracks by tomonari nozaki
artwork by ono(elementperspective)
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■ tomonari nozaki
composer
tokyo
:: web ::
sites.google.com/site/unknownjptokyo/
:: external bio ::
Soun records(Slovakia)
www.sounrecords.com/artists/unknownjp
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Forwind(United Kingdom)
www.forwind.net/artists/TomonariNozaki
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Sebastien desconstructs his way through Erik Satie’s work in these reimaginings of his gnossienne suite. While conserving the original work’s nostalgic, burden-heavy tones, Trans Alp breathes in what seems to be a carefully executed attempt at suspense and space. Erik Satie’s compositions wander in Trans Alp’s vast and deep world, drenched in texture and echoing in space, like a drop of water falling in a pool of static.
Tommaso Busatto
Vaportronica [0kbps021]
01 – Sound parade
02 – Ecco lo spruzzetto omaggio
03 – Introducing vaportronica
04 – Premi pausa
05 – Inutile
06 – Macchinausea
contacts:
soundcloud.com/tommasobusatto
tommasobusatto.blogspot.it
vimeo.com/tommasobusatto
busatz AT live.it
MAV [0kbps] Records, January 2013
Once again, we are proud to receive and host the work by David J Fonseca in our digital catalogue. As we have said before many times, we are very happy to be able to maintain with certain artists some sort of regularity on releasing their work. Fonseca is one of those artists, that from time to time work out a set of compositions for us to share.
After his previous instalment on Audiotalaia, [at033] Al Borde del Silencio, Fonseca has been working quietly but thoroughly on this work he is presenting to us: Re Menor (D Minor in english). Re Menor is a work presenting a subjacent issue in artists like Fonseca. This issue – also confronted in the Sara Galán debut [at048] Incidencias – its about the burden that some of this artists carry. This is the burden of classical training as musicians and the eternal struggle to free themselves of conventions, rules, metrics and a predefined language. If Galán explored ways to introduce error and malfunction to the music performance, Fonseca takes a step beyond and just points out his background which is masked under the main structure of the album. As footnotes, Fonseca presents us the guitar as his major companion until the digital silence filed his expectations, for now.
So what we find here is a wink to the burden of the classical training and the quest for free experimentation. Each of the tracks are called after the musical scale we are used to, even each track is tuned accordingly.
Anyway, enjoy the rough edges, the digital silence, and the complex structures of Fonseca.
on trevas redux, his first album for pan y rosas, o divino reprocesses the sound of his saxophone and adds intermittent percussion and electronics to create a dark dream world. black lodge jazz club silencio action. a ship at sea. wood under duress. riverbed percussion. low throb of the old ones. glacial pack ice friction. radio transmissions to and from.
01 – Jimi Hendrix plays “Ma ‘ndo Hawaii”
02 – Vitti Tivvi
03 – Ogni Artista
04 – Vitti sintitoli
05 – E adesso sorridimi! Ma…
These tracks are part of the net.futurist sculpture “Stramberia di stellarità polverizzata + intrusione estroversa e metasonorità” (Marco Zappa, Antonio Saccoccio, Stefano Balice), exposed during an event in honor of Monica Vitti.
We fuse acoustic instruments with modern sounddesign.
You can hear bowed saw, cajon, guitar, vocals embedded in electronic sounds.
IMO is a large improvisors ensemble, founded in september 2010, It gathers about 45 musicians from all Switzerland and beyond. It is born from the INSUBORDINATIONS label and assocciation nebula that publishes and promotes the twisted forms of experimental improvisation since 2006.
The orchestra seek to devellop collective listening and playing, it creates sonic microclimats, subtles layering, looking for a single sound, generated by a common thought, carried by the impressive amount of musicians forming the core of it. With over 20 concerts and two residency, IMO has found his own and surprising path.
IMO goes in the direction of a practice where instruments loose their classical function – and sound – to become abstract sounding artefacts, establishing then a non-hierarchical relation between them.
“Drams is a collection of sound works held together by connections to notions of dreaming. While many of the pieces are, in a sense, ambient, whether from the presence of drones or use of field recordings, my intent was more to create a kind of animated presence- a surreal and vivid soundscape.
Some of these works were the result of participation in online events with the Society for Shorty New Music and ImprovFriday (now Sound-In); in some cases the events had themes such as âdreamsâ or âstoriesâ, or presented a given image to provoke a sonic reaction. Other tracks were simply improvisations that became compositions through editing, processing, and mixing. Some pieces explore microtonality, some are primarily instrumental in nature, and some are essentially acousmatic vignettes. Headphone listening is recommended”
-Bruce Hamilton
Sometimes, on the 12th of the month I go to church. It is a small hermitage on a mountain who dances with the wind howling at sunset and dance with birdsong at dawn. It was built 800 years ago the men to meet his God, to speak and listen, for hope …
I can not be like them.
I’ve tried, I’ve searched, far as I can, the corners of my psyche. I did it with reason and unreason; I’ve asked myself and I asked the world, trees, people …
But I can not be like them.
I envy them, they still have a loving father even after his death.
I can not be like them and, despite everything, I’ve seen …
It is a mystery that I can not comprehend, as a stimulus below the threshold of perception, like a ultrasonic melody of peace. It’s a secret, do not know what is. But I know that the road leading to it is called transcendence and living in the palace of emptiness. I know it only when you stop being myself, when I die really, I can see it.
Perhaps, in the final analysis, we all see the same thing but interpret it in different ways. So, some on 12th, I go to church and talk to her in the language without words until one day I respond with the music without sound.
– Technical Information.
The system is programmed to control a church organ,via MIDI, with a computer. The computer control is a
livecoding improvisation with the SuperCollider programming language. Emphasis on semi-deterministic and algorithmic processes is achieved that once saved improvisation code as a function, can be automatically performed by the computer and the results are significantly different.
For this” release”, in the absence of a church organ, I used the excellent software Aeolus of Fons Adriaensen.
– License: CC-BY-NC-SA
http://creativecommons.org/licenses/by-nc-sa/3.0/
– More Info:
SuperCollider: http://supercollider.sourceforge.net/
Aeolus: http://users.skynet.be/solaris/linuxaudio/aeolus.html
LiveCoding: http://toplap.org/
his first album for pan y rosas discos, winterreise, is a concerto for cello and free ensemble. the orchestra part of the concerto is conceived for a “free ensemble,” wherein the different parts, entirely written, can be played on many different instruments – invented, traditional, or otherwise (as long as it exists). sounds like – instant action. thump glissando murmur. string pulse. swirl breath taps. rise fall tones. build repetition drone.
Think BIG BLACK meet LIGHTNING BOLT meet STEVE REICH @ INLAND EMPIRE.
Not One Nor for prepared double bass calls for shifting variations in timbre through the use of three gestures corresponding to three different regions of the instrument.
Eighteen Events for Double Bass alternates eighteen prescribed sound actions with an equal number of non-actions to create an image of the flux of aural perception.
Daniel Barbiero: composer, double bass and prepared double bass.
Composed and recorded winter into spring 2012.
Recorded in Silver Spring, Maryland USA.
Mastering by Mark Beazley.
her first album for pyr, solo variations, is a live recording of guitar improvisations captured at one of the sunday solos series at the experimental sound studio in chicago. shred feedback electronics. guitar as multiple instruments. percussive drone. pure tone barrage. spider fingers. liquid rips through space. bent time.
01 Late Night (3:16)
02 Jazzy Dub (3:44)
03 Africhilly (3:19)
04 Die Waage (2:38)
05 Doppel K (3:49)
06 Das Verschickter (2:36)
07 Whistlewhisper (3:42)
08 Deepspace (3:54)
09 Nebelschwaden (3:17)
10 Greenland (4:27)
11 Frikl (2:50)
12 Bis Bald (3:46)
Level Up von SB zeigt einmal mehr die Wandlungsfähigkeit des umtriebigen Neustädter. Mit kurpfälzischer Gelassenheit drückt er uns tief in die Sessel und die wummernden Bässe tun ihr übriges…
12. August 2012
Kreislauf.Organization
Jerod Sommerfeldt
Focusing on the creation of algorithmic and stochastic processes, utilizing the results for both fixed and real-time composition and improvisation, Jerod Sommerfeldt’s music explores digital audio artifacts and the destruction of technology, resulting in work that questions the dichotomy between the intended and unintentional. He is currently teaching coursework in computer music at the University of Dayton and music theory and counterpoint at Miami University.
Jerod served as an adjunct faculty at the College-Conservatory of Music at the University of Cincinnati and his music and research have been included at the Cincinnati Ballet, Electronic Music Midwest, 2012 Front Wave New Music Festival in Palm Beach, FL, 2012 SEAMUS Conference in Appleton, WI, 2011 SEAMUS Conference in Miami, FL, 2009 Society of Composers National Conference in Santa Fe, NM, 2008 soundON Festival of Modern Music in La Jolla, CA, 2010 Midwest Composers Symposium, La Crosse New Music Festival, Music From Almost Yesterday Concert Series, Unruly Music Concert Series, Sonic Explorations, Performance Time and Arts Series, the University of Wyoming, by the NOISE Ensemble of San Diego, CA, the Thelema Trio (Belgium), and a commission by concert:nova (Cincinnati). Jerod is a member of the International Computer Music Association (ICMA), Society for Electroacoustic Musicians in the United States (SEAMUS), the Electronic Music Foundation (EMF), the Wisconsin Alliance for Composers, the Society of Composers, the College Music Society, and ASCAP. His music is recorded on Petcord, HAZE, Don’t Be a Stranger, Bohn Media, and can be found on SoundCloud, last.fm, YouTube, and Vimeo.
David McDonnell
«I’m a Composer-Multi Instrumentalist-Computer Music Programmer. A Chicago native, I’m currenty based in Cincinnati, where I’m finishing up a Doctorate in Composition at Cincinnati College-Conservatory of Music.»
Gematria
Schrödinger
7238979Bits
Y=x_blue_
n = np
MT
H = – Kl og p
D#
F#
7
all tracks written, mixed and mastered by NP (Philippe Nore)
noechorecords.com
53:38 is the first album from sound collision alliance and was recorded in one session over the course of 6 hours. the sounds created range from pure spontaneous noise to repetitive rhythmic grooves. in addition to guitars, cello and laptop you will also hear gu zheng, guitars, cello, and slinky.
This new instalment on Valle’s investigation take the listener in a tour around different scenarios where field recordings are tweaked until irrecognition and granular synthesis is used a moulding tool over soundscapes and a few works by J. S. Bach himself.
