Bryan Holmes – Arak Saya

[pn108]

Bryan Holmes

“Arak Saya”

“I have always approached electroacoustic music as an art of sonic re-contextualization. And it was as such that this genre was born. Objects, de-contextualized from their origin, reunite and in the aspect of their diversity they create new aural worlds, known also as musical works. While contributing to a new sonic discourse, objects become more complex, interrelating and forming a whole that is greater than the simple sum of its parts. The way in which this is realized is what some call the ‘musical language’ of the composer, although personally I prefer to think that such ‘discourse’ does not necessarily constitute language per se, but rather another kind of structural conception that is of itself and that responds to its own nature.

‘Arak Saya‘ shows a possible evolution of said discourse in the music that I wrote during the last decade. However, it is presented here in reverse order, as involution or, better still, as de-evolution. This way of seeing time ‘backwards’, where the past is ahead and the future behind, is characteristic of the Aymara cosmovision, from which the title of this album also arises. ‘Arak Saya’ means something like ‘the place above’, which denominates the geo-socio-political organization of the Aymara people as opposed to ‘Manka Saya’ (place or part from below). This is, moreover, the title of the only mixed work present here (for tarka and electroacoustic means).

Despite an eventual discursive evolution, works distant in time like ‘Epitunga’ (2006) and ‘Arak Saya’ (2013) itself demonstrate common influences like, in this case, the Andean Highlands, or ‘Desembocaduras’ (2008) and ‘Glosa de Clímax Púrpura’ (2012), that use sounds of Mapuche instruments, symbolizing the resistance of this people against colonizers and etnocides.

Thus, changes in time have been in the aesthetic and technical domains rather than in symbolic aspects. Still with exceptions, I believe this production –which goes from the end of 2015 to the beginning of 2016– could be divided between a before and an after in relation to my contact with the theories of Pierre Schaeffer regarding the sound object and typo-morphology, a phase that began with ‘Desembocaduras’ (2008). At the same time, another evolutionary level could be observed in the field of textural complexity and density: at the beginning I was working normally –by sheer precariousness– with minimum sound materials, trying to extract something interesting by means of their ‘Explotación’ (‘Exploitation’) (EP released in 2008 by Menthe de Chat and TimeTheory netlabels). Over time, the density and variety of materials was increased, reaching an apex in ‘Convolved Dream’ (2016, a work which I composed especially to finish this album), whose poly-spaces and multi-layers arise from a discourse overcharged with disparate information. What could be argued as a constant in the compositional aspect is that the works should always represent a challenge for me. This is say, all were conceived as experimental ‘studies’ in which I had to solve issues that were specific to each.

I leave you, then, with this personal journey… I hope never to find the definitive path, so I am able to continue in the search for new possible sonic worlds.”

Bryan Holmes
(Río de Janeiro, Brasil. Julio / July 2016)

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Yan Terrien – Music For Corridors

[SCM-1607]

Yan Terrien

“Music For Corridors”

Yan Terrien comes back with this second release on Sucu Music talking about the suspended atmosphere of hospital corridors.

Music For Corridors magnificently renders that sense of waiting. Each track infact shows the multifaceted aspects of a waiting in a hospital corridor, whether it is you waiting for your own fate or one of your loved ones is.

A waiting which sometime is trustful, powerless, serene, hopeless, heroic, hopeful. It’s a music that’s plenty of intense feeling and emotion, it’s a music that empowers the listener to understand further dimensions starting from lucidly observating details, common objects, views, as the songs’ titles suggest.

The album is mainly piano based, melody and harmony of each track develops accompained with light synths sounds and textures, quirky noises and low distant voices. The sensation is just like if our thoughts were focused on their own, barely distracted by what comes around.

We’re very happy to present a release of a great artist like Yan Terrien for the Netlabel Day 2016 special event, wishing him to present us more and more music in the future.​

– Gaetano Fontanazza

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Various – Pfff! Monument to The Noise

[0kbps001]

Various

“Pfff! Monument to The Noise”

Pfff! Monument to The Noise

There’s no music here. Music has been outdated. This release is a Monument to The Noise.
It’s the hundredth and simultaneously the first release of MAV Records.
We adopted the dead drop method, ideated by Aram Bartholl and consisting of the installation of USB devices in public spaces. Anyone can use our dead drops for sharing, uploading or modifing audio files.
Pfff! flows and evolves through different realities, dis/integrating into the environment, getting vaporized.

———————————–

Pfff! Monumento al Rumore

Non c’è nessuna musica qua. La musica è stata superata. Questa pubblicazione costituisce un Monumento al Rumore.
È la centesima e contemporaneamente la prima pubblicazione della MAV Records; abbiamo adottato il metodo del dead drop, ideato da Aram Bartholl e consistente nell’installazione di dispositivi USB in spazi pubblici. Chiunque può usare i nostri dead drop per scaricare, caricare o modificare file audio.
Pfff fluisce e si evolve nelle varie realtà, dis/integrandosi nell’ambiente, vaporizzandosi.

00 – mAvvertenze
01 – hiyohiyoipseniyo – p o s t b L a b L a B L A
02 – Laika Facsimile – Tagli della morte
03 – Tommaso Busatto – Vvv
04 – Multimedia Sepulchri – Finding
05 – Rocco Perciante – snare75
06 – Vitaldo Conte + Antonio Saccoccio + Helena Velena – Sì solo po emi (Pulsional RU.MO.RE!)
07 – Jukka-Pekka Kervinen – calibration point
08 – Infector http:// – Phase One
09 – Stefano Balice – Mozzafiato (tattilofonia)
10 – Koobaatoo Asparagus – Uhh Man & Women
11 – The Finer Points Of Sadism – Cultivate
12 – NOS project – x-f
13 – 7tn4cc – MAV Helicopter E-attack
14 – Hank the Think Thank – ep1K oU!
15 – Nostra Orchestra Estemporanea – Gigi
16 – Sounddog65 – In Primis
17 – Nascitari – Breve introduzione alla dottrina dell’isolamento
18 – Eugene Furrno – zwischenheit
19 – Rome Kapone – Electrovoice Demo #-1 (voice altered by Moduler Gee)
20 – Ben Presto – Chanel Cristo n. 34 (Ipercoop approved)
21 – Marco Olivieri Circus – Dedicato a Viola nascitura
22 – Trapianto di Fegato – Zzzachete
23 – Toxic Chicken – I Want It
24 – Max Scordamaglia – Errore
25 – Hengedal – Sørvind
26 – Mustard-In-Law – Grey Poupon For Bing Bong
27 – Jesus Cremoso + Obasquiat – Embryonic
28 – DJ Crivellator – Sulle avanguardie pseudoartistiche nate nell’internet
29 – Blade Painnet – Pubblico di mmerda (musicoralità)
30 – Movimento per l’Arte Vaporizzata – Antidefinizione

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ISH IL SEGNO – QUIYXOTL

[IYE013]

ISH IL SEGNO

“QUIYXOTL”

Bjorn Jordan is a musician who already know, being a member of Phobos 3. Here with Matteo Pinna at the drums gives us the new single of Ish The sign, a very interesting project that takes us between esoteric mysteries, Tool and good writing at the edge of wet forests on the edge of the sea . You will be impressed by the power of images to what is Bjorn, or a modern shaman, who leads us where he wants, where there is peace.
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Marco Lucchi – Se da lontano

[brhnet43]

Marco Lucchi

“Se da lontano”

The skillful composer Marco Lucchi reafirm his talent once again with this lovely music album presented to us under the name Se da lontano. His particular atmospheric sound have the right balance between the classic and vanguard worlds.

Music by Marco Lucchi except for “Psiche Abbandonata”, music by Matteo Marchisano-Adamo and Paulo Chagas, recomposed by Marco Lucchi.
Marco Lucchi – piano, mellotron, synth and tools with Paulo Chagas – oboe and Matteo Marchisano-Adamo – piano, in “Psiche Abbandonata”.

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José Gallardo A. – Sinfonía para un hombre solo… en su casa

[pn107]

José Gallardo A.

“Sinfonía para un hombre solo… en su casa”

“Sinfonía para un hombre solo… en su casa” (Symphony for a man alone… in his home), a piece composed in the second half of 2015 based on recordings made in the parks of the neighborhood of “Conquistadores” in the city of Medellin, in apartment 203 of the building “Los Vikingos” in the same neighborhood, and on the day of San Jose in the year 2013 or 2014 in the district of Santa Elena on the outskirts of Medellin. This piece is a tribute to Pierre Schaeffer and Pierre Henry, dedicated to María Juliana and our new home; to Peluza, Azuka, and Mizu and their new parks, and to the men alone in their houses full of possibly expressive sounds.

José Gallardo A.
(Medellín, Colombia, Junio / June 2016)

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Stefano Balice – Senza titolo col troglodita

[0kbps099]

Stefano Balice

“Senza titolo col troglodita”

Stefano Balice
Senza titolo col troglodita (cinque sfoggi d’ignoranza e due musichette per spirito di contraddizione) [0kbps099]

01 – no
02 – usignoli
03 – sbruffone due volte
04 – animaletti del mare
05 – non umano
06 – malelingue
07 – carcasse

MAV [0kbps] Records, May 2016

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Emanuele Fais – Spleen Tra I Palazzi Di Milano

[0kbps096]

Emanuele Fais

“Spleen Tra I Palazzi Di Milano”

Emanuele Fais

Spleen tra i palazzi di Milano [0kbps096]

01 – Low Pressure
02 – Il silenzio delle immagini sacre
03 – There’s Life Outside
04 – The Scent of Female Flesh
05 – せんずり
06 – Nello scantinato degli orrori inconsci
07 – Escursione termica
08 – I suoi occhi sono verdi come foglie di ninfea nel più limpido degli specchi d’acqua
09 – La quiete nel mezzo della tempesta

MAV [0kbps] Records

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Hypercube – Knobular

[0kbps095]

Hypercube

“Knobular”

Hypercube

Knobular [0kbps095]

01 – Visceral Algorythms
02 – After Life Upgrade
03 – Spasmodic Turbolence
04 – Body Fuct
05 – Methods of Abnegation
06 – Abortion
07 – Drop the Pants
08 – Playground Memories
09 – Echoes of Expansion
10 – Subfallen
11 – Social Mutilation
12 – Where’s your Glitch

Electronic Music producer HYPERCUBE (born Rodrigo Passannanti) debuted with a full-length Album (Earobics) on Hypnotic / Cleopatra USA label in 1996, the album received a substantial level of interest among listeners and labels at the time and as result several tracks appeared on various world-wide compilations in the years to follow bringing timeless status to the Album which is still obtainable on major retails today (ITunes, Amazon etc)
Since then HYPERCUBE has been producing and releasing numerous recordings under different names among labels such as Blue Room UK – Klang Galerie (Austria) – Nova Tek (Germany) – Criminal Records UK – SPV (Poland) – Nova Zembla (Belgium) etc including live gigs and a long term collaboration with Producer Andy Hughes (former member of the ORB)
Almost 20 years later HYPERCUBE is releasing his second full-length Album which embraces all sonic explorations and experiences achieved during this time. This Album focuses on experimentation with extensive use of software effect plugins, audio editors and sound processors within the computer environment.

MAV [0kbps] Records

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Koobaatoo Asparagus – Paul Mcharsknee

[0kbps094]

Koobaatoo Asparagus

“Paul Mcharsknee”

Paul Mcharsknee

Koobaatoo Asparagus [0kbps094]

. DR0000_0596

MAV [0kbps] Records

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√IXI – Dal Fango alle Stelle

[0kbps093]

√IXI

“Dal Fango alle Stelle”

√IXI

Dal Fango alle Stelle [0kbps093]

01 – Siamo come Candele
02 – Paura dell’Eternità
03 – Essere Umani
04 – Condannati
05 – Sacro e Profano
06 – Nessuno
07 – Dal Fango alle Stelle

MAV [0kbps] Records

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Saso – Mysterium

Saso

“Mysterium”

Dublin based duo Jim Lawler and Ben Rawlins (aka Saso) return after a 5 year hiatus with the release on their 5th studio album titled Mysterium.

Where the duo’s previous albums centred around guitar and vocals, Mysterium is primarily a collection of piano based instrumentals occasionally lit by Lawler’s fragile vocals.

The band abandoned formal structure letting the music unfold naturally, using silence and room ambience as instruments in themselves.

Replacing guitars with the more pastoral sounds of an upright piano and acoustic organ, the album was recorded in one room and the duo invited musicians from diverse musical backgrounds to perform certain parts and improvise around sounds and melodies. The compositions are sprinkled with acoustic drums, double bass, woodwinds, brass and neo-classical vocals adding moments of colour and contrast to the otherwise minimalist sound.

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Ken Moore & Daniel Barbiero – Frequency Drift

[pyr177]

Ken Moore & Daniel Barbiero

“Frequency Drift”

frequency drift is a collection of seven collaborative compositions for double bass and tam tams. the compositions were created sequentially: the double bass parts were composed and recorded first, after which the tam tam parts were recorded and mixed with the bass parts. the appeal of the project lay in the opportunity to create work exploring the compositional possibilities opened up by the subtle timbral dissonance between the double bass’s bowed strings and the tam tams’ struck and rubbed metal.
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Uglisse feat. Hank the Think Thank – Le CONVENZIONI di Ginevra

[0kbps090]

Uglisse feat. Hank the Think Thank

“Le CONVENZIONI di Ginevra”

Italian suffering songwriter Uglisse meets the weird master Hank the Think Thank in this really uncomfortable album. Mmh, “enjoy”?

Le CONVENZIONI di Ginevra [0kbps090]

01 – ALTERNATIVA MA NON TROPPO
02 – GLI AMICI NON BASTANO MAI
03 – PROFILO PUBBLICO
04 – l’ASPETTO FISICO NON CONTA
05 – UN FUTURO LUMINOSO
06 – BBONUZ TrRrAK – BaS3 4UGLISzSEh (ByYy Hank the Think Thank)

MAV [0kbps] Records

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Oscar Santis – Desde La Caja

[pn103]

Oscar Santis

“Desde La Caja”

“Óscar Santis, great artist of respect and renown, it has already been several years since I’ve known and recognized his trajectory, and it never ceases to be a true luxury and pleasure to hear his sounds. On this occasion he delivers sounds sufficiently well worked, so much so that they remind me of the late Akifumi Nakajima in the sense of achieving true soundscapes, with a density still greater than that to which one might become accustomed.

Each sound is a story and if you expand your mind, you will be able to capture to the maximum all the sounds that he manages to collect on these eight sound pieces. Glitches, sound strikes, all very well worked, note the treatment in each of the sounds, and the dedication to destroy each fragment, every millisecond, every detail delivers a different perception, its worth really disconnecting and hearing that which was dusted off from the box.”

“Óscar Santis, gran artista de respeto y renombre, hace varios años ya que conozco y reconozco su trayectoria, y no deja de ser un verdadero lujo y placer escuchar sus sonoridades. En esta ocasión entrega unos sonidos bastante bien trabajados, tanto así que me recuerdan al difunto Akifumi Nakajima en el sentido de lograr verdaderos paisajes sonoros, con una densidad aún mayor a la cual se pudiese estar acostumbrado.

Cada sonido es una historia y si expandes tu mente, lograrás captar al máximo todos los sonidos que logra recoger en estas ocho piezas sonoras. Glitches, golpes sonoros, todos muy bien trabajados, se nota el tratamiento en cada uno de los sonidos, y la dedicación a destrozar cada fragmento, cada mili-segundo, cada detalle entrega una percepción distinta, vale la pena realmente desconectarse y escuchar lo que desde la caja fue desempolvado.”

Sebastián Ortiz
Amigos de la Contaminación Sonora
(Rancagua, Chile, Febrero / February 2016)

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Cagey House – Cry One Best Demo

[0kbps087]

Cagey House

“Cry One Best Demo”

Cagey House

Cry One Best Demo [0kbps087]

01 Phase Sync Study (jk)
02 The Bad Summer
03 Earased Clarinet
04 Isou Takes The Ice
05 Circle and Clumk
06 Cry One Best

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FRVSNT – Lote

[pn102]

FRVSNT

“Lote”

“The duo FRVSNT navigates the convergence of at least three grand streams: contemporary music, electroacoustic in real time, and free improvisation.

Luciano Giambastiani makes use of clarinets in different registers to provide a sound world that is based on the broad spectrum of instrumental techniques associated with contemporary music, passing through materials defined by pitch, multiphonics, keyed percussion and the classic rough sonorities of the frullatos.

For his part, Rodrigo Castellanos contributes the electroacoustics through digital processing, where the aural richness is not always easy to explain, but certain techniques may be recognized, such as sampling and transposition of the sound captured by the computer, synthesis, delay and reverb among others, all in real time.

The general feeling is of symbiosis, an integration in terms of color that generally has a continuous evolution, sometimes accentuated by gestures of greater contrast. It is probable that Castellanos makes use of complex techniques such as monitoring of pitch, spectrums and dynamics or granular synthesis, and if the latter is true, it does not appear clearly or with the typical quality common in mixed music.

It is interesting to note that, according to the musicians, they never rehearse; rather they simply get together and play. Of course they do not start completely from scratch, as they know each other (eight years ago to be exact), they know what the sound space of their counterpart is, but from there they launch a dialogue that goes vibrating in a spontaneous and ‘effervescent’ way. They call it creation in situ, and this, as one may appreciate, they link not only to a determined physical space wherein the music awakens, but also to mental, emotional and conceptual spaces. Their previous communications are realized on a more generic level, where they discuss ideas of diverse nature, beyond the purely musical question.

Because this is a stereo recording, unfortunately it remains distinct from the multichannel component manipulated by Castellanos in the duo’s live performances, where the use of loudspeaker systems delivers an enveloping spatial element truer to their creative vision.

The album is a collection of miniatures, pieces that situate themselves in a minute and a half, two minutes, three and a fraction or at most five minutes and sixteen seconds. Juxtaposed with these pieces are micro-compositions of a few seconds (16, 18, or 24 seconds), of a concise and effective style, that exploit a sonority, rather a gesture that closes itself in but is able to connect with the preceding and the ensuing, with the general coloration awarded by the authors materials.

We hope this album is only the beginning of one or more subsequent contributions, either in stereo or why not in some multichannel format.”

Alejandro Albornoz
(Sheffield, England, Febrero / February 2016)

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K.Markov – Excerpt One

[366]

K.Markov

“Excerpt One”

The first release for 2016 is from guest artist K.Markov. A ten track ambient album showcasing a selection from three of his existing albums – The Mist, Transmission and Liquid, which you can find on his bandcamp page.

Following on from his first release on Kahvi under the name Phrulex (which was a single several years ago) K.Markov shows us that his style has evolved into a more mature ambient and chilled out vibe, much akin to Curious Diversions and Solar Fields.

Gently floating atmospheres, mixed with sweeping arpeggios and melodical interludes to keep you listening closely.

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Sam Fendrich – LIFE (terms and conditions apply)

[LOR 077D]

Sam Fendrich

“LIFE (terms and conditions apply)”

Composer Sam Fendrich’s latest collection (his fourth for Linear Obsessional) continues in the vein of the shorter works heard on “The Unquestioned Answer”, with concise, maximal, dense structures punctuated by allusions to other genres (in this case including jazz,blues and rock) and all employing the restless imagination and mordant wit that characterises his work.

“LIFE” (terms and conditions apply) however has an added urgency – all the pieces are recent compositions, worked on in grasped moments throughout a year that has seen a significant amount of personal turmoil.

Composed and Produced by Sam Fendrich in 2015.

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DRONARIVM – Into The White (New Year’s 2016 free compilation)

[DR-35]

DRONARIVM

“Into The White (New Year’s 2016 free compilation)”

Year’s end, all
corners of this
floating world, swept.

– Basho

credits
released January 3, 2016

Compiled by Bartosz Dziadosz (Pleq) & Dmitry Taldykin
Mastered by Porya Hatami
Cover photo by Lena Lello


Martin Rach – Double Winds

Martin Rach

“Double Winds”

Music for organ and accordion
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Boucane – No Center

[BCN005]

Boucane

“No Center”

new release by Boucane ( aka Muhr, ex-Camomille owner ).
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Hoopoe – Lotus

[EKR011]

Hoopoe

“Lotus”

Hopooe is the electronic music project of Martino Mostacci, musician and composer of soundtrack for cinema, documentaries and modern dance performance.
credits

Lotus is:
Written,produced and recorded by Martino Mostacci aka Hoopoe.
Mastered by: Mauro Martinuz
Photo artwork by: Sherbert H.
Cover design by: Ekar records

Lotus by Hoopoe aka Martino Mostacci is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Permissions beyond the scope of this license may be available at
ekar-records.tumblr.com/contact.

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VV.AA. – Concurso de Composición Gustavo Becerra 2012-2013

[pn097]

VV.AA.

“Concurso de Composición Gustavo Becerra 2012-2013”

“For reasons difficult explain and of a very distinct nature, the release of this musical collection has recently become possible to complete. We ask forgiveness from the authors, but we believe that, as in many other fields, it is better late than never, especially in this case in which works remained suspended in time, awaited by restless ears and speakers disposed to sound them.

We feel proud of the labor of diffusion and stimulus to create this competition had in its brief existence. We believe that the maestro Gustavo Becerra Schmidt will continue to inspire us and that in the future others will take his example and propel it towards other/new generations. For Pueblo Nuevo making this album available for your ears is an important part of its function and legacy. Now without further delay: enjoy the sound and the freedom of creation!”

Mika Martini
Pueblo Nuevo Netlabel Director
Santiago, Chile, april 2015

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MEMORYGLU – BLESSED ENTREPRENEURS

2000

MEMORYGLU

“BLESSED ENTREPRENEURS”

Biography
What every believer needs to know about post-modernism.

AAVV – LIVE AND LET LIVER VOL 2

0kbps086

AAVV

“LIVE AND LET LIVER VOL 2”

AA.VV.
LIVE AND LET LIVER VOL 2 [0kbps086]
01 – Emanuele Fais – 薔薇の葬列
02 – Lorenzo Squilloni – Grainstep
03 – Tommaso Busatto – M’intrometto
04 – r e d n e c k t e r r o r i s t s o ci e t y – untitled
05 – Tommaso Busatto + Trapianto di Fegato – Base Punk + Paddone
06 – Corkscrew N° 4453556 – Nano Tribale Spaziale Incazzato
07 – Trapianto di Fegato – Chill Bill
08 – Tommaso Busatto – Senti che assoli ti sparo con la pedala nuova che ho comperato
09 – Litchee Chinensis & Zabuba Nevresky – Mammt Boah
10 – Tommaso Busatto – I’ve failed
11 – Trapianto di Fegato – Ciao Mare
12 – Cult Of Terrorism – Untitled #1

Ē̎ ̽̔E͋́͠ ̐ͪ͞E̓ͩ̊ͯ̚ ͘E̶̒̉́̌ Ë̒ ͐ͭ̅͛ͫ̓̚Eͤ̆̿ ̈́ͩ͂͛͢E̽ͤ̃ ̒̾͡E̓̌̓͑ͫ ̂ͬ͗͒E̛͋ͨ̌̃̎ ͦ̒̓ͯ͑̇́̕E͗̓̈́ ͋̆̀͛͋ͯ̄E̽ ̍̽ͯE̢ ͥͩ̎̍ͨͯE̶̊͐ ̌̿ͪEͥ͋͂ ̐̎̌Ȅ̡ͭ ̿͌͋ͨ̒̍E͡ ̿͌͢Ȇ̃ͫ̓̇ͯ ̶̈̂̉ͩEͧͫ͒̑̓̚ E͑͂͐̾̚ Eͯ̓̍̍ ̧ͮ͂̎E̡ͩͨ̀̚ ͒̋̃̀Ĕ̅ ̒̿͋̀E̶ͯ ͥͫ̒̿͂͌̊͏

Second edition of the compilation organized by the network ‘Un altro trapiantato musicale’ made possible by the collaborations between different musicians from different realities working together in a net-collective.
MAV [0kbps] Records, March 2015


Martin Rach – 4 BACH/2 MF

01

Martin Rach

“4 BACH/2 MF”

First piece is based on BACH motif, with four blocks of repetitions, interrupted by electronic manipulations of preceding pitches, imagining music of J.S. Bach that is flying in outer space in some Voyager capsule, enlightened and decayed by the astrophysical powers.

Second piece is made of F pitches taken from a harp, M referring to a loose meter they appear in,forming illusion of patterns. Pitches are electronically manipulated to form a level of material that replaces silence. Imagining music of M. Feldman being played/listened buried in the earth.


Mauro Martinuz – Suez Ep

EKR010

Mauro Martinuz

“Suez Ep”

Mauro Martinuz, sound engineer, soundtrack composer for cinema and contemporary theater, owner of the Transfert studio and founder of NEDAC collective.

Written,produced,recorded and enginered by Mauro Martinuz at Transfert studio in Berlin.
Additional musician: Luca Sella.
Artwork by: Michele Servadio ( servadio.com )
Suez Ep by Mauro Martinuz is licensed under a Creative Commons Attribution-
NonCommercial-NoDerivatives 4.0 International License.
Permissions beyond the scope of this license may be available at
ekar-records.tumblr.com/contact.


hiyohiyoipseniyo – homemadecontactZ

0kbps08

hiyohiyoipseniyo

“homemadecontactZ”

hiyohiyoipseniyo

homemadecontactZ [0kbps084]

01 – jana’s’mitu
02 – ca_tal_col_onia
03 – alhainen paristo a la radio
04 – heridas incompatibles con la vida
05 – caLonia al poblet
06 – propolio
07 – PolitiKant EduCante
08 – anem-nos-en
09 – AnUs UnkLet
10 – Orgue Mafumetus
11 – singing in the brain
12 – elpoblet
13 – Showering The Dog -primer lladruc-
14 – ultraperiferia macarrónica
15 – no en queda gens. adéu

>From Contact Group of Homemade Experimental Electronic Music and Noise (…2011-2012…):

Compilation produced and compiled by Hal McGee.

Contact Compilation Project logo by Dave Fuglewicz.

http://hiyohiyoipseniyo.blogspot.com.es

MAV [0kbps] Records, February 2015


Miquel Parera – nxVacuity004 – Inversion

nxVacuity004

Miquel Parera

“nxVacuity004 – Inversion”

De una forma insospechada, el propio algoritmo conlleva la inversión de los valores iniciales.
Quizá sea porque éstos, ya en el propio momento de su elección, no significaban nada.
Un juego de prestidigitación en el vacío, extrayendo números del caos y buscando, a posteriori,
el sentido que los relaciona.

In an unexpected way, the algorithm itself makes the investment of the initial values.
Maybe because at the time of his election, this values meant nothing.
A game in a vacuum, picking numbers from the chaos and the searching, a posteriori, of the meaning.


caroline park – less than human

pyr142

caroline park

“less than human”

caroline park is a composer, musician, and artist working within the minimum in experimental electronic music. she creates custom software in max/msp, integrating chance and silence in unique, minimal systems. she collaborates frequently with asha tamirisa in duo situations and also performs as 1/4 of the electro-improv quartet BUMPR (peter bussigel, stephan moore, tim rovinelli). additionally caroline is a founding member of OPENSIGNAL, a providence-based artist collective focusing on the representation of gender and race within experimental electronic music.

her first album for pan y rosas is a brief album of drones that caroline composed and mixed in los angeles, london and providence. she suggests –

play at full volume,
with good speakers
in a nice room.

no head/earphones please (sound needs space).


nefasto celiba – senza titolo col faccione

0kbps082

nefasto celiba

“senza titolo col faccione”

nefasto celiba

senza titolo col faccione [0kbps082]

01 – per fomentare la paura domestica
02 – balletto per il centro del vomito
03 – nastro fruttato
04 – il primo operatore disponibile
05 – balon dub

MAV [0kbps] Records, January 2015


VA – From Ritual to Romance

EdP071

VA

“From Ritual to Romance”

Et Quid Amabo Nisi Quod Aenigma Est?

Die Elektrischen Vorspiele, a blog founded on January 15 2009, and whose sixth anniversary is commemorated with this release, was envisioned as a space for the nurturing of a “savage thought” (that is, of an undisciplined nature). In its essence, and as an individual project, it aims mostly to be a vehicle for its author’s vast-reaching interests, while at the same time harnessing them into some form of discipline. More than just a reflection on the fascination caused by the themes implicit to its lexical field of action, as shown by the coordinates and key concepts that define the boundaries of its territory, i.e. “Occultism” / “Esotericism”, this virtual space mainly maps some of the topologies enclosed in the History of Ideas. A vast and sometimes ignored area of Knowledge, whose apparently paradoxical character drives a magnetic pull towards the need to identify its true nature, as ubiquitously manifested along various historical cycles, in an unending drama staged in the theatre of the Anima Mundi. This is, in fact, the true raison d’être of Die Elektrischen Vorspiele.
As a direct result of its existence, November 2010 saw the publication of the book “Summa Techno(i)logicae”. This work, as implied by its title, is a thoroughly compiled and systematised patchwork reflecting the interests that guide its author’s research. From then on, periodic collaborations with other projects ensued, such as the magazines Finis Mundi, Infernus and Antibothis.
Still under the aegis of Die Elektrischen Vorspiele, and always through the establishment of complicities and connections, a number of events were created and carried out in the past six years. This set of actions (with Music as a constant common denominator) has had as its main goal the evocation of the life and work of various figures that have left behind crucial legacies. The people celebrated include the musician John Balance (Coil); the historian of religions Mircea Eliade; the poet and theatre director Antonin Artaud; the philosopher Georges Bataille; and the Japanese writer Yukio Mishima. It is also worth mentioning the series of events spanning along the year 2013, Occult Esoterica AV Gatherings, curated in collaboration with intermedia artist Ana Carvalho.
The proposal made to EdP – Editora do Porto (in the person of its administrator, João Ricardo) for the release of this compilation emerges as a consequence of shared common cosmologies which have gradually been transmuted into friendship, and also of João Ricardo’s encyclopaedic musical knowledge, while the invitations made to the artists taking part in it are the logical result of a chaining together of elective affinities (a process permanently taking place since the first Homeric dawn).

Júlio Mendes Rodrigo
Porto, December 23, anno 2014, era vulgaris


NOE’ (Nostra Orchestra Estemporanea) & OLEO (Orquestra Livre Experimental Orgânica) – NOE’ con OLEO

0kbps081

NOE’ (Nostra Orchestra Estemporanea) & OLEO (Orquestra Livre Experimental Orgânica)

“NOE’ con OLEO”

NOE’ (Nostra Orchestra Estemporanea) & OLEO (Orquestra Livre Experimental Orgânica)

NOE’ con OLEO [0kbps081]

NOE’_SIDE:
01 – Il risveglio del carrozziere (1)
02 – Il risveglio del carrozziere (2)
03 – Il risveglio del carrozziere (3)
04 – Salivo e respiravo affannosamente
05 – L’orchestra da sogno (1)
06 – L’orchestra da sogno (2)

OLEO_SIDE:
01 – Ambuja (intro)
02 – Blatta Orientalis
03 – The Consistency of Inclusion (part1)
04 – Colias Croceus
05 – Kusumita
06 – Yuezhi

——————————————-
Artwork by Gianfranco Bonadies
——————————————-

LINER NOTES NOE’:
Immaginiamo per un momento un’orchestra timbricamente completa che suona senza direttive, senza partiture, senza determinazioni di alcun genere.
Così, giocando con la sensibilità dei singoli musicisti, nasce NOÈ (Nostra Orchestra Estemporanea).
È noto che l’improvvisazione si nutre delle incredibili connessioni etiche fra coloro che agiscono nell’esatto momento dell’agire.
L’ordinato riferimento estetico cui siamo abituati non conta; suonare nell’orchestra, o semplicemente ascoltarla, significa sospendere, almeno momentaneamente, ogni atteggiamento critico di carattere storico-letterario.
Forse pirati, altroché nipoti del diluvio, navigando in mari sconosciuti e terribili, in quel momento utile si riconosce l’entità di quel viaggio necessario a fissare l’essere, il divenire di questa musica in questa orchestra.
Le persone che ne fanno parte, lo sanno bene: NOÈ prosegue, semplicemente, la strada intrapresa da NED (Nostra Etichetta Discografica) verso l’indefinita ricerca dell’estemporaneità in musica e non soltanto.

Imagine for a moment a full orchestra timbre that rings with no guidelines, no scores, no determinations of any kind.
So, playing with the sensitivity of the individual musician, born ‘Our Extemporaneous Orchestra’.
And ‘well-known that this type of music is nourished by the incredible ethical connections between the musicians in the exact moment of noise.
The orderly aesthetic reference we used does not matter playing in this orchestra, or just listen, you stay, at least temporarily, any aesthetic judgment-mindedness and critical of any historical-literary.
Perhaps pirates, grandchildren of the flood, navigating in unknown seas and terrible, then useful to recognize the extent of the stops on the trip needed to produce this music in this orchestra.
People who are dedicated to do this, know this: NOE continues, simply, the road taken by NED to search indefinite extemporary music.

CORDE: Quinto Fabriziani, Mauro Tiberi, Marco Maurizi, Chris Blazen, Clangore
FIATI: Andrea Tosi, Claudio Nitti, Anna Guidi, Giuseppe Savino, Gaetano Corallo, Pico Sadun, Lorenzo Labagnara
VOCI: Benedetto Fanna, Antonio Saccoccio, Helena Velena, Patrizia Rotonda, Michele Tuozzolo
TASTIERE: Kapitan Mikonos, Luca Miti, Marco Olivieri, Benedetto Fanna, Giuseppe Cubelli
PERCUSSIONI: Simona Verrusio, Dario Nitti, Diego Mazzoni, Patrizio Pica, Marco Ariano, Roberto Dogustan
ELETTRONICHE: Stefano Balice, Tommaso Busatto, Lorenzo Lustri, Cristiano Luciani, Giancarlo Esposito, Alessandro Cerratti
FONICA: Paolo Sinigaglia

LINEAR NOTES OLEO:
Projeto que teve inicio em 23/ agosto/2014d.C
Idéia inicial do projeto era a intenção de usufruir da criatividade e improviso livre que visa em criar novos conceitos e sons(explorando o eletrônico e o orgânico).
Focando musica e artes, mesclando elementos à idéia surgiu.
Criou-se e desenvolveu-se em uma amplitude maior com mais cabeças pensantes, nova idéia de som e atitude.
O que ajudou em tudo isso foi esse tipo de “experimentalismo conceitual, musical” por isso esse projeto foi feito.
Algumas das faixas são de improviso no “flow” e de uma maneira bem despretensiosa, tão despretensiosa que ainda a espaço para novas “instrumentalizações” e participações… Pois o que conta é ultrapassar barreiras e criar novos ambientes e timbres.
(A transcendência).
Todo esse conceito, não seria possível sem o conceito:
“Faça você mesmo!”.
Pois tudo se gera disso o conceito de improvisação é principalmente a habilidade de, simultaneamente, produzir e interpretar, dentro ou não de parâmetros harmônicos ou rítmicos, melodias, ritmos ou vocalizações.

Project that started in 23 / August / 2014d.C
Initial idea of the project was intended to take advantage of free improvisation and creativity aimed at creating new concepts and sounds (exploring the electronic and organic).
Focusing on music and arts, blending elements to the idea arose.
It was created and developed on a larger scale with more talking heads, new idea of sound and attitude.
What helped in all this was that kind of “conceptual experimentalism, musical” so this project was done.
Some of the tracks are improvised on the “flow” and a very unassuming, unpretentious way so that even the space for new “instrumentalist” and shares… What matters is to overcome barriers and create new environments and sounds.
(Transcendence).
This whole concept would not be possible without the concept:
“Do it yourself”.
For everything that generates the concept of improvisation is mainly the ability to simultaneously produce and interpret within or without harmonic or rhythmic parameters, melodies, rhythms and vocalizations.

SAXOPHONE: Nando Souza
TRUMPET: Romulo Alexis
DRUMS: Jeferson Peres
BASS: Marco Antonio
NOISE EFFECTS AND KEYBOARD: Guina
(PARTICIPATION / GUEST) EFFECTS/AMBIENT NOISE: O.s125

MAV [0kbps] Records, January 2015


Sphere Of Io – Winter Works

SE055

Sphere Of Io

“Winter Works”

Titolo Album: Winter Works
Autore: Sphere Of Io
Etichetta: Stato Elettrico
Cat. : SE055
Free Download: http://statoelettrico.net/netlabel/?p=1629
License: CC BY-NC-SA 4.0

Sphere Of Io è un progetto musicale basato sull utilizzo di software per la sintesi granulare per generare trame musicali al limite tra techno, industriale ed ambient. Tutte le registrazioni sono state eseguite in tempo reale.

http://www.statoelettrico.net


VA – Sound Interpretation: Reykjavík

HAZE315

VA

“Sound Interpretation: Reykjavík”

Let’s go for a walk through Reykjavík!
This release is the fifth from Sound Interpretation series dedicated to cities.
We believe that each city has its own unique air. But anyone who works with the sound knows that every city has a inimitable soundscape and rhythm. So let’s make a musical journey through the cities. Cities you’ve been or would like to visit.

Hank Hobson – Train In The Woods

[SCL153]

Hank Hobson

“Train In The Woods”

Is it possible to travel not leaving your favourite armchair? Yes, it is, if there is “Train In The Woods” mini-album playing in your headphones. From a desolate railway station lost in the woods, where there is not a living soul present, just the wind whistling in the posts and rare through trains break the silence, an old train will take you around our mighty country, and you will be dreaming about all the places you haven’t visited yet to the rhythmical throbbing of the wheels. And eventually you will find yourself on the coast of the ocean, breaking its waves against the deserted shore, day and night, and this will be the end of your trip.
credits

Music by Hank Hobson

Join Us!
soundcloud.com/hank-hobson
hankhobson.bandcamp.com


cheon kim – eat dogs drink cats

0kbps075

cheon kim

“eat dogs drink cats”

cheon kim

eat dogs drink cats [0kbps075]

side a
a1 – Willkommen (synths, drum machine, samples)
a2 – LV (synths, piano, muted drum machine)

side b
b1 – Lautreamont (synths, growls, plug, digital reverb bugs)
b2 – the world means nothing to you (alto sax, fretless bass, guitar, vox)

///ridiculous ridiculous ridiculous enough to be a part of///

cover art by Serko Petrich

september,3 – october,25
MMXIV

MAV [0kbps] Records, November 2014


Bad Night Moon Shadow – Bad Night Moon Shadow

ASR010

Bad Night Moon Shadow

“Bad Night Moon Shadow”

All Songs written and recorded by Jared C. Balogh from 1997 to 2005.

Electric Guitar, Acoustic Guitar, Electric Bass, Keyboard, Mini Organ, Sound Effect and Vocals: Jared C. Balogh

Vocals and Lyrics- Lisa A. Farrow and Jared C. Balogh

All Instruments Played By: Jared C. Balogh

Vocals- Pete Pasko on Track 15 “Wonder”

The band name Bad Night Moon Shadow is a play on the opposite wording of The Beatles song “Good Day Sunshine”.

Songs released on Altered State Reflections in 2008 and 2013


Trans Atlantic Rage/Balogh – i::::soul::::ate

Siro056

Trans Atlantic Rage/Balogh

“i::::soul::::ate”

[Siro056] Trans Atlantic Rage & Balogh – ::::i:soul:ate:::: 320kbps – May 2011 Ambient / Dark Ambient

Sirona-Records Website:http://sirona-records.com


Pink Hex – Live @ The Old Brick Theater (Scranton, PA) November 23, 2014

ASR107

Pink Hex

“Live @ The Old Brick Theater (Scranton, PA) November 23, 2014”

Pink Hex live @ The Old Brick Theater in Scranton, Pennsylvania (U.S.A) on November 23, 2014.Jamms 1-4

Jared C. Balogh: Drums, Bass Guitar and Bell Kit
Ed Cho- Guitar/Noise and Bass Guitar
Joel Kromer- Guitar/Noise and Cassette Manipulation

http://www.alteredstateofmine.net/pink-hex/

Released on Altered State Reflections (ASR107)


Daniele Ciullini – Resti

EdP068

Daniele Ciullini

“Resti”

Italian electronic music composer, Daniele Ciullini, is back to EdP – Editora do Porto with a full album of “remains”.
In this thought provoking work you’ll find the vestiges of a plausible life story, left in the open, to the winds…

http://www.insub.org/images/inub43_w.jpg JEAN-LUC GUIONNET – D’INCISE – At Cave12

insub43

JEAN-LUC GUIONNET – D’INCISE

“At Cave12”

Jean-Luc Guionnet: saxophone
d’incise: laptop

Jean-Luc Guionnet: « My musical work subdivides itself into as many ways as occasions arise for me to think and act with sound. Those occasions have always to do with a strong meeting with an outside element: an instrument (saxophone/organ), a theoretical idea (what is « rumour »?), and mainly a collaborating friend (André Almuro, Éric Cordier, Éric La Casa, Lotus Edde Khouri … Seijiro Murayama) … There then follows a collection of themes which, in turn, influence the evolution of the musical work and define the direction of meetings to come: the thickness of the air, the pidgin (language with neither grammar nor vocabulary), the musical instrument considered as affective automaton, listening dark unto itself, the algebra of and in hearing, sound as a signature of space, signature of objects, signature of what it is not… the fact that French uses the same word – le temps – for time and weather, propagation and spread of forms in time etc. Music is, then, a way to test reality.
Conversely, it’s a test whose experience defines a new distribution of the whole body by artificially localizing it in an unknown and purely physical environment, all the while being able to think, count, make relations or understand places, and so forth. The emotion I look for in music is made out of all these strata and the sliding of one over the other during the act of listening »

d’incise, electroacoustic musician, doing both composed and improvised works. He focuses mainly on generation and manipulation of acoustic sound sources and objects, loves feedbacks and digital glitches as well. He tends to extract the most tiny details of the elements, appreciates slowness and obsessive explorations of simple processes. He coordinates the Insub. label and the Insub Meta Orchestra with Cyril Bondi, with whom he also have the Diatribes duo.

Jared C. Balogh – Detaching Realities

sPE_0093

Jared C. Balogh

“Detaching Realities”

suRRism-Phonoethics is proud to release ‘Detaching Realities’ by Balogh

“sparkling glamour of grease passing the route of the time’s measurement,-faulty faulty I dare to speak…”-undRess BétonReceive

sPE_0093


Dario Nitti & Claudio Nitti – Colonna sonora di un giorno solo

0kbps073

Dario Nitti & Claudio Nitti

“Colonna sonora di un giorno solo”

Dario Nitti & Claudio Nitti

Colonna sonora di un giorno solo [0kbps073]

. Soundcheck
. Spaccamintothebody

Dedicato a Vale, cuore.

MAV [0kbps] Records, October 2014


Art Electronix – REBUS

0kbps072

Art Electronix

“REBUS”

Art Electronix

REBUS [0kbps072]

. Abnormal Rewinder
. Mechanizmus
. Refragmentation
. Roll Fucking Mind
. Trigger Bored

MAV [0kbps] Records, October 2014


King Imagine & Pankifared – Episodes (Concerto For Two Pianos & String Quartet)

[SCL148]

King Imagine & Pankifared

“Episodes (Concerto For Two Pianos & String Quartet)”

History of creation:
«Once I was chatting with Alexey Micrukov on the Internet and he accidentelly asked me about collaboration with 2 midi-keyboards.” That was the beginning of creation of “Episodes”. Set up was pretty minimalistic so it did not take much time to plug in keyboards, sound cards and speakers. Alexey had an Evolution MK-249C USB MIDI Keyboard and I had an old Cassio, however with dynamic keys, full octave keyboard and pedal! Alexey suggested a great direction. The idea was to mix modern classical music with minimalism, avant-garde, dodekaphonia to make recording interesting for wide range of music lovers.»

About Pankifared:
«He is definitely one of the most flexible and open composers in Kiev. His music is modern and up to date within any context,” – “Afisha” magazine, 2006 about Alexander Kohanovsky. His experience is huge and really impressive. Even the first project was a huge success. He joined the band «Сахар – белая смерть» (formed by Kohanovsky and his fellow mate). After the recording of «Манірна музика» they played at two festivals in Poland at the beginning of 90s. That was a great start. Gigs, performances, collaborations with various artists, recording soundtracks for German mute films such as “NOSFERATU, A SYMPHONY OF HORROR” by Murnau and “Der müde Tod” by Fritz Lang (It was an order of Goethe-Institut). About 12 years ago Alexander started to work in a theatre and he collaborated with a genious, Dmitry Bogomazov. Together they’ve done tens of various projects which were favoured by critics for an excellent composition.»

About King Imagine:
«Alexei Mikryukov aka King Imagine was born in 1972. His first song was sung and recorded at the age of 4. He began his career in music as a gutarist in the punk collective Zooy E Orchestar in 1989. In the same period some of the first bootleg recordings were made, all of them now lost. In the summer of 1993 he meets Eugene Alexandrov, with whom organizes The Schizotronics..and records solo. In 1996 together with the Kiev poet Danylo Kubai,he founds the noise industrial group Ilam, Inc. (or, rather a noise orchestra with 13 musicians, which gave an incredibly insane concert in the Kiev Actors House of Culture) and also the project Rooteniya Pe Since 1998 cooperates as sound engineer with the first Ukrainian reggae/dub group Rootmans Band, Karina Kuznetsova (with whom he works to this day) and the bass guitarist Kirill Machinski aka Roots Controlla, with whom he founds the digital roots dub project Dub Compressors. In 1999 together with the composer Alexander Kohanovski aka Pankifared he starts the studio project Superapes, recording 2 albums, making experiments with electronic and ambient music, as well as composing music for escalators, elevators and corridors. Since 2004 actively cooperates with Foa Hoka as sound producer, remixer and contributor of music. Since 2005 releases his output on the d.i.y. CD-R label SKP Records (Kiev). Since 2006 actively cooperates w/International movement Ukr.tele.kom – as remixer, co-author and remastering engineer.»


Pollux – Naked Lights


Marc Stapleford – Eight Dreams

hpr085

Marc Stapleford

“Eight Dreams”

Marc has been in the business for a while, being a member of the recording and touring band Beautiful 2000 but since the breakup of that band, he’s been writing and recording his own material.
This extended EP of eight songs was recorded after a long visit to Kobe, Japan in 2004. Inspired by Akira Kurosawa’s Dreams, ‘Eight Dreams’ was recorded, played, written, mixed, mastered and produced by Marc Stapleford. It has a delightful mixture of laid-back acoustic and electronic-flavoured textures, with the odd turntable and field recording thrown in.
“Eight dreams dreamt in one night. From young to old. This record is in celebration of human spirit and imagination. Long live us.”

Orquestra Livre Experimental Organica – Sunyata

0kbps071

Orquestra Livre Experimental Organica

“Sunyata”

Orquestra Livre Experimental Organica

Sunyata [0kbps071]

01 – Kavorkafka
02 – The Clay Tablets
03 – Tetrastigma
04 – Mukesh
05 – Trick
06 – “Codex Seraphinianus”
07 – Flor de Obsessão
08 – Sunyata

Project that began in 23 / ​​August / 2014d.C
Initial idea of the project was intended to benefit from the creativity, free improvisation.
The concept of improvisation is mainly the ability to simultaneously produce and interpret within or without harmonic or rhythmic parameters, melodies, rhythms and vocalizations…. See more
Declaration of authorship:
This page and all the issued and published in it content is of interest, domain and full responsibility of OLEO (Orquestra Livre Experimental Orgânica)
OLEO (Orquestra Livre Experimental Orgânica)
Nando Souza: saxophone
Romulo Alexis: trumpet
Jeferson Peres:drums
Marco Antonio: bass
Guina: efects/noise
cover art: Tor Fröseth (Norway)
participation/vocals on: “the Clay tablets”: Shirin Ny SSan (Tunisia)
MAV [0kbps] Records, September 2014


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