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.
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.
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 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.
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
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)
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.
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.
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
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.
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.
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.
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…
Jean-Luc Guionnet: saxophone
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.
“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.»
«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.»
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.”
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
Marco Antonio: bass
cover art: Tor Fröseth (Norway)
participation/vocals on: “the Clay tablets”: Shirin Ny SSan (Tunisia)
MAV [0kbps] Records, September 2014
Terrorrhythmus’ «Adapion Discorder» seems to be Yarn’s most smashing EP to date, judging by the almost endless amount of remixes. After the release of the uptempo remix-pack back in June, Yarn now presents «Adaption Disorder Remixes Pt. 2». The second remix-EP keeps up with the high energy, concentrating on a dancefloor-friendly tempo-range.
From Germany’s rough bank capital Frankfurt comes machine-musician Chris Geschwindner. The affiliate of the young label polen.rec woves «40h»’s pads and samples together with a shuffled house groove. His remix develops over eight minutes, leaving smiles everywhere with its airy and sunny atmosphere.
A totally different interpretation of «40h» comes from Llyphon. Terrorrhythmus’ mate from Bremen already released on his imprint Betonblume and DubKraftRecords. With stumbling bassdrums, flirring hi-hats and washed-out samples he transforms Terrorryhthmus’ trap track into a lush and varied piece of contemporary electronic music.
Also from Bremen comes producer and DJ in demand Tobs who just dropped his first vinyl on Drowned Records. His «Leaving Home»-version of «Post Smack» is full of warm pads and synths, unfolding sentimental feelings over a pretty straight house beat.
Uprising Belgian producer Take Away The Noise seems to have hardcore in his blood. His seven minute long adaption of «Post Smack» utilizes the original’s vocals in a stumping techno garment. Breaks and shuffled bassdrums penetrate the rough track which is designed to destroy dancefloors.
.Zigo has an apocalyptic “Blade Runner” world in his sonic conception. He swings comfortably between sulfuric sunrises, romantic evenings to the cyberpunk distopians.
This work, like his others; and many other things that I have enjoyed in concert, has its own peculiar character, the detail that blows the mind and that eccentricity carries it to work every detail like a careless tide, but he has the control, so many years on the path have not made him aloof, and he applies every consciousness, every experience.
It shows in the quality of the sound and in the domain of reaching the very edge of the break, without breaking.
Tiny pearls invade each of the tracks, and yes, he is one of the masters in this sense, in showing us that heavy noise with delicate sonic touches, that are not lost, on the contrary, he makes them be noticed.
In “Drupas migrantes” we hear from the beginning with “Zaxsibulan”, mantric drones that invade, and leave us almost perplexed to wait any longer.
We pass through quasi organic states like those in “Drupa” and “Ralokhao”, cyber-robotic moments like “Aeasxoolar” and “Drirl” to descend to the shamanic poetry of “Xeticanteral”.
Can this work be classified? It cannot – you can only listen and enjoy- qualifications do not count, just immerse yourself or be engulfed by it.
.Zigo without a doubt “is” in past, present and he shows the future, and all this comes together for capture us to hear.
.Zigo tiene el apocalipsis Bladeraniano (de “Blade Runner”) en su concepción del sonido. Se hamaca cómodamente entre amaneceres sulfúricos y atardeceres románticos a lo cyberpunk.
Este disco, como otros y muchas otras cosas que he disfrutado en vivo, tiene su peculiar sello, el detalle de la voladura de cabeza y esa excentricidad que lo lleva a trabajar cada detalle como en una descuidada marea, pero él tiene el control, tantos años de carrera no le son esquivos, y aplica cada conocimiento, cada experiencia.
Se nota en la calidad del sonido y en ese dominio de llegar hasta el borde mismo del quiebre, sin llegar a quebrarse.
Diminutas perlitas invaden cada uno de los tracks, y si, es uno de los maestros en este sentido, en mostrarnos ese heavy noise con delicados toques sonoros, que no se pierden, al contrario, los hace notar.
En “Drupas Migrantes” oímos desde el comienzo con “Zaxsibulan” drones mántricos que se nos vienen encima para invadirnos y dejarnos casi perplejos para esperar más.
Pasamos por estados cuasi orgánicos como en “Drupa” y “Ralonkhao”, ratos cyber-robóticos como “Aeasxoolar” y “Drirl” para descender a la poesía chamánica de “Xeticanteral”.
¿Cómo podemos calificar este disco señores? No se puede, solo se puede escuchar y disfrutar, los calificativos no cuentan en una obra tan completa, solo meterse en ella o ser engullida por ella.
.Zigo sin duda está en el pasado, el presente y nos muestra el futuro, y todo conjugado para que lo tomemos, para que lo oigamos.
Golgotha Communications Limited are a Philadelphia-based experimental music group, founded in 1996, who have released numerous works in numerous formats on numerous labels, and have also recorded as FARS, 222, and The pit-grave ensemble. “Wine, Women and Song Vol. 2” is the second installment of the “Wine, Women and Song” trilogy.
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