01 – Once again (Emanuele Fais, Stefano Balice, Tommaso Busatto)
02 – Ti fai le canne di droga (Tommaso Busatto)
03 – Mi si è rotto il funk (Emanuele Fais)
04 – La cosa fatta (Stefano Balice)
05 – Heavy dub cunt destroyer (Tommaso Busatto)
06 – Ansia da dub (Emanuele Fais, Stefano Balice, Tommaso Busatto)
07 – Little Duppy Girl (Emanuele Fais)
08 – Tattilofonia e relativi ornamenti vocali dub (Stefano Balice)
09 – Nigga taught me how to reggae (Tommaso Busatto)
lauren redhead is an internationally performed composer and a performer who specialises in experimental music as an organist and a vocalist. she is a founder member of the collective ‘automatronic’ who produce a concert series for organ and electronics in london each autumn and who commission and collaborate with composers to create new works for the combination. her compositional work increasingly focuses on graphic, conceptual, and open approaches to music and performance, and collaboration — with other composers and artists — forms an important part of this approach.
the music on entoptic landscape is “slow moving, partially entering into ‘view’ and then gone again. the attempt to focus has the effect of obscuring it. all of the performances of this music respond in some way to open notation. as such, no two performances of this music are alike, but all hold much in common. open notation has been employed not for reasons of accessibility but as a means of inviting the performers into the specific soundworld of the piece.”
Jonas Kocher: accordion
Gaudenz Badrutt: electronics
Having collaborated for many years now, Badrutt and Kocher play improvised music. Through this practice they explore the relation between the very electronic sounds of the accordion and the instrumental potential of the electronics.
There is no electronic processing of the accordion, more the opposite: the acoustic sounds tend to influence the machine, creating accidents and random behavior of the electronics.
Badrutt and Kocher also take care of the acoustic specificities of the spaces where they play, taking it as a fundamental element of the performance. Through this subtle tuning between the playing and the space, every sound performance becomes site specific.
The concert at Rex was the last of a small tour in the Balkan region. Hours of travelling around on bad roads with old albanian taxis and public buses, fastidious border crossings and concerts in very different venues: a quiet basement in Athens, an old industrial building in a no man’s land area in Tirana, a very small bar in the middle of a fancy bars area in Skopje and the beautiful old cinema REX in Belgrade.
Our music evolved quite a lot during the tour, the context as well as all the people we met and the places we stayed, having definitely an influence on our playing. This recording aims to document our practice in a specific context at a specific time. No concept before playing, no edits or re-composing after. It is just what it is, improvised music.
01 – Discourse
02 – Golden Ghetto
03 – Descriptivist Perscriptivist
04 – Conversation
05 – Futurosity
06 – Disrupted
07 – The Message
08 – Fettine Panate
09 – The Universe Is Under No Obligation To Make Sense To You
Made with care and dedicated to life itself, floating in spheres of existence while playing with sound, life as it is, there is no secret in this, just a simple sound trip in and between molecular structure, no thought involved, feel free to let go.
In the second in a series of duo releases, Linear Obsessional brings together Greek improvisor and circuit bender Tasos Stamou with UK free saxophonist Adrian Northover for a series of short interactions. Playful and sometimes startling these pieces run through a surprising series of atmospheres and moods, from modal drone explorations, to far-out collisions of brittle electronics and circular breathing crescendos.
Adrian Northover- Alto and Soprano Saxophones
Tasos Stamou – Prepared Zither, Cassette Loops, Digital Horn and Test Generator
attending to breathing spaces and mouth details, alice hui-sheng chang and rosalind hall experiment with abstractions of the voice and saxophone. challenging their instruments to produce extreme timbres and intimate textures, they use improvisation as their inspiration for performance and composition. in the six years of their collaboration, the pair has performed locally and internationally, released a cross-continent album and exhibited sound work for video art and multi channel installations.
on embossed tales of throats the duo continues to develop a strong improvised language that pushes and pulls at sound playing in and outside of each other, at the acoustic resonances of their instruments and bodies, at their shared performance histories and at creating electrified playing experiences. the duo also investigates the use of both tape and digital recording technologies and various microphones to create changing impressions of their sounds and inspiration for new gestures.
ear to the world. repetition without accumulation. trying. activity without beginning or end. selfless. bored confronting boredom. patience. thoughtless. recursive. understanding over stood. annoyance. accidental purpose. inconsiderate. urgency without aim. gentle. sound as material. world to the ear.
the first album from john collins mccormick released under his own name (he has previously released albums as sky thing), is a collection of his sound sculptures that he has created and performed between 2012 and 2014. it is a patient collection. ten pieces, just over two hours of sound. it is released in conjunction with mccormick’s m.f.a. exhibition at herron school of art and design.
Welcome to the very first debut compilation LP from ∆∆agic ƒind ®eco11ec†i0n, a new born star in the vast galaxy of online netlabels.
The Music and Art you find here will ALWAYS be given out completely free of charge…
Now and Forever More.
∆∆ƒ® aims to change the world through Soundwaves…
It aims to Heal this Earth with Waveforms
and it aims to Awaken the creative within YOU using vibrations.
It will set the platform for a new Music Indsutry.
One that is fair. One that treats the artists like the true creative architects they are, not like prisoners the way so many true artists are treated by their current ‘Labels’.
Many of the artists here will be signed to other labels, so if you want to Pay Money for their music, you are perfectly entitled to do so and I hope that you do that, because the arists here deserve every penny they can get for the amazing art their have created and shared with us.
So without further ado, please delve further.
Explore this ∆∆ystical ∆∆agical Wonderland of ∆∆arvellous ∂elights…
And please… tell ALL your friends.. Tell ALL your family…
Good Heavens…. Tell The Entire World
Everyone deserves to Know How To Love Again.
Peace, Light, Love and Blessings to ALL Beings of the UNiverse.
This album of mine, Satiety, I think is really good for two reasons: 1, each track to me is really great at capturing and even painting a certain mood. Each track is its own world. And yet, it is also incredibly cohesive considering that, as the whole thing seems to combine to form a singular statement, whatever that may be. The largely abstract and open nature of my instrumentals allows the listener to draw his or her own conclusions.
Klaus Marten was born in Cleveland, Ohio, and lives in Bushwick, Brooklyn, New York, where he spends his days working, hanging out with friends, buying records, and making music on his laptop. The varied influences of My Bloody Valentine, Smashing Pumpkins, Brian Wilson, Animal Collective, The Ventures, The Beatles, Sonic Youth, Deerhunter, and Japancakes (among others) provide a basis for his guitar-based music, which combines shoegaze, rock, surf, country, general experimentation, and other muddled-together genres into broad-ranging tracks as simple as solo guitar works and as complex as lush dream-pop soundscapes…and everything in between.
This release is the first 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.
founded in april 2012 by macarena montesinos and niet f-n and based in spain, 23RedAnts is a cello/electronics duo who try to explore new territories between free improvisation, glitch music, and noise.in their first two years they have collaborated with different musicians and released four digital albums available for free download. they also collaborate with other artists such as dancers, visual artists as well as performing live during art exhibitions.
pablo orza is a self taught multi-instrumentalist from galicia, spain, primarily working in free improvisation. in 2003, he collaborated with parto duo to create the centro de novas tecnoloxías do pico sacro (TPS) – an artist collective interested in real time creation.
their first album for pyr consists of conversations that took place between cello, electronics and guitar. macarena, niet and pablo documented the conversations in 2012 and organized them into three volumes that all relate. the sound is micro, patient and highly fluid.
Free Variety Theatre was founded in early 2013 by Alexander Cutteridge and Daniel Moschopoulos as a vehicle for online collaboration—initially non-realtime distance collaborations with likeminded artists on SoundCloud. We have already established working relationships through attentive offline collaboration with musicians and producers in North and South America, Australia and throughout Europe, and have recently extended our outlook into the realm of tele-musical internet performance.
In parallel to our collaborative efforts, we have, over the last year or so, been developing and refining more conventional modes of improvising (namely playing in the same space and time). “Galactic Anatomy” is FVT’s first collection of recordings featuring the two of us playing alone. We have cautiously defined the genre as “techneurotic jazz”. The main intrigue/challenge from the outset has been to convincingly integrate improvised performance on traditional acoustic instruments (piano, electric guitar, trumpet) with digital electronic devices (laptop, samplers, analogue modelling).
bristophe is an improvising duo that consists of brice catherin (from france, based in geneva) and christophe schweizer (from switzerland, based in germany). between them they play instruments like: cello, trombone, a bit of electronics, tuba, a touch of clarinet, plus e.g. recorder and other flutes, double bass, alpine horn, voice, bird calls, a few toys, etc. occasionally the two meet in one place, and that’s when sound happens.
their second album for pyr, die ersten zwei kirchen, is another two disc set – this time documenting two sessions of improvisations that took place in two different churches in germany and switzerland. to explore these spaces, the duo used: strings, brass, church organ, piano, harpsichord, clavichord, and the alphorn as well as their voices, electronics, birdcalls, and little instruments. as always, listen carefully.
01 – Outro
02 – Sorry Patty, I’m busy
03 – Hey rusty! don’t need ya education
04 – Registrazione boh
05 – Stumpy reggae party
06 – Il mio non rapporto con la droga
07 – Cione was a gabber
08 – Caramelle & Spleen
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