Schelkino is a town in the Ukraine’s Autonomous Republic of Crimea. Geographically, Schelkino is located near the headland of Kazantyp, on a peninsula jutting northward out into the Sea of Azov from the Crimean mainland. Population is 11,677 (2001).
The electroacoustic opera “Le 7 perle di Belzebù” by Fabrizio Basciano (Lamezia Terme, Italy) is divided into 7 movements preceded by a short overture for piano solo . The work is inspired from the book “I racconti di Belezebù a suo nipote” of the armenian philosopher and mystic George Ivanovitch Gurdjieff. About the work of Gurdjieff, Basciano selects 7 by more than 40 chapters and attempts to transpose a musical key philosophical and conceptual content of the same. The work is recorded at the studio Lante Records and is edited by the Associazione Culturale Lante Arte. With this work Basciano fully realized, for the first time, his musical ideal, a very well-balanced fusion between electronic nature and derivation of orchestral timbres. There are also a whole season the timbre of an ethnic nature, such as the sitar, lute, turkish, the native american flute and other instruments belonging to various cultures and music systems far. A long research for harmonic sense, with musical atmosphere as hot as ethereal, much sought after because, in fact, unique. Along with the search for harmony looming experiments on several other fronts, from the tone (which was mentioned above) to the rhythmic, from the linguistic to the inherent sound synthesis, the latter side on which the author of leads a long and painstaking. This opera was performed at Teatro Politeama di Lamezia Terme on June 3, 2013 and by request of the artist composer, now officially, released in Nostress Netlabel.
Fundstücke, the duo project of Gunnar Lettow (Hamburg) and Gary Rouzer (Washington DC), began as an online collaboration in 2010. Their debut recording was released in November 2011. They first met and performed together at the 2012 Blurred Edges festival in Hamburg, Germany. The two tracks on Fundstücke Live were recorded later that year during a short East Coast US tour.
Der Erste was recorded on 30 September 2012 at the Atlas Theater in Washington, DC.
Der Zweite was recorded on 27 September 2012 at the Spectrum in NYC.
Gary Rouzer- prepared bass, amplified objects
Gunnar Lettow – präparierter e-bass, electronics
01 – Quello che volevo sentire
02 – I king del burger king
03 – Post-punk post tutto
04 – Balice, il tuo furby ha problemi
05 – Quella roba che puzza di mangime per pesci
06 – Nessuno mi risponde a Milano a parte Teo
07 – Al binario
08 – Cipster, noccioline ed altro
gianpaolo fausto, marta blu, matteo donà, stefano balice, tommaso busatto: kazoo, bell, electronic, uneasiness guitar, mobile telephone, car, various percussion, chips and nuts
recorded live in turin and milan, 01-01-2014, 02-01-2014, 03-01-2014
Rete del disagio (the uneasiness network) is not a band, and has no stable line-up.
Rete del disagio was born when followers and supporters from different web communities as upupachan, vaporized art movement, deep lake records and mav [0kbps] records, start to physically meet to bring the noise from the net to the streets.
01 – Fabio Crivellaro – dKrogg – mArCh Of ReCyCle
02 – Exclamation Point – [ ! ]
03 – Beira – VGA on GBA
04 – Max Scordamaglia – Unalog – 09
05 – undermindlimb & khaotic molly – grandfather paradox 1.56-12.52
06 – Toxic Chicken – featherhead unplugged
07 – Tommaso Busatto – gotEmoftoe
08 – stefano balice – quattro passi sulle lame
09 – sounddog65 – ‘galve,nîz
10 – Eugenio Furrno – flompodiskoteque
11 – Pioggia d’Ambra – Trauma del lobo temporale
SAMIZDAT is a floppy series dedicated to low bit-rate music and other low-tech wonders.
Each participant is free to release and give out SAMIZDAT’s copies as he wants,
using recycled diskettes, giving them to friends or hiding them among the shelves of a shopping center – or more.
A SAMIZDAT floppy disk is a noisy act of love against the music busssinessss.
lucie vítková is czech composer and performer. she graduated in accordion performance at brno conservatory in 2010 and composition at janáček academy of music and performing arts in brno (cz) in 2013. during her master’s degree, she studied at royal conservatory in the hague (nl) and at california institute of the arts in valencia (usa). she has studied with martin smolka, jaroslav šťastný, martijn padding, gillius van bergijk and michael pisaro. she is member of the ensemble marijan, dunami, dust in the groove, and prague improvisation orchestra.
lucie’s first album for pan y rosas, is a collection of ideas and techniques that she accumulated throughout her practice as an improviser. in each piece she tries to portray certain phenomena in their pure, concentrated form to make their individual characters clear. to create the pieces on this album, she used three different accordions, her voice, and a harmonica.
Well, Kai Engel didn’t just sit around doing nothing at all. That kind of person can’t afford to. So, what is his brand new album like? It’s pretty much a soundtrack to a movie that never was and never will be. Yet we can get a glimpse of it by exploring the palette of sounds and listening to every note closely – there are landscapes and images, characters and stories, scenes and moods. There are calls and echoes. So, after all that film probably does exist.
Button Box” is a collection of 46 mixes constructed from elements taken from the Linear Obsessional album “Air Buttons” by Richard Sanderson (LOR046)
“After releasing my album of melodeon and electronics improvisations, I decided to ask my friends whether they would be interested in reworking any of the material- ‘Please take any music at all from the new release (“Air Buttons” by me) and do what you want with it – mangle it, remix it, add things to it, sing over it, play a duo with it, slow it down, turn it into a tune, cut it up, whatever. BUT please make your contribution EXACTLY TWO MINUTES LONG’.
I was astonished by the reaction- soon sound files were flying at me from all over the world, including from friends of friends of friends, as well as from people who I’ve known since school days- collaborators from my post-punk days, free improvisers, morris dancers, other Linear Obsessional artists, even my next-door neighbour! The results are amazingly varied in style – and all are fascinating, and of course, none of them outstay their welcome.
So- enormous thanks to all my friends in the UK, France, Spain,Ireland, Sweden, USA and Malaysia, you have made me very proud”
-Richard Sanderson 2013
All tracks include at least some elements taken from the album “Air Buttons” by Richard Sanderson.
Fryvolic Art is one-man-band from Poznan/Poland. Now sharing you not only music, but a deep thought also: music is dead without the listeners. So let it live… What can you expect? Some interesting combination of rock, guitar-chillout with a little classical mood and even metal. Visiting ornaments.fryvolic.pl you will find online-player, download zip file and some place to leave a comment or post a question.
bristophe is brice catherin and christophe schweizer.
they play instruments like: cello, trombone, a bit of electronics, maybe some tuba, a touch of clarinet, plus e.g. recorder and other flutes, double bass, alpine horn, voice, bird calls, a few toys, and whatever else they come across that might produce some type of sound.
they are half swiss living in hamburg (germany), half french living in geneva (switzerland).
occasionally both halves meet in one place, and that’s when sound happens.
their first album for pyr, le fils de la prophétesse is a two disc set that clocks in at over two hours. the first disc contains almost sixty miniature improvisations the create a whole. the second disc is more long-form, but the two relate as one.
Carlos Suárez is, now a days, one of the most interesting musicians exploring the compositional possibilities of field recordings in Spain. His work has been widely regarded as a revelation on how to present processed field recordings as elements of a very bast and complex symphonic music system or language.
Moreover, Suárez has been able to develop something quite bold in the realm of field recordings, this is his ability to have a certain sound identity that defines his oeuvre. Through the usage of silence, textures and noise, Suárez has been able to create a very personal and creative sound world that ultimately becomes a language by itself.
After his acclaimed work “Transit Mundi” (Luscinia 2012) Suarez has been developing that very own language, following that premise, a month ago Exp_Net released “O Tempo Do Desengano” which explored similar accents and phrases such as the ones found on this album but reversing the sound sources. In the album at Exp_Net Suarez focuses on the us e of a modular synth (Doepfer A-100) and here, with Fin Da Terra, Suárez tries to do the opposite, to work mainly with field recordings and just a bit of analogue synthesis.
Fin da Terra is a compositional exploration of sounds gathered in costal areas, beaches, breakwaters and different locations in the Atlantic galician coast, where Suárez currently lives. What’s interesting of this piece is the usage of those recordings and how they have been moulded to become “voices” at the service of Suárez sound language.
Also, Fin Da Terra uses field recordings as a canvas, a surface where to play different experiments and combinations. The soundscapes are relegated and become background to the sonic accents that define Carlos Suárez oeuvre, even, he allows himself to add, here and there, elements such as a modular synthesizer that appears hidden but present if we carefully listen as a reminder of his previous work on Exp_Net.
The overall conclusion is that Fin Da Terra cannot be understood if not listened after “Transit Mundi” and “O Tempo Do Desengano”, all of it form a consequent evolution and exemplification of creative process.
“Dawn breaks up behind the eyes, where sun doesn’t shine”. We Are Forever goes out to all those emotive experiences that let us dream, that went deep into ourselves and that we’ll never forget. Things that we want to keep close or need to get rid of in order to escape from ourselves. A caress. A consciusness. A drop of eternity lost beneath our souls. Sebastian Love’s 4th ep.
Artist/Composer: Bo Crew Hip Hop Collective
Keywords: TheFeeDunk Star; TheDeepr; The Corner; I.Z. aka IDzeroNo; Ames Nick Solder; The Pee Punk BROTHA; D-Ram; Dj RuffShraker; Melvin Clark; The Informers; 95 & Sailaway; D – Ram; hip-hop; media; remix; hip_hop; flyingteam; nyc; classic;
Creative Commons license: Attribution-Share Alike 3.0
01 – Traccia 1
02 – Ciao, io a 22 anni penso alla morte
03 – Berì jonò (With Stefano Balice)
04 – Dog save the tween
05 – Etere punk experience
06 – Detuned (Vs. Iguana Glue)
07 – Traccia 7
08 – Ospizio per giovani musicisti
09 – Traccia dai toni oscuri per farti riflettere su quanto sei triste te e la tua vita
10 – Dog
11 – Terror of my disagio-core
12 – Complesso. What else?
Movimento Arte Vaporizzata: Tommaso Busatto, Kano, Antonio Saccoccio, Joseph Deskolath, Fabio Crivellaro, Alenka, Stefano Balice, Alessio Giannetto, Anastasiya.
Track 01 and 03 transmitted for the first time in MEK DES KOM, radio program directed by INTERCAMALEMELONT.
SAMIZDAT is a floppy series dedicated to low bit-rate music and other low-tech wonders.
Each participant is free to release and give out SAMIZDAT’s copies as he wants, using recycled diskettes, giving them to friends or hiding them among the shelves of a shopping center – or more.
A SAMIZDAT floppy disk is a noisy act of love against the music busssinessss.
Electrofilia net.label presenta #Haters Club con este compilado logramos reunir a grandes músicos mexicanos inclinados al los cuts, noise y live coding proponiendo en esta producción texturas, frecuencias y/o algoritmos bailables en algunos tracks que están ligadas a los sonidos de la música electrónica de vanguardia.
Diseño EP: Eric.Erre
Masterizacion: Carlos Hasbun A.K.A Mixfuckedup
“Di-Bit is from Tsu, Mie, breakcore musician and manager of Merry Works label.
Made of 4 traxxx, his ‘Doll Attack’ ep is short & intense, you should ask for more.
Japanese breakcore at its best.”
Otto Psy [NKS International]
antoine beuger is a composer and organizer born in the netherlands. one element of his work is the sound in between what’s played. space. musicality of mundane actions. everyday-ness. listen throughout your waking hours. experience. he is part of wandelweiser – which is both a performer/composer collective and a record label.
his first album for pan y rosas is florenski septets a piece for seven instruments that was performed in st. petersburg, russia on april 6, 2013. the piece was performed by: yuri akbalkan, ilia belorukov, stanislav oporkov, marina poleukhina, kirill shirokov, denis sorokin and alexey sysoev. long single tones. silence. mesh and unmesh. listen carefully.
brice catherin is a composer, cellist, electronicist, performance artist and improviser based in france. he has participated in the festivals: de la bâtie (geneva, 2008, 2010 and 2011); akouphène (geneva, 2005 to 2010); angoulême (2008); archipel (geneva, 2008); la cité (lausanne, 2005); etc. amongst many others, catherin is influenced by jean-luc godard and karlheinz stockhausen.
his second album for pan y rosas, number 3, features two versions of the same piece – one for piano solo and one for violin and ensemble (featuring flutes, clarinets, bassoon, trumpet, tuba, percussion, and double basses). the sound is a rhythmic pulse with occasional voice.
based in chile, the cátodo dúo consists of amanda irarrázabal on double bass and ramiro molina on electric guitar. they began playing together in 2012 as a way of sharing their experiences in the field of the improvised music. built around a string concept, the duo easily moves from intense rhythmic situations to dense layers of noise. the music is totally improvised and their sound arises from treating instruments as sources of sound in every sense of the word using prepared instruments and avoiding conventional playing.
al tiro, their first album for pan y rosas discos, documents their first public performance. the sound is: chime snake swirl. metal scratch skree. quiet long note bends. physical percussion. staccato footstep notes. process vibrato. glass string flow. reverse polarities, cross streams. pierce pulse. low drone feedback string punch. objects falling down hills. black lodge bass descension glissando treble string ambiance.
By the end of 1978, a group of visual artists from USA know as The Residents published, among others, one of their masterpieces: ‘Eskimo’.
This was a conceptual album organized around a very special subject: fake folklore eskimo music (Cutler 1993).
To achieve that, the collective not only invented a tale that could base the album; a specific language variant for the ritual songs ‘recreated’ here was even delivered.
As it was expected, all of this huge frame didn’t made up anything but another one, designed to keep on laughing at, making a parody of, and comments on recurrent study objects such as: pop, publicity, big scale marketing (op. cit).
By the end of 2011, the local artist Mika Martini, grown surrounded by the visuality, give us ‘Los Hanoish y otras subculturas extintas’ (The Hanoish and other extinct subcultures), a conceptual album organized around a very unusual clue: imaginary pre-Columbian cultures.
The starting point was given at playing with Ursula Calderón’s voice (1923-2003), that, processed and manipulated, it becomes quite unrecognizable and distant about its time, telling and metal.
Martini also gives a quantum leap in respect of his previous release, ‘Mestizo’ (pn014 / 2007), abandoning the melody and danceable beat at all, to achieve the sound in its maximum amplitude and possibilities.
We’re hoping that, joined by the cold, the distance and the starting point, both works intersect in our ears, more and more each time, so they could expand our anxiety and imagination.”
Cutler, Chris: “The Residents” – File Under Popular: Theoretical and Critical Writings on Music (Autonomedia, N.Y., 1993) pp. 74-85. In spanish by Gerardo Figueroa Rodríguez.
Gerardo Figueroa Rodriguez
(Cerro San Cristóbal, Recoleta, Santiago RM
Morning-Noon of 29/11/2011)
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