Lorelei is the debut album from duo Feminine (Giampiero Riggio and Francesco Cipriano). A wave manifesto against the deeply rooted reverence for the logic of genres. “Lorelei” develops on two complementary levels: one archaic and passionate, troubled by the many contradictions of a land like Sicily and the other, accurate and bewitching, is a prelude to teutonic Stuttgard. A countless number of bytes which they shared and exchanged remotely. This work is romantic and brave at the same time, constantly immersed into a very deep atmosphere, never trite,
fooled by the certainty that there is no dream which cannot be described.
After having been around since the mid 90s, the British trip-hop duo Tracing Arcs, releases one of its strongest albums so far. “Waste not, Want not – Wasteland Remixed” is the band’s sixth release and their third on 23 Seconds Netlabel. It contains eight remixes (from the album Wasteland) and one new song.
Tracing Arcs’ trip-hop sound is a smooth blend of different musical styles, with influences from the world of jazz, mellow electronica, chillout and downtempo beats. All interwoven with the soft, emotional voice of Fran Kapelle.
Enjoy / 23 SECONDS NETLABEL
Once again, as part of the Christmas releases for 2016, Tetarise makes a welcome return to Kahvi! It’s hard to believe that it was a year ago since the last Tetarise release, but he’s back with a five track EP entitled ‘Playing in the Glow’, which contains his usual flare for production and style (with perhaps a touch of Russian industrialism?)
As his previous releases, we’ve got epic and powerful beats, mixed with deep trance and ambient leads. Feel good tracks for the season!
15 years ago I released ‘white blazes’, an album made while hiking on the Appalachian Trail. A place that feels like my true home. Always residing in the depths of my mind, calling me back to the solitude and beauty that only nature can provide. So life recently provided me a little window of a bit over a month to return to this magical trail. Naturally, I thought it was a perfect time to compose a follow up to the original ‘white blazes’ and so you have here before you ‘return to the white blazes’. An album composed in the forests on the AT in Virginia, North Carolina, & Tennessee in the months of October and November of 2016. Back in the early 2000’s when I conceived the first release, I carried a heavy (15+ pound) laptop. The battery would barely hold a charge, and in the colder months of a winter hike would barely work at all. Oh, how times have changed in this short moment between then and now. This trip, I was able to carry 2 cell phones, a tablet, a plethora of power banks, etc. all weighing well under the weight and thoroughly out performing in terms of specs the original laptop. The trip provided much adventure and time for deep thought. I was surrounded with beautiful vistas awash in the splendor of autumn, clean crisp air in the star filled nights. I shared my campsite with packs of coyotes, got interrupted during dinner by a hungry bear, read lots of books, experienced the intensity of forest fires, and generally got rid of years worth of clutter in my head in a way only the trail can provide. It is my hope, that in some way, I may have captured just a bit of that magic in what I present to you here. That in these tones and rhythms you can experience a bit of that solitude and beauty for yourself, and if I failed, I only hope I can encourage you to go out and experience the wonders of nature for yourself. Much Love!
While the Earth is devastated by meat-mad humans who’ve descended into extreme cannibalism, the animals arrive to Planet Paw, a new kingdom where decency will reign according to the logic of sustainability, free from the meddling of perverted human reason.
After many years in the making, and following an obscure lo-fi CDR release about ten years ago, this is Peter Holy’s first solo album, this time without materializing physically (the music, not Peter).
Peter plays piano and sings, accompanied by Tupolev bandmates Alexandr Vatagin (cello, recording, mixing, mastering) and David Schweighart (drums). The record consists of 9 pieces, 2 of which are re-recordings from songs from the old CDR, one is a reworking of a piece by Tupolev and one piece was also used in a song on Alexandr Vatagins album Serza. The remaining 5 pieces are completely new.
In addition to the publication of the album “Fluctuaciones” (“Fluctuations”) in its physical CD version (pncd11), two online albums are included that can be accessed on the Pueblo Nuevo Netlabel website, “Fluctuaciones 2” (pn113) and “Fluctuaciones 3: Live electronics” (pn114).
In regards to these albums, the time span covered is around 12 years of production alongside the pieces for the CD, several of which were revised during 2016. Although the new ones were completed in 2015, they form part of a collection of works in course, so I understand them as related.
In the case of “Fluctuaciones 2“, this includes 14 additional acousmatic works, all pieces composed between 2004 and 2012 and distinct from those included in the physical CD. This collection is irregular, there are several works of interesting execution and others that are either studies of timbre and structure or are exercises acousmatic composition. I have decided to publish this collection for a number of reasons: it is a personal gesture to close a stage as a sound creator, it allows me to recognize the constancy and seriousness with which I have approached composition in the genre and makes available to students, artists, researchers and interested public parties a corpus of work that could be of interest for analysis, study, and discussion.
(Sheffield, UK. Noviembre / November 2016)
The release of Happy Singles by Basic Elements marks a couple of firsts for CerebralAudio: the first release from Basic Elements, and the first downtempo release on CerebralAudio. It’s also the second release available in 24bit FLAC encoding.
Basic Elements has produced a set of pieces that are like listening to a great blues singer, in a modern setting. There aren’t any blues vocals or samples used in this release, but it is the mark of a great artist that can transform modern sounds, and carry the essence and spirit of past works into a modern setting.
Happy Singles focuses on relationships, and the pain and hurt they can bring out in people. Those are essentially blues themes. But in the hands of Basic Elements, these come out more as an R&B style, with a modern groove. The title is somewhat ironic, but a true statement about people that are more happy when they are single.
The title “Happy Singles” is also a double-entendre: all of the tracks on this release could be singles. They could be released as single tracks, but they take on a new level of poignancy when listened to as a whole. This is another mark of the magic that Basic Elements brings to this style of music, and something that CerebralAudio is proud to release.
“Slow Time” grew out of some slow arpeggiating tracks, of which one remained, I looked at some unreleased tracks, tracks that I couldn’t place yet and all came together in a picture as one. Experimenting with classical influences, as I do more often, mixing it with psychedelic and drone elements. The result I think exists in its own bubble, I hope it gives the listener a different sense of time. -Lingua Lustra
“Anthology ’10: Learning To House” represents the first movement to encounter in a nearby place. It would take longer to know and be certain of what’s being pursued. But it’s already possible to notice some elements that will be re-thought e refined in the coming years.
A curiously named guest artist again for October. Vinze is dead could be the sign of depression or sentimentality, and the 12 track album ‘Corse1993’ twists and turns in all directions, giving you a nostalgic vibe similar to Boards of Canada, with subtle sounds your ears yearn to hear, to detailed drum tracks – nothing too heavy, just delicate percussion to complement the otherwise sublime tracks.
Perfect for that autumn afternoon in the last of the warm sunny days, or enjoying the crisp approaching winter (as we do here in Finland). All tracks have some great feelings and warmth, but a couple stand out for this fan: Veshangree (very BOC influenced) and Theme from pursuit of happiness which reminds me of ‘Nannou’ by Aphex Twin.
«Broken Doll – это сборник случайных мыслей – треков, которые получились в ходе музыкальных медитаций и импровизаций. Трип-хоп в чистом виде не является моим основным стилем написания музыки, но, пожалуй, именно он оказывает наибольшее воздействие на моё сознание и чувства.» — Eva Schlegel
Past Future is CerebralAudio’s second in a series of re-releases of Ambelion’s back catalog. Ambelion approached us about re-releasing these works in the hope that we would be able to gather more attention to his work, and improve on the packaging and mastering of his work: in essence bringing new life to his relatively unknown and neglected work.
Having being familiar with Waiting For Quarters, there was immediate interest in listening to the works that Ambelion had previously released. He sent us two releases: Quasi-Stationary and Past Future. It didn’t take much for us to agree that these works needed to be heard, and Ambelion needs to be appreciated by a more receptive audience.
So, Past Future is the second of these releases. In the future we are working on several more releases from his back catalog, including the potential release of some previously un-released tracks.
01-Sobria Ebrietas – Vivid And Brief Part 1
02-Sobria Ebrietas – Vivid And Brief Part 2
03-Sobria Ebrietas – Vivid And Brief Part 3
04-Sobria Ebrietas – Vivid And Brief Part 4
05-Sobria Ebrietas – Vivid And Brief Part 5
06-Sobria Ebrietas – Vivid And Brief Part 6
07-Sobria Ebrietas – Vivid And Brief Part 7
08-Sobria Ebrietas – Vivid And Brief Part 8
“Palus est” was born as a soundtrack to an old story never written, it’s emerged from my dreams. Story set in northern Italy’s swampland where strange presences inhabit or pass. Living and mysterious nature. I’ve seen it. I tell it with sound.
Nothing could better define this collection of tracks than “Early Years”. The first experimentations and works from J4ck Sh4rk show their electronic music foundations since the beginning and demonstrate that their sound will always be eclectic.
Erich Schall gehört einfach zu den ganz Guten. Nicht nur, weil dies bereits sein drittes Album auf dem kleinen grünen Würfel ist. Sondern auch, weil er es schafft, sich nicht zu wiederholen. In der Rockmusik spricht man gerne vom schwierigen dritten Album. Erich Schall ficht das nicht an. Er hat schon lange zu seiner Musiksprache gefunden, wobei hier eigentlich die Mehrzahl angebracht ist. Denn, um bei diesem Bild einmal zu bleiben, Erich Schall spricht fließend Dub-Techno, Minimal, Elektro und neuerdings auch IDM und Downtempo. Aber wen interessieren in unserer Postmoderne noch Genre-Grenzen?
Niemanden, genau. Ach so, war eine rhetorische Frage. Egal.
Die freie Wahl der Mittel stellt Erich Schall vor das Problem, nicht in die Beliebgkeit abzudriften. Er löst dies ganz meisterhaft durch Selbstbeschränkung. Jedes Stück verfolgt exakt eine Idee und das ganz konsequent. Seien es nun Sounds von elektronischen Klanghölzern in „Sticks“, von einem Saxophon in „Saxblock“ oder von einem Klavier in „Quantifier“ – stets lotet er alle Möglichkeiten und Variationen bis ins letzte aus. Auch scheint es, als habe er zudem noch verschieden Tempi erforschen wollen. Denn vom extrem treibenden Peaktime Kracher „Tropical Dodge“ über hypnotische Midtempo Stücke für die Aufwärmphase wie „Outside the Tent“ oder „Seep“ bis hin zum abschließenden, chillig langsamen Rausschmeißer „Dew“ werden alle Zeiten bedient.
Ein Album für einen ganzen Abend also, mit einer wunderbaren Spannungskurve. Kann man gut durchhören. Aber natürlich darf sich auch jeder gerne seine Perle herauspicken. Und das Schöne dabei: Perlen gibt es für alle genug bei diesem Album.
From Veliko was in part, inspired by a recent visit to Veliko Tarnovo (the medieval capital of Bulgaria). Most days I wandered to The Monument Of The Assens. I sat and contemplated the old town across the Yantra river, where the ‘hanging houses’ cling precariously to the steep hillside, some are literally crumbling and sliding towards the river below. This seeming fragility is reflected in both the music & lyrics I composed for this project. ‘’The Road From Veliko’ is also a metaphor for a psychological journey – from the darkness of depression back towards the light.
You almost have to draw breath after the album finished, this listener suddenly realised that he had been holding his, hanging on every note. There is genuine power held in these songs, quiet and drifting as they are; they have an intensity that is bewitching and all encompassing. This is music for the liminal hours, for dawn or dusk, for candlelight. Highly recommended, this album deserves your close attention.
Excerpt of review by Grey Malkin (The Hare & The Moon) for The Active Listener blog.
Susan Matthews is a UK based composer/musician, known for her intense, ambitious, hypnotic harmonies and industrial noise creations.
Composed, performed, and produced by Susan Matthews
Photography and design by Mark Ingram
A short but ever so sweet release coming up from new guest artist NNYz? (don’t forget the ?) called Acceptance EP. Perhaps a deeper meaning of a new unknown artist wanting to be accepted by his peers, or just requesting an accepted listening of his work.
Acceptance EP is an interesting mashup of different styles, such as subtle guitars overlaid an electronic background, epic ambient passages with hardcore analog or detailed minimal electronics getting you to stretch your ears.
An interesting but perhaps little short introduction to NNYz? Let’s hope for more, longer work in the future! Track of choice, the coolest Emilove!
My first introduction to the work of Ambelion was in 2014 when I found a remastered copy of his 2008 release Waiting for Quarters. I was taken by his ability to mix Ambient, IDM, Berlin School and a host of other electronic music styles. Now with Quasi-Stationary Ambelion has brought his distinctive approach to electronic music to CerebralAudio.
This release sees Ambelion’s more IDM approach to electronic music: lots of beats and breaks, with hints of swirling ambiance at times, and other times more mechanical counterpoint. This is really a return to the style of the 90’s, but with a modern touch that only Ambelion could envisage.
This is the eighth album from Javier Piñango’s i.r.real series, using only a Korg MS-20 analog synth and some sonic effects treatments. “i.r.real 8” is structured as a classic double album with the SOUTH as underlying concept in the emotional, the geographical, and of course, the sonic sense. It is an ambitious, complex work directly connected with personal memory and environment – deeply poetic and deeply political. Its sound goes one step further in the evolution of the i.r.real project, sharing some timbres and sounds with the previous album “i.r.real 7”, but focusing now on compositions which are sometimes based on highly evolutionary structures –the feeling of descent and fall– and at other times on structures with a progressive fragmentation and subsequent defragmentation of the sound, and of the composition itself; breaking, starting, muting, returning to its origin, uniting, restarting… All greatly related with the landscape of the Alpujarra region in Granada (Andalucía, Spain), which acts as inspiration and symbolic location for the entire album; going from hill to endless verticality, breaking into pieces and finally reuniting lower down…
“In this new album there is a considerable and decisive personal, emotional load. I’ve already felt for some years the need to work with the poetic, political, and geographical concept of the SOUTH, both as a creative motor and as a vehicle of resistance, at a personal level and at a purely sonic one. I’ve somehow also felt a special need to connect this concept with my own circumstances; using the Alpujarra region in Granada as a reference seemed to be the logical personal space around which I should build this “i.r.real 8”. The album is a metaphor of the dissidence and necessary resistance that I identify with the SOUTH as a concept. However, as I’ve already said, there is a personal space in this land located next to the enormous wall formed by Sierra Nevada, which appears as a barricade, separating this world from an unreal world – a deeply i.r.real world. My father, born in a village of Alpujarra named Cádiar, used to speak about the ‘hill’ (‘el cerro’, the 3.479m high Mulhacén Peak), as a static guard that filled up the horizon towards the North and that somehow fell thousands of metres down towards the South, through that other world, with the sea as its final destination…”
javier piñango: synthesizer (korg ms-20) and effects
recorded, mixed and mastered at madrid
After more than five years in recording and production, Tim Kays has released an album that reaches past the influences of Tangerine Dream, Vangelis, Biran Eno and other electronic artists and reconnects with his long time passion for progressive rock music (ala Pink Floyd, Alan Parsons, Yes, D.O.A., and Gentle Giant): The Way Home.
That re-connection is apropos for an album that is about finding The Way Home. Tim’s approach to the concept of “home” is about more than just the lodging that one might have. It’s about the emotional home, the strength of beliefs, and the patience it takes to find one’s true home.
Having the forbearance to work on a release for five years is tantamount to the journey that it can take a person to find their home. Tim has created a release that is the most personal expression of this journey.
We welcome Tim to CerebralAudio with this release, and hope you will enjoy it as much as we have in working on bringing this release to you. It’s truly an honor for us to be entrusted with a release that has taken Tim many years to bring to its most perfect form.
“Transmittance #1.5” is an edited sonic document of a live situation – a broadcast of an audio-visual telematic performance in the summer of 2011. The positions of earth satellites published by NORAD were used in real-time to shape the sound textures and the input from a remote audience was used to structure the chapters of the sonic story.
This new EP from See Pereria builds on previous releases and continues to play and experiment with a process led approach to making experimental electronica.
Preset loops are used as set parameters with the addition of vocals as a further instrument. These limits and boundaries allow for See Pereria to really experiment with the software to create new sounds. Each track in the song is manipulated and sculpted by being layered, cut up and/or looped. Songs are made with heavy emphasis on synths, beats, repetition and harmonies.
Ambience. That’s the name of the game with this months release from Kahvi ambient meister ‘Realm’. Short in track number but long in playing time, Empyrean is another example of long evolving textures and epic depth similar to Realms previous release at #360 last year.
Not sounding unlike Curious Inversions with his subtle mentions of Tangerine Dream and Solar Fields, Realm takes it to another level with subtle and gentle peaks and troughs.
Self loops and voices is a favourite for me with it’s retro feel and nudges towards Tangerine Dream, and Vorpal Sword is more aimed at squaring off alongside Curious Inversions territory. Cover artwork is by guest artist Jukka Hautamaki, who is well known for mixing art with electronic audio. This work is entitled ‘Empyrean’ fittingly. http://www.galleriahuuto.net/?p=10044&lang=en
Ritual Meadows is the 2nd incredible single from Electric Mirrors’ album UFO Stories. If you enjoyed the album and first single, you’re going to definitely love this one, which contains 4 previously unreleased bonus songs! If you haven’t checked out EM yet, do so… you won’t be disappointed.
Thanks again to Derek Rutter and Eddie Palmer of Electric Mirrors for this month of incredible new music!
Of course, thanks once again to you for downloading & listening. We always strive to deliver the music you’ll love. Please spread the word about blocSonic, if you enjoy what we do. Remember… everything we release is cool to share! Always keep the music moving… share it… blog it… podcast it! If you’re in radio… support independent music and broadcast it!
Nano drone funk formation.
Slave to the rhythm.
Piod is one of the newer music projects of phonocake co-founder Knut Kaulke who accompanied us from the very first beginning. While his latest stuff is heavily influenced from new production settings with the Kyma system his first tracks under the Piod moniker are diversely looking for direction. Nonetheless it is genuine electronic music, kind of wild and alive.
As I’m about to depart for a few months of backpacking (to work on white blazes 2) I decided it was only appropriate to start things off with a clean slate. So I’ve organized the few random tracks I’ve got floating around in unreleased states into the ep you have before you. A smattering of downtempo and more upbeat electronics for your listening pleasures. Dedicated to my little friend and constant companion Sydney the cockatoo who’s handsome face graces the cover
Linden Pomeroy doesn’t use delay and reverb to generate a sense of space, but to smother it. By sending each guitar note through funnels of infinite repeat, opening track “Festival Of Red Leaves” grows tendrils of harmony and compounded feedback, which press together until the initial melodious sentiment is squeezed out entirely.
The second track swaps the singularity of the first track with a sequence of melodic chambers, each housing the guitar within a different atmospheric casing. Those infinite delays are shortened into extended comet trails, dripping out the back of contemplative guitar refrains as they soar over field recordings of cicadas at night, or dwell within absolute silence, or press and clip against the walls of stereo volume confinement, or detonate within excessive amplifier distortion.
ORGANISM – project playwright and musician Paul Rassolko from Minsk. Formed in 2002, the year with the acquisition of the analog synthesizer “Polivoks”, broken deck “Vega” and the Soviet equalizer. The advent of the computer in 2003 and it “embellish” the sound of music. Favorite software – “FL Studio 9” and “Adobe Audition 1.0” – that is, no “apples” and all that fashionable. ORGANISM is another Pavel’s project that is the most “listenable” and “poppy” compared to his own project [mikra].
Album “Blik” recorded mostly in the “live” via MIDI keyboard. The concept of old: music software, film fragments and other “sound”, randomly snatched from the Internet.
«Эти песни записывались в 2014-2015 годах и были опубликованы в интернете тремя частями: сначала первые четыре песни (обложка с птицей), следующие три песни о кислом (и картинка с лимоном) и отдельно — последняя песня (с фотографией).»
“Jorge Grela invites us to explore three landscapes in these compositions. The triad ‘Expande‘ (Expand), selected for dance, contains atmospheres from the cavernous to the aqueous, giving use to – among other resources – field recordings, bass pulses, abrasive textures and melodies realized with samples and synthesizers. The use of panning marks dissimilar spaces that converge and establish themselves in the perception of the audience, giving to this disc a characteristic that is of utmost importance in works composed for the stage: that of stimulating the subjectivity and imagination of the spectators, in order to promote a state of immersion in the presentation”.
Miguel Jauregui (aka Basstk)
(Valparaíso, Chile. Agosto / August 2016)
The intro does not leave you hanging: here comes an electro beat, lined with a relentless bassline and supported by a mix-up of samples from a well-known house track and a rhythmic litany by a male voice.
The title track has no refrain, no breakdown, just two long verses that keep on going and going. At first, the lyrics seem to be about those almost “stereotypically sexy” female adornments. The assumption that they are exclaimed with possible sexual aims is soon affirmed, but the lyrics of the second part of the track subverts the arousing into other daily phenomena not so typical of sexual hints.
Laments of a Chess Automaton is the newest work of John Novak, whose turned into a Kahvi regular it seems.
A ten track album with a large array of different styles, deep basses and airy beats in Brightly lit shores to the muted and subtle Sixty Dragons. Listening carefully you could understand a few influences such as Tangerine Dream and Air but also some of the classic electronic work from the 90s.
Heck, there may even be a touch of some older Chemical Brothers in here somewhere, so listen for some pretty serious beats and tight basslines!
Tracks of choice for me are: Brightly Lit Shores, Sixty Dragons and Ganymedean Factory Visit with its cool lounge feel. #
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