Nine months later Takuro Takeda returns with another beautiful EP with just 4 tracks.
These are deliciously down-tempo arrangements, which, when allowed to stretch to five minutes lock the listener into a deep and fantastical daydream.
A collection of four tracks that’s more like a kind of therapy, if that doesn’t sound too New Age – Takeda’s music is much more epic and expansive and emotionally reflective than New Age.
In other words, if you listen BoC you’ll like Takeda’s music.
What a strange “Best Of” ?
“Electromotorik Hardtek for Post-Industrial lovers”
Outrageous long for a best of indeed, but how to make a smaller one with such a project ?
I wanted to make it since few years in fact, but it’s only with the DRACO accident that I understood I’ve got the final piece of this puzzle. I recorded a two hours session with my very enjoyable new set, I listened it and it was pretty like a new start for the project, but the morning after when I wanted to edit it, I was no more able to listen it, the sd card had a problem, and after the fix the data was moved on another track impossible to be read. Then I only had the seven last minutes on another track, this is this DRACO track. So I kept only that rescued part and decided that it’s fine like this. What would have been able to do with so many music when the two parts of METAVERSE are already 6h long ? I had planned to add already 2 other unreleased tracks Night And Day & Day And Night, but more would have been too much.
I need to explain a little the origin of this project it was at a time I noticed that in the concerts as well than beer drinkers only need a drummer for enjoy the music,
the same way the ravers only need a bumper. That’s why the early steps were without any rhythm at all. From this kind of enjoyable challenge came something like forty cassette tapes of improvisation called “Agonies”.
The reason of the name is because of the electric charge I was receiving while playing, doing the junction with my fingers in the electric circuit of old toy synthesizers.
It was a strange sensation, this electric venom making my glottis curl up all the session long. Next I began to use an electric frequency generator.
Strange “best of” because there is none of this agony tapes. From the early time I only kept two tracks from Necktar compilation. So no one will ear early tapes like the insane concerto for whales or the last state of euphoria…
Also in electronic music there is often remix albums, a way to connect with friends :
S K U M / Berthelot / Damaryliss / Flying Species / KHAOMAN / MARUDA / ardleg / Planetaldol / M. Nomized. The upgrade album being done by Studio112.
For METAVERSE, You have a first part track 01 to 17 only solo.
and the second part 18 to 33 with friends.
Video Art Clips are here https://www.youtube.com/playlist?list=PLAOQS2lpu2SShl82PfL74l5VirrmkDbkC
Recorded live with drums, modified hard disks/wwii dynamo bass, circuit bent fx , synnths & devices
Ninth Bit is
Psychiceyeclix – Electronics
Lucas Wright – Drums
Recorded by Ninth Bit
Mixed/Mastererd by Psychiceyeclix
Following the spectral echoes of “Drifted Vol. 1” (on AFTER AFFECTS REC, France), Wahn returns, debuting on Mahorka, with “Drifted Vol. 2”, a deeper plunge into the abyss where despair looms heavier, yet faint glimmers of hope still emerge like distant stars in an endless night. The soundscape is darker, more cinematic, with grainy textures crackling like fractured memories. Lush, slow-motion atmospheres stretch into the void, embracing the listener in a weighty melancholy, where piano keys occasionally pierce the darkness like fragile rays of light, offering fleeting moments of solace.
In this second chapter, Wahn pushes deeper into the balance between hopelessness and the persistence of light. Cinematic undertones weave through the tracks, amplifying the immersive sense of narrative. The sub-bass resonates like a rumble from the earth’s core, making the body itself an instrument in this journey, grounding the ethereal melodies with a tactile, visceral presence. The ambient realms are thicker, more haunting, yet at times they break open to reveal a brief but tender embrace of warmth. Each track unfolds like a slow, mournful exhale, drawing the listener deeper into an intimate dance of sorrow and fragile hope.
Join Wahn as he continues this odyssey, where textures grow darker, the light more elusive, and the journey more introspective. Drifted Vol. 2 is a cinematic exploration into the profound depths of despair, with sub-bass vibrations and fleeting moments of light that make the experience as physical as it is emotional.
Composed, produced and mastered by Wahn
Artwork : Erwan Charier
soundcloud.com/Wahn
Released September 13, 2024
3 free WAV tracks of deep minimal techno and deep minimal electronic music for monoKraK netlabel (http://www.monokrak.net)
Mastering by Pheek (https://audioservices.studio/)
MRTN-CSTR‘s recent offering to Pueblo Nuevo, the EP titled “Radiam”, appears with music soaked in the “gamer” spirit, but not necessarily in its sonority, which is developed through other methods. By this I mean that while it alludes to the aesthetics of video games, in terms of speed and energy, at the same time it moves away from the rudimentary 8-bit sound associated with its origins.
Castro has labeled his work “Midi Art”, a production based on the use of sequencers that interact with both hardware and virtual devices, and whose characteristic is music that circulates in fast tempos, perhaps relating to the AFX world or the more digital Squarepusher, to name a couple of popular references. In this album we can hear short melodic lines that overlap and evolve carefully and, sometimes, frenetically, as in “Integraton” or in “Radiam”, the title track for this release.
These are four carefully crafted compositions, which enjoy a well crafted audio mix, with a mastering that does not sacrifice timbres in favor of volume, and an interesting point of view and musical personality, which strengthens the career of the Argentine musician, who has already traveled the label’s road with two previous releases, oscillating in different electronic styles, always with his ears set on personal experimentation.
Claudio Pérez (Usted No!)
(Santiago, Chile. September 2024)
Compiled, cover artwork collage by Sábila Orbe.
Each track composed by the respective artist.
Released under cc license attribution by Dawn of Darkness netlabel
1- Adria Duch – Wanna Know You
2- LLLIT – Zapaipilla Para Zombis
3- Bleupulp – Sa Koule Partout (Boom-Tech)
4- Chokan – Desamour
5- Crapivva – Vig
links:
Crapivva:
crapivva.bandcamp.com/music
songwhip.com/crapivva
Chokan:
soundcloud.com/chokan19
Adria Duch:
soundcloud.com/adriaduch
adriaduch.bandcamp.com
LLLIT:
soundcloud.com/lllit_3
lllit3.bandcamp.com
Bleupulp:
soundcloud.com/pertin-nce
bleupulp.bandcamp.com
instagram.com/mtandjaded
En “Funeral para todo régimen de creencias” exploro conceptualmente la conexión entre las pequeñas tragedias del día a día, y las grandes tragedias que afectan a naciones por siglos, en un proceso que integra interdisciplinariamente la respiración meditativa, la escucha profunda, la producción sonora, el dibujo y la voz expandida. Mi objetivo es honrar los sacrificios del pasado y reavivar un sentido de compromiso con él.
El proyecto sigue una metodología experimental de producción de hondo carácter interdisciplinar que retoma prácticas e influencias de las pioneras de la música electrónica y digital como Pauline Oliveros y Daphne Oram, y metodologías de creación de artistas argentinas enfocadas en la exploración vocal, como Constanza Pellicci. Además, se basa en la idea de la tesis número 9 que Walter Benjamin escribe en su “Tesis sobre la Filosofía de la Historia”, donde describe al ángel de la historia observando la historia como una gran catástrofe continua.
Sonoramente, habita en la intersección de géneros como la electrónica experimental, música neomedieval, noise, black ambient y dungeon synth. A nivel discursivo, se sitúa en los debates actuales sobre el papel de la memoria en Argentina, un país donde los debates sobre cómo se escribe la historia y el rol del estado en las tragedias cotidianas e históricas están reabiertos. Este proyecto busca contribuir a estos debates desde un compromiso cultural en la creación de sentidos ciudadanos.
El proceso de esta exploración implicó una indagación en técnicas de respiración y movimiento buscando encontrar los lugares del cuerpo en donde habita la voz para producir diferentes gritos y ruidos, entendiendo a la voz como un fluido que emerge del cuerpo en movimientos de contracción y relajamiento. Buscando no ignorar el significado de las palabras que se enuncian, realicé estas exploraciones vocales mientras improvisaba poesía declamada, al mismo tiempo que contemplaba dibujos y grabados medievales.
A través de varias sesiones, identifiqué conceptos recurrentes en las poesías, que luego traté digitalmente para tejer una narrativa sonora. Este trabajo dio lugar a un EP de 17 minutos compuesto por cinco escenas sonoro-poéticas. A nivel sonoro, el proyecto busca hacer dialogar transcripciones modificadas de música medieval y renacentista, marchas militares argentinas, sintetizadores, instrumentos digitales, música electrónica y ruidismo.
Artists were given the single word ‘FOOL’ to interpret with whatever audio they deemed appropriate. There were no instructions other than a deadline for contributions.
Releases by Andreas Brüning, Audiomat, Dental Drill Slips, GLOBAL SYSTEMS INTNL., Lone Cosmonaut and WarpCensor can be found elsewhere on the TCFSR bandcamp (see ‘more releases’).
The Necrophile Humingbird Netlabel presents REALity DOOMscrolling by REfugEEs From Beyond
“Industrial Music for Freak Minds”
Members :
Master of Ceremony : Psyché Pelik
Disc Jockey : Yoshiwaku Mushotoku
Improvisation recorded live* the 24th July 2024 at the Cave Heaven in Foucherans. We recorded next Stranded On A Floating Island.
Thanks to David Lynch & Kurt Cobain for the sleeve artwork.
This album is dedicated to all the Adbusters around the world. Our culture is not commercial, free our minds, get rid of those stinky adverts polluting our lives.
*What you are listening is a spontaneous improvisation, nothing prepared, no overdub, no mix, no edit except few clicks removed…
“An anthropological journey…” —a concept I overheard from one of the attendees at the end of the presentation by the trio led by Fake Samo (computer, composition), plus Edén Carrasco on tenor saxophone and Francisco Sánchez on drums, last August 7, date on which was presented live this album that today you can know, listen and appreciate in its digital version.
As a privileged witness to the history of this recording, which took several months to reach its final form, I can only highlight the result, both in its digital recording and in its performative aspect—two sides of the same coin, or rather, a mirror that faithfully reflects either side of its surface. “Interzona”, the concept that gives this album its title, originates from the idea developed by William S. Burroughs in his novel Naked Lunch. This concept connects to music in multifaceted ways, as Burroughs’ work has profoundly influenced musical culture, especially in electronic music, punk, and experimental rock, with a particular emphasis on Free Jazz in this case. Burroughs’ “Interzona”, as a concept, has become a powerful metaphor for musicians seeking to explore and transgress the boundaries of artistic creation, particularly in genres that value experimentation and the breaking of conventions.
With his computer, software, mouse, attentive ear, and remarkable auditory memory, Fake Samo invites us to engage with his own musical interests, bringing together both performers (Carrasco and Sánchez in this case) and listeners to be part of this collage of crossed references, chaotic worlds, alienated dreams, and ruptures in reality. As in John Cage’s “Music Circus”, where everything and everyone can sound at the same time, this album might evoke the sounds of Throbbing Gristle, Swans, Can, Peter Brötzmann, among others that are sonically more recognizable.
In just over half an hour, “Interzona” unfolds in roughly four movements, with abstract preludes, noise-laden crescendos, and mysterious endings, where the blend of multiple sound layers finds its defined space, shining through and making itself heard. With the recording and pre-mix by Antonia Valladares and the hands of AtomTM on the mixing and mastering, this should come as no surprise. What should be noted, however, is how the realization of an idea that seems simple in its conception can come to such a strong conclusion, both aesthetically and conceptually, becoming a powerful proposal and a manifesto of the will to create.
Mika Martini
(Santiago, Chile. August 2024)
Orghanon is the solo venture of Sergio Calzoni, producer and musician active since the nineties in various musical outfits (Act Noir, Colloquio, ILUITEQ).
His 2015 debut “Figures In Slow Motion” (Eibon Records) seamlessly fused trip-hop sonorities with jazz, ambient and glitch elements. It was followed by soundtrack for the theatre performance “F_rankenstein” (2016), the sophomore “Retrospectre” on the cult-boutique Time Released Sound and, after a little hiatus, “Droneworks I-V” (2022) on the Italian label St.An.Da.
While 2023 and early 2024 saw some spectacular output of ILUITEQ (Sergio Calzoni & Andrea Bellucci), August 2024 sees the return of Orghanon with a debut on Mahorka, “Future in Motion”, an album which reconnects with the multifaceted sound that distinguished the first album of Orghanon, but in which the concept of motion becomes more dynamic and accelerated, compared to the static nature and slow movements of “Figures In Slow Motion”
Released August 22, 2024 as free (cc) digital download and beautiful limited edition Digipak CD.
All tracks composed and produced by Sergio Calzoni
Mix and mastering by Sergio Calzoni
orghanon.bandcamp.com
sergiocalzoni@gmail.com
Cover picture courtesy of Lukáš Krása (www.lukaskrasa.com)
Design and layout by Ivo Petrov & Angel Draganov
Executive production by Mahorka
mahorka.org
