Experimental, stripped down techno, a bit on the darker side, very moody and atmospheric but not aggressive, suited for deep listening and introspection / meditation.
about Crapivva:
Dance duo of two young electronic musicians,
an engineer-physicist and an architect from Moscow.
The project combines genres in one way or another related with the groove.
crapivva.bandcamp.com
soundcloud.com/crapivva
www.instagram.com/crap.vibes/
songwhip.com/crapivva
more music:
www.the-end-is-near.bandcamp.com
www.soundcloud.com/pertin-nce
archive.org/details/@bleupulp
https://doubledgescissor.bandcamp.com/track/shroom-sequence-6
The most recent work by the restless Felipe Baradit offers us a delicious musical journey that opens with a brief ambient cut, an exercise that at this point seems almost an initiation ritual for any electronic work that is appreciated as such. The eleven songs that follow immerse us in a bath of fully enjoyable instrumental electro pop.
Baradit music usually transmits a certain positive energy, and this is no exception, as we are faced with a production that leaves us optimistic and pleased.
The sound palette is nourished by sophisticated analog keyboards, which gives the album traits of timelessness, as exemplified by the cut that gives its name to this musical delivery.
Within the first half of the album, the tandem formed by the dark Classic Machine Beats and the brilliant Tomita Cat Beats stand out, which elegantly evokes the legacy of Aphex Twin.
Baradit is a producer who knows, explores and exploits the privileges that life on the coastal edge of the Valparaíso region can offer and as can be deduced from titles such as Art in the Landscape, the 47 minutes of “South Pacific Waves” function as an enthusiastic love letter to those places.
Javier Moraga.
Composition, Recording, Mastering and Art by Felipe Baradit Stevenson. Concón 2024
On this album you can hear: Korg Monologue, Volca FM2, Volca Keys, Volca Drum, Roland TR6S, GS Apollo mini, Arturia V Collection 9.
Chronon Zone 24 is based on new master with improved mix and extended closing section (adding the 4 seconds which were obviously missing). The rest is completely new music.
Opaque Universe video can be seen on youtube: youtu.be/lEmJQ7AFN1g
A compilation from the days, when the soldering iron would be left on at night. Noises of the past coming through crackling cables, originating from self-oscillating handmade devices. And a long-forgotten vacuum triode – 6P3S.
Music was not what got the party started – amplifiers did. They were the very first devices I’ve made and one of those utilized that particular triode. Then came a vacuum tube multivibrator oscillator. Once I heard a sound originate from a couple of parts connected by wires, I got inspired to go further.
The next device is still being used today – a ten-step analog sequencer. It gave rise to techno beats in my music, which heard throughout the album, transformed those abstract modular noises into a space, to be filled with movement.
Let’s go.
Circling round, never refound – inexorably joining the brine. Heavy with drops, dripping in plops, and leaving this world behind.
Featuring synthesizers.
For the days of celebration of fertility, a box full of unadulterated harshnoise. In the author’s own words:
«All patching, swinging, tweaking and switching by RK on Bastl/Casper BitRanger. Pure one‑take‑live recording with no additional production.»
It’s another newcomer to netlabel. Hayato Murakai brings us his debut album entitled “Sloth”. Even after we started listening to it, we were outraged and curious by the fact that the 4 songs had exactly the same tempo, 18’16”.
The first track is “seagull screaming” and is the heaviest track on the EP, a beautiful fusion of noise and beats. Then, song after song, the harshness of the sound reduces and we end the EP with a more ambient track.
All four tracks work together to create an interesting artistic piece of electronic musical work.
A must listen!
Prism Capture are Jonathan Deasy and Jonas Geiger Ohlin. A friendship that started when Jonathan took part in Music for Mental Health, a compilation to raise founds for Mind UK curated by Jonas. The two has stayed connected since. The seed that grew to be Prism Capture was planted when Jonathan let Jonas listen to his album to be Adversary. Jonas found inspiration in the work and took the liberty of reworking/remixing the two tracks into what later was released as Ally. The two was intrigued by the possibilities a collaboration could bare. The music that followed is what became Prism Capture. A project that captures Jonathan’s ambient drone work with Jonas more pop oriented soundscapes.
Released March 10, 2024
RELEASE #22
愛を込めて作られ
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scav is the artist name of Sofia-based ambient enthusiast and modular synths experimentator Krasi Yonchev – a trained acoustician and professional recording studio designer. He is the main brain behind the engineering studio Acoustic Waves and part of the people initiating Artmospheric Festival in Bulgaria.
He released his highly acclaimed debut album of masterfully crafted improvised jam sessions with no edits, “Morphing Clouds”, on the Spanish label Faint in 2019. One year later he debuted on Mahorka with beautiful track on the “EASTERN DEPTHS IV” VA compilation featuring most of the active and many iconic Bulgarian electronic producers.
Now we are really proud to finally present “The Second”, his new album of strikingly beautiful improvised modular ambient pieces, coming as free (cc) download and a limited cassette edition.
Released March 1, 2024
Improvised modular recordings by Krasi Yonchev
Mastered by Kliment Dichev
Cover design by Aleksandar Petrov
Anthimerias
by Charles Rice Goff III
01 Engineer
02 Study
03 Style
04 Craft
05 Form
06 Design
Anthimeria: a word that is both a noun and a verb.
Anthimerias have become more and more ubiquitous as human linguistics have evolved throughout the early 21st Century.
The Process:
The recordings in this collection all started out as improvisations, played by Goff on a Casio AP-24 electric piano. This full-sized, 88 key piano was purchased from a Salvation Army store in Bonner Springs, Kansas, and appears to once have been employed to serve up the music for church services somewhere in the Kansas City area. Goff recorded his improvisations through the open-air microphones of a Canon S2 IS digital camera. By avoiding the use of direct line-in recording, all the overtones echoing from the piano’s speakers, some of the sounds of Goff’s fingers hitting the piano keys, and even some occasional squeaks of Goff’s chair are present in these recordings.
Using “AmazingMIDI” computer software, Goff converted each of these digital recordings into MIDI files. This particular software converts every bit of recorded data from a wave file into a monophonic MIDI format. The MIDI file then can be read by MIDI score-writing software, allowing all of its recorded sounds (including overtones and the noises of squeaking chairs) to appear as notation. Such score-writing software provides the means for artists to apply sounds from a wide variety of virtual (computer-generated) instruments to the MIDI notation. Score writers also allow artists to transpose musical keys, delete/add notation, copy and paste musical passages, add reverb and chorus effects, etc.
Goff used three different score-writers, programmed into three different computer operating systems, when molding the recordings for Anthimerias:
1) Midisoft Music Mentor MIDI Scorewriter (released 1994)
run on Microsoft Windows XP OS (2013)
2) Musescore MIDI Scorewriter (Version 1.1, released 2011)
run on Microsoft Windows 10 OS (2016)
3) Musescore MIDI Scorewriter (Version 3.6.2, released 2021)
run on Linux Ubuntu OS (2022)
Each of these three setups provided Goff with its own unique pallet of sounds and editing controls. Goff gradually refined his compositions by transferring partially-edited MIDI files from one setup to another, allowing him to alter the files again and again using all three sets of software parameters. He later re-converted his edited MIDI files into wave files and further orchestrated them with Cool Edit Pro 2.1 (released 2003) multitrack audio-editing software. During this final process, bits of the original, open-air Casio electric piano recordings were layered into some of the mixes as well. Thus, each Anthimerias composition features its own unique blend of instrumentation, dynamics, and overall attitude.
No material that did not originate from the Casio electric piano improvisations was added during the production of this collection. Some of the aforementioned overtones and incidental finger and chair noises did convert into MIDI notation, however. Several of these happy accidents were incorporated into the final mixes of this collection. No artificial intelligence was used in the production of Anthimerias.
To help listeners envision the composition process of Anthimerias, a printed PDF score of “Form” is included in this collection. This 265-page document was created through Musescore software after Goff had finished editing the piece.
Recording Dates Of Goff’s Original Casio Electric Piano Improvisations:
July 13, 2023 (Design)
September 14, 2023 (Engineer)
November 30, 2023 (Study, Craft, Form)
December 23, 2023 (Style)
