A.d.du.nord is a musician who doesn’t work in a particular style but is guided by ideas of the moment without feeling compelled to maintain a single sound aesthetic. His first releases have been a few minimalist drone tracks published in 2018. He now aims to create some kind of “post-music” that is “strange and dysfunctional”. In short, a.d.du.nord is a project for free experimentation, where everything is possible.
Sana Grano is some kind of mixtape that gathers ten one minute long improvised sequences created with granular synthesis tools. The choice of samples was purely intuitive, and the results are partially aleatory. But if you listen between the lines, you may find reminscences of dub and afrobeat.
An endless ending.
Or object of change.
Tears; that run dry.Matti T says goodbye to music producing. Hopefully it’ll be just for some time. His talent is brilliant. But it seems that he emptied himself in emotional and musical processes to some extent. Please enjoy his so far final release at Phonocake, a sixty minutes mix of old and new tracks.
“The album De Sica is made using custom modular patching systems for synthesis and composition in which the analogue and the digital join hands: a continuous signal through patch cables performing analogue voltage control of an almost infinite variety of parameters and available hardware modules.
Many forms of music simultaneously existing locally and accessible in the global exchange are creating a continuum of events–geographically and historically–musical works that transcend discrete performances. Relatively differentiated musical objects (releases, labels, creators) or images of music can be ‘dequantized’ into a continuity of known and undiscovered structures. Music is continuous with everyday life from which it emerges.
The creative force on this album is sourced from personal stories and since it is part of an infinite music space, its undulations between music and noise are deeply interconnected with community, society, and politics.” (excerpt from liner notes on the USB-booklet)
released May 8, 2019
Miha Šajina · composition, recording, production
Blacklisted Mastering · mastering
Maruša Hren · USB booklet
Luka Prinčič · liner notes, design, executive production
Lina Rica · video support, source graphics
Stella Ivšek · promo design, Rentgen streaming
a musical journey along Zenapolæ’s timeline celebrating its 20th anniversary
Nik, aka 4T Thieves, from Finland, has crafted an awesome 4-deck live remix of 23 tracks taken from Zenapolæ’s catalog, in roughly chronological order. this 40-minute continuous remix track beautifully reflects the label’s development over time, at the same time creating its own, unique atmosphere. from our electronic beginnings, through the dark ambient phase, into its present more experimental orientation.
Nuovo capitolo EPHEDROSO per il Laboratorio, per questi OTTOANNI passati sotto i ponti partecipano personaggi già visti e non…. che continuano a tracciare tracce per il LABORATORIO.
Affezionati che confermano la loro vista utopistica ed il loro pensiero sognante di un nonluogo, dove tutti producono, dove tutti ascoltano e soprattutto dove tutti condividono beandosi dei numeri e del piacersi sbrodolandosi addosso ad ogni costo.
Spero la storia vada avanti per millenni, anzi per MINUTI e secondi…..in pratica quelli che darete al vostro cervello per spingere PLAY e buttarvi in queste 12 TRACCE.
Nel VOLUME UNO ascolterete molto TRIPHOPaBstraCTbeATSFUTUREsoundIntimiSTa!!
Good Over Evil Productions is a roots reggae project founded in Spain by the producers Jah Ivan and Dani Roots, the singer Sista Livity and Furi the manager. They come with a clear mission: to spread the Rastafari message by means of their music and their positive vibrations. Strictly Roots and Culture. Word, Sound and Power. Jah music to the people.
They have been releasing their work in different formats since 2008 on their own label (CD, Vinyl, Digital releases, etc.) alongside artists like Sista Livity, Anayah Roots Levi, Robel The Earthiopian (Reuben Addis), Ras Elijah Tafari, Raszor Brankata, Pato Ranking, Sista Moni and more.
It is a blessing that their new tune Keep the Fire Burning is being released on our label. You can feel the Good Over Evil’s essence in a pure dub style. It is a militant tune, with a mystic atmosphere and remembrance of the mighty ancients sounds worldwide, that inspires a spiritual meditation for a deep connection with our inner self and with the most high God, almighty, creator of all life, Jah Rastafari. God live on the hearts of all flesh. Good Over Evil! Life Over Death!
Recorded live at Fundación Mercedes Sosa, Buenos Aires,
16th September 2018
Jorge Sad (Argentina), Renzo Filinich (Perú) and Pablo Bas (Argentina).
Stereo Mix from the Octophonic performance.
Cover / Audiovisual Art: Pablo Magne
Face à face, épisode 2, saison 1, the new album of Ayato is the 2nd part of a cut-up recomposition series recorded and mixed at La Ferme Là, Olivet, France between 2015 and 2017. It consists of playing in real time two tapes with two different multitrack recorders, which gives 4 stereo sounds side A in normal play and side B in reverse added to others sounds played depending on which way the wind is blowing with the others devices. Some Loops have been created during the mixing process. Cassettes are from private collection, gifts, prepared and found tapes, archives…
Discontinuation Of Treatment is the creative project of Giuseppe D’aiuto. Behind this moniker he needs to get close the dark and deep sounds and treat them as a bad memory…when it’s gone, the past will remain in the past.
His urgent creative needs are mostly influenced by mental illness and behavioural disorders…Post-punk!
I confide in your ability to push back the obscure and noisy nightmare.
Many many thanks to Gufo Records !!! https://archive.org/details/guforecords
~ A Deep Remorse ~
Music composed by Discontinuation Of Treatment https://discontinuationoftreatment.bandcamp.com/
Album Produced by MonkeYear https://monkeyear.bandcamp.com/
Album Art by Gianbattista Barbieri a.k.a. Jemba
‘Bekatul Maut’ merupakan hasil gagasan tentang potensi pangan alternatif dari Johanes Handjono dan Gerry Pindonta lewat proyek elektronik, The Anarchist Society of Youth Anger atau yang disingkat TASYA. Bekatul sendiri merupakan hasil produk sampingan dari pengolahan padi yang sering dijadikan sebagai pakan ternak. Lewat proyek TASYA, duo personil Samber Nyawa ini mengubah fungsionalitas bekatul menjadi lebih menyehatkan, bermanfaat dan pastinya ‘maut’.
Second digital album in Nostress for Tonoptik from Saint Petersburg (Russia). This new digital LP “Practical” was played and recorded with the artist zll’. Organic sound of analog synthesis is presented in the form of “sound sculptures” smoothly changing in time.
01-The Aloja who sang to me in the Lake – TEFE-25-2019-04-07-08-55-36 – 00:03:45.14
02-I played Chess with a Bubota – TEFE-25-2019-04-07-09-00-51 – 00:03:24.34
03-The Cocollona flies with the Full Moon – TEFE-25-2019-04-07-09-04-46 – 00:04:26.75
04-I’ve been Bitten by a Dip! – TEFE-25-2019-04-07-09-11-32 – 00:04:11.89
05-The Cult of Marraco – TEFE-25-2019-04-07-09-18-02 – 00:06:30.84
06-Trip to Iltirta- TEFE-25-2019-04-07-09-24-55 – 00:03:28.79
07-Pesanta does not let me Breathe – TEFE-25-2019-04-07-16-09-13 – 00:05:38.08
08-The Birth of the Tombatossals during the Storm – TEFE-25-2019-04-07-16-17-03 – 00:07:08.73
09-Will you remind me if I Kill the Víbria?- TEFE-25-2019-04-07-16-25-17 – 00:02:30.84
Total time: 00:41:05.40
About The Eternal Feedback of Existence:
It is an acousmatic diary. With the samples and images of each day an instrument for livecoding improvisation is built.
TEFE025 | The Stone House of the Minairons (Gralla: Giovanna Parera)
TEFE014 | Piano Keys Inside the Quarks (Piano: José Guillén)
TEFE012 | The Flute that Sounds in the Center of the Universe (Flute: Javi)
If you play an instrument or have a group and you want your samples to be chopped, abused and mixed with noises and screams, you can send them to: firstname.lastname@example.org
Share — copy and redistribute the material in any medium or format
Adapt — remix, transform, and build upon the material
for any purpose, even commercially.
This license is acceptable for Free Cultural Works.
The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms:
Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
This track is about the narcissist mother of family murderer Chris Watts who in an interview blamed her pregnant dead daughter-in-law for her own killing as well as the killing of her two girls.
The second track is a rework by Willi. It was produced at Cadmium Studio.
This release ended in the disbandment of the band Das All that consisted of Willi and me. I offered Willi to mention Cadium Studio on the cover of this release after he mentioned to me he was looking for publicity. He thought the idea so ridiculous that he ended all collaboration with me.
“Divertimento al Amanecer”
José Vicente Asuar RemixesElectronic music by José Vicente Asuar has influenced several generations of composers, both within the realm of electroacoustic music and other genres using technology as a means, ranging from techno to hip-hop, the latter at least in Chile. This has been proven, especially in recent years, with the growing rediscovery of his figure and work and his definitive positioning in the musical spectrum via academic writings and , especially, his complete electroacoustic oeuvre release (“Obra Electroacústica” / pncd08 / Pueblo Nuevo 2011) and Variaciones Espectrales documentary, by Carlos Lértora (2013).Therefore, and after several tributes due to Asuar’s death in January 2017, we wanted to carry out a new tribute, this time inviting the entire community to revisit the electronic body of work of the Chilean pioneer.
We have got together two perspectives, two schools: the electroacoustic one, which creates new pieces up from short sounds or sections from pieces by the honouree; the other one, in the vein of remix and sampling, also creates from the same sources, generating new works or tracks located in techno, ambient, hip-hop, and other related aesthetics.
In this deconstructive exercise, which we have called Divertimento al Amanecer, the pieces to work with were, precisely, Divertimento (1967) and Amanecer (1977).
The restriction was the use of one piece as an only source for a version, remix, etc., not merging both pieces into a single new one. Each author had to choose one or another work to participate, since the result of this call would be organized into a two-part compilation (sides A and B, corresponding to one of the two pieces each), participants were required to concentrate their efforts into on of the options.
About Asuar original works:
Divertimento “is a piece with great dynamism and speed, full of very elaborated articulations which are constructing the musical discourse with its structural and spectro-morphological richness, that due to its great fluidity, organic liveliness and contrasts that could be said to have a certain baroque character. Something amazing at the same time are rough textures got by modulations and high-speed iterations, that somehow anticipate the birth of granular synthesis and could be related with some moments of works by later authors like Curtis Roads. This work would get the first prize of the Dartmouth Electronic Music International contest, USA, 1970” (Albornoz 2017).
On the other hand, Amanecer is a piece labeled by Asuar as impressionistic, “in the sense of trying to describe, by musical means, the sensations or impressions that the author has about some natural event. In this case it is about sleeping nature that little by little it begins to revive until arriving at a final dance full of life and energy” (Asuar 1989). From a certain point of view, we could say that it is a contemplative work, close to ambient.
Call for works was so successful we were forced to go through a long, steady listening task in order to get the final pace for this release; thus, it presents a wide collection of works inspired by, quoting and appropriating the sound materials straightforwardly, nourished by the expresive and adventurous spirit of José Vicente Asuar. We hope they interest, inspire, and and become sources of enjoyment for all.
(Valle Hermoso, La Ligua, Chile, Marzo / March 2019)
(*) Albornoz, A. (2017) “Asuar: diez obras electroacústicas. Una breve reseña” (Unpublished).
(**) Asuar, J. (1989) “Música Electroacústica, José Vicente Asuar, Compositor Chileno” [Cassette] Santiago de Chile: Santiago Vera Producciones.
In the mood … for evolution.
Walls of machine tones.
Soon to be upgraded. Again.The music by illocanblo can be perceived as rather contemporary art instead of classic electronic or IDM.
His production process consists certain artistic techniques. The machines are fed with his mood and
partially put in generative mode and automated. So illocanblo is like a duo of a human and a machine.
Sticky and cold silicone sealants, spades and screwdrivers allow you to forget the crippling life threatening drama of Strict, Event and Resistance. Another pile-up of sand which was forcefully shaped into something comprehensible and mostly even danceable. Disclaimer – the danceable part is evaluated by the rhythmical insanity of the brain in control of the sequencer. Apply incorrectly and it’ll break your spine.
“Go Ask Alice – Ten little dreams (and one bonus nightmare)”
Humankind has always looked to the stars as its own destiny. For this reason, indefatigable and willful, it has always climbed the highest peaks to get as close as possible. It knows that this is impossible, but it has the courage to try the same. This is written in the sign: the capricorn.
Qualia is ‘an unfamiliar term for something that could not be more familiar to us: the way things seem to us’, such as the perceived redness of an evening sky – it cannot be put into words. These compositions are an attempt to describe a space in the artist’s mind, a three dimensional region of emotion and feeling influenced by a fleeting yet intense period of saudade – an indescribable longing for something one never had.
Aũkštai (“Floors”) is a result of how overthinking leads the mind to multiple directions while searching for answers in the surroundings. These 5 stories reflect on how the mind works in different situations, whether it’s a cup of coffee in the morning by the favourite clock ticking down the time of waiting, taking a dog for a walk with thoughts of self-doubt, or whether it’s stone-tied drowning in the sea of paralysed body cells.
Dreamlike walk through inner depths, as if you were walking on thick ice surrounded by misty void and could wake up any second. The sounds reflect a journey through grief, anxiety, finding peace in solitude.
Written using virtual machines controlled by haunting Taoist infernal dreams inspired hands. Driven by the awareness of the plaguing fact that the artist has to compete with others by implementing his own ideas, not attached to anything in particular but his mind only. Showing features of artist’s body, heart and soul while he’s being in a state of a magical drive. A theater of mashing abstractions sampled and processed ideas, where complex beats and smashing sounds emerge to evoke energy and will inside the listener’s mind.
27 february 2007…12 years ago… My first album in Pueblo Nuevo Netlabel.
“‘Mestizo‘ fusiona electrónica con sonoridades autóctonas y voces ancestrales, con el objeto de encontrar un lenguaje que se posicione en el presente, pero que a su vez, tenga su base en nuestra memoria sonora histórica.
‘Mestizo‘ es un trabajo colaborativo, donde han aportado con sonidos y samples los siguientes músicos e investigadores: José Pérez de Arce (samples del disco “Son-Ido” en tracks 1-3-4-5-6), Matorral (samples de guitarra acústica en track 2, voces en track 5), Lluvia Acida (samples de zampoñas y ocarinas en tracks 2-3-4), Michel Durot (samples del tema “Ying Yang” en track 4), Pablo Cornejo (diversos samples en tracks 2-3-4), Tatevari (sample de ocarina jarra en track 3). Gracias a ustedes esta música fue posible.”
“‘Mestizo‘ is a mixture of electronics and ancient local sounds and voices. The idea is finding a language based in our historical sound memory, but firmly placed in the present day.
‘Mestizo‘ is a collaborative work, where the following musicians and researchers contributed the sounds and samples below: José Pérez de Arce (samples from “Son-Ido” album in tracks 1-3-4-5-6), Matorral (acoustic guitar samples in track 2; voice in track 5), Lluvia Acida (zampoñas and ocarinas samples in tracks 2-3-4), Michel Durot (samples from “Ying Yang” theme in track 4), Pablo Cornejo (assorted samples in tracks 2-3-4), Tatevari (ocarina jarra sample in track 3). Thanks for making this music come true.”
For its 40th release, Da ! Heard It went and got a creator of feelings who founds her music on the intimacy she builds with the listener.
Tryphème is a painter of enchanting landscapes. From these territories that transport with a singular atmosphere rather than flashy colors, she fashions an environment into which one must blend. No sudden dives or sheer falls; this music’s charm comes from insinuation—an invitation softly whispered into the hollow of the ear. And here we are, with Thanks God for Air Emotions, in the middle of this unknown region, suspended by strings controlled by the Parisian woman’s delicate hands.
We’ve known this power of seducation for two years already. Her first album, Online Dating with CPU Records, established the outline. It was the manifestation of an artist who is well-aware of the possibilities that musical creation has to offer. She navigated among the most subtle genres of this art of time and made herself the master of our emotions. Already.
With Thanks God for Air Emotions, we reach the next level. Succeeding the innocence of the first opus is an album purified of all dispersion, focused on the listening of her feelings. These notorious “air emotions,” overflowing with useless affects, form a continuous murmur that is used as raw material for the production of her healing music. They are the soft energy that drives the turbines of a mutant IDM with evanescent voices and synthetic layers. Too easily would we ogle the English ambient masters of yesteryear, if it weren’t for Tryphème coming to add to it here and there her personal inspirations, where the culture of the perpetually learning artist, from hip-hop to new wave, mixes.
The painting’s composition conforms to the hopes promised by Tryphème’s unique talent: a world beyond, formed by a power whose sensuality and mastery are formidable weapons.Thanks God For Air Emotions, Da ! Heard It Record’s 40th release, is distributed under a Creative Commons BY-NC-ND. The album can be listened to and downloaded freely at the following link: https://www.daheardit-records.net/en/discography/40
“Un recuerdo de infancia común de quienes nacimos en el siglo pasado es el haber leído enciclopedias, con coloridas ilustraciones que nos mostraban como sería el Futuro. En esos días, en que con expectación calculábamos cuanto quedaba para el año 2000, la Tecnología aparecía ante nosotros como el Santo Grial, como una promesa de un mañana mejor. El tiempo ha pasado y nos volvimos adultos, con preocupaciones y deudas, siendo gran parte de nuestras vidas pauteadas y gestionadas mediante máquinas. ¿Estamos viviendo en ese futuro que esperábamos? Claro que no. Como simples ciudadanos no podemos viajar al Espacio Exterior. No hay ciudades ni en la Luna ni orbitando la Tierra. No hay robots haciendo tareas domésticas en nuestras casas. En cambio, sí llegaron muchas otras cosas que no aparecían en esas optimistas enciclopedias. Y no todas son buenas.
Pero la Música Electrónica, especialmente en sus vertiente ligadas al Techno, tiene el poder de revivir esa sensación de asombro y maravilla ante los productos del ingenio humano. Justamente eso es lo que hace la música de Felipe Baradit, compositor y productor porteño de larga trayectoria. Un creador de una gran constancia, que cultiva un sonido fiel a sus raíces. Sin oportunismos ni imposturas, Baradit teje ritmos y melodías de atmósfera sintética que sugieren una vida cotidiana mediatizada, en una Latinoamérica multicultural y en contínuo cambio. “Revolución Tecnológica” es un disco de sonido estilizado, que evoca paisajes completamente humanizados, con formas de vida diseñadas que crecen y se desarrollan a nuestro alrededor. Escuchar este trabajo es unir nuestra imaginación a la de su autor y es abrir nuestros sentidos a su particular energía. Captar sus vibraciones, que alguien dotado de sinestesia quizás visualice con colores iridiscentes, es experiencia que personalmente recomiendo vivir.”
“A common childhood memory of those who were born in the last century is to have read encyclopedias, with colorful illustrations that showed us what the future would be like. In those days, as we calculated with expectation how much time was left until the year 2000, technology appeared before us as the Holy Grail, as a promise of a better tomorrow. Time has passed and we became adults, with worries and debts, and with a large part of our lives influenced and managed by machines. Are we living in that future that we expected? Clearly not. As ordinary citizens we cannot travel to Outer Space. There are no cities on the Moon or orbiting the Earth. There are no robots doing housework in our homes. On the other hand, there were many other things that did not appear in these optimistic encyclopedias. And not all are good.
But Electronic Music, especially in its expressions linked to Techno, has the power to revive that feeling of amazement and wonder at the products of human ingenuity. This is precisely what defines the music of Felipe Baradit, a composer and producer from Valparaíso with a long career trajectory. A creator of great perseverance, who cultivates a sound true to his roots, without opportunism or posturing, Baradit weaves rhythms and melodies of synthetic atmosphere that suggest a mediated daily life, in a multicultural Latin America and continuously changing. “Revolución Tecnológica” (Technological Revolution) is a disc of stylized sound that evokes completely humanized landscapes, with forms of life designed to grow and develop around us. To listen to this work is to unite our imagination with that of its author and to open our senses to its peculiar energy. To capture its vibrations, which someone gifted with synesthesia might visualize with iridescent colors, is an experience that I personally recommend living.”
Miembro del dúo Lluvia Ácida / Lluvia Ácida member.
(Punta Arenas, Chile. Febrero / February, 2019)
Latest album from long term Enough Records collaborator Martin Rach from Lithuania, exploring some Unfinished Loops in his usual tripstep jazz influenced way. Expect eerie settings, deep wobbling bass sounds, cinematic constructs and strong silences dominating the structure of the tracks. Artwork by Martin Rach and ps.
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High Way 01:49
Sex Breath 01:31
Diamond Life 03:06
Sofadventure (feat. Melba Libia) 02:34
Artist: Dino Felipe
Title: Citrus Scenarios
Genre: Dino Felipe style
Runtime: 21:10 min
GAY superstar Dino Felipe brings you a very colorful album,
one that for a fact might even be more colorful than what your average looking rainbow flag has to offer. His Citrus Scenarios is a spectacularly juicy journey that serves up a sexy diversity of sceneries that hop from one into another. The result is a very adventurous soundtrack that would make you want to come out of the closet and see what the F(elipe) is this all about!
With this short release your favorite piece of poisonous poultry went inside the head of Jan (the cat) and made music as Jan (the cat) with his favorite blue toy piano and other cat friendly thingies. Meeting some wonderful crazy friends along the way!
Caffeinate channels his inner cat by meowing on that’s a bit odd.
Peter Because also pops up to be funnily chopped up in the blender
TOTAL E.T. donates his alien sounds to the cat’s handicrafts
and all the way at the end Furchick’s Trouble with a capital T drops in Jan’s glorious cat litter tray!
by Harley CreamWishlistSUFFOCATION 00:00 / 02:53
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Artist: Harley Cream
Genre: out of the box cream style
Runtime: 8:12 min
GAY super star Harley Cream is putting himself out there with this magnificent 3 track EP,
prettily filled up with groundbreaking and ass shaking material that is as good as unclassifiable raw, hard and creamy! It’s the coolest and yet also the hottest stuff available at this very moment!
The material will fuck you up in all the best possible ways! In staid of choking on a phallus, suffocate on Suffocation instead! Ride that baby hard and good! Yummm!
As I’m not 100% sure about how much time I have left because of cancer, I’m starting to release part of my backlog of unreleased stuff. This is a brief album I’ve done and encoded in 128kbps back in 2006.
Composed by Matteo Minetti, Valerio Cottarelli, Stefano Damiano, Alessandro Mattei, Fabio Pieri, Paolo Chiriatti, Andrea Mazzini, Andrea Baldasseroni
Arranged by I Neurologici and Alessandro Mattei
Produced by I Neurologici
Some time a go, when I was digging in my graveyard to get rid of some bodies, I stumbled over some clay tablets with strange geometrical patterns on it. After much research I found out that they belong to the Sredni Stog Culture of the DDII settlements at the Dnieper valley and constitute the oldest musical notations known to archeology. Interestingly, they are a couple of centuries older than any known text so far.
I spent the last months deciphering the instructions to recreate the music of these pre-archaic indo-europeans using modern means of sound creation and processing. Of course we do not know what instruments they originally used to play these notations and which frequency correlates exactly to which note in the sheet – future research may shed some light on this topic; all I can do at this moment is to give you my subjective interpretation of these clay tablets.
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