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.
Old, but not dead yet.
The ocean of Air is still our vast home.
Take a deep breath, soon.Happy New Yeahh, dear citizen of Earth, stellar inhabitants and lifeforms in alternate dimensions. Our new ambassador of peace, relaxation and serious joy, Sami Konzo, brings you three marvelous tunes directly from Skt. Petersburg to your ears. Please enjoy the tracks as much as we did & do.
“erasing memories” was an idea developed for music to live and die on stage. Taking the past concept of music that dies on stage, Carlos Suero composed this unique piece of one hour, with various segments within, for this purpuse only. But, after reconsidering the idea of losing these tracks for ever; and having talks with friends, he decided to release it in order to making it avalable for everyone that couldn´t make to that night.
The night was the concert played the 17/11/2018 and organised by RATORMOUTE in Madrid.
The day after he set up the instruments again like the night before and performed the same concert this time in the studio.
The music included here is without cuts or extras added, its is exatcly as it was the night before; live.
Recorded at HomeStudios (Madrid).
Mastered by CSH at HomeStudios (Madrid).
This album is about beat impressionism, when the beat does not make the rhythm, but the mood instead. Breakcore and IDM inspired mess of beats and breaks and plastic.
When I was a child I used to gather all the wooden, metal and plastic boxes to make my “drum set”. I played my drums with spoons and sang aloud: “The cat has cometh!”. My passion for rhythmic music never faded, so, after growing up I still gathered all wooden, metal and plastic samples to make my virtual drum set.
I like when the beat is not merely a metronome, even my favourite rock bands have drummer leaders – “Magma” with Christian Vander and “高円寺百景” with Tatsuya Yoshida. I like when the beat is flow, when it creates melody, when it gives tempo not only by beating the drum faster or slower but by creating the feeling of speed or chill. I do not intend to create a total abstract avant-garde mess, which ceases to sound musical, instead, I want to create the impressionist-like approach, when complex structures give rise to clear and almost tangible impressions.
This “beat impressionism” might sound a bit harsh to an untrained ear, because that is how massive plastic sounds like. Just like metal music is basically harsh rock, so my plastic music is harsh IDM.
Most of the tracks were created 15 years ago. Maybe they were ahead of time? Or maybe they sound like your childhood? Because they definitely sound like my childhood.
KMPST brings the best of the Moscow underground electroacoustic free improv tablet electronica and marks the beginning of a new exciting era on top-40.org with back-to-the-roots hidden gems, original hits, and more entertaining explorations of the unknown.
KMPZ SESSIONS are designed as an acoustic labyrinth without exits but with many escape routes through paradoxical gaps in the aural continuum. Primordial, almost shamanic rhythms meet futuristic mech-a-droids in the vortex of high-freq noises and digital glitches, Amnesia Scanner versus self-mutated Autechre audio algorithms, dark soundscapes, and Muslimgauze’esque faux ethnic vibes.
The opening track KMPZ 015, a rudimentary clicks’n’çutz dark breakbeat anthem, sends us off on a rather epic hour-long journey through an abstract experimentalist interacoustic universe. From suspenseful, uncanny deep dub pulsations on KMPZ 001 to a slowly unfolding, swampy bass micro-ambient soundscape KMPZ 004, with a slightly attenuated KMPZ 008’s distant motive and granular proto-rhythmic vibrations and entrancing melodies of KMPZ 012, KMPST presents a compelling yet highly abstract musical story.
WHΛLT THISИEY selects and mixes music for the mind and body in the same
quantities that emerge from encounters between the past and the present,
drawing beauty of the commonplace, wiping, polishing it, giving it life
again, so to produce the same effect with the original freshness and
spontaneity, a mirror that transforms, absorbs and reflects.Released by Pilot Eleven Netlabel (PE018) 1 January 2019.
Musician specialized mind science, with the study of human
behaviour in relation to the mind. Since 2005 has been known under a
handful of disposable aliases and secondary handles before sticking
predominately assuming the role of “Nurses With Knives”.collections
of noise, found sound and musique concrete are present in the
recordings with a film score climatic edge with samples taken from
Master Lampé has come a long way, been traveling Between The Worlds, releasing on Soupherb and Phobos amongst other labels. His productions have hijacked many festival PAs last months, like Boom, Lost Theory or Wonderland and received massive support and feedback from DJs and dancers.
So we at Digital Diamonds are very pleased to present you 2nd EP by Lampé on our label: Three progressive techno crackers that proof his sophisticated sound design and cinematic production skills.
The cherry on the top is a crunching and stomping Joseph Disco remix of Crystal Cave, which is Joseph’s debut track on Digital Diamonds at the same time. All in all a dope EP – Listen and repeat!
Nenormalizm Recs. – New Year Gifts 2018
Various Artist Music CompilationCatalog ID: [NrM083]
Style: IDM, Uptempo, Braindance, GlitchCompiled and mastered by Ilya Bitekhtin
Art cover and layout by Daniel Glaser
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