4 free WAV tracks of deep minimal electronic & techno music by Pushya Pada & Tomzn for monoKraK netlabel (www.monokrak.net)
https://soundcloud.com/pushyapada
https://soundcloud.com/tomzn
Mastering by Pheek (audioservices.studio)
TENTATIVAS FRUSTRADAS (Failed Attempts), Sept. 18th, 2021
“Sometimes you get bored with yourself and, simply, want to get rid of your old life. In pandemic times, such thing is easily possible when you feel in such a bore in lockdown, in isolation. Per Scelstak came into existence when George Christian felt disgust with himself and, also, with the way virtuality has become something exploitative in his life.
In fact, Per was born only as a pseudonym when he sent a concert piece for a competition (for which he didn’t win or earn anything). The secret behind his name can be found in contemporary classical music composers: Per Nörgard, Giacinto Scelsi and Walter Smetak. Influential to the mind behind Per, a certain guy whose last name is Pereira? Quite possibly. Per has only gained an image, though, when his creator felt in a real distress, in his personal life. Per killed the past social profile of George Christian, which was too revealing of his thoughts, too personal, too disastrous to be reached, too naïve. Per is the result of George’s anger against the way personal life is treated in the virtuality, by the social networks. Nowadays, Per is in conciliation with his creator. But not for so long.
Per is different. Per never talks in 1st person. Per is never personal. Per can be read here, or not. You might not understand why such distance, but probably you are closer to him. More than you imagine. Per is another face of reality that wants to be in the realm of different senses. And the reflection of such persona is in his music.
It took a long time to George Christian figure out the existence of Per. But Per has been following his steps since the days he decided to experiment only with electronics in his 3rd album, Three Dimensions of Unrecognizement and Other Unknown Reaches. Maybe he can be found in Exílios 3. Per can also be found in Secretos Universos. His real debut, though, is with two other crazy fellows from India: Hatiyar and Hazardnaut. Per is George into electronic extremities.
TENTATIVAS FRUSTRADAS is the first album under Per’s name and a sum of principles that have been guiding his electronic experimentation. In fact, this principle is just a single surrealist one: automatic writing. Per is completely ignorant concerning on how a machine language operates. Per IS a machine. Per IS a computer. Per IS nothing.
These pieces can be understood as inner failures. No songs, no hooks, no melody that can be easily sung. It requires a real deranged mind to deconstruct and build another world. Per is no strange to post-minimalism, post-spectralism, post-jazz, post-rock, post-psychedelia. His electroacoustics comes from the inwards of MIDI and tone colors’ researches to the spontaneous structural architectures.
Per is NEVER quiet. His brain listens to several voices and do not find peace in a single one. Per embraces all the voices. Heaven, hell, purgatory. Per has been in all of these places. He invites you to dance with your wrist and dry yourself into the waters. His manners may be of electronic, artificial gestures. But what he delivers is plain and pure reality. Cruel REALITY. Your nightmares should be dancing.”
released October 24, 2021
Sarmata is an analysis of emotional concepts that do not give in to any intuitive format of explanation.
A few years ago close members of my family had tragically passed, several dear relationships had been severed and multiple toxic ones established eventually leading me to a complete breakdown.
With nothing else but wonky synthesizers and impractical sound design choices to keep my company an idea to rip out the heavy emotional background noise that I experienced daily was born.
Through audial exploration I managed to return to my child-like self, along with values I thought I had scattered along the way.
I leave this with you as a monument to the time I believed to be the dawn of my being.
Recorded for Drone Day 2021 by UbiniqU and fourthousandblackbirds.
Mixed by Albérick.
photo by Wilfried Hanrath
design by EMERGE
A Fractales Multipolares sonic epiphany/experience
“There is no Brian Cox-style smiling mediator to console the listener, nor any daft simulation of alien invaders or meteor attacks. Just an immense suspension of light and sound, not cool, not cold, not warm. Their very relationship to time and place, their evocation of those distant corners of space that always existed and always will, irreducible to melody or narrative, accounts for their timelessness.”
Excerpt From: David Stubbs. “Future Days.” Apple Books. Pages 497-498.
I remember sitting beside a small stage at Universidad Católica de Chile’s music school auditorium. In front of me, a 24-channel mixing desk, panning and amplifying an impressive array of synthesizers, rhythm machines, effects, cables and keyboard stands stacked in front of an eager audience, ready for a “sonic epiphany”. It’s a “Fractales Multipolares” concert, booked as part of the second “Voltajes Aleatorios” synth event, curated by the homonymous Foundation. I’m still holding the mike I introduced Renzo Torti-Forno and Guillermo Morán with to a crowded space. The experience starts slowly, mysteriously: “guttural”, unaccurate. Metallic sounds take over the first minutes of the concert. Machines warming their transistors, microchips, and circuits up for performance. Slowly, but persistently, a thick, fat, subtle sonic palette takes over the entire auditorium, wrapping us around.
Electronic dinosaurs awakening, roaring in large numbers, delivering a varied sonic palette (once again!). Electricity takes over the auditorium and us, attentive listeners identifying and vibrating with the landscapes, textures, sonic atmospheres, subtly, accurately mixed by the synths. Shrieking, elated sounds coming from those machines, resonating with their surrounding sonic range on us all. These experimental surfaces by “Fractales Multipolares”, Renzo Torti-Forno and Guillermo Morán, took us on a textural, atmospheric trip, reminiscent of the 1970s Tangerine Dream. Torti-Forno and Morán painstakingly set up a huge collection of synths and rhythm machines on that small stage before, just to play it in front of an excited audience, yearning for the event to come.
Around minute eight, a low, reverberant wave emerges, filling up the place and setting us on an thick realm: melodies, rhythms, moving in slow intervals, reappearing along different scales; a dense, powerful journey for the listener, result of the experienced link between machines and the two synthesists. Sound history echoes old school step sequencers, invoking that glorious, epic Tangerine Dream, Klaus Schulze Berlin scene to the experienced listener.
While listening to “Fractales Multipolares”, it is worth bearing in mind that, according to Wikipedia, a fractal is “a rough or fragmented geometric shape that can be split into parts, each of which is (at least approximately) a reduced-size copy of the whole”. We can find this particular geometry in Nature itself. Multipolarity points to an absence of a center or unity, favoring diverse poles of action, imaginary and ideology. A multipolar fractal, then, is a geometric experience that acquires a fragmented and irregular quality in a diversity of poles of action, no center needed. An infinite repetition of different scales. Considering this definition, it contains a repetitive, irregular, fragmented reverberation that, as the quotation above suggests, generates a relationship with time and space, an evocation of those distant corners of the universe that existed and will exist forever, irreducible to any melody or narrative, accounting for the timeless character “Fractales Multipolares” melodies, leads, and sequences presented that 2019 evening. Towards the end of almost 35 minutes of music, a synesthetic, angelic image brings us closer to pop, Air-like structures, calling and sonically opening those doors, delivered by additive sounds from a Seiko DS-250 synthesizer. It feels like entering the sky, driven by high-quality, deep atmospheres, a soft, but steady rhythm, presented at the end as a mysterious whole before the applause, like briefly meeting an entity that, despite my efforts, I’m not able to describe.
Listening to this only performance (by now) by this learned, fragmented, repetitive duo, opens up a multiple experience, meeting a complex and vigorous palette, connecting different synthesizers, rhythm machines, and effects styles, techniques, treatments, taking us through ambiences in deep darkness, opening up the ether of Heaven. But this experience, beyond possible visual projections, is multi-sensory, “the kind of music you saw as well as heard” as David Stubbs states in his book Future Days. Krautrock and the Building of Modern Germany (Faber & Faber, 2014) dealing with Tangerine Dream -an important “Fractales Multipolares” reference-, who developed a unique sound palette using modular systems, sequencers, effects and tape hiss, a language “that drew on a wider, academic training rather than simply looking to hone iconic postures of rock attitude.” (excerpt from: David Stubbs. “Future Days.” Apple Books (492)).
My experience is over, while I remember and listen to the audio file again, an imaginary and synesthetic meeting in mind, but, alas, unable to figure out what it is made of. We just rejoice ourselves in the powerful, different, necessary delivery that, at times, stays away from both a certain rhythm and the usual genre frames, raising up glimpses of a multipolar, multi-referential way of understanding, feeling and making synthesizer music at this southern end. I can remember that sonic epiphany now because of this recording. “Fractales Multipolares” delves into strange regions, not included in Chilean cartophony or sonic maps, but roaring to get on the scene. The invitation is to make yourself comfortable, turn the volume up and travel freely through this sonic landscape!
Andrés Grumann Sölter aka Andérs Klümppe
Profesor universitario y creador sonoro / Professor, sound creator.
(Santiago, Chile. Octubre / October 2021)
The Necrophile Hummingbird presents extraploration by ardleg “Experimental researches for people without answers”.
A collection of math noise miniatures chiseled for a single benge-listening shot or to savor fully the structures, textures, phases… like would do real noise connoisseurs. And perhaps then get an aftertaste of today’s reality…
Now it’s time to drink with your ears.
Contact : semen-s-club”at”laposte.net
Previous albums released by ardleg on the Internet Archive
cob box
archive.org/details/cobbox_ardleg
noirbre
archive.org/details/MI261-ardleg-noirbre
CLINS D’OEIL
archive.org/details/ARDLEG_CLINS_D_OEIL
Also collaborations on many other projects KWAY, St Noiz, La 6ème République, Zone fusION, rADio eNd…
archive.org/search.php?query=subject%3A”ardleg”
More free music by ardleg here
ardleg.bandcamp.com/
http://soundcloud.com/ardleg
Artwork by ardleg
Stems, instrumentals by Neurologick Thunder Rkdz collective.
artwork by Astarte 23.
sounds remixed by Sábila Orbe.
Neurologick Thunder Rkdz // is a collective/label of multiple different projects by Sanja. (aka Agitation Phi) and also of her collaborations with other artists. Also with the collaboration in visual artworks by Astarte23.
neurologickthunder.bandcamp.com/
https://soundcloud.com/user-685450274/tracks
www.deviantart.com/astarte23/gallery
Filmy Ghost. is an experimental, ghostly electronic project from Rancagua, Chile. Created by Sábila Orbe.
humanfobia.jimdofree.com/filmy-ghost/
archive.org/details/fav-sabila_orbe02
hearthis.at/filmy-ghost/
A new album, then. Seemingly casually screwed together from the wrist. Dominik doesn’t make many words about it:
“The tracks are (as usual) one-take recordings of the modular system, partly also with generative elements.
Often carried by 2 modular CS-80 voices and almost beatless, the tracks on this album are rather minimalistic, emotional and intimate.”
This description is technically accurate, but of course does not do justice at all to the monumental sound and sense spaces of his music. It’s about as if a Cologne resident would say, “Yes, and at Roncalliplatz there’s a big church, quite a lot of stones were laid for it.”
And indeed, Dominik Vogel’s tracks are surrounded by a certain sacral air. On the one hand, because they come along carried and in places dissolving in long reverb tails. On the other hand, because all the titles can be understood as small, spiritual impulses. If you want to.
Of course, you can also simply enjoy the whole thing as ingenious sound play and not be misled by the titles. And yet we have the well-founded suspicion that there must be more than we initially want to perceive.
Great art always holds a secret.
The best album of Minogame, the top runner of The Worst label.
Track Listing:
01. Giving up the Ghost «Ja Ne»
02. Right Stance (Save 1st Base)
03. batterscrained
04. upswing
05. nice (fri)ends
06. Calculated Risk
07. Ready or Not
08. Promise
09. Fir
10. prayer///akratic mix
11. Thank You
Extra Track. mirinogajuume – if its 139 i guarantee my friends
Music by Minogame
Extra Track by Minogame and Riajuu
Curated by Haruo Ishihara
Artwork by 南響
Design by Occupied Territories
Electronic composer Brevyn’s latest platter for Vulpiano and landwalkers everywhere is a compilation of older recordings, themed around aquatic tone colors and ambiently-oriented rhythms.
An established connoisseur of library music and videogame soundtracks, Brevyn fully explores this ethos as applied to the strikingly exotic and delicate environs that hum beneath the waves: short motifs (pale crabs clustering around a hydrothermal vent, seahorses weaving through coral forests) that are beguiling in their own way, but are generously reproducible and can be imagined as BGM in a video installation, its walls a wide projection of bioluminescent jellyfish.
Words from the artist:
Seahorses is a dive into the strange, alluring yet often creepy ways of marine life. Being my second archive release, these are songs I made back in late July (2, 4, 6-10, 11, 13) and December (1, 3, 5, 12, 14) of 2016. #11 is download-only. Given that I previewed many of these songs over the past months it’s become a compilation of sorts.
My inspiration was a mix of Spencer Nilsen’s Ecco The Dolphin music, ocean-themed library music like Eric Vann’s Water World and quirky old space-age/lounge. A particular riff actually reoccurs in about three tracks, somewhat like a library record or soundtrack. I was obsessed enough with this idea of ‘aqua lounge’ to make a companion mix of these influences for Vulpiano: http://www.mixcloud.com/camp_fr/vulpiano-records-12th-may-2021/
Note:
I might suggest using headphones here. Tweaking such old tracks for publishing was a very drawn-out and frustrating process that I underestimated, so I still don’t feel too satisfied with the mix on certain tracks/sections. If you notice a glaring / distracting flaw then, you could always specify it to me.
Support the artist:
Sweet Tooth…with tracks …
Slow Jane – He Said [Ultra Vague Recordings]
Chebeen Teriya meets Sub Conscious Dub – Jeune Africain [Dubophonic]
The Relax Co – You Left Your Heart In Bali [RDX Promo]
Josh and Juliette from Louis Lingg and The Bombs on Tha Bloc Report #38 [Blocsonic]
Louis Ling and The Bombs – Belly Up [Blocsonic]
Fukka – Stare Stream [Lost frog]
Leg Puppy – Sync Deal (Your song has not been selected) [Bandcamp]
Chafouin – Pas trop vite [Do It Youssef]
Sei Still – Blumenkriege [Bandcamp]
Secret Archives of the Vatican – Hjarta Slær Hægt [Broken Drum Records]
Auto -Mates – Orion Opens up at Dusk [Soundcloud]
David Schunk-Hospitalet de Llobregat [Soundcloud]
Mr Doris & D-Funk (feat. MysDiggi) – Cruise Control (Basement Freaks Vocal Mix)[RDX Promo]
Mix 2 – High Step Society, Free Creatures – Sweet Tooth [Bandcamp]
English Teacher – Wallace [Bandcamp]
This podcast is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC-NT-NC-ND 4.0) License
petecogle.co.uk/blog/podpress_trac/web/16218/0/pcp712.mp3
To complement the release of The Foundation Trilogy of albums by Brazilian contemporary classical ensemble Coletivo NSLO
CHARLATÓRIO tcfsr.bandcamp.com/album/charlat-rio
Sururus Perdidos tcfsr.bandcamp.com/album/sururus-perdidos
Rosa dos Ventos tcfsr.bandcamp.com/album/rosa-dos-ventos
we present this collection of remixes by TCFSR associates, using source material from these albums.
Some contributions are remixes of individual tracks, some have combined samples from a variety of tracks and some have taken sound events from the albums and sculpted them far from the original.
Releases by Andreas Brüning, Gimu, Trixie Delight, Lone Cosmonaut and Dental Drill Slips can be found elsewhere on the TCFSR bandcamp.
Trixie Delight has an album released on dhatūrā records dhaturarecords.bandcamp.com/album/peeling-strawberries
She also runs the label ‘Trixie Delight For Charity’ raising money for the charity Phone Credit For Refugees And Displaced People trixiedelightforcharity.bandcamp.com
Andreas Brüning in addition to his solo work, is part of various groups:
Audiomat tcfsr.bandcamp.com/album/audiomat
BASS tcfsr.bandcamp.com/album/extended-technique
Gimu has released albums on a variety of labels, his releases are now collected at gimu.bandcamp.com
Coletivo NSLO present instrumental compositions by Heitor Oliveira, performed by Dario Rodrigues Silva (piano), Gina Arantxa Arbeláez (flute), Renan Simões and Sabrina Souza (guitars).
credits
released October 1, 2021
The Foundation Trilogy was mixed by Fred Garibalde
All remixes were produced by the artist,
except tracks 1,4,5,6, and 7, which were mastered by Dental Drill at The Patisserie.
Album master by Dental Drill for TCFSR.
Cover design by DRILLArt, a composite of original cover art by Flaviana OX
Substak is back on Insectorama with his new 4 track ep that takes us on a journey between Dubtechno and Detroit sound. 4 beautiful pulsating tracks that leave no questions unanswered.
Tracklist:
1.Signal
2.Primus
3.Solaris
4.Andromeda
Insectorama113
all tracks by Substak
mastering and design by Markus Masuhr
Today, we’re thrilled to finally bring you “>…checking system… disruption detected…”, the fantastic new album by Louis Lingg and the Bombs! An album packed with catchy hooks and massive punk tunes. LLATB have always found a way to bridge the punk spirit and sound with a pop appeal and this album is no different. Anarcho-Pop has never been better! The stress of the past year and a half with its shutdowns and political divisiveness brought out a fire in the band that resulted in them firing on all cylinders. Tune after tune grabs you and refuses to let go! After teasing you with the 3 singles we’ve released so far, we’re psyched that you finally get to hear the whole album! Oh… and be sure to check out the album on streaming/digital outlets like Spotify and Apple Music for a great cover of Charli XCX’s “Break The Rules”. Anyway… we hope you enjoy the album as much as we have been. If you do, spread the word!
Yo… Louis Lingg and the Bombs… WOW! What an incredible piece of work! Thanks for making your first album for blocSonic such a masterpiece! Many, many thanks also goes out to Stranger Wolf for the album and single art! It’s fun to be able to present all the releases in such a cohesive visual identity.
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!
“I have known Alejandra (one half of Minük) for many years, back from her days with Lulacruza and she always struck me as having one of the most beautiful voices in our scene. I’ve been lucky enough to work with her over the years on different projects, from Lulacruza’s participation in the first Birdsong album to collaborative tracks like ‘Corazón de Rubi’ and ‘Mirando el Fuego’.
When I heard Aurora, the debut album by Minük (the duo she formed with husband Marcus) I instantly asked if I could do a remix but not of one track… the whole album! It is rare when you have the opportunity to work with such finely crafted, quality and beautiful material. As a producer, this project was a dream and, luckily, Ale and Marcus agreed to the idea. The whole album happened effortlessly and I think there is just a fit between my own production style and Ale and Marcus’ songwriting, singing and instrumentation.
The album is meant to sit side by side with the original, showing the tracks in a new context, reimagining them for a sound system or a dreamy dancefloor without straying too far from the original intentions.”
El Buho, December 2020
“We started working on Aurora, right after meeting in Bali in 2016, while we were touring with our personal projects (Lulacruza and Markandeya). The making of the album was a deep journey of weaving our musical landscapes into a single tapestry of sound.
Aurora took us three years to complete, with production seasons in Peru, Ecuador, Bali, India, Sweden and finally Colombia. During that process, we had a strong intuition about collaborating with El Búho, and even gave him a raw version of “Corazon de Rubi” in 2017, which ended up being part of his debut album Balance.
We have been fans of El Búho’s melodic sensibility and deep sounds for years now, and its a true honor to have him work on this material for a full-length album. In many ways, El Búho’s version of Aurora is a true expansion of our expression.“
Minuk, December 2020
credits
released December 14, 2020
All music by Minük & El Búho
Robin Perkins: Electronics & production
Alejandra Ortiz : Voice, cuatro, percussion
Marcus Berg : Voice, guitars, synths, percussion
Recently we set a challenge for a small hand picked selection of Kahvi artists, along with a couple of special guests.
The challenge? Create a track using only one synth.
This album is the result. A hugely diverse selection of electronic masterpieces from 11 artists, giving you some idea of the huge talent these artists have and the knowledge of their tools of choice.
Information about the synths used:
Track 1: Camel Audio Alchemy
Track 2: Pigments 3
Track 3: AKS
Track 4: Korg Minilogue XD*
Track 5: U-he Diva
Track 6: U-he Diva
Track 7: Surge
Track 8: Roland Cloud JD-800
Track 9: Daichi Laboratory Synth1
Track 10: Softube Model 72
Track 11: Spectrasonics Omnisphere
* Hardware synth
credits
released September 19, 2021
Cover photograph by Igor Romanov
Mastering by Mnemonic
![rADio eNd – Paroxysmic Rhapsody [Part 2]](https://www.clongclongmoo.org/wp/wp-content/uploads/https://archive.org/download/rADio_eNd_Paroxysmic_Rhapsody_Part_2/cover.jpg)
The Necrophile Hummingbird presents Paroxysmic Rhapsody by rADio eNd. “Dialectic Music for Holistic people”
The origin spark happens while I was reading the notice of that George Gershwin record “Rhapsody in Blue”.
So this album maybe also a kind of experiment in modern music. It seems that in this album there are two points of view on the reality around, first from… an isolated cell, next from.. the subconscious constellation. The album is split in two parts because of this, and also to fit with that time of small attention span.
Where is the synthesis ? Anyway music is worth more than any talk and deeper than any thoughs.
This said it could seems to be a conceptual avantgarde album. Maybe it’s more a primitive recreation of classical music.
My only certainty is that to be free generate more freedom. What you are listening is building up your reality.Our balance balance the world.
May I dream ?
Thanks so much to all the friends who are members of rADio eNd in this album. For the first part long time friend Ben Presto & Planetaldol. For the second part Innocent but Guilty, Tarka & Myrh, Studio 112, Walt Thisney.
And to you dear listener for welcoming our dreams in your reality.
Free Download in Wav & Flac on the bandcamp.
yoshiwaku.bandcamp.com/album/paroxysmic-rhapsody
Members credits :
Track 1/2/4 Ben Presto https://soundcloud.com/oinko
Track 11 Bissecta SâVge https://soundcloud.com/bissecta & Myrh https://soundcloud.com/myrhyum
Track 7 & 8 Innocent But Guilty apocalypsesounds.bandcamp.com/
Track 3 Planetaldol planetaldol.free.fr
Track 8/9/13 Studio 112 studio112.bandcamp.com
Track 6 Walt Thisney walthisney.bandcamp.com
Ed End ello.co/ed_end
More info about rADio eNd process.
www.horsnorme.org/rADio_eNd/rADio_eNd_english.html
Here are the lyrics of Will-O’-the-Wisp over the world.
Les étincelles originelles. The original sparks.
Dans la nuit dansent des lueurs.
In the night glowing lights are dancing.
Nous ne sommes pas des balises de détresses.
We aren’t emergency locator transmitters.
Nous connaissons les émotions qui palpitent en toi.
We know the bursting feelings in you.
Animal en cage dans une société d’esclavage.
Caged animal in a slavery society.
Nous te comprenons. We understand you. Nous sommes avec toi. We are here with You.
Nous sommes un appel à la vie.
We are life. Life is calling you.Listen the call of life.
Pulsations qui franchissent l’espace et le temps,
Pulsations from beyond time and space,
pour atteindre celles et ceux qui dorment derrière leur écrans.
For reach those asleep behind their screen.
Nos clameurs percent les ténèbres.
Our clamors break through the darkness.
Nous ne sommes pas des étoiles lointaines.
We aren’t distant stars.
Nous sommes les étincelles originelles,
We are the origin sparks,
qui cherchent à entrer en contact trying to get in touch avec toi. with You.
Nous sommes ta part d’humanité qui cherche à te réveiller.
We are your humanity core trying to awake.
L’humanité aveuglée s’est condamnée à la peine capitaliste.
The blind humanity condemned itself to capitalist punishment.
Blessure mortelle qui ravage cette terre.
Deadly wound which ravages this earth.
A travers leurs barreaux virtuels les prisonniers entendent nos musiques étranges.
Through their virtual bars the prisonners listen our stange music.
Ils pensent à une hallucination, alors que c’est ce qui leur semble réel l’hallucination.
They think of a hallucination, when it is what they think is real the hallucination.
Leurs cerveaux l’ont construite pour supporter la dure réalité de la prison de fer.
Their brains built it to face the harsh reality of the iron prison.
Déconnectés de la vie, Disconnected from life, ils sont bombardés d’informations, they are bombarded with information, comme on gave les passagers des avions transcontinentaux, like cramming passengers on transcontinental planes, pour oublier la mort qui guette. to forget the lurking death. Programmés à se soumettre au dictât du profit et de la dette.
Programmed to submit to the dictates of profit and debt.
Nous étions les rêveurs de ce monde, ce que nous rêvions prenait forme.
We were the dreamers of this world, what we dreamed of came to life.
Le poison injecté dans nos cœurs nous a fait croire que nous étions incapables.
The poison injected into our hearts made us believe that we were unable to do so.
Le pouvoir occulte nous a volé le pouvoir de la création.
The occult power has robbed us the power of creation.
Sur ce qui était un jardin, il a étendu l’uniformité du béton,
On what was a garden he extended the uniformity of concrete,
une science sans conscience, des lois et des dogmes pour donner l’illusion que tout est sous contrôle. A science without conscience, laws and dogmas to give the illusion that everything is under control. Jusqu’à ce que tout soit sous contrôle. Until everything is under control.
Projection d’un film catastrophe pour annihiler toute résistance.
Projection of a disaster movie to annihilate all resistance.
L’humanité a été condamnée le jour où elle a accepté cette sentence comme une fatalité.
Humankind was doomed the day it accepted this sentence as fatality.
Nous sommes nos propres bourreaux chaque fois que nous portons un jugement.
We are our own tormentors whenever we judge someone.
Nous exécutons la sentence chaque fois que nous oublions l’amour.
We carry out the sentence whenever we forget about love.
Chaque fois que nous renonçons à la liberté.
Whenever we give up to freedom.
Il n’y a pas de savoir à transmettre, pas de solution, autre que l’amour est la vie.
There is no knowledge to impart, no solution, other than love is life.
Mais l’amour n’est pas ailleurs qu’en toi.
But love is not elsewhere than in you.
Si tu vis, tu aimes et tu crées l’envie autour de toi, l’envie de la vie, de connaître l’amour en soi.
If you live, you love and you create the desire around you, the desire for life, to know love in yourself.
Celui qui libère, qui invite au partage, à dépasser nos peurs, à faire nos propres choix.
Quels qu’ils soient.
The one who liberates, who invites us to share, to overcome our fears, to make our own choices. Whatever they are.
Notre message répété sans fin, sous toutes formes, spolié et dévoyé par les religions,
Our message repeated endlessly, in all forms, despoiled and misled by religions,
qui s’inscrit en chacune et chacun, le jour où il née de l’expérience de la vie.
Which is inscribed in every one, the day it is born from the experience of life.
Dans l’amour, il y a toutes les autres émotions, comme en toi, pas d’adversaire,
In love there are all the other emotions, like in you, no adversary,
si tu te diriges tu n’as plus besoin d’exclure, si tu n’as pas peur, chaque chose t’apporte du bonheur, dans la souffrance comme dans la joie.
if you direct yourself you no longer need to exclude, if you are not afraid, everything brings you happiness, in suffering as in joy.
La réalité est une lecture consciente d’une trame non déterminée, nous façonnons nos vies.
Les histoires figées, les livres, les films ou les jeux ne sont que des reproductions extrêmement limités de la vie. Les sacraliser c’est nous condamner à ne pas pouvoir apprécier ce qui nous rend réellement heureux.
Reality is a conscious reading of an undetermined frame, we shape our lives.
Frozen stories, books, movies or games are only extremely limited reproductions of life. To idolize them is to condemn us to not being able to appreciate what makes us really happy.
Morne, Foucherans the 23th October 2020 for rADio eNd.
Also a Video Art Clip will be soon here www.bitchute.com/channel/mixuptv/
The Necrophile Hummingbird presents “Performance d’extraction d’un artefact sonore ex nihilo in extremis” by PIRATE Tapes. First of 2 concerts recorded before and after the first lockdown. A way to show how the spontaneous music that we call “improvisation” is slightly closer of Karlheinz Stockhausen’s intuitive music than of the jazz improvisation. Indeed it’s mostly a live session as we use to do when we records one of our album before split it in several parts and title them as tracks… but with public.
Merely nothing prepared, we plug and play that’s all : total improvisation.
Improvised music recorded live the 23th February 2023 at the 36 Art Gallery of Dole (france) “In Extremis Ex Nihilo Sound Artefact Capture Performance” aka “Performance d’extraction d’un Artefact Sonore Ex Nihilo In Extremis”. Musique quasi totalement improvisée à la Galerie du 36 de Dole (france) le 23 février 2023. Si le titre n’est pas assez explicite, la performance improvisée consistait a dévoiler les mystères de la capture d’un Objet Sonore Non Identifié…
Free Download in Wav & Flac on the bandcamp zonefusion.bandcamp.com/album/performance-dextraction-dun-artefact-sonore-ex-nihilo-in-extremis
Original Photography by Aurélien Benoist
www.abenoist.com
Members :
Alain Grille (Electric Guitar & FX)
www.studio112.bandcamp.com
Ed End (Kaossilator, electric frequency generator, turntable & FX)
www.ello.co/ed_end
