Damaged with disorders, constant reconstructions, and wrong decisions, while losing the ability to dictate your own rules, Strict falls into a state of attacking everything that could lead to a failure, introducing a crude self-defense mechanism of attacking everything that is interfering with principles of existence. All this has the potential of destroying all bonds and connections, dismissing the opportunities, just to find the cause of disorders, ripping every reason of existence just to have an answer.
Regained, recuperated anger and blasts combined with illogical analytic attacks, resulting in a powerful complex forge of rhythmic structures which are hard to stand and fathom, coupled with the angry synthesis of orchestral and electronic surges of extreme insanity and sadness put at the precision of a scalpel.
An interesting and slightly different release this time from guest artist Kinza.
Some elements of oldskool 90s techno appear in this quirky but refreshingly interesting 6 track EP, even some kind of avante garde (reminiscent of some John Cage-type) nuances, but they all ‘add up’ into a nice, cohesive track… challenging to begin with, yet drawing you in as they progress.
Track of choice is Here we go again, which starts off in a very oldskool melody kind of way, then moves into small breaks and then ends with a mix of c64 sounding arpeggios and a 4/4. Great stuff!
Projet en perpétuelle mutation, des compos minimales mais solides, une voix éthérée, des sonorités qui échappent aux clichés habituels de l’électro-pop (rétro ou actuelle). La musique de Tofie tisse des liens entre différents types de musique électronique et vocale sans appartenir à un genre. On y trouve des éléments proches de Steve Reich, de Grimes, de Kraftwerk et Massive Attack, mais toujours détournés et mélangés. “Powers of Ten” est son premier essai, accompagné de Lühje Dallage (Stolearm, Primate Audio, Linge) aux rythmes, sound design et à la production. Töfie réalise également des vidéos en relation avec sa musique.
Minimal yet strong arrangements coupled with an otherworldly voice make Tofie’s music an unusual piece of work which strays from typical synthpop. By forming a blend of different types of electronic music and vocal arrangements, Tofie creates music in a way that does not belong to any genre. Her inspiration includes Steve Reich, Grimes, Kraftwerk and Massive Attack. “Powers of Ten” marks her first LP release, alongside Lühje Dallage (Stolearm, Primate Audio, Linge) for beats, sound design and production. Tofie also directs videos that make her music come to life.
released October 12, 201
It’s been a long while since Kahvi went back to it’s roots, and this guest artist defines the sound that made Kahvi originally.
Oldskool tracks brought up to the 21st Century (yes, Kahvi started in the 20th Century!) with the latest synths and sounds, but in a similar style to the old tracker scene that kicked off back in the late 80s.
Yomgaille with his EP Repetition and motion shows there are plenty of diverse textures and themes from those days, but the oldskool vibe is there throughout, giving you a taste of nostalgia if you’re familiar of those bygone days, or a fresh example if you’re a newbie. For this oldskooler, tracks A, B, C bring back that reminder of the good old days in the late 80s when trackers ruled the scene.
Nature expresses itself through its structure, it has no function or intention to communicate feelings or ideas. If nature speaks to us, she does so through her relationship with us, since we are part of her. The music presented by Marcos Bernabé (aka scmute) in “Sumic Semurnb” is like nature, its structure is algorithms, instructions for its generation that resonate us by its relation with our psychology of attention. The game with attention is the key, as a vehicle to enjoy the sounds, the dynamics and, ultimately, to provide us with a singular perceptual experience.
scmute gives us, in addition, an extra gift in track number two, because it gives space to the silence that we so much appreciate in this netlabel.
“We are musicians who live and create at the edge of the world, who over two decades have worked to represent through sound and image various aspects of our habitat. ‘Ciencia Sur‘ (Southern Science) continues this trajectory, addressing the subject of field research. This work was conceived as a musical and audiovisual journey through the imposing landscapes of Patagonia and Antarctica, where science is developed in extreme conditions, as it seeks to answer transcendental questions about the past, present and future of the planet we inhabit.
The composition and recording of these works developed between July and September, combining the use of synthesizers with the use of unusual resources, such as the recording of sounds and electromagnetic emissions emitted by laboratory instruments and the conversion into sound of fossil images and diagrams concerning Climate Change through special software. We launched it in the framework of the opening of the IX Latin American Congress of Antarctic Science, an event that in early October 2017 brought together more than 300 researchers in the city of Punta Arenas (Chile).
The presentation of these works is accompanied by images provided by the Department of Communications and Education of the Chilean Antarctic Institute, which shows excavations in Cerro Guido (Torres del Paine commune), marine studies in the Magallanes channels, and images of the last two versions of the Antarctic Scientific Expedition (ECA), the latter including recordings made with drones on Chilean scientific bases in the Antarctic Peninsula and South Shetlands.
For us, it is very important to link art with the science that is being realized in the territory that we inhabit, because we believe that being of the Magallanes concerns not only knowing about our regional past, but also in imagining a future based on the search for knowledge. This work is dedicated to the women and men who study both the remote past and the uncertain future, entering the southern bastions. There, between the wind and the ice, they are discovering the keys to our destiny.”
(Punta Arenas, Magallanes, Chile. Octubre / October 2017)
Enough Records Radio Show, curated by the label’s head ps, expect one hour of sounds from the Enough Records eclectic and extensive back-catalogue. Also featuring occasional guest mixtapes and random hidden gems found straight from the underground. Broadcast first at FutureMusic.FM on 29 of October 2017. Photo by Jonathan Combe.
Palm_Era (Claudio Cisterna) is a chilean producer from Santiago. A long-standing electronic music producer, he had been publishing under the netlabel Impar and the record label U-Cover from Belgium under the alias Flipper, a project that is closer to IDM. Later under the alias ‘Chiodata’, he immerses himself more into the experimental side of music and releases some of his works under the Irish record label Fort Evil Fruits and Cocodriller. He has also developed other projects such as ‘Jon Claudio’, a fusion between electronic music and Krautrock. Palm_Era released his album called ‘Coincidental’ under the record label Illuminated Paths from Florida, USA in 2015. He has also collaborated in compilations that have been released by the netlabel Modismo and netlabel Epasonidos. These days, he is presenting ‘Gimo’, his first publication under Modismo which travels between diverse rhythms built with complex and yet innovative structures. ‘Gimo’ essentially takes us into a profound and flavorful trip where basslines and synths that are analogically worked combine. In this work, Palm_Era reveals his good taste and skills. The way to approach percussion in this record excels due to its production duty and Latino sense. Samples lead to a trance that is hard to get rid of and melodies gleams at the right time, as well as the details in experimentation. All this results in a very refreshing and futuristic album that will stand out in time without a doubt.
“Here we are, trapped in the amber of the moment.
There is no why.” Free improvisation soundscapes from Gusev K.P.: electronics/treatments/mixing
Martin Hoogeboom: objects/guitar
Paul Mimlitsch: bassclarinet
“We are such stuff as dreams are made on”
A Quote from Shakespeare’s The Tempest inspired me to see how relevant the story is against todays lives and politics? Little has changed, people are still seeking revenge or power, but hopefully like in the story love for each other will eventually win the day. A dream perhaps but a nice one to think that eventually we will put our differences behind us and start to trust and teach other.
All tracks edited, arranged / mixed / remixed and produced by Richard Dunlap 2016-2017 from recordings by:
Chris R. Gibson (aka Loopy C)
Roger Sundström (aka Erocnet)
Paul Mimlitsch (aka r369improv)
and André Darius (electric upright bass on trks 3, 7 and 9)
Today we welcome a great new addition to our humble little label… Viktor Van River. Fans of the terrific Bulgarian label Dusted Wax Kingdom will likely know the name and are probably already fans. With his debut full-length album, Viktor wanted to expand his sound a bit beyond the sound that Dusted Wax focuses on, so he followed in the footsteps of his buddy, Cutside, and came to blocSonic.
Ten songs deep, Triumph of Unconscious is a tightly focused album with a big sound. With the global political landscape and upheaval (especially that which we’re seeing happen in the US and UK), it’s no surprise that there are political themes running throughout.
Extra huge shout out to Viktor for being a part of what we do here. Welcome to the blocSonic fam!
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!
Peter Hope & Charlie Collins have been working together since 1982.
Collins was an original member of CLOCK DVA (White Souls In Black Suits / Thirst) before forming Avant-Punk group THE BOX with the other ex-CLOCK DVA members Roger Quail & Paul Widger. Hope joined THE BOX in 1982 and the band released 3 albums and several singles & EPs through GO! DISCS & DOUBLEVISION.
Collins has continued working in avant-garde, free jazz and improvising bands, trading his arsenal of horns for drums and percussion, both producing and performing to international acclaim. Hope continues to challenge with both collaborative and solo work in numerous guises (pH2 / EXPLODING MIND / SUFFERHEAD / CRIMINAL FACE / plus more)
getdizzzy is a composer, DJ and game designer living in Chicago. drawing from ambient, hip-hop, techno, experimental sound collage and noise, getdizzzy’s music is idiosyncratic, rewarding, unfamiliar, colorful and accessible.
Fabio Keiner explores the landscape of the post-nuclear fallout of Nagasaki and Hiroshima on Black Rain.
In the days following the United States bombing of Hiroshima and Nagasaki at the end of World War II, the residents were left to deal with the fallout from the devices. Nuclear fallout is commonly known as Black Rain. Fabio Keiner has recorded a series of works that looks at the exposure to radioactive fallout in terms of ambiguous time perspective. The X on Black Rain could be interpreted as days, weeks or even months.
Fabio Keiner hails from Vienna, Austria. He creates musical pieces and photographs. His credits include his contribution to the soundtrack to the 2015 award winning short film “Reformation” by director Hoyon Jung.
Active in the netlabel scene for years, his soundscapes, melodies and drones criss-cross the borders among ambient, dark ambient, abstract experimental and melodic electronica. His work is atmospheric and imaginative, with a sound that seems narrative without quite telling specific stories in defined words. His releases have appeared on numerous labels, including Treetrunk Netlabel, Webbed Hand Netlabel, Petroglyph Music, and Cian Orbe netlabel.
A set of electronic music of different moods with deep emotional shades. In reality, all the original projects of these tracks were destroyed by cryptovirus, the author managed to save these several tracks. The album is full of melodies and textures, synthetic experiments, glitches and rhythmic fills.
The 13th release in the ‘Neoteric Directions in Contemporary Electronic Music’ series from Thomas nmi Poole.
Complicity with Anonymous Materials is a collection of ambient/drone meditations in the contemplative sense (not necessarily as an aid to relaxation), consisting of thought-pieces reflecting inner states of consciousness and responses to the social, political, and historical conditions and technospheric embeddedness.
OST “Music Book” is soundtrack album to the animated film “Music Book” created by the production full cycle “Luma Studio”. Systematic atmospheres, glitchy textures, are blended with ambient numbers and timbres of live instruments. Dreaminess and morality, sadness and anxiety. This album is a kaleidoscope of human experiences on the hard way of self-discovery, self-determination in this unpredictable world.
All audio material is recorded, mixed and mastered by Andrew Sprrw in 2016-2017.
Hear things never seen.
A collection of eclectic music to travel to unexplored universes.
With music by Doublereflect, Ethereal Music, getdizzzy, Ivan Black, Nulix ft. Mario L., Boson Spin, Lezet, STREPITVSITVS, DDO, unaporte, Portchistot, Transmission 13, Marco Lucchi, Frallar, Triangular, Capisconne, El Wud.
Basic Elements third release on CerebralAudio channels electro while paying homage to electronic music masters.
Basic Elements is a renaissance person when it comes to electronic music. For this release he has turned his attention to Electro music. Electronic Landscapes has a decided slant towards Science Fiction. He also manages to work in some references to Berlin School and post Berlin School electronic music to pay homage to electronic music masters, and the master of science fiction.
Pim (Pim van Dorst, aka Basic Elements) has been into a wide array of music from Berlin School Electronic, to hard rock, punk and new beat. He plays drums, piano, a bit of acoustic guitar. For Electronic Landscapes he drew inspiration from many different sources. He even created artwork specific to this release. He is a true renaissance person.
Some of the titles of this work refer to different stages of the evolution of human consciousness as well as general concepts of the new stream of thought known as speculative realism. In some cases these ideas have defined the structure and character of the compositions.
Thus, Object Permanence explores the sound field produced by a small group of children playing in a closed space with different materials (wood, metal, cork …) with a particularity: of the collected original samples, all sound evidence of the presence of the children (voices, etc.) has been eliminated by selection of fragments and cuts of frequency; the resulting material has been sampled and touched with the intention that the objects appear in the piece to float by themselves. The title refers to the phenomenon according to which children of early age do not have a clear conscience of the independence of the object with respect to themselves. That is to say if they are not seeing or touching the object they do not conceive its existence. This is the one shown here released from any human trace.
Reflex Schema Stage works like a stable mechanism in which sudden appearances produce variations in the original scheme, always changing but of static appearance.
Semiotics points to small tonal nuances as the last referential link of a discourse that needs new dialectics in its relationship with the nonhuman.
OOO is the acronym of object orients ontology, a school that flees from the anthropocentric view of post-Kantian philosophy and claims a more balanced view of man with respect to his immediate environment.
Primary Circular Reaction and Cognitive Skills also refer to aspects of the awakening of consciousness to its environment and to its resources and abilities to relate to it.
In no case does this work pretend to be an exhaustive study of the questions that it poses; these are simply the backdrop that has suggested and motivated some of the compositions that it contains.
There’s no doubting that todays music technology is powerful and versatile and Rephazer shows us how powerful with his EP he called the ‘Holiday Mixtape’
And it’s just that, a mixtape (or sketches) created while on holiday at the various locations in the track names (I’m guessing). Created entirely on one single piece of Swedish Engineered hardware (from the guys that made the Sidstation way back when) called the OP-1 (for those listeners interested).
Rephazer creates some fantastic moody, detailed and atmospheric Boards of Canada inspired tracks. Perhaps from the same sound palette for each track, but all with a chilled out vibe. Summer is drawing to a close but kick back and relax beside the pool listening to Rephazer!
Daniel Robert Lahey’s latest takes the listener into his inner thoughts, and reflection on the creative process.
Daniel Robert Lahey is not an impulsive composer. He takes a lot of time working throuhg his pieces, developing them a little bit at a time. This kind of process is prone to rigorous mental processes by which he works on an idea only to realize it didn’t lead where to a good conclusion. So, it becomes a game of re-thinking his ideas through multiple times.
On After Un-Rethinking Things Again Daniel documents several works that developed over a longer period of time. Pieces that were more difficult in composition, but more rewarding in their results.
“My Own Cubic Stone” defines its music as “Dark Ambient”. To many that means that his music could appear in a horror film, but for this artist the meaning of “dark” goes much further: it is a state of mind. A level of consciousness suitable for both introspection and to explore emotions and feelings that we normally avoid. Like traveling somewhere under glass clouds.
Catalog Number: mn006
Artist: My Own Cubic Stone.
Title: Glass Birds
Many Cousin Silas works are built on the concepts found in science fiction and science. It is one of the most fertile grounds for exploration in an artistic context that is available.
Cold Star is a long-form recording that creates the ambiance of a long journey to another planet. This journey concludes with the view of a brown dwarf star, known as a “cold star”. Cold stars have long been the subject of science fiction, having been referenced in many novels and TV series. In science cold stars are commonly known as brown dwarfs, (or “failed stars”) which are unable to create their own energy.
Consists in 7 tracks that fuses elements of electronic music including industrial, noise, clicks, cuts and glitches which are manipulated by different overlapping frequencies that appear and disappear creating at times rhythmic cells, or working as a dialogue of noises into the musical narrative.
Acoustical elements, malfunctioning beats get integrated into abstract and complex mechanical forms that are combined with intervals of cosmic and etheric textures, giving birth to those signals that will lead us to transit into that space.
Composed and performed by Pablo Ribot
(Buenos Aires, Argentina 2017)
This self-produced EP is the first work by Go Ask Alice: eight instrumental tracks, composed between 2012 and 2013, recorded and mixed by Matteo Spinazzé, in collaboration with Curzio Ferri playing drums and Andrea Oggiano with his acoustic guitar.
Perfection is terrible is the first verse of Sylvia Plath’s poem “The Munich Mannequins”.
“Perfection” here is completeness, closure, inability to evolve and reborn, perfection is death.
Perfection is indeed terrible, can’t have a child, just as Plath’s Munich Mannequins, cold marble statues, beautiful and perfect, frozen with us in a never ending present, the immense futureless present of the “capitalist realism”: the end of history.
Basic Elements is back on CerebralAudio with Drum and Bones. The first drum and bass style electronica release on CerebralAudio. It seems that Basic Elements is set on making as many firsts on CererbralAudio as he can, and we approve!
With this release he set out to produce an old school DnB release, harking back to the roots of Jungle music and the influences of producers like LTJ Bukem, Nightmares On Wax and The Prodigy. Breakbeats and Amen break inspired rhythms are the core of this release.
But it is much more. It is a listening experience: you will listen to from start to finish, and add to your playlist. There is not a weak track on this release. Bit this is the way Pim van Dorst works as Basic Elements, if he isn’t satisfied that his music can be listened to from start to finish, he won’t release it. He is a perfectionist, and it shows in his music.
This is a recommended headphone listening release for all lover of DnB and Jungle music styles!
“As every Tuesday night falls in the city of Viña del Mar; Moraga, Arellano and Castro meet to play and record what happens. Based on a spirit of camaraderie, they turn on their synthesizers, drum machines, effects and computers and once again begin their exercises in creating amusing and amiable improvisations. From these extensive sessions, recorded according to the dogma of the trio -directly to a stereo track-, they extract the passages that constitute each one of the six tracks that compose ‘Se dice Misterioso‘ (Its called mysterious).
Published by the indispensable Pueblo Nuevo, this is the third work of Mr. & Oso, an ensemble in electronic format that with its creative exercises transports us to the most inspiring grounds of Intelligent techno and the Ambient of the 90s, where electronica was – and here still is – a space of personal discovery, and at the same time a point of spiritual communion.
Either accompanying the beginning or end of the day; as much in solitude as among friends; wandering along the coast or without getting up from our chair, Se dice misterioso may be enjoyed equally, becoming an excellent soundtrack for a journey in which physical displacement is not necessary, since it is concentrated enough on the present to take us as far as we please.
With smiles of complicity and satisfaction, Mr. & Osos end the session tonight. It will not be until next week when they meet again and return to their instruments to exchange musings in a musical key.”
Juan Cristobal Saavedra
(Barcelona, España / Spain. Agosto / August, 2017)
getdizzzy is a composer, DJ and game designer living in Chicago. drawing from from ambient, hip-hop, techno, experimental sound collage and noise, getdizzzy’s music is rewardingly idiosyncratic, unfamiliar, colorful and accessible.
This is what surrounds you and what you cannot escape from. Broken feelings and abandoned inner worlds. Dead hopes and forgotten desires. This is what you get when you are frank and open to the world. Despair, aggression and numbness mixed together here in three tracks.
Monofónicos presenta el regreso de Roedor con su nuevo álbum Simbiosis.
Tras su segundo trabajo “Onirismo” publicado en 2013, no había vuelto a salir de la madriguera el Roedor. Al parecer había estado combinando nuevos sonidos todo este tiempo, hoy condensados en un álbum que aunque mantiene ciertas reminiscencias a objetos encontrados y la grabación de campo, viaja en sintes y ritmos que abren nuevos panoramas en su sonido.
“Simbiosis es música hecha con todo lo que aparezca. Es encuentro, diálogo, intercambio, mezcla. De sonidos, de sueños, de vidas, de objetos; de máquinas, paisajes, noches, silencios, recuerdos, sonrisas; datos, formas, colores, amor.”
At the heart of it all lies a choreography of sounds – noises and tones and everything in-between. Of course there’s always the body. And its movement. Mental images flashing somewhere in the brain, a foot tapping, that feeling in the stomach and somewhere down the lungs when you’re hit with an emotional resonance. The whole brain is lighting up. And we never know it. Perhaps you are standing up already and you move to the beat. Lightly. The hips or knees jerking. Or you are a two-year old that is all open before your brain connections are pruned already and you start restricting your immediate impulses. Or you are just curled on the bed with headphones on with a torrent within.
I cannot hide the desire that this music would perhaps be heard beyond from what it was made for at first. That it should be thought without the missing component which it was made to harmonize with, to be a support to. It’s a standalone. Or so I wish. It irrevocably connects to its past, to its sources. Many threads have been drawn from many spindles to knit it. Some were planned, some not. Some were conscious, some not. And then there’s also an atmosphere. A socio-sonic environment. It’s where the listener comes in with all her baggage. And joining happens – through very particular nodes: those who moved to it, those who pressed buttons so it became a recording, those who thought about it and searched for moves, those who organized the sounds, bodies, reflections, feed-backs, and experiences. And then, reaching the ears and auditory cortex the music reorganizes itself again. Thus, it has an irrevocable future, and more resonance.
Albatrosses: it’s how they looked like, how they moved. It’s how they were called, how they named themselves and carried that name proudly.
I’m grateful to: Maja, Urška, 4H of 2016/17 SVŠGL class, Igor, Tina, Matjaž, my Patreon patrons, Emanat, SVŠGL, Iljus Wifmo, The Internet, Little Simz, and Dmitri Shostakovich.
released July 31, 2017
written and produced by Luka Prinčič
piano and theme by Matjaž Predanič (1,2 and 7)
mastering by Igor Vuk
illustration by Emma Lazauski
design by Tina Ivezić
“Absolutely uncategorizable combination of rock, casio-electronics, lo-fi, majestic pop, punk, post-punk, krautrock, full of colliding samples, guitars, keyboards, whiny effects, but also beautiful melodies and non-dumb lyrics. For lack of a better term called by me “psychedelic chaos-pop”. A work of constantly sleep-deprived madman, made with love and as carefully as the modest setup allowed, so as to depict, as closely as possible, the inside of his tired head.”
“Qualquer Arte Derivativa É Melhor Que Arte Nenhuma”
after her first attempt at an album-a-day in late 2016, Cairo Braga decided to revisit it and derive material from it, leading with an english version of the title track and following with a mashup and a bunch of instrumental mixes. what does it mean to derive art from crap art? let’s find out!
this release is part of Netlabel Day 2017, go to netlabelday.com to listen and download from more than 100 free digital music releases.
Twenty-three works of ambient doodling’s, short soundscapes, or possible soundtracks. The idea behind the project was to allow artists, film directors or animators to use them with their work. If I get mentioned in the project for providing the music. Allowing the works to work with or inspire other works. It would be great to build on this idea so groups of artists are working together on small projects all over the world, sharing ideas and concepts together.
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