MRTN-CSTR – ((–SEKU -_- EKU–))



“((–SEKU -_- EKU–))”

“For some years now, the Córdoban producer Martín Castro, aka MRTN-CSTR, has been surprising us with his creations, ever since releasing his debut album “Kr0m” through Pueblo Nuevo in 2014. This time he presents “((- -SEKU -_- EKU- -))“, an album comprising 7 tracks with an aesthetic he has developed through “patches”, which he designs himself for the software “Reaktor” from “Native Instrument.” These allows him to create an idiosyncratic style, with industrial sounds, granular trips, and glitches, as he develops a penetrating IDM with intense and sometimes devastating environments that make us think for a few minutes that we are in an empty and abandoned city, where only robots live and humans are extinct.

With a sound marked by broken and changing percussion, approaching that of new-acid, “((- -SEKU -_- EKU- -))“, produced by one of the most talented current musicians in Argentine electronics, is a highly recommended album.”

Modismo Netlabel
(Valparaíso, Chile. Marzo / March 2018).

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experiMENTALien – Nine Triads (Sub​-​Evolution)

[ACP 1136]


“Nine Triads (Sub​-​Evolution)”

artwork by I.v. Martinez
design by EMERGE
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Onde Poussi̬re РImperceptible


Onde Poussière

Onde Poussière is the experimental / free improvisation duo of Doedelzak (analog synthesizer) and Kecap Tuyul (prepared guitar (2015-2016), no-input mixer (2017-…))

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Парта Камяти – Ущь.Ущь.Вахахай


Парта Камяти


04.Дресс Код
05.Кин Зоо
07.Алисины гаммы
10.Ай Ма Ных
11.Брэдо Сфэра
12.Пере Дзен
14.Электро Грусть
16.Парта Камяти&Totalli Normal&Plotnik 82 – Борода
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Tha Baaz – Reb0ound


Tha Baaz


ThaBaaz was born in 1974, classical studies of percussion instruments and acoustic drums, disparate musical interests: from dodecaphonic serialism to minimal electronic and to the IDM, just to expose only a few. His latest project, the most articulated, is entitled -reb0und- , it’s a concept album, year of creation 2008, 59 minutes of frequencies collected in 2 Suites respectively of 4 and 3 movements, 13 tracks; “an ascent in the disturbed darkness from fragments of noise “.

The work evokes a “system” at its last stage in fast introversion, the disruption is massive, directed to the chaotic darkness, to the cold disorder towards the “non-human noise”.

The solar and luminous scenarios of the 2 movements of the first Suite curve and slide rapidly into the deep “interior”; the “musical form” that we had known so far is running out; we are at the end of “music” (in the broad sense of the term) heading for an authentic solitude of bright dazzles in nocturnal and deserted isolated, non-systemic, atypical highways.

The second Suite invades the soul: the existential fear is director, places the audience constantly on the edge of a chasm, dissolves the last “fragments” of the “conventional” themes at the beginning and separates them, dissolves them in Larsen of frequencies strongly destabilizing.
The Metaphysics is the central theme of Suite II, we try to “portray” the inaudible sound spectrum, we try to recreate the “end” of every tangible empiricism; to this complex task we use sound generators, krell patches, collages (samples) of contemporary (musical genre) and what transcends the traditional and academic: structure, melody, harmony and metric they are almost totally “informal”.

ThaBaaz in -reb0und- inserts and “deforms” short phrases and solos (woodwind, violin, piano) taken from works by important exponents of contemporary music and avant-gard of the ‘900 (Pierre Boulez, Edgard Varése, Igor Stravinsky) with these ” citations “stands out, beyond the importance of innovation of such masterpieces, the multifaceted contribution to music in all its expressions; importing them in “foreign” contexts and distant from their origin (virtual modules, oscillators and automatisms of envelopes) are colored by oppressed and gloomy tones that we could approximate to those of the dark ambient genre but not only, can be identified (in the whole album) serialism (musical current) that translates into these generic guidelines: avoiding repetition and symmetry at all structural levels by working with a limited number of compositional elements for each musical cell (in the piece). This in order to synthesize and label, describe in a few lines the supporting columns of -reb0und-.

We need the “tradition” of the avant-gard itself to search for another.

The work does not present rhythmic and percussive lines, only in 2 pieces we recognize some measures in sinusoidal pulsations, this almost total “rhythmic absence” has “freed” the time from the usual role and task of metric and timbral constant, repetitive, “symmetrical” quantization “.

Using an exquisitely didactic vocabulary: the crown, the breath; the almost absolute absence of timbral pulsation reiterates itself emphasizing, emphasizing the incessant sound disruption that takes place in the succession of the two Suites before the listener.

Last but not least, the final mastering part was followed with “meticulous” attention by Kill KRT (friend of the author of -reb0und-) who tried to “accelerate” some “dissonant” color both on the timbral dynamics and on waveforms.

From the “warmth” of the wave (sawtooth) to the “emptiness” of the white noise; to you -reb0und-

Have a good listen.

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eww – I Follow



“I Follow”

I follow subtle seismic ambient vibrations that immerse me in a deep state in-between the world of dreams and the dream about distant worlds covered in a fog of colours.

Rhythmic and slow landscapes.

The sound is sometimes described as slow IDM. The distinct feature of the album is that only a few tracks have real drum samples, however, almost all of them are quite rhythmical. Rhythms are created just the way J. M. Jarre did that on “Zoolook” – using weird sounds, pulsing synths, and very clear melodies. Due to the lack of easily recognized drums, the album is sometimes ascribed to ambient, however, I’d call it “seismic ambient”, because of extremely heavy basslines.

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NoisesculptoR – Untitled World

[ACP 1135]


“Untitled World”

photography and design by EMERGE
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6KLOP – Naskigo

[ MI235]



Premier album de 6klop, Naskigo est le fruit d’un an et demi de travaux aussi bien expérimentaux que plus traditionnels.
L’album relate une histoire qu’on ne raconte pas, parle des choses qu’on ne dit pas.
Ce n’est pas un voyage, encore moins un périple, au contraire.

First album of 6klop, Naskigo is the result of one year and half of work.
It tells a story that we can’t tell, talk about things that we can’t speak.
It’s not a journey, not a trip, quite the reverse.

Recorded in Dieppe (France) between 2015 and 2017.
Music composed by Romain Aupaix-Lecloux-Bésiat [Alb].
Artwork by Cassiopée Facheris.

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Vide flott̩ raide РVide flott̩ raide


Vide flotté raide

“Vide flotté raide”

spilled, recorded & buried in 2011
exhumated in 2018
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Occluded Plateaux – Control Families_Data Funk

[ACP 1134]

Occluded Plateaux

“Control Families_Data Funk”

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Ciuta / Kwi / Simpson / Whitehead – An Attempt For Balance


Ciuta / Kwi / Simpson / Whitehead

“An Attempt For Balance”

Track 1:
Collective composition: An Attempt for Balance
Four individual sequences were mixed together. The structure was left intact – as it is – however overall volume levels of each contribution were adjusted in hope to create situation which would validate and accommodate all participating sounds as well is possible.
Mixed by Slavek Kwi, January 2018. Many thanks to Tony, Dallas and Darius for agreeing to this little experiment and to Chris for making it available to your ears.

Track 2:
Darius Ciuta: kadk2

Track 3:
Slavek Kwi: Time_R
Usually, when I am staying somewhere overnight and there is a clock ticking, it is rapidly removed from the room and ends up behind the doors. However, ticking sounds of clocks – even grandfather’s giant chiming clock – were part of my sound environment in my childhood. The sound of ticking has certain determination to it; destination-like quality. You can always hear it. For this piece I decided to use ticking sounds and the end of resonance of chime as basic material to evolve.
Recorded in January 2018, Mountshannon, Ireland.

Track 4:
Dallas Simpson: Vibrating Air: Wood / Metal / Water / Stone.
An environmental observation and improvisation recorded live on location near the village of Lambley, Nottinghamshire, UK on 4th February 2018 at 7am to 8am in a single take. All sounds and spatial choreography was created live on location. The recording was edited and mixed as my contribution to the Plus Timbre collaboration release in 2018.
Many thanks to Plus Timbre and the other artists participating: Darius Ciuta / Slavek Kwi / Tony Whitehead.
dallas simpson 05/02/18

Track 5:
Tony Whitehead: By the river, in the forest
Improvisations with natural objects. Dartington Hall and East Dartmoor.

Track 6:
Collective composition: As It Is
Four individual sequences were mixed together without any adjustments. Mixed by Slavek Kwi, January 2018. Many thanks to Tony, Dallas and Darius for agreeing to this little experiment and to Chris for making it available to your ears.

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Tony Whitehead – Shoreline


Tony Whitehead


Shoreline was improvised with found materials on the coast of Brittany near Perros-Guirec. It continues the artists fascination with the sound making potential of small ordinary natural objects.
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Dallas Simpson – Railway Footbridge Improvisation For One Adult and Two Children


Dallas Simpson

“Railway Footbridge Improvisation For One Adult and Two Children”

This work was created as a result of both joining a local walking group, the Netherfield Strollers and inspiration from an environmental improvisation workshop that was conducted at Hull University earlier this year as part of their Sound + Environment 2017 conference.

A walk with the Strollers earlier in the year introduced me to Carol and her two grandchildren, Eben (10) and Finlay (7). During our walk we crossed over a railway footbridge and then followed a footpath where I introduced the children to some simple sound making using a found stick and the railway boundary metal fence, then blowing ‘cawing’ sounds using our thumbs and a blade of grass. They loved it. And so the seeds of a freeform intuitive environmental improvisation were sown using both a prepared environment and found sound objects in the manner of the Hull Workshop at the location of the railway footbridge we discovered on the walk. This would feature Eben, Finlay and myself as freeform performers / improvisers.

As preparation for the performance I visited some of the houses adjacent to the footbridge to warn them of our activities at night just in case they may be disturbed by our soundings. The response varied from mild hostility, to curiosity, to support and even one couple asking if they could join in! I replied that they were most welcome.

Having obtained permissions from their mother Nicola, we gathered on the 9th December 2017 first at my house for a bit of instruction in making sounds with the objects I was preparing the location with (Aluminium Searchlight Mirror, 4 inch Fired Brass Gun Shell, Bull Roarer, various Plastic Pipes of different widths and lengths, Gong Beater, Long Thin Spring and a few other sundry items.) Following this brief instruction we went to the location in the dark at about 7:30pm and after placing the sound objects to prepare the location, we had a few moments silence, then made a short walk in to the start of our improvisation.

The performance consisted of two Movements:

First Movement: Outward (Practise, Vox ad-lib) Joyous.

Second Movement: Return (Performance, Vox tacit) More Meditative.

I was struck by the zeal and enthusiasm of the two children. They followed my example and were soon experimenting and making their own sonic discoveries. Found sound objects included the structural metalwork of the bridge itself, the metal fencing and lamp posts. Other found items included various pieces of discarded litter, drinks cans, plastic bags, drinking straws, sticks, branches, leaves and stones.

The only additional instructions given were that during the Outward (Practise) we could speak if we wished, but not to speak on the Return (Performance) movement. Quite spontaneously they incorporated the ‘thumb cawing’ sounds into the Second Return (Performance) Movement and made many exciting sonic discoveries such as the ‘frog sounds’. A few passers-by were briefly present while crossing the footbridge.


All audio was recorded binaurally and continuously as single takes using custom modified in-ear DPA4060 microphones directly into a Sound Devices 744T digital recorder.

All spatial choreography was created intuitively during the recording by dallas simpson.

Editing and minor corrective EQ was done using Cockos Reaper software.

Headphone listening is recommended for a full 3-D surround sound experience.

Photographs by dallas simpson.

Sincere thanks to Eben and Finlay for their inspiring participation, and to Carol and Nicola for their approval, plus supporting and helping during the preparation and performance.
Dallas Simpson, December, 2017.

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Slavek Kwi – Uchat C


Slavek Kwi

“Uchat C”

Uchat C(ompost)
“games of sounds” = m.i.y. (mix it yourself)
organize 2 (or more) groups of modules and play it simultaneously in random mode
(or alternatively you can decide yourself about combinations) from 2 (or more)
sound_sources (=machines).

based on Uchat M
Composed by Slavek Kwi in between June 2017 and January 2018,
Cave Studio, Ireland. Based on various field recordings,
focused mainly on animal voices, collected around the planet Earth,
underwater and in ultrasonic zone included.

A few brief appearances of James Kwi singing while clapping bones.

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Darius Ciuta – grt_p


Darius Ciuta


DariusCiuta / grt_p / recorded in Kaunas
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Federico Dal Pozzo – Untitled_SaMeK

[ACP 1133]

Federico Dal Pozzo


live @ re:flexions ° villa, Augsburg, 08.12.17
photography by Dan Penschuck
recording, mastering and design by EMERGE

FEDERICO DAL POZZO (Venice,1976) lives in Turin, Italy.
Concrete Composer and Musician, studied drumming with Mario Bracco and Vittorio Panza. In 1999 he joined the DADADANG (percussion parade in motion) with he has playing around the biggest festivals in Europe and beyond (Moscow, Paris, London, Graz,…).

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Baltazar – After Kansai



” After Kansai”

“When listening to a sound work, the first thing that presents itself is the sound as a mass; however, in this work of Baltazár, it is the space that is defined around these masses which constitutes an equal or greater presence. I do not mean the silence, but the wake that each sound wave leaves when it is diluted in the process that produces a particular effect or modulation. The sum of these sonic wakes composes a new plane that is separated from the melodies and blocks of noise that make up this work. From “reading between the lines” one passes to “hearing between layers”. It is a constant game of associating and linking what is happening between these, entering the rhythm from the multiple directions through which reality appears to us on a daily basis.

As for sound, it oscillates between acoustic melodic parts and granules of noise that collapse in a cloud of digital processing; in the range of phrases composed of saturated coupling and the reverberation of pure tones.

If we had to make a parallel with painting, we could say that the figure and the background are clearly defined in each piece of “After Kansai” and both alternate in order to approach and move away from the plane in which we inhabit as listeners. The first tending to have few elements with clearly defined lines and the second like a great density of volumes that move in independent directions and sensations that come together and disentangle themselves.

Silence exists in the form as well as the emptiness in the background, but never between them. The sound leaves traces and these traces are those that are structured as the fundamental component of this work.”

Óscar Santis
Noise musician & visual artist.
(Concón, Chile. February 2018)

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Jukipic – Jukipic




Jukpic is a duet of Benoît Rouits (Oboe) and Kecap Tuyul (no-input mixer with effects). They started to improvise regularly together in summer 2017. This is their first album, made of four unstable cocktails: it’s spicy & fruity – to be served very fresh.
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Marina Stewart – Dawn Raised With A Gesture Of Submission

[ACP 1132]

Marina Stewart

“Dawn Raised With A Gesture Of Submission”

ive @ re:flexions – silent series
Ganze Bäckerei, Augsburg, 06.01.18
photography by Dan Penschuck
recording, mastering and design by EMERGE

Marina Stewart
„Dawn Raised With A Gesture Of Submission“
(Music For Silence, Synthesizer & Voice)

The four parts of this composition are titled as follows:

I: This Ov That (Can Be Heard)
II: Dawn Raised With A Gesture Of Submission
III: Irchin
IV: Piano Rage (Nod2TerreThaemlitz)

Editorial remarks:
Part II is an electroacoustic rendition of fragments taken from »Odyssey To Anyoona« by Jam & Spoon (JAM!/Dance Pool, 1994), fully developed on the harmonium as a sole instrument.

Part III is based on microtonal synthesizer excerpts, whereas Part IV is an unreleased screwed edit of an sample loop taken from a live recording by Margitt Holzt.

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Substak – No Limit

[Picpack 251]


“No Limit”

01.Substak – Aera
02.Substak – No Limit
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BAD GIRL – live 171117

[ACP 1131]


“live 171117”

live @ re:flexions ° villa, Augsburg, 17.11.17
photography by Dan Penschuck
recording, mastering and design by EMERGE

Bad Girl
(based on Florence – Italy) is the solo project of Leonardo Granchi.
Started playing electronic music with the band Downward Design Research he approaches to continue the expression of their imaginary sound through the use of the machines.

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The Perfect Failure (?) – The Perfect Failure (?) Vol 5 : Le Cadavre Du Chat Noir


The Perfect Failure (?)

“The Perfect Failure (?) Vol 5 : Le Cadavre Du Chat Noir”

Le cadavre du chat noir is the 5th volume of the perfect failure (?) / l’échec parfait (?)
featuring Antropik, Ayato, Benoît Rouits, Charles premier, Deltanik, Delikbeyin, Doc Demagol, Doedelzak, Extrasystole, Half Evidence, Herr DJ Deppenhorst, Janne Nummela, Jeremy from Boise, Natalia Kamia, psph.S, roger mpr, Siu, Slo-blo, Torbill, Sysma, Kecap Tuyul , XtetX Ensemble, Yoshwaku, 3HNT- and some anonymous contributions

We fear this stuff is not bad enough. We have to make something worse, so your contributions are still welcome for next volumes. Don’t be shy and send us your most disastrous sounds :

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KIRCHHEIM vs. N​(​S​)​N vs. POEMBEAT vs. EMERGE – same

[ACEK 1002]



photography by Reiner Heidorn
recording, mastering and design by EMERGE
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Martin Hoogeboom & Juan A. Mi̱ana РOLK / GLIMM


Martin Hoogeboom & Juan A. Miñana


We are more than happy to release the new collaborative work of Hoogeboom and Miñana.

Martin Hoogeboom: objects, guitar, electronics / Juan Miñana: electronics

All tracks written and produced by Martin Hoogeboom and Juan Miñana.

Theo Calis: electronics (OLK 3), mastering / Paulo Chagas: oboe (GLIMM 1, 2 & 3)

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Various – Autómatas Sonoros


“Autómatas Sonoros”

The content of this work is a response to what I consider to be one of the main myths about music, in the context of my (and the rest of the composers in this compilation) current hometown.
This Idea primarily circulates around the people, projects, groups and etc. that best adhere to a popular music paradigm.

The romantic idea I’m referring to is the existence of an actual performer (in the more traditional sense performer – instrument) for the music itself to have value.

To which we respond with this tracks.

Autómatas Sonoros was first and foremost an acousmatic music concert presented at the Adolfo Prieto school in Monterrey Mexico on September 2 2017.
The concert was part of a series of retribution events organized by Raúl Guerra Jimenez as a winner for the 2015 PECDA Jovenes Creadores prize.
released February 12, 2018

All music composition and production is that of their respective composer.

Compiled and directed by: Jesús Antonio Vergara
Tracks Leveling: Charles Leal.
Design: Bryan Garcia

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