Este trabalho pretende agarrar o ouvinte para um desafio simples que poderá realizar a partir dum qualquer ponto sonoro exposto; conseguir o auditor desenvolver uma superconsciência auditiva que o leve a emigrar para fora do tempo/espaço usando como meio para tal fim a multiplicidade das formas auditivas expressas. Quanto mais se deixar absorver por elas mais depressa apreende o fluxo e o refluxo das ondas sonoras em presença, assim como a unidade intrínseca destas no todo consciente (superconsciente), a isto chama-se Boiar. Arte nobre hoje em dia quase esquecida e pouco praticada.
This work intends to grab the listener for a simple challenge that (s)he will be able to carry out from any exposed sound point; getting the listener to develop a superconsciousness hearing (awareness) that will lead her/him to emigrate out of time/space, using as a means to this end the multiplicity of hearing expressed forms. The more we let ourselves be absorbed by them the quicker we’ll apprehend the flow and reflow of the existing sound waves, as well as their intrinsic unity in the conscious whole, this is called Boiar, (Boiar is not “to Float”; Boiar is much more than simply floating). Noble art nearly forgotten today and rarely practiced.
Boiar is:
João Ricardo – Synthesizers, guitar, drums, laptop and fx (i.e. small toys difficult to specify);
João Santos – Acoustic bass, electric bass, traps, concertina, hornpipe, synthesised flute, laptop and fx;
José Soares – Keyboards, synthesizers, guitars, drums, cello, anything at hand, laptop and fx;
Paulo Santos – Voice, acoustic and electric guitar, keys, trumpet, percussion, laptop on/off.
This audio is part of the collection: Eg0cide Productions
It also belongs to collection: Netlabels
Artist/Composer: I.Z. aka IDZeroNo
Keywords: experimental; I.Z. aka IDZeroNo; eg0cide
Creative Commons license: Attribution-Noncommercial-Share Alike 3.0
Sounding almost like soundtrack to a giallo film crossed with a haunted tape deck, Goblin via Trent Reznor, sleepytimejesse carves out an 18 minute cascade sounding more like tonal poetry than anything else in the chiptune scene today. This release also does a good job of summarising TWG’s long-held mission statement: esoteric music full of emotion, the experimental and the affective glued together.
It’s hard to describe a piece of work that is as much felt as it is heard, so instead, celebrate our anniversary with us by turning off the lights and the music up: it’s definitely a journey worth taking.
Having collaborated for many years now, Badrutt and Kocher play improvised music. Through this practice they explore the relation between the very electronic sounds of the accordion and the instrumental potential of the electronics.
There is no electronic processing of the accordion, more the opposite: the acoustic sounds tend to influence the machine, creating accidents and random behavior of the electronics.
Badrutt and Kocher also take care of the acoustic specificities of the spaces where they play, taking it as a fundamental element of the performance. Through this subtle tuning between the playing and the space, every sound performance becomes site specific.
The concert at Rex was the last of a small tour in the Balkan region. Hours of travelling around on bad roads with old albanian taxis and public buses, fastidious border crossings and concerts in very different venues: a quiet basement in Athens, an old industrial building in a no man’s land area in Tirana, a very small bar in the middle of a fancy bars area in Skopje and the beautiful old cinema REX in Belgrade.
Our music evolved quite a lot during the tour, the context as well as all the people we met and the places we stayed, having definitely an influence on our playing. This recording aims to document our practice in a specific context at a specific time. No concept before playing, no edits or re-composing after. It is just what it is, improvised music.
“Bedroom Symphonies Bedroom Symphonies is an album of eight compositions made from voice practice sessions during a number of tours and residencies. So, imagine me sitting on a hotel bed, or friendâs sofa, laptop on the night table with a head microphone plugged straight into it and you wonât be too far from reality.
As the practice microphone wasnât exactly the best on the market and it was also used sans sound card, there is a certain raw feel to the sound. I have also tended to whack up the effects in places by way of compensation. That said I really like the way you can hear the materiality of the situation in the recordings, the quality of the equipment, my response to it, the occasional keyboard sound that creeps into a rhythm. The result is a rather curious, private set of pieces, performances entirely without an audience. Most pieces have somewhat mad stereo images – a fragmented counterpoint – best enjoyed with headphones.
Whilst the original recordings were made between 2005 and 2008, the album itself was created in 2014 from a series of shorter segments, without, however, any additional processing bar a few intros and endings. In the making I enjoyed internal references to Tracey Eminâs My Bed (1998), the infamous bedroom producer, and a gentle questioning of conceptions of liveness.
The booklet that comes with the download contains a selection of my photographs from the trips, and Brandon LaBelle has kindly contributed a text about my work, which you can find on page 33 of the brochure”
Iris Garrelfs, London, June 2014
This Recording Was Conceived By The Ghosts Which Haunt The Stratosphere In The Dead Of The Night Of The Soul.
It Had Been Captured By Advanced EVP Recording Devices And Then Translated Unto Reconcilable Sound By Yours Truly.
Open Your Mind Is Not A Cliche Any Longer…
Rogue [0kbps066]
01 – Discourse
02 – Golden Ghetto
03 – Descriptivist Perscriptivist
04 – Conversation
05 – Futurosity
06 – Disrupted
07 – The Message
08 – Fettine Panate
09 – The Universe Is Under No Obligation To Make Sense To You
MAV [0kbps] Records, June 2014
Consciousness creates patterns from chaos. She orders the reality to live. My algorithms extract information from the noise of the radio and transform, create patterns, melodies, colorful figures… I model these structures by altering the code (livecoding), improvising a physical journey to consciousness.
Tracklist:
01 – Essential Mix 17:01
Dark Star, a hommage to John Carpenter and his film: Dark Star
regards, glasklinge zeitenlicht
Music by Kai Engel
Artwork by Oleg Litvinchuk
“Smile, Echelon Knows” by Telegraphy is a cloak and dagger deception of dubed audio and field recordings, that will gather all traffic of synthesized chords and beats which will link together all possible variables to make a profile of “you” the listener. Smile !
TRACKLIST:
01. The Anatomy of Chaos (02:55)
02. Everything Is Fine (04:33)
03. Distorted Informations (03:56)
04. Requiem (04:10)
Here is an evident example of debut work by multiinstrumentalist Konstantin Zeda from St.Petersburg in collaboration with Anatoliy Nikulin as a sound producer. From the very first seconds of the recording it’s pretty understandable that the album doesn’t tend to be modern. The sound stylization roots back to the rock of 70s,to glam rock Roxy Music’s sort as well as music hall. Melody greatness is performed with high stage/theatrical emotionality and punk energy though moderate one. The album at whole has a concept, in spite of the absence of the connecting line between tracks. The imagination brings back the story lines from soviet musical film about the XVI-XVIII centures. The point is that it’s not because of the misic itself, but lyrics as well, as in “Veronika”, “Sladkiy son”, “Luchshiy den'”, “Korol” and especially “Prizrak”. Friendly speaking I don’t know anything about the author’s intention but the soviet film collection could fill up with one more nonexistent film.
2014 Creative Commons BY-NC-SA 4.0
