Take a pipette and drip a drop of water on your own palm. Transparent drop, full of invisible organisms, chemical elements, and personifications. Looking at the drop, thoughts are spinning. With the other hand rub the drop until the drop penetrates the skin and disappears. Hands need lots of water, but it’s enough for this time. Look at the lake…
The album was based on Lithuanian Chronicles, history and historical personalities, who might be connected to each in strange ways. While working on each track special attention was given to convey with sounds all the aspects of each historical personality and their influence on the history of Lithuania.
“The album De Sica is made using custom modular patching systems for synthesis and composition in which the analogue and the digital join hands: a continuous signal through patch cables performing analogue voltage control of an almost infinite variety of parameters and available hardware modules.
Many forms of music simultaneously existing locally and accessible in the global exchange are creating a continuum of events–geographically and historically–musical works that transcend discrete performances. Relatively differentiated musical objects (releases, labels, creators) or images of music can be ‘dequantized’ into a continuity of known and undiscovered structures. Music is continuous with everyday life from which it emerges.
The creative force on this album is sourced from personal stories and since it is part of an infinite music space, its undulations between music and noise are deeply interconnected with community, society, and politics.” (excerpt from liner notes on the USB-booklet)
released May 8, 2019
Miha Šajina · composition, recording, production
Blacklisted Mastering · mastering
Maruša Hren · USB booklet
Luka Prinčič · liner notes, design, executive production
Lina Rica · video support, source graphics
Stella Ivšek · promo design, Rentgen streaming
a musical journey along Zenapolæ’s timeline celebrating its 20th anniversary
Nik, aka 4T Thieves, from Finland, has crafted an awesome 4-deck live remix of 23 tracks taken from Zenapolæ’s catalog, in roughly chronological order. this 40-minute continuous remix track beautifully reflects the label’s development over time, at the same time creating its own, unique atmosphere. from our electronic beginnings, through the dark ambient phase, into its present more experimental orientation.
(The Acousmatic Musical Experience & The Uncanny)
Federico Schumacher Ratti (Editor)By Miguel Vera-Cifras.
The work we are presenting today is part of a process of research, creation and listening carried out by a team of researchers, collaborators, and auditors, under the direction of the faculty of Psychology at the Universidad Diego Portales. An initiative that involved numerous people, including those who ultimately worked on the final design of the written document, its translation into English, and on the features that extend this process beyond the text.
This represents an interdisciplinary work, published under a Creative Commons license, whose hybrid imprint includes a book, a recording, and a web presence. Three channels of action and circulation mutually nourish one other. A printed book, also in PDF digital version. A CD featuring the musical creation entitled “Lo Inquietante” (The Uncanny) by Federico Schumacher, who also serves as a researcher and editor of the book. And, finally, a playlist of acousmatic musical pieces by the same author, uploaded to the Pueblo Nuevo website, where they can be visited in a manner that is personalized and free. Hence, there are three ways in which the reader, listener and navigator are summoned jointly to read, listen and participate, either by introducing themselves to the theoretical discussions, by listening to the accompanying musical creation, or by immersing themselves freely in the playlist that extends the format of the book to unprecedented reconfigurations yet to come…
Since their beginnings in February 2018, M.A.K.T. Sono (Magali Albespy and Kecap Tuyul) have been experimenting with different set-ups and ways of playing. Amongst them, they like to play both on the same instruments / set-ups in the same time. It’s what they did on ‘UNK.0, an improvisation played on a no-input mixer. The other tracks of this EP are electronic compositions by Kecap Tuyul and Doedelzak using this improvisation as only sound material.
The music of WHΛLT THISИEY is a solitary soundtrack to nowhere, a non-tourist map into the unknown; music and images to create new, fully immersive environments, an intriguing aural pilgrimage with no destination in time and space, nuances and labyrinths. WHΛLT THISИEY selects and mixes music for the mind and body in the same quantities that emerges 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 of the original freshness and spontaneity, a mirror that transforms it absorbs and reflects.
WHΛLT THISИEY mixes impressionist piano atmospheres, spoken wordcore, drone, experimental, library, hypnotic escapism music. WHΛLT THISИEY aka Fernando Cerqueira is the founder member of Thisco record label and publisher of Antibothis anthologies.
Fernando Cerqueira was the founder member of the late 80’s SPH tape / record label.
Fernando Cerqueira / WHΛLT THISИEY has several works released through Symbiose, Thisco, Illuminated Paths, Blocsonic, La Nostalgie de la Boue, Grain of Sound, HNM Rec. Grado,Klappstuhl, EE tapes, Vuz Rec. Tape Safe, Spettro Rec., DigitalDizzy, Floppy Kick, Kitsh Magik, Placenta Recordings, Attenuation Circuit, Petroglyph, Post Global rec., Drone Works International, Naviar, Pilot 11, Sea ov Clouds, Attenuation Circuit, Petroglyph, Urubu among others and recorded several tracks with Jarboe, Von Magnet, Emil Beaulieau, Merzbow, Smell&Quim, Wild shores, irr.app.(ext.) Antonym, Shhh, Amantra, Harsh Noise Movement, lolipoop, among others. https://walthisney.bandcamp.com/
Last summer, my former bandmate asked me to process and glue his field shots, which he had taken during the holidays in Croatia. I liked the idea so much that I threw myself into this adventure and did all kinds of field shots with my old Nokia Classic 2300. With the material of Mathias and myself, I ventured into a new universe. This resulted in this over 2 hours long work, which should correspond to a timeless time capsule. This was my first work in this direction and it was a lot of fun, although a lot of time was taken.
>From outward journey to stay to return, this album breaks down a bit of modern history and does not leave much room for distraction. In the first chapter, the listener soon notices that the technician had forgotten to turn off his iPhone after field recording and most likely fell asleep. Sometimes one hears his breath, which fits in calmly on the whole chapter. Chapters 2 and 3 were then deliberately introduced as hearty life sketches and give the album a true consciousness.
Let yourself be abducted into a world full of appreciation.
Recorded live at Fundación Mercedes Sosa, Buenos Aires,
16th September 2018
Jorge Sad (Argentina), Renzo Filinich (Perú) and Pablo Bas (Argentina).
Stereo Mix from the Octophonic performance.
Cover / Audiovisual Art: Pablo Magne
Face à face, épisode 2, saison 1, the new album of Ayato is the 2nd part of a cut-up recomposition series recorded and mixed at La Ferme Là, Olivet, France between 2015 and 2017. It consists of playing in real time two tapes with two different multitrack recorders, which gives 4 stereo sounds side A in normal play and side B in reverse added to others sounds played depending on which way the wind is blowing with the others devices. Some Loops have been created during the mixing process. Cassettes are from private collection, gifts, prepared and found tapes, archives…
Second digital album in Nostress for Tonoptik from Saint Petersburg (Russia). This new digital LP “Practical” was played and recorded with the artist zll’. Organic sound of analog synthesis is presented in the form of “sound sculptures” smoothly changing in time.
01-The Aloja who sang to me in the Lake – TEFE-25-2019-04-07-08-55-36 – 00:03:45.14
02-I played Chess with a Bubota – TEFE-25-2019-04-07-09-00-51 – 00:03:24.34
03-The Cocollona flies with the Full Moon – TEFE-25-2019-04-07-09-04-46 – 00:04:26.75
04-I’ve been Bitten by a Dip! – TEFE-25-2019-04-07-09-11-32 – 00:04:11.89
05-The Cult of Marraco – TEFE-25-2019-04-07-09-18-02 – 00:06:30.84
06-Trip to Iltirta- TEFE-25-2019-04-07-09-24-55 – 00:03:28.79
07-Pesanta does not let me Breathe – TEFE-25-2019-04-07-16-09-13 – 00:05:38.08
08-The Birth of the Tombatossals during the Storm – TEFE-25-2019-04-07-16-17-03 – 00:07:08.73
09-Will you remind me if I Kill the Víbria?- TEFE-25-2019-04-07-16-25-17 – 00:02:30.84
Total time: 00:41:05.40
About The Eternal Feedback of Existence:
It is an acousmatic diary. With the samples and images of each day an instrument for livecoding improvisation is built.
TEFE025 | The Stone House of the Minairons (Gralla: Giovanna Parera)
TEFE014 | Piano Keys Inside the Quarks (Piano: José Guillén)
TEFE012 | The Flute that Sounds in the Center of the Universe (Flute: Javi)
If you play an instrument or have a group and you want your samples to be chopped, abused and mixed with noises and screams, you can send them to: email@example.com
Share — copy and redistribute the material in any medium or format
Adapt — remix, transform, and build upon the material
for any purpose, even commercially.
This license is acceptable for Free Cultural Works.
The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms:
Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
This track is about the narcissist mother of family murderer Chris Watts who in an interview blamed her pregnant dead daughter-in-law for her own killing as well as the killing of her two girls.
The second track is a rework by Willi. It was produced at Cadmium Studio.
This release ended in the disbandment of the band Das All that consisted of Willi and me. I offered Willi to mention Cadium Studio on the cover of this release after he mentioned to me he was looking for publicity. He thought the idea so ridiculous that he ended all collaboration with me.
Anastasia Vronski is a versatile experimental musician from Perm, Russia. Since years she has been creating an impressive and quite diverse body of work. Many of her tracks can be classified as “drone “or “noise”, but they always have a specific, often intriguing qualities. Above all, she’s not an artist who will do the same twice, and maybe that’s why some of her pieces are sometimes published separately. Since we thought many of them deserved more exposure, we decided to make a selection of such works in a compilation album : Estrangements, published in two volumes. While first one consisted of 4 minimal conceptual pieces, second one is made of 10 shorter tracks focusing on mysterious ambiances and dense sound textures. One of them, “the pack” wasn’t published before and was made specially for this compilation. The selection of tracks was made by the artist and the label, trying to make the compilation as cohesive as possible. We hope it will make you curious to discover more works from her.
Duality Micro (aka eVade) is a producer from lower Saxony who’s been active since the mid 90s, releasing on a plethora of labels. He’s the inventor of a cable to sync up Game Boys with Korg drum machines.
Previously, he appeared on two 20kbps compilations but this ablum is his first release on our label under this moniker. All of the eight songs of the EP are solid, but one that imo stands out is Guten Abend Leute (Nixtauger Mix 2), an addictive minimal tech-house track, where you’ll automatically start to shake along.
“Divertimento al Amanecer”
José Vicente Asuar RemixesElectronic music by José Vicente Asuar has influenced several generations of composers, both within the realm of electroacoustic music and other genres using technology as a means, ranging from techno to hip-hop, the latter at least in Chile. This has been proven, especially in recent years, with the growing rediscovery of his figure and work and his definitive positioning in the musical spectrum via academic writings and , especially, his complete electroacoustic oeuvre release (“Obra Electroacústica” / pncd08 / Pueblo Nuevo 2011) and Variaciones Espectrales documentary, by Carlos Lértora (2013).Therefore, and after several tributes due to Asuar’s death in January 2017, we wanted to carry out a new tribute, this time inviting the entire community to revisit the electronic body of work of the Chilean pioneer.
We have got together two perspectives, two schools: the electroacoustic one, which creates new pieces up from short sounds or sections from pieces by the honouree; the other one, in the vein of remix and sampling, also creates from the same sources, generating new works or tracks located in techno, ambient, hip-hop, and other related aesthetics.
In this deconstructive exercise, which we have called Divertimento al Amanecer, the pieces to work with were, precisely, Divertimento (1967) and Amanecer (1977).
The restriction was the use of one piece as an only source for a version, remix, etc., not merging both pieces into a single new one. Each author had to choose one or another work to participate, since the result of this call would be organized into a two-part compilation (sides A and B, corresponding to one of the two pieces each), participants were required to concentrate their efforts into on of the options.
About Asuar original works:
Divertimento “is a piece with great dynamism and speed, full of very elaborated articulations which are constructing the musical discourse with its structural and spectro-morphological richness, that due to its great fluidity, organic liveliness and contrasts that could be said to have a certain baroque character. Something amazing at the same time are rough textures got by modulations and high-speed iterations, that somehow anticipate the birth of granular synthesis and could be related with some moments of works by later authors like Curtis Roads. This work would get the first prize of the Dartmouth Electronic Music International contest, USA, 1970” (Albornoz 2017).
On the other hand, Amanecer is a piece labeled by Asuar as impressionistic, “in the sense of trying to describe, by musical means, the sensations or impressions that the author has about some natural event. In this case it is about sleeping nature that little by little it begins to revive until arriving at a final dance full of life and energy” (Asuar 1989). From a certain point of view, we could say that it is a contemplative work, close to ambient.
Call for works was so successful we were forced to go through a long, steady listening task in order to get the final pace for this release; thus, it presents a wide collection of works inspired by, quoting and appropriating the sound materials straightforwardly, nourished by the expresive and adventurous spirit of José Vicente Asuar. We hope they interest, inspire, and and become sources of enjoyment for all.
(Valle Hermoso, La Ligua, Chile, Marzo / March 2019)
(*) Albornoz, A. (2017) “Asuar: diez obras electroacústicas. Una breve reseña” (Unpublished).
(**) Asuar, J. (1989) “Música Electroacústica, José Vicente Asuar, Compositor Chileno” [Cassette] Santiago de Chile: Santiago Vera Producciones.
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