Christian Bucher: Schlagzeug / Percussion
Andreas Glauser: Manipulated Generators / MOOG Synthesizer
Mastering: Andreas Glauser
Artwork: Silvan Kälin
Produktion: Christian Bucher, Silvan Kälin
Tracks 1- 13
Recorded at brainhall Studio Zürich
Recording: Andreas Glauser
Mastering: Andreas Glauser
“How can you pretend that you’re free when you’re so tied to yourself?”
“Slippery People” is a collaborative project between Austin based rapper Scuare, and Portland based production group sow. The catchy dark synth pop melodies coupled with a beat scene aesthetic serve to emphasize the themes of the project through their contrast to the subject matter. Scuare’s past works have mostly focused on his internal monologue and the way his interactions with the world shape negative feelings about himself and inform his growth. “Slippery People” aims to focus on external his observations of societal trends and mechanisms that seem to all operate on similar principles; leaching off of empathy for personal gain.
released November 18, 2022
Beats by sow
Mixed by Scuare
Mastered by Scuare
Artwork by: QED @soundsbyqed
The sonorities of these eleven tracks are polymorphic, in paths that cross and converge in the use of technologies applied to sound creation, enhanced by experimentation in search of other channels of expression and communication.
This compilation is the result of “100PIES” (or more) that have marked the path of this label on the net. From the contribution of all those who have been involved by collaborating either with their music and arts, in releases or events and even the act of sharing and disseminating from their locations, connecting with their antennas and generating resilience.
Thai musician and visual artist Pisitakun releases his new album “Kongkraphan”. The album will be released for free download on November 24th, 2022 by the Indonesian label Yes No Wave Music, which has released music from Gabber Modus Operandi, Raja Kirik, Senyawa, and Zoo.
In 2010, there was a protest by the Red Shirts, or United Front for Democracy Against Dictatorship (UDD), to oust the government from the coup d’etat that occurred in 2006. At the protest, the rally was dispersed by armed soldiers, causing a large number of injuries and deaths.
The upcoming album ‘Kongkraphan’ —meaning Invulnerable— was made to present the forgotten voices and sounds of unjustified wrath. The sound used was taken from the video clips recorded by the demonstrators from the actual incidents. All video and audio clips are testimonies used in court proceedings to find the culprit at the time, so as to reveal the truth and restore justice to the deceased demonstrators. It’s a mix of Noise music: the confusion and sadness occurring at the protesting sites, the rhythm that shakes the nerves, the rhythm of intense rage.
In short, this album of Pisitakun contains a variety of anger, sadness, confusion, as well as the power of joy and hope to change the country —the driving force of the demonstration in 2010.
‘Kongkraphan’ is the name of a type of Thai talisman that gives the power to be invincible. In this album, the term stands for the ideology and battle of the people in the protest that has never faded. It’s still invulnerable, passing down the philosophy from generation to generation until today. There are 8 tracks with titles taken from the date of the protest events and arranged chronologically according to the time span of the incident.
Improvised and recorded on January 9, 2021 by Keith Helt. Guitar, pedals, amplifier.
All songs are for Alejandro Morales Aponte. Alex.
Cover art painted by LB Briggs.
Full album available for free download here:
www.panyrosasdiscos.org/pyr319-keith-helt-something-of-a-hoosier/
Any proceeds from this album will be donated to Chicago Abortion Fund. chicagoabortionfund.salsalabs.org/makeadonation/index.html
credits
released May 15, 2022
Composed, recorded and mixed by Jacopo Buda between October and December 2021.
Jacopo Buda: modular synth, efx, voice.
Mastered by M.qr at RagnoStudio, Italy.
photos by Jacopo Buda
design by EMERGE
The album is a journey to the discovery of light through the exclusive use of modular synth and effects – this time the trumpet is absent.
I am personally fond of this work, its realization has only been possible through a deep meditative process that manifested itself during the effects manipulation game. This is where the silence appeases the mind that instinctively connects and roams to the listening of the present moment.
released November 10, 2022
Gabriela Faix – zpěv
Jan Faix – syntezátory
Jan Ureš – kytara
Kristýna Tomšů – flétna
Robin Tichopád – baskytara
Ondřej Chalupa – bicí
Nahrál: Jan Faix v Signals from Arkaim Studios
Mix: Tomáš Procházka
Mastering: Ondřej Ježek ve studiu Jámor
Design: Gabriela Faix a Jan Polanský
MM+TT is:
Miao Zhao – electronics, voice
Tizia Zimmermann – guitar, voice
Graphic cover by Dora Krylov
Recorded by MM+TT at Haus mit der Lippe, Zurich, 12 & 14 July 2021
Mastering by Miao Zhao
Instagram @mmtt504
Also available on CD and Cassette format via the band & label
released November 11, 2022
When reality fails to meet the system’s requirements for existence, it gets neglected and removed as an input. The system is designed to analyze reality using its units of measurements, but now it can only quantize the noise from the observer. Lack of standard units drives the whole reality-observer-intermedium-system circus insane, continuing the feedback loop of madness, trying to find its own quantization noise drenched in an unpredictable fluctuation from the observer itself.
Lengthy progression of monotonous chaotic structures with only subtle hints of repetition, glued using reverb on things barely reaching the idea of understanding the function of notes.
So let’s talk about Ignacio Morales. About Leonardo Ahumada. About Nawito Dúo, which isn’t a dúo after all. About the baldy one in El Banco Mundial. About the baldest baldy in Ensamble Majamama. About the only man in Guorl Miusic.
Let’s talk about feedback. But not about electroacoustic feedback – extensively exerted by Nawito – but the one that presents a way of thinking (about) the music one makes when listening to it. That one where the cause is indistinguishable from the effect, where the effect is not necessarily predicated in the cause, where materials precede the shape that forms the materials.
Let’s listen to a jungle music – it’s impossible to avoid metaphores by now – born from José Vicente Asuar Guararia Repanoo; but it is not representing jungle, but coming from there. Infinite organisms in friction, superimposing each other in harmony. At the moment of listening, finding out what was acoustic, electroacoustic or digital is rendered useless in the first place, the jungle factory turns original, filtered or simulated indistinguishable, but the painstaking work which erected it sounds in its complexity, it is the making sounding.
Real hard work: let’s talk about fingers, nails, tact, epidermis of Nawito’s fingertips. That is – in David Tudor’ words – the most sensitive control point in a machine.
Apparati and their connections, colombina’s strings tension, diagrams, patches, springs and iron pieces, are temporary line-ups, nodes, pretexts, software; the operator that sets up and makes the machine, the real jungle territory. There are coagulations, geological faces, pressure points, complex detail zones, energies in the point of transformation, not choosing this or that way: a cave with countless leakage and drain pipes, thick, resounding tones – the wind blows outside the cave – feedback screeches, rumors from a beehive’s working mode, mechanisms rattling, the jingling of exotic birds which cannot be seen covered by the leaves, metal on metal (yes, in every sense of the word); white noise’s faceted roaring, the Mekano girls worn-out sticker; Providencia’s buzzing, hissing in unknown time; an unexpected ringtone; and the most remarkable, particular characterístic in music: a multiplicity of realms and activities, what was called polyphony in the good old days. The mystified concreteness of the on-screen software, where modules are connected, expanding and contracting, and the material proof of the tamed sound idea: a trompe and an mbira.
After almost a decade devoted to electroacous-tic music, Nawito, Leonardo, the ‘noise he-baby’, whoever he would be there inside him, makes news of headway in “Nagual”, not in a militant avant-garde fashion sense – please, let’s keep avant-garde requiescat in pace – but of a curious passerby carelessly strolling thru the park.
Nicolás Carrasco
(Santiago, Marzo / March 2010)
Liveset performed at Acoustic Neuroma #2 at TRXTR, Berlin, organised by Cate Hops.
Sampled found tape loops & shellac records, microgranny 2.0 by Bastl, granular synthesis in ableton.
released November 1, 2022
Frozen Clinamen is serie of works by Failure Circle (a solo project of Kecap Tuyul) started on autumn 2017. It follows a simple method inspired by the the possibilities of his no-input mixer set-up (and sometimes other modular set-ups) and the will to use a limited sound material in a posteriori compositions : all the sounds included in these works are recordings of moments that feature no human intervention. Frozen Clinamen #6 was recorded and mixed between March 2019 and June 2022 using no-input mixer and analog synthesizer.
Artwork by Jules-Valentin Boucher
Methodology
step (1) Tweaking the set-up until it produces some seemingly autonomously self-sustained sound sequences.
step (2) Stopping tweaking, then recording for at least 20 minutes without any intervention on the set-up.
step (3) Repeating steps (1) & (2) several times.
step (4) Using the generated sounds as only source in a posteriori compositions. The only variations used while mixing are equalization, panoramics and volume levels.
step (5) play it at low/high volume with open/closed window while complety asleep / fully conscious.
This EP was due to be released as a small edition of lathe cuts & CD-r’s + extra stuff , but due to various delays and complications with the cutting machine we decided to release it as a free EP for your own enjoyment.
We love to share music and we hope you will have fun listening to this release.
We are 3 dudes from Quebec city and we met thru music and became friends. Even thought we live in the same province / area it does not mean we see each other all the time or hang out. We mostly speak on internet… therefore one the reasons that made me decide of the title (which translate from French to English to something like) ”he/we are there but not there” …
extra links:
Shango :
soundcloud.com/shango-qc
Kado :
soundcloud.com/vincent-cadorette
Bleupulp:
bleupulp.bandcamp.com
released October 28, 2022
Audio by Kado, Shango, Bleupulp.
Mastering by Maxime Tanguay
Additional mastering by Pheek (tracks 2 & 3)
Art work and Cover by Maxime tanguay
ACEPHALE by ANTEPOP & PIRATE Tapes is an album created for Le Camembert Electrique netlabel camembertelectrique.bandcamp.com/ based on the self-titled french poetry review and hosting few other poems by Georges Bataille, available in free download here archive.org/details/ANTEPOP_PIRATE_Tapes_Acephale
For Flac and Wav formats it’s in paywhatyouwant zero include here camembertelectrique.bandcamp.com/album/ac-phale
The Acephalus includes the minotaur, Dionysus, Oedipus. He is an incarnation of the Nietzschean Superman. “He is not a man, he is not a god either, he is not me but he is more me than me”.
Acephalus recognized the intimate link between eroticism and death and he was able, thanks to that, to kill the father, to kill god, he cut off his head to have access to a higher lucidity and to obtain a belief.
This quote from ANTEPOP could suffice as a unique presentation of this album, yet I would detail a little its creation and its underlyings.
Was it chance that put Georges Bataille back in my path?
Years ago, I interpreted the Solar Anus https://www.youtube.com/watch?v=m0oPNLBK9-U charmed by its transgressive dimension, without however pursuing the exploration of his work further. Then during the 2016 edition of Back To The Tree event I discovered the existence of Acéphale thanks to a conference by Laurent Devèze https://www.youtube.com/watch?v=G4AosZvpo4E more enthused under the trappings of this strange cult is the back-to-nature dimension relatively similar to Henry David Thoreau’s Walden. Poetry is a sensitive tool for connecting to the universe and in the era of screen partitioning this reminder seems relevant to me. Also since the creation of the french website for the review “Le Grand Jeu” morne.free.fr/celluledessites/Game/index.htm it’s been my hobby to exhume the poetic journals that have emerged in over time in France. So after the review “Discontinuity” archive.org/details/pirate_tapes_discontinuite it made sense that PIRATE Tapes presents some excerpts from the review “Acéphale” accompanied by other poems by Georges Bataille. Also we are very happy that the lyrics are in french language, because despite the audience for musical experiments is very small here, it matters a lot to be able to use our native language in our music. If you want to get the english translations seems it’s findable online.
Originally, because of many affinities, I wanted to make an album in collaboration with ANTEPOP for Le Camembert Electrique. Hence the titles taking up the process of making the cancoillotte, just to not take ourselves too seriously and thus enjoy greater creative freedom. A first piece was extracted from this improvisation session and was completed by a field recording in order to participate in the Phonographies compilation camembertelectrique.bandcamp.com/album/v-a-3 This process therefore imposed itself as obvious for the development of the other tracks on the album. It is also the only track that has not been supplemented by poems. Curiously at the beginning we had recorded poems by Apollinaire, it was only later that the paths of intuition led us to prefer those of Georges Bataille. The verses of the unpublished Acéphale questioned me a lot, to the point that I hesitate to include it, but I preferred not to censor it and leave everyone free to make their own interpretation. It may be interesting to keep in tune with the present time, bringing hope and serenity, when its qualities are sorely lacking in the world in which we live. But it would be to misunderstand the mere revealing nature of art to seek to polarize it. It seems to me vital to preserve the roughness, the wanderings of thought, all that for me makes sense in the writings of Bataille is precisely to confront the monstrosities to question our dark side and perceive our deep non-dual nature. For me in everyone is the universe, all the good as all the bad, it is our choices that guide us, our actions that define us. Hence, the importance of the presence of monsters in fiction, like in the subconscious, not only allows them to be contained, but is also a space that allows them to be studied without real risk, like a virtual box machine that allows you to test a potentially dangerous executable. It is not by sanitizing the past, by practicing censorship, by concealing the traces of obscurantism that one can protect oneself from it*. On the contrary, it is by allowing us to experience confronting ourselves with what bothers us and therefore to train ourselves knowingly, that we can develop a critical mind that makes possible a future that does not reproduce the past mistakes.
As for the Acéphale, if my heteronym Ed End has the same meaning, it is not for nothing and that explains why it was difficult for me not to interfere more than I would have liked in the ANTEPOP part of this album. So which is actually more a kind of antepop ante-pirate tapes participation. Isn’t a part of the reason one loses one’s head to try to know the others better?
* Just to be clear, I specify that as much as I find it dangerous to rewrite past fiction as much as I find it necessary to intervene in the public space because in this case it is a question of putting an end to the glorification of monsters. Although my creative vision would be rather than destroying a statue of Colbert to put in front of it a statue of a slave who breaks his chains.
Credits
ANTEPOP jetfm.fr/site/-The-Russian-Fortune,165-.html elmutschwartz AT gmail.com
PIRATE Tapes www.horsnorme.org/PIRATE_Tapes/ including :
Daceed https://soundcloud.com/doktorkrackers
Studio 112 studio112.bandcamp.com/
Ed End ello.co/ed_end
Filmy Ghost is a dark experimental, vaporwitch, ghost drone project from Rancagua, Chile. Created by Sábila Orbe.-
For more music visit:
hearthis.at/filmy-ghost/
open.spotify.com/artist/0POUvA4r7hzETPMnrn59My
archive.org/details/fav-sabila_orbe02
freemusicarchive.org/music/Filmy_Ghost
All sounds mixed, cover collage by Sábila Orbe.
track 7: vocals, music background by {AN} EeL.-
track 8: instrumentation by IDTAL
track 9: original music by Cosmic Shock Absorber from his album: Burning Judas.
track 10: vocals, instrumentation by IDTAL
track 11: in collaboration with Thomas Park.
