Rhonchus is the more rhythmic electronic, experimental techno and idm alias of Iranian artist Shahin Souri, born and based in Tehran, who has also been releasing more ambient/drone oriented music under his real name. He has notable releases on Moloton, Noise à Noise, Diffuse Reallity Records. “بلَووِه” is his debut EP on Mahorka.
Released November 21, 2021
Music composed, produced and mastered by Shahin Souri
Track 4 is a collaboration with creeperbrofist2002
Аrtwork by Bahargol.e
This album by the Chilean sound artist Valentina Villarroel is part of the soundtrack for a theatre play and its divided in two sections, each of which contents thirteen and fourteen tracks respectively. According to the artist, these parts are distinguishable from each other based on the sound sources from which they were born, soundscape recordings in the first case and voice fragments in the second.
The sound world that Villarroel presents in the first part is mainly compound by solid and huge blocks of sound, as a dense mist which thickness seems to contain strong forces driving its own inner flux. In fact, spoken from a spectral perspective, in spite of the presence or absence of continuity in the sounds, namely prolonged atmospheres or iterative textures, there is often a wide coverture of the frequency domain. In this way, the general sensation is to be aurally exposed to burly entities, some of them with variations on their frequency, like glissandi or a sort of melisma (applying freely this notion to these non-acoustic and non-instrumental sounds). Within these huge spectral masses, there is space for details emerging from the mist, due to the occasional density dissipation. Whenever a piece has not such a density, it is shaped by a high contrast of spectral materials or, for instance, a specific block in the low range. This is the most characteristic aspect of the set, from which the pieces show their differences, for example being sometimes rough, sometimes smoother, but always maintaining an atmospheric nature, even when a piece is shaped by repetitions of an attack-impulsion sound as in the sixth work from the first part. Accordingly, the sonic discourse is not driven importantly by other aspects such as loudness or remarkable diachronic fluctuations of sounds.Obviously, there are some exceptions like the eighth work of this first part, a construction based on the sound of flowing water, or the twelfth piece, based on a textural irregular granulation.
The second part stands out from the first one, mainly due to the voice materials which are now mostly presented in such a way we can recognize them. I can recognise what I dare to name a ‘signature aesthetic’: the strong and rough treatment of the sound material, with abrupt attacks and again spectral thickness and slight variations of loudness. For instance, complex mass impulses and iterations (in the Schaefferian terminology) dialogue with vocal samples with some repetitions produced with a classic delay effect in the second work of the second part. There is not space for delicacy.Spoken word is delivered by what it seems to be a male voice or a female voice in different tracks (with so many possible electroacoustic transformations nowadays, you never know!). Sentences are repeated, the delay plays a simple (maybe naïve) rhythmic role. There is something I found interesting: the shifts of attention produced through movements between clear semantic content and dissolution of it. Sometimes the vocal material,within a specific piece, presents a total semantic dissolution (Albornoz 2018, pp. 39-40). Classic treatments of voice recordings are present as well, such as stretching by probably a form of granular synthesis and pitch shifting, perhaps the most predictable actions in the album, at least from my point of view. Space, in general terms, both in the first part and second part of the album, is not remarkably developed and it seems to be addressed essentially by means of demure positioning in the stereo panorama and the inclusion of reverberances. Another interesting kind of material is constituted by the isolation and stretching of phonetic particles, as in the case of a fricative in the twenty-fifth piece of the second part.
Clearly functional for a theatre play, the album presents short pieces with this particular aesthetic of huge spectral densities, minimalistic approaches to sound materials and a delicate sense of variations, solid blocks of sounds shaping solid pieces which in turn make up a solid album, everything solid and poeticas it could be the transformation of a being into a stone.
Dr. Alejandro Albornoz
Compositor / Composer.
(Valdivia, Chile. Noviembre / November 2021)
Instruments:
Kentongan serie A and B,
Guitar, Industrial Mutant, Solet, Senyawa x Benchlab Pedal serie R prototype
Recorded in Senyawa Mandiri, 2021
Mastered by Joseph Lamont
Selama masa pandemi Wukir banyak menghabiskan waktu bersama keluarganya di Salatiga. Sesekali Ia ke studionya di daerah Patangpuluhan, Yogyakarta untuk mengerjakan hal-hal yang berkaitan dengan Senyawa. Situasi pandemi yang tidak menentu akibat kebijakan pemerintah yang tidak memperhatikan kesejahteraan dan keamanan bagi masyarakat membuat siapapun geram. Ketahanan hidup dinisiasi secara mandiri dan berkelompok melalui aksi-aksi solidaritas masyarakat, termasuk protes. Ironisnya, aksi tersebut tidak direspon sebagai aspirasi bagi pemerintah untuk berbenah dan justru ditanggapi dengan represi. Sikap Wukir untuk menolak tunduk tidak hanya pada kondisi sosial-politik saja, namun juga pada semua hal yang membatasi dan mengekang kebebasan berekspresi.
Sikap tersebut tercermin dalam komposisi musik di album ini. Ia tidak melodius seperti biasanya. Kelam, agresif, abrasif, transendental, dan yang pasti tribal. Elemen perkusi sangat dominan. Hal ini muncul dari instrumen barunya berupa kotak kayu dengan lubang berbentuk garis. Album purbawi-futuristik ini menandai sebuah masa baru lintas dimensi yang penuh gejolak untuk menegaskan sikap kita. Sikap menolak tunduk.
W E I R D T R I P – John Lander
This is your brain on my brain.
This album simulates many destinations thru a psychedelic trip. Meant to be listened to from beginning to end.
For more of my work, please check out JohnLanderMusic.com
:)
Late 2009 Felix von Montfort started
uploading free samples for 3 days as
FX666. 12 years and a few projects
later Felix combines them all.
photos by Felix Montfort
design by EMERGE
Compiled, cover collage: Sábila Orbe.
released by Internet Daemon [Post-Witch Compilations Section]
new-age-vapor-witch.bandcamp.com/
Compilation tribute to The Exorcist movie saga and to William Peter Blatty the mind behind the histories of “The Exorcist”, “The Exorcist II: The Heretic” & “The Exorcist III: Legion”.
Each track composed by the respective artist. Links:
– †ATMOS†PHERE † OF GOD AND † DEVIL†:
https://soundcloud.com/atmosphereofgodanddevil
– IGNORE NOSSOS ROTULOS IDIOTAS: https://soundcloud.com/iesusnazarenus
– Humanfobia: humanfobia-official.bandcamp.com/
– Baurus: https://soundcloud.com/baurus
– James Onsen: jamesonsen.bandcamp.com/
– [ N ▲ † L ϟ ] ☼ Ʀ ‡ ☼ N: https://soundcloud.com/deathcult666
– River Road: archive.org/details/river-road-sides
– DJ MTHRFCKR: archive.org/details/djmthrfckr-faith/
– totbeatz: https://soundcloud.com/totbeatz
– Mean Flow: meanflow.bandcamp.com/
– Tré Vortex: https://soundcloud.com/tr-vortex
– Invisible Illusion: yoshiwaku.bandcamp.com/
– PLATO & the Western Tradition: https://soundcloud.com/plato-3
– 
zax : https://soundcloud.com/zaxdar/tracks
– Dipsochys: https://soundcloud.com/james-bromley-1
On his latest release, Bon-Psy promotes empowerment of the mind, or at the very least, the notion that we all have the ability to control our own negative thoughts.
Cursed Life begins in a bleak state of affairs, murky pianos fill the space whilst a poignant commentary details the mental challenges people face in their adolescence. With this, Bon-Psy sets the scene, and provides insight into his own circumstances growing up.
As the track progresses, we are exposed to a variety of moods and styles. Bon-Psy navigates this gloomy world he has manifested, exploring its depths and finding glimmers of hope intertwined with jazz infused Electronica.
The closing stages of Cursed Life suggest a newfound sense of power. The once disheartening commentary now appears imbued with a fighting spirit, suggesting to the listener that they have the power within themselves to control and appease the mental anguish that plagues them.
“Many times in my life I have felt cursed. On my worst days, the mental anguish of just being a human, and the trials and tribulations associated with it feel like too much of a burden to bear. At some point in our lives we are all destined for a degree of extreme hardship, sadness, depression, anxiety, death or despair, and it can appear at times that as humans we really are cursed in that sense. We find ourselves lost in these states, and digging ourselves out of that hole is a task too big and monstrous to even begin contemplating. But Whilst the world can be daunting and cold beyond measure, you as an individual have the facilities and resources to make your life better. You can get yourself out of those states if you do everything within your power to do so. Take control, move towards a better existence, as there’s something to be said, to know that you’re the sort of creature that can look mortality and catastrophe straight in the eye, and nonetheless, stand up.”
Lhas Fawn is a new artist to Vulpiano, bringing an intoxicatingly vast palette of tone and noise to a musical dialect recurring throughout the label’s history. There is a sophisticated progression to these drones, pulling in synths and rock instrumentation, with each track trailblazing an utterly distinct character.
When listening, one feels the deep reflectiveness of living in a depopulated area on a cacophonous globe. Whether with hints of Fawn’s home range of Finland or the neo-noir frontiers of the Western US, we see boreal forests and semi-arid plateaus stretch out before us, with nothing but twinkling lights on the distant horizon and a universe of sound emanating psychotropically from a device in our pocket.
Words from the artist:
“The music on this album came about through the months of spring and summer. For a long time i’ve been interested in music that sounds like it has it’s own living ecosystem. The more you listen to it, the more you hear different elements and particles, how they react to each other and co-exists in the beautiful chaos.
I let the sounds linger, build up on them, sometimes destroy them and morph them into different species. An adoration of the bloom, decay and preservation that i see in nature.”
Nine (or ten) artists have interpreted the word ‘OLD’.
Releases by Andreas Brüning, Dental Drill Slips, GLOBAL SYSTEMS INTNL., WarpCensor and members of iLi Pikas can be found elsewhere on the TCFSR bandcamp.
released October 31, 2021
All tracks produced by the artist,
except track 5, mastered by Dental Drill at The Patisserie.
Album master by Dental Drill for TCFSR.
Cover design by DRILLArt
The Necrophile Hummingbird netlabel and Internet Daemon (Cian Orbe Netlabel) present
Tohu Wa Bohu Disc 1 & 2
“Unreal Music for Real People” or “Real Music for Unreal People” ?
Disc 1here archive.org/details/Invisible_Illusion_Tohu_Wa_Bohu_Disc_1/
Disc 2 here archive.org/details/tohu-wa-bohu-disc-2
Download Disc 1 in Flac and Wav format here yoshiwaku.bandcamp.com/album/tohu-wa-bohu-disc-1
I’m very happy that the first Invisible Illusion is a split with Humanfobia. I orientated my sound with this project to be closer of witch house style for example because of Cian Orbe Netlabel compilations like this one archive.org/details/v-a-post-witch-music-vi and also because we share very close ideas about free music.
This is not the first time we do a split, we already did one “Strange Pearls” archive.org/details/yaka-anima-yoshiwaku-strange-pearls-split with other projects. But this time the process is slightly different, and that’s why this is not a rADio eNd album, last summer I sent the raw improvisation session to Humanfobia and they created these upgraded tracks listenable on disc 2. And next I reworked a little the raw tracks adding one or two layers on one, reading poetry on another one and that’s the disc 1.
While I was trying hard to cut out the Gordian knot about how to organise this split album, thinking about to melt our contributions in the playlist or to follow the rhythm progression for Humanfobia playlist etc, I noticed Humanfobia choice to base their tracks on the 10 egyptian plagues instead of me who based it on the seven plagues of the apocalypse. So I kept the 10 plagues order for the playlist and split the album in two discs.
This to point out that what could seems a missunderstanding could be more meaningfull about the way these two propheties could be link.
Same way I’m not that much in apocalypse topic, really not into collapsology I didn’t choice the theme, it comes by itself. But I noticed that in addition of “The World is Over !”,
archive.org/details/VA_The_World_is_Over__A_side and despite it’s still not achieve we’ve got a Multiple Personality 3 album called Glauko Psyche waiting since several years amongst other things like the french lyrics of Paroxysmic Rhapsody with that sort of end of time theme. Perhaps it’s only because that I feel everything around, I don’t make any statement about it I just think there are many signs. So perhaps the way this album is organise could talk about the way it’s organise between real life and myths, who knows ?
I can only hope each one is conscious about the disasters humanity is spreading over this world.
And that we will not let this rot like a larva wasting its ressources before turn into butterfly and then diying stupidly.
But that we will do obvious choices to stop all this shit. There is a time to think and a time to act.
Last thing this is a share of free culture, and it’s not a hasard if there are two poems ( In french here lundi.am/Arracher-l-art-a-l-artifice ) from an anonymous writer in this album,
free culture is not only the opposite of property but also of narcissic behavior. It was so good to read the writer answer to do whatever I want because its writing owns itself.
This is one of Brion Gysin & William S Burroughs legacy : the Cut-Up teaching shows that most of the artist live only with the illusion to be generator,
because everything is a permanent mix of conscious and subconscious sources. Others know they are only mediums and care of their artworks that way. I mean if we bring children on earth it’s for they do their own choices. Not to be steril clones stuck in a loop.
I struggle for free culture since more than 20 years because the free share of ressources seems for me the key for a world no more rule by nations or multinational corporations.
And that’s one of the things I’m talking about we are all connected to each one, and we need to get ride of the separation illusion.
Invisible Illusion may be a kind of key.
Before this album two tracks by Invisible Illusion are allready release on these excellent compilations :
Communitas Volume 2 mickmagic.bandcamp.com/track/unreal-mixtape
Cicada 17 requiem : brood X 3 camembertelectrique.bandcamp.com/track/flying-salt-shakers-of-death
And last thing there is an interview here in aproximative english here cian-orbe-netlabel.blogspot.com/2021/10/interview-with-ed-end-2021.html or in french in podcast here aligrefm.org/podcasts/la-vie-est-un-roman-08-juin-2021-le-colibri-necrophile-ed-end-1400
But nothing talking as well than the music.
The album is based on the issue of understanding different emotions and the feelings hidden under them.
“Monolith” has been the credo for the last year due to various circumstances. It implied a purposeful rejection of emotionality, withdrawal into oneself, into one’s own experiences in order to achieve catharsis and upward movement.
女性声優 (Josei Seiyuu) is Breakcore/Lolicore artist from Japan. Includes new track in addition to the previous messy Lolicore tracks.
Music by 女性声優
Artwork by YORU__079 (©2021 YORU__079)
Design by Occupied Territories
To be in a state of resolve toward art means that the ways of approaching form or sound are always changing, beyond what could be called a style or a habitual manner of creation. It is this doubt that drives curiosity and determination to venture into unknown fields.
The music of Luis Marte in recent times has been prolific and now, with the release of “Space Mobile”, we find ourselves face to face with one of his many outlooks, in which he moves away from the nature of machines and dives headfirst into digital processes.
We begin to hear a theme in which time is a diffuse entity that is paused before taking course. Sound speaks more of volumes and places than of events, where what we hear can be recognized with physical and tactile references.
The city resounds like a specter. All this to place us in a sort of canon, in which its two stories modulate a haze with blows, interruptions, and knots.
The third piece features the collaboration of Pablo Reche. Together they create a series of rolls in which the grains of noise contract and disappear. Changes are outlined before the shapes and timbres of things.
Time keeps ticking, the reverberation becomes the pulse and a piece of techno places in order that from which almost everything has been subtracted.
This work forms a reconstruction of the environment, as if the processes were a lens for looking at things again from another place. Thus, all the information and data to which we are exposed day after day is transformed into material, in which the sonic conception of Luis Marte digs to reveal the light of isolation and singularity.
Óscar Santis
(Concón, Chile. October 2021)
sam rushton: analog modular
ayankoko: ppooll, guembri
fa cesario: analog modular
lauren rodz: diy electronics, voice
recorded live in Marseille, june 2021
Release date: 27 October 2021
released October 23, 2021
Fábio A.: voice, scrap percussion, effects, field recordings
Samples of:
Intonarumori Orchestra – Future Circuit – Tetuzi Akiyama
Polish Experimental – Assemblage
Polish Experimental – Experiença
Recorded and mixed at Headache Home Studio, October 2021
Authorized duplication only for educational using.
TENTATIVAS FRUSTRADAS (Failed Attempts), Sept. 18th, 2021
“Sometimes you get bored with yourself and, simply, want to get rid of your old life. In pandemic times, such thing is easily possible when you feel in such a bore in lockdown, in isolation. Per Scelstak came into existence when George Christian felt disgust with himself and, also, with the way virtuality has become something exploitative in his life.
In fact, Per was born only as a pseudonym when he sent a concert piece for a competition (for which he didn’t win or earn anything). The secret behind his name can be found in contemporary classical music composers: Per Nörgard, Giacinto Scelsi and Walter Smetak. Influential to the mind behind Per, a certain guy whose last name is Pereira? Quite possibly. Per has only gained an image, though, when his creator felt in a real distress, in his personal life. Per killed the past social profile of George Christian, which was too revealing of his thoughts, too personal, too disastrous to be reached, too naïve. Per is the result of George’s anger against the way personal life is treated in the virtuality, by the social networks. Nowadays, Per is in conciliation with his creator. But not for so long.
Per is different. Per never talks in 1st person. Per is never personal. Per can be read here, or not. You might not understand why such distance, but probably you are closer to him. More than you imagine. Per is another face of reality that wants to be in the realm of different senses. And the reflection of such persona is in his music.
It took a long time to George Christian figure out the existence of Per. But Per has been following his steps since the days he decided to experiment only with electronics in his 3rd album, Three Dimensions of Unrecognizement and Other Unknown Reaches. Maybe he can be found in Exílios 3. Per can also be found in Secretos Universos. His real debut, though, is with two other crazy fellows from India: Hatiyar and Hazardnaut. Per is George into electronic extremities.
TENTATIVAS FRUSTRADAS is the first album under Per’s name and a sum of principles that have been guiding his electronic experimentation. In fact, this principle is just a single surrealist one: automatic writing. Per is completely ignorant concerning on how a machine language operates. Per IS a machine. Per IS a computer. Per IS nothing.
These pieces can be understood as inner failures. No songs, no hooks, no melody that can be easily sung. It requires a real deranged mind to deconstruct and build another world. Per is no strange to post-minimalism, post-spectralism, post-jazz, post-rock, post-psychedelia. His electroacoustics comes from the inwards of MIDI and tone colors’ researches to the spontaneous structural architectures.
Per is NEVER quiet. His brain listens to several voices and do not find peace in a single one. Per embraces all the voices. Heaven, hell, purgatory. Per has been in all of these places. He invites you to dance with your wrist and dry yourself into the waters. His manners may be of electronic, artificial gestures. But what he delivers is plain and pure reality. Cruel REALITY. Your nightmares should be dancing.”
released October 24, 2021
Stems, sound design: Brainquake.
mixed, additional sound effects, artwork collage: Sábila Orbe.
vocals, model in the cover: Mist Spectra.
Humanfobia is a dark experimental, witch house, crypt hop, horror noise duo from Rancagua, Chile.
humanfobia-official.bandcamp.com/
https://open.spotify.com/artist/04WVEhq4UDRTKpWEfMSeZT
hearthis.at/humanfobia/
Brainquake is an experimental, noise, industrial project from Belgium.
brainquake.bandcamp.com/
https://soundcloud.com/brainquake-tdop
The Necrophile Hummingbird netlabel presents Christmas on Titan by Studio 112.
“Mystical Music for Mysterious People”.
A kind of out of time symphony, as the title told it’s a very synaesthetic music blooming Hildegard Von Bingen visions front of your eyes.
More about her on wikipedia en.wikipedia.org/wiki/Hildegard_of_Bingen
Studio112 is the main project of Alain Grille also electric guitarist and musicmaker in rADio eNd / Multiple Personality 3 / PIRATE Tapes / EVA Vertigo / TKno BeurK / MK-Ultra
Previous albums by Studio 112 in the Internet Archive
archive.org/search.php?query=creator%3A%22Studio112%22
Illustration by Alain Grille
