Thierry Arnal, musician/composer/remixer based in Lyon, France, is an artist of several aliases and began his journey into music in 2006 and has released quite a few albums and EPs since, as well as a movie soundtrack, under the project names fragment., AMANTRA, SEPL, THA, 2W on various labels around the world, such as Justin Broadrick’s label Avalanche Recordings, Ohm Resistance, KVITNU, M-TRONIC, Thisco Records, Pharmafabrick and others. The SEPL (short for SCORCHED EARTH POLICY LAB) adventure started in 2018 in the need to experiment in new territories.
In March 2021 SEPL debuts on Mahorka with the specially prepared for the label “QUASAR_VARIATION”, a recording directly connected to and based on the compounds of his previously self-released “QUASAR” 4 track collection of virtual electronic instruments improvisation recordings..
released March 13, 2021
“It’s all about physical perception.”
Why is perfection always in Major? Sharp echoes run into the tepid fragility of the bones. A staggering roam resumes its straight path and freezes it. Now it’s the heat’s curve that protects me and leaves me in the confort of what I know. The echoes become clear, the texture grows. It’s time to leave. In a sudden, everything returns.
The journey begins from time’s concrete decision. It’s where rests the peace and the martyrdom of the fields coloured with crimson red. An approach, severe and taken by force. Dimension and relief fall like drops of posterity and what comes after. There’s no path, there’s no destiny. Erratic satyric nerve. We’ve found ourselves again and now we accelerate.
The concentration-density of the concept of border. Chromatic suspension of waves, that hiss like small dynamic atmospheres. Textural insertion of notes in reverse osmosis and constant formations in tension.
That feeling of falling from the wake up dream where the rythmic variations lie: in the tunnel, we translate the flavor of a memory. Let it fall. A confirmation from the common sense dissipates all doubts, either ours or from the others. As we’re getting back to perfection, all completes itself. Quietly, we meet up separated.
The reality in reverse.
Text by André Calvário
www.zenapolae.com/releases/zen226/zen226__VCR__Its_All_Too_Late__1_Its_All_Too_Late.mp3
Oriondrive combine generative music and voices, exploring what can be called organic and artificial. The only “human” involvement with creation here were mixing and effects, all other material(s), including cover artwork and texts, were generated using AI technologies.
Tones, Python Coding, Generative Atmospheres: Thomas Park
Generative Voices, Effects, Intentions, Mixing, Mastering: Linn Friberg
Samples in “Positive Self-Esteem” and “Healthy Growth”: Chris DeBry
released March 3, 2021
Todos los temas tocados y compuestos por Diego Funes en el tiempo llamado cuarentena, en home estudio Ra, Salsipuedes, Cordoba 2020, Argentina.
Diseño de tapa: Pau Lee (www.instagram.com/sheispaulee/)
Julio Kaegi, trompeta en DooM y El cielo en la tierra. Silvia Marco, coros en DooM.
Federico Disandro mezcla, producción y masterización en los temas Miller, DooM y El cielo en la tierra. Estudios 3db; Noviembre del 2020, Barcelona España.
En Rew se uso extracto de la obra “Onírico” del colectivo sonoro PH, Cordoba Argentina.
One Twenty Twenty One is a single, continuous, audio suite featuring the following sections:
1 Taking Out The Wash
2 With Charity For All
3 Saint Madison Pray For Us
4 How Sweet
5 Rock Stars And Stripes Forever
6 For You And Me
7 The Flickering Beacon
8 We Stand For US
9 Imperfect Union
The Process:
On January 20th, 2021, C. Goff III interacted with the inauguration ceremony for American President Joseph R. Biden through a live electronic audio improvisation. As the ceremony aired through a portable radio in the Kansas City, Kansas, Taped Rugs studio, Goff reacted by creating an interpretive soundscape. This hour-long performance was taped on, and later mixed down from, a Tascam 424MKIII 4-Track Cassette Recorder.
Goff later edited out several portions of the hour-long improvisation, creating Sections 1, 3, 5, 7, and 9 of “One Twenty Twenty One.” No effects nor overdubs were added to these edits.
Instrumentation:
Korg R3 Vocoder/Synthesizer, Korg Z1 Synthesizer, Micro Moog Analog Synthesizer, Billiard Man The Theremin, Voice, Ibanez DM 1000 Digital Delay, Boss RC 20X Loop Station Loop Duplicator
Several days after the inauguration ceremony, Goff reshaped brief edits from a recording of the ceremony’s radio broadcast to create Sections 2, 4, 6, and 8 of “One Twenty Twenty One.” Included in these sections are vocalizations from Lady Gaga, Jennifer Lopez, Garth Brooks, Amanda Gorman, and Leo J. O’Donovan III.
Computer Software:
Cool Edit Pro II, Audacity, Midisoft MIDI Scorewriter, Windows Media Player, Roxio 2011 Sound Recorder, Several Plug-In Audio Sound Effects
Goff mixed together the various edited sections to form the unified recording of “One Twenty Twenty One” on February 20th, 2021.
There is no officially authorized interpretation of this work.
Elite Border decided not making it easy for the ones approaching this behemoth opus. A hypothetical eight-hour-working shift turned into a Julio Cortázar like sonic coven. Almost 500 minutes, to be approached in any order, from a series of listening instructions. The album (?) refers to intermingled references. There are glimpses of 1980s indie cassette underground, industrial experiences, but also from concrète and electroacoustic, “serious” music (so to speak); monologues, certain melodic atmospheres diluted to sheer abstraction: noise as raw material and aesthetic discipline (once again).
More than experimenting, there is a leaning towards discipline in our environments’ habitable chaos. A continuum marked by timelessness and an all-encompassing sonic feeling anywhere. Everywhere. Sections filled with rock vigor or oozing city folklore, replacing rural charm with factory rattling and urban atmosphere. Sheer electricity outbursts mingled with brittle notes, while strings introducing glossy melancholy shades. Since this is a proposal based on a dual concept, provided by Pedro Pablo Pedroso (Baltazár) and Pablo Enelotromundo García, it is extended by several guests, weaving an almost unrecognizable skein of instrumental voices. A passage towards ubiquity, the nerve of a present time in crisis.
Where Throbbing Gristle, Stockhausen, Ron Geesin, Merzbow, Kagel, Alain Neffe, Ground Zero current heirs, and any barrier-free sound sniper from last century onwards meet, Elite Border has found a realm between listening inevitability and the dense architecture of dreams. It takes time to face their “Jornada Laboral N°1”, but the imagery comes out startlingly alive from the experience.
Humberto Manduley López
Escritor y crítico musical cubano / Cuban writer and music critic.
(México. Febrero / February 2021)
The Process:
1) Isolated in their individual recording studios, each artist separately recorded several hours of improvised material.
2) From late January through early February, 2021, Goff performed a number of machinations to these recordings: splitting them apart, mixing pieces together, altering pitches, rhythms, timbres, tambors, etc. In some cases, MIDI and other computer programs were used to change the original recorded bits so dramatically that their antecedents became completely unrecognizable.
The Tools:
Goff:
Korg R3 Vocoder/Synthesizer, Korg Z1 Synthesizer, Billiard Man The Theremin, Five Below Modified Sound Generator, Boss RC 20X Loop Station Loop Duplicator, Cool Edit Pro II, Audacity, Midisoft MIDI Scorewriter, Windows Media Player, Roxio 2011 Sound Recorder, Several Plug-In Audio Sound Effects, Amazing MIDI Wave-To-MIDI, Polysoft MIDI to Mp3 Converter
LaGrega:
Korg 01R/W, Oberheim Xpander, Moog Matriarch, Alesis Andromeda, Kawai K5000W, Roland JD-800, Yamaha SY77, Arturia Emulator II VST, Omnisphere VST, E-MU PX-7 Command Station, Boss DR-880 Drum Machine, Martin OMC-18 Acoustic Guitar, Fourness Electric Violin
The necrophile hummingbird netlabel and HAMFUGGI Records present We Are The Intermorphs by rADio eNd, a tribute to John C. Lilly.
“Synchronicity Music for Related People”.
About the surface of the album :
Despite being release after Genesis Launch & Sound therapy this is the first album of rADio eNd, so you may think the goal was to design the sound of the project but it’s the opposite it’s because this sound was not fitting with any previous project that rADio eNd is born. That’s why there is no real influences despite perhaps it’s rooted to many previous netlabel’s projects with recent albums such as Junk DNA III or Shagreen Tape… or older ones like Hibakusha Jinx or Zvezda MIX.
Perhaps you can skin it out and find industrial Method, Trip Hop Rhythms, Avant Garde Turntablism… But you shall better turn off your reason, to walk with coincidences and take it as weird psychedelic trip.
About the depths of this album :
A dive into consciousness, including pressure stops with high risks of depths intoxication.
Light is such a mesmerising essence when it is watch from the abyss.
Featuring :
Amandine Prost on track 2
www.facebook.com/amandine131313
ardleg on track 10
ardleg.bandcamp.com/
Studio 112 on tracks 1 & 8
studio112.bandcamp.com
Ed End
ello.co/ed_end
Free Download in Wav & Flac also here with an alternate version of 9 Conditions.
yoshiwaku.bandcamp.com/album/we-are-the-intermorphs
rADio eNd is a process more than a simple musical project…
More informations about rADio eNd on the official page
horsnorme.org/rADio_eNd/rADio_eNd_english.html
The idea to do a tribute to John C. Lilly came from Studio 112.
Thanks a lot to the providers of the genium’s sources.
In loving memory of Peter & Lizzie and all the dolphins sacrifice in John C. Lilly experiments.
We hope this album will help to focus on the animal rights problems.
We are responsable of our choices.
We think one fine way to change the world is to be aware of the power of our acts.
There is no life without Consciousness.
Lilly also wrote that there are nine conditions that should be followed by people who seek to experience coincidence in their own lives:
You must know/assume/simulate our existence in E.C.C.O.
You must be willing to accept our responsibility for control of your coincidences.
You must exert your best capabilities for your survival programs and your own development as an advancing/advanced member of E.C.C.O.’s earthside corps of controlled coincidence workers. You are expected to use your best intelligence in this service.
You are expected to expect the unexpected every minute, every hour of every day and of every night.
You must be able to maintain conscious/thinking/reasoning no matter what events we arrange to happen to you. Some of these events will seem cataclysmic/catastrophic/overwhelming: remember stay aware, no matter what happens/apparently happens to you.
You are in our training program for life: there is no escape from it. We (not you) control the long-term coincidences; you (not we) control the shorter-term coincidences by your own efforts.
Your major mission on earth is to discover/create that which we do to control the long-term coincidence patterns: you are being trained on Earth to do this job.
When your mission on planet Earth is completed, you will no longer be required to remain/return there.
Remember the motto passed to us (from G.C.C. via S.S.C.U.): “Cosmic Love is absolutely Ruthless and Highly Indifferent: it teaches its lessons whether you like/dislike them or not.
Also Go With It or Never Walk was create first for Field Mice ESVB Vol. 3 Tape was not planned to be in the album, but after many listen seems it’s better to include it. radiomulot.bandcamp.com/
Why dNe oiDAr ?
First we planned to create this tribute with PIRATE Tapes…
But after listening the album it was obviously more sounding like the mutant child of TKno BeurK and A Symbiotic Experience.
What about rADio eNd ?
While I wrote this I’ve got an advertissement for nasty amazon music service on my phonecell. It was tricky to share our free music after the record compagnies did their best to erase the peer2peer softwares. It was more tricky after deezer and spotify make hardly possible to the free music to be available to their listeners. Could sound weird but they keep them jail in a bubble ^^. The example of Netflix for films and series in my opinion was not that much a problem because cinema need bigger funds than music and hollywood is not doing cinema but entertrainement, so I enjoy the idea that indie directors can create films with more freedom. But for the music I can’t imagine a world where nearly all the audience is lockdown on amazon music. First because each one do not need all the music of the world, indeed a simple real radio could be more enjoyable than tones of garbage muzak. And more accurate to the actual use of music. Halas they probably have got already an algorhythm to get your own radio based on your own tastes, including the possibility to enlarge that tastes… So the eNd for the muzik as we know it ? Perhaps it’s like organic versus industrial, few listeners understand that the vibe, energie, spirit of the music include by some way our being, if someone create some music to share it free whatever how it sounds it will never feed your soul the same way than the music create to make profit. So happy to bring you this very open project.
You may notice that the name of this project is in straight line of post situationist industrial culture detournement. Obviously a name squatting of Radiohead. Copythief Attitude. This music is free, usually in the capitalist system this would be consider for most of the listeners as something without value. Junk. Indeed it’s the opposite, actually in this upside down world nothing is more valuable than anything really free. Take Care to Keep the Free Culture Alive. Let’s share.
Video Art Clips here www.bitchute.com/channel/mixuptv/
Latest news on ello.co/ed_end
www.zenapolae.com/releases/zen225/zen225__room101__mgnetic__02_continus.mp3
If unconventional 2020 had a soundtrack, this album would be a perfect match. Passeio no Parque sounds like a lighthearted invitation made out of levity, but the 15 songs that the album entails, share the same exasperated sound that leaves little or no room for casual.
With an extremely visual hearing, it strikes all five senses. As the first note hits, we are engulfed by the feeling that we are standing on the precipice of something extraordinary. As if a cinematic filter was applied to our daily lives, adding a profound meaning to the most common situation.
Cheat Code: we recommend listening to it with your eyes closed and following – without hesitation – the tour to another dimension that insists on giving us.
2020 is not only marked by the coronavirus pandemic. It was stormed by thousands of natural disasters and human rights violations that had started decades earlier. 2020 is the peak of human greed and vanity which is the result of the capitalistic culture. The only way to deal with this is to open ourselves up to cooperate with one another. It looks simple if you are a utopian. The tradition to organise a small scale group with intensive multiple proxies is very necessary for the welfare of the people. Collective method like this must be carried out with a slow, long process, and requires a lot of courage because it will be faced with the big systems that does not want to share their benefits.
In 2019, Senyawa began to initiate a business unit to independently face the challenges of its economic sustainability called Senyawa Mandiri. This unit is also designed to reduce dependence on giant corporate products. As time went on, Senyawa Mandiri developed into a political stance for Senyawa themselve. It is no longer Rully Shabara and Wukir Suryadi. It was transformed into an open and egalitarian multi-entity.
During the coronavirus pandemic, Senyawa became increasingly convinced that the centralization of the art ecosystem and its industry was no longer relevant to the community. Senyawa new album, titled Alkisah, is a social tool that wants to break down the centers of the current arogant ecosystems. Alkisah consists of 8 songs and a collective system across cultures and continents. It was mixed and bred with 44 music labels and hundreds of musicians around the world.
As a supporter of Senyawa since 2010 and as a label that encourages an open-culture movement, Yes No Wave Music takes part in Alkisah module by releasing the album’s stem tracks provided for everyone to participate in reproducing the album. This stem album is accompanied by a remix sets titled Alkisah Dikisah. We invited 8 musicians: Wahono (Jakarta), Nursalim Yadi Anugerah (Pontianak), Prontaxan (Yogyakarta), Gabber Modus Operandi (Denpasar), Y-DRA (Yogyakarta), Pisitakun (Bangkok) and Slikback (Nairobi). Every remix is a free interpretation and artistic speculation of impossibilities to giving birth the art decentralization mutations.
Alkisah Dikisahkan
Curated by Wok The Rock
Produced by Yes No Wave Music
Mixed by the artists
Track 1, 2, 3, 4, 6, 7, and 8 mastered by Yossi Herman
Track 5 mastered by Wahono
Ilustration by Ardi Gunawan
Layout by Wok The Rock
Theo Nugraha is a sound activist from Borneo. His works has been presented in many exhibition and festivals both local and international.
LNDG also known as Nissal or Lindung, well known in graffiti scene since actively organized many events, exhibition and festival with his colleagues in Gardu House. In the past few years Lindung made some photography works about young people in urban society.
Teks
Klub Karya bulu tangkis
Video
joint release with Terminal-Tape-Prod.
Christof Hammer
Wolfgang Neven
enjoylife.bandcamp.com/album/sen-o-czarnej-drodze
Bon-Psy & Visco City, two of the most exciting new artists within the Experimental Electronica scene, work together in harmonious fashion on their latest release ‘Serene’.
Both artists, having seen great success in 2020, effortlessly blend their two unique styles together to create something magical. ‘Serene’ is a rollercoaster, an amalgamation of different styles that they are able to effortlessly weave in and out of. Here they find balance between their approaches, and the result is five minutes of Electronic bliss.
Whilst ‘Serene’ is a standout release on its own, the accompanying Music Video presents further material to be dissected. Each section of the video corresponds to the four total lunar eclipses preceding the extremely rare “Blood Moon”. The alignment of the moon with the sun is a rare occurrence, and much like ‘Serene’ is an experience to be in awe of. Fleeting doves in each section suggest harmony, the rarity of a “Blood Moon” personifies the unlikeliness of two producers flourishing together so well.
Bon-Psy & Visco City kick off 2021 with grace and style, ‘Serene’ is an exciting proposal of what is yet to come.
A collective live improvisation planned and recorded in the first edition of the event Onda Phuturista, at the Galeria Paciência (Patience Gallery) on January 12th, 2020. One year, one month and one day after that, on 13/02/2021, the album “12 de Janeiro, 2020 – Antesdurantedepois” came out on Mahorka.
Musicians in Ensemble Phuturista are:
George Christian – acoustic-electric guitar, electric guitar
Heitor Dantas – live electronics, samplers
Maria Phuturista – vocals (track 3 and 4)
Talionpills – voice and electronics (tracks 3 and 4)
Fernando Fernandes – percussion and drums
Vítor Rios – banjo
André Miranda Filho – cello, electric bass
Paulo Roberto Pitta – tenor saxophone
Recording: Heitor Dantas
Production: Heitor Dantas and George Christian
Mastering: Yago Franco
Pictures: Bárbara Pessoa
RwaBhineda adalah project sisi lain dari Tri Wahyuliyanto dengan tonguedrumnya. Rekaman ini adalah usahanya untuk self healing dalam menghadapi benturan-benturan yang ada dalam dirinya. Dalam rilisan ini beberapa rekaman dilakukan di alam terbuka untuk merespon yang ada disekitarnya.
Pengisi Suara :
Tongue Drum : Tri Wahyuliyanto
Kendang : Andi Meinl a.k.a Ritual
