Johannes Feuchter : Contrabass clarinet, clarinet and objects
Stanislas Pili : Percussions and objects
Recorded in Tonstudio der Hochschule der Künste Bern
Recording, mix and mastering by Benoit Piccand
All musics are created by Johannes Feuchter and Stanislas Pili
New, Bandcamp-exclusive album.
11 tracks, 64mn, free download.
These tracks came to life growing on pre-existing musics like epiphytes do on plants or trees. Found herein are excerpts and samples from 78rpm laughing record, operatic singer, 20th century contemporary musics, YouTube detritus, etc, as well as a flotsam of electronic loops, synth sounds and the omnipresent human voice, especially wordless female vocals – hence the title ‘Chant de naufrage’, French for Hymn of Wreckage.
File under experimental-ambient, post-industrial, musique concrete, collage
LF: records, samples, virtual synth
Recorded 2019–2020
live at maskenmuseum, Diedorf, 31.03.19
recording and mastering by EMERGE
cover design by Margarita Milova
A Tribute to the Horror classic movie series: Poltergeist.
Filmy Ghost is a dark experimental, ghostly computer music project from Rancagua, Chile.
For more Filmy Ghost music visit his websites:
humanfobia.jimdo.com/filmy-ghost/
archive.org/details/fav-sabila_orbe02
hearthis.at/filmy-ghost/
All tracks mixed & created/cover artwork collage by Sábila Orbe. / pictures taken from google pics. // most tracks contain samples from the original Poltergeist movies.
Digital Medication Vol 1 is a retrospective of the Redose Series, which began as a netlabel offshoot of Rednetic in 2004. Gathered here is a track from every release from the beginning to now.
Track 1 taken from “Souls Escaping” [RDS001]
Track 2 taken from “Summer Rain” [RDS002]
Track 3 taken from “Lee-Ann (Zainetica Remix)” [RDS003]
Track 4 taken from “Seiko World One” [RDS004]
Track 5 taken from “Vacume (Original Version)” [RDS005]
Track 6 taken from “Cheju [Glow Worms (Filament Mix)” [RDS006]
Track 7 taken from “Droid” [RDS007]
Track 8 taken from “Tommi Labs Vol 2 (Battle Royale)” [RDS008]
Track 9 taken from “Spring Variations” [RDS010]
Track 10 taken from “Book of the week” [RDS0011]
Track 11 taken from “There’s no answers” [RDS0012]
Track 12 taken from “Isolation Trax Vol 1” [RDS013]
Track 13 taken from “Isolation Trax Vol 2” [RDS014]
Track 14 taken from “Social Process” [RDS015]
Track 15 taken from “Alpha 7” [RDS016]
Track 16 taken from “Recorded Live in Nakano” [RDS017]
Track 17 taken from “Samudra Remixes” [RDS018]
Track 18 taken from “Nakano Sessions” [RDS019]
Track 19 taken from “Samudra Remixes 2” [RDS020]
Track 20 taken from “The Story so Far” [RDS021]
Track 21 taken from “Ammo Case Sessions” [RDS022]
Track 22 taken from “Panta Rhei” [RDS023]
Track 23 taken from “Electronic Soul Muse” [RDS024]
Track 24 taken from “Travelling” [RDS025]
Track 25 taken from “Investor Matrix” [RDS026]
Track 26 taken from “Humanoid” [RDS027]
Track 27 taken from “Zandvoort Remixes” [RDS028]
Track 28 taken from “Red Sun” [RDS029]
Track 29 taken from “Ceplok” [RDS030]
Track 30 taken from “Dual One” [RDS031]
01. TRISTAN BURFIELD + BAJINA – Lesson 1 11:29
02. FRANCESCO ZEDDE – Trotar 11:23
03. THENOKIRCH – Reunion (Live at Crimehalde 37) 11:43
04. PH vs F meet W:I:L – More Nocturnal Occurances 12:08
cover art by Claus Poulsen
design by EMERGE
Tracks mixed, programmed, vocals in tracks 5 & 6 by Sábila
vocals in tracks 2,3 and background voice in track 7, model in the artwork: Mist Spectra
track 7 vocals by Aura en el espejo. remix of original track by Aura en el espejo.
Humanfobia is a dark avantgarde computer music duo from Chile.
links: https://hearthis.at/humanfobia/
https://humanfobia-official.bandcamp.com/
https://archive.org/details/fav-mist_spectra
Aura en el espejo links:
https://auraenelespejo.bandcamp.com/
https://www.youtube.com/user/BersainLejarza
Greyhead, a.k.a. “G-cero”, shares his new EP “No tienen necesidad de hacerlo” (No Need For It), originally premiered a few blocks from Plaza Dignidad(*) in October 2019, in the midst of Chilean upheaval, also offering help, support and relief to those in need.
Since 1973’s coup d’état, carried out by the US government in conjunction with Chilean Armed Forces against Presidente Allende’s Unidad Popular, there was no more freedom for people again: they set up a new Constitution, invented Pension Fund Managers and Private Health Funds, our jobs became precarious, imposing a neoliberal economic system that has privatized almost everything, in a state terrorism context, using torture, disappearance, and exile.
Since returning to this “compromised democracy” in 1990, franja del NO campaign promises of change became dust in the wind. As singer-songwriter Jorge González, quoted in one of the tracks of this record, said in 2011: “They have the law supporting them: the whole press, the media, the police, and the army, if everything else fails; and that last resource won’t ever fail». This was a self-fulfilled prophecy during Chile’s awakening on October 18. The government invoked anti terrorist law, the press blatantly lied in radio, TV, and newspapers; the police shot straight to the eyes of the protestors, the army went out to kill, just like President Sebastián Piñera proclaimed: “We’re at war”. Thus the Chilean ruling elite, headed by one of the 5 richest Chileans in the world, according to Forbes magazine, faced this upheaval. But this time they were not able to use their power single-handedly: the whole world was watching, via social networks and the millions of cameras every single person carries in their pockets, what was really happening in Chile – an impossible thing to do in the 80s. If the “aliens” and “the front line”, haven’t met every Friday at Plaza Dignidad and other key spots along the country, our politicians wouldn’t have ever thought about trading the coming elections for changing the Constitution for a new one, allowing us to live in a real democracy.
This record is an open mic sonic experiment, recorded at Plaza Dignidad during October demonstrations, later processed in an experimental EP, where G-cero mingles this whole revolt in refined waves, glitch sounds, envelopes, powerful bass drums, arpeggios, ambient hi-hats, assorted samples and noise loops. All of this following the rallies beat.
Felipe Baradit Stevenson
(Concón, Chile. Agosto / August 2020)
English version by Gerardo Figueroa.
Marcello Magliocchi – drums, traps
Alen Grassi – electric guitar
Rec in Gambulaga / FE – IT on 20 November 2019
Music by Magliocchi / Grassi
Cover photo by Lidia Stranges
“To freely quote Professor Paulo Motta, «music is the mirage of sound». Schroedinger’s music: Suppose it takes shape? Suppose it doesn’t? Suppose both states exist? Suppose I didn’t want to chose?
As a composer, I enjoy indeterminacy. The system of electronic devices I use allows for careful planning of events, timbres, textures, their evolutions in time, but I just give it a gentle push. I will shut it down before it churns out the Big Musical Obvious. I want the fabric to remain visible. The background to be the foreground, in plain sight. The vibrating atoms have been set in motion to become music, but it’s not exactly the purpose. This is music on its way to, but whatever it is, it will not reach it. I will make sure it doesn’t. It’s a mirage on the horizon. Considering the parameters I use, would you ever reach the unintended oasis, it wouldn’t quench your thirst.
Quite the opposite – this music wants to reinstate the unformal beauty of raw material. Correlations will eventually create a scale, a rhythm: it would be foolish of the composer to pretend he is not a human being, equipped with a brain that needs structures in the face of the universe. If he could actually see the universe as it is, he would die instantly. Instead he creates little boxes to tick, generation after generation of flesh vehicles. I don’t believe in tabula rasa. Whatever new musical system will be invented, will be invented either by a brain, either by something programmed by a brain. Hence, I programme. But without too much self-examination, I know this is mere pretense.Systems, society, Kultur, music induced by Kultur, you are so small next to my faith.
So, here it is, voltage, mere voltage, and a few algorithms from the 1990s. There’s a design, but mostly, chances (I prefer chances to refer to vast blocks of sound emerging from a jolt of the finger here and there, rather than improvisation that pertains to shorter segments). Both compositions were produced out of exactly the same patch on my electronic system. You will hear many differences between the two, but they’re really part of the same continuum. The Universe, Nature, the All, God, whatever you call it, is first and foremost a continuum, and by insisting on long-form compositions, I want to reflect that. Sometimes I will cull a chunk that makes sense. Sometimes I will select a transition. I could have arbitrarily decided to propose 2 more hours of it, 24 hours, a month, why not, of this sound. I tune in to this sound whenever I feel the urge. I have the quasi-mystical belief it continues even when I unplug the whole studio. Proof is I can hear it in my head. Like you would open the window, tune in to the wind creating layers of phasing in the trees, mixed with the sounds of civilization nearby, and then shut the window: you may well be the center of your own interest, but something, the unfathomable something is still roaming outside. Vaster than you. This is what I try to convey with these pieces. Eventually, electronics has the last word against other instruments, and even the electronic imitations thereof, because voltage, that bare expression (expressiveness?) of electricity, is a sound of nature, a lifeform in itself. When you delve deep in electronics, you don’t look at the global picture of human ideas, languages, social organizations, the bullshit; you peer at the atoms interweaving, doing their thing, a wrong move and they overcome you, little teases. Focus on the details. Study the microcosm, and you will get closer to the real design, and its chances. The rest, again, is a pile of more or less useless structural rubbish. I have faith in something smaller.”
— JP, May 2020
Released on August 19, 2020 as free (cc) digital download and also as limited cassette edition.
Composed on modular synthesizer, ARP 2600, ARP Sequencer, EMS Synthi E, Waldorf Microwave, Korg Z1 and Akai S950
October-December 2019, IB Studio 2.0, France
Cover artwork by Ivo Petrov, using photography by Aurélie Gerlach
Produced by Ivo Petrov
One of the most striking aspects of Arthur Schopenhauer’s philosophical explorations is the author’s deep respect for Hindu and Buddhist thought, as both traditions present address an issue that occupied a large portion of his work: suffering.
The collaboration between Catapulta and Svayam seeks to dilute any answer in the contemplative exercise itself. Shadows are, moreover, a fundamental part of the feverish journey of this dialogue. The synthesis between millenary sounds and a beat replicates a process of non-traditional exploration and reinvention that is the answer to any type of aberration that was conventionally called cultural appropriation.
Donde Vem o Eco goes beyond any kind of fusion that limits itself to joining opposite worlds. On the contrary, it finds in the universality of human concerns the (un)fertile ground for walking.
SYMPTOMS
Shortness of breath
Anxiety
Trembling
Feelings of terror
Panic
Rapid heartbeat
If you have _____, you aren’t just uneasy with the thought of ______. You have a persistent fear and anxiety related to it possibly affecting your life.
The symptoms of _______ are similar to those of other common phobias, which include:
______ can cause some symptoms that are similar to those of other phobias, as well as some that are unique. Sweating, shaking and crying may occur during a thunderstorm or even just before one begins. You may seek constant reassurance during the storm. Symptoms are often heightened when you are alone.
Additionally, many people with ______ seek shelter beyond normal protection from the storm. For example, you may hide under the covers or even under the bed. You may go to the basement, an inside room (such as a bathroom) or even a closet. You may close the curtains and attempt to block out the sounds of the storm.
Another fairly common symptom is an obsession with weather forecasts. You may find yourself glued to the ______ during the rainy season or tracking storms online. You may develop an inability to go about activities outside your home without first checking the weather reports. In extreme cases, _____ can eventually lead to you being afraid to leave your home.
credits
released August 14, 2020
Eddie Palmer
Brett Zehner
piotr tkacz > turntables
miguel a. garcía > electronics
sebastien branche > sax & objects
mastered by sebastian riquelme
artwork by ander sagastiberri
Weird alternative EDM to dance on your room!
“Hello!
Welcome to the party, feel the emotion, feel the moment, enjoy everything and mostly, feel the dream vibes, before it’s over”.
– Eternallove
This album of ‘noise’ music arises as a sort of vindication of noise, an attempt to rescue its expressive musical possibility through processes of dirtying sound, giving rise to the album’s name, “Texturas Contaminadas”, insofar as this alludes to the acoustic contamination caused by noise. This contamination originates from a dialectic between texture and gesture, developing a sonic stability that is abruptly interrupted by changes of energy within the work by means of noises that disorient the listener’s auditory perception.
This proposal arises as an attempt by its creator to stray from the traditional and conventional ways of music, to move away from known patterns and give space to the birth of a work whose main characteristic is originality, insofar as the randomness that is included in each of the compositions allows it. Precisely, it is she who orders and at the same time turns into chaos the sounds that make up each of the contaminated textures that comprise this work. In effect, the artist ultimately seeks to provoke a deep symbiosis of order and disorder, mixing antonyms that immerse the listener in a continuous perplexity and auditory tension that would not otherwise be possible.
Thus, the intention of “Textura Contaminada # 1” is to offer the listener a continuous noisy vibration that proceeds through moments of predictability and unpredictability, but which in reality is constantly changing, because it is the habitual auditory perception that allows the listener to be convinced of a stable sonic movement – that is, of progressing through a texture that articulates with small fragments of disruptive spontaneity, thus achieving sonic equilibrium.
Along the same lines, “Textura Contaminada # 2” also offers a mix of stability and chaos, but this time in order to develop a sinister atmosphere. The sounds now emerge as triggers for a suspense that transforms the sonic universe into a journey in which the waves move at the same time from the left to the right channel and vice versa, as those who listen are transported without knowing the destination, not being able to predict the parameters of sound, making the listener reside in an environment where the most obvious sensation is the terror of being lost among brittle, roaring, and reverberating noises that appear suddenly in the work and completely alter the reference points that the listener was accustomed to before these appearances.
Finally, “Textura Contaminada # 3” closes the album as a manifestation of madness, in the sense of being a sonic conjunction of various rhythms that baffle the listener when he or she perceives the presence of a message that cannot be heard, as if he or she will deal with a voice that is obscured by noise and cannot be articulated linguistically, allowing the latter texture to be perceived as a battle between different types of language, where the voice struggling to be heard is inevitably interfered with by the noise that triumphs amidst this tension. We can perceive this victory as an intentional mechanism of the composer in order to show the deep possibility of noise as a means of expression, which is born with an overwhelming force as a an auditory potentiality that pushes the listener across a tightrope on which balance can always be lost.
It is not easy traverse through it, but each step constructs the path by which human beings make room for their deepest contradictions and noise for their most unsuspected expressions, thus “Texturas Contaminadas” is a path of musical uncertainty that is as much uncomfortable as it is exciting and whose listening experience enriches listeners to the extent that it allows them to venture into a work in front of which our ears are absolutely unaccustomed.
María Gloria Vallejos Lamig
Filósofa y Poeta / Philosopher and Poet.
(Santiago, Chile. Agosto / Agoust, 2020)
