In the habitable dimension presented by the three tracks that are part of this release, I can immerse myself in that perception and reflect on the air in a vast spectrum. Thus a breeze appears in the form of her voice, to which she decides to tie the rest of the materials that she sonically molds. Sometimes she brings words, at others only tonalities that tighten and loosen the link with the electronic textures but that never try to impose their meaning and their ‘humanity’. From breeze to wind there are degrees of atmospheric pressure where the air is agitated and charged, in this case, dust and static. At various moments along the path that ‘Rea’ or ‘Mina’ lay out, it is this abrasiveness of the particles in suspension that defines the atmosphere, stripped of all dew, open to the sparks and micro-lightning so common when the air has 0% humidity. Mediating its duration, ‘Mina’ displays the sound of rain. But there is no indication of freshness or relief in its appearance, instead it makes the electricity even more palpable (and the added risk of walking through that sound space with feet bare and wet). What threats do those bursts of electronic static that shake the environment carry?
Every so often, as in that pulsating drum at the end of ‘Rea’, I think I’m listening to the radioactivity measurement of a Geiger counter. It is not clean air or purity that seems to matter to Inti and contamination can be felt here as a concept distilled from its negative connotations. Here we breathe strange and invisible agents that will inevitably modify our genetic constitution. Interestingly, I do not perceive an imposition in this action. This possibility is attractive, like a storm in the desert that advances towards us as we wish it to engulf us. Sand that hugs.
Already fused in these volatile molecules, ‘Ciprés (Cypress)’ arrives and the air becomes a whirlpool. We recover our body and integrity to be transported to a time that is not today or here, inhabited by ghosts. An old lament, a couplet, an epic of distance that reminds me of the pain of being separated from that which surrounds me.
So the air and its molecules that compress and expand to shake our eardrums. So the wind, now carrying seeds, now turning poplars. So is the atmosphere of this disc and this geographical and poetic site where Inti is planted to capture the ether and materialize its language.
In this edition, which is undoubtedly an artistic action in itself, for the beloved and respected Pueblo Nuevo label, a valuable Chilean publishing project, Inti plays with the air as well, investing the operation of the dry Argentinian winds. Then the mass of arid and rough air, decides for once to follow the Great Mother Son on its trajectory. Returning over her steps, she climbs the mountain range to look for the baggage of freshness and humidity that she hid there, to return to the sea that saw her leave once.”
j.crowe
(Tunuyán, Argentina. Julio / July 2019)
xDEx is a project and main scene pseudonym of Victor Prodanov. Lately, the constant accelerating societal decay and de-stricturation, the alienating aspects of the globalisation processes and the so called “common thought” became, by their unavoidability and omnipresence, a field of inspiration and cynicism for this project. Victor’s longstanding fascination with DIY digital and analog electronics has put out a solid emprunt over his sound.
The release “PANTA RHEI” is his first and hopefully not the last on Mahorka, after years of discussions, preparations, variants and waiting for the right circumstances in the right moment to come for this debut on the label. Most of the drum parts are produced with 808 and 909 clones, the non-melodic sound layers are mostly filtered spring and digital reverbs, various overdrives and distortions, feedback loops; there are extensive modular synth recordings and most of the paddy parts originate from a FM8 clone and a Waldorf Blofeld. All tracks were recorded on a multitrack at one shot, with little post-editing.
Universal Consciousness – Nostromo
Today I am writing about colleagues, an activity that has become a habit, and I am celebrating because this allows me to surrender my ears to things that perhaps I would have missed otherwise. And yes, the pleasure of listening to a piece such as Nostromo is, at some points, so pleasant and repeatable that it gives you, as a first sensation, the urge to listen to it over again. It begins with tribal electronic beats. It is well mixed in terms of difference of style; that is to say, an excellent and very organic mix. It does not lose focus; it is simple and fascinating. Out of its three tracks, in my opinion and without a doubt, the second one, Northern Lights, gets all the applause, and let us say, it is the hit of the album, even though the whole work is consistent regarding composition, choice of sound palette and mixing. This track in particular has something hypnotic; with delicacy from beginning to end and maturity in respect of the used recipe. I just love it. The last track, Universal Consciousness, that gives the name to the album, is undeniably the most danceable song. It is full of good moments and it is part of a very homogeneous album, and at the same time it flows through different paths in each of the three songs. Maybe this last reason is the cause for listening to it many times. It is difficult to keep a clear identity when forms are shifted inside of the very same album, but Nostromo has succeeded. Each one of its tracks, with each one of their individualities, are worked flawlessly, dynamically and warmly. For me, Nostromo provides many reasons for exploring it and for exploring the catalog of Modismo, the Chilean record label where the album has been edited and released; an aside for the label that has been working since a long time ago, releasing several interesting works. It is a real sin not to pass through.
Luis Marte,
Buenos Aires, 2019.
“Three pots of coffee and four packs of cigarettes later, we’ve finally hashed out your structural comprisal numbers. We’re gonna need a raise…”
Structural Comprisal # by COM Surrogate is now out on Sub65 Media!
A few months after the lovely P8 phase 3, our regular contributor Doedelzak comes back with another longform composition using an hybrid methodology and taking inspiration from various musical aesthetics. Ilpyd is subtle and catchy, hypnotic and surprising in the same time.
Notes by the artist
“Ilypd was created partially through algorithms, with a slow and alsmot imperceptible evolution. Though, there is a big change between the beginning and the end.
Although there are small internal changes, the evolution of the global structure is strictly continuous. The perception of changes (and notably the perception of acceleration) may appear intermittently as if on particular moments the listener’s mind was suddenly creating the image of a new step being crossed, but ilypd is perpetually changing.
Ilypd can be listened in one go, or on the contraty intermittently. It is not necessary to hear it from the beginning, nor until the end.
Inspiration for this work came from traditional African music, Gamelan, and Steve Reich. This is a musical material more than a composition – and I simply wanted to make this material beautiful”
“I assure you, the entry fee is worth the cost. Everybody gets a gold medal at the Failcore Olympics.”
Failcore by Thrust Pomp is now available on sub65
#TrustPomp #experimental #progressive #speedbass #extreme #freestep #eleganza #lobit #sub65media
Sai, the dedicated studio project of Yasen Penchev, has been evolving a lot throughout the years, including since his debut album “Perspective seen from different point of view” was released in the summer of 2016, but the core of the project remains in experimentation with analogue and digital recording techniques and extensive use of various string instruments, with results varying from minimalistic ambient atmospheres and melancholic soundscapes to furious polyrhythmic drum patterns syncopated with loads of guitars and progressive rhythmic and melodic structures, music that has usually been fitted under Post rock, Math rock, Ambient and Trip rock and such.
3 years after releasing his outstanding debut Mahorka proudly presents “Random motion of particles”, Sai’s second masterpiece for the label and a notable milestone in the project’s evolution. Keeping the polymetric and polyrhytmic structural approaches and unique sound production techniques, he further extends and builds upon, this time less processed, even clean, guitars, less distortion, more melodic and harmonic compositions, more cinematic and atmospheric overall feeling with more and lusher ambient passages that include even whole tracks on their own.
“Random motion of particles” comes as free (cc) digital download and a precious limited edition (50 pcs) cassette release with outstanding design by Angel Draganov and Yasen Penchev himself. The tape has a different version of the album where the tracks have been redone in different edits and fused together by the artist for two side-long (30 minutes each) trips.
All music produced and recorded by: Yasen Penchev
Artwork design: Angel Draganov and Yasen Penchev
Released: June 16, 2019
“Melting Clinamen” was born from a small deviation from the methodology used by Failure Circle in this serie of compositions Frozen Clinamen that normally uses only sounds recorded while no human intervention is applied to the used set-up ( no-input mixer most of the time). The creation of the first track of this album followed the same rules – except that it used a recording that features some little changes created manually (this sound can be heard between 3min11 et 12m06). This is also the first release in which Failure Circle doesn’t use a no-input mixer but a semi-modular analog synthesizer, the Neutron by Behringer, with no effects except its built-in ones. Another notable difference with the past volumes lies into the way the material has been edited & mixed. The other track of the album (Frozen Clinamen #2M) follows more strictly the Frozen Clinamen methodology, but all sounds were also created with synthesizer. Thus, Melting Clinamen is and isn’t part of the Frozen Clinamen serie.
Methodology of the Frozen Clinamen serie
step (1) Tweaking the set-up until it produces some seemingly autonomously self-sustained sound sequences.
step (2) Stopping tweaking and 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.
‘Boss, we sent your entire crew in to reach his heart. We kept pulling up salt. Lots and lots of salt.’
I Said, Emotional Content. (EP) by Hypocranusesent is now available on sub65 media!
#Hypocranusesent #ambient #experimental #abstract #lobit #sub65media
“The longing for (inner) silence leads the/our being(s) to take the(ir) sound to the outside, exposing it/them as a natural/peculiar/idiosyncratic happening.
This sound is also influenced by collective unconscious – i. e. a global < > local society.
What are we to find in this transcendental process?: all/nothing, a receiver/Pandora’s box, feeding back this inner space which happens to be mute(d).
What are we to do if Monserrat Bustamante Laferte came out of the blue? Our amazement would allow this silence to expand in space-time, procrastinating an explanation.
All these processes/experiences/longings turn this album into a snapshot, a here-and-now portrait, a possible chart for adventurers, uncertain for our recent past, stamping our existence until the end of silence.
For this is no comfort zone approach: neither pop nor tape music nor free improv, but all of them instead, a García Canclini-like hybrid, pointing out an emerging possibility for our countries.
Who are these people?
This makes it even more interesting: deeply rooted in crossover practices, GMSs play cumbia on Monday, jazz on Tuesday, and experimentalia on Wednesday.
Martín/Benavides (M/B), one of the most outstanding musicians nowadays, accompanying Chilean acts such as Francisca Valenzuela, Chancho en Piedra, Los Tres, and many others. He is also a great performer in an extremely complex and mesmerizing instrument, such as the theremin.
Gerardo/Figueroa (G/F), composer and musicologist, participant in several Chilean underground scenes and venues from early on: radio shows, such as Musiclaje, and Pueblo Nuevo en Conexión Social; producer of singer-songwriter Camila Moreno’s early recordings. A sui géneris ol’ skool, chatting freewheelingly and unhamperedly with newer generations.
Seiten/Wall (S/W), young composer prone to challenging audiences with unconventional ideas and practices. representing the twilight zone where all sounds and formats meet. At present, he is also a board member of Comunidad Electroacústica de Chile (CECH).”
Víctor Tapia Herrera
(Santiago, Chile. Junio/June 2019)
This performance of Prinzip Nemesis in 2016 was part of the 7@7-exhibition by EXTRASALON at Werkstattgalerie Krüggling (Augsburg)
recording/mastering/cover/: brezenstudio.com
Jose María Pastor – drums; David Ramos – speak and spell, Casio SK-1 (circuit bent), Piano Roland EXR -3, Microkorg, Korg Poly 800, Drone Thing and TW3, TW5 and Noise Machine (selfmade); J.G. Entonado (a.k.a. Arín Dodó) – voice, piano, electric guitar, harmonica, Ventris Dual Reverb
Cover Art by Pedro Menchaca
