Half Evidence (a french free improvisation duo formed in 2012 by Charles premier & Kecap Tuyul) is currently on hiatus since summer 2016 but their story isn’t finished. Some new material will be published in 2019. Before finalizing these projects, the duo has selected four of their favorite tracks that were given to various compilations (namely Necktar 2017 curated by Ed End on his netlabel Le Colibri Nécrophile and Classwar Karaoke). The resulting album Épiphytes brings four insights on the duo’s works and can be a good way to discover their sound universe and its evolution across the years.
“Rasgos Particulares” is Javier Moraga’s debut release in Modismos catalogue. Its electronic influence can be traced back many years, through diverse publications inside specialized netlabels like EPA Sonidos and Pueblo Nuevo. He is part of the group Mr & Oso, while also working at Radio Valentin Letelier, the University of Valparaiso’s radio station. He produces the program “Sala de Maquinas,” as well as producing direct presentations and selects synthetic sounds for the station through it’s network, among other things. “Rasgos Particulares,” present delivery could be a sample about Moraga’s interests with contemporary electronic, where certain tone quality is acidic and minimal, as small condiments, they go extending upon alternating atmospheric layers, sustained on defragmented pulses, but traces of the music continue. These particular traits are expressed in the track “Tierno Salvaje” dedicated to the memory of Kurt, a figure that insufflated the spirit of the underground scene of Viña Del Mar and Valparaíso in the nineties, which opens the 52 minutes of music. The other tracks of the album spin perfectly, traveling through titles such as “Miaucheck,” “Arena Lunar (a lo salvaje)”, “Dame Cinco”, at certain moments there is something dark, with minor scales in the tones, a cinematic fiction of the digital reality that we consume daily, but allows us to unwind, yet expresses a world where the organic, virgin and primitive can coexist, as expressed in “Cayehuque (localidad)”. But the continuous progression in “Simulación Colectiva,” runs as a transit towards the final melody of “Rasgos Particulares,” from which a flash of faint light seems to emanate; it comes to a definitive closing with “Resolana.” Which offers a halo of light, in where the final harmony, reiterative and kaleidoscopic, solve all anguish, torment and conflict preceding, balancing the darkness.
“Walt Thisney selects and mixes music for the mind and body in the same quantities that emerges from encounters between the past and the present, drawing beauty of the commonplace, wiping, polishing it, giving it life again, so to produce the same effect of the original freshness and spontaneity, a mirror that transforms it absorbs and reflects.”
Between the years 1620 and 1636, Peter Paul Rubens created, without the prompting of any commission, his Landscape with Philemon and Baucis. He kept working on this image throughout his life. The painting tells the story of Philemon and Baucis as Ovid presented it in his Metamorphoses. In Ovid’s narrative, an old married couple receives a surprise visit from the gods Jupiter and Mercury, disguised as weary travelers who cannot find a place to spend the night. The old couple does not judge these travelers or question where they are from; they simply offer them kindness and hospitality. The two gods offer the couple a gift expressing their gratitude: they spare their lives when, the next day, a great flood comes crashing over the land.
In the painting, only a small group of figures makes reference to this fable. The main theme of the piece is the unpredictability of nature with its untamed, uncontrolled power: lightning and thunder, rain and storms, a cow screaming as its life ends within a torrent, a mother desperately trying to rescue her baby. This is an apocalyptic catastrophe of unimaginable proportions. And yet, Rubens included a hopeful sign in this image: in the lower left-hand corner of the tableau, you can see a rainbow…
“Somewhere over the rainbow, way up high,” sang Judy Garland in the well-loved film The Wizard of Oz (1939), a song promising hope and a wonderful world far from the darkness and ominous threats of the Second World War.
This image has much to tell us in our contemporary lives, as our current reality includes events such as the refugee crisis, global warming, and the threat of nuclear disaster. It acts as both a warning and a sign of hope.
For the theatre project Ganymed Nature, composer Karlheinz Essl worked extensively with Rubens’ Landscape with Philemon and Baucis, creating an immersive soundscape to reflect this painting. This sound work is based on algorithmically generated soundscapes taken from weather and other natural phenomena: the forest and the wind, a stream that swells and overflows, thunder and lightning. We also hear sounds that refer to human activity: rustling steps through foliage that turn into the ringing of high heels, in which a woman stalks on asphalt. And then there are signaling sounds: a firebell extends into an unending tolling that spins onward into infinity.
The poetry of the rainbow overarches everything; the promise of salvation, a glimmer of hope. To express this, Essl worked with an a-capella-choir to create chord structures which he then recorded and electronically transformed. The highlighted melodic fragments are reminiscent of the famous rainbow song yet appear in a peculiar harmonic disguise which let you sense the atmospheres of other planets.
The sky lets the darkening and rising time to be. Space is conquered by the higher element. Silence… She’s sitting here a couple of hours already. She observes her surroundings with a paraminic look, she waits until she sees again, until she feels again what she saw yesterday. That time northeast wind loudly running by asked her to look at trees standing naturally regularly. They looked calm and stiff, but when the wind passed their leaves whitely, the leaves breathed freely and started whispering silently, moving synchronously with stars.
“Solo Duo Trio #02 : Laurent Di Biase, Sig Valax, ZARAZ WAM ZAGRAM, Camille Émaille, Nina Garcia & Arnaud Rivière (Live at Les Instants Chavirés, 29 may 2018)”
Second edition of the Solo Duo Trio project co-organized by labels Apocope & eg0cide productions. This serie of live concerts follows a simple format: three parts, one solo, one duo, one trio. Artists are invited to present new projects, and to try to new encounters (for one live set or more). All concerts are later published jointly by Apocope & eg0cide. The 2nd event of the serie took place on may 29 at Les Instants Chavirés (Montreuil), one of the most lasting and notable venues devoted to free improvisation and experimental music around Paris.
This show featured 6 french experimental musicians active in the free improvisation and noise scene (more info on the artists below)
Solo : Laurent Di Biase (electronics)
Duo : Sig Valax (analog syntheziser & DIY electronics) & ZARAZ WAM ZAGRAM (electronics)
Trio : Camille Émaille (percussion), Nina Garcia (guitar) & Arnaud Rivière (DIY electronics)
01. GUS RING – Darkcity Lighttrip
02. FEDERICO DAL POZZO – Untitled_Hz
03. SOFIA BERTOMEU HOIBERG – Towards-Plenitude
04. LDX#40 – The Voice of Reason
05. DONATELLA BARTOLOMEI – Distorsione Sacra
06. JAN KIESEWETTER – Guacamole For Breakfast
07. FEINE TRINKERRS BEI PINKELS DAHEIM – Von Nonnen geträumt
08. THE BASSENGER – Die eine Scheißgelse im Schlafzimmer wenn man schlafen will
09. FRIEDEMANN VON RECHENBERG – 12-Volt
10. ANJA KREYSING – All My Breathings
11. PETROLIO – irregular
12. ERIC LEONARDSON – duet_1-2 mix2_grain_smear
13. EMERGE – substance
Insect Life Cycles is Troxellemott’s debut EP. It will guide you through the process of holometabolous development of an insect, a track for each stage.
The music makes you feel the rustle of insect wings, taking away your human skin. Forms are crashed by the narrative, narrative breaks up by forms. Within the tracks architecture you can hear flinging and hesitations in the flow of natural processes. Track by track you’re invited to explore your personality antipodes and face your fears, as for ex. the artist’s primeval centipedes phobia.
Ayato & Kecap Tuyul met in 2008 and then started to collaborate regularily, mostly by file exchange. Flowers in the Trashbin was their first common work of this kind, a psychedelic sonic trip haunted by whispers and noises from weirdly tuned/prepared guitars, lo-fi electronics, & ghostly voices. Sometimes melodic, sometimes more abstract, always imaginative, these tracks were recorded and mixed between 2008 and 2009. The resulting album was released in march 2010 by HAK lo-fi record as a limited edition CD-R with a special rectangular cardboard cover that has been out of print since a long time. 8 years after both musicians still like a lot this album and would like it to share it with a broader audience.
Field recordings processed using granular synthesis, time scaling and various other methods.
Jared Sagar is a British experimental composer. He generally uses field recordings which are then modified using various methods and techniques. The genres he works in range from Algorithmic Composition, Microsound, Granular Synthesis, Ambient, Noise, Field Recordings, Drone.
Mahamboro adalah salah satu dari sekian banyak musisi dengan talenta yang menakjubkan. Menguasai beberapa alat musik sekaligus mengendalikan sendiri home recordingnya. Proyeknya kali ini berjudul Surup, yang menurutnya diistilahkan sebagai Trance Techno. Sebuah track yang cukup menarik dan membius. Terinspirasi dari kegiatan berkesenian merayakan hari kemerdekaan di kampung halamannya Magelang, ketika tari tarian tradisional membius penari dan para penonton. Kesurupan menjadi ritus yang biasa disaksikan. Musik yang disajikan Mahamboro sedikit banyak menggambarkan nuansa ketukan ritmis yang dengan hawa techno yang cukup menghipnotis. Track ini dirilis untuk ikut mendukung dan merayakan Indonesia Netaudio Festival 3.0. Selamat mendengarkan
Stakhabahd is experimental/noise by Rangga Purnama Aji. He using his phone application to make a noise. As a composer, he also concern about the composition of noise that he made; how the structure of sounds should be.
“Microorganisms” is a project that focuses on the innovation and composition of new sounds constructed from the cultivation of bacteria and fungi. A laboratory endeavor headed by the artist, based on recording the growth of organisms and their patterns of movement, which are then processed to give rise to sounds and, eventually, music.
While keeping technology very close at hand, Cass Nova also turns to more indigenous sounds, delivered by instruments with Latin American roots (such as Kultrún and Trutruka), which are recorded organically and which coexist in their respective musical pieces with scientific experimentation.
Daniel Rojas Casanova aka Cass Nova
(Santiago, Chile. Agosto / August 2018)
We welcome the first release of french artist (writer and musician) Aloyse. His refined electronic music evolves between ambiguous shifts and clear lines, using fuzzy textures, subdued melodies and sparse, fragmented beats. This diversity of approaches is also reflected in the reinterpretations by 8 other artists who remixed the 4 original tracks :
Stoé OrkéoPresentation of the project by Aloyse : ” Sound of the selves is a sound project between field recording and the art of sampling designed to be listened to during a stage performance. Shown in various places in Paris the performance “Parachute”, presented by the theatre company Machine, consists in a mobile dome under which one comedian faces one spectator. A couple of minutes to save the world from its delusions, a moment of intense intimacy before the world and its chaotic noise repeat themselves.
Sound of the selves is also an invitation to think and recreate the bound between the voices of the world and the voice of the machine: 8 musicians with variegated backgrounds offered an edit of one of the tracks in order to push one step ahead the endless communication between the creative forms of life.”
“Landscape of the village with the smell of forest, milk and freshly baked bread (2018)”
Альбом проекта под названием Gradatsiya. Представляет собой 30-минутную атмосферную, успокаивающую, обволакивающую и умиротворяющую эмбиент-сессию. Атмсоферности данной записи придают некоторые звуки природы, звучащие на фоне. Почитателям данного жанра крайне рекомендуется.
recorded by Jens Rosenfeld in Darmstadt in November 2017
mixed and mastering by Jens Rosenfeld in May 2018photography and design by EMERGE
This time Circuitnoise explores the coronal loops of the sun. The magnetic flux within the solar body gets twisted and mangled and create these giant loops. These loops of fire are emitting electromagnetic pulses, which could be recorded by radio telescopes all over the world.
On the search for new sounds Circuitnoise uses the electromagnetic sounds of the sun and combine them with electromagnetic fieldrecordings from earth to a dark, rumbling and screaming sound collage.
The coronal loops of noise is a trilogy consisting of the recordings matter, fusion and core.
recorded by Jens Rosenfeld in Darmstadt in November 2017
mixed and mastering by Jens Rosenfeld in May 2018
The Portuguese Wal Thisney is one of the main protagonists of the underground world of netlabels, a tireless producer of beautiful records and accessible to all through the name your price formula.
His works have been released on many of the world’s best netlabels, and we are very honored to publish his work. His music is something that could be called neo classical, and it is a pleasure to be enjoyed calmly and without haste, letting everything flow.
Wal Thisney is the demonstration that out of the market there are beautiful music, made by characters who deserve great attention.
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