Kecap Tuyul – La soufflette du squelette

[Eg0_177]

Kecap Tuyul

“La soufflette du squelette”

Almost 3 years after the release of his previous album Trois Clous, Kecap Tuyul unleashes some more stuff dating from the same area (2015), developing an intensive use of voice as main sound source, filtered, deformed by effects and sometimes overwhelmed by feedback. Guitar was still here (on 2 of the 3 tracks of the album), providing unstable melodic/droney backgrounds, but often swallowed by spirals of self-dissolving chaos.
Since then Kecap Tuyul has put guitar and voice aside and now mostly uses no-input mixer, in collaboration with various people, and alone under the Failure Circle moniker, focusing on chaos itself, searching for unstable situations, but welcoming the possible emergence of seemingly self-organized sonic forms.
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Yvan Poisson – Between The Firmaments

[Picpack253]

Yvan Poisson

“Between The Firmaments”

01.Between The Firmaments
02.Reclaiming The Darkness
03.Cutting Through Time
04.Dissolving Into The White Horizon
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THE HYBRIDS / Brusci – Lieb – MIGRATION metamorphosis – 2nd Movement: Adaptation

[ACP 1107-2]

THE HYBRIDS / Brusci – Lieb

“MIGRATION metamorphosis – 2nd Movement: Adaptation”

MIGRATION, a METAMORPHOSIS (2015)
[THE HYBRIDS – Brusci Lieb Duo]

.recorded
at Heinz Lieb’ studios (Rorschach, CH),
at Climnoizer’s studio (Berlin, DE),
at Lorenzo Brusci’s Timet-studio (Montevarchi, ITA),
March-June 2015

.re-composed, post-produced and mastered between June and October 2015 in
Montevarchi by Lorenzo Brusci at his Timet-studio
(Montevarchi, ITA).

———————————
Lorenzo Brusci – Electronics, Live Electronics, Compositions
Heinz Lieb – Acoustical Percussions, Cosmic Drums, free improvisations
guest artist:
Luca Canciello (alias Climnoizer),
Guitars on Mov. I / MIGRATION and on Mov. 3 / METAMORPHOSIS;
Monophonic Synthetizer on Mov. II / ADAPTATION

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Natalia Kamia, Stewart Miller, and other invisible entities – We jammed on our little green aircraft

[Eg0_176]

Natalia Kamia, Stewart Miller, and other invisible entities

“We jammed on our little green aircraft”

We welcome back Natalia Kamia on eg0cide, a few years after her collaborative work Cluster with Ayato. This time she teamed up with Stewart Miller from USA Both of them have studied music in academic settings, but in order to expand the expressive potential of their crafts, they have turned to utilizing extended techniques for their main instruments – for Natalia the piano, for Stewart guitars – and using objects/processes that were probably never intended to be musical. All of the tracks from their album “We jammed on our little green aircraft” were compiled from recordings that they had passed back and forth through the internet.

The result of this collaboration is a fresh & intriguing work that deliberately ignores the traditional hierarchies between sounds and focuses on attending to their particularities, without trying to polish them too much. Stewart and Natalia are not afraid of collisions. Their music passes by the non-contradiction principle and the narrow conceptions of music as “harmony”; their sounds dance, float, slip, crash and start running again without following a precisely perceivable logic: you just have to accept them as they come & go. They form a dizzy, unstable world that is in the same time very material and completely unreal, sometimes joyously agitated, sometimes more restrained and plaintive. These tunes often keep some kind of twisted groove, as in some forms of free jazz.
I won’t pretend to know who or what the “other invisible entities” credited as co-creators of the album might be, but having listened to it several times I’ve realized that even goldfishes might learn to sing, and that plants need to pee sometimes. Maybe we just have to experiment with different ways of feeding pianos and guitars ? “Meow!” answered the swinging spoons…

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PGR – Your Favourite Italian Stallion

[ACP 1140]

PGR

“Your Favourite Italian Stallion”

PGR (neither related to an old project of Kim Cascone nor to the Italian band).
Non empathic, annoying, unemotional crap. Medicine for life boredom.
From dynamic to static as-loud-as-possible violence.
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SETABUHAN – Tabuh Langit Tanduk Jawara

[YESNO 089]

SETABUHAN

“Tabuh Langit Tanduk Jawara”

Ramberto Agozalie: Drums/Percussions
Caesarking: Drums/Percussions

Rully Shabara: Voice Loops

Direkam secara live di Jogja Audio School
Mixing dan Mastering oleh Muhammad Reza Akhar
Diproduseri oleh Rully Shabara

Dirilis oleh Yes No Wave Music

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Marco Colonna – FORAMINIFERA

[PT075]

Marco Colonna

“FORAMINIFERA”

Marco Colonna Solo
Clarinet, Bass Clarinet
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Doedelzak – Carillon

[Eg0_175]

Doedelzak

“Carillon”

Much more minimalist than “Wandering in Dust” that we published in 2015, Carillon, the new album of Doedelzak is made of almost nothing. It will discretly merge with your surroundings and the hidden things of your daily life. Maybe you will not notice it at all, which is fine too.
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When We Live – When We Live

[ACP 1138]

When We Live

“When We Live”

New release music band “When We live”
“th3kitchen EP” has lo-fi / minimalism sounds and recorded in live
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V.A. – Solo Duo Trio #01 : Failure Circle / Godjira / Ugut

[Eg0_174]

V.A.

” Solo Duo Trio #01 : Failure Circle / Godjira / Ugut”

Eg0cide Productions teams up with another french label, Apocope, to organize live concerts folowing 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). Each concert is recorded, and then made available for free download. This project aims to present a panorama ofthe vivid & diverse french the experimental scene at a given time. All these recordings will be co-released by eg0cide and Apocope’s digital section : https://label-apocope.wixsite.com/apocope/numerique

The first event of this serie took place at La Pointe Lafayette on february 17 of 2018.
It featured :
– Failure Circle (a solo project of Kecap Tuyul aka eg0cide S.A.) : this was his first solo show, using a no-input mixer and effects, creating unstable sound situations that can turn to silence, ears-plitting feedback, irregular beats, deep drones…
– Godjira : Frederick Galiay (bass) & Benjamin Pagier (bass) . Two basses plugged in the same monolithic totem-amplifier.
– Ugut : Augustin Bette (drums), Xavier Mussat (guitar), Basile Naudet (saxophone) : this was their first show, mixing radical free improv with experimental noise-rock infused guitar

Recorded by JJGfree & Benjamin Pagier
Mixed and mastered by Benjamin Pagier
Artwork by Xavier Mussat
Special Thanks to Michèle / Doxa Esta

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I,Eternal РLes Variations, une ̩tude en 9 cas

[ACP 1137]

I,Eternal

“Les Variations, une étude en 9 cas”

photography and design by EMERGE

The tracks 1 & 2 &3 are based on Simenon « La Porte » from 1962, not a crime novel from the master who created Maigret.
The tracks 4 and 5 are based on Silverberg’s « Man in the Maze » from 1969, SF at its best.
The following songs are chants reflecting the variations.
I thank the label for accepting me in the never ending list of great releases.
This album is dedicated to you, for your enthusiasm on new sounds and curiosity.
Your dear I,Eternal

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Carya Amara – Another Chance to See

[earthrid-021]

Carya Amara

“Another Chance to See”

We go deep into night, even while remaining static.

Dako Loop Orchestra & Lezet – Noise Band in My Garden

[ET122]

Dako Loop Orchestra & Lezet

“Noise Band in My Garden”

We are so happy to release ‘Noise Band in My Garden‘ by Dako Loop Orchestra and Lezet.
Lezet introduces a true music hero, the inimitable Darko Jovanovic, to the Etched Traumas community, by means of a split/collab “why the dance rhythm? l definitely live in the loop, and I do things the way I should.”
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MRTN-CSTR – ((–SEKU -_- EKU–))

[pn129]

MRTN-CSTR

“((–SEKU -_- EKU–))”

“For some years now, the Córdoban producer Martín Castro, aka MRTN-CSTR, has been surprising us with his creations, ever since releasing his debut album “Kr0m” through Pueblo Nuevo in 2014. This time he presents “((- -SEKU -_- EKU- -))“, an album comprising 7 tracks with an aesthetic he has developed through “patches”, which he designs himself for the software “Reaktor” from “Native Instrument.” These allows him to create an idiosyncratic style, with industrial sounds, granular trips, and glitches, as he develops a penetrating IDM with intense and sometimes devastating environments that make us think for a few minutes that we are in an empty and abandoned city, where only robots live and humans are extinct.

With a sound marked by broken and changing percussion, approaching that of new-acid, “((- -SEKU -_- EKU- -))“, produced by one of the most talented current musicians in Argentine electronics, is a highly recommended album.”

Alisú
Modismo Netlabel
(Valparaíso, Chile. Marzo / March 2018).

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experiMENTALien – Nine Triads (Sub​-​Evolution)

[ACP 1136]

experiMENTALien

“Nine Triads (Sub​-​Evolution)”

artwork by I.v. Martinez
design by EMERGE
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Onde Poussi̬re РImperceptible

[Eg0_173]

Onde Poussière

“Imperceptible”

https://eg0cide.com/2018/02/24/eg0_173-onde-poussiere-imperceptible/
Onde Poussière is the experimental / free improvisation duo of Doedelzak (analog synthesizer) and Kecap Tuyul (prepared guitar (2015-2016), no-input mixer (2017-…))

rleee ènuOnde Pous sière’sotpniOe’tnthird al bume consistsobanéoof improvi sationsua osrrecorded separatelyspcd someeroufilugo inmnilééiimm i ‘ptstsFrance s neuonsome-eée tnusrain mnaE JapanLlse snsome dodefying rlvtithe logicttitgiiJnamof timetaases, theyeeapsau iépra.ssenl nuttcdifwere thenérpias’lr esrsuperimposed toeeeen edreFrtlmseelu makeiao ,géarthem actauin non-rsoé-interaction theesselmul smaterial eeeéiused ismteqtdntppnceoat, iediverse andstenesPrLa toedp ntiéonot rso eyèpsvsnrsm cnnieimportant lc.aisdtateuiio. rese.n

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Парта Камяти – Ущь.Ущь.Вахахай

[Picpack252]

Парта Камяти

“Ущь.Ущь.Вахахай”

01.Мим
02.Бронтозавр
03.Ущь.Ущь.Вахахай
04.Дресс Код
05.Кин Зоо
06.Баляро
07.Алисины гаммы
08.Нойзометры
09.Симона
10.Ай Ма Ных
11.Брэдо Сфэра
12.Пере Дзен
13.Кцэхламор
14.Электро Грусть
15.Твинчик
16.Парта Камяти&Totalli Normal&Plotnik 82 – Борода
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Tha Baaz – Reb0ound

[IYE26]

Tha Baaz

“Reb0ound”

ThaBaaz was born in 1974, classical studies of percussion instruments and acoustic drums, disparate musical interests: from dodecaphonic serialism to minimal electronic and to the IDM, just to expose only a few. His latest project, the most articulated, is entitled -reb0und- , it’s a concept album, year of creation 2008, 59 minutes of frequencies collected in 2 Suites respectively of 4 and 3 movements, 13 tracks; “an ascent in the disturbed darkness from fragments of noise “.

The work evokes a “system” at its last stage in fast introversion, the disruption is massive, directed to the chaotic darkness, to the cold disorder towards the “non-human noise”.

The solar and luminous scenarios of the 2 movements of the first Suite curve and slide rapidly into the deep “interior”; the “musical form” that we had known so far is running out; we are at the end of “music” (in the broad sense of the term) heading for an authentic solitude of bright dazzles in nocturnal and deserted isolated, non-systemic, atypical highways.

The second Suite invades the soul: the existential fear is director, places the audience constantly on the edge of a chasm, dissolves the last “fragments” of the “conventional” themes at the beginning and separates them, dissolves them in Larsen of frequencies strongly destabilizing.
The Metaphysics is the central theme of Suite II, we try to “portray” the inaudible sound spectrum, we try to recreate the “end” of every tangible empiricism; to this complex task we use sound generators, krell patches, collages (samples) of contemporary (musical genre) and what transcends the traditional and academic: structure, melody, harmony and metric they are almost totally “informal”.

ThaBaaz in -reb0und- inserts and “deforms” short phrases and solos (woodwind, violin, piano) taken from works by important exponents of contemporary music and avant-gard of the ‘900 (Pierre Boulez, Edgard Varése, Igor Stravinsky) with these ” citations “stands out, beyond the importance of innovation of such masterpieces, the multifaceted contribution to music in all its expressions; importing them in “foreign” contexts and distant from their origin (virtual modules, oscillators and automatisms of envelopes) are colored by oppressed and gloomy tones that we could approximate to those of the dark ambient genre but not only, can be identified (in the whole album) serialism (musical current) that translates into these generic guidelines: avoiding repetition and symmetry at all structural levels by working with a limited number of compositional elements for each musical cell (in the piece). This in order to synthesize and label, describe in a few lines the supporting columns of -reb0und-.

We need the “tradition” of the avant-gard itself to search for another.

The work does not present rhythmic and percussive lines, only in 2 pieces we recognize some measures in sinusoidal pulsations, this almost total “rhythmic absence” has “freed” the time from the usual role and task of metric and timbral constant, repetitive, “symmetrical” quantization “.

Using an exquisitely didactic vocabulary: the crown, the breath; the almost absolute absence of timbral pulsation reiterates itself emphasizing, emphasizing the incessant sound disruption that takes place in the succession of the two Suites before the listener.

Last but not least, the final mastering part was followed with “meticulous” attention by Kill KRT (friend of the author of -reb0und-) who tried to “accelerate” some “dissonant” color both on the timbral dynamics and on waveforms.

From the “warmth” of the wave (sawtooth) to the “emptiness” of the white noise; to you -reb0und-

Have a good listen.

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eww – I Follow

[EEM031]

eww

“I Follow”

I follow subtle seismic ambient vibrations that immerse me in a deep state in-between the world of dreams and the dream about distant worlds covered in a fog of colours.

Rhythmic and slow landscapes.

The sound is sometimes described as slow IDM. The distinct feature of the album is that only a few tracks have real drum samples, however, almost all of them are quite rhythmical. Rhythms are created just the way J. M. Jarre did that on “Zoolook” – using weird sounds, pulsing synths, and very clear melodies. Due to the lack of easily recognized drums, the album is sometimes ascribed to ambient, however, I’d call it “seismic ambient”, because of extremely heavy basslines.

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NoisesculptoR – Untitled World

[ACP 1135]

NoisesculptoR

“Untitled World”

photography and design by EMERGE
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6KLOP – Naskigo

[ MI235]

6KLOP

“Naskigo”

Premier album de 6klop, Naskigo est le fruit d’un an et demi de travaux aussi bien expérimentaux que plus traditionnels.
L’album relate une histoire qu’on ne raconte pas, parle des choses qu’on ne dit pas.
Ce n’est pas un voyage, encore moins un périple, au contraire.

First album of 6klop, Naskigo is the result of one year and half of work.
It tells a story that we can’t tell, talk about things that we can’t speak.
It’s not a journey, not a trip, quite the reverse.

Recorded in Dieppe (France) between 2015 and 2017.
Music composed by Romain Aupaix-Lecloux-Bésiat [Alb].
Artwork by Cassiopée Facheris.

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Vide flott̩ raide РVide flott̩ raide

[Eg0_172]

Vide flotté raide

“Vide flotté raide”

spilled, recorded & buried in 2011
exhumated in 2018
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Occluded Plateaux – Control Families_Data Funk

[ACP 1134]

Occluded Plateaux

“Control Families_Data Funk”

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Ciuta / Kwi / Simpson / Whitehead – An Attempt For Balance

[PT074]

Ciuta / Kwi / Simpson / Whitehead

“An Attempt For Balance”

Track 1:
Collective composition: An Attempt for Balance
Four individual sequences were mixed together. The structure was left intact – as it is – however overall volume levels of each contribution were adjusted in hope to create situation which would validate and accommodate all participating sounds as well is possible.
Mixed by Slavek Kwi, January 2018. Many thanks to Tony, Dallas and Darius for agreeing to this little experiment and to Chris for making it available to your ears.

Track 2:
Darius Ciuta: kadk2

Track 3:
Slavek Kwi: Time_R
Usually, when I am staying somewhere overnight and there is a clock ticking, it is rapidly removed from the room and ends up behind the doors. However, ticking sounds of clocks – even grandfather’s giant chiming clock – were part of my sound environment in my childhood. The sound of ticking has certain determination to it; destination-like quality. You can always hear it. For this piece I decided to use ticking sounds and the end of resonance of chime as basic material to evolve.
Recorded in January 2018, Mountshannon, Ireland.

Track 4:
Dallas Simpson: Vibrating Air: Wood / Metal / Water / Stone.
An environmental observation and improvisation recorded live on location near the village of Lambley, Nottinghamshire, UK on 4th February 2018 at 7am to 8am in a single take. All sounds and spatial choreography was created live on location. The recording was edited and mixed as my contribution to the Plus Timbre collaboration release in 2018.
Many thanks to Plus Timbre and the other artists participating: Darius Ciuta / Slavek Kwi / Tony Whitehead.
dallas simpson 05/02/18

Track 5:
Tony Whitehead: By the river, in the forest
Improvisations with natural objects. Dartington Hall and East Dartmoor.

Track 6:
Collective composition: As It Is
Four individual sequences were mixed together without any adjustments. Mixed by Slavek Kwi, January 2018. Many thanks to Tony, Dallas and Darius for agreeing to this little experiment and to Chris for making it available to your ears.

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Tony Whitehead – Shoreline

[PT073]

Tony Whitehead

“Shoreline”

Shoreline was improvised with found materials on the coast of Brittany near Perros-Guirec. It continues the artists fascination with the sound making potential of small ordinary natural objects.
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Dallas Simpson – Railway Footbridge Improvisation For One Adult and Two Children

[PT072]

Dallas Simpson

“Railway Footbridge Improvisation For One Adult and Two Children”

This work was created as a result of both joining a local walking group, the Netherfield Strollers and inspiration from an environmental improvisation workshop that was conducted at Hull University earlier this year as part of their Sound + Environment 2017 conference.

A walk with the Strollers earlier in the year introduced me to Carol and her two grandchildren, Eben (10) and Finlay (7). During our walk we crossed over a railway footbridge and then followed a footpath where I introduced the children to some simple sound making using a found stick and the railway boundary metal fence, then blowing ‘cawing’ sounds using our thumbs and a blade of grass. They loved it. And so the seeds of a freeform intuitive environmental improvisation were sown using both a prepared environment and found sound objects in the manner of the Hull Workshop at the location of the railway footbridge we discovered on the walk. This would feature Eben, Finlay and myself as freeform performers / improvisers.

As preparation for the performance I visited some of the houses adjacent to the footbridge to warn them of our activities at night just in case they may be disturbed by our soundings. The response varied from mild hostility, to curiosity, to support and even one couple asking if they could join in! I replied that they were most welcome.

Having obtained permissions from their mother Nicola, we gathered on the 9th December 2017 first at my house for a bit of instruction in making sounds with the objects I was preparing the location with (Aluminium Searchlight Mirror, 4 inch Fired Brass Gun Shell, Bull Roarer, various Plastic Pipes of different widths and lengths, Gong Beater, Long Thin Spring and a few other sundry items.) Following this brief instruction we went to the location in the dark at about 7:30pm and after placing the sound objects to prepare the location, we had a few moments silence, then made a short walk in to the start of our improvisation.

The performance consisted of two Movements:

First Movement: Outward (Practise, Vox ad-lib) Joyous.

Second Movement: Return (Performance, Vox tacit) More Meditative.

I was struck by the zeal and enthusiasm of the two children. They followed my example and were soon experimenting and making their own sonic discoveries. Found sound objects included the structural metalwork of the bridge itself, the metal fencing and lamp posts. Other found items included various pieces of discarded litter, drinks cans, plastic bags, drinking straws, sticks, branches, leaves and stones.

The only additional instructions given were that during the Outward (Practise) we could speak if we wished, but not to speak on the Return (Performance) movement. Quite spontaneously they incorporated the ‘thumb cawing’ sounds into the Second Return (Performance) Movement and made many exciting sonic discoveries such as the ‘frog sounds’. A few passers-by were briefly present while crossing the footbridge.

Technical:

All audio was recorded binaurally and continuously as single takes using custom modified in-ear DPA4060 microphones directly into a Sound Devices 744T digital recorder.

All spatial choreography was created intuitively during the recording by dallas simpson.

Editing and minor corrective EQ was done using Cockos Reaper software.

Headphone listening is recommended for a full 3-D surround sound experience.

Photographs by dallas simpson.

Sincere thanks to Eben and Finlay for their inspiring participation, and to Carol and Nicola for their approval, plus supporting and helping during the preparation and performance.
Dallas Simpson, December, 2017.

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Slavek Kwi – Uchat C

[PT071]

Slavek Kwi

“Uchat C”

Uchat C(ompost)
“games of sounds” = m.i.y. (mix it yourself)
organize 2 (or more) groups of modules and play it simultaneously in random mode
(or alternatively you can decide yourself about combinations) from 2 (or more)
sound_sources (=machines).

based on Uchat M
Composed by Slavek Kwi in between June 2017 and January 2018,
Cave Studio, Ireland. Based on various field recordings,
focused mainly on animal voices, collected around the planet Earth,
underwater and in ultrasonic zone included.

A few brief appearances of James Kwi singing while clapping bones.

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