Palm_Era (Claudio Cisterna) is a chilean producer from Santiago. A long-standing electronic music producer, he had been publishing under the netlabel Impar and the record label U-Cover from Belgium under the alias Flipper, a project that is closer to IDM. Later under the alias ‘Chiodata’, he immerses himself more into the experimental side of music and releases some of his works under the Irish record label Fort Evil Fruits and Cocodriller. He has also developed other projects such as ‘Jon Claudio’, a fusion between electronic music and Krautrock. Palm_Era released his album called ‘Coincidental’ under the record label Illuminated Paths from Florida, USA in 2015. He has also collaborated in compilations that have been released by the netlabel Modismo and netlabel Epasonidos. These days, he is presenting ‘Gimo’, his first publication under Modismo which travels between diverse rhythms built with complex and yet innovative structures. ‘Gimo’ essentially takes us into a profound and flavorful trip where basslines and synths that are analogically worked combine. In this work, Palm_Era reveals his good taste and skills. The way to approach percussion in this record excels due to its production duty and Latino sense. Samples lead to a trance that is hard to get rid of and melodies gleams at the right time, as well as the details in experimentation. All this results in a very refreshing and futuristic album that will stand out in time without a doubt.
“Here we are, trapped in the amber of the moment.
There is no why.” Free improvisation soundscapes from Gusev K.P.: electronics/treatments/mixing
Martin Hoogeboom: objects/guitar
Paul Mimlitsch: bassclarinet
Der Mob sinniert, der Bornierte schunkelt sich die müde Gleichgültigkeit von der Seele und überhaupt ist alles ganz ganz anders. For Example John (Mainz / Köln) stapfen nach Belieben durch die Stile ohne jemals die zynischen Gesten für das Konstrukt Leben zu verlieren. Das passt es ins Bild, das die zwei die Haupt-Protagonisten ihr Kollektiv (sic!) bei Bedarf nur zu gerne durch temporär verfügbares Familienpersonal ergänzen.
Der Titel des Albums dient als Hinweis auf die stilistische Entwicklung der Johns. Wilderten sie früher noch allzu gerne in Punkrock-Gefilden, so wetzen sie sich heute lieber die Hörner am weit gefassten Pop-Entwurf ab. (Ach ja die Hörner. Die sind nicht umsonst in Kombination mit der Discokugel in das Bandlogo eingeflossen. Und klingen sie nicht einfach wunderbar im Opener, dem „For Example John Song Song“?)
Wie dem auch sei. Über die Jahre haben sich allerlei Perlen angesammelt und nebeneinander aufgereiht. Hier findet das Agitative, das Sonderbare, aber auch das Alltägliche nebeneinander seinen Platz. Mal englisch, mal deutsch im besten DAF-Jargon, mal skurril, mal nachdenklich, mal romantisch und mal ernüchtert. Da ist Schlager, da ist Country, da ist Eurodance und da ist vor Allem charmanter Trash auf poliertem Parkett.
This is music for sound explorers who want to explore the canyons of sound but keep near the touchstone of melody. David Alan Krebs’ “Tides” discovers gently evolving drone sounds and, in particular, the textures within sound variations. Each track feels like a visit to a garden of diverse Baja California—each piece is distinct, solitary, spiky in its own way, and pleasantly alien. The pieces range from less than a minute to a few minutes each. The listener is pulled into a single musical in each track, which is investigated thoroughly and dispassionately. Listening is a pleasure rather than a laboratory explosion. Every piece presents the listener with its own bit of sonic intrigue. This is music that is clinical in its experiments while retaining its humanity. The artist eschews beats, time-signature-melodies, and pat ambient themes. Instead, pieces like “Draping Slowly” and “Crevices” contain music which neither panders to nor pulverizes the listener. No two pieces are faintly alike, but all the pieces fit well together. In “Cloud Base (Stage Two)” the drone hovers in that angelic space between the familiar and the strange, where the insights feel within grasp but the conclusions are wordless. The dozen tracks which make up “Tides” are ideal listening for an Autumn day, or an autumnal mood. David Alan Krebs takes us on a journey, and we are delighted to hike along.
“Listening After the End is a study of one’s immediate environment, of the resonant potential of what surrounds us. A frozen stream. A passing train. A ceiling fan. The wind. A cat plays; someone sneezes; an autoharp lets out a long hum. These vignettes–textural, spacious, and sonorous–are wonderfully evocative pieces that, when taken as a whole, form a vibrant sonic life, one that revels in the animus to be found in even the subtlest of things.”
All tracks edited, arranged / mixed / remixed and produced by Richard Dunlap 2016-2017 from recordings by:
Chris R. Gibson (aka Loopy C)
Roger Sundström (aka Erocnet)
Paul Mimlitsch (aka r369improv)
and André Darius (electric upright bass on trks 3, 7 and 9)
Peter Hope & Charlie Collins have been working together since 1982.
Collins was an original member of CLOCK DVA (White Souls In Black Suits / Thirst) before forming Avant-Punk group THE BOX with the other ex-CLOCK DVA members Roger Quail & Paul Widger. Hope joined THE BOX in 1982 and the band released 3 albums and several singles & EPs through GO! DISCS & DOUBLEVISION.
Collins has continued working in avant-garde, free jazz and improvising bands, trading his arsenal of horns for drums and percussion, both producing and performing to international acclaim. Hope continues to challenge with both collaborative and solo work in numerous guises (pH2 / EXPLODING MIND / SUFFERHEAD / CRIMINAL FACE / plus more)
getdizzzy is a composer, DJ and game designer living in Chicago. drawing from ambient, hip-hop, techno, experimental sound collage and noise, getdizzzy’s music is idiosyncratic, rewarding, unfamiliar, colorful and accessible.
attenuation effect ° 1012 ° 2017
live @ re:flexions – silent series, Ganze Bäckerei, Augsburg, 02.09.17
recording, mastering, photography and design by EMERGE
Guitarist, multi-instrumentalist, composer and bandleader based in Winterthur, Switzerland.
After graduating as a jazz guitarist from the Zurich School of Music and Drama (Hochschule für Musik und Theater Zürich), Beat Keller obtained a Master of Arts in composition from the Lucerne School of Music (Musikhochschule Luzern).
Among his current projects are Keller’s 10, Gunfire Orchestra (CH/NO/SA), Bowee.Keller (CH), Peckinpah Trio (CH/USA), Beat Keller, Darius Ciuata (CH/LIT) and Tilo Weber’s Animate Repose (DE).
His compositions have been played and recorded by NDR Bigband, Lucerne Jazz Orchestra, Ballbreaker Ensemble, Composer’s Group Ensemble, Keller’s 10 and the Haiku String Trio.
Beat Keller has played concerts at renowned festivals in Switzerland, in neighbouring Europe, the United States and on the African continent.
Record releases on: Unit Records, Alpinechic (both CH), Edition Wandelweiser Records, Attenuation Circuit, Shoebill Records (all DE), Silken Tofu (BE), Plus Timbre (GR) and others.
The 13th release in the ‘Neoteric Directions in Contemporary Electronic Music’ series from Thomas nmi Poole.
Complicity with Anonymous Materials is a collection of ambient/drone meditations in the contemplative sense (not necessarily as an aid to relaxation), consisting of thought-pieces reflecting inner states of consciousness and responses to the social, political, and historical conditions and technospheric embeddedness.
‘Words in the Winds : Sounds’ is the new collaborative series by
Chris Lynn and Una Lee. The project rose from recognising that
we as field recordists often try our best to disguise our presence
within the sound recordings despite the fact that their mere
existence implies the involvement of human activity. As a result,
we started to mark our presence through reciting our original
haikus and poems, whilst making the field recordings, the
content of which were based on or inspired by our sonic
Each track effectively contains a short poem written and recited
either by Chris or Una, which would be sent to the other who in
exchange would create an accompaniment whether in a musical
format such as piano or vocal improvisation or with another piece
of field recording as a response.
This process is an evolved version of several projects previously
and currently conducted by the duo, such as ‘Miniature
Landscape Correspondences’ and ‘Word in the Winds’, the word/
image-based project in which an image was sent from one to the
other person who subsequently would respond to it with a short
Fallout of Nevada is a Russian Fallout 2 total conversion project. The development project started in 2009.
The developers sought to preserve the basic principles of the original, such as moral and ethical issues, post-nuclear wasteland gloomy atmosphere, black humor, and so on.
Soundtrack for Fallout of Nevada (in ambient and dark ambient styles) was written by composer Alexei Trofimov (aka Nobody’s Nail Machine). It is close to the design of the original series soundtrack by Mark Morgan (Fallout 1 & 2). These compositions have found great resonance among the fans of Fallout of Nevada and connoisseurs of the genre of ambient music.
Remastered version of original soundtrack.
Latest album by our staff member ps, mixing influences from drone, dark ambient, shoegaze, indie folk, psychedelic, noise, experimental, ethereal, celestial ambient, field recordings. A little bit of everything in an album about the hardships of finding your own way back home. Photo by Aleksi Stenberg.
Thomas Jackson Park (formerly known as Mystified) has undertaken a new approach to post-industrial age music with Grid Resistor. For this project he used contact microphones to make recordings of machines and appliances. These recordings were then processed digitally to find the hidden harmonics and rhythms. His latest release, Mu, focuses on finding the harmonies and rhythms in the noise produced by old shortwave radios.
Grid Resistor is Thomas Jackson Park’s first post-Mystified project. The Grid resister series is limited to twenty four releases, one for each letter of the Greek alphabet. (With a couple of side-project collaborations.) Mu is the final recording to be released in the series.
He who is in his late thirties, stares out into the open vast waters of northern lake Michigan. Blue sky above him reminds him of past wilderness adventures, hiking, camping, enjoying the company of no-one else but his solitude. As the ferry boat rocks ever so gently with each wave, his stare becomes hypnotic in the anticipation of traveling to a different world then he’s used to. From the cluttered exhausted saturated air of the motor city to the crisp clean everything of those islands in the middle of this lake. Traveling on a whim, spontaneous plans of going to meet and shake hands with his fears are all in the back of his mind. “You can plan for everything under the sun. But you’ll never plan for that banana peel you’ll slip on” he recalls from reading mystic literature. “I know I’ll make it” saying to himself in a reassuring vibe. Carefully planning every spot, step and strategy to get to a small island by kayak for months now. “Just remember the banana peel!”
‘Two Chilean Blokes in the Soundhouse’ is Alejandro Albornoz and Mika Martini getting dark and dirty with sound in Studio 2, University of Sheffield Sound StudiosMay 2016, Sheffield, UK. With analogue synthesizers, contact microphones and digital processes rendered live, rough sound objects are hewn from all manner of sources leading to short tracks that challenge and delight at the same time.
Alejandro and Mika go way back so their improvisations are extremely respectful. Track durations vary according to materials and techniques used. Sometimes the analogue electronics are dominant; sometimes recordings of live instruments such as pianos play a major role with electronic sounds clothing the real in soft noise and bristling modulations. There’s a real sense of ‘performance’ which is sometimes hard to hear in improvised electronic music. This sensibility jostles nicely with the ‘hands on’ approach to their kit and sounds, and makes me return to various tracks for ‘another listen’.
Concluding the improvised music are two ‘reconstructions’ – an out of real-time re-consideration of their recorded improvisations. Immediately one hears an alternate approach to time. Real Time is no longer important; the ‘moment’ doesn’t matter; sounds are ordered, re-ordered, edited, and ordered again. The final two tracks are like paintings: sounds once free to roam are rounded up, fed, watered, (caged maybe) but framed to form a journey that neatly concludes an exciting collaboration and an excellent disc.
Director University of Sheffield Sound Studios.
(Sheffield, UK. Septiembre 2017 / September, 2017)
Some of the titles of this work refer to different stages of the evolution of human consciousness as well as general concepts of the new stream of thought known as speculative realism. In some cases these ideas have defined the structure and character of the compositions.
Thus, Object Permanence explores the sound field produced by a small group of children playing in a closed space with different materials (wood, metal, cork …) with a particularity: of the collected original samples, all sound evidence of the presence of the children (voices, etc.) has been eliminated by selection of fragments and cuts of frequency; the resulting material has been sampled and touched with the intention that the objects appear in the piece to float by themselves. The title refers to the phenomenon according to which children of early age do not have a clear conscience of the independence of the object with respect to themselves. That is to say if they are not seeing or touching the object they do not conceive its existence. This is the one shown here released from any human trace.
Reflex Schema Stage works like a stable mechanism in which sudden appearances produce variations in the original scheme, always changing but of static appearance.
Semiotics points to small tonal nuances as the last referential link of a discourse that needs new dialectics in its relationship with the nonhuman.
OOO is the acronym of object orients ontology, a school that flees from the anthropocentric view of post-Kantian philosophy and claims a more balanced view of man with respect to his immediate environment.
Primary Circular Reaction and Cognitive Skills also refer to aspects of the awakening of consciousness to its environment and to its resources and abilities to relate to it.
In no case does this work pretend to be an exhaustive study of the questions that it poses; these are simply the backdrop that has suggested and motivated some of the compositions that it contains.
“My Own Cubic Stone” defines its music as “Dark Ambient”. To many that means that his music could appear in a horror film, but for this artist the meaning of “dark” goes much further: it is a state of mind. A level of consciousness suitable for both introspection and to explore emotions and feelings that we normally avoid. Like traveling somewhere under glass clouds.
Catalog Number: mn006
Artist: My Own Cubic Stone.
Title: Glass Birds
Consists in 7 tracks that fuses elements of electronic music including industrial, noise, clicks, cuts and glitches which are manipulated by different overlapping frequencies that appear and disappear creating at times rhythmic cells, or working as a dialogue of noises into the musical narrative.
Acoustical elements, malfunctioning beats get integrated into abstract and complex mechanical forms that are combined with intervals of cosmic and etheric textures, giving birth to those signals that will lead us to transit into that space.
Composed and performed by Pablo Ribot
(Buenos Aires, Argentina 2017)
Nikos Theologitis / Stamatis Theologitis / Giannis Theologitis / Antoni Robert
The notion of folk culture has definitely been transformed through the course of the centuries. More particularly, tradition and its authenticity and spontaneity in the context of orality seem somehow to have been mutilated and reconstructed, as soon as globalization and multiculturalism became one of the dominant discourses during the 21st century. Folk songs haven’t been an exclusion in this particular case, as revivalism and folklorism have emerged as a devastating force in the production of folk music. In “Amorgos Soundscape” by Antoni Robert, a paradox occurs: One could say that these folk songs are seen through the eyes of a foreign visitor and the recording could be seen as an exotic sound diary of a trip on a Greek Island. On the other hand, Antoni Robert’s recordings of the Theologitis’ family of musicians reveal an impressive approach on the concept of orality and its proud survival in the Greek folk culture.
Antoni Robert talks about Amorgos Soundscape:
“This is my fourth soundscape, but it is of a totally different nature with respect to the previous ones. Initially, I just wanted to proceed in a similar way that I did for the St Petersburg one, but once on the island, I realized that this idea was not adequate. St Petersbourg is a noisy place, while Amorgos it is not. Generally speaking, the island soundtrack is the wind and the sea. And at once the title “Wind on Water” came to my mind, but unfortunately, that title was already used by Fripp & Eno. But it was adequate indeed. I had the chance to listen to some goats also; the island is the hometown for a huge quantity of goats. So I was wondering about those simple things when it happened. It was dinner time, and we went to the small town of Tholaria looking for a taverna, and we found the Panorama Tavern. We started dining and at a given moment the musicians appeared and started to play great music from the islands. I recorded two complete sets, in two unforgettable nights. More than four hours of live performance. And I was said they do it every night. Once at home, while listening to that music I understood that it would have been inadequate to edit bits of it in order to build something more personal. The main feeling was a deep respect for the work of those musicians, and so the best thing to do was to choose two or three songs and use them as they were performed, in spite of the recording problems and the noise of the taverna clients. The only things I’ve added are the intro and the links between songs because wind and sea had to be there anyway. The results are a real soundscape of a dinner at Panorama Tavern, with the music played by three real artists. Stamatis Theologitis plays the violin and sings, Giannis Theologitis plays Laouto and sings, and the great Nikos Theologitis, 90 years old at the moment of the recording, and the owner of the tavern sings, claps hands, dances and explains jokes whenever he wants. I don’t know if I will reach that age. Probably not. But if I ever I’m 90 years old I want to be like Nikos. A happy man full of energy and passion. So this soundscape is a respectful tribute to The Theologitis Trio. It is their record. The rock band is The Cave Children, from Athens, included because our stay there coincided with a 4 days rock festival, and it was a part of the soundtrack too.”
released July 30, 2017
Recorded in July 2016
Processed in September 2016
Nikos Theologitis: voice and clapping hands
Stamatis Theologitis: violin and voice
Giannis Theologitis: laouto and voice
Antoni Robert: production, field recordings, and effects
Photography: Antoni Robert
‘Arquitectura espectral’ is the second work by sound artist MRTN CSTR (Martín Castro) from Córdoba, Argentina for netlabel ‘Modismo’. In this EP made up of three tracks we are able to appreciate and enjoy once again digital atmospheres which are characteristic in his musical duty: gliding melodies, delicate rhythms, fine atmospheres, counterpoints. Martín builds his songs from technology, he experiments with creation of waveworms, sound synthesis, complex structures created with specialized sequencers and instruments for the software Reaktor. However, the results are far from being robotics or dehumanized because the structures (the ‘buildings’ of this architecture) become cozy, puzzling at the same time and profound, inviting us to inhabit them. Moving musical ideas based on algorithm and mathematical formulae from theory to practice tends to be a challenge that is rarely well resolved, as elevating a structure from paper to physical reality, and by ‘well resolved’ I mean experimenting the beauty of a good listening at last, the pleasure of self-abandonment to contemplation beyond the techniques or technologies utilized for its construction, which it is fully accomplished in ‘Arquitectura espectral’. As a good sculptor, Castro reveals the shape of his compositions from the development of sound layers that are added, subtracted, that interact and move around space, generating tensions and distensions, creating sounds-cells and sonic-organisms pieces that evolve in their route. This is the difference between the robot and its perfect and synchronized movements, versus the organic bodies-muscles with their subtle differences and their impossibility of doing exactly the same, the same way, all the time, where one could be more efficient than the other, but never more interesting to contemplate or, in this case, to listen.
Mika Martini, electronic musician. Santiago, July 2017
“Absolutely uncategorizable combination of rock, casio-electronics, lo-fi, majestic pop, punk, post-punk, krautrock, full of colliding samples, guitars, keyboards, whiny effects, but also beautiful melodies and non-dumb lyrics. For lack of a better term called by me “psychedelic chaos-pop”. A work of constantly sleep-deprived madman, made with love and as carefully as the modest setup allowed, so as to depict, as closely as possible, the inside of his tired head.”
“Qualquer Arte Derivativa É Melhor Que Arte Nenhuma”
after her first attempt at an album-a-day in late 2016, Cairo Braga decided to revisit it and derive material from it, leading with an english version of the title track and following with a mashup and a bunch of instrumental mixes. what does it mean to derive art from crap art? let’s find out!
this release is part of Netlabel Day 2017, go to netlabelday.com to listen and download from more than 100 free digital music releases.
We are so happy to release another Lezet’s work on Etched Traumas.
Lezet is Igor Jovanovic and comes from Požega, Serbia. Lezet is an one-man experimental music project in 2005 and he has released more than 45 albums. “Someone’s comment about the sound of Lezet (Igor Jovanović) was ‘like Zorn without saxophone’…And indeed, Lezet’s work could remind the results of “the game theory”, which John Zorn exercised on his debut “Locus Solus”, for example…The fact that Lezet doesn’t use only live instruments will probably disconnect it from the avant garde free jazz scene, but I suppose the coming under some specific style wasn’t the intent in this case anyway. It’s about free experiments with sound captures in search for the surprises. And it can’t be pretentious as such…” (extract taken from the “Black Syrup” zine #2 (Serbia, 2007)).
Circadian is the sixth full-length album under name Thuoom. The starting point was an hour-long live improvisation played in a cave (Ambient Evening 6, Parainen, Finland). During this event, Tuomo did an a cappella piece while Barque Sound Experiment (aka BSE) played synthesizers. While for most of the tracks there are no hints of synths, two tracks feature BSE sounds extensively. Nevertheless, Tuomo considers this his first a cappella full-length. The end result features more relaxed ambient sounds than the previous release, Fokus.
Instruments used on this record: Human voice alongside Arturia Microbrute Analog Synthesizer & Korg MS-2000, all echoing in a cave.
Nel caldo estivo arriva un brivido dark ambient, un giro nei meandri di incalcolabili pazzie e bianche muri che assetati aspettano schizzi di sangue. In Your Ears ha nuovamente l’onore di pubblicare una traccia di Snowfade aka Marco Grosso, una delle migliori menti elettroniche del nostro paese e non solo, ascoltando Solitude lo potrete capire molto bene.
In the warm summer comes a dark ambient thrill, a ride in the meanders of incalculable madness and white walls thirsty waiting for blood sketches. In Your Ears is again honored to publish a track of Snowfade aka Marco Grosso, one of the best electronic minds in our country and not only, listening to Solitude you can understand it very well.
Get the nightmare
The album is conceived as a three-part cosmic trip including a take-off, learning and final landing.
Drawing from his deep and prolonged listening of composers like Krzysztof Penderecki, Karlheinz Stockhausen, Jonny Greenwood, Brian Eno e John Cage, MiDiLe creates and assembles sonic landscapes of different nature
“The threshold scarcely crossed that’s how it is.”
An over(in my opinion)grown tree limb, guided by the wind, rubs against the window of an apartment building.
A human in the apartment – annoyed and intrigued – attaches two contact microphones to the window, then spends the next few weeks processing and editing the recorded sounds.
And for what? Nothing, of course, nothing.
Genetic Transplant album by Hypercube can be described as an inner journey into osmotic abstract ambient defining the space over post-humanity evaporated circuits and multi dimensional genetic modified patterns, a way to explore unpredictable forms and intramural visions in relation to life and extinct systems.
The resulting music does at times resemble anxious rhythms and complex configurations of tranquillized expressions.
Deep emotional atmospheres combined with rich melodies, complex rhythms and glitches will get your attention. Mood will change upon the journey full of sound surprises. Enjoy the combination of electronic and physical acoustic experiments.
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