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music tagged with: experimental

Keller/Stadlmeier – transient behavior

Keller/Stadlmeier – transient behavior
[1012]

Keller/Stadlmeier

“transient behavior”

Keller/Stadlmeier – transient behavior
attenuation effect ° 1012 ° 2017
live @ re:flexions – silent series, Ganze Bäckerei, Augsburg, 02.09.17
recording, mastering, photography and design by EMERGE

BEAT KELLER:
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.

posted 17 October 2017

Thomas nmi Poole – Complicity With Anonymous Materials

Thomas nmi Poole – Complicity With Anonymous Materials
[0013]

Thomas nmi Poole

“Complicity With Anonymous Materials”

Thomas nmi Poole – Complicity With Anonymous Materials
Digital Album (name your price)

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.

posted 09 October 2017

Lynlee – Words in the Winds: Sounds

Lynlee – Words in the Winds: Sounds
[PT063]

Lynlee

“Words in the Winds: Sounds”

Lynlee – Words in the Winds: Sounds
‘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
surroundings.
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
poem.

Artwork: Chris Lynn and Una Lee

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posted 01 October 2017

Nobody’s Nail Machine – Fallout Nevada Remastered

Nobody’s Nail Machine – Fallout Nevada Remastered
[Picpack250]

Nobody’s Nail Machine

“Fallout Nevada Remastered”

Nobody’s Nail Machine – Fallout Nevada Remastered
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.
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posted 01 October 2017

ps – Finding My Own Way Back Home

ps – Finding My Own Way Back Home
[enrmp408]

ps

“Finding My Own Way Back Home”

ps – Finding My Own Way Back Home
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.
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posted 27 September 2017

Grid Resistor – Mu

Grid Resistor – Mu
[CAEX0004]

Grid Resistor

“Mu”

Grid Resistor – Mu
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.

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posted 26 September 2017

Rich Sudney – Parading Out The Devil

Rich Sudney – Parading Out The Devil
[DF-3]

Rich Sudney

“Parading Out The Devil”

Rich Sudney – Parading Out The Devil
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!”

Read more at: https://diacoustic-forest.blogspot.com/2017/09/df-3-parading-out-devil.html

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posted 21 September 2017

Alejandro Albornoz & Mika Martini – Two Chilean Blokes in the Soundhouse

Alejandro Albornoz & Mika Martini – Two Chilean Blokes in the Soundhouse
[pn124]

Alejandro Albornoz & Mika Martini

“Two Chilean Blokes in the Soundhouse”

Alejandro Albornoz & Mika Martini – Two Chilean Blokes in the Soundhouse
‘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.

Adrian Moore
Director University of Sheffield Sound Studios.
(Sheffield, UK. Septiembre 2017 / September, 2017)

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posted 20 September 2017

Adrià Bofarull – speculative rites

Adrià Bofarull – speculative rites
[PT062]

Adrià Bofarull

“speculative rites”

Adrià Bofarull – speculative rites
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.

Adrià Bofarull. 2017.

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posted 17 September 2017

Jan Faix – Marian Petržela: II

Jan Faix – Marian Petržela: II
[SFA074]

Jan Faix

“Marian Petržela: II”

Jan Faix – Marian Petržela: II
Jan Faix: ARP Quartet, MicroKorg, další klávesové nástroje, KP3, Olegtron, Simba Toys groovebox, Benidub Siren, Virensix Spiro, efekty, processing, kazety a walkmany, melodika, kaval, tibetské činelky
Marian Petržela: bicí, perkuse, KP3

Nahrál Michal Uhlíř v srpnu 2016 ve studiu UHL Records
Mix a master: Michal Uhlíř
Grafika: Jan Polanský

posted 13 September 2017

My Own Cubic Stone – Glass Birds

My Own Cubic Stone – Glass Birds
[mn006]

My Own Cubic Stone

“Glass Birds”

My Own Cubic Stone – Glass Birds
“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

Tracks:
01/02 : Glass Birds (00:53:00.48)
02/02 : Crystal Clouds (01:29:22.81)

Total Time: 02:22:23.28

License: CC-BY-SA
https://creativecommons.org/licenses/by/4.0/

Release Link:
http://www.musicnumbers.es/mn006/

Artist Links:
https://archive.org/search.php?query=creator%3A%22My+Own+Cubic+Stone%22

Cover: My Own Cubic Stone.

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posted 11 September 2017

Pablo Ribot – Gamma morph

Pablo Ribot – Gamma morph
[PT061]

Pablo Ribot

“Gamma morph”

Pablo Ribot – Gamma morph
Gamma morph
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)

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posted 03 September 2017

DTI + Hypercube – Pervs

DTI + Hypercube – Pervs
[0kbps114]

DTI + Hypercube

“Pervs”

DTI + Hypercube – Pervs
DTI + HYPERCUBE

Pervs [0kbps114]

01) DTI + HYPERCUBE- Perverts in disguise
02) DTI + HYPERCUBE – Sex my Skin

8-bit digital sonic resurrection of an heavily decomposed Hard Disk dated 2005 /

Vocals on track 1 by Adam Jocepos Stass
Vocals on track 2 by Rodrigo Passannanti

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posted 30 August 2017

Amorgos Soundscape – Nikos Theologitis / Stamatis Theologitis / Giannis Theologitis / Antoni Robert

Amorgos Soundscape – Nikos Theologitis / Stamatis Theologitis / Giannis Theologitis / Antoni Robert
[ET116]

Nikos Theologitis / Stamatis Theologitis / Giannis Theologitis / Antoni Robert

“Amorgos Soundscape”

Amorgos Soundscape – 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.”
credits
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
Artwork: BroodingSideOfMadness

ET116 An Etched Traumas release July 2017

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posted 05 August 2017

MRTN CSTR – Arquitectura espectral

MRTN CSTR – Arquitectura espectral
[M024]

MRTN CSTR

“Arquitectura espectral”

MRTN CSTR – Arquitectura espectral
MRTN CSTR – Arquitectura espectral

‘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

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posted 02 August 2017

Jan Strach – Bjurwa Fantomatyczna

Jan Strach – Bjurwa Fantomatyczna
[UPL 073]

Jan Strach

“Bjurwa Fantomatyczna”

Jan Strach – Bjurwa Fantomatyczna
“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.”
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posted 29 July 2017

Cairo Braga – Qualquer Arte Derivativa É Melhor Que Arte Nenhuma

Cairo Braga – Qualquer Arte Derivativa É Melhor Que Arte Nenhuma
[EE025]

Cairo Braga

“Qualquer Arte Derivativa É Melhor Que Arte Nenhuma”

Cairo Braga – 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.

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posted 29 July 2017