cover art by Thomas Park
design by EMERGE
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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.
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.
Digital Album
1.#B2B2B1 16:30
2.#7A6958 04:54
3.#F39200 04:54
4.#ADA81E 04:48
5.#D60A51 07:59
6.#2C2E83 04:32
Artwork: Chris Lynn and Una Lee
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.
Read more at: https://diacoustic-forest.blogspot.com/2017/09/df-3-parading-out-devil.html
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)
Adrià Bofarull. 2017.
Nahrál Michal Uhlíř v srpnu 2016 ve studiu UHL Records
Mix a master: Michal Uhlíř
Grafika: Jan Polanský
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.
Composed and performed by Pablo Ribot
(Buenos Aires, Argentina 2017)
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
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
‘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
this release is part of Netlabel Day 2017, go to netlabelday.com to listen and download from more than 100 free digital music releases.
