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Since 2010, many netlabels and artists publish their new free music releases on the clongclongmoo website. Free means that you don't have to pay anything or register to download music. However, you can usually pay something to support the artists. Please note the licenses under which the music is published. This is important to know what you are allowed to do with the music. Please visit the labels' homepages to get the free music. Most files are published under a creative commons licence. At netlabellist you will find an extensive list of websites that also offer (or have offered) free music. If you run a netlabel yourself or offer your music for free and want to draw attention to it, you are welcome to use the submission form. And remember that clongclongmoo is not there to do business, because “Business Is Not My Music.”

update, February 1st, 2026

Dear friends and followers of clongclongmoo. It's great to have you here. As you may have noticed, the site has changed a bit. Some people wanted to be able to access the music with fewer clicks. That should work again now. Here's a quick note to everyone who uses relatively new platforms such as Mirlo, Faircamp, or Coop: feel free to use the submit form to draw attention to your new music. I'd especially appreciate hearing from anyone who runs a netlabel with free Creative Commons music. Thank you! Konrad from clongclongmoo

music tagged with: experimental

Wings of an Angel – The Master Thief Who Stole Your Lucid Dreams

[Self Release ]

Wings of an Angel

“The Master Thief Who Stole Your Lucid Dreams”

The Master Thief Who Stole Your Lucid Dreams (A Retrospective Anthology Of My Early Sample​-​Based Creative Work)

This is an extensive anthology album that sums up a creative period of some 10 years – circa 1996-2006.

I humbly feel that for you who are familiar with my contemporary body of work – and for those who hear my creative adventures for the first time – this is a worthy and even essential addition to my ever-growing lifelong catalog. It is a mirror back in time…

* Please pay attention to the bonus art book – an early collaboration between myself and designer abb-d. He did 4 original and wholly unique designs based on my poetry – the conceptual umbrella being the concept of SCREAMING SILENCE.

Yours Truly,
Wings of an Angel

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posted 17 September 2016

BERTHELOT – Les anecdotes polyédriques

[earS084]

BERTHELOT

“Les anecdotes polyédriques”

A propos des Anecdotes polyédriques :

Comme son nom l’indique plus ou moins directement, cet album est un ensemble d’anecdotes sonores à géométrie variable, une suite d’anecdotes agglutinées les unes aux autres pour former des histoires vraisemblablement plausibles.
Anecdote de trente secondes ou anecdote de deux minutes, elle doit trouver sa place dans la trame intemporelle de l’histoire en devenir (je dis intemporelle car la rigueur métrique et métronomique n’a pas sa place ici), et surtout donner à entendre une sorte de cohérence dans le collage sonore.
Décrire toutes ces infimes anecdotes reviendrait à faire un inventaire à la Prévert, et, vu le temps magnifique, je n’ai pas le désir de le faire, la promenade me tentant plus que tout état des lieux phonique.

De retour de vadrouille, je reviens à mes anecdotes qui, pour simplifier à l’extrême, sont forgées de sons de percussions et des bruits d’un piano disloqué (oui, de bruits, car l’état de l’instrument déglingué ne permet plus la restitution de sons harmonieux; ça ne me dérange pas, j’aime bien les bruits).
Pour s’extraire de la schématisation extrême susnommée, on trouve aussi des anecdotes électroniques saupoudrées de voix improbables, et des anecdotes humides de par leur nature “field recordings” (ou “enregistrements de terrain”, mais ça sonne moins bien).
Le plus délicat, et c’est là qu’intervient la glu, a été de transformer cette accumulation de sons hétérogènes en un polyèdre gracieux découpé en six anecdotes substantielles.
Mais, n’hésitons pas une seconde à effacer ce texte anecdotique pour nous concentrer plutôt sur ces sons et la musique en résultant, de préférence avec un casque audio de bonne qualité.

Album enregistré par temps clair en Eure-et-Loir (Juillet 2016).
Peinture par Hieronymus Bosch; détail anecdotique de l’Enfer, partie droite du triptyque “Le Jardin des délices” (1504).
Photo par Ironside. Design par Graph’Hypnotic.

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posted 16 September 2016

Paolino Canzoneri – Planemo

[SE074]

Paolino Canzoneri

“Planemo”

Paolino Canzoneri is an italian non musician. His experimental approach is an alchemy of acoustic samplings and sonorous fragments, research of sounds and effects that seem to interact in a suggestive way. As a result, the compositions may consist of ambient music, sometimes hypnotic, rhythmic loops with an impression of claustrophobic atonality.The modular synthesis creates sound flows with prolonged dynamics and dilated interlaced by horizontal structure that involves the repetition of sound nucleous, cycles constructed by stacking layers on layers that instill in the listener a feeling of inertia until the end of execution.

Planemo tracklist:

– Spazioporto fuori città
– Planemo
– Sabbia di Marte

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posted 09 September 2016

Nobody’s Nail Machine – Нет равномерности (Re-Mastered)

[picpack244]

Nobody’s Nail Machine

“Нет равномерности (Re-Mastered)”

01-Nobody’s Nail Machine – Вакуумная АБ(11:12)
02-Nobody’s Nail Machine – Пролёт(5:40)
03-Nobody’s Nail Machine – Неравномерная Деформация(6:04)
04-Nobody’s Nail Machine – Нет Равномерности(11:11)
05-Nobody’s Nail Machine – Подземная Атомная Электростанция(17:57)
06-Nobody’s Nail Machine – Heat Absorber(15:50)
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posted 04 September 2016

Space Monkey Death Sequence – Scarsdale

[AFA-SM011]

Space Monkey Death Sequence

“Scarsdale”

Denny Wicker is an accountant who just moved to Scarsdale, New York. He thought he found a way to shut up his noisy neighbors but, with the help of eager Phil Laurie, he stumbled upon much more than that.

Recorded in Berkeley, California and Portland, Oregon.

Written by Dominic and Madeline Francisco.

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posted 03 September 2016

Artem Bemba – Sanctuary

[SCL186]

Artem Bemba

“Sanctuary”

Artem Bemba — Sanctuary

Sanctuary, это следующий, после Hedgehog Feathers, опыт работы в стиле джаз-фюжн. Писался он примерно год, на трех разных квартирах, которые Артём успел за это время поменять. Здесь уже не использовался саксофон, но было большое количество клавишных партий и гитарных соло. Также в этом альбоме впервые использовались более новые и качественные семплы ударных инструментов.

«Первоначально хотел объединить песни концепцией сыпучих тел, но потом от этой идеи отказался. От нее остались только названия двух композиций — Flour и Sawdust. Затем я обратил внимание на какое то общее умиротворенное и спокойное настроение целого альбома и решил назвать пластинку Sanctuary, то есть, место, в котором всегда можно укрыться и отдохнуть от всех проблем. К этой концепции непосредственно относиться название последней композиции — Sheltering Shell. Так, что у меня получился альбом-убежище от ежедневных проблем и хлопот.»

P.S.: «Был у меня и «проклятый» трек, который постоянно зависал, самоизменялся, уничтожался и попросту не хотел нормально записываться, но чтобы уберечь слушателей, я не скажу который это трек.»


Press & Support :
– ХРУЩЁВКА: hrushevka.org?p=4636

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posted 03 September 2016

The Cherry Blues Project – Ana Paula Santana & The Cherry Blues Project: Remixes

[20162508]

The Cherry Blues Project

“Ana Paula Santana & The Cherry Blues Project: Remixes”

The Cherry Blues Project reinterpreta piezas sonoras de Ana Paula Santana.

Ana Paula Santana González
(Guadalajara, Jalisco, México b.1985)

Sobre Ana Paula, en sus palabras:

Me interesan los sonidos constantes, maquinales, abrumadores. Me interesa la relación del sonido y el cuerpo humano, el cual entiendo como un material absorbente que incesantemente admite y reacciona a frecuencias del exterior. Me interesa la voz, la experimentación con los límites de nuestra voz y el fenómeno simpático entre la voz propia y las voces que nos apropiamos. Mi creación artística se sitúa en medio del campo del performance y la instalación y con frecuencia es motivada por ideas y fundamentos de índole antropológico.

My interest is based in constant sounds, machinelike , overwhelming. I’m interested in the relationship between sound and the human body , which I understand as an absorbent material that constantly receives and reacts to frequencies from outside. I’m interested in the voice , in experimenting with the limits of our voice and the sympathetic phenomenon between the own voice and the voices that we appropriate . My artistic creation is in the middle of the performance and installation and is often motivated by ideas and foundations of anthropological nature .

Enlaces:

https://soundcloud.com/anapaulasantana
www.anapaulasantana.net
twitter.com/Fanafauna
https://www.instagram.com/anafauna/

The Cherry Blues Project
Arte sonoro – música experimental – Dark ambient
Argentina, desde el año 2001
www.tcbp.blogspot.com

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posted 03 September 2016

Organism – Blik

[PZO004]

Organism

“Blik”

ORGANISM – project playwright and musician Paul Rassolko from Minsk. Formed in 2002, the year with the acquisition of the analog synthesizer “Polivoks”, broken deck “Vega” and the Soviet equalizer. The advent of the computer in 2003 and it “embellish” the sound of music. Favorite software – “FL Studio 9” and “Adobe Audition 1.0” – that is, no “apples” and all that fashionable. ORGANISM is another Pavel’s project that is the most “listenable” and “poppy” compared to his own project [mikra].

Album “Blik” recorded mostly in the “live” via MIDI keyboard. The concept of old: music software, film fragments and other “sound”, randomly snatched from the Internet.

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posted 31 August 2016

Митрий Гранков – Отступление

[SCL184]

Митрий Гранков

“Отступление”

«Эти песни записывались в 2014-2015 годах и были опубликованы в интер­нете тремя частями: сначала первые четыре песни (обложка с птицей), следующие три песни о кислом (и картинка с лимоном) и отдельно — последняя песня (с фотографией).»
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posted 30 August 2016

Øystein Jørgensen & Chris Silver T. – DOORS

Øystein Jørgensen & Chris Silver T.

“DOORS”

This collaboration album, arose from the inspiration and endless talent of the artists Øystein Jørgensen & Chris Silver T., exhales and ultimately catapults the listener into a fascinating melange of multitudinous space particles and technocratic galaxies of aural ether. The obscure flow of sound constantly flashes into a physiognomy of percussion, rhythm patterns and beat spectrum that only make the aulic darker parts much more isolating and hence threatening. The sonic paradox is: Look into brightness to make the surroundings turn dark. Each one of these “DOORS” opens towards boundless universes to discover, explore and solemnly embrace.
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posted 28 August 2016

Gärtner – snk

[MNE007]

Gärtner

“snk”

Monofonicos regresa con su linea de experimentación musical, con la participacion del talento local Gartner con un album increíble llamado SNK donde la musica alcanza la atmosfera de nuestro interior.

Un album genialmente experimental que suena a ciencia ficcion, creadas a partir de instrumentos analogos, grabaciones de campo en diferentes lugares de la ciudad, sintetizadores que proyectan sonidos de lo mas escalofriante, mil millones de capas sonoras que se van interconectando entre todo ese universo del sonido de Gartner.

Producido por Juan Esteban Ceballos Gartner
Colaboraciones de:
snk.1 con Juan C. Gutiérrez y el Metro de Medellín
snk.2 con Juan Sebastián Gartner en el bajo eléctrico
snk.11 con Lucero Pineda en el moog y teclados
Masterizado por PHEEK – https://audioservices.studio

Producido para Monofónicos Netlabel 2016
Este material está bajo licencia de Creative Commons 2.5
Medellín, Colombia – 2016

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http://monofonicos.net
posted 16 August 2016

Richard Sanderson – A Thousand Concreted Perils

[LOR081]

Richard Sanderson

“A Thousand Concreted Perils”

New album of experimental improvisations for melodeon (diatonic button accordion) from London based squeezebox player, morris dancer and head of Linear Obsessional Recordings. “A Thousand Concreted Pearls” goes even further than previous albums, the melodeon is amplified and put through effects pedals and mixed with feedback, or put through a modular synth. This resolutely melodic instrument, and workhorse of English folk is here thrust into an entirely new world.
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posted 08 August 2016

Dirch Blewn – Capacity and Resistance

[LOR082D]

Dirch Blewn

“Capacity and Resistance”

Dirch Blewn is the project of musician David Bloor. He records and performs the instruments of Peter Blasser. Recorded live with a few overdubs this music is the sound of capacitors charging and dissipating, of gesture with no finesse, of fish guts and physical connection with wires. Flexing wood and the smell of tung oil. It’s about the drum of Tommy Lee added to some drama from Pamela, the heady mix of surfboards and silicon. The remnants of squeezing jelly ass signal into 8 bits and ultrasound. The sound of woodpile, chaos theory, kiri with a cardboard box, industrial components and paradox.

Linear Obsessional is delighted to release this mesmeric work as a free download as a precursor to an album of shorter works to be released later in the year…
credits
released July 17, 2016

Capacity & Resistance was recorded on two plumbutters, cocoquantus, sidrax and tetrax.

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posted 08 August 2016

Luis Marte – Routier

[pn109]

Luis Marte

“Routier”

“When the diverse tendencies of electronic sound are combined, they create style. The form in which the style is crafted provides variety to the listener. As such, it is natural for the inspired musician to suddenly perceive the different forms of noise and interpret it in relation to a work. Luis Marte establishes the union of rhythm and sonic experimentation in a persistent manner, wide and fleeting, with passages (and/or landscapes) “from other worlds” injected from minimal percussion, clear and at the same time deep beats, synthesizers strange for the neophyte and beloved for the initiated.

I have no doubt that Routier (pn109) was composed for the most part with hardware; its sound betrays it. Each beat has its own personality, every glitch, strike, synthesizer and noise in general is carefully aleatoric (Is it possible for the casual to be meticulously cultivated also?) and fits perfectly.

The experience of the autor is also important when it comes time to produce. The broad musical baggage of Luis Marte, the production of numerous festivals, collaborations, and his constant research with new media allows him to interpret through his own prism tendencies that are raw, that do not tend to sail together in the ocean of electronic sound.

What do we have then?

Seven sessions riddled with singular concepts , rhythmic and minimalist, analog and digital, interlaced into a whole and conforming parity, exquisite and of good taste when it comes to relating each noise, beat, glitch, synthesizer, machine, module and who knows what other gadget worthy of praise between the jumble of cables and connections in the studio of Luis Marte.”

Eduardo Yáñez (aka Gozne)
(Quilpué, Chile. Agosto / August 2016)

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posted 07 August 2016

See Pereria – Bodies

[SE073]

See Pereria

“Bodies”

Stato Elettrico presents Bodies by See Pereria from Sheffield, UK.

“An electronic blend of sounds, with bubbled up basslines, funky acid looniness and a sensual voice that sings as if she is one human synthesizer”. (‘Yeah I Know it Sucks’, Oct 2015)

See Pereria has a process led approach to making experimental electronica. Preset loops are used as set parameters with the addition of vocals as a further instrument. These limits and boundaries allow for See Pereria to really experiment with the software to create new sounds. Each track in the song is manipulated and sculpted by being layered, cut up and/or looped. Songs are made with heavy emphasis on synths, beats, harmonies and repetition.

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posted 05 August 2016

Thuuooom – Monoliths

[thump316]

Thuuooom

“Monoliths”

Monoliths, the fourth full-length Thuuooom release (released on the same day as Aste EP), was conceived during the Kaiut sessions in 2014. With these four tracks, Tuomo experimented with even longer form than on the Kaiut tracks. As result, each of these tracks – dubbed ‘monoliths’ by Tuomo – clocks between 22 and 28 minutes.

Instruments used on this record: acoustic guitar, human voice, music box, piano.

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posted 31 July 2016