Instruments used on this record: acoustic guitar, Elka Consolette organ.
La casa del Drago è dove il potere ha la sua dimora, dove la musica diventa materia e respira suonando. Il nuovo lavoro dei Phobos 3 è un viaggio secondo antiche coordinate per ritrovare ciò che abbiamo perso. La Casa Del Drago è il secondo lavoro di un trittico che avrà come culmine il dispiegarsi di una grande energia. Una musica delicatissima e totalmente fuori dalla nostra dimensione.
In alto come in basso, in un legno come in un quanto.
Home is where the power of the Dragon has its place, where the music becomes material and breathes playing. The new work of Phobos 3 is a journey from old coordinates to regain what we have lost. La Casa Del Drago is the second work of a triptych that will unfold as the culmination of a great power. A very delicate music and totally out of our dimension.
With all that in mind Kamizdat is joining the celebration of low-barier D.I.Y. music publishing revolution, the annual celebration day called The Netlabel Day on 14. July.
The title of this collection of Slovenian artists refers to an idea that the debate around free, libre and open access enabled almost costlessly by the Internet is framed by the understanding of the concept of property. This seems almost an historical point, a disruption that has marked almost two decades since the appearance of the MP3, but we believe it is still one of main roots of the many problems regarding online culture and art today.
40106 Schmitttrigger / 4093 Quad NAND / 4006 18-stage Shift Register / 555 Timer IC
The recordings are experiments with DIY tone and noise generators, with Svann working systematically, exploring the unique features of the specific circuits of his lunchboxes on a track-by-track basis.
Track titles should be understood according to this classification, and consequently also the separation into part A and B. A number of rhythmical and enriched Bass’n’Noise tracks are mixed in between pure complementary metal–oxide–semiconductor tracks.
The release is conceived as a classic double album, with two covers, two titles and two chronologies regarding the tracks on the respective album. Please consider these chronologies.
Henry Koek – woodwinds, drums, voice, objects
Arnold Cabott – guitar, voice, objects
André Darius – electric upright bass, objects
‘Arak Saya‘ shows a possible evolution of said discourse in the music that I wrote during the last decade. However, it is presented here in reverse order, as involution or, better still, as de-evolution. This way of seeing time ‘backwards’, where the past is ahead and the future behind, is characteristic of the Aymara cosmovision, from which the title of this album also arises. ‘Arak Saya’ means something like ‘the place above’, which denominates the geo-socio-political organization of the Aymara people as opposed to ‘Manka Saya’ (place or part from below). This is, moreover, the title of the only mixed work present here (for tarka and electroacoustic means).
Despite an eventual discursive evolution, works distant in time like ‘Epitunga’ (2006) and ‘Arak Saya’ (2013) itself demonstrate common influences like, in this case, the Andean Highlands, or ‘Desembocaduras’ (2008) and ‘Glosa de Clímax Púrpura’ (2012), that use sounds of Mapuche instruments, symbolizing the resistance of this people against colonizers and etnocides.
Thus, changes in time have been in the aesthetic and technical domains rather than in symbolic aspects. Still with exceptions, I believe this production –which goes from the end of 2015 to the beginning of 2016– could be divided between a before and an after in relation to my contact with the theories of Pierre Schaeffer regarding the sound object and typo-morphology, a phase that began with ‘Desembocaduras’ (2008). At the same time, another evolutionary level could be observed in the field of textural complexity and density: at the beginning I was working normally –by sheer precariousness– with minimum sound materials, trying to extract something interesting by means of their ‘Explotación’ (‘Exploitation’) (EP released in 2008 by Menthe de Chat and TimeTheory netlabels). Over time, the density and variety of materials was increased, reaching an apex in ‘Convolved Dream’ (2016, a work which I composed especially to finish this album), whose poly-spaces and multi-layers arise from a discourse overcharged with disparate information. What could be argued as a constant in the compositional aspect is that the works should always represent a challenge for me. This is say, all were conceived as experimental ‘studies’ in which I had to solve issues that were specific to each.
I leave you, then, with this personal journey… I hope never to find the definitive path, so I am able to continue in the search for new possible sonic worlds.”
Bryan Holmes
(Río de Janeiro, Brasil. Julio / July 2016)
Several months ago we put out a call to the netlabel community for submissions for a new compilation. And, we were stunned by the number of people and group that chose to support this effort. Initially, we hoped to create a solid, single-disc length release (about an hour in length). However, this release grew and grew until it became a three disc (3.5 hours) length release. By then end of the submissions thirty artists form around the world submitted works for Into The Rift: Volume One, and have made it into a diverse and eclectic listening experience.
—
Special for Netlabel Day 2016
www.netlabelday.blogspot.com
In “Hypnotique”, the vast landscapes we were used to, here enlarge their borders, thanx to the artist’s skill in depicting sonic panoramas with his guitar, effects and looping.
In these five long tracks you will experience relaxed arpeggios and harmonies chasing eachother through textures of guitar pads that dilate our senses. And more, reversed phrases, roaring distant low-pitched notes as rumbling distant thunders, powerful reverbed and distorted riffs and chords.
There’s much stuff in this five steps that are simply titled I, II, III, IV, V, a magic digit sequence of a time-warped pendulum…
So sit back in your favorite armchair in front of a sunset, raise the volume, or take your full range headphones, click “play” and listen loud, relax, take a deep breath and count slowly from one to five and soon you’ll be…
– Gaetano Fontanazza
Extransensory Perception tracklist:
Colateral (Fix Ultra Remix)
High Heart
Indebĭlis
Malaki Experience
Long Respect
Sunglasess Warrantie
TRACKLIST:
01. Birds Migration (5:30)
02. Come On Out (4:41)
03. Km 001 (2:40)
04. Pack Your Bags (4:06)
05. Pluck Line (4:32)
06. Power Tripless (3:04)
07. Road To Marrocos (2:36)
08. Shortcut To Elijah (4:04)
This is a conceptual CD. All the tunes in this LP are related to a journey, a given path, a force that drives us away that has no beginning, no ending; it is just a universal force, a way, a wry way, with its twists and turns. It certainly does tell a story. The whole concept is of a wry way that takes shape everyday in ourlives, doesn’t matter where we are nor where we want to go. Each one of the sounds have its own soul, its inner vibration, it’s very self. Apart from all this, they are all linked by a theme, they are tied by a very tide node. This bond or bondage, this attraction of the individuals to a greater reality, all of them having something different to say because they have been through different paths, strange ways, wry ways, like me, perhaps like you too, some day, some time, in the past, present and future.
All sounds on this release were manipulated, arranged and composed by C. Reider, using sound sources provided by Lutz Pruditsch.
Un trabajo gestado mientras el dúo estaba activo, y que quedó congelado una vez que se pierde la conexión, sin embargo, al fin ve la luz aunque lo cierto es que no propone del todo un viaje agradable, sonoramente hablando.
Ragazzi D’inverno fueron un dúo de experimentación sonora formado y disuelto hace unos años atrás, alcanzaron a sacar un EP llamado “Iaio Wheelchair Army” y éste su único LP. rescatamos éste trabajo medio perdido en el tiempo, y poco tomado en cuenta pues nos gusta su sonido, el que aun pasando por muchos filtros digitales sigue sonando análogo y sucio.
DEPERSONALIZATION SYNDROME – DXM (2016)
01. Piano Roll (1:30)
02. Hand Roll (4:49)
03. Break Me Down (5:14)
04. Fade Away (3:48)
05. Project Gleenah (3:40)
06. Some Shit (1:12)
07. Never (4:46)
08. Pussy Balls (4:33)
09. Zero (5:44)
10. Love My Hand (5:10)
Total time: 40:26
All music and lyrics written and performed by Depersonalization Syndrome.
Mixed and mastered by Igor Yatsina.
Album art by Koksma. [https://www.behance.net/koksma]
Links:
http://netlabel.fryvolic.pl
http://depersonalizationsyndrome.bandcamp.com/releases
http://vk.com/depersonalization_syndrome
http://soundcloud.com/depersonalization_syndrome
