Reasoned study
(Fuddy duddy)
Strives to make the truth
less Muddy.
It requires
Time and Space,
Focus, Logic –
we must Brace
Ourselves to sheer
Discordancies,
yet Understand
they are To Be.
Featuring synthesizers, drum machines, electric piano, shaker, and vocaloid.
Igor Levshin: Voice, Guitar, Bass, Virtual ANS Synth, Flute.
Kirill Makushin: Voice, Accordion (Bayan), Mouthorgan
Alexei Borisov: Bass, Guitar, Drums, Analog Synths, Tape Recorder.
Ilya Gnoensky – Piano
Pavel Sheveliov – Didgeridoo, Bass-Clarinet
Design by Natalia Levshina
Music / Performed / Recorded / Mixed : Fake Cats Project, 2016,2018
You are the reason I believe this Reality is such a waste.
You believe the euphoria about a lie you are special.
You become the noise in the music of the universe.
You remain the same fantasizers of nice and fuck.
I wish you all be dead.
Part 8 out of 8 from Joy of Creation.
If you keep making music about discovery, we will make the Reality in which you live so miserable, you will not have any joy in exploring it.
The spawn of an alter-ego for this euphoria infested world of liars, to feed it a mandatory supply of garbage to make them fuck off, in order to have time for what makes it worth the effort.
The album is trying to disguise itself in what this Reality prefers and completely fails.
Part 7 out of 8 from Joy of Creation.
In October 2023, a number of artists submitted tracks for a compilation project intended to serve as a time capsule, set to release exactly a year later. While some artists drew connections between their work from the 1980s and the present day, others included messages aimed at the future, meant to be read in 2024. This project served as an exploration of timelessness, with each artist’s perspective on their work being deeply personal and not easily shared with the outside world. Their inspirations varied — some drew hope from the past, while others tackled their fears. For a few, it turned into an exercise in nihilism, as they stripped their work of all meaning to reflect their views on the world, offering a glimpse into their personalities. And, others expressed a desire for drastic changes to make the world safer.
Artwork & Mastering: Origin_Blueprint.
Layout: Aria Argento.
Composed and produced by René Muñoz Córdova.
Cover art by René Muñoz Córdova.
Field Recording by Gosha Solntsev.
Seems this is part of a trilogy with Bukowski-A-Go-Go & Curse Of Knowledge
Still two days to take action as musician or fan “Over 600 musicians are speaking out to demand that major labels drop a lawsuit aimed to destroy the Internet Archive—and for their industry to take concrete actions to realign their actions with the interests of working artists. Sign their open letter now to show your support.”
https://www.savethearchive.com/
This is a little tribute to Internet Archive.
Musical Improvisation recorded live in October 2024 at the Cave Heaven in Foucherans.
Special Thanks to Enola for her hair extensions…
And also don’t forget to visit Radio Free Albemuthorsnorme ^^
https://www.horsnorme.org/Radio_Free_Albemuth/
This is what people said about this music and what this music said about theirs.
You want all music to be about euphoria to fuel your fantasy driven life, while this music is about the joy of discovery, to fuel the exploration of the way this universe operates.
It’s boring to you, because you like to fuel your euphoria driven fantasy. Your music is boring to me because it is all the same – tup tis to tis.
Part 6 out of 8 from Joy of Creation.
Inscrutable, ineffable, and just beyond our ken. The range of understanding, from without and from within – is not quite up to snuff to grasp all that there is to know. The Right Amount of Purple will illuminate the show.
Featuring something, with effects.
Luneta Freedom Jazz Collective is an experimental jazz group from Manila, Philippines. Their first studio album “Ethos”, was recorded and released in 2015, followed by “Inland Empire” in 2017. In 2021 the project debuted on Mahorka with their third album, “Slaves and Masters”.
“Mga matang pumipikit sa langit” (translates to “Eyes closing to the sky”) is their fourth album and second on Mahorka, released December 7, 2024
“Mga pinagbabatayang kaisipan at paniniwala tungkol sa pinakapuso ng kalikasan ng tunay na nandito at umiiral, na nagsisilbi namang pinakasahig ng iba pang mga kaisipan at paniniwala.”
The album as a whole is grounded on the profound engagement with the foundational ideologies and convictions concerning the nature of that which genuinely exists and prevails, serving as the primary basis for all subsequent thoughts and beliefs that underpin human thought and belief. Offering a nuanced perspective, each moment delves into different facets of human cognition, reality, and perception, mirroring how foundational ideologies about reality shape and are shaped by these elements.
Luneta Freedom Jazz Collective are:
Hamzah Nubia – Guitar
Rahiem Tashan – Percussion
Althea Segunda Katigbak – Keys
Akilah Marasigan – Sax
Dustin “Xenokrates” Bones – Bass
Maleeq Ras Nashiem – Drums/Theremin
Artwork by Maleeq Ras Nashiem
Igor Levshin – Virtual ANS, Guitar, Upright Electric Senkov Bass
Alexei Borisov – Various Synths, Guitar, Radio
Sasha Zayats – Toy Electric Drums
Kirill Makushin – Voice, Accordion
Music / Performed / Recorded / Mixed : Fake Cats Project, 2024
Noisy and chaotic experiments with where the music starts in the presence of sounds.
Material which is not preferred is the definition of noise. What makes music become noise? When it plays something that is not expected?
What if nothing is being expected, but it is just an experiment of things that did not become music yet? A by-product of exploration of how to explain an idea, before it has manifested.
Part 5 out of 8 from Joy of Creation.
An experiment with functions the composition and sound design take in communicating the idea of music.
All of the tracks share the same lead melodies and most of the patterns, but they use completely different samples.
Which part of the music remains the same? The ideas or the ways they are perceived? If the perception is different, how do you know the ideas were the same?
Part 4 out of 8 from Joy of Creation.
Calvary, the latest work from the Japanese project Mimamamis, is a deep dive into the abyss of harsh noise, a true auditory calvary that pushes the listener to the limits of sonic endurance.
The album, consisting of just three tracks, brings chronic feedback, massive distortions, and extreme saturation. Each track is an attempt to force the listener to confront the discomfort of repetitive, brutally compressed sounds.
Mimamamis makes no concessions, and the result is a work that approaches the concept of calvary: an unrelenting journey that is difficult to endure, yet fascinating at the same time. In terms of structure, the tracks of Calvary are minimalist, but not in a conventional sense. They slowly build in heavy layers of noise, creating a sense of suffocation and oppression.
In summary, Calvary by Mimamamis is a radical work within the harsh noise genre, distinguished by its ability to provoke discomfort, pushing the listener to confront their own emotional resistance to the brutality of the sound.
Hybrid Rain and Liquid Paper’s music is a unique blend of experimental and avant-garde styles. With James Hill’s expressive trumpet melodies and Hans Catstrup’s innovative soundscapes, the music explores unconventional sonic territories. It’s a journey through abstract textures and spontaneous compositions, merging organic and electronic elements for a truly distinctive auditory experience.
Released October 26, 2024 as free (cc) digital download and beautiful limited Digipak CD edition.
Hans Castrup – Electronics, tapes, field recordings, studio
James Hill – Trumpet
Carla Worgull – Digital processed voices on track 3
Martin Englert – Mastering at Elektromos Studios
Trumpet recordings at TCAB Studios by James Hill Recorded 2023.
Images by Hans Castrup
Artwork design by Ivo Petrov and Angel Draganov
download album / download flac / donate to zaman international*
release date: October 5, 2024.
Saxophone and objects: Raymond MacDonald
Saxophone and objects: Robert Burke
Double bass: Una MacGlone
Theremin and cello: Jessica Argo
Percussion: David Robertson
Piano: Maria Sappho
Recorded by Murray Collier on April 10th 2024 at La Chunky Studio Glasgow
Mixed and Mastered by Robert Burke
I remember from childhood; my favorite section of a river walk we’d do most Sunday afternoons. The path became stonier, it started twisting, the trees and undergrowth became taller and denser, enveloping the space. I loved the feeling that I was leaving the familiar. I would always imagine that the path itself could decide to change and then I could move to a different river, a new town.
Rob is coming from Australia to stay with me, and we make preparations to record together. Emails and phone calls ensue as I try to confirm where and when to record, and who is available. The dates, times, location and personnel evolve and change, and even on the day itself I am not quite sure exactly who will be there and what instruments will be played. As the day unfolds people come and go as their schedule permits. Surprise appearances are made, and the music ebbs and flows in response to the arrivals and departures and, of course, the banter.
My train was canceled so I find myself in Glasgow for an extra day. I need some clean clothes and more importantly some piano preparations… Off I go to the local friendly hardware man who is baffled by my explanation of looking for things for inside the piano. I find a lovely orange three piece suit in the charity shop. I spill coffee all down the front of said new suit and I dig about in the piano with clothes pegs and steel rods… grateful there are string players with some rosin to share.
Going out to work with my bass is moving down three flights of stairs, making tiny changes in angles, carefully carrying, left hand tracing the wall on the way down. We move together.
My experience of this collaboration feels like an extension of friendship. It began with Raymond through our ongoing musical and research collaborations, then extended to Maria, and more recently to Jessica and Una. I met David on the day of the project! The lead-up was centered around the idea of coming together to create something – improvisation is how we function, and that’s exactly how it unfolded. We improvised every step of the way, from planning to recording. The music we created was entirely improvised, with each of us bringing our shared belief that improvisation lies at the heart of our creative expression. We thrive on the chaos of getting the studio organized and then arriving. Excitement about what is possible. Creating new extensions and understandings of our relationship with one other. Total trust in the music, the process and each other. Is there any other way?
Out of the door, one of hundreds of ritual journeys walking towards the space, not knowing, never knowing exactly how it will be. The walk is time traveling, the space connects to all of the other improvisations, and creative connectivity. The people, the stream of music.
Searching over a bridge crossing the river, a tunnel over the trains, bike over the road, following a feeling and a burrito.
I returned to lachunky, or as I call it “my living room” for what must have been the 100th time. I am used to rehearsing and recording fixed repeatable protest songs for activism… but I was so excited as the room filled with string instruments, synthesisers, saxophones, hardware store contraptions, childrens toys, world instruments and multiple saxophones to play whatever arises – playing the theremin led me to weave my arm over, round and under other players, our limbs tangling like branches, the cables like vines…
From start to finish two constants keep our confidence and spirits high. The friendships that we all share, and our trust in the process of improvisation. The music is improvised, and any situation that arises becomes an emergent feature of our recording and gently folded into the music. We trust this process completely and implicitly. Our friendships not only mean we trust each other with our artistic vulnerabilities and give each other permission to be what we want and need to be in the moment, but our friendships also facilitate the music to flow from the joyful community we are part of. We look forward to and revel in the joy of being together in the music. Improvisation and community are what makes this encounter joyous and rewarding.
Crossing the road, through the tunnel, the cobbles are uneven. On the wall someone has graffitied ‘shaking voices raised together are loud and beautiful’
As I dash off to my new train I realize I have forgotten my purse… another missed train.
An exploration trying to answer a curiosity-driven question – what distinguishes a combination of sounds from music?
Why do we like certain tracks and why do we make them like that in the first place? Experiments with engagement in music, to find out why the enjoyment that comes from listening has nothing to do with the joy itself.
Throughout the album, it becomes apparent that it has something to say. It is a communication.
Part 2 out of 8 from Joy of Creation.
The starting point of musical discovery, using the signature step sequencer of Fruity Loops 3.
Quirky and weird experiments with sounds, with no intent to tell anything at all. A fun activity for a five year old, having no other purpose than enjoying the endless ways to experiment with samples and composition.
The album develops the idea of engagement in music out of enjoyment, which turns the fun activity into something meaningful.
Part 1 out of 8 from Joy of Creation.
