Johanes Handjono, Gilang Damar Setiadi, Ian Pramana, dan Rio N Syaifuddin – Bulog
“BULOG” – Proyek eksperimentasi lintas DIY-Jateng.
Lumbung tak semata tumpukan gabah, tapi sistem kemandirian kerja dan karya. Lumbung memfasilitasi dialog lintas generasi, genre, bahkan status sosial. Kehadirannya merupakan tanggapan atas ketidakpastian: perang, perubahan cuaca (kekeringan), guncangan politik dan ekonomi, serta serangan hama. Sekat-sekat improvisasi mencair di hadapan lumbung. Hentakan lumpang kayu (stone morta) beradu raungan mesin giling modern. Lumbung menjadi tempat penciptaan bunyi dengan komposisi khas, kuat, dinamis dan berbeda tentunya.
Revealing complex interplay, embryonic sensorial analysis and epidermal toxic particles under CPU demands, Hypercube sonic display extends to systemic insensitivity, parametric establishment and modular telepathy over side effects of intercourse adaptation and cosmic lobotomy rituals.
This album also features two tracks re-assembled and tumble dried by Zzy and Jab[ber].wock. Vocals FX on track 2 and track 3 by Metalique. This Album is dedicated to the memory of Thomas Denis (Qebrus).
Here is some indeterminate music for vague wars. You may wish to keep it on at a low volume level in the background, perhaps as an accompaniment to reading or even writing. Ignore it. Nothing will happen.
Almost 3 years after the release of his previous album Trois Clous, Kecap Tuyul unleashes some more stuff dating from the same area (2015), developing an intensive use of voice as main sound source, filtered, deformed by effects and sometimes overwhelmed by feedback. Guitar was still here (on 2 of the 3 tracks of the album), providing unstable melodic/droney backgrounds, but often swallowed by spirals of self-dissolving chaos.
Since then Kecap Tuyul has put guitar and voice aside and now mostly uses no-input mixer, in collaboration with various people, and alone under the Failure Circle moniker, focusing on chaos itself, searching for unstable situations, but welcoming the possible emergence of seemingly self-organized sonic forms.
Natalia Kamia, Stewart Miller, and other invisible entities
“We jammed on our little green aircraft”
We welcome back Natalia Kamia on eg0cide, a few years after her collaborative work Cluster with Ayato. This time she teamed up with Stewart Miller from USA Both of them have studied music in academic settings, but in order to expand the expressive potential of their crafts, they have turned to utilizing extended techniques for their main instruments – for Natalia the piano, for Stewart guitars – and using objects/processes that were probably never intended to be musical. All of the tracks from their album “We jammed on our little green aircraft” were compiled from recordings that they had passed back and forth through the internet.
The result of this collaboration is a fresh & intriguing work that deliberately ignores the traditional hierarchies between sounds and focuses on attending to their particularities, without trying to polish them too much. Stewart and Natalia are not afraid of collisions. Their music passes by the non-contradiction principle and the narrow conceptions of music as “harmony”; their sounds dance, float, slip, crash and start running again without following a precisely perceivable logic: you just have to accept them as they come & go. They form a dizzy, unstable world that is in the same time very material and completely unreal, sometimes joyously agitated, sometimes more restrained and plaintive. These tunes often keep some kind of twisted groove, as in some forms of free jazz.
I won’t pretend to know who or what the “other invisible entities” credited as co-creators of the album might be, but having listened to it several times I’ve realized that even goldfishes might learn to sing, and that plants need to pee sometimes. Maybe we just have to experiment with different ways of feeding pianos and guitars ? “Meow!” answered the swinging spoons…
PGR (neither related to an old project of Kim Cascone nor to the Italian band).
Non empathic, annoying, unemotional crap. Medicine for life boredom.
From dynamic to static as-loud-as-possible violence.
Much more minimalist than “Wandering in Dust” that we published in 2015, Carillon, the new album of Doedelzak is made of almost nothing. It will discretly merge with your surroundings and the hidden things of your daily life. Maybe you will not notice it at all, which is fine too.
” Solo Duo Trio #01 : Failure Circle / Godjira / Ugut”
Eg0cide Productions teams up with another french label, Apocope, to organize live concerts folowing a simple format: three parts, one solo, one duo, one trio. Artists are invited to present new projects, and to try to new encounters (for one live set or more). Each concert is recorded, and then made available for free download. This project aims to present a panorama ofthe vivid & diverse french the experimental scene at a given time. All these recordings will be co-released by eg0cide and Apocope’s digital section : https://label-apocope.wixsite.com/apocope/numerique
The first event of this serie took place at La Pointe Lafayette on february 17 of 2018.
It featured :
– Failure Circle (a solo project of Kecap Tuyul aka eg0cide S.A.) : this was his first solo show, using a no-input mixer and effects, creating unstable sound situations that can turn to silence, ears-plitting feedback, irregular beats, deep drones…
– Godjira : Frederick Galiay (bass) & Benjamin Pagier (bass) . Two basses plugged in the same monolithic totem-amplifier.
– Ugut : Augustin Bette (drums), Xavier Mussat (guitar), Basile Naudet (saxophone) : this was their first show, mixing radical free improv with experimental noise-rock infused guitar
Recorded by JJGfree & Benjamin Pagier
Mixed and mastered by Benjamin Pagier
Artwork by Xavier Mussat
Special Thanks to Michèle / Doxa Esta
The tracks 1 & 2 &3 are based on Simenon « La Porte » from 1962, not a crime novel from the master who created Maigret.
The tracks 4 and 5 are based on Silverberg’s « Man in the Maze » from 1969, SF at its best.
The following songs are chants reflecting the variations.
I thank the label for accepting me in the never ending list of great releases.
This album is dedicated to you, for your enthusiasm on new sounds and curiosity.
Your dear I,Eternal
We are so happy to release ‘Noise Band in My Garden‘ by Dako Loop Orchestra and Lezet.
Lezet introduces a true music hero, the inimitable Darko Jovanovic, to the Etched Traumas community, by means of a split/collab “why the dance rhythm? l definitely live in the loop, and I do things the way I should.”
“For some years now, the Córdoban producer Martín Castro, aka MRTN-CSTR, has been surprising us with his creations, ever since releasing his debut album “Kr0m” through Pueblo Nuevo in 2014. This time he presents “((- -SEKU -_- EKU- -))“, an album comprising 7 tracks with an aesthetic he has developed through “patches”, which he designs himself for the software “Reaktor” from “Native Instrument.” These allows him to create an idiosyncratic style, with industrial sounds, granular trips, and glitches, as he develops a penetrating IDM with intense and sometimes devastating environments that make us think for a few minutes that we are in an empty and abandoned city, where only robots live and humans are extinct.
With a sound marked by broken and changing percussion, approaching that of new-acid, “((- -SEKU -_- EKU- -))“, produced by one of the most talented current musicians in Argentine electronics, is a highly recommended album.”
(Valparaíso, Chile. Marzo / March 2018).
Onde Poussière is the experimental / free improvisation duo of Doedelzak (analog synthesizer) and Kecap Tuyul (prepared guitar (2015-2016), no-input mixer (2017-…))
ThaBaaz was born in 1974, classical studies of percussion instruments and acoustic drums, disparate musical interests: from dodecaphonic serialism to minimal electronic and to the IDM, just to expose only a few. His latest project, the most articulated, is entitled -reb0und- , it’s a concept album, year of creation 2008, 59 minutes of frequencies collected in 2 Suites respectively of 4 and 3 movements, 13 tracks; “an ascent in the disturbed darkness from fragments of noise “.
The work evokes a “system” at its last stage in fast introversion, the disruption is massive, directed to the chaotic darkness, to the cold disorder towards the “non-human noise”.
The solar and luminous scenarios of the 2 movements of the first Suite curve and slide rapidly into the deep “interior”; the “musical form” that we had known so far is running out; we are at the end of “music” (in the broad sense of the term) heading for an authentic solitude of bright dazzles in nocturnal and deserted isolated, non-systemic, atypical highways.
The second Suite invades the soul: the existential fear is director, places the audience constantly on the edge of a chasm, dissolves the last “fragments” of the “conventional” themes at the beginning and separates them, dissolves them in Larsen of frequencies strongly destabilizing.
The Metaphysics is the central theme of Suite II, we try to “portray” the inaudible sound spectrum, we try to recreate the “end” of every tangible empiricism; to this complex task we use sound generators, krell patches, collages (samples) of contemporary (musical genre) and what transcends the traditional and academic: structure, melody, harmony and metric they are almost totally “informal”.
ThaBaaz in -reb0und- inserts and “deforms” short phrases and solos (woodwind, violin, piano) taken from works by important exponents of contemporary music and avant-gard of the ‘900 (Pierre Boulez, Edgard Varése, Igor Stravinsky) with these ” citations “stands out, beyond the importance of innovation of such masterpieces, the multifaceted contribution to music in all its expressions; importing them in “foreign” contexts and distant from their origin (virtual modules, oscillators and automatisms of envelopes) are colored by oppressed and gloomy tones that we could approximate to those of the dark ambient genre but not only, can be identified (in the whole album) serialism (musical current) that translates into these generic guidelines: avoiding repetition and symmetry at all structural levels by working with a limited number of compositional elements for each musical cell (in the piece). This in order to synthesize and label, describe in a few lines the supporting columns of -reb0und-.
We need the “tradition” of the avant-gard itself to search for another.
The work does not present rhythmic and percussive lines, only in 2 pieces we recognize some measures in sinusoidal pulsations, this almost total “rhythmic absence” has “freed” the time from the usual role and task of metric and timbral constant, repetitive, “symmetrical” quantization “.
Using an exquisitely didactic vocabulary: the crown, the breath; the almost absolute absence of timbral pulsation reiterates itself emphasizing, emphasizing the incessant sound disruption that takes place in the succession of the two Suites before the listener.
Last but not least, the final mastering part was followed with “meticulous” attention by Kill KRT (friend of the author of -reb0und-) who tried to “accelerate” some “dissonant” color both on the timbral dynamics and on waveforms.
From the “warmth” of the wave (sawtooth) to the “emptiness” of the white noise; to you -reb0und-
I follow subtle seismic ambient vibrations that immerse me in a deep state in-between the world of dreams and the dream about distant worlds covered in a fog of colours.
Rhythmic and slow landscapes.
The sound is sometimes described as slow IDM. The distinct feature of the album is that only a few tracks have real drum samples, however, almost all of them are quite rhythmical. Rhythms are created just the way J. M. Jarre did that on “Zoolook” – using weird sounds, pulsing synths, and very clear melodies. Due to the lack of easily recognized drums, the album is sometimes ascribed to ambient, however, I’d call it “seismic ambient”, because of extremely heavy basslines.
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