Grid Resistor – Beta

[enrmp406]

Grid Resistor

“Beta”

Beta is the second of a series of releases by Grid Resistor, the new project of Thomas Park (also known as Mystified or Mister Vapor). Grid Resistor focuses on using field recordings of machines, weaving post-industrial ambient sounds. Best consumed with headphones. Photo by Jimmy Gunawan.
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Amorgos Soundscape – Nikos Theologitis / Stamatis Theologitis / Giannis Theologitis / Antoni Robert

[ET116]

Nikos Theologitis / Stamatis Theologitis / Giannis Theologitis / Antoni Robert

“Amorgos Soundscape”

The notion of folk culture has definitely been transformed through the course of the centuries. More particularly, tradition and its authenticity and spontaneity in the context of orality seem somehow to have been mutilated and reconstructed, as soon as globalization and multiculturalism became one of the dominant discourses during the 21st century. Folk songs haven’t been an exclusion in this particular case, as revivalism and folklorism have emerged as a devastating force in the production of folk music. In “Amorgos Soundscape” by Antoni Robert, a paradox occurs: One could say that these folk songs are seen through the eyes of a foreign visitor and the recording could be seen as an exotic sound diary of a trip on a Greek Island. On the other hand, Antoni Robert’s recordings of the Theologitis’ family of musicians reveal an impressive approach on the concept of orality and its proud survival in the Greek folk culture.

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

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Nacho Jaula – Hombre​,​tierra​,​madriguera

[PT059]

Nacho Jaula

“Hombre​,​tierra​,​madriguera”

Nacho Jaula: Guitar,bass,percussion,objects,field recordings and atmospheres.

Recorded,mixed and mastered in Málaga
Winter 2015.

Art work: Nacho Jaula

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STREPITVSITVS – Valore Neutro

[brhnet48]

STREPITVSITVS

“Valore Neutro”

STREPITVSITVS is the new realisation of musical duo ASOLANMAC PROJECT and meant to be a sort of inner self-reflections as well as a very personal study about environmental connections between people and places: the focus is set on the Montello hill, near the Piave river, pretty close to our hometown. It’s a really peculiar site, where nature, hystory, legends and mysteries are all mixed up together in a unique way. This piece of music fully represent the feelings we share about it and express also the will to define the whole thing like the primal step of an introspective journey through memories and sensations, inspired by that magical location, under the form of an audio description.
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METEK & Artificial Memory Trace – Dynamic equilibrium

[PT058]

METEK & Artificial Memory Trace

“Dynamic equilibrium”

Dynamic equilibrium
by METEK & Artificial Memory Trace
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Juan Antonio Nieto – Black Sand


Red Kite – #1

[pn119]

Red Kite

“#1”

“Red Kite” (‘Cometa Roja’ in Spanish) is a project by Sergio Sánchez, sound artist and anointed experimental musician in Murcia (Spain), that is born from the need to bring together several of his scattered works that did not follow the aesthetic criteria of his better known alias, ‘Jazznoize‘.

These compositions are differentiated by the use of distinct sound sources. While with ‘Jazznoize‘, the principle element for sonic experimentation is the field recording, with ‘Red Kite‘ it is precisely the opposite, electronic music as a compositional basis for generating sound structures that participate in what Kim Cascone called ‘Aesthetic of error’, centered on the less complacent drone and ambient genres. The post-digital sounds, with the use of software and instruments such as samplers and some low fi synthesizers, are the principle reference coupled with a Marxist ideological posture in the conception of his works.

An example of this is his new work under this pseudonym. It is titled ‘#1‘, and brings together topics inspired by some moments of the twentieth century, such as the revolution in Germany organized by the Spartakus League, or the Argentine dictatorship with his criticism of the 1978 World Cup that celebrated goals while a genuine genocide and the suppression of liberties was occuring, and also the revindication of revolutionary and anti-imperialist Marxism by a well known figure, Ernesto Che Guevara. The other two recordings move away from the political commitment to concetrate on highlighting figures like the composer Eliane Radigue. And in the case of ‘Olimpo’ (Olympus) it is a stylistic exercise, a simple re-reading of the previous themes using samplers from some micro-sounds. The most significant influences for generating the textures of ‘Red Kite‘ are Oval (his first works), Tim Hecker, Fennesz, Adam Pacione, Alva Noto, but with an isolationist edge in his sound and with a sense of repetition as a nodular element that redirects the noises and the melodies of his compositions.”

Sergio Sánchez
(Murcia, España / Spain. Abril / April, 2017)

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The Cherry Blues Project – En Tránsito

The Cherry Blues Project

“En Tránsito “

The Cherry Blues Project – En Tránsito

Noise Ladder – ILYA

[eem016]

Noise Ladder

“ILYA”

Feeling noises by interlacing sensuality and poetry into abstract and raw sounds. A beautiful music, which is noise. Released as limited edition of tapes with hand painted covers. A true piece of art.
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Dallas Simpson – A Short Journey of Silica

[PT052]

Dallas Simpson

“A Short Journey of Silica”

This work explores a shift of perspective from my current work. By including of elements of personal vocal narrative, which were first explored in ‘abha’ (1995/6), this work emphasises the presence of the artist as an archetypical environmental occupant and participant, a principle that lies at the heart of my work. In the first movement improvised location performance, often a major feature of my work, is reduced to a mere, but significant fragment. In the 2nd and 3rd movements, there are further environmental observations from a personal perspective tracking a particular trajectory of silica usage through human activity.

1st Movement – Crucible.

Silica immersed in the crucible of natural forces. The sea as a dynamic, wave-active element, with the destructive forces of rolling, the breaking and grinding of flint and chert stone, wave motion stresses produce sand over millennia – the raw material containing silica from which glass is manufactured. The human presence has metaphoric as well as literal significance in the responsible and sustainable use and management of this and all our natural resources.

2nd Movement – The Milk Round.

Part 1 – The Dairy Crest Depot.. Preparation for delivery, organization, distribution. The constructive and organizational forces of industrial, metal, mechanical motor motion operate together with human activity where silica is integrated as recyclable packaging for a consumable product.

Part 2 – The Milk Round Delivery. Silica embedded as container vessel within human, animal and mineral, intrinsic and extrinsic elements. Human activity takes place within a context of a wider urban ecosystem, with allusions to the co-existence of animal and human social behaviour in conversation.

3rd Movement – The Glass Collection. (Contains very occasional strong language.)

Following usage and consumption, silica disposal now becomes a recycling process as part of local government policy in an urban social context.

Notes.

1st Movement – Recorded on location at Milford on Sea (17/11/16), 2nd Movement – Recorded at Dairy Crest, Nottingham (21/09/09), 3rd Movement – Recorded at Carlton, Nottingham (05/01/17).
The artist would like to thank Dairy Crest and operative Pete for permission to record on their premises and in the electric milk float. All recordings were made in a single take live on location and have been edited for this work using Cockos Reaper software.

Recorded in binaural stereo using custom in-ear binaural techniques. Microphones DPA4060, recorders Tascam DAP1 (2nd Movement), Sound Devices 744T (1st and 3rd Movements). Optimised for headphone listening.

dallas simpson, january, 2017

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Machete Oxidado & Atrio Serenade – Aroma (feat. nigul)

[brhnet47]

Machete Oxidado & Atrio Serenade

“Aroma (feat. nigul)”

A long length piece composed by Machete Oxidado and Atrio Serenade incorporating field recordings by nigul, a deep musical soundscape with the power of create a singular atmosphere.
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Miquel Parera – 41.367452,2.129005

[mnSP001]

Miquel Parera

“41.367452,2.129005”

Field recordings. Almost silent places. One hour.
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Luís Antero – Sound Places: Serra do Açor, Vol. 1

[PT047]

Luís Antero

“Sound Places: Serra do Açor, Vol. 1”

Este trabalho sonoro foi produzido com base em gravações sonoras de campo realizadas na Serra do Açor, nomeadamente na Mata da Margaraça – Área Protegida da Serra do Açor – e nas aldeias
de Monte Frio, Porto Silvado, Pomares e Gramaça, pertencentes aos concelhos de Arganil e Oliveira do Hospital, respectivamente.
Sound Places: Serra do Açor, Vol. 1, como o nome indica, constitui o primeiro trabalho de uma série dedicada à Serra do Açor e a algumas das suas aldeias.
As paisagens e marcos sonoros que as compõem, que delas
fazem parte e lhes conferem identidade, são a base de trabalho para esta série, no seguimento do trabalho artístico de arquivo e documentação sonora que venho desenvolvendo desde 2008, apelando igualmente à escuta criativa dos lugares que fazem parte deste território e a um conhecimento sensitivo dos mesmos.
Assim, uma vez mais, dá-se a conhecer a Beira Serra através
da arte dos sons, na sua multiplicidade e dinâmica sonora. Uma Ruralidade Sonora, que se sente.

This sound work was produced based on field recordings performed in the Serra do Açor, namely in the Mata da Margaraça – protected area of the Serra do Açor –and in the villages of Monte Frio, Porto Silvado, Pomares and Gramaça, belonging to the counties of Arganil and Oliveira do Hospital, respectively.
Sound Places: Serra do Açor, Vol. 1, as the name indicates, is the first work of a series dedicated to the Serra do Açor and some of its villages.
The landscapes and sound frames that constitute them, which are part of them and give them identity, are the groundwork for this series, following the artistic work of the archive and the sound documentation that I have been developing since 2008, also appealing to the creative listening of the places which are part of this territory and to a sensitive awareness of them.
Thus, once again, one gets to know Beira Serra through the art of sounds, in its multiplicity and sound dynamics. A Sonorous Rurality that one can feel.

‘Please, listen with headphones’

Luís Antero – field recordings, sound composition, photos and text
Locations – Mata da Margaraça, Monte Frio, Porto Silvado e Pomares (Arganil); Gramaça (Oliveira do Hospital) | Portugal
Date of recordings – october and november 2016

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Jimmy Watt – Silent Door To The Fall

[PZO006]

Jimmy Watt

“Silent Door To The Fall”

His work methodology focuses mainly on the capture, extraction,
editing and storage of audio samples from different sources.

Transforms, relentlessly, curtails, beheads and sews sound works
from different backgrounds and authors, providing the glue that comes from analog-digital instruments and audio processors and resulting in a “sound narration” split into parts.

His sound works do not drop below 20 minutes for just such narrative,
where there is a development from defined introduction to epilogue.

Detests the “digital finishing” of sound with a computer. For that reason dirty, gnawing and saturated sounds prevail (but without spoiling the record), thus achieving kind of a sound archeology.

His creative concepts pursues mysticism, the occult, time,
religions, the process that leads to contemplation,
the silence, the pause, the suspension, death and upstarts.

About mini-album: “Are two works from 2014 which were remixed to form a single track. In both works the main concept was the phenomenologies of the suspended, the aural and the paramelodics.” Jimmy Watt

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Alejandro Albornoz – Fluctuaciones 3: Live Electronics

[pn114]

Alejandro Albornoz

“Fluctuaciones 3: Live Electronics”

In addition to the publication of the album “Fluctuaciones” (“Fluctuations”) in its physical CD version (pncd11), two online albums are included that can be accessed on the Pueblo Nuevo Netlabel website, “Fluctuaciones 2” (pn113) and “Fluctuaciones 3: Live electronics” (pn114).

In regards to these albums, the time span covered is around 12 years of production alongside the pieces for the CD, several of which were revised during 2016. Although the new ones were completed in 2015, they form part of a collection of works in course, so I understand them as related.

“Fluctuaciones 3: Live Electronics“, contains just the material that belongs in this very distinct genre, and includes 3 live improvisations (2009, 2011 and 2014). Although at first listening the materials are clearly close to the sonorities of acousmatic works in general, the treatment, especially their articulation over time, is of a different nature, due to the necessity and challenge involved in reproducing, generating and processing sound materials in real time.

The three pieces were created with laptop and synthesizers. I also consider these works to be of some value, although largely as a historical attraction in my career and they are intended to record the interest I have for this technique and aesthetics.

Alejandro Albornoz
(Sheffield, UK. Noviembre / November 2016)

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Mauro Sambo – Quel mutamento era il primo di una serie infinita

[PT043]

Mauro Sambo

“Quel mutamento era il primo di una serie infinita “

It has been almost two years since our first release, and we would like to honour the occasion with one more release by Mauro Sambo, two years after his initial release with us. So, special thanks to Mauro, who accepted our invitation one more time and entrusted us with his marvelous new work titled “Quel mutamanto era il primo di una serie infinita”, a special project dedicated to his father.
20 tracks, 20 photos, each track 2’22” long.
PEACE FOR ALL (no borders, no discrimination).
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Dallas Simpson – Skegness Lagoon Walk / Gibraltar Point – Improvisations

[PE09]

Dallas Simpson

“Skegness Lagoon Walk / Gibraltar Point – Improvisations”

Field recordings and improvisations recorded at Skegness on the East coast of England.

1. Skegness Lagoon Walk: Wind, Seascape and Improvisation
On August 2nd 2016, at around 6:10pm, while on holiday in Skegness, a live location performance soundwork was created at the Lagoon Walk location.

2. Gibraltar Point: Wind, Seascape and Improvisation
On August 4th 2016 a live location performance was created on the shoreline at Gibraltar Point Nature Reserve at about 9:30am featuring a short walk from the vegetated dune area by the beach to the tidal edge and back to the edge of the dunes.

3. Gibraltar Point Car Park Windscape (vignette)
Recorded in our car on the 4th August 2016 in the Gibraltar Point Visitor’s Car Park shortly before our return home to Nottingham. I discovered by accident that when the driver’s side car door was just ajar a strong wind noise was heard. It was ‘blowing a gale’ at the time. As I had my full binaural recording rig at hand it was too good an opportunity to miss!

Dallas Simpson is an environmental sound artist and has been recording and performing live on location since the mid 1990s. Recordings are exclusively in the binaural format for headphone listening recorded using in-ear custom modified DPA4060 microphones. He engages with locations observing soundscapes and performs live using found objects and surfaces.

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Boss, Sambo, Chagas, Nobara & Silver T. – A fragile balance (Fourtounis)

[pn112]

Boss, Sambo, Chagas, Nobara & Silver T.

“A fragile balance (Fourtounis)”

Pueblo Nuevo Netlabel is pleased to present “A fragile balance (Fourtounis)“, album from multicultural improvisation group Boss, Sambo, Chagas, Nobara & Silver T.

“‘Fourtounis’ is the name of the local seafood tavern (that serves more than just seafood) where I indulge in the habit of sitting and relaxing during the summer afternoons (as well as during other times of the day and other times of the year), after a refreshing swim in the sea.

‘Fourtounis’ is the name of the place where I sit enjoying the company of my wife Christina and my friends (more than friends actually, my brothers I should say), Christopher the Lawyer, Thomas, Giorgos and Kostas the Teacher. There we meet to drink ouzo and chat about everything imaginable.

That is the place where, one afternoon, quite possibly under the influence of the drink, I had an idea: listening to the sound of the sea and contemplating the rocky shore, I got out my drumsticks and my brushes and using those accessories as well as my bare hands, I improvised on the rocks, the sand, the pebbles and the water. It was an idea that at first seemed really simple but proved to be quite challenging, since, besides actually playing and improvising, I also had to negotiate the rocks on which I was forced to balance.

I really don’t know if I succeeded, but the most important thing is that through the music I managed to gather around me some special friends and wonderful musicians, whom I thank from the bottom of my heart for their invaluable help:

Matthias Boss – Violin.
Mauro Sambo – Alto sax.
Paulo Chagas – Oboe.
Rogelio Nobara – Acoustic guitar.

I would also like to thank the whole “Fourtounis” team, who allowed me to use the name of the establishment and who didn’t laugh at me too hard watching my struggles to balance and stand upright on the rocks: Sotiris, Dionysis, Babis, Grigoris, Joe the Terrible, Anastasis and Antonis for his magnificent photos.”

Chris Silver T – Field recording, objects.
(Athens, Greece / October 2016)

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Wings of an Angel – Sexuality As The Birth Of Sublimation

[Self Release ]

Wings of an Angel

“Sexuality As The Birth Of Sublimation”

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F600 – Dos Puertas y un Puente para una Banda Sonora

[pn111]

F600

“Dos Puertas y un Puente para una Banda Sonora”

Pueblo Nuevo Netlabel is pleased to present “Dos Puertas y un Puente para una Banda Sonora“, album from chilean musician and producer F600.

“The most recent work of Miguel Conejeros, aka F600, corresponds to the soundtrack for the artistic installation “Dos Puertas y un Puente para una Banda Sonora (Two Doors and a Bridge for a Sound Track),” a collaborative montage between Miguel and the artist Rodrigo Vergara. The work, which combined sculpture and music, was exhibited in the International Museum of Chile – Gallery MICh, in Santiago, Chile, between the 17th and the 24th of June 2016.

The sonic montage in its original version was developed in a multichannel (5.1) format, in order to be appreciated by the viewer/listener as he or she transverses the space of the exhibition, where the sounds are released from the four corners of the hall, projecting a sensation of spatiality and movement, in contrast to the apparent inertia of the sculpture.

In the words of Sebastián Riffo, Director of the Gallery MICh, “The pieces exhibited were erected from the concrete, free of abstract sentimentalisms, interior life and/or conceptual and/or symbolic over-determination. They were there, alone, supported above structures of metal in order to say nothing. They wouldn’t share stories, messages, nor morals, they were only embedded in our floor and extending themselves through space. Of a palpable nature, realizing distinct material layers and sounds, as if dealing with geological strata; enigmas impossible to resolve without the help of an attentive ear and a dilated interest.”

This disc contains a demonstration in stereo of the work of F600, valuable as a historic register of the creative processes of Miguel, moreover, it provides the listeners the possibility to appreciate in a new instance the materiality of his sounds, those that are capable in and of themselves, of telling us this and other stories, of opening doors and laying new bridges.”

Mika Martini
(Santiago, Chile. Octubre / October 2016)

REVIEW:

“The intimate and unrepeatable process of the construction of this piece is captured through the sounds that inhabit the studio.

They are the acoustic frequencies from the manipulation of the distinct elements that raise the scaffolding of this sound track.

Much like the materiality of a sculpture is intervened with pigments, molds, and tools: the captured sounds are processed electronically and digitally, imprinting their own character in the result.

‘Dos puertas y un puente para una banda sonora’, is an exercise in congruence between materialities that plant themselves like a tale of a tactile, optic and acoustic construction in order to be traversed, contemplated, and inhabited from their interior.”

Miguel Conejeros (aka F600)
(Santiago, Chile. Junio / June 2016)

Rodrigo Vergara:

Visual artist. He has participated in more than 40 expositions, including 6 individual. His work has been shown in diverse countries in Europe and America, and he has also been published in more than 25 media specialized in art, as much in Chile as foreign. He has obtained three distinctions in concourses and 5 state financed grants. He has realized residences in Brazil and Argentina.

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