Mental Escape Pod – silent series VI

[ACPC 1006]

Mental Escape Pod

“silent series VI”

live @ re:flexions – silent series ° Ganze Bäckerei, Augsburg, 07.10.17
recording, mastering, photography and design by EMERGE

Mental Escape Pod
alias: Dabit Vocem Austria; Oni_pelted_by_beans; Das Rheintaler Nachtwerk; Felix Montfort;

Born in 1977 in the far west of Austria, life for a hungry littlev electronica nerd was hard. My electronic music life started at the day I saw Aphex Twin’s “Come to Daddy” at MTV. In the next 2 years i collected what I got and also found some really relaxing works from him and other artists. With the purchase of Aphex’ “Selected Ambient Works 2” I jumped into soundscapes and Ambient sounds. In 1998 I started making own noises with a tracker and some free ware sounds. Then some personal problems kicked in 2002 and I did nothing until the winter of 2009/2010. In December 2010 Dabit Vocem Austria was born and 1 year later Mental Escape
Pod followed. And it never stopped until today.

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ref/inter – /inter

[EEM024]

ref/inter

“/inter”

/inter is an album based on a certain visuality of sound. It has various sounds in it (field recordings, instrument samples, pure frequencies, and glitch/feedback noise), however, the core of this album was an experiment – an analog connection of sound and image. By sending a sound signal to a screen in such a way as if it were visual information the screens started to show imagery and by testing four different approaches towards using sound and testing how they look in this particular connection /inter was formed.
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PHONOGRAPHIA – live @ lab​.​30

[ACP 1122]

PHONOGRAPHIA

“live @ lab​.​30”

ONLY AVAILABLE FOR A LIMITED TIME !

performed live @ lab.30 festival
abraxas, Augsburg, 27.10.17

thanks to Martina, Barbara, Julia, Gerald and the whole lab.30 crew !

photography by Tilmann Jakob
recording, mastering and design by EMERGE

performers: szmt, Acid Discharge, EMERGE

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C. Reider – Listening After the End

C. Reider

“Listening After the End”

“Listening After the End is a study of one’s immediate environment, of the resonant potential of what surrounds us. A frozen stream. A passing train. A ceiling fan. The wind. A cat plays; someone sneezes; an autoharp lets out a long hum. These vignettes–textural, spacious, and sonorous–are wonderfully evocative pieces that, when taken as a whole, form a vibrant sonic life, one that revels in the animus to be found in even the subtlest of things.”
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Lynlee – Words in the Winds: Sounds

[PT063]

Lynlee

“Words in the Winds: Sounds”

‘Words in the Winds : Sounds’ is the new collaborative series by
Chris Lynn and Una Lee. The project rose from recognising that
we as field recordists often try our best to disguise our presence
within the sound recordings despite the fact that their mere
existence implies the involvement of human activity. As a result,
we started to mark our presence through reciting our original
haikus and poems, whilst making the field recordings, the
content of which were based on or inspired by our sonic
surroundings.
Each track effectively contains a short poem written and recited
either by Chris or Una, which would be sent to the other who in
exchange would create an accompaniment whether in a musical
format such as piano or vocal improvisation or with another piece
of field recording as a response.
This process is an evolved version of several projects previously
and currently conducted by the duo, such as ‘Miniature
Landscape Correspondences’ and ‘Word in the Winds’, the word/
image-based project in which an image was sent from one to the
other person who subsequently would respond to it with a short
poem.

Artwork: Chris Lynn and Una Lee

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ps – Finding My Own Way Back Home

[enrmp408]

ps

“Finding My Own Way Back Home”

Latest album by our staff member ps, mixing influences from drone, dark ambient, shoegaze, indie folk, psychedelic, noise, experimental, ethereal, celestial ambient, field recordings. A little bit of everything in an album about the hardships of finding your own way back home. Photo by Aleksi Stenberg.
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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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