METEK & Artificial Memory Trace – Dynamic equilibrium
[PT058]
METEK & Artificial Memory Trace
“Dynamic equilibrium”
Dynamic equilibrium
by METEK & Artificial Memory Trace
by METEK & Artificial Memory Trace
posted 24 June 2017
music tagged with: fieldrecording
Juan Antonio Nieto – Black Sand
[a19]
Juan Antonio Nieto
“Black Sand”
posted 30 April 2017
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)
posted 23 April 2017
The Cherry Blues Project – En Tránsito
:format(jpeg):mode_rgb():quality(90)/discogs-images/R-9985342-1489689002-4880.jpeg.jpg)
The Cherry Blues Project
“En Tránsito “
:format(jpeg):mode_rgb():quality(90)/discogs-images/R-9985342-1489689002-4880.jpeg.jpg "The Cherry Blues Project - En Tránsito")
The Cherry Blues Project – En Tránsito
posted 07 April 2017
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.
posted 04 April 2017
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
posted 24 March 2017
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.
posted 18 March 2017
Miquel Parera – 41.367452,2.129005
[mnSP001]
Miquel Parera
“41.367452,2.129005”
Field recordings. Almost silent places. One hour.
posted 12 March 2017
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.
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
posted 14 January 2017
Jimmy Watt – Silent Door To The Fall
[PZO006]
Jimmy Watt
“Silent Door To The Fall”
https://f4.bcbits.com/img/a0461451609_16.jpgHis work methodology focuses mainly on the capture, extraction,
editing and storage of audio samples from different sources.
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
posted 03 January 2017
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)
posted 02 December 2016
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).
20 tracks, 20 photos, each track 2’22” long.
PEACE FOR ALL (no borders, no discrimination).
posted 12 November 2016
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.
posted 06 November 2016
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)
posted 01 November 2016
Wings of an Angel – Sexuality As The Birth Of Sublimation
[Self Release ]
Wings of an Angel
“Sexuality As The Birth Of Sublimation”
posted 24 October 2016
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.
posted 18 October 2016
Piod – Stage One – 2013-2014
[phokes120]
Piod
“Stage One – 2013-2014”
Nano drone funk formation.
Slave to the rhythm.
Soundlab evolution.
Slave to the rhythm.
Soundlab evolution.
Piod is one of the newer music projects of phonocake co-founder Knut Kaulke who accompanied us from the very first beginning. While his latest stuff is heavily influenced from new production settings with the Kyma system his first tracks under the Piod moniker are diversely looking for direction. Nonetheless it is genuine electronic music, kind of wild and alive.
posted 27 September 2016
Linden Pomeroy – Ikiryō
[PE07]
Linden Pomeroy
“Ikiryō”
Linden Pomeroy doesn’t use delay and reverb to generate a sense of space, but to smother it. By sending each guitar note through funnels of infinite repeat, opening track “Festival Of Red Leaves” grows tendrils of harmony and compounded feedback, which press together until the initial melodious sentiment is squeezed out entirely.
The second track swaps the singularity of the first track with a sequence of melodic chambers, each housing the guitar within a different atmospheric casing. Those infinite delays are shortened into extended comet trails, dripping out the back of contemplative guitar refrains as they soar over field recordings of cicadas at night, or dwell within absolute silence, or press and clip against the walls of stereo volume confinement, or detonate within excessive amplifier distortion.
Jack Chuter – ATTN:MAGAZINE
posted 24 September 2016
David Vélez – Fortore
[PT039]
David Vélez
“Fortore”
NEW RELEASE on PLUS TIMBRE
David Vélez | Fortore
PT039(2016)
FREE DOWNLOAD
David Vélez | Fortore
PT039(2016)
FREE DOWNLOAD
posted 09 September 2016
Jimmy Watt – THE WIRELESS RITUAL
Jimmy Watt
“THE WIRELESS RITUAL”
His work methodology focuses mainly on the capture, extraction, editing and storage of audio samples from different sources:
records on the street
dialogues extracts
audiovisual edits and converts of radio signals and many other sources.
records on the street
dialogues extracts
audiovisual edits and converts of radio signals and many other 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.
No musician describes himself
according to their own words.
“What I do not see myself as music, I do not feel musical, I not position myself musically.
I DO NOT THINK musically, I’m more close to the investigation,
to the pamphleteer, the readymade and the situation.
Even so shamanic
the Medium
Channeling.
No rhythm and no melody that dominates the whole picture.
Abuse of rhythm and melody is a necessary evil for those who can not handle a drift.
It’s like being in a large room without light. You need to touch the walls and artifacts that fill the room to feel welcome in the position and perspective.”
posted 05 September 2016
The Cherry Blues Project – Ana Paula Santana & The Cherry Blues Project: Remixes
[20162508]
The Cherry Blues Project
“Ana Paula Santana & The Cherry Blues Project: Remixes”
The Cherry Blues Project reinterpreta piezas sonoras de Ana Paula Santana.
Ana Paula Santana González
(Guadalajara, Jalisco, México b.1985)
Sobre Ana Paula, en sus palabras:
Me interesan los sonidos constantes, maquinales, abrumadores. Me interesa la relación del sonido y el cuerpo humano, el cual entiendo como un material absorbente que incesantemente admite y reacciona a frecuencias del exterior. Me interesa la voz, la experimentación con los límites de nuestra voz y el fenómeno simpático entre la voz propia y las voces que nos apropiamos. Mi creación artística se sitúa en medio del campo del performance y la instalación y con frecuencia es motivada por ideas y fundamentos de índole antropológico.
My interest is based in constant sounds, machinelike , overwhelming. I’m interested in the relationship between sound and the human body , which I understand as an absorbent material that constantly receives and reacts to frequencies from outside. I’m interested in the voice , in experimenting with the limits of our voice and the sympathetic phenomenon between the own voice and the voices that we appropriate . My artistic creation is in the middle of the performance and installation and is often motivated by ideas and foundations of anthropological nature .
Enlaces:
https://soundcloud.com/anapaulasantana
www.anapaulasantana.net
twitter.com/Fanafauna
https://www.instagram.com/anafauna/
The Cherry Blues Project
Arte sonoro – música experimental – Dark ambient
Argentina, desde el año 2001
www.tcbp.blogspot.com
posted 03 September 2016
Øystein Jørgensen & Chris Silver T. – DOORS
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Øystein Jørgensen & Chris Silver T.
“DOORS”
%20-%20CD%20COVER%20ART.jpg "Øystein Jørgensen & Chris Silver T. - DOORS")
This collaboration album, arose from the inspiration and endless talent of the artists Øystein Jørgensen & Chris Silver T., exhales and ultimately catapults the listener into a fascinating melange of multitudinous space particles and technocratic galaxies of aural ether. The obscure flow of sound constantly flashes into a physiognomy of percussion, rhythm patterns and beat spectrum that only make the aulic darker parts much more isolating and hence threatening. The sonic paradox is: Look into brightness to make the surroundings turn dark. Each one of these “DOORS” opens towards boundless universes to discover, explore and solemnly embrace.
posted 28 August 2016
Phobos 3 – La Casa Del Drago
[Iye15]
Phobos 3
“La Casa Del Drago”
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.
At the top as at the bottom, in a timber as in one quantum.
At the top as at the bottom, in a timber as in one quantum.
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.
posted 28 July 2016
C. Reider / Tarkatak – Azure Bell, Midnight Well
[vuzh051]
C. Reider / Tarkatak
“Azure Bell, Midnight Well “
Collaborations with Lutz Pruditsch of Tarkatak seem to have an extremely long gestation period. When we first collaborated on The Druser Pricid, the recording was completed in 2000, but not released until 2003. The same is true of Azure Bell, Midnight Well. Lutz and I exchanged sources long enough ago that I completely have forgotten when it was. The sources sat for a long time, unused. Then music began to take form, then the unfinished mixes sat for a few more years. I determined myself to get the mixes finished sometime last year, only to find that my contact info for Lutz was out of date, and he no longer has much internet presence! I finally sent the masters to him in April 2016 and we agreed to go ahead with this release. Our first release together has always had a lot of admirers, I hope this one also finds receptive ears. ////////
All sounds on this release were manipulated, arranged and composed by C. Reider, using sound sources provided by Lutz Pruditsch.
posted 05 July 2016
V.A. – 3pr(iii)6ses
[earS083]
V.A.
“3pr(iii)6ses”
Willem Sannen
“5 swimmers & a mopping lifeguard”
Vincent Duseigne
“Der Reesen an der Aler Grube – A trip in the old mine.”
François-Emmanuel fodéré
“Dandelice”
“5 swimmers & a mopping lifeguard”
Vincent Duseigne
“Der Reesen an der Aler Grube – A trip in the old mine.”
François-Emmanuel fodéré
“Dandelice”
posted 14 June 2016
