larsht_ – Livestream of Unconsciousness
[s65095]
larsht_
“Livestream of Unconsciousness”
field recording, sound manipulation, avant-garde
posted 03 July 2021
music tagged with: fieldrecording
Svann E. Langguth – dark inner aspects of toddy drinking
[Wuerfel32]
Svann E. Langguth
“dark inner aspects of toddy drinking”
This is the second part of selected older works. “Dark inner aspects of toddy drinking” contains a collection of dark pieces that develop a suction effect due to their great density, at least if you listen to them appropriately loud or with headphones, and come from a phase of Svanns life that he only remembers darkly.
posted 09 June 2021
Radoslaw Kobus – Symbiosis
[Insectorama 102]
Radoslaw Kobus
“Symbiosis”
out now the new release on Insectorama.
The Release is free as always, but you can also pay what you want to support the Label!!!!
Radosław Kobus – Symbiosis
Radoslaw Kobus presents his new 10-track album. A journey from dubtechno to ambient and soundscapes to field recordings. An unbelievably dense depth of the sub-basses that mixes with a very special soundscape. The heaviness and depth of each individual track is surrounded by echoes and reverbs that will enchant you and take you on a journey. an absolute masterpiece.
Tracklist:
1.synergy
2.strange day
3.black forest
4.bias
5.geology
6.towards the sun
7.blue planet
8.symbiosis
9.organic frequency
10.true
he musical mater for the album „Symbiosis” was created for several years. This includes field recordings and studio experiments with sound processing. Passing it through various types of tapes and multi-layering different sound samples. The songs were recorded in real time on the A&H Gl 3800 analog mixer and 4 trace Tascam with the addition of a frequency filter and various types of reverberation and delays.
Insectormama102
all tracks by Radoslaw Kobus
Mastering and Design by Markus Masuhr
posted 19 May 2021
Gerald Fiebig – Siteworks
[ACP 1271]
Gerald Fiebig
“Siteworks”
“Siteworks” documents most of the installations and ‘constructed situations’ Gerald Fiebig realised in gallery, museum, and public spaces between 2009 and 2018.
posted 18 May 2021
"Various Artist" – 3pr(iii)9ses
[earS103]
“Various Artist”
“3pr(iii)9ses”
1 – Robert Cole Rizzi “Wind, Water, Wood”
I went out sound hunting on february 26th 2021. Had an idea about recording the ambient sound as well as a contact mic recording of a tree simultaneously… Went to a nearby place by a stream, where I knew there would be reasonably quiet.
It was kind of windy, so there’s some low rumble in the recording from the tall trees
3 channels 2 from Lewitt LCT 540S’s in NOS and 1 from the Schertler “tree bug” microphone, mixed into stereo
www.facebook.com/robertcole.rizzi
2 – Frédéric Nogray “Hydroboulisme cauchemar d’une sardine en boite”
C’est avec étonnement et fascination que nous sommes invités à partager les tribulations ombrageuses d’une sardine en ivresse parmi quelques unes de ses consoeurs sur la piste de danse d’un recoin reculé du Canal de l’Ourcq à Paris capturées lors d’une chaude journée de printemps 2015 par la membrane attendrie d’un microphone jeté là par dépit par son propriétaire qui recherchait rageusement la roue avant de son vélocipède ayant de toute évidence du se jeter dans les eaux tumultueuses du canal dans le but plus qu’évident de se rafraichir. An extraordinary and historic document of such things that sometimes happened far from the ears of a common nature.
fredericnogray.bandcamp.com/
3 – Acoustic Mirror “Threshold”
“Threshold” is the result of one of many work processes I engaged with while researching the condition of listening under confinement. In this case, I resorted to the sound-activated recording feature of a small handheld recorder. Sound-activated recording needs an indication of what sound level is to be recorded – this is the so-called threshold. I configured it and set it up in my studio, and went around my usual chores.
The resulting recordings ranged from basic room tone, footsteps, housekeeping and other domestic soundscapes, and the occasional street noise, all starting with a particular sound that went, so to speak, over the threshold.
acousticmirror.tumblr.com
posted 16 May 2021
nicolas tourney – drop shadow on airport runway
[pyr301]
nicolas tourney
“drop shadow on airport runway”
This soundwork’s starting point is in the heatwave evenings of June 2018, in the south of France, when the heat made sleep impossible.
It is constructed like a soundtrack for a video movie where a narrative process is directly generated by airport public cameras. Timbres, intensities, pitches and rhythms « drop shadow on airport runway » and offer a perceptual immersion, guided by microphones, open to our habits and our dreams.
This musical piece was originally presented during the JeffersonParkExp 2020. You can see the live performance here: Jefferson Park EXP November 15, 2020. Set 2. Nicolas Tourney.
Please use headphones or a real stereo device.
posted 07 May 2021
Bound Unto Root – Sufferer’s Skin
[ROBSD001]
Bound Unto Root
“Sufferer’s Skin”
This is a tale of fractured narrative, of impulse, of the plight of achievement.
Six stories united by consequence.
Waves of bittersweet echoes of past and future crash.
Let the teardrops of ambition pour, manifest through its flood.
Six stories united by consequence.
Waves of bittersweet echoes of past and future crash.
Let the teardrops of ambition pour, manifest through its flood.
posted 02 May 2021
artificial Memory trace – alfa00_dUUskii
[PT117]
artificial Memory trace
“alfa00_dUUskii”
Recorded Live (as it unfolded) by aMt / Slavek Kwi during dusk 26th May 2020 on threshold of inner Caveman Studio and Soundctuary Cappaduff outer-garden in Eastern Clare, Ireland.
posted 10 April 2021
Alessio Degani – CityScape: Brixia
[GFR, 136]
Alessio Degani
“CityScape: Brixia”
Cityscape – Brixia is an auditory tale whose subject is the city where I currently live: Brescia (Brixia is the ancient name), in northern Italy.
The recordings have been taken approximately between 2016 and 2018. The fields are different facets of the same city: different seasons, different weather, different environments. Crowded highways with cars and busses opposed to calm meadows with crickets in the night.
The result is an continuously changing sound scape that guides the listener through an auditory tour. The journey starts on a warm, cozy morning and continues through a refreshing rain that suddenly becomes a storm. As the day approaches an end, the traffic noise slowly fades away giving way to a familiar atmosphere. It’s time to relax. In the evening, a quiet place to spend some time. Then comes the night, and a soft blanket of snow covers everything in silence.
Alessio Degani
posted 07 April 2021
Jose Miguel Candela – Chacabuco
[pn184]
Jose Miguel Candela
“Chacabuco”
The first edition of “Chacabuco” (in cassette format) was in 1996. In this the music composed for the choreography and video-dance * homonyms of the La Vitrina dance company (Chile), where the experience was rescued of the bodies that suffered the Chacabuco saltpeter mine works as an economic prison (in times of the nitrate boom) and as a concentration camp (during the Pinochet dictatorship in Chile). This music was not only my first of many collaborations with this artistic collective, but it was also my first composition for contemporary dance, an artistic field to which I have dedicated my musical life ever since. Today, 25 years after its composition and editing, I present this music again, remastered for its virtual disk format, to share this piece of history with new generations.
With this album, we also inaugurated, always with Pueblo Nuevo Netlabel‘s unconditional support, the “Greatest Dance Hits Collection”. This series of publications will attempt to compile the music that I have composed for contemporary dance during the last 25 years.
All work was composed, sequenced, and mixed on the Ensoniq TS-12 workstation. Much of the sounds of “Chacabuco” were recorded directly there and then sampled for use in this workstation.
In the text of the original 1996 cassette, it noted the following:
Being in Chacabuco is not an experience that is easily forgotten: all that strength contained in each of its machines (“cachuchos”), in its streets and houses destroyed by deaf sounds, in its land (crunchy by the saltpeter), and in its evening wind (a great shaker of unclamped roofs) leaves a mark, an invisible (but powerful) mark, in the last emotional corners of those who visit it. I hope that these intangible impressions are somehow reflected in this composition.
The resulting language of “Chacabuco” would not have been possible without my previous “Give me a Loop”, a personal project born in May 1996. “Give me a Loop” reflects my search for intimate corporal rhythms (search for a corporal ritual), and therefore of a musical language according to this search. From another point of view, the loop (the repetitive cycle and in this case, the micro-cycle) is found as an independent life; in its spatial movement, and at the same time trapped in its limitations; releasing itself through repetition, but dying out to make way for new cycles.
Finally, “Las huellas del Pequeño Venado” (“The Little Deer Traces”) (completed in December 1996), is also inserted within this language. The Huichol shamans, in one of their sacred rites, manage to see these footprints of the little deer (magical animal), the one that will lead them to the first peyote. For this reason, it is the beginning of the journey to the unknown.
(*) “Chacabuco – eslabón en la memoria” is the first video-dance in the history of the genre in Chile.
José Miguel Candela
(Santiago, Chile. Marzo / March 2021)
posted 26 March 2021
NewFreshAir – 森の世界
[VSS117]
NewFreshAir
“森の世界”
Let’s give NewFreshAir a warm welcome to Virtual Soundsystem with the release of “森の世界” debut LP from this awesome french vaporwave/naturewave/ambient music project!
10 tracks of otherwordly vaporized natural ambient sounds for your listening pleasure. Enjoy the tunes!
released March 5, 2021
Produced by 森の世界.
newfreshair.bandcamp.com
soundcloud.com/newfreshair
soundcloud.com/haaperwave
[VSS_117] Virtual Soundsystem Records 2021
posted 05 March 2021
Joseph – MPB PE 110 (CL
Joseph
“MPB PE 110 (CL”
Carefully arranged recordings collected on the field, across the northern suburbs of Paris, MPB PE 110 (CL’s four tracks are an invitation to a passionate listening of our sound environments, a sensitive tribute to sounds that are rarely found in recordings. Still, they are part of our daily lives.
posted 03 March 2021
ERT aka Eric Trochu + Boban Ristevski – collab
[ACP 1290]
ERT aka Eric Trochu + Boban Ristevski
“collab”
photo and design by EMERGE
posted 21 January 2021
Luís Antero – Som.Terra.Água/Sound.Earth.Water
[mi281]
Luís Antero
“Som.Terra.Água/Sound.Earth.Water”
After a few years of absence, Luís Antero returns to MiMi Records with another field recording record. “Sound. Earth. Water.” is the main theme that served as the soundtrack for the film made in 2020.
Quoting Carlos Alberto Augusto: “Life, the sounds of life, mark the soundscape. As long as there is life, there is sound.”
A 15 minutes track where we connect to Earth through field recordings by Luís Antero and the mastery with which he manipulates the sounds of Nature.
This is the sound of the Earth that we step on, that we feel, that we live, that we long for … This is the primordial element of the landscape, the sound. And the sound is life.
posted 17 January 2021
The Hathaway Family Plot – The Next Room
The Hathaway Family Plot
“The Next Room”
In the fall of 2020 my regular gig playing piano for ballet classes was forced by COVID to go virtual. I still commuted to campus and broadcast my playing from an empty studio. The building was being renovated, so a small group of construction workers walked the student-less hallways. Between classes, I began to experiment with recording my playing from a small portable recorder placed in the hallway outside the studio–partly to capture the strange whistle that one particular corridor often produces. The result is a hiss-heavy album wherein construction workers are heard walking by, an instructor’s voice is faintly heard far away, and the piano also sounds like a distant thing.*
The resulting recordings resonated with me emotionally in a way that felt appropriate for the year. It’s been hard to see and recognize beauty. Truth is relentlessly attacked, obfuscated, and denied. It feels like we’re stuck in a room outside the room where something beautiful may be happening. We know or believe that it exists, but we can’t see it or touch it. We’re being kept out of that space.
Headphones are recommended.
*(There is also one song recorded at home from the hallway outside my office–the recorder set next to a dog who is resting in his bed, nervously smacking his lips. Is it a strange kind of ASMR? Is this whole album? It may be to me.)
credits
released December 18, 2020
All pianos, keyboards, and minimal electronics (tracks 3 and 8) by Kevin
All songs written by The Hathaway Family Plot
posted 28 December 2020
MARTIN RACH – ghost, don’t scream
[ACP 1293]
MARTIN RACH
“ghost, don’t scream”
posted 19 December 2020
Okosan – selected lofi recordings 2019-2020
[s65078]
Okosan
“selected lofi recordings 2019-2020”
posted 06 December 2020
Audiosmogg – Home Office Ambience
Audiosmogg
“Home Office Ambience”
AUDIOSMOGG
Home Office Ambience
“When almost every other aspect of human society is suppressed, production must continue. The boundary between private and work life is sometimes non-existent and the dream is fulfilled. Every lockdown consists of moments of despair, hope and obligatory cover songs. It is what it is.”
Recording, mix, most of the sounds and cover photo by Márty.
Track 2 contains various samples from covid-era documents and news and intro from the 1968 WKBW Adaptation of “War of the Worlds” by Orson Welles.
Mastered by Daremes.
Recorded with significant pauses between spring and autumn 2020 at home, office and very few outdoor locations.
Be positive and stay negative.
credits
released November 24, 2020
posted 06 December 2020
Luca Formentini – Art Spaces
[Lav86]
Luca Formentini
“Art Spaces”
An investigation – abstract
I’ve always been fascinated by watching and listening to the way we as human beings react to finding ourselves placed into different environments.
Specifically, I am intrigued by the way we manage the challenge of being in a space which is not created to be the stage where we can perform our personality and actively interact with the objects and the people who surround us, as a museum is.
Being in a museum limits our personality exposure, at the same time it engages our senses and sensitivity.
Is such context creating a push towards the outside in a context which makes such expression difficult to be exposed?
A modern art museum visit is able to stress such experience way further, visitors can sometimes be pushed to face languages and contents which run on the very border of comprehension and social acceptability.
As human beings we interact with habitats through different ways of using our physicality; I think that more or less consciously and intentionally our presence affirms itself through the sounds we make.
My first audio recording of my visit through a modern art exposition happened when visiting the Serpentine Galleries in London, a funny feeling of displacement imbued me because of sounds coming from both sides of the exposition internal entrance.
After visiting the Serpentine Galleries I visited the Tate Modern.
I recorded my walk through the different rooms, trying to notice the relation between the space, the exhibited works of art and the way people were managing their presence: imposing it or trying to be as transparent as possible.
While walking through the expositions’ rooms I was caught by another delicate emotional resonance.
A new element was coming into play, directly connected to a more emotional layer.
Temporal suspension and physical floating were somehow represented by the experience of walking through the artworks.
The peak was reached when I entered the room where the video work by Gülsün Karamustafa “Memory of a Square” was playing.
Something had happened.
By entering that room I understood what I would have done with the recordings I was collecting.
Back to my studio I recorded a musical dialogue over the environmental noise of walking through art spaces, art places.
A sort of counterpoint in play between my physicality and the sonic trace of the space.
I’ve been visiting and recording the space of modern art museums and expositions, such as: Guggenheim and MoMA NYC, MoMA SF, MOCA LA, MCA in Chicago, Modern art museum in Philadelphia, Mudam in Luxembourg, Stedelijk in Amdsterdam, Lenbachhaus in Munich, Serpentine and Tate Modern in London and Hangar Bicocca in Milan.
Luca Formentini:
Original recordings of the museums (visited in 2016 and 2017), all instruments, recording, mixing and mastering.
Concept and production.
Mastering consultancy by Stefano Castagna
This audio work is released under Creative Commons (BY-NC-SA) and free digital distribution via Laverna music label www.laverna.net
Cover: original painting by Patrizio Vanessi, 2019
posted 03 December 2020
rar – a Walk in the 0-grad
[ACP 1289]
f:rar
“a Walk in the 0-grad”
“a Walk in the 0-grad” is the first solo album of “f:rar”, half of the duo FezayaFirar (attenuation circuit). It is an imaginary soundscape designed for the impossible city “0-grad” using location recordings and modular synthesisers. 0-grad is a post-apocalyptic industrial city surrounded by walls without gates or windows, which has witnessed rise and fall of contradicting ideologies of modern times. This album suggests a walking route within the walls in the psychedelic gardens, abandoned power plant, train station etc. It is based on a true story in the anthropocene age.
posted 21 November 2020
hervé perez – PLGD
[pyr295]
hervé perez
“PLGD”
soprano saxophone, voice, meditation bowls, live processing:
produced, mixed and mastered at nexTTime studios:
photography, graphic design:
hervé perez ©2008
release date: July 22, 2020
posted 30 October 2020
Jose Miguel Candela – Dos mil veinte
[pn170]
Jose Miguel Candela
“Dos mil veinte”
This album responds to an inescapable need to interact, from my creative work, with the serious events that have occurred in Chile since the social outbreak of October 2019 to date. These are urgent compositions, made in the late night of the impact, thus responding to the inhumane act of political-economic power. Once again, this power has exercised the most brutal violence against the Chilean people, through someone else’s hand. So never again!
José Miguel Candela
(Santiago, Chile. Octubre / October 2020)
posted 22 October 2020
Carlo Giustini – Colla (Double Album)
[LONTANO-TP06]
Carlo Giustini
“Colla (Double Album)”
Imagine waking up in the middle of the night, looking outside the window and noticing that something has actually changed. The world is still there, it sleeps but it is present, mocking you constantly and slowly showing itself .
Anyway now something seems to cover reality with a thin layer of bright glue, an ambiguous material that hides the features of things and that unfolds the world under a different, bright light.
You walk, this concrete is soft, the walls of the houses are covered with morbid, viscous, beautiful materia.
This world speaks to you, it tells you a different story. You could stay here forever and forget an imposed, harsh past. In this new vision, however, the past coexists, it lives and it embraces you, forever wrapped in a flaming rodeo loop. A giant puppet show put up by family and friends.
“Colla” is a metaphor, a hope for a different dimension, where thought generates tangible content without too much effort.
The streets of Sant’Angelo are now populated by… more
credits
released October 20, 2020
Music by: Carlo Giustini
Mastered by: Andrea Porcu
Original collage by: Michael J Hentz
Record label: Lᴏɴᴛᴀɴᴏ Series
Publisher: ROHS! RECORDS
Copyright © 2020 ROHS! RECORDS, All Rights Reserved
posted 20 October 2020
Georgina Canifrú – Ensayos de distancia
[pn168]
Georgina Canifrú
“Ensayos de distancia”
With the purpose of perceiving the spatial/sonic distance through drifts/displacements between rehearsal rooms of music schools in the metropolitan region of Chile, and the rehearsal rooms of Córdoba and Buenos Aires, Argentina, this auditory register transports us to realities that today are no longer familiar. In this way, when going through the seven tracks we can connect with situations, sounds and spaces that evoke a human activity that as a consequence of the pandemic have become distanced themselves, the rehearsal.
During the development of the project and Micro-File Memory of the Project ESSAY ROOM n ° 2: Distance in piano and double bass developed at the IMUC (2012) with the tutorship of Luis Prato, Georgina manages to capture/record those moments of proximity/distance where the music that is still prepared with dedication before entering the scene lives. Just as the map has been the main instrument of communication of the cartographer, or of he/she or those who have drawn it, over the most diverse foundations and with varied techniques and purposes; Georgina manages in each work of this album to present a concrete manifestation of a geographical reality, situating us in those places and achieving sonic displacement.
In each listening we can go through corridors, stairs, sounds of instruments, voices, steps that fill our memories with emotion and a little nostalgia, transporting us to that instance, to those stories, that provoke us to converse in order to relive those moments of camaraderie. Each melody heard in the records allows us to connect with what we already know about music, to distinguish between one subject and another, to recognize who wrote it or what period it belongs to, these are exercises that are undoubtedly triggered by this work of Georgina, who with her decision to activate her own listening today re-activates us and invites us to feel that this waiting for physical distance has an end.
At present, distance has been assumed as a necessary action to protect the human well-being that is health. Distance has also been synonymous with respect, distrust, introspection, tours and displacements, actions that are applied in accordance with the circumstances and contexts. It was unthinkable to believe that today those spaces that the album evokes for us, an album that deserves to be listened to in a state of contemplation and intimacy, an album that invites us to reflect.
Distance, memory and longing, concepts that emanate from the origin of this album, located in diverse realities with connected situations, the rehearsal. Space for introspection, coordination, learning and communication, a space where poetry lives, the intangible heritage of that which is ephemeral in its temporal chronology but which leaves its mark on the sonic imaginary, making the reunion with these urban landscapes audible and possible.
Valeria Valle
Compositora / Composer
(Santiago, Chile. Octubre / October 2020)
posted 09 October 2020
Thuoom – Luonto
[thump325]
Thuoom
“Luonto”
Luonto is the eight proper Thuoom album. As the other full-length album released on the same day Natur under the monicker Thuuooom) the sounds on this record consist 100% of nature field recordings. The recordings contain mostly birds but you can also hear bumblebees, deer, fishes mating, hints of human voices, small insects, sounds of walking through forest, wind, and windchime. Some of the tracks stay faithful to the sounds heard in nature (albeit in edited form), others mutate them into proper forestelektro.
Instruments used on this record: Field recordings captured with a binaural Soundman OKM II Classic Solo microphone attached to a Zoom H4n Pro portable recorder.
posted 05 October 2020
