3 free WAV tracks of deep minimal techno for monoKraK netlabel (http://www.monokrak.net/)
mastering by Pheek https://audioservices.studio/
released July 14, 2025
We have put together a special release to celebrate the 10th anniversary of Netlabel Day. It’s an album – compilation of tracks – collaborations between different Mahorka artists from the last nearly 25 years and from all around the world. Most pieces are new collaborations, initiated for the occasion, but we also have unearthed some older previously unreleased material. “Making Things Happen” is as diverse and eclectic as Mahorka can be, a blast of a celebration of community, collaboration and creative commons. Dive in and enjoy!
Communicated and compiled by Ivo Petrov
Artwork by Jeremy Rice (Abdicant) + Angel Draganov (Polygon Ring)
Final mastering by Zach Bridier (Captive Portal)
Huge thanks to everybody that made this happen!
After a while, I felt the need to document this new hobby of mine. Started taking notes, then later would ask people to say something random I could record. Often, I would be making a track already, then would record someone and add it to the track immediately. So in that way, the tracks would influence the recordings, and the recordings would influence the tracks.
I tried to keep this collaborative theme throughout this release, and worked with this Tbilisi (Georgia) dancer to make a video (www.youtube.com/watch?v=B5nSjlUKvN0), and with a Russian label I really like for distribution.
Kanashibari World is a 9-track journey through memory and machine, crafted by electronic artist Isien. Drawing inspiration from the hazy, analog warmth of Boards of Canada and the neon-lit pulse of 1980s synth pioneers like Gary Numan and Depeche Mode, the album fuses nostalgic IDM textures, lo-fi rhythms, and melancholic synth melodies. Each track feels like a dream half-remembered – equal parts eerie and beautiful -immersing the listener in a retro-futuristic soundscape haunted by the ghosts of VHS tapes, analog static, and synthetic emotion.
These tracks are distilled, high-fructose breakbeat re-arranging liquid. On here Aching Hands strangles Jerma, DJ ZITwerK goes 1 bpm too high, ENNO murders the subwoofer and the label bankrupts over the ammo spent on the intro track’s gunshots.
A tribute to this bizarre collective, our friendship and the beautiful music and adventures it’s spawned.
Big up all massive <3.
i´myourcastle is out now on all streaming platforms! Thanks for your continuous support ~
Sunnesther’s latest addition to her prolific catalog keeps reassuring her place as one of Mexico’s cult, independent artists that have found in electronic music an outlet, not just for experimentation, but for deeply personal expression as well. It should go without saying, but Sunnesther has always been able to endow her music with raw emotion that oozes through her excellent use of sampling and sound manipulation, and this album is no exception.
(Download codes available on our “community” section @ Bandcamp) <3
The Necrophile Hummingbird netlabel presents Curse Of Knowledge by Invisible Illusion.
Analogic musical improvisation recorded live in the 5th December 2024 at the Cave Haven in Foucherans. (The Cave Haven is dead but The Possible Field is back…)
Special Thanks to Wilhelm Richard Wagner for the music.
And to Poussière d’étoile d’araignée, our home rabbit, who drew the artwork.
In December 2024 it was no more possible to download the netlabel albums on internet archive. So I added all my 5 Bandcamp profiles here https://www.horsnorme.org (Also if you are not afraid by the changes you may check Subvert the own by artists alternative…) It’s fixed since but it was quite heavy to our little musical community to do not know the future at this time. Sad. Not the better days. Thanks so much for your interest in Free Music.
Dedicated to the team and the donators who are keeping the Internet Archive alive.
In May 2025 I moved from Foucherans to Dole, not that far, but really different. I’m still running Radio Free Albemuthorsnorme audioblog despite it’s now open to name your price and pay what you want zero include albums. And the web radio will be back on air in a few days…
released May 24, 2025
Raw, fleeting, disfigured — breaking through the cracks like weeds through concrete.
A rebellion against the self. Against the urge to please, to polish, to resolve.
A controlled fall. A dance between chaos and pattern.
Meant to disorient. To move. To interrupt.
A celebration of not pretending.
This work leans toward a non-dual listening — where no line separates beauty from abrasion, nor pitch from noise. There’s no subject, no object. Only the sound of falling water near a stone. A hum that could be harmony, or just friction made gentle by time.
It draws from Dada not in style but in gesture — refusing meaning as fixed, embracing disruption as form. Like Zen, it invites without asking. The music doesn’t develop — it arrives, disappears, and remains.
This is apophatic sound art — not built on themes, but on the refusal of them.
It doesn’t declare, it negates. Not a construction of beauty, but a slow erosion of its false appearances.
The sound exists as absence made audible — like the gap between waves, or the breath between two conflicting thoughts.
Noise which is not nihilistic mixed with positivity which is gritty. For those who deal with and appreciate the whole.
Perfection looks unnatural and repulsive, but imperfections are beautiful. Pleasure is painful, but healing your wounds is joy.
The album was created and released during a period of turmoil in this world – a global pandemic, an increasing number of wars, an epidemic of propaganda and false news, ever prevalent ignorance, while the AI revolution is elevating shortcomings of our minds to unforeseen levels. There is so much pain in releasing accumulated tensions and yet releasing them is inevitable and necessary, always leading to a relief.
Feet fidgeting in Sunday restlessness,
reality blurred in hypermathological impressions,
let’s hack autonomous vehicles!
From chillax to 100+% now. It’s relatively rare to find techno
or acid on Phonocake, but Dominik Vogel’s work also brings
melodic electronica and an experimental approach, especially
through the production technique with the modular synthesizers
and unusual control devices, basically tearing down the
style boundaries here.
Dominik Vogel has a history as a drummer, songwriter,
percussionist and synth player in bands and ensembles
and has been into electronic music with a focus on techno
since 2000. As an “old school musician” he believes in analog
instruments and hardware, with which he also plays live techno
sessions. You can find his analogue passion withdemos and
tutorials on modular musical instruments on YouTube. He
also uses these instruments, mostly with the help of
unusual control devices or random voltages and modulations,
for the creation of his tracks. In the course of time, he
has released a number of albums and other releases all over
the world, including Der kleine grüne Würfel, RotRaum Music,
AcidWorx, Overdrive and FullHouseMusic.
The clocks tick,
into the expanding vortex,
points of light flash in the darkness.
We’re back to IDM, algorithmic, wild, like in a dark and dangerous jungle on an unexplored island, where one suddenly finds the remains of an ancient high tech civilization.
Film music maker Bourbon Military dedicates the album to his friends in his city and was created in an unusual way for him, for once without a concept.
The album was created in the context of problematic neighborhoods and the demonic abysses that surround us while the world keeps turning and we just want to have a good life with good moments. What arrogance of a few sours that for us?
We must persevere. And hope that the culture of violence of the 20th century will soon disappear.
The Necrophile Hummingbird netlabel presents Art is Bleak by PARRHESIA Sound System VS Saint Xoemyr Of Hy Brasil.
Special Thanks to Kathy Acker for her poetry & Art Blakey for his Music.
This album wouldn’t be here without Saint Xoemyr of Hy Brasil who woke up this old project, since became, Ubuntu Sound Antisystem and next Vivid Tribe Of Psychics.
Time itself makes loops…
The fire is to be shared.
Open your door and you will understand freedom.
Boycott Spotify, Amazon, Tesla, Airbnb, Meta, amongst other mobs and your stone will kill 3 birds.
You will save Humanity, Earth and your Soul.
Dedicated to all the Luigi of dark arts.
Video Art Clip Intense Sexual Desire is here https://www.youtube.com/watch?v=j-cRJ7xQjaQ
The creation process of “Sandía”, my new album, began to take root shortly after the Social Outburst in Chile, a moment that marked a profound turning point in our society. Then came the Covid-19 pandemic, which altered everyone’s lives on a global scale, and finally, during the last months of composition, the painful reality of the Palestinian genocide was added to the long list of horrors we have witnessed in recent times. The echoes of that violence continue to reach us, and what began as a personal project has inevitably taken on a much deeper dimension.
Throughout this process, I always had a phrase by David Bowie in mind, which accompanied me while working on the music:
“I think most artists feel a lot happier discussing the process of what they do, rather than what the hell it means. I know so many painters who title their works after they’ve done them, which is a real giveaway.”
Bowie’s words resonate deeply with the creation of “Sandía”. In my case, the music emerged from an abstract process, driven by emotions, aiming to transform experience into sound rather than concept. It was a journey of discovery, not so much about knowing what I wanted to say, but about how I wanted to feel it. The titles, as Bowie suggests, came at the end. They were chosen not as a direct interpretation of the work but as a reflection of the emotions contained within the songs, and perhaps as a mirror of a reality that moves me to the core.
The “Sandía” (watermelon) is a complex symbol, full of nuances. As a fruit, its sweetness represents the freshness of life, yet it also embodies the contradictions and fragility of our existence. In this case, it stands as a symbol of the Palestinian flag, of struggle, resistance, but also of hope in humanity. In a world where destruction and suffering seem to be the norm, I want to believe that, as a species, we can still keep our hearts sweet—an act of humanity in the face of horror.
At a time when technology allows us to witness suffering in real-time through our screens, music, and artistic creation, in general, becomes a refuge—a way to make sense of the indescribable. “Sandía” is not just a sonic testimony to these times but also an invitation to reflect on our capacity for change, empathy, and resistance against the irreversible.
Thus, “Sandía” is not just an album. It is a cry of humanity amidst the chaos, a call to not forget what truly matters: to care for and love one another, no matter what the world tries to impose upon us.
This work seeks, more than to explain, to feel. I don’t know exactly what it means, but I know what it makes me feel. And I hope that, upon listening, you can also find a resonance with the moment we are living in.
Pablo Flores
(Granada, España. February 2025)
