That album inspired by experimental and improvised music is a bunch of solo/duo/trio performances in wich all combinations have been explored.
The tracks are short, concise with no blah blah blah, music says what it has to say with no hesitation!
In sum, these 9 snapshots capture, in a pretty nice way, the first collaboration of those three creative musicians, Paul Mimlitsch – Martin Pozdrowicz – Andre Darius. Enjoy!
sarah rasines (burgos, castile and leon, spain) born in 1983, has a degree in fine arts (san carlos faculty of fine arts, valencia polytechnic university, spain). she combines artistic creation with research at the faculty of fine arts at the university of the basque country. she also belongs to a research group called ikersoinu, which is now working on a project called investigación sonora y espacio artístico: nuevas herramientas técnicas y conceptuales para la creación (sound research and artistic space: new technical and conceptual tools for creation). her interdisciplinary work revolves around time processes and experimental media.
experimental electronic music. the culmination of several years’ research in music in burgos, valencia and bilbao – every single girl deserves a song is her latest work in experimentation and sound production. cyclical melodies, hypermusical instrumental tracks, programmed synthesizers and sampled noises overlay the sonic medium.
Peça concebida propositadamente para radiodifusão n’O Arranca Corações.
Este trabalho pretende agarrar o ouvinte para um desafio simples que poderá realizar a partir dum qualquer ponto sonoro exposto; conseguir o auditor desenvolver uma superconsciência auditiva que o leve a emigrar para fora do tempo/espaço usando como meio para tal fim a multiplicidade das formas auditivas expressas. Quanto mais se deixar absorver por elas mais depressa apreende o fluxo e o refluxo das ondas sonoras em presença, assim como a unidade intrínseca destas no todo consciente (superconsciente), a isto chama-se Boiar. Arte nobre hoje em dia quase esquecida e pouco praticada.
This work intends to grab the listener for a simple challenge that (s)he will be able to carry out from any exposed sound point; getting the listener to develop a superconsciousness hearing (awareness) that will lead her/him to emigrate out of time/space, using as a means to this end the multiplicity of hearing expressed forms. The more we let ourselves be absorbed by them the quicker we’ll apprehend the flow and reflow of the existing sound waves, as well as their intrinsic unity in the conscious whole, this is called Boiar, (Boiar is not “to Float”; Boiar is much more than simply floating). Noble art nearly forgotten today and rarely practiced.
João Ricardo – Synthesizers, guitar, drums, laptop and fx (i.e. small toys difficult to specify);
João Santos – Acoustic bass, electric bass, traps, concertina, hornpipe, synthesised flute, laptop and fx;
José Soares – Keyboards, synthesizers, guitars, drums, cello, anything at hand, laptop and fx;
Paulo Santos – Voice, acoustic and electric guitar, keys, trumpet, percussion, laptop on/off.
Jonas Kocher: accordion
Gaudenz Badrutt: electronics
Having collaborated for many years now, Badrutt and Kocher play improvised music. Through this practice they explore the relation between the very electronic sounds of the accordion and the instrumental potential of the electronics.
There is no electronic processing of the accordion, more the opposite: the acoustic sounds tend to influence the machine, creating accidents and random behavior of the electronics.
Badrutt and Kocher also take care of the acoustic specificities of the spaces where they play, taking it as a fundamental element of the performance. Through this subtle tuning between the playing and the space, every sound performance becomes site specific.
The concert at Rex was the last of a small tour in the Balkan region. Hours of travelling around on bad roads with old albanian taxis and public buses, fastidious border crossings and concerts in very different venues: a quiet basement in Athens, an old industrial building in a no man’s land area in Tirana, a very small bar in the middle of a fancy bars area in Skopje and the beautiful old cinema REX in Belgrade.
Our music evolved quite a lot during the tour, the context as well as all the people we met and the places we stayed, having definitely an influence on our playing. This recording aims to document our practice in a specific context at a specific time. No concept before playing, no edits or re-composing after. It is just what it is, improvised music.
Linear Obsessiona lis delighted to present this unique new work by thecomposer and sound artist Iris Garrelfs-
“Bedroom Symphonies Bedroom Symphonies is an album of eight compositions made from voice practice sessions during a number of tours and residencies. So, imagine me sitting on a hotel bed, or friendâs sofa, laptop on the night table with a head microphone plugged straight into it and you wonât be too far from reality.
As the practice microphone wasnât exactly the best on the market and it was also used sans sound card, there is a certain raw feel to the sound. I have also tended to whack up the effects in places by way of compensation. That said I really like the way you can hear the materiality of the situation in the recordings, the quality of the equipment, my response to it, the occasional keyboard sound that creeps into a rhythm. The result is a rather curious, private set of pieces, performances entirely without an audience. Most pieces have somewhat mad stereo images – a fragmented counterpoint – best enjoyed with headphones.
Whilst the original recordings were made between 2005 and 2008, the album itself was created in 2014 from a series of shorter segments, without, however, any additional processing bar a few intros and endings. In the making I enjoyed internal references to Tracey Eminâs My Bed (1998), the infamous bedroom producer, and a gentle questioning of conceptions of liveness.
The booklet that comes with the download contains a selection of my photographs from the trips, and Brandon LaBelle has kindly contributed a text about my work, which you can find on page 33 of the brochure”
Iris Garrelfs, London, June 2014
Consciousness creates patterns from chaos. She orders the reality to live. My algorithms extract information from the noise of the radio and transform, create patterns, melodies, colorful figures… I model these structures by altering the code (livecoding), improvising a physical journey to consciousness.
Don’t get fooled by the title of Sucu Music’s new offering, which is Italian for “Morning Mists”. Stephen Briggs is a guitarist from New Zealand whose inspiration seems to be international, judging by the multilingual titles he gives to his tracks. “Nebbie Mattutine” is a very fine example of guitar-oriented ambient and soundscapes album, ranging from quiet, gentle sounds to noisier, darker tracks which add new dimensions to his sound palette.
Augmented Landscapes is a collaborative work melding acoustic and electronic sound elements with field recordings.
The acoustic element is provided by double bass and prepared double bass, played along a continuum of conventional and extended techniques. The electronic element, which consists in the granular synthesis of acoustic double bass performances, broadens the instrument’s sound palette to encompass varied and unconventional colorations.
When these elements are matched to the overheard sounds captured by these field recordings, a perspective emerges that is analogous to a hypothetical landscape augmented by a multiplication of dimensions both sonic and spatial. Points of reference shift as aural features constantly rearrange themselves in relation to each other, creating a series of gestalts in which figure and field alternate, blend and separate in varying combinations. Here familiar sounds mutate into something unfamiliar before becoming familiar once again.
Chris Lynn: field recordings and cover photo
Daniel Barbiero: double bass, prepared double bass, and granular synthesizer
In the second in a series of duo releases, Linear Obsessional brings together Greek improvisor and circuit bender Tasos Stamou with UK free saxophonist Adrian Northover for a series of short interactions. Playful and sometimes startling these pieces run through a surprising series of atmospheres and moods, from modal drone explorations, to far-out collisions of brittle electronics and circular breathing crescendos.
Adrian Northover- Alto and Soprano Saxophones
Tasos Stamou – Prepared Zither, Cassette Loops, Digital Horn and Test Generator
Arkady Gotesman isn’t a standard artist: many consider him a jazzman and percussion virtuoso, but it is almost impossible to pinpoint what it is that he does. Yet Gotesman himself seems to be rather nonchalant about this; he clearly is a man of action and practice, able and willing to try the challenges that arise when working in different formats – not only the diverse world of music, but also theater and literature.
The main features of this artist – an extraordinary range of activity and the ability to instantly listen into his partners’ – whoever they are – music, speaking, writing or object making. This characteristic is crucial for a good jazz musician, whose reaction and intuition must never lose contact with the present moment, be able to foresee and creatively complement.
On jazz scene, Gotesman has collaborated with the following musicians:
•Percussionists- Changhito, Vladimir Tarasov, Freddy Shtuder, J.Baron ,Tim Daysi.
•Singers- Vladimiras Prudnikovas, Kantor- Joseph Malovani, Eska Mvuzgari (UK).
•Piano players- Viačeslavas Ganelinas, Julian Joseph, Anthony Coleman, Andrei Razin.
•Reeds-John Jorn, Charles Gayle, Petras Vyšniauskas, Ned Rothenberg, Abram Fefer, Albert Beger, Mikolaj Trazska, Waclav Zimpel.
•Cello player- Davidas Geringas.
•Double-bass players: Barry Gay, Dominik Duval, Jack Siron, Brade Jones, F. Pilinger, Vladimir Volkov, J.Cload Jones.
•Trumpet players: Dave Daglas, Frank London, Viačeslav Gaivoronsky, Kasper Tranberg, Byron Wallen, Arkadi Shilkloper, Rasul Siddik.
•Dancer Anastasija Lyra.
•many other artists from Lithuania and other countries.
•Composers – V.Ganelinas, A.Šenderovas, O.Balakauskas, Š .Nakas, G. Sodeika, Z.Bružaite, H. Raduleskas,V.Bartulis.
•Lithuanian chorus -„Polifonija“, “Jauna muzika“, “Brevis“.
•Percussion Ensemble “ Giunter Percussion.“
•Theaters – O. Koršunovo-theatre, National Drama Theater, “Meno Fortas“, Panevėžys Juozo Miltinio theatre.
•Festivals- “Kristupo” festival, ”Jauna Muzika”, “Iš arti”, Birštono jazz festival, Ukmergės theater festival, festival “Jazz Globus”(Israel) and others.
ANDREI RAZIN :
A graduate of the Moscow Conservatory, composer, pianist and arranger,
Andrei Razin was destined for the career of an academic musician,
but his creative interests have a much wider range.
He produced music scores for the theatrical performances, modern chamber instrumental
and vocal music,
jazz compositions, music for TV shows and advertisement videos.
performed with Arkady Shilkloper, Mike Ellis, Aleksei Kozlov, Vladimir Chekasin, Roswell Rudd, Klaus Kugel etc.
Andrei Razin was also awarded the “Composer of the year” (2002)
awards by Russian Jazz Journalists Association.
As a leader of Second Approach Trio (new-jazz, modern creative)
Andrei Razin performed in Germany, Finland, Norway, Lithuania, Israel, Austria, USA, etc.
Alexei Mikryukov aka King Imagine was born in 1972. His first song was sung and recorded at the age of 4. He began his career in music as a gutarist in the punk collective Zooy E Orchestar in 1989. In the same period some of the first bootleg recordings were made, all of them now lost. In the summer of 1993 he meets Eugene Alexandrov, with whom organizes The Schizotronics..and records solo. In 1996 together with the Kiev poet Danylo Kubai,he founds the noise industrial group Ilam, Inc. (or, rather a noise orchestra with 13 musicians, which gave an incredibly insane concert in the Kiev Actors House of Culture) and also the project Rooteniya Pe Since 1998 cooperates as sound engineer with the first Ukrainian reggae/dub group Rootmans Band, Karina Kuznetsova (with whom he works to this day) and the bass guitarist Kirill Machinski aka Roots Controlla, with whom he founds the digital roots dub project Dub Compressors. In 1999 together with the composer Alexander Kohanovski aka Pankifared he starts the studio project Superapes, recording 2 albums, making experiments with electronic and ambient music, as well as composing music for escalators, elevators and corridors. Since 2004 actively cooperates with Foa Hoka as sound producer, remixer and contributor of music. Since 2005 releases his output on the d.i.y. CD-R label SKP Records (Kiev). Since 2006 actively cooperates w/International movement Ukr.tele.kom – as remixer, co-author and remastering engineer.
Arkady Gotesman – drums, percussion
Andrei Razin – piano
Alexey Mikryukov – everything else
attending to breathing spaces and mouth details, alice hui-sheng chang and rosalind hall experiment with abstractions of the voice and saxophone. challenging their instruments to produce extreme timbres and intimate textures, they use improvisation as their inspiration for performance and composition. in the six years of their collaboration, the pair has performed locally and internationally, released a cross-continent album and exhibited sound work for video art and multi channel installations.
on embossed tales of throats the duo continues to develop a strong improvised language that pushes and pulls at sound playing in and outside of each other, at the acoustic resonances of their instruments and bodies, at their shared performance histories and at creating electrified playing experiences. the duo also investigates the use of both tape and digital recording technologies and various microphones to create changing impressions of their sounds and inspiration for new gestures.
ear to the world. repetition without accumulation. trying. activity without beginning or end. selfless. bored confronting boredom. patience. thoughtless. recursive. understanding over stood. annoyance. accidental purpose. inconsiderate. urgency without aim. gentle. sound as material. world to the ear.
the first album from john collins mccormick released under his own name (he has previously released albums as sky thing), is a collection of his sound sculptures that he has created and performed between 2012 and 2014. it is a patient collection. ten pieces, just over two hours of sound. it is released in conjunction with mccormick’s m.f.a. exhibition at herron school of art and design.
eduardo f. rosario. san juan puerto. enjoys simple things, good food, some tv shows, books on art, politics, fiction or comics. studied composition at the conservatory of music of pr. started working with a prepared/modified guitar trying to expand the instrument’s sonic palette toward something timbrically richer and less attached to its history; in the present, working with whatever’s available, including programming (pd specifically) or found objects or places.
the pieces on obsolescencia programada were recorded and assembled using a hacked toy as the main sound source, pure data for digital sound processing, and recording software for basic finalizing. improvised processes. errors were always welcome; being understood as new possible paths instead of nuisances to be corrected.
Have you ever heard of the Sonic Potions LXR?
It is an open DIY drum synth by Sonic Potions. Members of the Sonic Potions forum want to show with their contributions that the LXR is much more than that – it’s an live performace tool.
All tracks are direct recordings of live performances using the LXR as the only instrument flavoured by external effects.
In addition to the first track, which is a seamless mix of all contributions by Möbius, the individual tracks are also included in this release.
So, have fun to dive into the world of the Sonic Potion LXR and explore what can be done with this wonderful machine!
This compilation ranging from ambient to house is dedicated to Julian Schmidt, the founder of Sonic Potions and the creator of the LXR synthesizer.
experimenting with live noise and arp manipulation carried out in its entirety on the 11th of April 2014
~track 3 is remix of track 1 by Nappes, aka, Alex Kelly
~track 6 is a remix of tracks 1, 2 and 3 by spaceaser
~samples~ 5; redwoodforest, female salad creator, stationary tornado documentary, fridge expert and fixer, whirlpool expert6; whirlpool expert
pan y rosas is beyond excited to release a series of albums that document the fifth cycle of articular facet. articular facet is a series of electro-acoustic compositions and structured improvisations. curated by julia miller, the series reflects the use of ancient, adapted, or hacked technology, invented instruments and performative objects, and the incorporation of the visual and physical into the sonic.
the fifth cycle took place over three sundays in october of 2013 and was a collaboration between pan y rosas and julia miller. the performances all took place at the empty bottle in chicago.
the first release in the series come from maoϴ.
maoϴ is a project of ryan ⊥ dunn. working with spoken, prerecorded and generated language, maoϴ investigates the abstraction of touch as an arbiter of meaning through the use of languages he may not speak. maoϴ performances involve the use of language processed using a self-built palate controller: an oral retainer-based device which allows control data to be produced based on the touch of the tongue against the roof of the mouth, notably during speech production.
“This EP by Klaus Marten is a good showcase of the diversity of sound experiments this artist is swimming in. A good invitation to possibly explore more from where this came from! Be free to tease yourself with this EP…” – Yeah I Know It Sucks blog
Diese Website verwendet Cookies. Wenn du die Website weiterhin nutzt, stimmst du der Verwendung von Cookies zu.
Weitere Informationen, beispielsweise zur Kontrolle von Cookies, findest du hier: Cookie-Richtlinie