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Since 2010, many netlabels and artists publish their new free music releases on the clongclongmoo website. Free means that you don't have to pay anything or register to download music. However, you can usually pay something to support the artists. Please note the licenses under which the music is published. This is important to know what you are allowed to do with the music. Please visit the labels' homepages to get the free music. Most files are published under a creative commons licence. At netlabellist you will find an extensive list of websites that also offer (or have offered) free music. If you run a netlabel yourself or offer your music for free and want to draw attention to it, you are welcome to use the submission form. And remember that clongclongmoo is not there to do business, because “Business Is Not My Music.”

update, February 1st, 2026

Dear friends and followers of clongclongmoo. It's great to have you here. As you may have noticed, the site has changed a bit. Some people wanted to be able to access the music with fewer clicks. That should work again now. Here's a quick note to everyone who uses relatively new platforms such as Mirlo, Faircamp, or Coop: feel free to use the submit form to draw attention to your new music. I'd especially appreciate hearing from anyone who runs a netlabel with free Creative Commons music. Thank you! Konrad from clongclongmoo

music tagged with: improvisation

Cyff Gwawd – Cyff Gwawd

Cyff Gwawd – Cyff Gwawd

Cyff Gwawd

“Cyff Gwawd”

Cyff Gwawd is Stuart Estell, a piano, and a couple of barely-functional tape machines. The project draws on his love of Satie, Cage, Feldman and Basinski while also being a logical step from his compositions for drone/doom tuba outfit ORE, which he left in 2014. Cyff Gwawd is named in tribute to Mark Hollis. It means “Laughing Stock” in Welsh.

The pieces on this release started as miniatures, some of the material freely composed, and some of it restricted to sets of just four pitch classes. In performance, however, they took on a life of their own and didn’t seem to want to be constrained to what had been written down — resulting in what might be better described as planned improvisations.

The same side of the same C90 — an old and far-from-clean TDK SA90, naturally — was used to record all four pieces. The older cassette machine’s completely unreliable motor and faulty tape head resulted in some happy accidents (speed changes, incomplete erasure) that would be impossible to reproduce. Apart from EQ, some additional reverb and the occasional overlaying of additional tracks (from the same source material), the only editing here has been structural. Other than that, what you hear is how it… more
credits
released March 6, 2020

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posted 09 March 2020

George Christian – Longes

George Christian – Longes
[mhrk235]

George Christian

“Longes”

“This album is the first work I’ve done in 2019 and also part of a series of instrumental works that reflect upon absence in different ways, in a pentalogy. All of them expresses what I felt after the latest political misfortunes in my country (Brazil) and overall social-political state of mind in the world. In “Insomniac Dreams” – the absence of rest and sleep to convey life in its existence. In “Antimanicomial” – the absence of sanity in its helplessness in a political system that doesn’t give a care. In “Duets for Balogh” – the absence of a friend, despite his presence in sound conversations. In “Cinzas” – the absence of care on nature, a mourn for dead rivers. And this, “Longes” is about absence of faith. However, there is no particular order, nor any sound similarities for this pentalogy, despite being linked thematically. “Insomniac Dreams” was the first published one, but “Longes” was the one recorded first, with later-on finalizations.

”Longes” is my second work in which I play electric guitar (a Telecaster) as a main instrument (first one was “Electric Ramblings” (2014) in most of the tracks). It was conceived as a series of variations on the final motif from the coda of the song “Muito Mais Longe do que o Bastante”, which was originally recorded for the album “La Géographie sans Regret” (2012), made in collaboration with Mehata Sentimental Legend. In this album, I explore on electric guitar both timbral and electronic experimentations whereas the themes are extended without regard on time and space, despite having their own implicit structure. Apart from the last track (X), the pieces were all improvised in their performances. Somehow, it’s a spiritual manifesto on struggling for survival, in electric mantras; against all odds, a life-affirming statement.”

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posted 02 March 2020

Ethernet Orchestra – Oceans between Sound

Ethernet Orchestra – Oceans between Sound
[pn150]

Ethernet Orchestra

“Oceans between Sound”

REVIEW / RESEÑA
Oceans between Sound is a selection of live improvisations by the internet based music ensemble, Ethernet Orchestra. The album was recorded during located venue performances and online sessions between 2014-2019, featuring musicians from a diverse range of cultures, performing across international time-zones and physical locations in Brazil, the USA, Canada, UK, Germany and Australia. The music was inspired by the ebb and flow of network data as a metaphor for the world’s oceans and waterways separating the members of the ensemble, and their geographically dispersed lives.

Oceans between Sound includes performances by internationally acclaimed improvisers such as guitarist Chris Vine, best known for his work with the British post punk band Blurt (Factory Records), and Elliott Sharp and Bob Boilen in the downtown music scenes of New York and Washington D.C. The ensemble founder, trumpeter Roger Mills, came to prominence during the 1990s with his work with the Bristol-based free jazz ensemble Space Ways and the trip-hop collective Statik Sound System (Cup of Tea Records). Performing on many of the tracks is the UK based free improviser Hervé Perez, acclaimed German pianist Holger Deuter, as well as world-renowned Moorin Khuur player and throat singer, Bukhchuluun Ganburged. The album also features a performance by the late Richard Lainhart, who worked and performed with John Cage, David Tudor, Steve Reich, Phill Niblock, David Berhman, and Rhys Chatham. His musical contributions to Seymareh ensure his presence continues to live on in our music.

A salient characteristic of the recordings on Oceans between Sound is how they reflect the materiality of the telematic performance medium. Musical sound travels through multiple networks, and is subject to a variety of operational conditions, latency, speeds, compression, and jitter. These phenomena imprint themselves on the sound as an aesthetic parameter within the music, rather like the crackle of an old vinyl album. These sonic qualities are also a testament to the incredible feat of musicians performing in real-time across distances of thousands of kilometres.

Roger Mills
(Sydney, Australia, marzo / March 2020)

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posted 01 March 2020

mentolados durruti – de acá a cien años

mentolados durruti – de acá a cien años
[pyr287]

mentolados durruti

“de acá a cien años”

Release date: January 15, 2020.

Luis Conde (clarinet, bass clarinet, soprano saxophone)
Luis Ianes (acoustic guitars)
Carlos Vega (double bass)
Recorded by Sam Nacht on March 3, 2019 at Leandra & Vega (Villa Pueyrredón, Buenos Aires)
Mixed y mastered by Sam Nacht in April of 2019 at Estudio Libres (Buenos Aires)
Art and design by Cecilia Ivanchevich

“…los sonidos intentan recuperar una narrativa de paisajes escuchados en la arqueología de otras músicas y otros discursos. No hay fusión. En todo caso, hay una épica. Los roles de voz principal y acompañamiento se disuelven y reconstruyen, jugando entre lo idiomatico y lo diferente en busca del extrañamiento…” – L. Conde

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posted 18 February 2020

Various Artists – TLM presents Vol​.​1: "​.​.​.​should be feared" (​?​)

Various Artists – TLM presents Vol​.​1: "​.​.​.​should be feared" (​?​)
[TLM003]

Various Artists

“TLM presents Vol​.​1: “​.​.​.​should be feared” (​?​)”

a VA compilation that attempts to cover a wide spectrum of modern electro-acoustic experimentation.
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posted 15 February 2020

MARCELLO MAGLIOCCHI and Matthias Boss – Lying Beneath the Shades of Abyss

MARCELLO MAGLIOCCHI and Matthias Boss – Lying Beneath the Shades of Abyss

MARCELLO MAGLIOCCHI and Matthias Boss

“Lying Beneath the Shades of Abyss”

Marcello Magliocchi (drummer / percussionist) and Matthias Boss (violinist), they are two musicians / improvisers who have met and worked together in different artistic projects for a decade, have made several tours in Europe and recordings, their work is directed improvised music / instant compositions, the sense of sound, all possible interactions.
Marcello is an artist born in Italy with a long history and experience, he has brought his sound on tour in Europe and Japan, he has worked with the most significant artists in the world in jazz and improvised music. He is the creator and organizer of international meetings dedicated to improvising musicians (the latest in order of time are Clockstop and Osimu, all aimed at building a free network between artists who practice improvised music in the world).
At this link all the information, biographies and discography.
it-it.facebook.com/marcello.magliocchi
Matthias Boss is an artist born in Switzerland, lives in the Jura, dedicates himself to social work for asylum seekers, paints, creates sculptures, has worked in the world of theater, plays the violin making a wide range of sounds, intervals and shades with a remarkable sense of space and composition.
At this link all the information, biographies and discography.
www.facebook.com/matthias.boss1
Their sound has also taken shape for some years with the Trio 876 together with Jean Michel Van Schouwburg and in collaborations with numerous artists and improvisers on the world scene.
These recordings were made respectively at Marcello’s home in Puglia and during a concert in London.
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posted 14 February 2020

Mariano Rodriguez – Huesos Secos

Mariano Rodriguez – Huesos Secos

Mariano Rodriguez

“Huesos Secos”

We are very pleased and grateful to share Huesos Secos (Dry Bones), by Mariano Rodríguez through Carbono Proyecto Records. The idea has been brewing for a long time now, but as we know, in our sound, musical and self-managed projects, if we have anything, it is the freedom to let the processes flow until the ideas and personal planets align.

It’s been already four years since we last published a disc by this guitar artist-craftsman-monk based in Bariloche for a couple of decades. It was Praise the Road, first edited by the American label Grass-Tops Recordings and currently available through his own bandcamp. Anyway, he frequently participates in various compilations that range from the experimental to specific tributes such as the recent one to Jack Rose, another of Mariano’s acoustic guitarists of reference.

In many ways inspired by the logic of the “American primitive guitar” (a term that designates a “transitional” genre according to Wikipedia, to which a legion of guitarists from pioneer John Fahey in the 50-60s, through Leo Kottke, Robbie Basho and the aforementioned Jack Rose until today), Mariano Rodríguez’s music does not focus on the technical deployment of the guitarist, but on the more spiritual or meditative dimension of it. And in connection with all this, although not as conditioning, of course, his deep Christian faith intervenes since his adherence to the theology of Third World liberation. Listen for example to Liberation Theology for beginners, described by him as a Christmas album.

Somehow the tracks that make up Huesos Secos synthesize the mental and sound journey that Mariano started with his family in southern Argentina. This experience was also rooted in half of his life living in Buenos Aires, forming part of different rock and punk bands, and projects with the excellent singer-songwriter Adrián Paoletti among others. But without a doubt his current music is an inseparable part of a Patagonia that he has made his own, resignifying a whole set of influences, which finally act as tools to establish a back and forth movement with his perception of those places of the Argentine interior and its story.

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posted 05 February 2020

Eric ZInman New Language Collaborative – live live @ Suddenfest / Dorchester Art Project Boston

Eric ZInman New Language Collaborative – live live @ Suddenfest / Dorchester Art Project Boston

Eric ZInman New Language Collaborative

“live live @ Suddenfest / Dorchester Art Project Boston”

PLASTICITY

New Language Collaborative live@Suddenfest/Dorchester Art Project Boston

Ellwood Epps trumpet

Glynis Lomon cello, aquasonic and voice

Syd Smart drums

Eric Zinman synthesizer

1) Pulse

2) Propulsion

recorded by Dave Peck November 12 2019 Dorchester, Boston, MA USA
credits
released January 29, 2020

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posted 29 January 2020

Vladimir Luchansky – Helioglabus

Vladimir Luchansky – Helioglabus

Vladimir Luchansky

“Helioglabus”

saxophone/reeds, recording: Vladimir Luchansky
mastering: Ilia Belorukov
curating: Tiago Morais Morgado

Vladimir Luchansky (b. 1990) – composer and improviser from Saint Petersburg, Russia. He worked with musicians from all over the world such as Oliver Lake, William Parker, Assif Tsahar, Tim Hodgkinson, Glen Hall, Ilia Belorukov, Mia Zabelka, Matt Mottel, Kevin Shea, Alexander Markvart, Roman Stolyar, Sergey Belichenko, and many others. A member of International Society of Improvising Musicians, he performed in North America and Europe with solo gigs and in various combos. He interferes with all kinds of contemporary improvisational music from noise to free jazz and multidisciplinary arts.

Ilia Belorukov is a musician from Saint-Petersburg, Russia. He works in the directions of improvised, noise and electroacoustic music. He’s a member of different projects with local and foreign musicians. He collaborates with artists who work in other musical directions (from hardcore and metal to academic contemporary music); with dancers and painters; with theater. Ilia practices an experimental approach of sound extraction on alto saxophone with objects, uses electronics and other instruments. Also he is a founder of Intonema label (www.intonema.org) and one of curators of Spina!Rec label (www.spinarec.bandcamp.com).

Tiago Morais Morgado | Violetista e laptoper, estudou música clássica, musicologia, informática música e sonologia na Artave, na Esart, nas universidades Nova de Lisboa e do Minho e no Conservatório de Haia. Curador da editora Nachtstuck Records, que criou em 2014. Seleção de concertos: Frequency, na final do Termómetro Unplugged 2005, Alfândega do Porto; Orquestra Artave (viola tutti), com António Rosado e Ernst Schelle, Coliseu do Porto, 2006; Quinteto Pedro Lopes, David Filipe, Tiago Morais Morgado, António José Oliveira e Denis Ferreira, Casa das Artes de Famalicão, 2006; Tiago Morais Solo, Teatro a Barraca, 2010; :papercutz, no Inslington Metal Works de Londres (Reino Unido), no SXSW Austin (EUA) e no Exit Festival (Sérvia), 2010; Encerramento do ciclo “Colaborações Improvisações”, Serralves, 2011; Sonology Electroacoustic Ensemble, com Peter Evans, 2011; Com Yedo Gibson e Ofir Klemperer e como Tiago Morais Solo, no Studio Loos Den Haag, Holanda, 2011; Tiago Morais Morgado Solo, Fiber Festival Amsterdam, Holanda, 2012; Visuais, A First Approach to Morgenstra – Juan Marco Albarracin, 2012; Arnold Schoenbergzaal; Com Nicola Casetta, Maskarade Sinzine; Com James Hewitt e Renato Meganha Ferreira, Leo Svirsky House, Holanda, 2012; Tiago Morais Morgado solo, Kees van Barenzaal, Holanda, 2013; Com Teresa Matias, MNS, 2013; Com Stelios Manousakis, Museu de Arte Contemporanea de Vigo, 2014; Festival O Mundo Somos Nos, 2014 e 2017; Festival Dias de Música Electroacústica, 2015 e 2016; Moita Mostra, 2016 e 2017; Serralves em Festa, 2017; Com Marcelo dos Reis e Sérgio Tavares, MNS, 2017; Jose Lencastre Nau Quartet, MNS, 2017; Ocupa #2, GNRation, 2017.

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posted 23 December 2019

Calles de Santiago – A las cacerolas

Calles de Santiago – A las cacerolas

Calles de Santiago

“A las cacerolas”

En octubre de 2019 se generó un estallido social en Santiago, a partir del alza de los pasajes de Metro. Primero fueron los estudiantes secundarios, con las evasiones masivas a este medio de transporte. La represión del gobierno fue creciendo, hasta que un día viernes la crisis estalló. El cierre del tren subterráneo generó que toda la población de Santiago se desbordara a las calles y generara protestas espontáneas y descentralizadas. Sin líderes, sin caudillos, las masas se tomaron las esquinas con barricadas y cacerolas, con la intención de hacerse oír. El gobierno y sus oídos sordos, con sus acciones autoritarias y patriarcales, reprimió fervientemente las acciones de protesta, llamando a estado de emergencia, entregándole el poder a los militares.

El pueblo no se asustó, y esta acción convocó al resto del país a sumarse a la batalla por una vida digna, por el fin del saqueo económico y medioambiental, contra la precarización de la salud, el trabajo y las personas, mientras el sector privilegiado se dedica a manipular los medios de información, a alimentar al gran monstruo del espectáculo, y a intentar hacer enfrentar a la gente contra la gente.

Hoy, 22 de octubre, las protestas no cesan, en medio de un toque de queda publicamos estos registros, como constancia y pequeño sample de la sonoridad que existe en Santiago en estos días, que habla también de lo que sucede en Valdivia, Concepción, Antofagasta, Valparaíso, Temuco, Puerto Montt, Rancagua, y en muchos pueblos más pequeños pero igualmente afectados por la avaricia y el desdén de una clase política al servicio del neoliberalismo.

Los cacerolazos se han convertido en la forma de protesta en las calles o en el interior de las casas, que reverbera por la ciudad, se multiplica y descentraliza, envolviendo a una ciudad, a un país, y que esperamos envuelva también a toda latinoamérica.

¡A las cacerolas!

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posted 19 December 2019

ilia belorukov & lauri hyvärinen – yesterday by chance

ilia belorukov & lauri hyvärinen – yesterday by chance
[ACP 1227]

ilia belorukov & lauri hyvärinen

“yesterday by chance”

ilia belorukov – alto saxophone, objects, electronics
lauri hyvärinen – electric guitar, objects, electronics

recorded live in graz on november 16, 2017 and brussels on november 9, 2017
recorded by ilia belorukov, marufura fufunjiru and gerard daval
mixed and mastered by ilia belorukov

photo by henri antikainen

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posted 21 November 2019

George Cartwright & Mauro Sambo – "dell’umore di chi è sempre in attesa"

George Cartwright & Mauro Sambo – "dell'umore di chi è sempre in attesa"
[PT095]

George Cartwright & Mauro Sambo

“dell’umore di chi è sempre in attesa”

George Cartwright – alto and tenor sax, guitar
Mauro Sambo – electronics, gong, percussion, contra-alto clarinet, zither, electric violin

Cover Art – From the series: “instabilità radicata” – Matilde Sambo 2019

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posted 10 November 2019

affaire difficile – Innermost Outlandish Ego

affaire difficile – Innermost Outlandish Ego
[zen198]

affaire difficile

“Innermost Outlandish Ego”

a sonic absurdity around DT, and his friends, in 12 parts

based on the 12-cycle poem Innermost Outlandish Ego by frank ruf

all tracks arranged from live session recordings 2018/19

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posted 06 November 2019

Franke Vogl & Chuck Bettis – Balance Between Dimensions

Franke Vogl & Chuck Bettis – Balance Between Dimensions
[Suda0055]

Franke Vogl & Chuck Bettis

“Balance Between Dimensions”

From the sub post electronics MirrorFacingMirror starts with an eclectic and disconcerting
sound (not being able to establish whether it is organic or synthetic) just live … it ends up
with any idea that electronic music does not stop surprising us from this duo of American
artists who work in the specific field since the 90s, become a myth.It is more extreme and powerful in the case of RestlessDecay where the rise of American
experimental electronics and its millions of patches and prototypes created by these
pioneer artists of America.
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posted 14 September 2019

Podarces – Frozen Journeys

Podarces – Frozen Journeys
[Eg0_214]

Podarces

“Frozen Journeys”

Under the Podarces pseudonym Benoît Rouits (who also plays oboe in Jukpic ) creates experimental improvised music with keyboards. Last year he made us discover one of his old works : “A Frozen Journey”, made in 2009 with virtual synthesizers and inspired by some writings of Philip K. Dick. We enjoyed this album a lot and although it undoubtedly stands on its own we felt its minimalist abstraction could make it a very interesting material to incorporate in new works. We made this suggestion to Benoît and some other collaborators and aquaintances who agreed and accepted to contribute remixes of what is now called “Frozen Journeys”, featuring the original tracks as well as remixes by Humanfobia, Human Koala, Nina Kardec, Anastatsia Vronski, Kecap Tuyul, Nicolas Tourney, Sig Valax, Filmy Ghost, Yann Pillas, Thomas Park, Luciftias, Doedelzak.
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posted 07 September 2019

V.A. – Three Hundred And Thirty Six

V.A. – Three Hundred And Thirty Six
[at096]

V.A.

“Three Hundred And Thirty Six”

This release, presents the outcome of the process and culmination of a concert held the final day of the Ur Tanta Summer Camp 2019. The work was developed by a small group formed by Miriam Matthys, Simon Bahr, George Chinnery, Ricardo Martorana, Jack Hyde and Alberto Garcia Aznar.
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posted 04 September 2019