about

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.”

music tagged with: improvisation

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.

Button: by-nc-nd
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!

Button: by-nc-sa
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

Button: by
posted 21 November 2019

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

George Cartwright & Mauro Sambo –
[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

Button: by-nc-nd

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

Button: by-nc-sa
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.
Button: by-nc-nd
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.
Button: by-nc-sa
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.
Button: by-nc-sa
posted 04 September 2019

Gussoni / Magliocchi / Northover – The Sea Of Frogs

Gussoni / Magliocchi / Northover – The Sea Of Frogs
[PT092]

Gussoni / Magliocchi / Northover

“The Sea Of Frogs”

Bruno Gussoni/Flutes
Adrian Northover/Soprano saxophone
Marcello Magliocchi/Drums

Recorded at Bogliasco-Genova/IT
2019, June 12th
All music by Gussoni/Magliocchi/Northover
Photo & cover design by Adrian Northover

Button: by-nc-nd
posted 01 September 2019

z(xW+yV) – Trois Prises

z(xW+yV) – Trois Prises
[Eg0_213]

z(xW+yV)

“Trois Prises”

z(xW+yV) is a solo project of Kecap Tuyul started spring 2018 while experimenting different ways to generate low volume feedback with small gear. After some tries with one contact microphone and one 1W battery-powered amplifier he developped a modular system on this basis, in order to generate not only feedback, but also feedback of feedback, and feedback of feedback of feedback (…) by chaining amps and microphones in a circular way that blurs more and more the distinction between sound source and sound’s reproduction, between acoustic musical instruments and electronic sound diffusion.

Unlike its first album 3×2(1W+18V) whose 3 pieces where mixes of 2 improvisations, Trois Prises features only raw improvisations played on more complex versions of the set-up (with 3 or 4 amplifiers). Track 1 & 3 contain no edits, track 2 was edited from a longer improvisation.

Button: by-nc-sa
posted 14 August 2019

M.A.K.T. Sono – TTTango

M.A.K.T. Sono – TTTango
[Eg0_211]

M.A.K.T. Sono

“TTTango”

M.A.K.T. Sono ‘s new release TTTango is an improvisation recorded in november 2018 by Magali Albespy & Kecap Tuyul with the same kind of lo-fi set-up as the one used on album “11 Songs”
Credits
Magali Albespy : amplifiers, microphones, synthesizer, voice.
Kecap Tuyul : amplifiers, microphones, synthesizer, mix.
Button: by-nc-sa
posted 15 July 2019

Inti – Gran Madre

Inti – Gran Madre
[pn143]

Inti

“Gran Madre”

“On her back over distances rode not even a bird.”
(Liliana Herrero, Confesiones del viento)“When we look in our environment for the elements that can condition or enhance our character, the ways of bonding, the ways of our expression, we usually fix our eyes, our feelings and think about the earth that we tread, that we inhabit and that inhabits us. Its geographical features, its colors and textures. The species that thrive in the conditions that it positions before us. More difficult is to account for how the air defines us. Being an invisible matter and much less tangible than a piece of rock, to think of ourselves surrounded by that elastic medium and to meditate the consequences of that immersion is less probable. How is it that the air that surrounds Inti every day from the place on the planet where she decided (or not) to situate herself, to dwell and create, conditions and enhances her art? ‘Gran Madre’ (pn143) invites me to that exercise.

In the habitable dimension presented by the three tracks that are part of this release, I can immerse myself in that perception and reflect on the air in a vast spectrum. Thus a breeze appears in the form of her voice, to which she decides to tie the rest of the materials that she sonically molds. Sometimes she brings words, at others only tonalities that tighten and loosen the link with the electronic textures but that never try to impose their meaning and their ‘humanity’. From breeze to wind there are degrees of atmospheric pressure where the air is agitated and charged, in this case, dust and static. At various moments along the path that ‘Rea’ or ‘Mina’ lay out, it is this abrasiveness of the particles in suspension that defines the atmosphere, stripped of all dew, open to the sparks and micro-lightning so common when the air has 0% humidity. Mediating its duration, ‘Mina’ displays the sound of rain. But there is no indication of freshness or relief in its appearance, instead it makes the electricity even more palpable (and the added risk of walking through that sound space with feet bare and wet). What threats do those bursts of electronic static that shake the environment carry?

Every so often, as in that pulsating drum at the end of ‘Rea’, I think I’m listening to the radioactivity measurement of a Geiger counter. It is not clean air or purity that seems to matter to Inti and contamination can be felt here as a concept distilled from its negative connotations. Here we breathe strange and invisible agents that will inevitably modify our genetic constitution. Interestingly, I do not perceive an imposition in this action. This possibility is attractive, like a storm in the desert that advances towards us as we wish it to engulf us. Sand that hugs.

Already fused in these volatile molecules, ‘Ciprés (Cypress)’ arrives and the air becomes a whirlpool. We recover our body and integrity to be transported to a time that is not today or here, inhabited by ghosts. An old lament, a couplet, an epic of distance that reminds me of the pain of being separated from that which surrounds me.

So the air and its molecules that compress and expand to shake our eardrums. So the wind, now carrying seeds, now turning poplars. So is the atmosphere of this disc and this geographical and poetic site where Inti is planted to capture the ether and materialize its language.

In this edition, which is undoubtedly an artistic action in itself, for the beloved and respected Pueblo Nuevo label, a valuable Chilean publishing project, Inti plays with the air as well, investing the operation of the dry Argentinian winds. Then the mass of arid and rough air, decides for once to follow the Great Mother Son on its trajectory. Returning over her steps, she climbs the mountain range to look for the baggage of freshness and humidity that she hid there, to return to the sea that saw her leave once.”

j.crowe
(Tunuyán, Argentina. Julio / July 2019)

Button: by-nc-sa
posted 14 July 2019

Various – inaugurated molestation probating radical osculating visions

Various – inaugurated molestation probating radical osculating visions
[ACPS 1028]

Various

“inaugurated molestation probating radical osculating visions”

01. DAVE JACKSON – Yengora 07:57
02. DuoKanE – ge(VÖGE)Lt 09:59
03. IF, BWANA – Links Abbiegen 09:43
04. ESZSE – 141108_1410a 08:10
05. aNYdAYnOW – tHE sIDEwINDER 11:54cover art by Claus Poulsen
design by EMERGE

Button: by
posted 27 June 2019

GMS/FBW – Vol.3

GMS/FBW – Vol.3
[pn141]

GMS/FBW

“Vol.3”

“The longing for (inner) silence leads the/our being(s) to take the(ir) sound to the outside, exposing it/them as a natural/peculiar/idiosyncratic happening.

This sound is also influenced by collective unconscious – i. e. a global < > local society.

What are we to find in this transcendental process?: all/nothing, a receiver/Pandora’s box, feeding back this inner space which happens to be mute(d).

What are we to do if Monserrat Bustamante Laferte came out of the blue? Our amazement would allow this silence to expand in space-time, procrastinating an explanation.

All these processes/experiences/longings turn this album into a snapshot, a here-and-now portrait, a possible chart for adventurers, uncertain for our recent past, stamping our existence until the end of silence.

For this is no comfort zone approach: neither pop nor tape music nor free improv, but all of them instead, a García Canclini-like hybrid, pointing out an emerging possibility for our countries.

Who are these people?

This makes it even more interesting: deeply rooted in crossover practices, GMSs play cumbia on Monday, jazz on Tuesday, and experimentalia on Wednesday.

Martín/Benavides (M/B), one of the most outstanding musicians nowadays, accompanying Chilean acts such as Francisca Valenzuela, Chancho en Piedra, Los Tres, and many others. He is also a great performer in an extremely complex and mesmerizing instrument, such as the theremin.

Gerardo/Figueroa (G/F), composer and musicologist, participant in several Chilean underground scenes and venues from early on: radio shows, such as Musiclaje, and Pueblo Nuevo en Conexión Social; producer of singer-songwriter Camila Moreno’s early recordings. A sui géneris ol’ skool, chatting freewheelingly and unhamperedly with newer generations.

Seiten/Wall (S/W), young composer prone to challenging audiences with unconventional ideas and practices. representing the twilight zone where all sounds and formats meet. At present, he is also a board member of Comunidad Electroacústica de Chile (CECH).”

Víctor Tapia Herrera
(Santiago, Chile. Junio/June 2019)

Button: by-nc-sa
posted 10 June 2019

Le geneS – Por fin, la marmota accedió a mutarse

Le geneS – Por fin, la marmota accedió a mutarse
[PT089]

Le geneS

“Por fin, la marmota accedió a mutarse”

Jose María Pastor – drums; David Ramos – speak and spell, Casio SK-1 (circuit bent), Piano Roland EXR -3, Microkorg, Korg Poly 800, Drone Thing and TW3, TW5 and Noise Machine (selfmade); J.G. Entonado (a.k.a. Arín Dodó) – voice, piano, electric guitar, harmonica, Ventris Dual Reverb

Cover Art by Pedro Menchaca

Button: by-nc-nd
posted 02 June 2019