New album of experimental improvisations for melodeon (diatonic button accordion) from London based squeezebox player, morris dancer and head of Linear Obsessional Recordings. “A Thousand Concreted Pearls” goes even further than previous albums, the melodeon is amplified and put through effects pedals and mixed with feedback, or put through a modular synth. This resolutely melodic instrument, and workhorse of English folk is here thrust into an entirely new world.
We’re happy to offer you the new Stephen Briggs concept ambient release with the usual shoegazish taste, out for the Netlabel Day 2016 special event.
In “Hypnotique”, the vast landscapes we were used to, here enlarge their borders, thanx to the artist’s skill in depicting sonic panoramas with his guitar, effects and looping.
In these five long tracks you will experience relaxed arpeggios and harmonies chasing eachother through textures of guitar pads that dilate our senses. And more, reversed phrases, roaring distant low-pitched notes as rumbling distant thunders, powerful reverbed and distorted riffs and chords.
There’s much stuff in this five steps that are simply titled I, II, III, IV, V, a magic digit sequence of a time-warped pendulum…
So sit back in your favorite armchair in front of a sunset, raise the volume, or take your full range headphones, click “play” and listen loud, relax, take a deep breath and count slowly from one to five and soon you’ll be…
– Gaetano Fontanazza
Four quasi-improvisations. Drums, synths recorded and then processed, plus alto saxophone in tracks 1 and 3, tenor saxophone with two different length pieces of watering hose in tracks 2 and 4. Feedback loops in track 2.
There’s no music here. Music has been outdated. This release is a Monument to The Noise.
It’s the hundredth and simultaneously the first release of MAV Records.
We adopted the dead drop method, ideated by Aram Bartholl and consisting of the installation of USB devices in public spaces. Anyone can use our dead drops for sharing, uploading or modifing audio files.
Pfff! flows and evolves through different realities, dis/integrating into the environment, getting vaporized.
Pfff! Monumento al Rumore
Non c’è nessuna musica qua. La musica è stata superata. Questa pubblicazione costituisce un Monumento al Rumore.
È la centesima e contemporaneamente la prima pubblicazione della MAV Records; abbiamo adottato il metodo del dead drop, ideato da Aram Bartholl e consistente nell’installazione di dispositivi USB in spazi pubblici. Chiunque può usare i nostri dead drop per scaricare, caricare o modificare file audio.
Pfff fluisce e si evolve nelle varie realtà, dis/integrandosi nell’ambiente, vaporizzandosi.
00 – mAvvertenze
01 – hiyohiyoipseniyo – p o s t b L a b L a B L A
02 – Laika Facsimile – Tagli della morte
03 – Tommaso Busatto – Vvv
04 – Multimedia Sepulchri – Finding
05 – Rocco Perciante – snare75
06 – Vitaldo Conte + Antonio Saccoccio + Helena Velena – Sì solo po emi (Pulsional RU.MO.RE!)
07 – Jukka-Pekka Kervinen – calibration point
08 – Infector http:// – Phase One
09 – Stefano Balice – Mozzafiato (tattilofonia)
10 – Koobaatoo Asparagus – Uhh Man & Women
11 – The Finer Points Of Sadism – Cultivate
12 – NOS project – x-f
13 – 7tn4cc – MAV Helicopter E-attack
14 – Hank the Think Thank – ep1K oU!
15 – Nostra Orchestra Estemporanea – Gigi
16 – Sounddog65 – In Primis
17 – Nascitari – Breve introduzione alla dottrina dell’isolamento
18 – Eugene Furrno – zwischenheit
19 – Rome Kapone – Electrovoice Demo #-1 (voice altered by Moduler Gee)
20 – Ben Presto – Chanel Cristo n. 34 (Ipercoop approved)
21 – Marco Olivieri Circus – Dedicato a Viola nascitura
22 – Trapianto di Fegato – Zzzachete
23 – Toxic Chicken – I Want It
24 – Max Scordamaglia – Errore
25 – Hengedal – Sørvind
26 – Mustard-In-Law – Grey Poupon For Bing Bong
27 – Jesus Cremoso + Obasquiat – Embryonic
28 – DJ Crivellator – Sulle avanguardie pseudoartistiche nate nell’internet
29 – Blade Painnet – Pubblico di mmerda (musicoralità)
30 – Movimento per l’Arte Vaporizzata – Antidefinizione
Solaris was formed by Mark Sanderson, Richard Sanderson and Mark Spybey as young krautrock fans in Teesside in 1974, when they were aged 12 and 13. As the members grew up through post-punk, electronic music and free improv they have remained friends and still occasionally record together. These sessions were produced by Mark Spybey in Northumberland in 2010 and 2012 during the Summer holidays, and although the musicians have matured in the intervening decades, the influences of those original favourites (particularly the improvisational alchemy of Can and the cut-ups and aggression of Faust) are still audible.
Linear Obsessional is delighted to present their debut album- some 42 years after forming!
Matt Turner – cello
Hal Rammel – amplified palettes
Recorded by Hal Rammel, December 2015.
Mastered by Alex Inglizian at the Experimental Sound Studio, Chicago, IL.
The title of this disc and track titles are drawn from the writings of American journalist and amateur ethnographer Lafcadio Hearn (1850-1904); in particular, his novel Chita: A Memory of Last Island (1889) and the travel diary Two Years in the French West Indies (1890)
Plasman 51 searches for new forms of expression to communicate with extraterrestrial worlds. Long sessions with synthesizers made of endless arpeggios drive the listener toward distant horizons, where forms become blurry shapes, memory fades away leaving space to cosmic contemplation.
The release is collection of impro material recorded in 2015/2016. Gears used: Roland mks50, Roland sh101, Oberheim matrix1000, Novation nova, Gotarmann’s demoon, Dave Smith’s mopho, MAM map1, Roland analog echo, Electrix filterfactory.
“Clouds Formations” is a concept release coming from the brazilian brilliant musician and guitarist Marcel Rocha. The artist, with his fine guitar mastery, explores that enchanted part of the sky where clouds form, giving body to our visions and emotions. It is a rich sonic journey through the amazing world of “haze and vapours” that flows onward, everchanging like clouds drawing in the sky on and on and on… From sparse melodies to harmonic atmospheres, from spontaneous phrases to complex notes mazes, Marcel leads us by the hand into his personal multiform land.
NEW RELEASE on PLUS TIMBRE
Daniel Barbiero & Chris Lynn | Doubting All Things Aligned
Chris Lynn: field recordings; piano; chance piano; Yamaha synthesizer (6); implicit Super 8 imagery.
Daniel Barbiero: Double bass; prepared double bass (2, 4); analogue synthesizer app (5); virtual duet (9).
“Dialogue Alone” is the second Manb offering at Sucumusic.
The so called “art-quantum” concept manifested in his previous music, here continues its course in a series of tracks where improvisation is still the major Ermanno’s approach. Textures of sounds and synths are less broken, here. The time quantum is scanned by the minimal rhythm interventions and variations. This release, like all Manb’s music, has a natural vocation to cinematic purposes. You can easily imagine still poses that slowly mutate from A to B in a non linear, imperceptible and unpredictable path. Quoting David Byrne, at the end of the journey, “you may find yourself” asking “where did I get there?”http://sucumusic.weebly.com/uploads/2/3/8/4/23844610/8963418.jpg
These are improvised pieces using grand piano samples and playing them through some simple software programs i found on the net (www.ixi-software.net) – for the first piece it was lauki, for the second – crystals. Both of them (pieces) owing a lot to the abilities/failures – especially the second one – of my already ‘dead’ pc.
“Óscar Santis, great artist of respect and renown, it has already been several years since I’ve known and recognized his trajectory, and it never ceases to be a true luxury and pleasure to hear his sounds. On this occasion he delivers sounds sufficiently well worked, so much so that they remind me of the late Akifumi Nakajima in the sense of achieving true soundscapes, with a density still greater than that to which one might become accustomed.
Each sound is a story and if you expand your mind, you will be able to capture to the maximum all the sounds that he manages to collect on these eight sound pieces. Glitches, sound strikes, all very well worked, note the treatment in each of the sounds, and the dedication to destroy each fragment, every millisecond, every detail delivers a different perception, its worth really disconnecting and hearing that which was dusted off from the box.”
“Óscar Santis, gran artista de respeto y renombre, hace varios años ya que conozco y reconozco su trayectoria, y no deja de ser un verdadero lujo y placer escuchar sus sonoridades. En esta ocasión entrega unos sonidos bastante bien trabajados, tanto así que me recuerdan al difunto Akifumi Nakajima en el sentido de lograr verdaderos paisajes sonoros, con una densidad aún mayor a la cual se pudiese estar acostumbrado.
Cada sonido es una historia y si expandes tu mente, lograrás captar al máximo todos los sonidos que logra recoger en estas ocho piezas sonoras. Glitches, golpes sonoros, todos muy bien trabajados, se nota el tratamiento en cada uno de los sonidos, y la dedicación a destrozar cada fragmento, cada mili-segundo, cada detalle entrega una percepción distinta, vale la pena realmente desconectarse y escuchar lo que desde la caja fue desempolvado.”
Amigos de la Contaminación Sonora
(Rancagua, Chile, Febrero / February 2016)
“The day that forgot to break” is the third album by Purple Mountain Peal.
This release marks a more piano driven declination of what the duo has to offer in terms of improvisation, creativity and madness. To sum up, what you are about to witness is less chaos and more melody. Take it with a grain of salt by the way, it’s Purple Mountain Peal after all…
João and João have been playing together since the early nineties. First in a death metal band, then in a covers band, now in a quartet, always taking it as heavily or lightly as possible.
Jim And The Galaxy was their first incursion as a duo – then electric bass, double bass, fx and magnetic tape – when a collective of friends commissioned a piece for a special evening.
Now, probably 20 years after, the first recording of a “live at home” session (no overdubs!) is released as the corollary of the many musical experiences they’ve had throughout the years.
Plain and simple, straight to the point and laid-back.
João Santos: electric bass, fx;
João Ricardo: electric guitar, fx.
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