Polish DEFIL vintage guitars in action! 22 tracks, almost 70 minutes of guitar-music. Every artist or band use some model/models of DEFIL instrument (the oldest one: 1962’Mandolin… up to 1991’Aster Lux).
Horses, Horses … Horses! is the late October 2015 debut release from the collaboration, Splicey and Tracky (Dave Keifer & Jess Lemont). In this case, the tracks featured are from Keifer’s end of the ongoing project.
Recently, Vuzhh Music Blog (C. Reider) produced its annual list of Notable Netlabel Releases, which includes the debut. Reider’s description: “Skittering and simultaneously loping, riffing and simultaneously free-jazzing group work featuring the brilliant Jess Lemont. This coheres really well, and is very groovy, even when they’re at their most free-improv-y.”
And, they’re just getting started. Be sure to stay on the lookout for more Splicey and Tracky releases, and, if possible, listen with your eyes closed!
Dave Keifer (Cagey House): virtual instruments, software, etc. Shifty editing, occasional brief embellishments.
Jess Lemont (Be a Waterwolf): all real instruments including drums, voice, guitar, bass, mallet percussion, keyboards, xaphoon, etc. Large-scale intricate lace improvisations.
(Tracks created jointly between April and August of 2015)
Guy-Frank Pellerin, Matthias Boss and Marcello Magliocchi
“THE SOUNDING DOOR”
New release on Plus Timbre and our last one for this year. We present Marcello Magliocchi once more as a guest in our home and we feel very happy to have him accompanied by two outstanding musicians: Matthias Boss and Guy-Frank Pellerin.
Linear Obsessional is delighted to present this beautifully recorded collection of free improvisations by Nada. Nada is the duo of Roger Mills – Trumpet and Hervé Perez – alto sax. The improvisations that make up “Mirror Image” are revelatory, as both musicians explore a huge range of sonic textures through extended technique, and make for a fascinating and engrossing listen as they search out their common ground. Interestingly although both musicians had played together via internet collaborations “Mirror Image” is the result of their first meetings in person. The sound of two musicians communicating so naturally, but also with great control and subtlety, makes this an enormously rewarding album.
released December 14, 2015
Mirror Image is the debut album of the duo Nada,
featuring UK based saxophonist Hervé Perez and
Australian trumpeter Roger Mills.
While Perez and Mills live on opposite sides of
the world, they met through their mutual work
with the telematic improvisatory music ensemble
The pair quickly realised a shared aesthetic and
continued developing their sound online.
Hervé and Roger would like to thank Elke Utermöhlen
and Martin Slawig (blackhole-factory) for bringing us
together, Richard Sanderson for releasing the album,
and Arman S. Haghi for the original artwork.
Here at Linear Obsessional you may have noted we have a fondness for squeezeboxes and free improvisation, which is why we jumped at the chance to release an album by the amazing British accordionist Mike Adcock (once of Accordions Go Crazy amongst others). “Accord” is a collection of improvised duets with a series British improvising musicians – and is a wonderful showcase for Mike’s sensitivity as an improviser and his wonderful musicality as a accordionist.
“Things Left Unsaid” is not only the testimony of a precise moment, but rather the result of a long research, composition and improvisation done by the band: there’s a common area where musical elements from diametrically opposed musical worlds such as jazz and contemporary music, rock and blues coexist without forgetting the melodic vocation in each composition.
Linear Obsessional is delighted to present this album of two recent pieces by the legendary British folk/blues/world/avant garde guitarist Mike Cooper.
“Forbidden Delta Planet Blues” is a long form work built from over lapping loops and featuring some beautiful Hawaiian style slide guitar.
“The Pain Was Bad, But The Tuna Good” is a spellbinding live solo performance recorded at London’s 100 Years Gallery. A solo for a steel resonator guitar (and some voice) which explores all the nuances of the instrument’s considerable cultural baggage, with breathtaking extended technique (bowing, electric fan) and a fascinating stream of invention- it lives up to Cooper’s science fiction/trad interface admirably.
“Strange things there may be, out there, but it sure beats boredom” Trebuchet
νόστος (Nostos) – Greek for “returning home” and the root of the word “nostalgia”-is a collection of eight new electroacoustic works for double bass and electronics by double bassist Daniel Barbiero (Silver Spring, MD USA) and sound artist/electric bassist Cristiano Bocci (Follonica, Italy). The pieces are the result of an international collaboration-sonic action at a distance-over the web.
Each piece is grounded in a solo double bass performance wich was then modified, dismantled and reassembled into constructions that explore timbral nuances as well emerging harmonies, counterpoint and rhythms. “L’ultimo treno per Follonica” is a virtual duet for Barbiero’s double bass and Bocci’s six-strings bass.
‘BRidGe,’ Nen.T.E.’s latest offering and the first one on Sucu Music out on July 14th, 2015, for the Netlabel Day 2015 special event, is based on two live performances recorded between October 2014 (tracks one to five, as part of a live installation at ‘Scritture Mobili’ – Mobile Writings – an exhibition by Sicilian artist Michele Lambo) and February 2015 (tracks SF one to five). Both performances were held as a single stream-of-consciousness-like improvisation for electronics, guitar, rhythms and effects, in a way not so dissimilar to what the likes of Tangerine Dream used to do way back in the early seventies, but with a psych-droney-ambient feel that is third millennium to the quick. For this release, however, Nen.T.E. chose to dissect their jams into proper tracks, which on the one side makes the production more accessible to a lot of people, on the other side leaves out nothing of the essence and the beauty of their music.
t’s difficult to put this next release in any words, something quite so unique hasn’t appeared on Kahvi shores before. Trev Wignall is an accomplished ‘foremost pioneer of electric violin’ and his tracks are probably the best definition of how an electric violin should be used. Those of you remembering the good old 8 bit home computer days, can probably recognise the lead appearing in many of these tracks the same as me – as soon as I heard the tracks I thought ‘that sounds like a 21st century c64 lead’.
Some of the chord changes and dynamics of these tracks are quite something, with the sublime Dark Priest beginning the EP, to Vindicator that takes you underground and out into the daylight again. Ending the EP with the 16 minute masterpiece ‘The turning of a stone’ with delicate plucks of the violin strings. I think you’ll agree that this is probably one of those releases that will go down as the defining sound of a genre. Enjoy this amazing example of digital meets analogue!
From 1979 to 1983, the Australian Terse Tapes label made cassette compilations. These are in danger of becoming “classics”, a complete betrayal of the energy that made them. There is no better antidote to cloying nostalgia than the corpse getting up and refusing the funeral.
So instead say that from 1979 to 2015, Terse Tapes made compilations, and here is more of the same. You could put it on a cassette if that matters.
I invited a few people I know, and they invited a few people they know, and music started to arrive in my inbox. I refused to listen to any of it until April Fools day. No one curated anything, although some people were nice enough to chase up their friends.
Having heard this music over the last 24 hours I can divide it into some useful ‘sides’, but keep in mind you are able to arrange it however you like in this non-linear wonderland in which we are trapped.
Side A: people who have doubts about music.
Side B: people who do not fear a pretty tune.
Side C: people that make graphs and grids.
Side D: people who could plausibly perform in a public ale house
Side T: time lords
Although supplied for no payment, there are specific rights attached to the recordings, which remain the property of the artists. Do not sell this music for a profit, do not use this music for any commercial purpose, including but not limited to, placement alongside advertisements or behind paywalls.
released 01 April 2015
Organised by Tom Ellard at Terse Tapes, Sydney, Australia. Contents made in the USA, UK, Canada, Switzerland, Australia and other parts of the universe that man may visit from time to time. May contain nuts.
«Spirits» came to life after Chris Silver T invited Anna Stereopoulou to a collaboration project on the same titled track of the album. Chris’s field recording on the specific composition took place during one of his visits to his hometown; a morning walk to the village, through stone pathways and towards a peaceful area, where spirits can be heard in the air.
Anna Stereopoulou: piano, synth, mixing
Chris Silver T: drums, field recordings, (synth at Track No.3)
Электронное расщепление личности под рождение ночных кошмаров.
Волновые колебания звуков тишины и мрачное таинство демонов из подсознания.
Это всё 7 выпуск нашего нечастого подкаста, записанного lost-radio в поддержку своих будущих релизов…
01 brk – Scape 1
02 Igl00 – Variation 1
03 SandSpace – Untitled
04 Пландеркозерон – Вместо Тишины
05 Mon.ka – One coffee for my girlfriend juki
06 73! – Untitled 2
07 Med Gen – Glacial
08 Cycle Of Self – Tactile Hallucinations
09 Fault Justification – Thank you to you for you
10 Helicalin – Next fall everything will be over (demo)
Controversial producer of the 21st century. A visionary, known for his sod-cutting construction building in electronic music, aleatory composition and sound space.
Follower of the Darmstadt School, his early student compositions remained out of the public eye until the conjunction music experience resolved in the debut album “unsound noisy glitch”.
Mers describes music written in an uncompromising transethnic style with a mixture of recognizable genres.
“sketches and improvisations for fretless bass ukulele”
bass ukulele and electronics: stefan schmidt
recorded in december 2014/january 2015
except for samples of gongs and broken tiles on track 2
no additional sound sources were used
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