“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
The Convergence of Parallel Lines, the second collaborative release from Jimmy Ghaphery and Daniel Barbiero, contains three improvisations and one composition for winds and double bass, and one live improvisation for winds, double bass, percussion and three dancers.
The graphical score for Exchanges II for alto saxophone & double bass by Daniel Barbiero is included as a supplemental file as part of this release.
1. The Convergence of Parallel Lines (1)
2. Silver under Grey on Black
3. The Convergence of Parallel Lines (2)
4. Exchanges II for alto saxophone & double bass
5. Approaching/Contact (for Jose) for three instrumentalists and three dancers
Jimmy Ghaphery: alto saxophone, clarinet, flutes.
Daniel Barbiero: double bass & prepared double bass.
On Approaching/Contact: Jimmy Ghaphery, winds; Daniel Barbiero, double bass; Sam Byrd, percussion and objects; Page Ghaphery, Ken Manheimer and Jose Dominguez, dancers.
Tracks 1-4 recorded January 2013 at Last Resort Studio in Silver Spring Maryland USA.
Track 5 recorded live 5 July 2014 at Pyramid Atlantic Art Center in Silver Spring Maryland USA.
All tracks mastered by Mark Beazley.
Cover Photography by Billy Fox.
“With Lluvia Ácida, we have been making music together for 20 years, always from the Chilean Patagonia. In the beginning, in a context absolutely dominated by Rock and folklore, we made music inspired by the bands that we liked, all European and born of urban and industrial environments. Over time we understood that we had our own environment to inspire us, one in which technology is implemented in wild and lonely places, creating a contrast that is increasingly scarce in our country and the world.
We consider ourselves Explorers, because many of our works exhibited the results of an adventure or an investigation. So it was with albums like, “Tierra de Espectros” (2002), “Antartikos” (2005), “La Idea – Canto a la Federación Obrera de Magallanes” (2007), “Kuluana” (2009) and “Insula in albis” (2013).
“Zonas de Silencio” (Zones of Silence)” is the result of one of these adventures. This consisted of moving the act of Composing and Recording an album and a film outside the comfort of the studio, carrying portable technology to remote locations and abandoned premises of our environment, specifically in the communes of Punta Arenas and San Gregorio. In successive outings between the months of January and May 2014, we managed to record improvisations in places as dissimilar and evocative as a volcanic crater, a steamer rusting on the banks of the Strait, an abandoned lighthouse, a small and little known ranch, the structure of an old fridge, a coal mine, a beautiful cinema closed for more than a decade and a closed hospital. It was our way of merging ourselves with the landscapes that we love, in the shadow of the remains that were left at the edge of the Road of the Magellanes Story.
With “Zonas de Silencio”, we feel that we have contributed another vision of our Frontier Society, one which doesn’t glorify anyone in particular. We are only Ourselves and our Machines, forming a closed circuit but sensitive to the vibrations emitted by the solitary places.”
(Punta Arenas, Magallanes, Chile, January 2015)
Brian Grainger is the head on Coopice Halifax, it’s from South Carolina, US. Brian has amassed hundreds of recordings since 1997. After his last works Lowlight & Static Farm, he shows his new album called Imperial Grey. Imperial Grey is a before and after a trip to the ocean depths, dark sounds accompanied by gentle rhythms how nature that lives in the ocean.
Written & produced by Brian Grainger. Recorded at Botany Bay, November and December 2014. Mastered by The Analog Botanist.
This is a musical narrative about one peculiarly untamed outsider who remains unseen throughout his life, even though he himself strives to see all and everything, and thus excluded from the ark of humanity. This is also a story of human corruption, greed and uncontrolled urges – as seen and experienced firsthand by one John Doe who knows not how to fit into this boiling soup of basic human impulses. This is a top-notch moral and psychological dilemma: whether to be part of the human herd or not? Whether to go with the flow into the ark or to stay outside of it, paying the oft heavy price of ostracism? Not an easy choice… Certainly not.
Within the deep caves of our hearts, lies the horrible CONFORMIST ATTACHMENT ARTERY; attachment to who we think/feel we are, to our intrinsic nature as we and others perceive it, and to other objects (real and/or imaginary). This stops the blood flow of our untamed and wild essence. Thus, we become like lost sheep in the pasture, trying to compensate for this catastrophic gap our whole lives, by seeking void-like attachments – to supernatural forces such as Gods and their supposedly holier-than-thou “saints” who can temporary calm down our maniacal craving for breaking apart and self-destruction, to people who might make us feel less-lost-less-lonely-and-less-ostracized, to symbols and rituals which “allow and promote” artificial order in chaos, where there is none whatsoever etc’.
Such is the ark of humanity. And there’s a certain magic realism to this existential game of emotional shadows. But it also has a price, a heavy price at that, and you know what that price is… ‘Tis demanding fee… Is… Y.O.U… That is, giving up on YOUR very raw essence, in the pursuit of a comfortable place in the ark. Which means and suggests a constant battle for survival and infinite make-believe psychodramatic performances.
A moment of wishful thinking, on the other hand… Wouldn’t it be better to be excluded from this ramshackle ark, even if it means living a ghostly existence on the subterranean margins of the human microcosm?
Ponder these dilemmas whilst listening to this odyssey and I promise you this: THE DEFINITE ANSWER WILL MATERIALIZE IN FRONT OF YOUR HALF-CLOSED EYES…
“All in One”
Marcello Magliocchi : percussion, sounding sculptures
Ρecorded in February 2014 at Fortezza Smilea – Pistoia / IT
Sounding sculptures made by Andrea Dami
Recorded by Lidia Stranges
Edited by Marco Malasomma
Marcello Magliocchi : drums, percussion
João Pais Filipe : drums, percussion
Live rec. in May 2014 at “Sonoscopia”, Porto-Portugal
Recorded by Gustavo Costa
“Southern City‘s Lab podcast №006: Pk Jazz Collective — Mix”
Southern City‘s Lab podcast №006: Pk Jazz Collective — Mix
К выходу нового альбома, Pk jazz Collective подготовил шестой выпуск «Southern City‘s Lab podcast», в котором вы услышите целеустремленных покорителей космоса, призраков джаза и психоделических демонов.
Альбом “The Farewell” выйдет в конце января – начале февраля на Run On Recordings в CD формате и в цифровой версии на Southern City‘s Lab.
Bedroom – Lunar Program
Bedroom – Landing
Bedroom – Going Home
Longman – Domestic Violence
Eject – Instead Of Us There Was Rustle Heard (5)
Ascorbic Acid – Окно
Михаил Чекалин – Джаз-рок вокализ
Vespero – Триптих уходящему солнцу
Ep recorded in studio,
Free improv, avant garde jazz, this volume walk for more gloomy lines
the highest density on hazy ambient, through moments of noise and
We also attended the
project Art Electronix (Ukraine) contributing more in the sound of
the band giving new facets and climatic sensasões in music
A partnership that really
worked and can yield new ways for music to art.
About name “asthma
Asthma (from the
Greek ἅσθμα, ásthma, “panting”) is a common chronic
inflammatory disease of the airways characterized by variable and
recurring symptoms, reversible airflow obstruction and
bronchospasm. Common symptoms include wheezing, coughing, chest
tightness, and shortness of breath.
Asthma is thought to be
caused by a combination of genetic and environmental factors. Its
diagnosis is usually based on the pattern of symptoms, response to
therapy over time and spirometry. It is clinically classified
according to the frequency of symptoms, forced expiratory volume in
one second (FEV1), and peak expiratory flow rate. Asthma may also
be classified as atopic (extrinsic) or non-atopic (intrinsic)
where atopy refers to a predisposition toward developing type 1
Die Elektrischen Vorspiele, a blog founded on January 15 2009, and whose sixth anniversary is commemorated with this release, was envisioned as a space for the nurturing of a “savage thought” (that is, of an undisciplined nature). In its essence, and as an individual project, it aims mostly to be a vehicle for its author’s vast-reaching interests, while at the same time harnessing them into some form of discipline. More than just a reflection on the fascination caused by the themes implicit to its lexical field of action, as shown by the coordinates and key concepts that define the boundaries of its territory, i.e. “Occultism” / “Esotericism”, this virtual space mainly maps some of the topologies enclosed in the History of Ideas. A vast and sometimes ignored area of Knowledge, whose apparently paradoxical character drives a magnetic pull towards the need to identify its true nature, as ubiquitously manifested along various historical cycles, in an unending drama staged in the theatre of the Anima Mundi. This is, in fact, the true raison d’être of Die Elektrischen Vorspiele.
As a direct result of its existence, November 2010 saw the publication of the book “Summa Techno(i)logicae”. This work, as implied by its title, is a thoroughly compiled and systematised patchwork reflecting the interests that guide its author’s research. From then on, periodic collaborations with other projects ensued, such as the magazines Finis Mundi, Infernus and Antibothis.
Still under the aegis of Die Elektrischen Vorspiele, and always through the establishment of complicities and connections, a number of events were created and carried out in the past six years. This set of actions (with Music as a constant common denominator) has had as its main goal the evocation of the life and work of various figures that have left behind crucial legacies. The people celebrated include the musician John Balance (Coil); the historian of religions Mircea Eliade; the poet and theatre director Antonin Artaud; the philosopher Georges Bataille; and the Japanese writer Yukio Mishima. It is also worth mentioning the series of events spanning along the year 2013, Occult Esoterica AV Gatherings, curated in collaboration with intermedia artist Ana Carvalho.
The proposal made to EdP – Editora do Porto (in the person of its administrator, João Ricardo) for the release of this compilation emerges as a consequence of shared common cosmologies which have gradually been transmuted into friendship, and also of João Ricardo’s encyclopaedic musical knowledge, while the invitations made to the artists taking part in it are the logical result of a chaining together of elective affinities (a process permanently taking place since the first Homeric dawn).
Júlio Mendes Rodrigo
Porto, December 23, anno 2014, era vulgaris
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