“In The Slaughter Fields Of My Fragile Human Heart”
Drums and Trumpets Please… Here Comes My Purity Sacrifice: A Kaddish For The Allegedly Innocent Art Criminal…
“Haunting, beautiful, tortured, inspiring, soulful, avant-garde, and emotionally moving. At times intertwining these qualities, at other times expressing them selfishly.”
We feel happy and honored that our fourth release and the last for 2014 is from Paolo Sanna and his OKRA percussion project.
“Green Laya Conference”
Igor N. Pusceddu, Giacomo Salis, Paolo Sanna: Gongs ( Feng Lwo, Chaw Lwo) Tam Tam, Vietnamese tuned set gongs, Prepared drum set, Waterphone, Angklungs, Percussions, Sound Objects.
“The Unearthly Demagogue And His Amber Of Sorrows”
When you remain alone for a long period of time, confined between four or more walls, but still confined nonetheless, an inner dialogue takes place inside you, thus the Unearthly Demagogue is born. Like in Fernando Pessoa’s psychobiography, many a personalities of varying stages of development, take over your psyche and engage in an everlasting psychoactive dialogue. As rich as this dialogue is and can be, you are nonetheless still locked between the prison walls of your own psychological limitations. This prison, in due time, becomes your safe haven; your very own Amber Of Sorrows, the very place you always escape to when the outside world threatens of annihilate your sense of self-identity.
This is however a Golden Cage. This world based upon interpersonal relationships, and for the most part, our spiritual/cultural development and progress take shape as a result of an interactive interaction with the world around us and its multitude of inhabitants, that is our fellow human beings. Consciousness is not an isolated solipsistic substance – it always expresses itself in a larger social framework and context. Therefore, as safe as your Amber of Sorrows might be, in order to keep moving and exploring new terrains, you must break free!
Slowly but surely, unleash the Unearthly Demagogue, with all the pain and longing it entails, to engage freely in the world, actively contribute and be contributed back, to love others platonically and romantically and be loved for who you are, a fragile multi-layered and vulnerable, all too vulnerable, human being.
01 – Il risveglio del carrozziere (1)
02 – Il risveglio del carrozziere (2)
03 – Il risveglio del carrozziere (3)
04 – Salivo e respiravo affannosamente
05 – L’orchestra da sogno (1)
06 – L’orchestra da sogno (2)
01 – Ambuja (intro)
02 – Blatta Orientalis
03 – The Consistency of Inclusion (part1)
04 – Colias Croceus
05 – Kusumita
06 – Yuezhi
Artwork by Gianfranco Bonadies
LINER NOTES NOE’:
Immaginiamo per un momento un’orchestra timbricamente completa che suona senza direttive, senza partiture, senza determinazioni di alcun genere.
Così, giocando con la sensibilità dei singoli musicisti, nasce NOÈ (Nostra Orchestra Estemporanea).
È noto che l’improvvisazione si nutre delle incredibili connessioni etiche fra coloro che agiscono nell’esatto momento dell’agire.
L’ordinato riferimento estetico cui siamo abituati non conta; suonare nell’orchestra, o semplicemente ascoltarla, significa sospendere, almeno momentaneamente, ogni atteggiamento critico di carattere storico-letterario.
Forse pirati, altroché nipoti del diluvio, navigando in mari sconosciuti e terribili, in quel momento utile si riconosce l’entità di quel viaggio necessario a fissare l’essere, il divenire di questa musica in questa orchestra.
Le persone che ne fanno parte, lo sanno bene: NOÈ prosegue, semplicemente, la strada intrapresa da NED (Nostra Etichetta Discografica) verso l’indefinita ricerca dell’estemporaneità in musica e non soltanto.
Imagine for a moment a full orchestra timbre that rings with no guidelines, no scores, no determinations of any kind.
So, playing with the sensitivity of the individual musician, born ‘Our Extemporaneous Orchestra’.
And ‘well-known that this type of music is nourished by the incredible ethical connections between the musicians in the exact moment of noise.
The orderly aesthetic reference we used does not matter playing in this orchestra, or just listen, you stay, at least temporarily, any aesthetic judgment-mindedness and critical of any historical-literary.
Perhaps pirates, grandchildren of the flood, navigating in unknown seas and terrible, then useful to recognize the extent of the stops on the trip needed to produce this music in this orchestra.
People who are dedicated to do this, know this: NOE continues, simply, the road taken by NED to search indefinite extemporary music.
CORDE: Quinto Fabriziani, Mauro Tiberi, Marco Maurizi, Chris Blazen, Clangore
FIATI: Andrea Tosi, Claudio Nitti, Anna Guidi, Giuseppe Savino, Gaetano Corallo, Pico Sadun, Lorenzo Labagnara
VOCI: Benedetto Fanna, Antonio Saccoccio, Helena Velena, Patrizia Rotonda, Michele Tuozzolo
TASTIERE: Kapitan Mikonos, Luca Miti, Marco Olivieri, Benedetto Fanna, Giuseppe Cubelli
PERCUSSIONI: Simona Verrusio, Dario Nitti, Diego Mazzoni, Patrizio Pica, Marco Ariano, Roberto Dogustan
ELETTRONICHE: Stefano Balice, Tommaso Busatto, Lorenzo Lustri, Cristiano Luciani, Giancarlo Esposito, Alessandro Cerratti
FONICA: Paolo Sinigaglia
LINEAR NOTES OLEO:
Projeto que teve inicio em 23/ agosto/2014d.C
Idéia inicial do projeto era a intenção de usufruir da criatividade e improviso livre que visa em criar novos conceitos e sons(explorando o eletrônico e o orgânico).
Focando musica e artes, mesclando elementos à idéia surgiu.
Criou-se e desenvolveu-se em uma amplitude maior com mais cabeças pensantes, nova idéia de som e atitude.
O que ajudou em tudo isso foi esse tipo de “experimentalismo conceitual, musical” por isso esse projeto foi feito.
Algumas das faixas são de improviso no “flow” e de uma maneira bem despretensiosa, tão despretensiosa que ainda a espaço para novas “instrumentalizações” e participações… Pois o que conta é ultrapassar barreiras e criar novos ambientes e timbres.
Todo esse conceito, não seria possível sem o conceito:
“Faça você mesmo!”.
Pois tudo se gera disso o conceito de improvisação é principalmente a habilidade de, simultaneamente, produzir e interpretar, dentro ou não de parâmetros harmônicos ou rítmicos, melodias, ritmos ou vocalizações.
Project that started in 23 / August / 2014d.C
Initial idea of the project was intended to take advantage of free improvisation and creativity aimed at creating new concepts and sounds (exploring the electronic and organic).
Focusing on music and arts, blending elements to the idea arose.
It was created and developed on a larger scale with more talking heads, new idea of sound and attitude.
What helped in all this was that kind of “conceptual experimentalism, musical” so this project was done.
Some of the tracks are improvised on the “flow” and a very unassuming, unpretentious way so that even the space for new “instrumentalist” and shares… What matters is to overcome barriers and create new environments and sounds.
This whole concept would not be possible without the concept:
“Do it yourself”.
For everything that generates the concept of improvisation is mainly the ability to simultaneously produce and interpret within or without harmonic or rhythmic parameters, melodies, rhythms and vocalizations.
SAXOPHONE: Nando Souza
TRUMPET: Romulo Alexis
DRUMS: Jeferson Peres
BASS: Marco Antonio
NOISE EFFECTS AND KEYBOARD: Guina
(PARTICIPATION / GUEST) EFFECTS/AMBIENT NOISE: O.s125
“Not Subliminal” has just been released on the Control Valve netlabel. There is no direct link to the album, due to the way the netlabel is structured. You need to visit http://controlvalve.net and click the photo to get to the download page.
The netlabel’s succinct description of the work is “cassette experiments”. Pretty accurate.
I experimented a lot with cassette players & cassettes this Summer. Further releases will document the full extent of the results of these experiments. This particular set of recordings is primarily improvisations with multiple handheld tape recorders and players. I scavenged a bunch of these and a bunch of tapes from thrift stores this Summer. Much of the process involved recording some stuff onto one tape while playing back previously recorded stuff on the other tape players, and letting it all mix together out loud… recording everything onto the shitty little onboard microphones that these handheld tape recorders had. The sounds I recorded mingled together with environmental sounds and got grittier and more lo-fi as continually overdubbed. Some results were extremely distorted, others just muffled and gritty.
One exception to the method used on most of this album is “Gala Video ’94”. In that track, I took a found video cassette and cut strips out of the tape down to 1/8″ so that they could play on a standard cassette player. You can hear the video data as audio in this track, and on occasion the audio soundtrack cuts in. When I sliced the video tape I tried to do it in a curving way so that different areas of the 1/2″ wide video tape would be exposed to the 1/8″ player head as the tape advanced. This explains the changing nature of the track as it progresses.
So, a lot of what I released this year might be described as “pretty”, or “approachable”… this release can’t really be described that way, but I think it’s really interesting to listen to. I hope you will too.
This short collection of tracks, recorded and produced with the feel and appeal of a stripped-down radio session, includes re-imagined acoustic versions of previously recorded songs of mine, and one yet-to-be released song given the same treatment.
“Your Dominatrix Had A Brain Transplant Under My Knives”
Humor is an essential and reoccurring leitmotif in my life. Without the ability to laugh out loud about the absurdity of human behavior and of nature’s macabre mirages, life could easily become a heavy burden. In my eyes, humorless people are like zombies. How can one go about without noticing the fantastically grotesque moments that surround us all?
This album explores the theme of quintessential black humor in a rather light mood. It addresses the fact that for many, life is an experimental BDSM film without a script. This is an improvisational soundtrack that in my perception complements such a vision.
From all the arts (cinema, music, literature, poetry, painting etc’) to politics, education, work and every other aspect of civilian life – people take everything so darn seriously, as if their lives depend on it…
Most people are absolutely sure that this little world resolves around them, therefore, unable to see the larger perspective; ala that we’re here so very temporally, and instead of conducting ourselves within the limited perspectives and safety cages that society pushes us into – we have to go out of our minds, to think profoundly and sincerely outside the box and to feel without the primordial fear of being labeled as weirdos and stigmatized!
Sphere Of Io è un progetto musicale basato sull utilizzo di software per la sintesi granulare per generare trame musicali al limite tra techno, industriale ed ambient. Tutte le registrazioni sono state eseguite in tempo reale.
Let’s go for a walk through Reykjavík!
This release is the fifth from Sound Interpretation series dedicated to cities.
We believe that each city has its own unique air. But anyone who works with the sound knows that every city has a inimitable soundscape and rhythm. So let’s make a musical journey through the cities. Cities you’ve been or would like to visit.
“Diaspora” is the debut album from the Ethernet Orchestra, an Internet based music ensemble exploring intercultural tele-improvisation. It is a compilation of live freely improvised vignettes from performances recorded between 2009-2014. It features musicians from a diverse range of cultures and musical traditions performing simultaneously between Iran and Australia via North America, Canada, Brazil and Europe. Distance is embodied in the material quality of the works, which not only serves as testament to the technological achievement of such a project but also forms part of the grain of the medium itself.
During this period we also had the great fortune to collaborate with the late Richard Lainhart, who is featured on many of the recordings. Ethernet Orchestra would like to dedicate this album to Richard, whose passion and generosity touched us all and his music continues his presence in our lives.
The album also contains works from the “Distant Presences” trilogy of performances. These events included networked VJs Helen Varley Jamieson, Neil Jenkins, Graziano Milano and Michael Szpakowski mixing live cinematic visual collages in the audiovisual platform VisitorsStudio, which can be viewed from diasporasound.wordpress.com/vjmixes
I have a love-hate relationship with art in general. Because very often artists lack self-humor and too often suffer from a Napoleonic Complex. They look upon themselves from such heights and perceive their work to be of unmatched grandiosity. Look and reflect on your favorite artists and/or bands – how much they seek the approval and passionate love from their audiences, to the point it becomes hilariously odious. Groupies and more groupies, men and women alike, and collectors who worship their guru artists as if they were living gods… Today, at the front door of the new year, I feel so detached from all this glamour.
My point of reference is: in this time and age, we have to expand the limits of what art is and how we as individuals and as a culture perceive a certain work of art.
This LP is titled accordingly, and symbolizes a vision according to which art has an end or rather art might end at some point. Metaphorically, I feel as if artists are not as important a persona as they are often perceived and/or vision themselves to be. Unfortunately, unlike human touch, art cannot comfort one on his or her deathbed. Art is a remarkable transitional object, but it’s no substitute for so many things and experiences. Artistic creations become obsolete, they weary off with time, lose their initial relevance, become inanimate, inorganic and abiotic. This is why, although some would call me an artist (a title I don’t seek nor need in my age) – I look upon art in general and my creative adventures in particular with a lightweight tone…
Jean-Luc Guionnet: saxophone
Jean-Luc Guionnet: « My musical work subdivides itself into as many ways as occasions arise for me to think and act with sound. Those occasions have always to do with a strong meeting with an outside element: an instrument (saxophone/organ), a theoretical idea (what is « rumour »?), and mainly a collaborating friend (André Almuro, Éric Cordier, Éric La Casa, Lotus Edde Khouri … Seijiro Murayama) … There then follows a collection of themes which, in turn, influence the evolution of the musical work and define the direction of meetings to come: the thickness of the air, the pidgin (language with neither grammar nor vocabulary), the musical instrument considered as affective automaton, listening dark unto itself, the algebra of and in hearing, sound as a signature of space, signature of objects, signature of what it is not… the fact that French uses the same word – le temps – for time and weather, propagation and spread of forms in time etc. Music is, then, a way to test reality.
Conversely, it’s a test whose experience defines a new distribution of the whole body by artificially localizing it in an unknown and purely physical environment, all the while being able to think, count, make relations or understand places, and so forth. The emotion I look for in music is made out of all these strata and the sliding of one over the other during the act of listening »
d’incise, electroacoustic musician, doing both composed and improvised works. He focuses mainly on generation and manipulation of acoustic sound sources and objects, loves feedbacks and digital glitches as well. He tends to extract the most tiny details of the elements, appreciates slowness and obsessive explorations of simple processes. He coordinates the Insub. label and the Insub Meta Orchestra with Cyril Bondi, with whom he also have the Diatribes duo.
“Episodes (Concerto For Two Pianos & String Quartet)”
History of creation:
«Once I was chatting with Alexey Micrukov on the Internet and he accidentelly asked me about collaboration with 2 midi-keyboards.” That was the beginning of creation of “Episodes”. Set up was pretty minimalistic so it did not take much time to plug in keyboards, sound cards and speakers. Alexey had an Evolution MK-249C USB MIDI Keyboard and I had an old Cassio, however with dynamic keys, full octave keyboard and pedal! Alexey suggested a great direction. The idea was to mix modern classical music with minimalism, avant-garde, dodekaphonia to make recording interesting for wide range of music lovers.»
«He is definitely one of the most flexible and open composers in Kiev. His music is modern and up to date within any context,” – “Afisha” magazine, 2006 about Alexander Kohanovsky. His experience is huge and really impressive. Even the first project was a huge success. He joined the band «Сахар – белая смерть» (formed by Kohanovsky and his fellow mate). After the recording of «Манірна музика» they played at two festivals in Poland at the beginning of 90s. That was a great start. Gigs, performances, collaborations with various artists, recording soundtracks for German mute films such as “NOSFERATU, A SYMPHONY OF HORROR” by Murnau and “Der müde Tod” by Fritz Lang (It was an order of Goethe-Institut). About 12 years ago Alexander started to work in a theatre and he collaborated with a genious, Dmitry Bogomazov. Together they’ve done tens of various projects which were favoured by critics for an excellent composition.»
About King Imagine:
«Alexei Mikryukov aka King Imagine was born in 1972. His first song was sung and recorded at the age of 4. He began his career in music as a gutarist in the punk collective Zooy E Orchestar in 1989. In the same period some of the first bootleg recordings were made, all of them now lost. In the summer of 1993 he meets Eugene Alexandrov, with whom organizes The Schizotronics..and records solo. In 1996 together with the Kiev poet Danylo Kubai,he founds the noise industrial group Ilam, Inc. (or, rather a noise orchestra with 13 musicians, which gave an incredibly insane concert in the Kiev Actors House of Culture) and also the project Rooteniya Pe Since 1998 cooperates as sound engineer with the first Ukrainian reggae/dub group Rootmans Band, Karina Kuznetsova (with whom he works to this day) and the bass guitarist Kirill Machinski aka Roots Controlla, with whom he founds the digital roots dub project Dub Compressors. In 1999 together with the composer Alexander Kohanovski aka Pankifared he starts the studio project Superapes, recording 2 albums, making experiments with electronic and ambient music, as well as composing music for escalators, elevators and corridors. Since 2004 actively cooperates with Foa Hoka as sound producer, remixer and contributor of music. Since 2005 releases his output on the d.i.y. CD-R label SKP Records (Kiev). Since 2006 actively cooperates w/International movement Ukr.tele.kom – as remixer, co-author and remastering engineer.»
“Wings of an Angel’s recent releases have had both great sadness and great hope in them. Musical essays on the human condition, especially the soul-searching that must necessarily come from conflict, are his focus. The titles all tell stories in themselves, and guide the listener on a kind of meditation of the topic”
Wrieuw is thrilled to release a collection of loop music by the wonderful Akane Hosaka. After 4 albums of gleeful, quirky electronica Akane dives headlong into experimental territory whilst maintaining the sound that is uniquely hers, using a Korg MS-20 Mini and a loop pedal. Akane has regularly been posting the results of these experimentations to here soundcloud page, and she has kindly collected together an EP of these for Wriuew. To my mind in places it sounds like a lost soundtrack to an Oliver Postgate program, either way, experimental music doesn’t get cuter than this, bleeps, bloops and joyful melodies abound. Wrieuw loves releasing music it loves and we have been fans of Akane for a very long time, we hope you enjoy this collection as much as we do.
Today we open new section called JAMS. Here We will publish audio albums of cut, selected and polished improvisation records. First release of real live experiments by 303 – trio of sound generators. The natural stream of sound vibrations taken from a meditative condition of the improvising shamans – musicians. This album flows like a river. A sound for travel on own consciousness.
Project that began in 23 / August / 2014d.C
Initial idea of the project was intended to benefit from the creativity, free improvisation.
The concept of improvisation is mainly the ability to simultaneously produce and interpret within or without harmonic or rhythmic parameters, melodies, rhythms and vocalizations…. See more
Declaration of authorship:
This page and all the issued and published in it content is of interest, domain and full responsibility of OLEO (Orquestra Livre Experimental Orgânica)
OLEO (Orquestra Livre Experimental Orgânica)
Nando Souza: saxophone
Romulo Alexis: trumpet
Marco Antonio: bass
cover art: Tor Fröseth (Norway)
participation/vocals on: “the Clay tablets”: Shirin Ny SSan (Tunisia)
MAV [0kbps] Records, September 2014
TWG has always prided itself in its genre diversity. With the fourth in our line of final releases, Whitely brings us what is easily his most surprising and one of his best realised pieces yet. Indian influenced ambient music, with ethereal vocals provided by Whitely himself, thick in atmosphere, emotion and tension.
There is not much else that can be said about this release, other than it’s Whitely as you’ve never heard him before, a listening experience that is an experience as much as it is a journey, and that we’re incredibly proud to have this here on TWG. Not necessarily chiptune, but incredible all the same.
Chiptune is dead anyway, right?
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