Automassage: The preference for poorly controlled distortions, mumbled vocals, stomach turning basses, crackling noisy ambience and lo-fi in general. That might sound all very funny, loose and airy, but the massagists simply just can’t change the overly sophisticated way they are, and after painful serious processes of composing, deconstructing and evaluating, they puzzle out complex musical structures.
To celebrate fifty releases on No-Source Netlabel, we’ve compiled a new compilation consisting on No-Source artists, exclusive tracks, and upcoming bands from the net scene. “Another Day, Another Way” really shows off the sound that is No-Source, with quieter, acoustic driven music, and a good dose of electronics.
Mold and Moisture, the fourth release by Tardiss on No-Source Netlabel is a trip back in time. These nine tracks make up a collection of early works recorded between 2002 and 2004. What we see here is the beginnings of a sound that Tardiss has gone on to shape into their definitive style. It is a decidedly more electronic and experimental album than the previous Tardiss records. There are still those nostalgia tendencies that peak from time to time. The album kicks off with “The Sandbox”. Samples of waves wash into IDM beats and sparse melodies. “Mid Lake Left”, recalls the track title Left Side Drive by Boards of Canada. Mid Lake Left was recorded a year or two before the Boards of Canada track and delivers more of an early Squarepusher vibe. “Harmonic Mist Figure” is a beautiful two minutes of haunting, beat-less ambient music. “Smoothie’s Loop”, though a bit more spastic, uses some modern Tardiss compositional techniques. “Pneumonia, I Own Ya” has a more of a lounge vibe, recalling Irresistible Force (one of Mix Master Morris’ aliases). The album closes with “Come Get It”, a twelve minute electronic, lounge rock freakout. This description makes sense when you get to the epic synth solo at six minutes in. Over the years, these early works have held up. The lo-fi attitude just makes them feel even more like a musty photograph collecting mold and moisture.
There are a lot of forthcoming releases on Retral’s SoundCloud page. The man is on a roll and we, the labels, are just trying to catch up. We need to hurry, because Retral can’t wait to share his free music with the world. We understand why when we look at the comments he gets:
Your tunes are sick! GREAT :D LOVE IT!! This tune is awesome, proper future jazzy vibeswicked! Nice drums man. Good track all round. Big up. Big stuff man. Interesting sounds man! Loving This! I love this. Deep and dark, the way i like ittttttt. Huge tune, really like it (: This is incredible………… HUGE DROP. Big tune, this is happy. WoooooooooooooooooW. Ahhh mate, this is amazing. Great work. This is a sick tune mate. Love the synth work. You da maaaaan!!! This is so good mate :D. Spicy drum work! Oo yee! Wow this is quality mate! Simply incredible! Lovely mate. Love the way it kicks back in! So smooooth. This is so dope bro massive respect! Powerful, aerian track. Wonderful. Them chordz, they’re like a gift man! HUGE sound!!! Those chained pads!! :) Stellar track mate. Great take on the auden poem, love the atmos, massive mesmerizing melancholic vibe! I love the colors this tune paints in my head. Gorgeous sound, friend!
Ein berührender Song braucht keine gute Bitrate; Große Themen in kleinen Datein; beklemmend; Sehenswert sind auch die Videoarbeiten auf der Release-Seite; Endlich mal ein 20kbps Release was mich bewegt; Danke!
The material, recorded not long after the first album, represents a different face of Momo and Jan Strach: This time the band presents more song-orientedforms, awkwardly yet charmingly juggling styles and feelings. More or less rocking songs struggle between folk, disco, southern rythms and even punk. Momo on vocals in songs 1 and 6.
w/ additional material provided by the DC Sonic Circuits Community via the District of Noise Vol 3 100 locked grooves LP (track 1); Zach Mason (track 3); Daniel Euphrat (track 8); Seth Schowalter (tracks 9 and 11); Gary Rouzer (track 10); Sean K Preston, Sammy Ponzar and Keith Sinzinger (track 11).
A sinister vision of the future, described in apocalyptic poetry with menacing instrumentals as the background. A show of non-compromising authenticity, a mysterious musician with a unique vision, with a will to experiment and shock the listener on every curve.
Though I had images of a portual town as Graham Greene visited on his travels, I doubted very much if ‘Port Saïd’ would have been the right title.
I also thought of ‘Cargo.’ I am surprised by the calmness of the piece, and a feeling of warm summer days. At some points it feels like walking through narrow winding streets.
Some of the tapes I used in this radio performance contained snippets of conversations, meetings, evenings with friends, all bringing back memories that lay dormant on one of the shelves of my subconsciousness. It was a pleasure to go there again.
‘Return’ was first played 18. january 2012 on the radio show ‘A Maïzing Session With…’ hosted by Anton Mobin in his apartment in Paris.
I used various cassette players and dictaphones, an effect pedal and a small box full of tapes.
Misadventure of a Meaty Machine is Cherly Kacherly’s third release following “Drop a 4 Note Soundtrack” and the self titled debut EP.
like its predecessors it was also recorded at home, using a reluctant microphone and a text to speech software that was put in charge of the vocal parts.
Miguel Pipa dá-nos a ouvir as entranhas das suas maquinarias e quinquilharia. Através do “circuit-bending” – técnica que explora percursos alternativos nos circuitos impressos – ele guia-nos por uma viagem electrizante, mas não sem alguns percalços!
florida = death is an enigmatic and cryptic band from connecticut that originally formed in 2005. the lineup has changed over the past few years they are currently a trio that play in the post-information stylee.
their first album for pan y rosas is a reissue of a tape that they sold at their shows once upon a time. tape made of tapes is a compilation of unreleased demos and live tracks reassembled into an aural collage. a document of the band at a particular point in time.
although there is a tracklist – it acts more as a loose guide than a hard and fast truth. the songs and fragments are constructed in such a way that they become a new experience altogether, suggesting a sort of narrative. the sound constantly shifts between psych, weirdo, out rock, drone dirge, noise experiments, and post-info beats before solidifying into an amalgamation of all its parts. as always, make sure to get this one here!
“My bootleg” is a recording of laura mura’s concert at Alkestis theatre (Cagliari, november 6th, 2011), so small, yet perfect for her show. she had arranged her good music with few instruments, many toys, a great deal of wizardry…
No-Source is pleased to ring in the New Year and embrace 2012 with a release from Mark Ge. Mark Ge is a musician and writer from the North-Eastern United States. His first EP includes a collection of lo-fi bedroom recordings and one studio recording. Most of “Your Blues Are Rough” is just Mark Ge singing and playing guitar. The lo-fi quality really brings the listener and these tracks to a more intimate setting. “Brother” and “The Other Side” share a similar aural joy found in early tape recordings from the Mountain Goats. “Stephanie” on the other hand is eerily similar to Casiotone For The Painfully Alone with drum machine and simple synth melodies. “The Road”, the only studio recording on this release, sees a more polished sound and additional instrumentation from Mark. Additional production on tracks 1-3,5-6 by Tim Dwyer.
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