Calineczka – Music not for Airports

Calineczka – Music not for Airports
[ACP 1218]

Calineczka

“Music not for Airports”

Six minimal compositions for analog modular synthesizer.

Headphone listening on moderate volume recommended.

Composed and recorded March, April 2019 at Alicante Test Site II Alacant, Spain

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M.A.K.T. Sono – TTTango

M.A.K.T. Sono – TTTango
[Eg0_211]

M.A.K.T. Sono

“TTTango”

M.A.K.T. Sono ‘s new release TTTango is an improvisation recorded in november 2018 by Magali Albespy & Kecap Tuyul with the same kind of lo-fi set-up as the one used on album “11 Songs”
Credits
Magali Albespy : amplifiers, microphones, synthesizer, voice.
Kecap Tuyul : amplifiers, microphones, synthesizer, mix.
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Inti – Gran Madre

Inti – Gran Madre
[pn143]

Inti

“Gran Madre”

“On her back over distances rode not even a bird.”
(Liliana Herrero, Confesiones del viento)“When we look in our environment for the elements that can condition or enhance our character, the ways of bonding, the ways of our expression, we usually fix our eyes, our feelings and think about the earth that we tread, that we inhabit and that inhabits us. Its geographical features, its colors and textures. The species that thrive in the conditions that it positions before us. More difficult is to account for how the air defines us. Being an invisible matter and much less tangible than a piece of rock, to think of ourselves surrounded by that elastic medium and to meditate the consequences of that immersion is less probable. How is it that the air that surrounds Inti every day from the place on the planet where she decided (or not) to situate herself, to dwell and create, conditions and enhances her art? ‘Gran Madre’ (pn143) invites me to that exercise.

In the habitable dimension presented by the three tracks that are part of this release, I can immerse myself in that perception and reflect on the air in a vast spectrum. Thus a breeze appears in the form of her voice, to which she decides to tie the rest of the materials that she sonically molds. Sometimes she brings words, at others only tonalities that tighten and loosen the link with the electronic textures but that never try to impose their meaning and their ‘humanity’. From breeze to wind there are degrees of atmospheric pressure where the air is agitated and charged, in this case, dust and static. At various moments along the path that ‘Rea’ or ‘Mina’ lay out, it is this abrasiveness of the particles in suspension that defines the atmosphere, stripped of all dew, open to the sparks and micro-lightning so common when the air has 0% humidity. Mediating its duration, ‘Mina’ displays the sound of rain. But there is no indication of freshness or relief in its appearance, instead it makes the electricity even more palpable (and the added risk of walking through that sound space with feet bare and wet). What threats do those bursts of electronic static that shake the environment carry?

Every so often, as in that pulsating drum at the end of ‘Rea’, I think I’m listening to the radioactivity measurement of a Geiger counter. It is not clean air or purity that seems to matter to Inti and contamination can be felt here as a concept distilled from its negative connotations. Here we breathe strange and invisible agents that will inevitably modify our genetic constitution. Interestingly, I do not perceive an imposition in this action. This possibility is attractive, like a storm in the desert that advances towards us as we wish it to engulf us. Sand that hugs.

Already fused in these volatile molecules, ‘Ciprés (Cypress)’ arrives and the air becomes a whirlpool. We recover our body and integrity to be transported to a time that is not today or here, inhabited by ghosts. An old lament, a couplet, an epic of distance that reminds me of the pain of being separated from that which surrounds me.

So the air and its molecules that compress and expand to shake our eardrums. So the wind, now carrying seeds, now turning poplars. So is the atmosphere of this disc and this geographical and poetic site where Inti is planted to capture the ether and materialize its language.

In this edition, which is undoubtedly an artistic action in itself, for the beloved and respected Pueblo Nuevo label, a valuable Chilean publishing project, Inti plays with the air as well, investing the operation of the dry Argentinian winds. Then the mass of arid and rough air, decides for once to follow the Great Mother Son on its trajectory. Returning over her steps, she climbs the mountain range to look for the baggage of freshness and humidity that she hid there, to return to the sea that saw her leave once.”

j.crowe
(Tunuyán, Argentina. Julio / July 2019)

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ocp – compressa

ocp – compressa

ocp

“compressa”

Trying out new setup and patch to use live. Dirt, heavy compression and some foot tapping/headbanging shit. Enjoy!
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quefear – (ado​)​r​(​able) (mure​)​mur

quefear – (ado​)​r​(​able) (mure​)​mur
[ACP 1214]

quefear

“(ado​)​r​(​able) (mure​)​mur”

The project has existed since 2014. Located in Moscow, Russia.
Concerning the name of the project: in Spanish, “que” means “what” or “what,” so the name can be considered as the question “what to fear?”. In Russian, the word pronounced “kefir” (or “kephir” – a fermented milk drink).
I’m interested in experimenting with sound. I like to combine different noises and strange samples, effects. I love to improvise.
I use a variety of tools, from traditional to homemade. MS-20 Mini, Kaossilator and Kaoss Pad, the Mopho Keyboard, LYRA, casio sk-8. In addition to them, I use different percussion, tambourines. I impose noise and sounds recorded on the telephone recorder. Sometimes I add my poetry and lyrics.
The result is a kind of collage, a mixture of sounds and noises.
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Failure Circle – Melting Clinamen

Failure Circle – Melting Clinamen
[Eg0_209]

Failure Circle

“Melting Clinamen”

“Melting Clinamen” was born from a small deviation from the methodology used by Failure Circle in this serie of compositions Frozen Clinamen that normally uses only sounds recorded while no human intervention is applied to the used set-up ( no-input mixer most of the time). The creation of the first track of this album followed the same rules – except that it used a recording that features some little changes created manually (this sound can be heard between 3min11 et 12m06). This is also the first release in which Failure Circle doesn’t use a no-input mixer but a semi-modular analog synthesizer, the Neutron by Behringer, with no effects except its built-in ones. Another notable difference with the past volumes lies into the way the material has been edited & mixed. The other track of the album (Frozen Clinamen #2M) follows more strictly the Frozen Clinamen methodology, but all sounds were also created with synthesizer. Thus, Melting Clinamen is and isn’t part of the Frozen Clinamen serie.

Methodology of the Frozen Clinamen serie
step (1) Tweaking the set-up until it produces some seemingly autonomously self-sustained sound sequences.
step (2) Stopping tweaking and recording for at least 20 minutes without any intervention on the set-up.
step (3) Repeating steps (1) & (2) several times.
step (4) Using the generated sounds as only source in a posteriori compositions. The only variations used while mixing are equalization, panoramics and volume levels.
step (5) play it at low/high volume with open/closed window while complety asleep / fully conscious.

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10Konekt – Mixtape

10Konekt – Mixtape

V.A. – angst vs. anticyclic new trauma guarded and ripped despite engagement

V.A. – angst vs. anticyclic new trauma guarded and ripped despite engagement
[ACPS 1027]

V.A.

“angst vs. anticyclic new trauma guarded and ripped despite engagement”

01. DYSTOPIAN LEGACY – Støberiet 08:59
02. experiment#508 – The Path Was Clear 11:58
03. CHANGING PERSPECTIVES feat TEETH OF DIVINE – The Green Book 09:03
04. SOFIA BERTOMEU – Abstract Thought 06:53
05. STUDIO KO-OP – Don Trumpee 11:08

cover art by Claus Poulsen
design by EMERGE



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Snort Burrell – April 15, 2019

Snort Burrell  – April 15, 2019
[s65014]

Snort Burrell

“April 15, 2019”

~
Behind every snort there’s a treasure chest filled with precious exhibits
~April 15, 2019 by Snort Burrell is now available on sub65
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V.A. – humilate after rude solace humming near oracle in sunny environment

V.A. – humilate after rude solace humming near oracle in sunny environment
[ACPS 1026]

V.A.

“humilate after rude solace humming near oracle in sunny environment”

01. DANIEL PICO – VHF Reader 07:24
02. GRODOCK feat. FERDINAND WEINBERGER – Irrung 09:37
03. CLAUS POULSEN’S VYSTOPIA – Under 04:01
04. DAS RHEINTALER NACHTWERK – Gladio 07:15
05. ORiFiCE – Rallizes 09:04cover art by Claus Poulsen
design by EMERGE
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M.A.K.T. Sono – ‘UNK

M.A.K.T. Sono – ‘UNK
[Eg0_205]

M.A.K.T. Sono

“‘UNK”

Since their beginnings in February 2018, M.A.K.T. Sono (Magali Albespy and Kecap Tuyul) have been experimenting with different set-ups and ways of playing. Amongst them, they like to play both on the same instruments / set-ups in the same time. It’s what they did on ‘UNK.0, an improvisation played on a no-input mixer. The other tracks of this EP are electronic compositions by Kecap Tuyul and Doedelzak using this improvisation as only sound material.
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Nac/Hut Report – Wszystko Jeszcze Jest

Nac/Hut Report – Wszystko Jeszcze Jest

Nac/Hut Report

“Wszystko Jeszcze Jest”


Alexei Borisov – DADA 100

Alexei Borisov – DADA 100
[ACP 1205]

Alexei Borisov

“DADA 100”

All tracks played and recorded by Alexei Borisov during The 100 years of DaDa tour, November 2016.

Special thanks: Dave Phillips, Michael Kuzmin, Maxim Khaikin, Boris Shershenkov.

Lyrics by Alexei Kruchjonykh and Alexei Borisov.
Voices: Alexei Kruchjonykh, Alexei Borisov

photography by Felix Montfort
design by EMERGE

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Wings of an Angel – Concerto De La Luna

Wings of an Angel – Concerto De La Luna

Yacht Communism – Discovery EP

Yacht Communism – Discovery EP

Yacht Communism

“Discovery EP”

Written by Yacht Communism, except Like Weeds written by His Hero is Gone

Recorded and mixed by Andreas Sommer
Mastered by Role at Die Tonmeisterei

Artwork and layout by Kristof Künssler

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Sofia Bertomeu Hojberg & EMERGE – live @ re​​:​​flexions sound​​-​​art festival

Sofia Bertomeu Hojberg & EMERGE – live @ re​​:​​flexions sound​​-​​art festival
[ACP 1189]

Sofia Bertomeu Hojberg & EMERGE

“live @ re​​:​​flexions sound​​-​​art festival”

live @ abraxas, Augsburg, 20.07.18
thanks to Gerald Fiebig & Kulturamt Augsburg
photography by Dan Penschuck
recording, mastering and design by EMERGE
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Martin Rach – Live – densities, distance, differences

Martin Rach – Live – densities, distance, differences

Martin Rach

“Live – densities, distance, differences”

recorded at paviljonas, vilnius, 2019 02 24
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the dissonant – the oslovian tapes

the dissonant – the oslovian tapes
[diss028]

the dissonant

“the oslovian tapes”

industrial / noise from norway
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Linda Alley – Untitled Male Dark Elf Responses (EP)

Linda Alley  – Untitled Male Dark Elf Responses (EP)
[s65011]

Linda Alley

“Untitled Male Dark Elf Responses (EP)”

Linda Alley – Untitled Male Dark Elf Responses (EP)

01. (1 – 3) [39:52]
Vorbis 61kbps, 32kHz, stereo

~
Take heed. While the responses of the male dark elves may come across as pleasurable to most, they can also be ferocious to a few.
~


COM surrogate – 50

[s65009]

COM surrogate

“50”

~
‘So I have the SQM consolidator, the host process, and the software reporter tool. I still can’t figure out what I’m missing..’*closes eyes, calmly inhales*

‘RTFM.’
~

50 by COM surrogate is now available on sub65media https://archive.org/details/s65009/

#sub65media #digitalnoise #computers

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Petrolio & Gus Ring & LDX#40 – live @ re​​:​​flexions sound​​-​​art festival

[ACP 1185]

Petrolio & Gus Ring & LDX#40

“live @ re​​:​​flexions sound​​-​​art festival”

live @ abraxas, Augsburg, 20.07.18
thanks to Gerald Fiebig & Kulturamt Augsburg
photography by Dan Penschuck
recording, mastering and design by EMERGE
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Stadlmeier – live @ the waggon

[1021]

Stadlmeier

“live @ the waggon”

live @ waggon am kulturgleis, Offenbach, 23.08.18
thanks to Georg & Torstn
recording, editing, mastering, photography & design by EMERGE
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CRANK STURGEON – a v 12 10 18

[ACP 1181]

CRANK STURGEON

“a v 12 10 18”

live @ villa, Augsburg, 12.10.18
cover art by Claus Poulsen (artwerk.menneske.dk)
recording, mastering and design by EMERGECRANK STURGEON explores the unwieldy commingling of noise and performance through the use of thrift store electronics, incongruous actions, and costuming reminiscent of supermarket aesthetics. Whether meditating on a roll of amplified packing tape or instructing an audience to fill Crank’s pants with water, the result has been a double-decade odyssey of noisy mishaps, inflatable parades, and accidental theater; feats destined for the shelves of ever-grinning and mesmerizing obscurity.
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Ayato & Kecap Tuyul – The shaman won’t come back

[Eg0_196]

Ayato & Kecap Tuyul

“The shaman won’t come back”

“The shaman won’t come back” is a new file-exchange based collaborative album of Ayato & Kecap Tuyul, It was recorded and mixed in various places between 2015 and 2018. Ayato played guitar with live looping made with a Revox reel to reel tape player, and Kecap Tuyul later overdubbed these hypnotic tracks with various sounds, building dense and trippy soundscapes.
This work can be considered as the 3rd part of a trilogy started with “Waiting for the shaman” , published 6 years ago. For the moment, the 2nd part of this trilogy exists only in the head of the listener.
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DISKREPANT – internalizing the echoes

[ACP 1168]

DISKREPANT

“internalizing the echoes”

composed & produced by Per Åhlund at EMS Stockholm, 2016-2017
photography & design by Per Åhlund
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Onde Poussi̬re Рdel_din04

[Eg0_194]

Onde Poussière

“del_din04”

After a web collaboration (album Imperceptible,) Onde Poussière return to free improvisation with their 4th album del_din04, made of sessions recorded on 25th and 26th september 2018. For this occasion, they once more experimented with new set-ups, this time with a focus on lo-fi sound. Doedelzak played laptop amplified with cheap computer speakers and occasionnaly flute, while Kecap Tuyul used his z(xW+yW), a low-tech modular system based on tiny battery-powered guitar amplifiers and contact microphones. Through this new change they continue to explore sonic material and techniques that are likely to cause various accidents and usually unwanted sounds, which are an essential part of the ground on which the band build its improvised soundscapes.
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Failure Circle – Frozen Clinamen #2

[Eg0_193]

Failure Circle

“Frozen Clinamen #2”

Frozen Clinamen is serie of works by Failure Circle (a solo project of Kecap Tuyul) started on autumn 2017. It follows a simple method inspired by the the possibilities of his no-input mixer set-up and the will to use a limited sound material in a posteriori compositions : all the sounds included in these works are recordings of moments that feature no human intervention. Frozen Clinamen #2 was recorded and mixed between april and august 2018.

Methodology
step (1) Tweaking the set-up until it produces some seemingly autonomously self-sustained sound sequences.
step (2) Stopping tweaking and recording for at least 20 minutes without any intervention on the set-up.
step (3) Repeating steps (1) & (2) several times.
step (4) Using the generated sounds as only source in a posteriori compositions. The only variations used while mixing are equalization, panoramics and volume levels.
step (5) play it at low/high volume with open/closed window while complety asleep / fully conscious.

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