YVKLNXMLYVZVWV’s new successor, xkvzxrv(ikuzero) 1st album from Indonesia.
Track Listing:
01. GO ゼロ！
02. YUKINOFUNK attacked by a mirror
03. maling pangsit
04. possessed cymbal
05. swedish glucose
06. 0810222340
07. RAINSTRUCK[nightcored]
Music by xkvzxrv
Artwork by Occupied Territories
Thai musician and visual artist Pisitakun releases his new album “Kongkraphan”. The album will be released for free download on November 24th, 2022 by the Indonesian label Yes No Wave Music, which has released music from Gabber Modus Operandi, Raja Kirik, Senyawa, and Zoo.
In 2010, there was a protest by the Red Shirts, or United Front for Democracy Against Dictatorship (UDD), to oust the government from the coup d’etat that occurred in 2006. At the protest, the rally was dispersed by armed soldiers, causing a large number of injuries and deaths.
The upcoming album ‘Kongkraphan’ —meaning Invulnerable— was made to present the forgotten voices and sounds of unjustified wrath. The sound used was taken from the video clips recorded by the demonstrators from the actual incidents. All video and audio clips are testimonies used in court proceedings to find the culprit at the time, so as to reveal the truth and restore justice to the deceased demonstrators. It’s a mix of Noise music: the confusion and sadness occurring at the protesting sites, the rhythm that shakes the nerves, the rhythm of intense rage.
In short, this album of Pisitakun contains a variety of anger, sadness, confusion, as well as the power of joy and hope to change the country —the driving force of the demonstration in 2010.
‘Kongkraphan’ is the name of a type of Thai talisman that gives the power to be invincible. In this album, the term stands for the ideology and battle of the people in the protest that has never faded. It’s still invulnerable, passing down the philosophy from generation to generation until today. There are 8 tracks with titles taken from the date of the protest events and arranged chronologically according to the time span of the incident.
In February 2021, we released Christophe Bailleau’s EP “Persistance”, a collection of collaborations, including one with his own duet PRISM on the saturated “Paaattchheeffff”. About 15 references later, it is this project that gets the spotlight today, and associated with Billy Hasni on electric guitars, percussions and guttural vocals, the Belgian musician trades his shapeshifing and stellar electronica for some more abrasive and noisy inspiration, either psychedelic and tribal (“Trip Ritual”), ambient and insidious (“Top Budget”) or pulsating and radical (“Eat Heat Hit”), at the crossroads of industrial music, harsh noise and experimental metal. If you love this kind of exploration as extreme as it is immersive and capable of putting sound aggression at the service of atmosphere, you will certainly find in this album what you might admire in Throbbing Gristle, Wolf Eyes and more recently Duma or the fascinating futuristic noise of the Pharmafabrik label (Ontervjabbit, Cadlag …) : an organic and mutant universe of impressive density (“Usine”), and a taste for magnetic crescendos merging toxic shrillness, hypnotic larsens, obsessive synthetic pulsations and threatening guitar riffs to build the kind of narrative progressions that draw the listeners in their anxiety-provoking logic and take them to unknown territories, without mercy for the darkest folds of their imagination, like “Dinosaure” and its crushing 11 minutes of noise epic.
released November 14, 2022
Recorded at Budget Lab (Huy) during the Covid-19 period.
Christophe Bailleau : programmations, synthesizers, percussions, flute, voice, noises.
Billy Hasni : electric guitars, screaming, percussions, synth on “Top Budget”.
Artwork :
Photo : Chris Farrell
Design : Konejo
PRISM logo : James Duncan
So let’s talk about Ignacio Morales. About Leonardo Ahumada. About Nawito Dúo, which isn’t a dúo after all. About the baldy one in El Banco Mundial. About the baldest baldy in Ensamble Majamama. About the only man in Guorl Miusic.
Let’s talk about feedback. But not about electroacoustic feedback – extensively exerted by Nawito – but the one that presents a way of thinking (about) the music one makes when listening to it. That one where the cause is indistinguishable from the effect, where the effect is not necessarily predicated in the cause, where materials precede the shape that forms the materials.
Let’s listen to a jungle music – it’s impossible to avoid metaphores by now – born from José Vicente Asuar Guararia Repanoo; but it is not representing jungle, but coming from there. Infinite organisms in friction, superimposing each other in harmony. At the moment of listening, finding out what was acoustic, electroacoustic or digital is rendered useless in the first place, the jungle factory turns original, filtered or simulated indistinguishable, but the painstaking work which erected it sounds in its complexity, it is the making sounding.
Real hard work: let’s talk about fingers, nails, tact, epidermis of Nawito’s fingertips. That is – in David Tudor’ words – the most sensitive control point in a machine.
Apparati and their connections, colombina’s strings tension, diagrams, patches, springs and iron pieces, are temporary line-ups, nodes, pretexts, software; the operator that sets up and makes the machine, the real jungle territory. There are coagulations, geological faces, pressure points, complex detail zones, energies in the point of transformation, not choosing this or that way: a cave with countless leakage and drain pipes, thick, resounding tones – the wind blows outside the cave – feedback screeches, rumors from a beehive’s working mode, mechanisms rattling, the jingling of exotic birds which cannot be seen covered by the leaves, metal on metal (yes, in every sense of the word); white noise’s faceted roaring, the Mekano girls worn-out sticker; Providencia’s buzzing, hissing in unknown time; an unexpected ringtone; and the most remarkable, particular characterístic in music: a multiplicity of realms and activities, what was called polyphony in the good old days. The mystified concreteness of the on-screen software, where modules are connected, expanding and contracting, and the material proof of the tamed sound idea: a trompe and an mbira.
After almost a decade devoted to electroacous-tic music, Nawito, Leonardo, the ‘noise he-baby’, whoever he would be there inside him, makes news of headway in “Nagual”, not in a militant avant-garde fashion sense – please, let’s keep avant-garde requiescat in pace – but of a curious passerby carelessly strolling thru the park.
Nicolás Carrasco
(Santiago, Marzo / March 2010)
ACEPHALE by ANTEPOP & PIRATE Tapes is an album created for Le Camembert Electrique netlabel camembertelectrique.bandcamp.com/ based on the self-titled french poetry review and hosting few other poems by Georges Bataille, available in free download here archive.org/details/ANTEPOP_PIRATE_Tapes_Acephale
For Flac and Wav formats it’s in paywhatyouwant zero include here camembertelectrique.bandcamp.com/album/ac-phale
The Acephalus includes the minotaur, Dionysus, Oedipus. He is an incarnation of the Nietzschean Superman. “He is not a man, he is not a god either, he is not me but he is more me than me”.
Acephalus recognized the intimate link between eroticism and death and he was able, thanks to that, to kill the father, to kill god, he cut off his head to have access to a higher lucidity and to obtain a belief.
This quote from ANTEPOP could suffice as a unique presentation of this album, yet I would detail a little its creation and its underlyings.
Was it chance that put Georges Bataille back in my path?
Years ago, I interpreted the Solar Anus https://www.youtube.com/watch?v=m0oPNLBK9-U charmed by its transgressive dimension, without however pursuing the exploration of his work further. Then during the 2016 edition of Back To The Tree event I discovered the existence of Acéphale thanks to a conference by Laurent Devèze https://www.youtube.com/watch?v=G4AosZvpo4E more enthused under the trappings of this strange cult is the back-to-nature dimension relatively similar to Henry David Thoreau’s Walden. Poetry is a sensitive tool for connecting to the universe and in the era of screen partitioning this reminder seems relevant to me. Also since the creation of the french website for the review “Le Grand Jeu” morne.free.fr/celluledessites/Game/index.htm it’s been my hobby to exhume the poetic journals that have emerged in over time in France. So after the review “Discontinuity” archive.org/details/pirate_tapes_discontinuite it made sense that PIRATE Tapes presents some excerpts from the review “Acéphale” accompanied by other poems by Georges Bataille. Also we are very happy that the lyrics are in french language, because despite the audience for musical experiments is very small here, it matters a lot to be able to use our native language in our music. If you want to get the english translations seems it’s findable online.
Originally, because of many affinities, I wanted to make an album in collaboration with ANTEPOP for Le Camembert Electrique. Hence the titles taking up the process of making the cancoillotte, just to not take ourselves too seriously and thus enjoy greater creative freedom. A first piece was extracted from this improvisation session and was completed by a field recording in order to participate in the Phonographies compilation camembertelectrique.bandcamp.com/album/v-a-3 This process therefore imposed itself as obvious for the development of the other tracks on the album. It is also the only track that has not been supplemented by poems. Curiously at the beginning we had recorded poems by Apollinaire, it was only later that the paths of intuition led us to prefer those of Georges Bataille. The verses of the unpublished Acéphale questioned me a lot, to the point that I hesitate to include it, but I preferred not to censor it and leave everyone free to make their own interpretation. It may be interesting to keep in tune with the present time, bringing hope and serenity, when its qualities are sorely lacking in the world in which we live. But it would be to misunderstand the mere revealing nature of art to seek to polarize it. It seems to me vital to preserve the roughness, the wanderings of thought, all that for me makes sense in the writings of Bataille is precisely to confront the monstrosities to question our dark side and perceive our deep non-dual nature. For me in everyone is the universe, all the good as all the bad, it is our choices that guide us, our actions that define us. Hence, the importance of the presence of monsters in fiction, like in the subconscious, not only allows them to be contained, but is also a space that allows them to be studied without real risk, like a virtual box machine that allows you to test a potentially dangerous executable. It is not by sanitizing the past, by practicing censorship, by concealing the traces of obscurantism that one can protect oneself from it*. On the contrary, it is by allowing us to experience confronting ourselves with what bothers us and therefore to train ourselves knowingly, that we can develop a critical mind that makes possible a future that does not reproduce the past mistakes.
As for the Acéphale, if my heteronym Ed End has the same meaning, it is not for nothing and that explains why it was difficult for me not to interfere more than I would have liked in the ANTEPOP part of this album. So which is actually more a kind of antepop ante-pirate tapes participation. Isn’t a part of the reason one loses one’s head to try to know the others better?
* Just to be clear, I specify that as much as I find it dangerous to rewrite past fiction as much as I find it necessary to intervene in the public space because in this case it is a question of putting an end to the glorification of monsters. Although my creative vision would be rather than destroying a statue of Colbert to put in front of it a statue of a slave who breaks his chains.
Credits
ANTEPOP jetfm.fr/site/-The-Russian-Fortune,165-.html elmutschwartz AT gmail.com
PIRATE Tapes www.horsnorme.org/PIRATE_Tapes/ including :
Daceed https://soundcloud.com/doktorkrackers
Studio 112 studio112.bandcamp.com/
Ed End ello.co/ed_end
re:cyrcle series 003
source sounds & original composition by EMERGE
previously recycled by NYM -> PBK
sound recycling, recording, mastering and photo by Instinct Primal
design by EMERGE
compiled, cover collage by Sábila Orbe.
released by Internet Daemon (ex-Cian Orbe):
internetdaemon.bandcamp.com/
archive.org/details/fav-obscvre_triangle_compilations
ello.co/creativecommonsmusic
www.facebook.com/yaka.anima.noise
Each track compose by the respective artists. Links:
– Humanfobia: humanfobia-official.bandcamp.com/
– Aversion to Reality: aversiontoreality.bandcamp.com/
– Lord Cernunnos: lordcernunnos.bandcamp.com/
– flyoversx: flyoversx.bandcamp.com/
– Insatiable Void: insatiablevoid.bandcamp.com/
– HeR RiTE: herrite.bandcamp.com/
– absolute despair: attackondespair.bandcamp.com/
– AXIS PROJECT: axisproject.net/
– jAMāL: https://soundcloud.com/frenchguillotinerecords
– DJ_Iterate: archive.org/details/ThomasParkBenchmarkHub/01_Benchmark-Hub/
– Afghanistan Mon Amour: afghanistanmonamour.bandcamp.com/
– Ruido Frotado: https://soundcloud.com/ruido-frotado
– V: fuckv.bandcamp.com/
– Kosmische Clutharachán: kosmikleprechaun.bandcamp.com/
– tone tone: bandcamp.com/search?from=autocomplete&q=tone%20tone
– erik littlechild: eriklittlechild.bandcamp.com/
– Nimbostrata: archive.org/details/linfri-repo/Ann_Or_Lunda/mode/1up
– Wilfried Hanrath: wilfriedhanrath.bandcamp.com
– Blix Six: https://open.spotify.com/artist/0WDS5BcAzi6J8bud78Rjqa
– Humwreck: hummusic1.bandcamp.com/
– Dariusz Jackowski: https://soundcloud.com/dariusz-jackowski-1
– Filmy Ghost: humanfobia.jimdofree.com/filmy-ghost/
Scroll. Swipe up. Towns moving to transition phase. Revolt flashbacks. Governability. Populism. 2020 was going to be the year. #selfie. Body positivism. F at chat. tbt. Covid advisors board. That’s not the name for that board. Elites. I left my mask at home. Barricade. Are we meeting via Zoom? Or Google Meet? No, I go for Jitsi. You hear me ok?. Skincare. Citizenship. Subtle. Opinions scrolling. Statements for the press. Hunger. Olla común at neighborhood board. Hunger protest. Hunger screened on a building. Indigenous Peoples. U checked this meme out?. Thermometer on forehead. Liquid on my hands. I’ve got the conviction. Sinovac, Pfizer, J&J. What’s wrong with AstraZeneca? Is there any CanSino? Freighter stuck in narrow canal. Isolation. Bomb at the Lebanon. Mom. Let ‘s play. Non-ironic. Lateral Scroll. Got a match. No stock. Rappi got lost. Silent majority. Let’s try Corner. Election suspended? It’s on Netflix. Mood. Telemedicine. Democracy. Find their Tiny Desk show. #URGENT. Rent. Twitter being Twitter. Parity. But you’re not ready for that talk. No mask. Antivaccine. Transition. Who are these independent/indie ones. Here’s a thread. Thread of threads. Rumination. It’s on Disney+. 30 years. Critical care beds. Noise upstairs. Where are the arts?. Memes. Wholesome memes. Dankmemes. Gamestop stocks. Metamemes and antimemes. FeelsGoodMan. I’m two years older or two years younger. Pedro Pascal. Queen Mónica. Distance at the queue. Back to quarantine. Close contact. The street sounds like everyday, though. We’re a trending topic. Thanks for mansplaining. U got that reference?. We’re the river taking its bed back. San Benito. That’s not music, that’s noise. Social distance. Virtual partay. We’re the indigenous constituent power. Dua Lipa is inspiring. What’s your sign according to your sign. Social rights. They’re not listening. ICU beds. IDU. CP. BF. CD. HP. PAP. LOL. HR. EU. KEKW. TERF. PSC. BTS. GNP. CIT. G2. G7. OCD. Right. Epidemiology. Pedagogy. Communication. Fondart. Pulsar. Put some more Instagram hype. Call for works. Streaming. Webinar. Release. Online workshop. Who’s got the link?. Global Pandemics. Full venue. Mind rumination. Shh. Visual noise. White noise for sleeping. Noise for wellbeing. We are noise blooming from sound. Noise blooming from machines. Noise blooming from noise. Noise from the environment. Ambient Noise. #9 “Raw Opera Vol.1” is flux, and continuity, and affordance towards noise and noise in discrete noise era.
Matías Serrano aka misaa
(Santiago, Chile. Mayo / May, 2022)
English version by Carlos McPherson #stillsafeinHonolulu
The work by these two relatives has been coming out for some time via sonic research, working solo and as part of different projects. But there’s a notorious link behind all the tapes, cables, knobs and electricity around them. They experiment connecting situations, controlling voltage, in order to create this “Raw Opera Vol.2”.
Polwor vs Baltazár take us to a crossroads of dreams, mystical delusions, and parallel universes, where we are able to see the Nexus of separation between this timeline and bypassing to the other side. Sometimes this work takes us somewhere else, feeling like listening to someone else’s daily life, the sounds we’re hearing like field recordings from a universe beyond, or situations we are prone to watch in fever, hallucinations that can perfectly be seen in altered states. “Raw Opera Vol.2” is without a doubt a good way to go.
Máximo Campos (Ciudad Sonora)
(Santiago, Chile. Mayo / May, 2022)
English version by Carlos McPherson #stillsafeinHonolulu
The Dresden (DE) based band Llankrú presents its second album called “Half Way Café”. After the debut in 2017 the band set off firmly to explore its own cosmos. Musical self-discovery, expedition, adventure tour? Presumably a little bit of everything. The flight forward combined with the curiousity about, what’s waiting out there. With “Half Way Café” Llankrú now takes a break half way and offers an insight to the travel diary.
By now en route as a trio, Llankrú kept the preference for widescreen guitars and for a melancholic, puristic narrative style. The band itself calls its sound, geared to the Noise and Post Rock of the 90ies, “Mellow Movie Music”. For me the ideal soundtrack, let’s say, for a western, in which the horses speak more than the humans. But the album appears more sustenuto and heavy-weight in comparison to the former. More matured and experienced. The first stretch of way already has left marks.
Recorded direct to 4 track in one day 2004.
released June 28, 2004
Thanks to Banksy for cover art.
Un registro de catársis a través del noise.
leonardosacul.bandcamp.com
credits
released April 10, 2022
Leonardo Sacul – TidalCycles, livecoding.
Ismael Verde – Mezcla y Mastering.
Muchas gracias a Karen Palacio por su inmenso apoyo.
⊙
01 Under the Stones of Podlachia Lasy
02 Constitutional Nobody
03 Dragonfly Dunes
⊗
01 Feral Cat Tractor
02 E gloria in cielo ai satelliti
03 Deserts of October
04 Signal Outside Velika Kladusa
05 Lascia Perdere il Presente
Released on March 31, 2022 as free (cc) digital download and special limited cassette edition!
Composed and produced by: Jeff Gburek and Filippo Panichi
Cover Photo: Filippo Panichi
Cassette artwork design: Ivo Petrov
Compiled, cover collage by Sábila Orbe.
Released by Internet Daemon netlabel:
internetdaemon.bandcamp.com/
archive.org/details/fav-obscvre_triangle_compilations
ello.co/creativecommonsmusic
Each track composed by the respective artist. Links:
– Humanfobia: humanfobia-official.blogspot.com/
– Filmy Ghost: humanfobia.jimdofree.com/filmy-ghost/
– The Owl: theowl.bandcamp.com
– ImpulseGame: impulsegame.bandcamp.com/
– KR Seward: krseward.bandcamp.com/
– {AN} Eel: panpanpanaviandistresscall.bandcamp.com/
– Mean Flow: meanflow.bandcamp.com/
– Yoyogi Koen: 433records.bandcamp.com/album/hyakki-yako
– Wilfried Hanrath: wilfriedhanrath.bandcamp.com/
– Terbeschikkingstelling: sturmunddrang.bandcamp.com/
– EL ZOMBIE ESPACIAL: elzombieespacial.bandcamp.com/
– Mayhem Lettuce: mayhemlettuce.bandcamp.com/
– R0[nought]: r0nought.bandcamp.com
– Black Cross: blackxcross.bandcamp.com/
– Cuntspiltterkor (Cuntboi): https://soundcloud.com/cuntsplitterkor
– Cornhole Crucifixion: cornholecrucifixion.bandcamp.com/
– Origin Of Styx: originofstyx.bandcamp.com/
– Timmy the Tapeworm: timmythetapeworm.bandcamp.com/
– Persefone: https://soundcloud.com/user-928550581
– Circumvent: circumvent.bandcamp.com/
– Industrial Strange: industrialstrange.bandcamp.com/
– Oblitus: oblitus1.bandcamp.com/
– Equilibrio Natural: equilibrionatural.bandcamp.com/
– Raffet: raffet.bandcamp.com/
– Boban Ristevski: bobanristevski.bandcamp.com
RUBBER MUFFIN has been releasing D-TRASH albums over the last decade, whether it was his exciting collab album with MEAT PARADE, his Breakcore lampoons on “Duck Core”, or 2019’s chiptune laden “Itzy Bitz”. This errant release of new tunes offers a combination of his different kinds of styles. The album is an experimental adventure through his disastrously charming brain.
credits
released March 4, 2022
Mastered_by : Living~Stone
Cover_by : Jubal Brown
Thanks to: Geoff, Sean, Jay, Slawek, Adam, Amrita, Paula, Alex, Delfi, Jubal, Slava, Metroid, Ripley, Babes, Friends, Strangers, Fans, MN, Coffee, Cigarettes, Batteries
New release from KRIS T REEDER
Welcome to K T Reeder on earsheltering with “NOISE JAZZ D 7823” amazing release.
Enjoy !
K T Reeder has been recognised as ‘one of 25 of the artists who have engineered the cultural transformation of British jazz over the past four decades’ in a seminal book on British Jazz by David Burke (Giant Steps: Diverse Journeys in British Jazz – 2021)
I’m probably not alone in deciding to create a release for 22 February this year. Frustratingly, I spent a month or more chiselling away bits of sound and moulding bits on to sound elsewhere but achieving nothing satisfactory. I sort of gave up.
Late last week I had an idea and was able to try it out on Friday and… EUREKA the dam burst and ideas came flooding through.
I was about two thirds of the way through creating 22222 when I had and idea to create a second track that is 22:22 long and (hopefully) sounds the same played in the traditional fashion or back to front. The trouble was that it was Saturday and I was committed to travelling half way across England to watch a non-league football match!
It wasn’t a case of just knocking up an 11:11 long track, duplicating it and flipping it for the second half. Some of the parts in Completely Contrary Composition run the entire length of the track and do not repeat (go figure).
A couple of very late nights (until 6.45 am on Sunday into Monday) and I completed this release with five and a half hours to spare. :)
An advantage of running the label is that I can put out releases at very short notice, although I had to suspend the “euphoria rule” – we give ourselves 14 days to be sure that a creation is as good as we thought it was when finished it.
Thank you for check this out. I hope that you find it interesting.
Dental Drill
credits
released February 22, 2022
Field recordings (it’s a pill box being shaken, not the sea breaking on a stony beach), composition, mixing, mastering and artwork: Dental Drill
