Artist/Composer: Bo Crew Hip Hop Collective
Keywords: TheFeeDunk Star; TheDeepr; The Corner; I.Z. aka IDzeroNo; Ames Nick Solder; The Pee Punk BROTHA; D-Ram; Dj RuffShraker; Melvin Clark; The Informers; 95 & Sailaway; D – Ram; hip-hop; media; remix; hip_hop; flyingteam; nyc; classic;
Creative Commons license: Attribution-Share Alike 3.0
“Verdant Peal”, 12th album by Secrets Of The 45 utilizes field recordings collected over two summers to create a set of summer-inspired soundscapes. Ambient, drone, noise, collage, tape music with hints of musique concrete join forces to create a diverse jungle of hazy, sweaty sonic paintings.
Birds in a forest, suburbian lawnmowers, children’s voices, murky tape experiments, children’s toys, distant conversations, prepared vocals emerging and collapsing from the sticky dark, with snippets of musical instruments – tribal drumming or swirling guitars – are sampled, looped and combined to create an effect of dense, disorienting heat much like a confusing dream during a nap in tall grass in the middle of a July day.
Louisiana-born producer Brandon Goree marries meticulous drum work with artful blends
of synths and samples. He delivers a sound that is rooted in hip-hop, but fearless in its
experimentation. Goree’s works are the children of an obsessive work-ethic. The art
shadows his soul.
(Of All the Things I Planned For) I Never Planned For Apes
Chinese Water Torture
Faint Praise for Maysharp Mandlebarber
Brain Waking Up, 6 AM
Standing in Line at Good News Blues
Killer Dustman Driver’s Ed
Collegiate Gliders Club
Vladimir Scott Key
10-Year Reunion Dirge and March
Thank You Note
Martial Arts Film Star
Black Hole of Misery
Jonas Kocher: accordion
Gaudenz Badrutt: electronics
The two musicians collaborate for many years in different formations in improvised music contextes. The duo developp a subtil work that explores the relations between the very electronic sounds of the accordion and the instrumental potential of the electronic. They create a fragmented and tensed sound univers, always open to the present and the accidents.
Accordion player and composer born in 1977, Jonas Kocher studied a.o. with Teodoro Anzellotti, ! Pierre Sublet and Georges Aperghis. He collaborates regularly as accordionist in improvised and conceptual contexts with musicians such Michel Doneda, Christian Wolfarth, Olivier Toulemonde, Hans Koch, Alfredo Costa Monteiro, Duo Diatribes, Jacques Demierre, Christian Kesten, Gaudenz Badrutt, Chris Heenan, … . Jonas Kocher’s work explores the relationships between tone, noise and silence and the processus of listening. As composer he realises projects which are situated between composed theatre, installation and concert pieces. His compositions has been played at Biennale Bern 2010, Jardins Musicaux 2012, SMC Lausanne, Theater Basel, Zentrum Paul Klee, Festival Encuentros Buenos Aires, Umlaut Festival Berlin, Centre Dürrenmatt Neuchâtel, Festival Concentus Moravie, Zagreb Biennale. He composes also for hörspiel, dance and theatre. Jonas Kocher runs the label Flexion records.
Gaudenz Badrutt (electronics & comput! er) began his career as a pianist in the field of contemporary classic music. Since 15 years he works as an electronics musician in the field of improvised, experimental music. He is mainly known as one half of the electroacoustic duo strøm (together with Christian Müller, electronics and bass clarinet), as well as part of the duo Hans Koch (bass clarinet) – Gaudenz Badrutt and the duo with Jonas Kocher (accordion). His music is coined by a very instrumental use of computer/live sampling and electronic devices. Filigree, minimal noises, drones and dense structures are key characteristics of his music. He is further occupied in the fields of electronic composition and sound & video installation. Gaudenz Badrutt has further collaborated with Bertrand Gauguet, Burkhard Beins, Michael Vorfeld, Norbert Möslang, Dieb13, Diatribes, Arno Camenisch a.o.. with concerts at home and abroad, including: the JOLT Festival Basel 2011, Zwei Tage Zeit Z&uum! l;rich 2012, Influx Toulouse 2011, Transmediale Berlin 2009, Zoom in B! ern 2008, Norberg Festival (Sweden) 2006, Taktlos/Tonart Bern 2006. Gaudenz Badrutt lives as a freelance musician in Biel (Switzerland).
A machine is a tool consisting of one or more parts that is constructed to achieve a particular goal. Machines are powered devices, usually mechanically, chemically, thermally or electrically powered, and are frequently motorized. Historically, a device required moving parts to classify as a machine; however, the advent of electronics technology has led to the development of devices without moving parts that are considered machines. This work explores the making of machines musically, using their sounds to create feeling, ambience and rhythm. A series of electronic parts to flow and move like a created, imagined machine.
Another year has passed with some great new releases. Our special ‘birthday present’ for you this year is an over 100 min.
free dowload compilation that includes exclusive, unreleased and upcoming tracks by artists already known on Mind Plug Records, as well as some new talents.
“I gotta say this… Wings of an Angel – if I had to predict the future of music, I would say listen to ANY of your stuff… Your sound art is so advanced and beyond what we hear in these days & times. You should put an expiration date on your music: Will be good for the next 200 years. It’s really that advanced!”
“Way open-minded outer space aliens who smoke too much space dust would have your music in their atomic ghetto blasters while they ponder the possibility of other life in the universe”
CrustStain consists of paired 62-minute microcassette recordings by Wapstan (Martin Sasseville, Montreal, Quebec) and Hal McGee (Gasinesville, Florida). In early 2012 Wapstan recorded random and varied sounds from his daily life in Montreal (including radio and TV and sporting events, machine sounds, minimal electronics, etc.) in collage fashion on a microcassette and mailed it to McGee. McGee listened to Wapstan’s tape once through to get the general feeling of the flow of the sounds, and then he set about recording sounds from his daily life, from work, home, streets, restaurants, stores, conversations, etc. After McGee completed his tape he mixed his and Wapstan’s tapes together strictly on a one-to-one basis, arbitrarily, creating a happy-accident lo-fi crusty bruitistic dual-track juxtaposition celebration of the mundane drenched in tape hiss audio collage.
“… if we understand evolution as a way to make between respect for the heritage and memory, Akauzazte show us that have chosen the best way, perhaps the hardest, but the right one. Unashamed of debts on their teachers, and instinctively following the footsteps of nomadic paths crossed by them, Akauzazte been known to seek, find and shape their own personality. Dancing in the shadow of popular music, fornicating with rock, and looking fearlessly face to face, the avant-garde, Akauzazte invites us to know your personal world of sound. Between two edges: one real and raw, and a soft, imaginary, as the two skins of the snake. With new skin, but with the same head, Akauzazte.” (Xabier Erkizia)
Luís Antero: field recordings
Locais: Lisboa e Coimbra
Equipamento: Zoom H4 e Zoom H2N
Ano: 2012 (Elétrico Sonoro) e 2010 (Lx_CBR)
Notas: a faixa “Elétrico Sonoro” é o resultado de uma viagem de eléctrico desde a Graça até à Estrela, em Lisboa, na companhia de João Ricardo (ocp, Ponto, etc.).
A ambiência sonora deste secular meio de transporte lisboeta, desde a partida até à chegada, é o que se pode escutar nesta faixa, sem qualquer tipo de processamento ou manipulação; a faixa “LX-CBR” é uma composição sonora resultante de recolhas efetuadas nas cidades de Lisboa e Coimbra e originalmente concebida para a radiofutura, emissão especial da rádio Zero no festival Future Places, em 2010. Também neste faixa não houve qualquer tipo de processamento ou manipulação sonora.
Monsieur Massard presents us with a project called “A EN TIO”, borrowing from the name of an enigmatic place he passes by from time to time.
This intriguing grocery, closed for ages, has been decaying and the outdoor sign is losing its letters. Originally, the sign read “ALIMENTATION”; then, after a few years, the “M” became a “W”, turning upside down, the “I” fell, and so on… Today, all that is left is “A EN TIO”.
The sounds in this work portray the decay process, the rough forces of nature and the passage of time (something we’re all familiarized with, although we tend to ignore).
Akauzazte continue to advance in the proposal raised in their previous albums, music that combines primitive and avant-garde, industrial sounds, elements of folklore euskaldun own as well as Asian and African traditional music, distortion, thunderous, disturbing acoustic passages, obsessive loops electronic manipulation techniques. Throughout the 59-minute “Akauzazte Danok” different layers of electric and acoustic guitars, multiple loops and various melodic structures evolve slowly but intensely, and weave a dense spider web that traps us We quietly and slow asphyxiation. The group creates textures that are abrasive, rough, scratchy and hard. Sound blocks and cause repeated insistently hypnotic effect while percussion, tribal in nature, underpins the framework with strong rhythms and wild force. A show of dazzling beauty and at the same time of great brutality tight and difficult compositions but also liberating and cathartic.
Artist: Anton Mobin & Deadzoo
Title: Micro Sounds Biopsy
Format: Net Release
Release Date: Jan, 2012
All sounds by Adrian Beentjes & Anton Mobin
Mixage : Anton Mobin
Mastering : Adrian Beentjes
Duration : 19 minutes 13 seconds
Production : 2011
Artwork : Darby Mullins http://darbychronics.blogspot.com
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