Warahraan is an Ambient/Electronic/Experimental music project from Persia founded in the early 2008, inspired by the immensity and grandeur of the nature and cosmos. The music is trying to illustrate the creation through a different view. Warahraan is a journey through magical sovereignties and enigmatic kingdoms, a deep mystical discovery through terrestrial and extraterrestrial zones.
Warahraan means victory and conquest in the ancient Persian language. The other older forms of this word are Verethraghan and Verethragna. Warahraan is the Persian god of Fire, the most sacred of all fires that is a combination of 16 fires as it mentioned in the Avesta (Sacred Book of Zoroastrians) and other ancient Persian sacred texts. The word referring to the Mars (fourth planet from the sun) in astrology. The twentieth day of month is dedicated to him according to the Zoroastrian calendar.
This self-produced EP is the first work by Go Ask Alice: eight instrumental tracks, composed between 2012 and 2013, recorded and mixed by Matteo Spinazzé, in collaboration with Curzio Ferri playing drums and Andrea Oggiano with his acoustic guitar.
Perfection is terrible is the first verse of Sylvia Plath’s poem “The Munich Mannequins”.
“Perfection” here is completeness, closure, inability to evolve and reborn, perfection is death.
Perfection is indeed terrible, can’t have a child, just as Plath’s Munich Mannequins, cold marble statues, beautiful and perfect, frozen with us in a never ending present, the immense futureless present of the “capitalist realism”: the end of history.
Twenty-three works of ambient doodling’s, short soundscapes, or possible soundtracks. The idea behind the project was to allow artists, film directors or animators to use them with their work. If I get mentioned in the project for providing the music. Allowing the works to work with or inspire other works. It would be great to build on this idea so groups of artists are working together on small projects all over the world, sharing ideas and concepts together.
Back with the announced full length album by Matti T from Finland, slightly increasing pace and going into Sunday chillaxing mood and offering soft drops and various film like atmospheres. We look back and try to look forward, inbetween worlds. NetlabelDay Release 2017. July 14th
STREPITVSITVS is the new realisation of musical duo ASOLANMAC PROJECT and meant to be a sort of inner self-reflections as well as a very personal study about environmental connections between people and places: the focus is set on the Montello hill, near the Piave river, pretty close to our hometown. It’s a really peculiar site, where nature, hystory, legends and mysteries are all mixed up together in a unique way. This piece of music fully represent the feelings we share about it and express also the will to define the whole thing like the primal step of an introspective journey through memories and sensations, inspired by that magical location, under the form of an audio description.
Pueblo Nuevo Netlabel is pleased to present “Dos Puertas y un Puente para una Banda Sonora“, album from chilean musician and producer F600.
“The most recent work of Miguel Conejeros, aka F600, corresponds to the soundtrack for the artistic installation “Dos Puertas y un Puente para una Banda Sonora (Two Doors and a Bridge for a Sound Track),” a collaborative montage between Miguel and the artist Rodrigo Vergara. The work, which combined sculpture and music, was exhibited in the International Museum of Chile – Gallery MICh, in Santiago, Chile, between the 17th and the 24th of June 2016.
The sonic montage in its original version was developed in a multichannel (5.1) format, in order to be appreciated by the viewer/listener as he or she transverses the space of the exhibition, where the sounds are released from the four corners of the hall, projecting a sensation of spatiality and movement, in contrast to the apparent inertia of the sculpture.
In the words of Sebastián Riffo, Director of the Gallery MICh, “The pieces exhibited were erected from the concrete, free of abstract sentimentalisms, interior life and/or conceptual and/or symbolic over-determination. They were there, alone, supported above structures of metal in order to say nothing. They wouldn’t share stories, messages, nor morals, they were only embedded in our floor and extending themselves through space. Of a palpable nature, realizing distinct material layers and sounds, as if dealing with geological strata; enigmas impossible to resolve without the help of an attentive ear and a dilated interest.”
This disc contains a demonstration in stereo of the work of F600, valuable as a historic register of the creative processes of Miguel, moreover, it provides the listeners the possibility to appreciate in a new instance the materiality of his sounds, those that are capable in and of themselves, of telling us this and other stories, of opening doors and laying new bridges.”
(Santiago, Chile. Octubre / October 2016)
“The intimate and unrepeatable process of the construction of this piece is captured through the sounds that inhabit the studio.
They are the acoustic frequencies from the manipulation of the distinct elements that raise the scaffolding of this sound track.
Much like the materiality of a sculpture is intervened with pigments, molds, and tools: the captured sounds are processed electronically and digitally, imprinting their own character in the result.
‘Dos puertas y un puente para una banda sonora’, is an exercise in congruence between materialities that plant themselves like a tale of a tactile, optic and acoustic construction in order to be traversed, contemplated, and inhabited from their interior.”
Miguel Conejeros (aka F600)
(Santiago, Chile. Junio / June 2016)
Visual artist. He has participated in more than 40 expositions, including 6 individual. His work has been shown in diverse countries in Europe and America, and he has also been published in more than 25 media specialized in art, as much in Chile as foreign. He has obtained three distinctions in concourses and 5 state financed grants. He has realized residences in Brazil and Argentina.
“With Cockiness Do I Warn World-Weary Deities, Teaching Myself In The Course To Be Courteously Carefree, Dee! Dee! Bridgewater! Biblical Mourning Verses, Hence, Proudly Project Anxious Molten Loops, So Don’t Be Such A Simpleton, Let’s Vote For An Earthly Workday Forever, Shall We?”
His work methodology focuses mainly on the capture, extraction, editing and storage of audio samples from different sources:
records on the street
audiovisual edits and converts of radio signals and many other sources.
Transforms, relentlessly, curtails, beheads and sews sound works from different backgrounds and authors, providing the glue that comes from analog-digital instruments and audio processors and resulting in a “sound narration” split into parts.
His sound works do not drop below 20 minutes for just such narrative, where there is a development from defined introduction to epilogue.
Detests the “digital finishing” of sound with a computer. For that reason dirty, gnawing and saturated sounds prevail (but without spoiling the record), thus achieving kind of a sound archeology.
His creative concepts pursues mysticism, the occult, time,
religions, the process that leads to contemplation,
the silence, the pause, the suspension, death and upstarts.
No musician describes himself
according to their own words.
“What I do not see myself as music, I do not feel musical, I not position myself musically.
I DO NOT THINK musically, I’m more close to the investigation,
to the pamphleteer, the readymade and the situation.
Even so shamanic
No rhythm and no melody that dominates the whole picture.
Abuse of rhythm and melody is a necessary evil for those who can not handle a drift.
It’s like being in a large room without light. You need to touch the walls and artifacts that fill the room to feel welcome in the position and perspective.”
“Jorge Grela invites us to explore three landscapes in these compositions. The triad ‘Expande‘ (Expand), selected for dance, contains atmospheres from the cavernous to the aqueous, giving use to – among other resources – field recordings, bass pulses, abrasive textures and melodies realized with samples and synthesizers. The use of panning marks dissimilar spaces that converge and establish themselves in the perception of the audience, giving to this disc a characteristic that is of utmost importance in works composed for the stage: that of stimulating the subjectivity and imagination of the spectators, in order to promote a state of immersion in the presentation”.
Miguel Jauregui (aka Basstk)
(Valparaíso, Chile. Agosto / August 2016)
Nostress Netlabel proudly presents “Granchite Yumtruso PT. 1”, the new album by Massimo Ruberti, from Livorno (Italy). An artist who likes to call himself “trafficker of sounds and images” now considered one of the label’s flagship artists. The album will be released exclusively for the upcoming second edition of the Netlabel Day, a considerable important event organized by the Chilean netlabel M.I.S.T. which will take place July 14 and involving Netlabels from around the world. Will take place at the endless web areas and there will be a collective exchange of unreleased and original music, that will bring enrichment in the archives of all those who participate in this beautiful and important initiative. Massimo Ruberti will bring high the banner of Nostress Netlabel with the publication of the first part of an EP extremely complex and sophisticated, that catapults the listener into distant and forgotten times. A work that requires careful listening and that will see the closure of a circle as soon as possible, through the publication of the second part. “Granchite Yumtruso PT. 1” it’s an album in warm and elegant sounds, scratching the heart and soul of the listener. A work that runs through wilderness, unexplored and never trodden by human. Through listening we find ourselves in a desert devoid of its characteristic and constant wind, driving on non-existent paths, you suddenly find yourself in an oasis where the perspective changes and even the sand seems to take on the color of the sky and thirst suddenly becomes the ‘ last of the primary needs. The Sax caressing soft carpets of Synth, nocturnal atmospheres through the time gap that separates the vintage from the traditional electronic sound. Four songs that lead the listener to dive into the wonderful atmosphere created by Ruberti, starting from the cover depicting a Vedic text 5000 years ago to the intoxicating beauty of sound that will, without a doubt, to a new relistening of the album.
Yan Terrien comes back with this second release on Sucu Music talking about the suspended atmosphere of hospital corridors.
Music For Corridors magnificently renders that sense of waiting. Each track infact shows the multifaceted aspects of a waiting in a hospital corridor, whether it is you waiting for your own fate or one of your loved ones is.
A waiting which sometime is trustful, powerless, serene, hopeless, heroic, hopeful. It’s a music that’s plenty of intense feeling and emotion, it’s a music that empowers the listener to understand further dimensions starting from lucidly observating details, common objects, views, as the songs’ titles suggest.
The album is mainly piano based, melody and harmony of each track develops accompained with light synths sounds and textures, quirky noises and low distant voices. The sensation is just like if our thoughts were focused on their own, barely distracted by what comes around.
We’re very happy to present a release of a great artist like Yan Terrien for the Netlabel Day 2016 special event, wishing him to present us more and more music in the future.
– Gaetano Fontanazza
“Clouds Formations” is a concept release coming from the brazilian brilliant musician and guitarist Marcel Rocha. The artist, with his fine guitar mastery, explores that enchanted part of the sky where clouds form, giving body to our visions and emotions. It is a rich sonic journey through the amazing world of “haze and vapours” that flows onward, everchanging like clouds drawing in the sky on and on and on… From sparse melodies to harmonic atmospheres, from spontaneous phrases to complex notes mazes, Marcel leads us by the hand into his personal multiform land.
Sucu Music’s 2016 begins with the third release by Cousin Silas, whose trademark guitar-laden form of ambient and soundscapes is here to delight our ears and souls alike. The overall tone of “A Moment Lost” – this is the title of the new album – is less somber than in the previous works, and, apart from the closing track, the not-too-long playing time of the tracks allows the listener to sort of breathe between one aerial trip and another.
After having told of cities without sun, at night, when smog vanishes, one’s gaze is searching again for a corner of nocturnal skies, it searchs stars and planets where the mind can project itself, where it could still transcend.
Looking again at the Moon, and dreaming of sidereal trips, how not to think about Apollo 11’s contentious challenge, about Neil Armstrong and companions., about their long round journey to the satellite, and back, and above all about their trip ‘inside’, conquering their inner space , as J G Ballard would say?
That’s Armstrong, a six-acts trip, six scores to get lost, a music aimed for motionless travellers.
Hopooe is the electronic music project of Martino Mostacci, musician and composer of soundtrack for cinema, documentaries and modern dance performance.
Written,produced and recorded by Martino Mostacci aka Hoopoe.
Mastered by: Mauro Martinuz
Photo artwork by: Sherbert H.
Cover design by: Ekar records
Lotus by Hoopoe aka Martino Mostacci is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Permissions beyond the scope of this license may be available at ekar-records.tumblr.com/contact.
Where does this life lead, is a question oft heard and explored by spiritually-inclined individuals, religious groups, old and new age cults, occult organizations and so forth. But, nobody, in the whole course of humanity’s conscious existence on this earth, has been able to bring forth a single-handed evidence. I have lived a substantial amount of years on this earth, to proclaim wholeheartedly that I have gotten tired of it all – that is listening to yet another “i-know-it-all” who will try convince me of his group’s eternal truths. If it was only a personal struggle – I’d call it quits since I am very stubborn and rigidly unconscionable, I quickly and effectively send these people and their groups straight to hell. But, what about the children, innocent children of pure heart and spirit, who are brainwashed into this whole nonsense from day one of their existence?
Every day I see and hear this happening, children brought up into the dark ways of archaic belief systems which encourage NOT freethinking and high-spirited exploration of the world around – but inject the seeds of their hardcore fundamentalist doctrines unto the soft minds of the newly born.
I feel as if with every technological advance, with every generational leap, we move backwards because on one hand there is a lot of progress, but the human psyche cannot adequately handle it all, and thus, people go backwards in masses, lock themselves up in their old ways and rigorous traditions. We are giving up on the potential of our conscious infinity, to the point where it has become forgotten to most people.
Also, on the other hand, there are tons and masses of people who irresponsibly explore the vast potential of the mind by using various psycho-altering substances, from ayahuasca to magic mushrooms. This sounds romantic, but there are 3 critical problems with this, I will try to address these here, and hope that perhaps i’ll shed light on this important topic for the benefit of those whom it may be of help:
a. most chemical substances found out there on the streets are not synthesized at some clinical lab by authorized and qualified scientists, they have no leaflets and may contain the devil knows what… There’s no inspection on these pills and they come as atypical on the black market, often not even stored correctly.
b. all psychedelic drugs are highly powerful substances because they fundamentally (and sometimes even irreversibly) alter the way our brain functions, thus they are very unexpected and are not tailor-made. even those of us who claim to know themselves very well – can never know what exactly to expect. anybody who says differently – is either a fool or a dangerously disillusioned individual.
If it’s so-called “NATURAL” – doesn’t mean we are to use it. The word Natural is not some kind of approval from “MOTHER/FATHER NATURE” to go wild like there’s no tomorrow. There are numerous ways to nurture and nourish one’s mind and spirit via less potentially hazardous methods.
c. last but perhaps for many it should be the first – is the question: why experiment with these substances in the first place? For what purpose? What do you miss in this conscious life that you choose to either escape or put yourself in potential danger?
I know you may say that life is generally dangerous and unexpected and even crossing a street or driving a car is a fatal hazard. This is a typical new-age answer. But it doesn’t address the fundamental question of why consciously put yourself and your psyche, which we know little about and usually have little control of, at a concrete and indubitable danger?
Also, adventurous men (and even more so) women many times tend to fall into the hands of charismatic and highly intelligent psychopaths who promote the use of these substances in order to “connect to their higher self”. These are lies made to quiet and turn off critical thinking… I would recommend watching such films as Hideous Kinky (1998) & Icaros (2014) to get an idea of what i’m referring to. Just please beware and guard yourself and your open-mindedness by turning down such temptations and settling on listening to people who are perhaps less colorful outwardly, but have a sense of mental and intellectual balance and stability, as well as bona fide humility and life experience borne from the deep roots of understanding how fragile this precious life and world are.
I don’t want to sound like an old ranting geezer, so I better stop for now and leave you pondering to the sounds of this new album.
A drone that seems to go on forever,
echoing through the void,
never modulating in it’s pitch,
never seeming to change in it’s pace.
Where did this droning sound come from,
this seemingly eternal sound that echoes through the void?
I cannot seem to avoid it’s monotone melody,
as it makes it’s way into my mind.
I cannot comprehend where it came from,
this musicality of never undulating pitch,
there is something hypnotic about it,
and I find that now my reaches out for it,
this tone of hypnotic monotony,
a sound that I formerly pushed out of my reach.