netlabel http://modisti.com/netlabel netlabel by modisti Wed, 15 Feb 2017 18:24:14 +0000 en-GB hourly 1 https://wordpress.org/?v=4.7.6 Llahuar Leh – Scape Sound Cities http://modisti.com/netlabel/?p=1227 Wed, 15 Feb 2017 13:27:42 +0000 http://modisti.com/netlabel/?p=1227

Llahuar Leh is an ambient music and sound art project by the Mexican Erick Ruiz Arellano, made 100% with sound field recordings that he’s been doing since 2002 in travels in more than 30 countries.
Imaginary scenes generated by the improvised mixing of the sounds of the world, their nature, languages, rituals, curses and malfunctions.

A contemplation to the harmonious side of this planet, but also to its dark side, to the extinction of the calm.

 
 
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Diushi Keri & Arín Dodó – Degeneración Progresiva II http://modisti.com/netlabel/?p=1213 Thu, 02 Jun 2016 10:22:57 +0000 http://modisti.com/netlabel/?p=1213 modisti_81_thumb

Free improvisation

Diushi Keri: saxo, batería, teclados

J.G. Entonado (a.k.a. Arín Dodó): voz, guitarra, bajo, trompeta,
trombón, percusión, trompa


116 Downloads

 
 
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Martin Back – Cthonic Hymnal http://modisti.com/netlabel/?p=1183 Tue, 13 Oct 2015 13:19:58 +0000 http://modisti.com/netlabel/?p=1183 modisti_80_thumb

Cthonic Hymal, 2014

This work is a lament.  A lament for what, exactly, I am unsure.  I
composed this work after discovering a set of short (< 3 minutes) recordings of cello playing I had made some 3 years earlier and which I had perhaps not listened to since.  Each sample was of a different length and explored a different possibility of timbre with unconventional bowing techniques.  I cannot recall if the player of the cello is myself or someone else, although I would venture to speculate that it is indeed myself, since I am capable of only unorthodox cello playing since I am not, in any way, trained as a cello player.  I time-stretched the most interesting recordings so that all of the resulting sound files would be of commensurate length. I then arranged each time-stretched file on separate tracks in a digital audio workstation and applied no other post-production/compositional strategy other than slight adjustments of gain and stereo field placement.

156 Downloads

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de elementorum: laecrimatic solo, 2014

Although this work very much happened by a happy accident in that I
happened to be sitting outside enjoying a rainy afternoon when my
attention was caught by the sound of shifting rhythmic patterns caused
by fluctuations in the volume of rain falling from the roof of my
house onto a metal vessel my wife and I use to water our garden
plants.  The piece was exhibited/auditioned at a group show of sound
art, And Then I Whirled to the Sound of, in Dallas, TX.  I was
interviewed about the work in an article that appeared online at
artandseek.net.
http://artandseek.net/2014/07/22/make-some-noise-sound-art-at-oil-cotton/

Winter Metal + Sounds Occurring (2014)

The impetus for creating this work arose out of facets of my thinking
regarding loosely connected philosophical concerns, such as the
misconception that the human environment is somehow separate from
nature; how I might simultaneously create an improvised performance
and a field recording—meaning a desire to conflate them into a
single entity—and in doing so treat my immediate ambient environment
as both collaborator and performance conductor.  I meditated upon how
these thoughts might manifest as a piece of music for some days before
deciding on using a single sound source, a cheap tam tam suspended
from a metal armature, that I would perform in order to respond to the
sounds of the environment in time.  I recorded this piece in one take
while giving my utmost care to attempt to be guided by time and
amplitude—so as to subsume my identity and needs and allow the
environment to direct me rather than the other way around. As the
title suggests this work was recorded on a winter day, which I
remember as being sunny and bright, yet rather cold.  

In The Cauldron of the Body

This work was composed in 2009, premiered in March of 2014 and
recorded in April of 2014 by vocalist and performer Lily Taylor.  The
foundation of this work is a Taoist text describing a process of
spiritual alchemy by uniting the Green Dragon and White Tiger energies
in order to form the Golden Elixir.  I made a statistic analysis of
the text in order to discover how many times letters occurred
throughout, which I used for the basic time structure of the piece.
In other words, if the letter ‘T’ occurs 10 times in the text then
the sound associated with ‘T’ is repeated, or sustained, for 10
seconds each time it reappears in the work. I also created a loose
system of certain letters corresponding to orthodox dynamic
indications, such as pianissimo, fortissimo and so forth. The actual
score is notated in the International Phonetic Alphabet and allows for
a great degree of performer interpretation within its rather rigorous
structure.    

Resonant Machine Music 2, 2015 and Pendulum (second performance),
2014

Both of these works belong to my ongoing series, Copulative Signules,
which explores the possibilities of designing semi-autonomous musical
systems in custom software.  These systems use audio and data feedback
and recursive circuits of modulation as the primary compositional
strategy to produce real time, generative sonic environments.  While
both Resonant Machine Music 2 and Pendulum share similar
compositional/systemic construction they explore very different
timbral terrains.  Both systems, however, were recorded as they were
performed/performed themselves and were allowed to unfold with very
little intervention by me.  It should be noted that the full title of
each piece is Copulative Signules: Digital Simitals: Resonant Machine
Music 2 and Copulative Signules: Pendulum (second performance).

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Hado Navarro – Sonic decartography http://modisti.com/netlabel/?p=1153 Sat, 26 Sep 2015 11:39:04 +0000 http://modisti.com/netlabel/?p=1153 modisti_79

An exploration of the cognitive process of the audition vinculated to the speed and saturation of various and continous sounds, everything made from a simple sample of a synth-guitar that
derivates in the search of orientation’s sense across the sonoruslandscapes, this pretention forces the softwares to their limits of computing some simultaneous patrons of trebble and maximum velocities, so, this is a navigation through the frontiers of the audio that can be generated by informatic methods. And has a combination of diversesample resolutions, cross synthesis and interpermutation bettween and their results with the other results and so on.  Also contains a reverted part of sonata’s num 6 of Paradisi and an exe file converted in audible format. The album is a chaotic mass of distortion, horror semivoices and a map of some sonic path to perdition.

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JesterN . Les Retours Des Oiseaux http://modisti.com/netlabel/?product=jestern-les-retours-des-oiseaux Mon, 01 Jun 2015 22:28:29 +0000 http://modisti.com/netlabel/?p=1141 modisti_77-thumb

A breathless sound suddenly sucks us back from the abyss of our timeless sleep
Bird chantings, the ambassadors of morning, mark as in primordial times, the birth of a new day: the first evidence of creation and the existence of things.

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Hado Navarro . sonorus diary http://modisti.com/netlabel/?p=1136 Mon, 13 Apr 2015 21:23:35 +0000 http://modisti.com/netlabel/?p=1136 modisti_78_thumb

some experiments with cross synthesis and many other alterations

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Marc Egea . Alba http://modisti.com/netlabel/?p=1046 Mon, 09 Feb 2015 13:32:43 +0000 http://modisti.com/netlabel/?p=1046 modisti_76-thumb

17 electroacoustic compositions based on phenomena and
nature landscapes. were composed in Labuerda (Pyrenees of Huesca,
Spain) the summers of 2012 and 2013.

marc egea: hurdy gurdy, processed sounds, electronics, field recordings, resonating stones
created in labuerda (pyrenees of huesca, spain) the summers of 2012 and 2013
picture & cover design: marc egea
www.marcegea.com

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Weronika Partyka – André Darius . Subconscious city http://modisti.com/netlabel/?p=1039 Thu, 22 Jan 2015 10:39:19 +0000 http://modisti.com/netlabel/?p=1039 modisti_75-thumb

This is the meeting between a Slavic soul and a monk with no religion. Weronika Partyka with AndrÈ Darius propose to us three tracks as three disenchanted views on human relationship. “Subconscious city” reminds me the citizen rootless existence, whereas “Mr and Mrs Blackwood” sound as an old couple’s lamentation and the short/too short “Mirage”, at first sight, may seem like an optimistic final note but the more I think the more I doubt about it, perhaps because of the title and the lenth of this track but it sound too good to be true 😉
anyway it’s a fantastic adventurous music played by two great musicians, enjoy !

(note by Etienne Brunet.)

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Weronika Partyka – saxophone, duduk, voice
AndrÈ Darius – bass guitar, eub, objects

Recorded in Slovenia and France. 2013.

cover by Richard Schneider

http://www.weronikapartyka.com/
http://andredarius.blogspot.fr/

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martin rach : borrowed improvisations http://modisti.com/netlabel/?p=1017 Wed, 29 Oct 2014 11:02:35 +0000 http://modisti.com/netlabel/?p=1017 modisti_74-thumb

Recorded during my stay in Bjoa, Norway, August 2014.
Instruments: organ, drum kit and Zoom H4n.

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Mark Hannesson . dust http://modisti.com/netlabel/?p=1007 Mon, 22 Sep 2014 12:38:15 +0000 http://modisti.com/netlabel/?p=1007 modisti_73-thumb

Voices in the silence.
The speech of philosophers, children and rebels: abstracted.

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