Tiago Morgado . Time Compass

Listen to time compass is something a bit magical – it’s like believing that the time can be listened; not the traditional time, deadly itself, but the intimal and oniric time that lives in the existence of the listener.

a person who listens to time compass cannot listen to it only one time; mainly cos it’s not possible to realize every colors and textures of the album with only one listen.

this is one more good example of what I call creative listening; like as if the composer wouldn’t be interested in the speech itself, but more in the speech created in the mind of the one who listens to it….
Paulo Chagas

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Luis Antero . Sound Narratives vol.3

40 minutes of field recordings in Chamusca da Beira (Coimbra) and Quinta da Costa ( Penacova) in Portugal.

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funeralattendants – r.i.p

Welcome to the noise in strike improvisation of Funeral Attendants, a Japanese collective of irregular membership directly responsible for the latest proposition of MiMi: âR.I.Pâ.

Enter in a multi-instrumental universe that leads you to several experimental dimensions, where elements like noise, bastard no wave, gloomy jazzy grooves, analogical electronics or psychedelic guitar freakout collide in a collection of 16 tracks.

âR.I.P.â is a natural follower of the Japanese improvisation school, and that is the best conceptual description for this work. All the rest is pure sound⦠and mourning.

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Boiar : MiMinhos

Boiar is a Portuguese collective exploring experimental electro acoustic electronics. “MiMinhos” (portuguese word for treats) are newest sound experiences from Boiar and these guys offer us some really good music under the suggestive title. I might say this is just for real MiMi Records lovers

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Out Level : Merzbau EP Guitar Solo

The musical route of Out Level started in Merzbau netlabel of Tiago Sousa. With the end of Merzbau, the EP that is now presented as it works (just) to pay tribute to his publisher and curator.

Merzbau Guitar Solo EP consists of two long themes with prepared guitar, the instrument has always been the basis of composicional Out Level.

It was recorded on 28 April 2009 and serves as another example of exploitation of Out Level of this instrument

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[ch`os] – Flex Frame

This piece comprises 7 tracks with heavily processed digital signals from prerecorded analog sound sources. Sound and space meet in a musical offering most suitable for demanding listeners.

Themes evoked range from experiments in communication,indeterminate operations and the aesthetic value of randomness. Also present are the ideas of interference of the listener’s expectation, disturbances and problems when conveying thoughts, expressing feelings or standing for his beliefs.

Chance and geometric disposition of sound sources are most vivid, creating an apparent chaotic build up of atmospheres.

It really is up to all of us as listeners to question the rough surface and find the beauty hidden in the most complex patterns. Once the texture is resolved, peace and non thoughts will ensue.

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Takeshi Nakamura : My musical Shame

Six tracks that bring us to a cycle of life. From birth to death, Nakamura offers a voyage tru a more experimental enviroment than the ones we were used to in his other works.

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