Federico Barabino . no-input mixer

Desde hace unos años que los sonidos electrónicos que cotidianamente nos rodean captaron mi atención intensamente. Su universo infinito de texturas sonoras internas cambiantes me inspiraron horas de investigación y exploración para mis composiciones y presentaciones en vivo.

Partiendo del “error” de la consola misma, conectando cables de entrada donde irían los de salida y sin agregar ningún instrumento externo, sino usando el propio circuito interno para generar los llamados “ruidos”, trabajo en tiempo real de manera analógica. En la llamada era digital no es casual que utilice aparatos analógicos, sino que es el punto de partida hacia mi investigación de herramientas que van perdiendo fuerza en el mercado y uso profesional. Trabajando como si fuera un artesano sonoro, generando diferentes sonidos, modificando sus texturas por medio de ecualizaciones, trabajando de manera contrapuntistica por la sumatoria de varios canales, construyo el discurso y la forma musical.

El control minucioso del material sonoro y de los movimientos mecánicos del instrumento es parte fundamente de mi forma de trabajo, ya que el comportamiento de la consola es caótico y casi aleatorio, exigiendo un interprete atento a los cambios mínimos, evitando todos los movimientos bruscos posibles.

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IRISONO . 2003-2005

Javier Iriso aka IRISONO nace en León inmerso en una tradición musical familiar. Realiza estudios musicales en los conservatorios de León y Salamanca (Prof. de Piano y Prof. Superior de Solfeo y Teoría de la Música). Desde 1990 imparte clases de teoría musical en diversos conservatorios. A partir del 2000 el ordenador y las nuevas tecnologías serán sus herramientas de trabajo.

Yooco y AlíBabá son sus primeros trabajos con medios electrónicos tras una etapa dedicada a la profundización en el estudio de la denominada música clásica.

Estas dos piezas comparten archivos sonoros: vinilos tratados con cuchillos y estropajo, discos fabricados con cartón y con cinta adhesiva en una sesión ciertamente noise celebrada privadamente en el salón de mi casa. Yooco investiga las fluctuaciones rítmicas producidas por los armónicos a través de un acorde de re mayor. Utilicé un órgano virtual y sus registros para hacer dichos armónicos audibles y accesibles a su manipulación. En este sentido podría ejecutarse en un órgano convencional. En AlíBabá la espina dorsal de la composición está realizada con un sintetizador pro-53 (también virtual). El uso de discos tratados resulta más decisivo en esta pieza (una edición en vinilo del cuento de Alí Babá y los cuarenta ladrones y un single de Art of Noise).

Odinacusis y Odaxelagnia son dos piezas de 2005 que pueden entenderse como un dueto de violines, donde éstos se sustituyen por dos sintetizadores MS20 (virtuales) en el caso de Odinacusis y por dos Pro53 en el de Odaxelagnia. Pensadas para su manipulación en tiempo real (una de sus dos pistas), ambas fueron estrenadas en Palencia en el 2006. La versión de Odinacusis incluida aquí está realizada en el 2010 para ésta edición.

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Ponzoña . temporary threshold shift

Ponzoña is a improvisation and noise project conceived as an intense ritual between sound, body and mind. Rite of exploration and free flow in which words are forgotten,senses get alert,and consciousness dissolves; therapy.
Vienese Actionism,post-industrial sound, the esthetic -aesthetic- error, are influential to this procedure that uses analog processors, metals, cassette tapes, folk instruments, prepared CD players, guitars, microphones, voices or anything that can be conceived as instrument.Devotion by sonic pressure, the
anti-static, amorphous and sometimes concrete.

Jorge Vicario (Ponzoña) began its integration in music as a guitarist in math-core and crossover bands, where he met the possibility of bringing music structure and texture to the limit, and came into contact with an atmosphere of high sound levels,increasing tendency to improvise and musical rituals, experiments in the process of signals, noise, drone, free, ambient.before this stage arise for various side projects of these expressions, alone and in duo.Under the name of”Ponzoña”is dedicated to free noisy improvisation,published several works on netlabels and co-directs one called”Brrr”.

ABOUT ”temporary threshold shift”:

this release, sometimes electroacustic, sometimes heavy, but always noisy, is made with prepared CD and mp3 players and piezo mics as sound source and processed with analog effects.the six pieces are an insight into the different forms of noise;from concret sound to high pressure, from small electrical leads,up to huge walls of sound.

Recorded in early 2010
by Ponzoña (Jorge Vicario)

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noish . TrAnsCoDE

Is a new release containing two tracks originated by playing and experimenting with (bash) linux console and using one simple command:

cat /dev/mem >> /dev/dsp.

This action will dump a file (in this case a file like “/dev/mem” which is related to the computer memory) towards our sound device “/dev/dsp”. It will start then interpreting this input data transforming them into sounds.A raw and 8-bit sound is generated containing its evolutions,dynamic changes, rhythms, silences, textures, etc. Sometimes it sounds like loading old fashioned spectrum cassette games.

At this time, I was reading an essay by Simon Yuill about the concepts and the relation between brutalism architecture and computing art science

(http://1010.co.uk/code_brut.pdf)

This article somehow influenced me at the very beginning of the creative process, but afterwards I decided to work in other directions with these raw materials: cooking them by using mutant mathematics generative processes, iterative and fractal functions applied to granular synthesis parameters.
Simultaneously I was also programming all the software (patches) needed in PureData frameworks generating feedback between product and process.

At the end by mixing the sound blocks obtained from the transformations explained above, the two tracks of the release were born. (in the multitrack editor “Ardour” linux-audio software )

What fascinates me the most from digital media, is having the possibility to transform whatever you can decode into 0 and 1, and been able to dump it into different shapes and even languages (audio can be turned into image, DNA from a cauliflower into a sonora piece…) I find here a retroflavour of poetic absurd DADA; some kind of situationism deviation, or perhaps a shoot of machine desire connection….

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scmute . kofiq

kofiq is a contemporary sound work between concrete music, microsounds and computer music. The first cut – kofiq – takes sounds from sources as diverse as prepared instruments or field recordings taken on the outside of Can Xalant creation center. An stochastic process takes fractions of such recordings and arrange it in series or clouds of sounds. The two cuts following – eora and zyo – take the first cut as raw material and using a completely independent process break it down into parts that are mixed to form a new work.

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nanako . 200.909

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Terje Paulsen : The abundant emptiness between cold and heat

“It’s a midwinter day. It’s freezing cold, and the snow and ice is creaking and groaning when walking on it. When opening the door to the living room, the heat hits me from the wood-burning stove. I want to freeze this very moment, this “emptiness”, and want it to last for long. Because I like it here – just beween the cold and the heat; I find it very abundant…”

Processed recordings from inside / outside my house and an old three-stringed folk instrument.
Recorded & produced winter 2008 – 2009
by Terje Paulsen
Kristiansand S, Norway

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piscis : K

“K “es un disco inspirado en los registros de transformaciones corporales realizados por Dalia Huerta Cano con el cual se desarrollo un documental llamado “Carne que Recuerda”

La directora invito a 3 músicos para la presentación y la composición de una pieza en vivo para la presentación de dicho documental.

“K “contiene fragmentos sonoros de gruñidos estomacales producidos por uno de los personajes del documental el cual se sometió a una cirugía bypass gástrico para perder peso los sonidos fueron registrados por Dalia Huerta.
Compuesto, manipulado y grabado por Arturo Ortega

http://www.myspace.com/piscismusica
http://carnequerecuerda.blogspot.com/

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Zn’shñ & Nanako : Dots & dashes

Composed & performed by Zn’shñ (Elvire Bastendorff + Franck Smith) & Nanako – Recorded 2009

Dots &dashes (recording session) by Zn’shñ

N.B. – Sound material of Zn’shñ parts in [3], [4] taken from official cd release : Zn’shñ ++ (odl.9173-656, Odiolorgnette) remix &sound adds by Nanako.

Version for free downloads, no commercial usings can be made from these recordings. 2009 Smith-Bastendorff-Nanako

IF POSSIBLE USE HEADPHONES OR CONNECT YOUR COMPUTER TO A QUITE DECENT SOUND-SYSTEM.

Contact:

http://www.myspace.com/znshn
http://www.youtube.com/znshn
http://www.myspace.com/sthintosmithereens
http://www.myspace.com/elvirebastendorff
http://www.odiolorgnette.com
http://www.myspace.com/nanakonoise

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01. I
02. II
03. III
04. IV

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Origami Boe : omaoNOTOpetokion B

The second installment in the electro-acoustic part of Boe’s worklog. Here Boe uses any kind of sound source to create detailed reductionist music, including proper instruments and his “acoustic laptops”. The four pieces form abstract narratives – sometimes ultra-minimal, sometimes eruptive – freed from preset context, yet with an obvious debt to new music composers.

The first installment was released as a limited edition CDR (Like An Everflowing Stream, Germany 2008)

Recorded by Boe A22 @ lalacuatro, San Fernando, Gran Canaria, jan-may 2009. Listed as komkol 267.

http://kunst.no/origami/boe/2.3-006.html
http://myspace.com/origamiboe

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Tension Co. : Vacaciones Intrauterinas

Dúo electrónico afincado en Sevilla, compuesto por Miriam Blanch y José Ma Pérez-Flor. Sus métodos compositivos son siempre digitales, aunque la mayoría de las veces parten de fuentes sonoras externas, como grabaciones de campo de muy diversa procedencia.

La música de Tension Co., en clave de cold noise con ciertos regustos psicodélicos de la vieja escuela industrial, es oscura y de intensidad creciente.

Como su propio nombre indica, sus aventuras sonoras transitan por nuevos caminos de tensión narrativa, creando hipnóticas y personales atmósferas. Capas de sonido que se van solapando hasta conseguir densos collages expresionistas que sitúan al oyente en un extraño paraje imaginario.

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Dallas Simpson : For Whom The Bells Told

[TN014]

This is an unreleased extract from a walkabout combining exploration with intuitive freeform improvisation using found objects and surfaces. Recorded using custom in-ear binaural techniques in one continuous single take with no rehearsal. All spatial choreography created live on location.

The finale of this extract was improvised on a number of metal bollards to the rear of the bell tower:

flickr

Working freely in a public space the aim is to engage, explore, interrogate and excite the potentialities of sound from silent objects and surfaces in a state of perpetual sensory communion. The approach is to work unobtrusively with humility not attempting to make a ‘public performance’ or to attract the attention of other people in the area.

Dallas Simpson, October 2008.

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V.A. : TAO

[TN012]

Composers from around the world show their own sound interpretations of Lao Tse’s tao te ching. Tao project results have been compiled in this new release of tecnonucleo.

cover design by scmute

photo on cover by helena

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Pangea : Combustion Chamber

Pangea : Combustion Chamber

tn009

The three tracks includes in Combustion chamber are a dark and granulated improvised wall of sounds, plenty of submerge elements that give an emotional feel to the album, I use field recordings of underwater sounds, hard winds, death TV and radio channels playing it as I use to do in my live acts, searching a natural mix between brain and heart.

Juan Antonio Nieto

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_________________
computer music, microsound, generative music, stochastic music, minimalism, glitch, music concrte, noise.

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PANGEA Combustion Chamber

[TN009]

The three tracks includes in Combustion chamber are a dark and granulated improvised wall of sounds, plenty of submerge elements that give an emotional feel to the album, I use field recordings of underwater sounds, hard winds, death TV and radio channels…

playing it as I use to do in my live acts, searching a natural mix between brain and heart.

Juan Antonio Nieto

PANGEA wants to mention a quote from David Lynch:

When you see an aging building or a rusted bridge, you are seeing nature and man working together. If you paint over a building, there is no more magic to that building. But if it is allowed to age, then man has built it and nature has added to it — it’s so organic.

David Lynch

about the photo on cover:

John Villinski is a self-directed photographer living in Tucson Arizona. He focuses in on the worlds we miss while passing through life. John’s “Reclamation” series focuses on how nature creates beauty from the objects people discard. http://abstractsouthwest.com

01. Ocean Bed
02. Arborescence
03. Turbidity Current
cover design by Helena Coll

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Sergio Luque – ‘Sex, Drugs and Rock ‘n Roll’ was never meant

Sergio Luque – ‘sed, Drugs and Rock ‘n Roll’ was never meant to be like this

[TN006] MP3 320Kb

01. “sed, Drugs and Rock ‘n Roll” was never meant to be like this

02. fro

03. ssst

www.sergioluque.com

Sergio Luque (Mexico City, 1976) is a composer of experimental classical and electroacoustic music living in Madrid. His work often involves surrealism, computer-aided stochastic composition and tends to highlight the extreme “micro” and “macro” of musical sound.

He is currently working towards a PhD in Composition at the University of Birmingham, is an active member of BEAST (Birmingham Electroacoustic Sound Theatre) and is working on the development of Iannis Xenakis stochastic synthesis.

His extensive curriculum includes a Master’s Degree in Sonology (with distinction), received in 2006 from the Royal Conservatory at The Hague, studying with Paul Berg and Kees Tazelaar. In 2004, he also received a Master’s Degree in Composition from the Conservatory of Rotterdam, studying with Klaas de Vries and Ren

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V.A. – INDET1.0

V.A. – INDET1.0

[TN001]

TecnoNucleo, a new netlabel based in Matar (Barcelona , Spain), launches its first release: INDET1.0. An experimental music work that can be downloaded for free. 17 musicians from 10 different countries have created the 17 tracks that conform the album. INDET1.0 compiles the work of Mexicans Vegetalis and Heiberg, Russian Alex Djet, Germans Xyramat and [-hyph-], or Spaniards scmute, Nanako and Rafael Flores, among other musicians. Microsunds, computer music, generative music, minimalism, glitch and stochastic composition are the set of elements that define TecnoNucleo debut album. The cover, designed by Ana Garcia, is based in a photograph by Tal, who lives and works in Tel-Aviv (Israel). Scmute and Nanako, beside composing two of the songs, also manage Tecnonucleo netlabel and the website

01. G. Mangione – Sintesi Generativa (05:00)

02. PANGEA – estados alterados (05:21)

03. Terje Paulsen & T.E. Davey – elevatoramb2 (07:34)

04. nanako – 130.607 (05:20)

05. Variable Geometry – quarantine island(05:09)

06. scmute – aLea (8:17)

07. heiberg – X-090609 (03:51)

08. Djet – xpr (01:17)

09. Klangstrand – Ventriloqui (04:40)

10. Nicolas Wiese – choke chamber miniatura (02:53)*

11. Sebastian Lakatos – utposM (03:40)

12. Sascha – banderole (07:18)

13. Rafael Flores – 30+30 (02:21)

14. Xyramat – (E) Motion (02:01)

15. Isaac de la concha – Caminos y t&uacuto;neles (04:36)

16. Arturas Burnsteinas – Death Dealing Song (03:13)**

17. Vegetal is – nada & nadie (05:36)

*using recording fragments of John Hughes ( contrabass )

and Lars Scherzberg ( alto sax )

**lyrics by Jesse Glass

Download: http://modisti.com/ccount/click.php?id=524

cover http://www.archive.org/download/tecn001/Indet1.0_cover.pdf

_________________
computer music, microsound, generative music, stochastic music, minimalism, glitch, music concrte, noise.

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