D incise : C’est juste les murs qui changent

Opsvik&Jennings : Commuter Anthems

Opsvik&Jennings

Commuter Anthems

label: Rune Gramofon

ref: RCD2062

players: Eivind Opsvik (bass, drums, percussion, piano, organ, theremin, vocals, software), Aaron Jennings (guitars, lap steel, banjo, concertina, vocals, software)

A project featuring influences of experiments in rock music, explorations of studio techniques, hinting at psychedelic traditions in terms of gesture and timbre: More recent adventures in the realm of experimentation with sound are featured without breaking the overall envelope, unwilling to give up the form and the underlying content, but rather embellishing forms in danger of extinction (back beat). The authors? multi-instrumentalism runs parallel to their thorough knowledge of pop music, resulting in a true task of sound design, exploring the various possibilities offered by the tradition if peppered with experimental diversions from the standard (concrete interlude or polytonal intros).

Proyecto que incluye influencias de experimentos en la msica rock, exploraciones de tcnicas de estudio, guios a la tradicin psicodlica en cuanto a gestualidad y tmbrica: aventuras ms recientes en el mbito experimental con el sonido se incluyen sin una ruptura del conjunto, reticentes a abandonar la forma y el contenido subyacente, pero optando por embellecer unas formas en peligro de extincin (back beat). El carcter multi-instrumental de los msicos se despliega junto a su profundo conocimiento de la msica pop, que da lugar a una verdadera labor de diseo sonoro, explorando las diversas posibilidades que la tradicin ofrece pero aliadas con devaneos experimentales despecto a la norma (interludios concretos, introducciones polytonales).

m-1656

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josé pérez de arce : son ido

josé pèrez de arce : son ido

[pn017]

30.05.07

Con grabaciones realizadas a lo largo de Chile, Jos Prez de Arce edita el ao 2002 el disco “Son ido” (Chimuchina Records), haciendo un llamado de atencin sobre los sonidos que estn desapareciendo del planeta. Cantos selknam, cantos kawesqar, sapitos cuatro ojos, antaras nasca, pjaros carpinteros, trompe de Isluga, voces, relatos, cantos ymanas, mosquitas, arroyos, todo confluye en una hermosa edicin sonora.

La escucha de este disco marc un punto de inflexin importante en el desarrollo de mi carrera musical, la que posteriormente se deriva en mi trabajo con sonoridades etnicas chilenas y, tambin, en la creacin de Pueblo Nuevo. Por ello, reeditar y dejar disponible en nuestro catlogo este trabajo de Jos Prez de Arce, es un anhelado deseo que llega a feliz trmino. (Mika Martini).

textos presentes en la cartula original

Yamana (yaganes), llegaron hace miles de aos a poblar los mares ms australes del planeta. Les quitamos su mar, los obligamos a olvidar, les prohibimos perdurar. Entendan conversar con los animales; pjaro tena cancin, pato lile, viento en popa, el lobo y el Cabo de Hornos, todo tena cancin. Nunca ms la tendr, muri quien la saba pero nadie se dio cuenta. Eran miles. Hoy quedan dos, las hermanas Ursula y Cristina Caldern.

Pajaritos, agita de cordillera, mosquitas y viento. Todo tiene cancin. Nosotros no la sabemos escuchar, ellos s.

Trompe de Isluga, el instrumento de metal que trajeron los espaoles en 1.600 a la regin de Isluga, en el altiplano de Iquique, fue reemplazado por la radio y se perdi en el olvido. Grab a Soria Mamani Chayapa, de 54 aos, recordando. “Mi mam saba mucho, como era gente antigua. Tocaba pa consolar solita arriba en el cerro pastando Ilamo, huainito ganao llamito, fandango y carnaval… Ahora con los abuelitos est todo olvidao”.

Kawsqar (alacalufes) recorran los canales del Sur de Chile amando su inslita geografa. Hoy quedan 15. Grab a Margarita Molinari, Alberto Achacaz, Jos Ramn Paterito, Julio Tonko y Mara Luisa: cada uno de ellos que muere, muere una forma de amar cada cosa al nombrar.

Pjaro Carpintero, habla Carlos Renchi (C’akul) en kawaskar:

kenakna sa kar ar ft’sa-tlap el pjaro carpintero pica rboles

kc’rja-ap-jek ljes ka kuos kius asqe en busca de larvas, es su comida

ft’saksa-kesektlr tok, tok, tok, sk’k las encuentra picando la madera, toc, toc, toc, as

ft’seqolkna-jek kuos jefesektlr hos las encuentra picando y se las come

kar ar tl so atl ar kistat y en un rbol se posa.

Antaras (flautas de pan) de cermica tocadas por los nazca entre el ao 100 y el 1.000 en el desierto al sur de Per. Los nazca tejieron en mil colores, hicieron geoglifos en el desierto, fueron los ms finos ceramistas de sonido. Claudio Mercado las toc en 1990 usando la tcnica del sonido rajado y del piloilo, y yo lo mezcl en ACID el 2002, en un intento por hacerlas sonar como msica nuevamente.

Lakitas (flautas de pan de caa) llegaron el 900 a Arica desde Tiwanaku, la ciudad de los dioses. No paran de tocar la polifona ancestral, la competencia en el sonar hasta 1995, en que grab al ltimo, en la fiesta de la Virgen de las Peas. “Ya se dej de ver,… un poquito ms del hombre blanco que trata de aplastar a la cultura andina”.

Cada especie tiene un canto diferente a las dems. Cada voz es parte del gran concierto, su diversidad es necesaria. Hace miles de siglos, cuando an ramos animales, sabamos escuchar la compleja sinfona natural, que llevaba millones de aos afinando y concordando voces. Cuando aprendimos a reflexionar, a dialogar con nosotros mismos, nos volvimos autnomos. Nuestro sonido se refino en lengua y msica. Luego aprendimos a escribir el habla, nos hicimos ms autosuficientes, ms solos y ms sordos. Gracias a la tecnologa aprendimos a manipular el sonido, a descontextualizarlo, a transformarlo en opcin personal, solitaria. Paralelamente transformamos nuestro entorno sonoro en ruido de mquinas. Nos volvimos sordos, solos y neurotizados.

Sapito Cuatrojos, canta de noche la primavera, desde hace miles de aos, sin parar. En agita limpia y tranquila, musgo, plantas y mosquitas. Hoy se silencia: la garza africana, la rana africana, la ciudad y su inmundicia la estn matando.

Hoy nos damos cuenta que somos responsables de dirigir esta orquesta. Tenemos que volver a aprender a escuchar, encontrar el equilibrio entre el lenguaje metacultural, con su ambiente sonoro industrial, y los lenguajes culturales, naturales e individuales que forman la gran sinfona. Saber escuchar cuando se silencian partes de esta sinfona, aprender a diferenciar entre la mutacin necesaria y constante de la metacultura y la extincin de un sistema cultural adaptado durante milenios a una regin. Cuando muere una especie, se pierde un eslabn del gran equilibrio que tard millones de aos en afinarse. Cuando muere una lengua, muere un logro biolgico adaptado al medio que ha ganado su lugar hacindose necesario para el equilibrio. Cuando se deja de hablar yamana o kawaskar se deja de entender un trozo de mundo. Se pierde una manera de escuchar. Cada nombre es un sonido en este inmenso concierto. Nombra el pjaro que canta, nombra el viento cuando sopla, nombra el hombre cuando habla de tantas formas distintas. Tantas cosas que supimos antes de saber hablar, y cuando aprendimos lo tuvimos que olvidar.

Selk’nam (ona): habla la ltima, Lola Kiepya, de 90 aos, cuatro meses antes de su muerte. Llegaron 11.000 aos antes de Cristo a Tierra del Fuego, antes que fuera isla, cuando el mundo era de hielo. Fueron exterminados 1.900 aos despus de Cristo.

textos prisionero original (se mantienen “negritas” y subrayados originales)

? selk’nam de Tierra del Fuego ? antara Nazca ? sapito cuatrojos ? kawsqar de los canales australes ? viento ? trompe de Isluga ? pajaritos ? ymana de Cabo de Hornos ? lakitas de Tarapac ? agita de cordillera ? mosquitas ?

Soria Mamani Chayapa grabada en Junio 1994, Enquelga; Margarita Molinari, Alberto Achacaz. Jos Ramn Paterito, Julio Tonko, Maria Luisa grabados en Septiembre de 1994, Punta Arenas; Ursula y Cristina Caldern grabadas en Ukika, Isla Wellington. 1994; conjunto de Adolfo Ayka de Livilcar grabado en la fiesta de la Virgen de las Peas 1995, todos gracias a Fundacin Andes; antaras nazca grabadas en 1990 en el Museo Chileno de Arte Precolombino; sapito cuatrojos grabado en Cachagua, Septiembre 2001; pajaritos grabados detrs de mi casa, Las Canteras de Colina; agita de cordillera, mosquitas y viento grabados en Noviembre 1999, gracias al proyecto El Cruce de los Andes de Francisco Gacitua y ngela Leible. Todos ellos grabados por Jos Prez de Arce. Lola Kiepya grabada por Anne Chapman, 1966 Tierra del Fuego, Argentina: propiedad Centre de la Recherche National Scientifique, cortesa de la Fundacin Amrica. Carlos Renchi grabado en 1984, Virgilio Renchi grabado en 1984 por Oscar Aguilera. Traduccin O. Aguilera, Julio Tonko. Algunos pajaritos grabados por Guillermo Egli.

A todos ellos dedico este disco. Adems, a Alan Lomax, Bernie Krause, Carlos Ocampo, Cecilia Vicua, Erick Samakis, Fondart, Hans Gundermann, Johnn Hassell, Jrgen Rottmann, La Chimuchina, Manuel Mamani, Milton Godoy, Museo de Bellas Artes y Murray Schaffer. Este disco fue posible gracias a Vctor de la Fuente – Feria del Disco.

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300 dpi cd interior 1 cover http://www.archive.org/download/pn017/pn017_cd_interior_retiro.jpg

300 dpi cd interior 2 cover http://www.archive.org/download/pn017/pn017_cd_interior_tiro.jpg

300 dpi cd cover http://www.archive.org/download/pn017/pn017large.jpg

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msica chilena de raz electrnica

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Mike Hansen and Tomasz Krakowiak – The Confines of Power

Nakaban/Hatano : Poca Luce, Poco Lontano

Nakaban/Hatano

Poca Luce, Poco Lontano

label: Noble

ref: CXBL-1002

players: Nakaban, Atsuko Hatano

An animated film explores the world of silent movies from an original treatment of the image. Featuring Chinese shadows or experiments into the realm of abstract painting, the mixture of film and drawing techniques creates a rich canvas. The aesthetic concern in the visuals, halfway between expressionist cinema and early abstraction, doesn?t have a resonance in the musical, which plays a subservient role to the image and resorts to vintage melodic materials that explore the possibilities of chamber atonalism (if that). The precedence of the visual partly explains the simplicity of the musical choices, but leaves the possibilities of the relationship between image and sound almost virtually untouched.

Pelcula animada que explora el mundo del cine mudo desde un tratamiento original de la imagen. Con sombras chinescas o experimentos en el medio de la pintura abstracta, la mezcla de tcnicas de cine y dibujo crea un rico lienzo. Los intereses estticos de lo visual, a medio camino entre el cine expresionista y la primera abstraccin no encuentran eco en lo musical, que desempea un papel sometido al de la imagen y recurre a materiales meldicos aejos que exploran las posibilidades del atonalismo de cmara (o ni siquiera). La prioridad de la imagen explica en parte la simplicidad de las elecciones musicales, pero deja las posibilidades de relacin entre imagen y sonido casi sin apuntar siquiera.

m-1655

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Burning Kinski : Ab irato

Burning Kinski : Ab irato

fri054

Ab initio

Ab imo pectore

Ab aeterno

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cover front Cover

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KK NULL : Fertile

Plunge into noise head first, a direct stance in the exploration of abstract sound as available through recent technology. The album?s direct statement, its physical force long wanting from the realm of experimentation ?of late dominated by liminal explorations of inaction- is related to a certain eastern weakness for harshness. The aesthetic explores a wide palette of sonic possibilities, occasionally featuring random sequences and exploring various textural possibilities, and partly hinting at the rhythmic industrial music ascendancy if immersed into the possibilities of abstraction.

Salto de cabeza al mbito del ruido, una propuesta directa en la exploración del sonido abstracto mediante los recursos de la tecnologa reciente. La actitud directa del CD, su fuerza en lo fsico, que llevaba tiempo ausente del mbito experimental ?ltimamente dominado por exploraciones liminales en el terreno de la inacción- tiene algo de la debilidad oriental por la dureza. La esttica explora una amplia paleta de posibilidades sonoras, a veces con secuencias aleatorias y diversas texturas posibles y también apunta su ascendencia industrial aunque inmersa en las variables de la abstracción.

players: Kazuyuki Kishino

m-1654

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K.M. Krebs – Phosphorous

Antanas Jasenka – Black Box Music: Repeat

Antanas Jasenka – Black Box Music: Repeat

(ca026) (May 25, 2007)

Date: 1993-1996

For microphone, mixer, delay system, moog prodigy, cassette player/recorder HITACHI, radio, metal plate, graphic equalizer.

All sound/music composed, arranged, recorded, mixed and mastered at A.Jasenka home studio in Vilnius by A. Jasenka.

Download: http://modisti.com/ccount/click.php?id=99

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Leroy Jenkins? Driftwood : The art of improvisation

Leroy Jenkins? Driftwood

The art of improvisation

label: Mutable Music

ref: Mutable 17523-2

players: Min Xiao-fen (pipa), Denman Maroney (piano), Rich O?Donnell (Percussions), Leroy Jenkins (violin)

Halfway between the idiomatic and free improvisation, cohesive lines are progressively aborted, no single direction prevailing over the remaining, both in terms of timbre and harmonic content. Behind the apparent chaos, lies a carefully planned exploration that manages to draw a certain territory where free flow is contained. Rather than a proposal to freely research the abstract nature of sound, the origin seems to lie in an enhanced conception of musical language, thus exploring instrumental possibilities (extended techniques), scales and complex harmonies that are unfolded during a search for alternative possibilities. The tracks seem to deal with various parameters (melodic-harmonic, timbral-extended, rhythmic-density, and a mixture of the above) thus carrying out a comprehensive study of the possibilities in the field (as announced in the title) although it would possibly benefit from being a tad less faithful to scholasticism.

A medio camino entre lo idiomtico y la improvisacin libre, las lneas cohesivas se van descartando, sin que ninguna direccin prevalezca sobre el resto, tanto en trminos del contenido tmbrico como armnico. Tras el caos aparente yace una cuidadosa exploracin que logra trazar cierto territorio donde el flujo libre es contenido. Ms que una propuesta de libre investigacin en la naturaleza abstracta del sonido, el origen parece residir en un concepto ampliado del lenguaje musical, explorando posibilidades instrumentales (tcnicas ampliadas), escalas y complejas armonas que se despliegan en busca de posibilidades alternativas. Los cortes parecen enfocados a diversos parmetros (meldico-armnico, tmbrico-ampliado, rtmico-densidad y una mezcla de los anteriores) que conducen a un estudio amplio de las posibilidades del campo (ya anunciado en el ttulo) aunque quiz necesitase depositar menos fe en la escolstica.

m-1653

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herzog : ocean! be our blanket

herzog : ocean! be our blanket

12rec.039

recognized young Herzog a bit later than I could have. Being an important part of the Welsh Serein-collective, he contributed a wonderful piece of electro-acoustic ambient for the second label compilation OIO which, in a whole, was enjoyed a lot at the 12rec. world headquarter. We got the Crepusculum EP in the pipe and planned to add a remix to give Fred Batys’ folklore music a decent electric twist. So we got in contact with Bill Bawden a.k.a. Herzog. His idea of transforming analogue sounds into short-form ambient-compositions fit our intentions perfectly.

After the great success of 12rec.036 back in December 2006, Bill told us about some new stuff he was preparing for a future release. In addition to the songs on both of the Serein -samplers he had two EPs online and we were happy to have the man for a special 12rec-release. Ocean! Be our Blanket consists of eight relatively short pieces each built around a single musical element or sound-idea. For In the Background, Secret Armies Bill distills the cozy melancholia of a delayed piano-motive with warm cracklings and low-key synthesizers. Woke Up Surrounded by Enemies has a rather ominous feel. You’ll recognize the beautiful noises (some kind of Herzog-trademark), but there are no ‘real’ instruments to be heard. Bubbling loops of synth-drones interfere, swell up and fade like a bad dream. The piano is back at Here Come Our Fathers afterwards. Bill opens his sound-repertoire a bit and shifts microscopic loops and distorted vocal samples in the wide echo chamber of his piano strokes. Listen to Adjusting to the Light to catch Herzog fusing guitar- or harp-sounds with some well-defined rhythmic elements. Crisp! If you want to hear one of my odd comparions- think of Pharrell Williams remixing Gastre Del Sol. Huh?

Warm, quite focused, hypnotic and neat. Herzog delivers a beautiful study on sound and structure that surprises with emotional discernibility and uniqueness. An experimental release for 12rec. after so much popmusic recently, but a record you shouldn’t have missed.

Download: http://modisti.com/ccount/click.php?id=96

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We accept CD as the only hardcopy medium. we also accept links to MP3s in email, but do not accept, and will delete, any audio files sent as attachments.

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First 8 – In Tune

First 8 – In Tune

[ns57]

The debut album of a young Ukrainian electronic musician First 8 (pron. First Aid) is a harmonious combination of many sounds of different origins (acoustic instruments – electric guitar, amp, piano; field recordings and electronics). Names of the tracks (e.g. sleeping, winterspring) and the music itself embody the implicit idea of the album, which is – time manipulation. By means of sound purity the listener is kept in a stable reality contact without being drawn in time funnels while seasons pass by. Despite the amount and the diversity of sounds used, the sound stratification of the album is very plain and clear, which actually says more on the complexity than simplicity of the album.

Download: http://modisti.com/ccount/click.php?id=94

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Hanna Hartman : Ailanthus

Hanna Hartman

Ailanthus

label: CD Komplot

ref: Escudre09

players: Hanna Hartman

A collage of concrete and idiomatic materials recorded in a wide range of settings and presented in the form a constantly shifting puzzle of recurrent shapes. Carefully recorded, the fragments are opened up to explore their physical, articulatory nature if leaving out their referential dimension, thus taking on an abstract character that gains depth as the elements are distributed in space and organized into planes. Thus the morsels dive under the surface, building a collage by means of which the structural is explored. The overtly percussive character of the materials concentrates the focus on various rhythmical proposals, apparently trying to avoid the extended, horizontal textures of the drone-like, and yet the choice of clear-cut shapes is much too conscious ?or too appropriate for collage accretions- to believe in coincidence.

Un collage de materiales concretos e idiomticos grabados en diferentes lugares y presentados en forma de puzzle en constante cambio y de formas recurrentes. Cuidadosa grabacin donde los fragmentos se abren para explorar su naturaleza fsica y articulatoria, pero dejando fuera la dimensin referencial y as adoptando un matiz abstracto que gana en profundidad con la distribucin de los elementos por el espacio y su organizacin en planos. De este modo, los fragmentos se introducen bajo la superficie, construyendo un collage por medio del cual se explora lo structural. El carcter claramente percusivo de los materiales concentra el foco en las diversas propuestas rtmicas, tratando en apariencia de evitar las texturas amplias, horizontales de tipo pedal aunque la eleccin de formas de perfiles marcados es demasiado consciente ?o demasiado adecuada a las capas del collage- como para creer en coincidencias.

m-1652

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Uior and Hanudata 8Solar a Rage : Solar a Rage

Uior and Hanudata 8Solar a Rage : Solar a Rage

rz019

Noise, only Noise.

Download: http://modisti.com/ccount/click.php?id=92

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input_output : polissonografia

input_output : polissonografia

ANTENA 022

After releasing your first album, “Eu contenho todos os meus anos dentro de mim”, by the label/distro Open Field/Peligro, input_output shows a different creative process in this single, “Polissonografia”. Using only one software and only improvising, weaves a delicate web of textures and ambiences, like the graphic registration of a dream.

2006

Download: http://modisti.com/ccount/click.php?id=90

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Um grupo de produtores de msica eletrnica no-convencional se rene para divulgar em conjunto o trabalho, com intercmbio constante entre eles.

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W.A. Mathieu : The Indian Parrot (and other stories)

W.A. Mathieu

The Indian Parrot (and other stories)

label: Mutable Music

ref: Mutable 17524-2

players: Thomas Buckner (voice), Joseph Kubera (piano), Devi Mathieu (voice), Suzanne Elder-Wallace (voice), Bob Afifi (alto flute), Shira Kammen (viola), Daniel Kennedy (frame drums.

As part of the task of setting several poems by Afghan poet Jelaluddin Rumi to music, the author embarks in a journey through the compositional realm of atonal harmonies and also resorting to associated techniques (spreechsang). However, it also features a careful choice of timbres of oriental influence, -inspired and suited to the lyrical content- exquisitely woven by the strands of the poems themselves. Rather than musical motifs, the writing relies on the relationship established between music and poem, partly reminiscent of a symbolic approach (as in Debussy?s orchestration of the play by Maeterlinck).

Un proyecto que vincula los poemas del Afgano Jelaluddin Rumi a la msica que lleva al autor a embarcarse en un viaje por el medio compositivo de las armonas tonales y recurrir a tnicas afines (spreechsang). Por otro lado, incluye una cuidada seleccin de timbres de influencia oriental, -inspirados y adecuados al contenido lrico- exquisitamente tejidos al hilo de los propios poemas. Antes que a los motivos puramente musicales, la escritura recurre a la relacin entre msica y poema, en parte reminiscente de planteamientos simblicos (como los de Debussy en su versin de la obra de Maeterlink).

m-1651

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Urbanisation Obscure – Shadows of our passed

Urbanisation Obscure – Shadows of our passed

(ca025) (May 22, 2007)

“The villages were burned, the peasants moved to the cities, the woods were cut down, and roads were built. No longer did they use horses to travel, but machines. Machines that crushed anything in their way. No longer did they work at farms, but in factories. The chimneys were puking smoke columns like spears in heaven, poisoning the rain, poisoning mother earth. Forever in madness, never resting. The city gave birth to greed, ignorance, and it crushed something that could not survive in the concrete, a vibration, a light, something beatiful…”

Download: http://modisti.com/ccount/click.php?id=87

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pan&tone : polimetria

pan&tone : polimetria

(July 14, 2006)

new release of pan&tone

10R

nort

poli

ritmia

solar

Download: http://modisti.com/ccount/click.php?id=84

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Cristiano Rosa, conhecido como Pan&Tone, trabalha com sons eletrnicos e improvisados, procurando ir alm das percepes usuais.

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Butcher / Kurzmann : The big Misunderstanding between hertz and megahertz

Butcher / Kurzmann

The big Misunderstanding between hertz and megahertz

label: Potlach

ref: P 106

players: John Butcher (tenor and soprano saxes, feedback), Christof Kurzmann (lloopp and pick up)

Live electro-acoustic duo featuring a seamless interaction between the instrumental and electronics. The saxes are clothed by the various levels of the electro-acoustic and the use of loops provides both a wide palette of sonic possibilities, -processing the instrument and adding other materials of diverse origin-, and a rhythmical element thoroughly explored through the various pieces. The interactive stance is sometimes reminiscent of contemporary pieces for tape and live instrument in that both sides are considered as dialogical counterparts of a coordinated whole. The various tracks explore very different sonic extremes, the sax versatility offering surprising possibilities illustrating the way in which the development of acoustic instrumental ideas seems to happen these days through the interaction between acoustic instrument and electronic devices (both from the instrumental knowledge that the players bring to performing with a machine and through the sonic worlds discovered in the process of using the actual processing facilities).

Do de electroacstica en vivo que presenta una interaccin sin fisuras de lo instrumental y lo electrnico. Los saxos son arropados por los diversos planos de la electroacstica y la utilizacin de loops ofrece tanto una amplia paleta de posibilidades sonoras, -procesado del instrumento y adicin de otros materiales de origen diverso-, y un componente rtmico explorado en profundidad en los diversos cortes. El planteamiento interactivo recuerda a veces el de las obras contemporneas para cinta e instrumento en vivo en tanto que ambos elementos son tratados como partes de un dilogo dentro de un todo. Los diversos cortes exploran extremos sonoros muy diferentes, la versatilidad del saxo plantea posibilidades sorprendentes que ilustran la manera en que el desarrollo de ideas instrumentales a nivel acstico parece ocurrir hoy da a travs de la interaccin entre el instrumento acstico y los aparatos electrnicos (tanto por el conocimiento instrumental que el intrprete aporta a la ejecucin con aparatos como a travs de los mundos sonoros descubiertos durante la utilizacin de los propios recursos de procesado).

m-1650

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Daniel Blomqvist – Skallberget

Daniel Blomqvist – Skallberget

apl044

24.05.2007

“Skallberget” is Daniel Blomqvist’s debut release which has found a natural home at netlabel Autoplate. Daniel has been experimenting with electronic music for 15 years – spending his leisure time “sculpting melody, noise and beat to fit what ever mood I happen to be in.” The songs took their form in the Skallberget region of the Swedish city of Vsters where Daniel resides. Using a laptop, and being mainly a diversion, the songs were created over an extended period of time during the late evenings in the living room of his home which he occupies together with his girlfriend.

Daniel’s music is personal and emotive being inspired by events or moments in life and serving as a reflection of his mood. His music is varied, drawing its inspiration from several genres, although, ambient seems to be especially significant to “Skallberget”. The ambiance of “Skallberget” is smooth and harmonious – born of carefully selected sounds and samples and then meticulously sculptured into poignant soundscapes that are perfectly suited for nighttime listening – so you’ll not find anything coarse or overtly dissonant here.

The ties that bind these songs, that is, those qualities that give “Skallberget” its sense of cohesiveness, are the underlying ambient backdrop working in unison with the compelling emotional connections behind each song . Other musical styles are also at play here which are clearly intertwined within the aural fabric of “Skallberget”. “Nr Andra Sover” and “Sjldestruktiv” are dub-inspired soundscapes with the former being minimal and sparse while latter is slightly more robust and dense. The misty electronics, beautiful melodies, and clear traces of pop-influences on “Juninatt”, “Cement Och Glas”, and “Frost” suggest some comforting pastoral moments. As alluded to in their titles, the melancholic melodies and hazy, static minimalism of “Risk Fr Ras” and “Midnatt Rder” hint at a late night urban landscape bringing to mind images of dimly lit, deserted streets. A blend of conversational voices, piano samples, and warm orchestral ambience on “Tjuvlyssnat” allow for a homey, nostalgic mood.

download set

Sjlvdestruktiv 7:17

Nr Andra Sover 6:48

Frost 4:15

Cement Och Glas 5:20

Midnatt Rder 4:37

Risk Fr Ras 5:32

Juninatt 5:29

Tjuvlyssnat 2:59

cover

8 tracks – 42min 17sec -

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THINNER/AUTOPLATE NETLABEL FOR VERSATILE ELECTRONIC MUSIC

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Takeshi Nakamura – Miscellaneous Goods

Takeshi Nakamura – Miscellaneous Goods

[zym013] (May 23, 2007)

After one year of silence Takeshi Nakamura, one of our top contributors, returns with a brand new album, again taking us to the fringes of electronic music.

Miscellaneous Goods is a ten track album where Nakamura draws on new inspiration, binding abstract elements to form compositions that cross the thin line standing between sound and noise.

Each track from this album has a cerebral birthplace, emerging as abstract figures which Takeshi has tried to fix into such titles as, Gap, Collapse, Degeneration, Dining Table, Array. The sound must be contemplated and explored, like standing in front of a carved monolith of vibrations.

Contemplation is the keyword for approaching Takeshi’s music, like having a passive aural experience but standing in the fields of the audible, of music. Just like the great sound artists, such as Ryoji Ikeda or Autechre are still doing, Takeshi Nakamura succeeds translating personal feelings into pure digital data. However, the feelings translated in this album are at times troublesome and oppressive.

Here you won’t find lovely melodies, solar soundscapes, nor easy beats. Nakamura’s inspiration stands somewhere else and that’s why Miscellaneous Goods is tough, complex, and needs time in order to be fully understood.

Collapse

Degeneration

Midwinter,Midnight

Object

Maggot

Reality Distortion Field

Dream Of Not Waking Up

Dining Table

Gap

Array

Download: http://modisti.com/ccount/click.php?id=82

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Jerome Bourdellon / Thomas Buckner : Totem

Jerome Bourdellon / Thomas Buckner

Totem

label: Mutablemusic

ref: Mutable 17526-2

players: Jrme Bourdellon (Flutes and Shakuhachi), Thomas Buckner (Voice), Alain Kirili (Sculptures)

Exploring the interactive possibilities between the voice and flutes in the presence of sculptures, the relationship with the visual/material features a strong performance element, whereby the musicians explore their physical dimension, sonic possibilities and symbolic quality much as the physical can be recalled from a magical thought, thus embracing wind sonorities in spacious ?outdoors?, fricative textures akin to material surfaces recalling the starkness of their forms, or diving into the magical character of the sculptures, exploring the connections with the totem animals portrayed, building a dialogue with those ?imagined? sound sources. Other tracks start off from a musical concern and move towards an aesthetic relation with the visual materials from the perspective of thematic inspiration.

Explorando las posibilidades interactivas existentes entre voz y flautas en presencia de esculturas, la relacin con lo material incluye un fuerte elemento de performance mediante el cual los msicos exploran su dimension fsica, posibilidades sonoras y plano simblico, de la misma manera que lo fsico puede ser evocado desde un pensamiento mgico, abrazando as sonoridades aventadas en ?exteriores? espaciosos, texturas fricativas afines a las superficies materiales que recuerdan lo sucinto de sus formas, o introducindose en el aspecto mgico de la obras, explorando los vnculos con los animales totemnicos representados, contruyendo un dilogo con esas ?imaginadas? fuentes sonoras. Otros cortes parten de un planteamiento musical y se encaminan hacia una relacin esttica con los materiales plsticos desde la perspectiva de la inspiracin temtica.

m-1649

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Manuela Barile : Creature sonore

Manuela Barile : Creature sonore

[alg029]

1. Lullaby for whales

2. Das ist mir wurst!

3. Sentir des ailes pousser dans le dos

4. Mixed fry

5. Larve gongolanti

6. Suspiro de alivio

7. On the wing

8. Cik Ciak song

Todos os sons vocais includos nesta publicacin son naturales, e o resultado de tcnicas desenvoltas por Manuela Barile entre o 2003 e o 2006. Foron gravadas tal cal e en tempo real sin manipulacin electrnica.

As composicins 4, 5, 6, 7 e 8, foron gravadas como temas consecutivos, para posteriormente ser mixturados.

Manuela Barile unha investigadora vocal e performer multidisciplinar. A sa investigacin artstica est basada nun proceso que combina sons vocais con diferente media (video, fotografa, intalacins, performance, actuacins-concertos, debuxo e escritura).

Manuela Barile explora a voz en todas as sas expresins musicais e faladas, empregando tcnicas orientais e occidentais, as como outras da sa propia invencin inspiradas nos sons da natureza, animales e “paralinguaxe”, significando todas as non verbais expresins que rodean a linguaxe comn. Manuela non emprega manipulacins electrnicas.

Manuela Barile vive en Lisboa. unha das directoras de “Binaural”, un colectivo portugus, que organiza eventos multidisciplinares e coordina o programa anual de “Nogs”, unha residencia artstica centrada na promocin dos media arts nun contexto rural.

http://www.manuelabarile.com

http://www.myspace.com/manuelabarile

Todas as composicins realizadas por Manuela Barile.

Home studio: Via Bigari – Bolonia

Deseo da portada: Manuela Barile e Conrado De Gennaro

Download: http://modisti.com/ccount/click.php?id=79

artwork http://www.alg-label.com/IMG/gz/alg029_artwork.tar.gz

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Alg-a netlabel is the Alg-a virtual comunity publication place of our free comunity for digital arts, based in Galicia (spain), and running since october 2004.

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Cor Fuhler : Stengam

Cor Fuhler

Stengam

label: Potlatch

ref: P 206

players: Cor Fuhler (piano &preparations)

Original project centred on the possibilities offered by a piano played from an extended, prepared-influenced approach. The breathtaking range of sonorities is the result of a deep research process into the possibilities offered by this instrument and the extended techniques resulted in a truly subtle range of possibilities. Strings are excited by various means, creating constant frequencies, masterfully combining several interpretative approaches simultaneously live, producing a complex sound cloth were the pedal notes are used as recurring elements on the resulting tapestry if combined with all manner of nuances, frictions, percussions, etc. Inclined towards a dense canvas, vast masses of colour feature rough textures and slow evolution. In spite of being a solo recording, the actual depth of the pieces causes them to sound more like contemporary pieces of ?electronic? music.

Proyecto original centrado en las posibilidades ofrecidas por un piano tocado desde un planteamiento tcnico ampliado, de influencia ?preparada?. La incredible paleta de sonoridades es resultado de una profunda labor de bsqueda por las posibilidades del instrumento, mientras las tcnicas ampliadas resultan en un abanico veraderamente sutil de posibilidades. Las cuerdas son excitadas de diversos modos, creando frecuencias constantes, combinando con maestra diversas ideas interpretativas simultaneamente y en directo, lo que resulta en un complejo pao sonoro donde las notas pedal se emplean como elementos recurrentes en el tapiz resultante aunque mezcladas con toda suerte de matices, fricciones, percusiones, etc. Tendentes a realizar densos lienzos, las vastas masas de color tienden a incluir texturas rugosas y velocidades lentas. A pesar de tratarse de una grabacin en solitario, la profundidad de las piezas hace que aprezcan piezas de ?electrnica? contempornea.

m-1648

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ON : Second Souffle

ON

Second Souffle

label: Brocoli

ref: Brocoli 03

players: Steven Hess, Syvain Chauveau

A carefully designed approach blending electro-acoustic, glitch sound, concrete materials and post-rock sonorities in a horizontal envelop of overtly empty, minimal overtone ascendancy. The recordings often feature the edges ?like those adventures in experimental camerawork where the actual camera can be seen as part of the shot: quite casually, accident prone, an attitude of acceptance, exploring the flat quality of colour, layering the perception and allowing for self-referent linguistic plays.

Planteamiento cuidadosamente diseado que mezcla sonidos electroacsticos, materiales concretos y sonoridades post-rock en una forma horizontal de clara ascendencia minimal en los armnicos y evidente vaco. Las grabaciones a menudo permiten ver los bordes ?como en esas aventuras experimentales con la cmara en las que el propio aparato puede verse como parte del plano: una actitud de aceptacin, desenfadada, tendente al accidente, que explora el carcter plano de los colores, superponiendo la percepcin y permitiendo que surjan juegos lingsticos auto-referenciales.

m-1647

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