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Archive for June, 2007

Anderson/Baknhead : The Great Vision Concert


Anderson/Baknhead : The Great Vision Concert

 

Anderson/Baknhead

The Great Vision Concert

label: Ayler Records

ref: AylCD-052

Anderson/Baknhead : The Great Vision Concert

players: Fred Anderson (tenor sax), Harrison Bankhead (bass)

A long-standing tradition, drinking from the sources of jazz, following its developments towards an increasingly free expression, this acoustic duo explores the various streaks that comprise that music, featuring a particularly lyrical element, close to the spiritual both in outlook and in the literal sense as genre. The intimate encounter between two fine-tuned players provides an instance of an expressive form. Going all the way back to be-bop and out into the ocean of free jazz, of modal constructions and expressive emphasis, the tracks present the music of this duo in a live setting, releasing its developments into a social medium.

Perteneciente a una tradicin venerable, que bebe de las fuentes del jazz, siguiendo sus desarrollos hacia una expresin de mayor libertad, este do acstico explora diversas corrientes que integran dicha tradicin, incluyendo un elemento de notable lirismo, cercano a lo espiritual en tanto que planteamiento y como gnero musical. El encuentro ntimo entre estos dos msicos sintonizados plantea un ejemplo de esa forma expresiva. Recorriendo todo el camino de regreso al be-bop y saliendo al mar abierto del free jazz, de construcciones modales y nfasis expresivo, los cortes presentan su msica en directo, permitiendo que el contacto con un medio social.

m-1689

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Christophe Bailleau : La Lude/La Sonde


Christophe Bailleau : La Lude/La Sonde

 

Christophe Bailleau

La Lude/La Sonde

label: Naivsuper

ref: Naivsuper 08

Christophe Bailleau : La Lude/La Sonde

players: Christophe Bailleau (piano, sounds, field recordins), Assacre (mouth sounds), Mark Templeton (guitar), Un Escargot Vide (sounds), David Cooper (guitar), Le Coin Beaut (cosmetic sounds), Stephane Leonard (remix)

Atmospheric electro-acoustic composition weaving a series of three-dimensional animated textures of a strong capacity of tactile evocation, exploring the flexibility of continuous fabrics that evolve, unfold and eventually become backcloths, or creating a space for acoustic guitar (at the front) ?eventually surrounded by the tubular surface of a continuously moving cloth. The theatrical underlines its function as a movement-based expressive support, truly exploiting the possibilities of sound weaving. The cloth is not finished, but rather presents a work in progress character, the various threads waiting to be sewn onto the edges. Again, the inclusion of the guitar establishes a certain bridge with the bodily, allowing to establishment a central character that contributes to break away from the sedate mood of the familiar.

Composicin electroacstica de carcter atmosfrico que teje una serie de texturas tridimensionales animadas con una fuerte capacidad de evocacin a nivel tctil, explorando la flexibilidad de unos tejidos continuos que evolucionan y terminan por convertirse en telones de fondo, o bien creando un espacio para la guitarra acstica (al frente) ?que resulta rodeada por una superficie en forma de tubo o una tela que se mueve de forma constante. Lo teatral destaca su funcin como soporte expresivo basado en el movimiento, realizando una autntica explotacin de las posibilidades del tejido sonoro. La tela dista de estar acabada, mostrando ms bien un carcter de obra en proceso, sus diversos hilos esperando a ser rematados en los bordes. De nuevo, la inclusion de la guitarra permite establecer un cierto vnculo con lo corporal, lo que a su vez posibilita la creacin de un personaje central, que ayuda a alejarse del anodino ambiente de lo conocido.

m-1688

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Mühlbacher usw : 05.04.06


Mühlbacher usw : 05.04.06

data="flvplayer.swf?file=../sounds/1687.flv&autostart=false">

Mhlbacher usw

05.04.06

label: Extraplate

ref: EX-DVD 010 007

Mühlbacher usw : 05.04.06

players: Various

A renewed approach to visuals, featuring a completely different relationship, somehow operatic, aiming at a total theatre experience, beyond the mere addition of image processing to the recording of a musical performance, visuals become a central element in the discourse, interacting with the sound elements. The fact that the music includes an angle based on a suite concept, organizing recurrent motifs around a shifting focus contributes to the above. However, earlier influences remain: large-scale Latin music orchestral arrangements (Bauza-like) displaying a strong influence of percussive structures and brass textures if woven around more intricate rhythmic relationships. Similarly, the electric and electronic influences take on a 70s aesthetic if embracing sound space by means of a pervasive layering concept.

Planteamiento renovado en la imagen que incluye una relacin distinta, en cierto modo operstica, que apunta a una experiencia de la obra total, ms all del mero aadido del procesado de imagen a la grabacin de una interpretacin musical, de modo que lo visual pasa a ser un elemento esencial del discurso, interactuando con los aspectos sonoros. El hecho de que la msica contenga una perspectiva inspirada en el concepto de suite, organizacin de motivos recurrentes en torno a un enfoque cambiante, contribuye a lo anterior. Sin embargo, las tendencias previas prosiguen: arreglos orquestales de gran formato afines a la msica latina (tipo Bauza) mostrando una fuerte influencia de estructuras percusivas y texturas de metales aunque tejidas en torno a intrincadas relaciones rtmicas. De forma parecida, las influencias elctricas y electrnicas adoptan una esttica de los 70 pero abordando el espacio sonoro desde un concepto constante de superposicin en capas.

m-1687

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Jim Denley : Through Fire, Crevice and the Hidden Valley


Jim Denley : Through Fire, Crevice and the Hidden Valley

 

Jim Denley

Through Fire, Crevice and the Hidden Valley

label: Split Records

ref: Split 16

Jim Denley : Through Fire, Crevice and the Hidden Valley

players: Jim Denley (alto sax, recording)

Continuing his concern with environmental sound, this solo work features a series of instrumental journeys and exchanges with the surroundings. The sax explores -in a stance that isn?t prior to the project, nor reminiscent of aesthetic concerns- an intimate set of colour nuances of subtle, translucent tonality. The encounters seem to invoke the music and provide a meeting point of listening interactivity between recorded and performed sound. The listening and playing transform and re-contextualize the acoustic, thus neutralizing the logic of accompaniment as well as the relationship involved in copying from the natural: alien to portraits and, at the same time, fully capturing the essence of a scene, unobtrusively witnessing and conveying the essence of what is beheld. Furthering his magical inclination, blending with the materials, becoming what is there, merging his activity with that of the concrete, reaching a point where the whole concept of backcloth disappears, leaving some sort of space where things are threaded in a continuum.

Ahondando en su inters por el sonido ambiente, esta obra en solitario presenta una serie de viajes e intercambios con el entorno. El saxo explora ?desde un planteamiento que no es previo al proyecto y que tampoco apunta aspectos estticos anteriores- un conjunto de matices cromticos de tonalidad sutil y transparente. Los encuentros parecen invocar la msica y ofrecen un punto de encuentro de interactividad en la escucha, neutralizando as el concepto de acompaamiento y la lgica propia de la ?copia del natural?: ajena a los retratos al tiempo que captando totalmente la esencia de una escena, observando sin intromisin y reflejando la esencia de lo visto. Continuando con su inclinacin mgica, fusionndose con materiales, convirtindose en lo que hay, fundiendo su actividad con la de lo concreto, alcanzando un punto en el que el teln de fondo desaparece, dejando cierta suerte de espacio donde las cosas se enhebran en un continuo.

m-1686

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Cory Allen | Gesemi Tropisms


Cory Allen | Gesemi Tropisms

TRANS004

Net Release Date – August 2005

Codecs: mp3, ogg VBR highest quality

Physical in 2006

Edition 50

Compiling a lust for beauty, obsession with detail, and a unique philosophy concerning the “multidimensional architecture of sonic space,” Cory Allen is a composer who applies his endless study of cognitive science/philosophy with refined and abstract composition methods in order to delicately “tune in” the vibrations of his music to the perceiver’s nervous system. Using a Moog Voyager and other electronic devices, Allen creates throbbing, rolling, fountains of electronic elegance, causing the listener to relinquish their bodies to a state of bemused abstraction.

Instruments include: Fender Rhodes Piano, Moog Voyager, Violin, Glockenspeil, Ring Modulator, Granulizer, Guitar, Computer.

Urabe Masayoshi appears on track 03 with permission of PSF Records [Japan]

Composed and Recorded 2002 – 2005

1] Whirling White Light [11.10 MB]

2] Excited Molecules [2.77 MB]

3] Urabe Breathes [5.60 MB]

4] A Screaming Comes Across the Sky [4.69 MB]

5] ABS’s of Glocl6 [6.50 MB]

6] Magnet Colour [8.60 MB]

7] Gesemi Tropisms [13.70 MB]

Cory Allen | Gesemi Tropisms

Download: http://modisti.com/ccount/click.php?id=493

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MONO ATRO – MDCCLXXVI


MONO ATRO – MDCCLXXVI

(ca031) (June 25, 2007)

The first MONO ATRO’s official sound source of information.

MONO ATRO is a black rain.

www.mono-atro.com

www.myspace.com/monoatro

MONO ATRO – MDCCLXXVI

Download: http://modisti.com/ccount/click.php?id=491

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MONO ATRO – MDCCLXXVI

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Clinical Archives is independent netlabel for eclectic and ilogical electronic music.

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Exploding Customer : At your service


Exploding Customer : At your service

 

Exploding Customer

At your service

label: Ayler Records

ref: AylCD-063

Exploding Customer : At your service

players: Martin Kchen (alto, tenor sax), Tomas Hallonsten (trumpet), Benjamin Quigley (bass), Kjell Nodeson (drums)

Within free jazz territory, an area is explored from a contemporary set of concerns. Acoustic winds and funk are blended with driving grooves and tight if casual-sounding arrangements while idiomatic compositions, after jazz conventions, feature a series of freer, experimental, extended instrumental forays as a means allowing a redefinition of the role of instrument -almost bordering on schizophrenia- through a two-fold, simultaneous monologue of rhythm section lines and trance-influenced, stark duos weaving intimate atmospheres apart from a strong influence of traditional melodies and rhythms (much after Ch Haden?s folklore).

Dentro de un territorio free, se explora un terreno desde un conjunto de inquietudes contemporneas. Vientos acsticos y funk se fusionan con poderosos ritmos y arreglos ajustados aunque de sonido desenfadado, mientras que composiciones idiomticas, inspiradas en las convenciones jazzsticas, incluyen una serie de incursiones ms libres, experimentales y de tcnica ampliada como recurso para redefinir el papel del instrumento ?casi llegando a la esquizofrenia- a travs de monlogos simultneos, en dos niveles, de la seccin rtmica as como dos prximos al trance, desprovistos de artificio, que tejen atmsferas ntimas, adems de la influencia puntual de melodas y ritmos tradicionales (en lectura de Ch Haden)

m-1685

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Idle Sunder – Psygnosis I


Idle Sunder – Psygnosis I

NTT045

01 – Welcome

02 – Analyse

03 – Aeon

04 – Paradigm Shift

05 – Introspection

06 – Unknown

07 – Fury

08 – Boundary Dissolution

On this 1st album of the Psygnosis trilogy, Idle Sunder has transcended the space drone boundaries they were once confined to, to visit a universe of remarkably visual minimal rhythms and manipulated instruments/recordings.

All of the tracks contain a great diversity in both sound and style, while retaining a quite conceptual atmosphere which holds ground in between existential and psychological ideas that are sure to be elaborated on throughout the remainder of this project.

A word of thanks goes out to all the people that have made a contribution in one form or another:

levinj, Suonho, djgriffin, NoiseCollector, Melack and Bram at Freesound for sound sources, Winne Clement for the flute in track 8 and once again Christian Jehle for the nice cover art

Idle Sunder – Psygnosis I

Download: http://modisti.com/ccount/click.php?id=484

image ftp://ftp.scene.org/pub/music/groups/entity/ntt045-idle_sunder-psygnosis_i/00-idle_sunder-psygnosis_i.jpg

Idle Sunder – Psygnosis I

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Carl Ludwig Hbsch : Primordial Soup


Carl Ludwig Hbsch : Primordial Soup

 

Carl Ludwig Hbsch

Primordial Soup

label: Red Toucan Records

ref: RT 9331

Carl Ludwig Hbsch : Primordial Soup

players: Carl Ludwig Hbsch (tuba), Axel Drner (trumpet), Frank Gratkowski (reeds), Michael Griener (drums, percussion)

This acoustic ensemble tackle abstract chamber compositions in a careful exploration of various territories: from static snapshots of timbric interest, almost immobile in their articulation ?resulting in a redimensioning of the evalutaion of time-flow- to extended techniques of a more abstract nature and an experimental outlook where each performer develops individual lines subsequently woven into a collective fabric. Other tracks include the use of livelier idiomatic materials, which establish a changing counterpoint of jazzistic ascendancy and overt rhythmic nature.

Este grupo acstico aborda composiciones de cmara abstractas en una exploracin cuidadosa de diversos territorios: desde instantneas estticas de inters tmbrico, casi inmbiles en su articulacin ?que llevan a un redimensionado de la apreciacin del flujo temporal- hasta tcnicas ampliadas de naturaleza ms abstracta y una mirada experimental en la que cada intrprete desarrolla lneas independientes posteriormente tejidas en un tapiz collectivo. Otros cortes incluyen la utilizacin de materiales idiomticos ms vivos, que establecen un contrapunto cambiante de ascendencia jazzstica y evidente carcter rtmico.

m-1684

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Northern Machine – Live at Sonic Circuits


Northern Machine – Live at Sonic Circuits

zero 083

This recording documents Northern Machine’s live Performance on October 7, 2006 at the Sonic Circuits Festival of Experimental Music in Washington DC. Northern Machine are Pat Gillis: synths, organ, effects. Bill Warford: Bass guitar, psaltry, bowls, effects.

Northern Machine – Live at Sonic Circuits

Download: http://modisti.com/ccount/click.php?id=481

http://www.archive.org/download/zero083/zero083.jpg

Northern Machine – Live at Sonic Circuits

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ZEROMOON = Mp3s | CDRs | CDs. Intelligent Noise Music. Drones&Pop. Free musique concrete. Black ambient metal. Field recordings + philosophy. Audio falafel.

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Mark Wastell : Among Englishmen


Mark Wastell : Among Englishmen

 

Mark Wastell

Among Englishmen

label: AbsinthRecords

ref: AbsinthRecords 012

Mark Wastell : Among Englishmen

players: Mark Wastell (grand piano, tam tam, tubular bell)

A single track features the exploration of piano and percussion instruments within an extremely horizontal, slowly unfolding, almost passive approach. The choice of low-register sounds contributes to turn the sounds into constant sound masses, devoid of articulation. Pulse is hidden behind the vibrating masses, while the different timbres seem to blend as their attack disappears in an immersive listening experience.

Un nico corte aborda la exploracin del piano y la percusin dentro de un planteamiento extremadamente horizontal, casi pasivo y desarrollo lento. La eleccin de sonidos en la gama de los graves contribuye a que stos terminen convertidos en masas sonoras constantes, desprovistas de articulacin. El pulso se oculta tras las masas vibrantes, mientras que los diferentes timbres parecen mezclarse, desapareciendo su ataque, en una experiencia de escucha inmersiva.

m-1683

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Dania Shapes : Soundsystem Pastoral


Dania Shapes : Soundsystem Pastoral

 

Dania Shapes

Soundsystem Pastoral

label: Naivsuper

ref: Naivsuper 07

Dania Shapes : Soundsystem Pastoral

players: Daniel Lopatin

Drones built by means synthetic materials and layers of noise. A strong emphasis on rhythmic cycles permeates the whole project, being articulated in two independent layers that, in turn, refer back to two separate discourse levels: a teeming, chaotic surface and a linear, constant interior with a calmer outlook, -its bland approach to harmony highly reminiscent of pop-, created by means of the superimpositions of several oscillator waves.

Pedales construidos mediante materiales sintticos y capas de ruido. Un fuerte nfasis en los ciclos rtmicos permea todo el proyecto, articulndose en dos capas independientes que, a su vez, hacen referencia a dos niveles distintos del discurso: un exterior hormigueante y catico y un interior lineal y constante, de mirada ms sosegada, -cuyo planteamiento armnico, algo blandengue, recuerda al pop-, creado mediante la superoposicin de diversas ondas de oscilador.

m-1682

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Son of Rose : Division in Parallel


Son of Rose : Division in Parallel

 

Son of Rose

Division in Parallel

label: Dragon?s Eye Recordings

ref: Der002

Son of Rose : Division in Parallel

players: Karman Sadeghi

Low-fi compositions illustrating the coexistence of noise side-products and veiled melodic materials of nave character in a slowly developing stream of sound. Rhythmic cycles seem to permeate the whole work, establishing long, static pulses related to the harmonic pedals which contribute towards the creation of an of an inner regularity impression flowing beneath the outer harshness, thus presenting two unrelated, parallel levels.

Composiciones en low-fi que ilustran la coexistencia de productos derivados del ruido y materiales meldicos velados de carcter ingenuo dentro de una corriente sonora que se despliega lentamente. Los ciclos rtmicos parecen permear el conjunto, creando pulso largos, estticos, vinculados a los pedales armnicos que contribuyen a la creacin de una impresin de regularidad interna que fluye bajo la dureza exterior, presentando as dos niveles paralelos y carentes de relacin.

m-1681

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mankacen : en memoria (reedition)


mankacen : en memoria (reedition)

[pn018] 26.06.07

Este lbum fue lanzado oficialmente en formato CD en Noviembre del 2003 en el “Segundo Encuentro de Sonidos Electrnicos e Industriales en el Gaitn”, festival sudamericano que se realiza anualmente en el Teatro Municipal de Bogot, Colombia.

Estilo: electrnica, experimental.

Todas las pistas compuestas y producidas por Mankacen en taller DUAM entre julio y septiembre de 2003.

Todas las muestras de audio corresponden a grabaciones de las transmisiones de emisoras de radio y seales captadas por radioaficiona-dos durante el 11 de septiembre de 1973, excepto las muestras de la pista 2 que corresponden al discurso del triunfo de las elecciones en 1970.

agradecimientos:

A mi compaera Alejandra Caro por su amor, a mi familia, en especial a mi hermano Luis que me entrega su apoyo incondicional y a mi padre y mi madre por haberme permitido forjar mi propia opinin de los hechos histricos que les toc vivir. Tambin a todos los amigos de Crisis Records: Tito, Cristin Reyes (Android), Tonko (Lesbos in Love). Agradecimientos especiales a Pueblo Nuevo por hacer posible esta reedicin.

Dedicado con profundo respeto a la memoria de Salvador Allende G.

crditos:

Producido por:

Mankacen (Alejandro Albornoz),

Santiago, Chile.

mankacen@yahoo.com

Mastering:

Tonko Yutronic (en Laberintos de la Nada).

Produccin ejecutiva:

Hctor Aguirre P.

Diseo grfico original:

Alejandro Albornoz y Hctor Aguirre P.

Diseo reedicin:

Mika Martini

(mikamartini@yahoo.com)

Versin en ingls:

Gerardo Figueroa (figueroa.numbernine@gmail.com)

mankacen : en memoria (reedition)

Download: http://modisti.com/ccount/click.php?id=474

mankacen : en memoria (reedition)

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msica chilena de raz electrnica

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Barry Romberg?s Random Access : Big Giant Head


Barry Romberg?s Random Access : Big Giant Head

 

Barry Romberg?s Random Access

Big Giant Head

label: Romhog Records

ref: Part 6

Barry Romberg?s Random Access : Big Giant Head

players: Barry Romberg (drums, perc), Geoff Young (guitars, guitar loop), Kieran Overs (bass), Kevin Turcotte (trumpet), Kelly Jefferson (tenor and soprano saxes), Rich Brown (bass), Kirk McDonald (tenor sax), Matt Horner (keyboards)

Carefully spun compositions conceived for a modern jazz group with an original outlook. Featuring a mixture of referents ?from a modern, funk-based and extended melodic and harmonic approach to an overt timbric homage to specific musicians- the pieces display an open, interactive atmosphere with tight arrangements indebted to earlier traditions, which are in turn diluted as their purpose merely was to create a contrast. Other tracks present a broader scope leading to a rhythmical modulation akin to late 60?s quintets, deconstructing the apparent constant forward movement of the ensemble and eventually returning to more direct funk-influenced frameworks.

Composiciones de cuidada elaboracin concebidas para grupo de jazz moderno desde una mirada original. Haciendo gala de una mezcla de referentes ?desde planteamientos meldicos y armnicos modernos y basados en ritmos funk, hasta homenajes tmbricos a msicos especficos- los cortes muestran atmsferas abiertas e interactivas con arreglos ajustados propios de tradiciones previas, los cuales a su vez se disuelven al ser su propsito la creacin de un contraste. Otros cortes presentan un mbito ms amplio que lleva a una modulacin rtmica propia de quintetos de finales de los 60, deconstruyendo el constante movimiento hacia delante del conjunto al tiempo que regresando a entornos de influencia funk ms evidente.

m-1680

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Christopher McFall – Grayscale Is Failing


Christopher McFall – Grayscale Is Failing

(ca030) (June 20, 2007)

“Grayscale Is Failing” was composed from variety of digital and treated analog field recordings. The resulting compositions were conceived through a variety of computer-based manipulations. For me, this grouping of works has assumed a very visual quality, as the source recordings used to create it were procured in the metropolitan districts of Kansas City, USA during the winter of 2007. I feel that these works tend to portray a digital vision of the subtle aspects of winter in urban America; it’s long nights and short days shadowed by overcast skies, giving way to portraits of dimly lit buildings and city streets that serve as a scaffolding for the continuous advance of technology, while at the same time, allowing for the mass consumption of the remnant.

Christopher McFall is a sound artist working out of Kansas City, USA.

His primary methods of working involve the use of computer-based programming techniques, which are applied to art of processing sounds from field recordings and then re-combining them in a multitrack format. The main motivation behind Christopher’s workings revolve around the desire to manipulate/engineer recorded aspects of the macroscopic world around him into a microscopic mosaic.

He has released recordings previously on Con-v, Filament Recordings and Laboratoire Moderne. Additionally, Christopher is scheduled to release new work on CD-R in 2007 on Entr’acte. New netlabel releases are also scheduled for 2007 on Testube and alg-a.

Christopher McFall – Grayscale Is Failing

Download: http://modisti.com/ccount/click.php?id=472

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Christopher McFall – Grayscale Is Failing

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Wyndel Hunt : NK AK


Wyndel Hunt : NK AK

 

Wyndel Hunt

NK AK

label: Dragon?s Eye Recordings

ref: De5012

Wyndel Hunt : NK AK

players: Wyndel Hunt

Superimposed clusters of electronic and concrete materials. Occasional interruptions of the flow by way of punctuation, introducing complexity in otherwise horizontal and uneventful sound layers. Akin to vast masses of oscillator-generated waves, the resulting colour surfaces are contrasted without any alteration of the static character. Depth is conveyed to sounds by means of various superimpositions of materials carefully layered and contributing to the teeming of surfaces. The overall outlook is reminiscent of a return to industrialism if portrayed from a minimal and drone-based perspective.

Racimos de materiales concretos y electrnicos superpuestos. Interrupciones ocasionales del flujo mediante la puntacin, introducen cierta complejidad en capas sonoras que, de otro modo, no seran sino horizontales y desprovistas de inters. Como grandes masas de ondas generadas por oscilador, las superficies de color resultantes contrastan con cualquier alteracin del carcter esttico. La profundidad se confiere a los sonidos mediante sucesivas superposiciones de materiales cuidadosamente desplegados, que contribuyen a la vibracin de las superficies. El aspecto de conjunto parece un cierto regreso al industrialismo aunque reflejado desde una perspectiva minimal, basada en los pedales.

m-1679

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Lezrod – Genki vol. I


Lezrod – Genki vol. I

zym014

David Velez is better known as Lezrod and has released a couple of releases under this moniker on both Zymogen and Test Tube. His latest work Genki consists of two parts which are simultaneously and separately released on both Zymogen and TestTube as a collaboration between both net labels.

The title Genki is derived from the contraction of two words:

- Gene, which answers.com describes as “hereditary unit consisting of a sequence of DNA that occupies a specific location on a chromosome and determines a particular characteristic in an organism”

- Ki, which refers to the Kanji symbol for “spirit, mood”. In a wider sense it also stands for the concept originating from traditional Chinese culture “to be part of every living thing that exists, as a kind of ‘life force’ or ‘spiritual energy’”

Concerning new musical achievements Genki I and II are not only a great step forward compared to earlier releases, both volumes also mark a transition to a new period in David Velez’ life, from quitting his job in Bogota, Colombia for working full time on his music to moving to Queens, NY (in the northeast of the United States) with a new job in an unfamiliar environment and a different culture.

Vol. I, published on Zymogen, is connected with his previous releases on this label, such as the Qwartz nominated “Retorno a la Nada” and the amazing concept album “Data Transfer”.

As Lezrod, David continues to consider melody as an important element of his composition, but the research of it has became even deeper than in his previous works.

During his new life in Nyc David has been in search of silence for long time and these tracks represent the research of it through beautiful sonic layers.

Olliver Wichmann, Filippo Aldovini

Track List:

01. Arqsoni

02. Domrich

03. Mu

04. Azules

05. AM

06. Seleccion Natural

07. Digi4

08. Hojas

Lezrod – Genki vol. I

Download: http://modisti.com/ccount/click.php?id=470

Lezrod – Genki vol. I

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Burkhard Beins : Disco Prova


Burkhard Beins : Disco Prova

 

Burkhard Beins

Disco Prova

label: AbsinthRecords

ref: AbsinthRecords 013

Burkhard Beins : Disco Prova

players: Burkhard Beins

An introductory quote, a sample from a test-tone record, hints early works for turntable (imaginary landscapes) and sets the stage for the use of concrete, electronic, or noise materials making up a collage that illustrates a deep interest and familiarity with the involved. From a development akin to studies in concrete music ?both entailing a reflection on the author?s aesthetic ascendancy and a contribution to that particular realm- to concerns with sheer listening explored through electronic reconstructions ?a subsequent reflection on an acoustic listening experience. Listening takes the centre of the stage, abstracting gesture and immersed in a particular approach to sound, as evidenced in the aesthetic organisation of the materials.

Una cita introductoria, fragmento de un disco de prueba por tonos, funciona a modo de guio en relacin a las primeras obras para plato tocadiscos (imaginary landscapes) al tiempo que prepara el uso de materiales concretos, electrnicos o ruidistas para la elaboracin de un collage que ilustra un profundo inters y conocimiento de los elementos involucrados. Desde desarrollos prximos a los estudios de la msica concreta ?que implican tanto una reflexin sobre el recorrido esttico del autor como una contribucin a dicho gnero- hasta cuestiones relativas a la escucha explorada mediante reconstrucciones electrnicas ?una reflexin posterior acerca de la experiencia auditiva acstica. La escucha ocupa el centro de la escena, abstrayendo el gesto e sumergindose en un planteamiento especfico en relacin al sonido, como se pone de manifiesto en la organizacin esttica de los materiales.

m-1678

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Bill Storch, John Storch, and Terre Rybovich — Bodyprints III


Bill Storch, John Storch, and Terre Rybovich — Bodyprints III

LN13 (June 17, 2007)

Bodyprints III begins in a playful, yet obscured direction with “Sketching quickly… not much more”, a spoken word piece, read by Terre Rybovich. Culled from Ms. Rybovichs’ memoirs, “Skecting quicky…..” looses a sense of coherency, as it weaves into ‘cut and paste’ logic and ends up in an alternate location altogether: the supra – enhanced reality of the field recording “Walking”. Bodyprints III closes with the arpeggiated blur-scape, “Harp”.

Bill Storch, John Storch, and Terre Rybovich — Bodyprints III

Download: http://modisti.com/ccount/click.php?id=468

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Bill Storch, John Storch, and Terre Rybovich — Bodyprints III

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Felix werder : Electronic Music


Felix werder : Electronic Music

 

Felix werder

Electronic Music

label: Pogus Productions

ref: Pogus P21044-2

Felix werder : Electronic Music

players: Felix Werder (synth), Keith Humble (synth), Peter Mumme (synth), John Seal (perc), Jochen Schubert (guitar), Dennis Henning (piano)

A series of compositions for live-electronics where the subtle atmospheres and careful handling of sound space stem from an imaginative use of resources together with a minimal if experimental aesthetics. Deeply immersed in the discovery of the possibilities offered by new mediums, the most striking aspect is their interplay, which points to the fact that, at the time, live electro-acoustic and electronics coexisted and to the fascinating period when contemporary music shared an interest and welcomed the experimental, blending electronic and instrumental materials within a open framework.

Una serie de compositions para electrnica en directo en la que la sutiles atmsferas y el cuidadoso manejo del espacio sonoro surgen de un uso imaginativo de los recursos en combinacin con una esttica minimal aunque experimental. Adentrado en el descubrimiento de las posibilidades ofrecidas por los nuevos medios, el aspecto ms sorprendente es el interplaym que apunta al hecho de que, en aquel entonces, la msica electroacstica en directo y la electrnica coexistan y al fascinante periodo cuando la contempornea comparta un inters y toleraba lo experimental, fundiendo materiales electrnicos e instrumentales dentro de estructuras abiertas.

m-1677

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Staplerfahrer : Live at OT301


Staplerfahrer : Live at OT301

 

Staplerfahrer

Live at OT301

label: Carbon Records

ref: CR 132

Staplerfahrer : Live at OT301

players: Staplerfahrer, Katharina Jesberger

Liminal exploration of non-action, the by-products of electric rhythms, glitch noise and various interference noise resulting in a wholly horizontal attitude to listening where the microscopic is celebrated through acceptance and an unquestioning attitude towards the accidental.

Exploracin liminal de la no-accin, los productos resultantes de ritmos elctricos, ruido residual y el ruido de diversas interferencias desde una actitud de escucha totalmente horizontal donde se celebra lo microscpico a travs de la aceptacin y una actitud de no cuestionamiento con respecto a lo accidental.

m-1676

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Christopher Reeg : El borracho


Christopher Reeg : El borracho

 

Christopher Reeg

El borracho

label: Carbon Records

ref: CR 139

Christopher Reeg : El borracho

players: Christopher Reeg

Stemming from minimal drone structures, the tracks progressively add more elements of an instrumental and electronic nature as well as music-box rhythms displayed in various layers of an ultimately idiomatic character, influenced by nave, simple approaches to sound and yet portraying a certain mysterious quality, reminiscent of soundtrack composition woven through the coexistence of unlikely materials (noise, found objects, harmonic structures and idiomatic off-centre statements).

Partiendo de estructuras pedal minimalistas, los cortes aaden progresivamente elementos de naturaleza electrnica e instrumental as como cajas de ritmos en capas diversas cuyo carcter es finalmente idiomtico, influenciado por un planteamiento naf y simple del sonido al tiempo que reflejando un cierto carcter misterioso, reminiscente de la composicin de bandas sonoras tejidas a travs de la coexistencia de materiales inusuales (ruido, objets trouvees, estructuras armnicas y frases idiomticas descentradas).

m-1675

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Agust Martnez : Are spirits what I hear?


Agust Martnez : Are spirits what I hear?

 

Agust Martnez

Are spirits what I hear?

label: Etude Records

ref: D.L.B. 11426

Agust Martnez : Are spirits what I hear?

players: Agust Martnez (alto sax)

Solo alto sax recording exploring its possibilities from a straightforward approach to the instrument. The various tracks explore different parts, techniques showing quite a strong influence of idiomatic issues ?however distanced from their original discursive settings- be them extended techniques from a contemporary background or more akin to jazz. More interesting is the search in the realm of abstraction, exploring the interaction of mouthpiece and airflow together with various degrees of humidity. However, the sound concept tends to have a flat, static character. Other tracks present more expressive, free-influenced baggage or fricative textures.

Grabacin de saxo alto en solitario que explora sus posibilidades desde planteamientos convencionales del instrumento. Los diferentes cortes exploran diversas partes, tcnicas que acusan una fuerte influencia de cuestiones idiomticas ?por muy distanciadas que se puedan encuentrar de sus contextos discursivos originales- ya sean tcnicas ampliadas de origen contemporneo o ms prximas al jazz. Las bsquedas en el mbito abstracto, que exploran la interaccin de la embocadura y el flujo de aire con humedad variable, resultan ms interesantes. Sin embargo, el concepto sonoro tiende a presentar un carcter plano, esttico. Otros cortes incluyen un bagaje ms expresivo, de influencia free o bien despliegan texturas fricativas.

m-1674

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Cine Victoria and Shishogan : Cafe (disco c)


Cine Victoria and Shishogan : Cafe (disco c)

fri056 06-07

01. Xicara de Cafe (dell.tree) remix

02. Xicara de Cafe (maru – an idea over a cup of coffee)

03. Cafeinomano (Quizzik remix)

04. Xicara de cafe vs Cafeinomano (Breakcorpse remix)

Cine Victoria and Shishogan : Cafe (disco c)

Download: http://modisti.com/ccount/click.php?id=405

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