pangea : vital

pangea : vital

[rdm033] (October 28, 2007)

Pangea is a project from Spanish composer Juan Antonio Nieto, who in the last years has been member of some electronic music bands like Aviador dro, Fracture, Opium and Shakermoon. Now releasing solo some works with harsh sounds, trying to give a floating and hypnotic sense.

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una coleccin de discos virtuales, que pretende dar a conocer y apoyar artistas prometedores tanto en el mbito del ruido como forma de expresin como otras tendencias abstractas y minimalistas.

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hugo paquete : commutative

hugo paquete : commutative

tube 091

Runtime: 27’56”

We proudly welcome another portuguese musician working with a laptop and analog machines. Hugo Paquete from Porto brings us ‘Commutative’, a short EP with experimental ambient sounds consisting mostly of grey noise and dense drones as sound bases.

Hugo works them from there with the help of signal processing machines, delay pedals, frequency analyzers and other hardware. Conceptually, Hugo explores the relation between space and communication, with complex sound textures that bring listeners towards recognition of the sounds they hear as matter. Paquete has explored the various sonorous phenomenologies, beginning by stripping records and frequencies of radios.

But now he tries to build his own aesthetic in surrounding noise of ‘musique concrte’-like music and minimalist physical space, and on the relation between the two dimensions. He is also developing an interest in the visual arts and sound installation, exploring the complex relation between man and reality and their paradigms of language, perception and technology.

As for ‘Commutative’, the piece ‘Stubbornness’ is my favorite. It goes around a heavy drone throughout the track, with some touches of improv. sequences and subtle voice sampling to good measure. I’d like it to be a tad longer ‘though

Really good and consistent EP from Hugo. We hope to see more of this in the long run… perhaps even a long player, why not? – Pedro Leito

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Test Tube Netlabel (monocromatica)

C/O Pedro Leito

Rua Damio de Gis, 16 - 3 ESQ

1400-089 LX (Lisboa)

PORTUGAL

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Rytis Mazulis : Form Is Emptiness

Rytis Ma?ulis : Form Is Emptiness

Megadisc 2007

01. Canon Mensurabilis

02. Sans Pause

03. Monad

04. Form Is Emptiness

Here, o Sariputra, form is emptiness and the very emptiness is form; emptiness does not differ from form, form does not differ from emptiness; whatever is form, that is emptiness, whatever is emptiness, that is form, the same is true for feelings, perceptions, impulses, and consciousness. -from ‘Sutra Prajna Paramita’

Ma?ulis is an ‘intellectual’ Lithuanian composer you see, some of whose striking works have been released on a couple CDs from the Megadisc label; we are told here is “the final chapter” in the trilogy and, as usual, the final chapter shows who’s Master and who’s not. Right from the start, an instrumental opus for flute, clarinet, violin, viola, cello and piano explores various microtonal harmonics, “dividing semitone intervals or basic rhythm units into elements of irrational and utopian values” – in short, if you thought Xenakis was elaborate, get a load of ‘Canon Mensurabilis’. The second piece, ‘Sans Pause’ (for string quartet) exemplifies Ma?ulis’ palindromic/geometrical arrangements – a symmetrical cycle of ceaselessly moving “film frames” of cubist forms, but even denser appears ‘Monad’, with 9 harpsichords ascending, descending, and vibrating simultaneously into pure, intoxicating sound. Ending with 12 voices, cello and electronics, the title piece takes its Oriental sensibility from the ‘Heart Sutra’ quoted above, adding a structure “without exhausting technological rubbish or the recollection of influences”. A good motto for any artist, by the way… Liner notes could go on endlessly describing in meticulous detail things that seem impossible to grasp, yet there is power in just feeling and getting lost amid the album’s canons and secrets. Highly academic, highly original, and almost as equally supernatural.

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phk_ : a.ngustia

phk_ : a.ngustia

PN021 (October 27, 2007)

De la luz a la obscuridad…

Phk_ nos sumerge en las profundidades abisales del ruido y los campos magnticos de sistemas micro planetarios desconocidos.

El caos urbano y la densa corteza de cemento es perforada por las mquinas y artefactos capturadores de sonido de phk_, secuestrando a su paso entre otros, las sonoridades de saxofones oxidados y ensambles ruidistas completos, dejndonos algunas pequeas rendijas como para tomar un poco de aire antes de volver a nuestra [a.ngustia] cotidiana.

Mika Martini (Santiago, Oct. 2007)

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Artwork

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msica chilena de raz electrnica

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Artefacts of Australian Experimental Music: 1930 – 1973

Artefacts of Australian Experimental Music: 1930 – 1973

A new compilation CD documenting the forgotten history of Australian experimental music, out now.

Artefacts of Australian Experimental Music: 1930 – 1973 is a landmark in the historical research of early Australian innovative and exploratory music created and recorded in Australia .

Over three years of research by Clinton Green has resulted in this compilation CD that stretches over four decades, a time previously thought by many to be barren of experimental activity in Australian music.

Artefacts of Australian Experimental Music: 1930 – 1973 was launched as part of the 8th Liquid Architecture Festival. The Melbourne launch included a panel discussion on the question of whether there exists a tradition of experimental music that influences contemporary practitoners. The panel featured (pictured l-r below) Pauline Oliveros, Warren Burt, Clinton Green, Rainer Linz and Robin Fox.

…one of those rare compilations whose desire to edify is equalled by its unabashed enthusiasm, and whose audio matches and sometimes exceeds expectations. Musically, it answers many questions about our history and poses still more – The Wire, August 2007.

…represents one of the first serious investigations into the sparse recorded history of experimental sound practice in Australia…this edition is a valuable resource for anyone with even a passing interest in the historical development of experimental sound work in Australia (or anywhere else for that matter) – Paris Transatlantic Magazine, Summer 2007

Anyone who enjoys the avant-garde or have ever been curious about Australia’s experimental scene will find this to be essential. An important piece of audio history, don’t pass this up – The Run-Off Groove #163

1734

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Rainier lericolais – Adagio Ma Non tanto

Rainier lericolais – Adagio Ma Non tanto

trip 4. 25 th june 2007

On “Adagio Ma Non Tanto” the french sound-designer and contemporary artist Rainier Lericolais offers to us five electro-acoustic and minimal compositions. Around piano, processed sounds and fieldrecordings, Rainier Lericolais invites the japonese poetess Ryoko Sekiguchi to declaim some texts in her native language and also in a lovely french. Geoffroy Montel from Minizza is part of those pieces doing some drones. Last but not least, Pierre-Yves Mac did the master work.

music/edit/piano/ordinateurs/fields recordings/

-_ geoffroy montel _ drones/

-_ ryoko sek igushi _ voix/

-_ pierre-yves mac

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Albert Ayler : The Hilversum Session

Albert Ayler : The Hilversum Session

esp 4035

Albert Ayler-tenor saxophone / Don Cherry-cornet / Gary Peacock-bass / Sunny Murray-drums

A legendary recording by tenor saxophonist Ayler with his amazing working band, recorded in Holland for radio play, here digitally remastered with new artwork, liner notes by Russ Musto, and including a free Ayler poster.

The Hilversum session by Albert Ayler is one of those legendary recordings in free jazz. It was recorded in a Netherlands radio studio in front of a small invited audience, at the end of the Ayler Quartet’s European tour on November 9, 1964 in front of a small invited audience. The band-Ayler, Don Cherry, Gary Peacock and Sunny Murray-had been playing Ayler’s tunes for months and were uncanny in their ability to hear one another and improvise together at that point. It was also the last time the group would record together under Ayler’s name as a quartet and then went out at a peak.

[...]

This set is a defining moment, not just historically, but musically. The intense listening and interplay that goes on here is inspiring. Gary Peacock and Sunny Murray may have played better elsewhere, but they never played with the kind of deep communication they enjoyed together as a rhythm section and other front line players than they do here. Ayler is no longer striving to find the outer limits of spiritual expression in his music;, it’s all on display here, and Cherry, the inveterate and outrageously talented listener/musician is in full bloom here, untethered as a soloist, yet, like the other three, remain an inextricable part of a BAND. These cats play together with the kind of intuition and foresight only a seasoned group can; they understand the nuances of the language they are speaking and k know how to offer those to the listener emotionally, musically, and even culturally. Finally, as for the sound of the recording, it has never been better. The remastering job is excellent, providing excellent fidelity and balance-not always true on the ESP-Disc offerings in the past. Included in the package are fine liner notes by Russ Musto, and a neat poster of Ayler. If someone would take the same care with Ayler’s Lrrach, Paris 1966, recordings (owned by Hat is Switzerland) and reissue those in this fashion, we have have a definitive recorded portrait of the great saxophonist. This is a welcome issue.”-Thom Jurek, All Music

Includes a 9.5″ x 9.5″ pullout poster of Albert Ayler

Unknown radio studio recodings from Hilversum, Holland, November 9, 1964, originally released on LP as Osmosis (H) 6001.

Track Listing:

1. Angels 6:53

2. The Wizard (C.A.C.) 4:59

3. Ghosts 7:28

4. Infant Happiness 6:06

5. Spirits 9:10

6. No Name 5:44

1733

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Tim Blechmann : re-reading

Tim Blechmann : re-reading

FREE SS 01 (October 10, 2007)

Debut album from the PD master Tim Blechmann (now living in Vienna).

Many programmers try to show off the possibilities of their programs,

instead Tim achieves the most focus and rigorous contemporary electronic

music that I heard since Dion Workman.

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FOR THE PROMOTION OF EXPERIMENTAL WORKS REALISED USING FREE SOFTWARE

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throuRoof – The Circle Of Bad Attitudes

throuRoof – The Circle Of Bad Attitudes

rb010 10-07

throuRoof, a one-man-project from italy, comes up with an impressive 32 minute ambient-drone-monument.

The piece is an improvisation played with a broken Bontempi organ, guitar feedback and fieldrecordings, decomposed with analogic mixer, Dunlop Tape Delay, Echoplex and Revox. There was no Overdubbing, no Remastering, no digital process except the rip on wav directly from reel to reel tape.

In throuRoof’s own words:

“throuRoof is like flowing throught the roof during the dreams, a sensation of no time and space…”

That describes the effect of this massive work very exactly. You are very welcome to drift off and dream.

Artwork

done by Christian Roth, www.goyippi.net

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Resting Bell is a netlabel, founded by Christian Roth. The presented music should be meditative, experimental, electric, peaceful, beautiful, exciting, acustic or grounding. It could be nearly anything.

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Juan Cantizzani : Resorride 24″

Juan Cantizzani : Resorride 24″

Resorride 24″ it’s a process of composition base don resonante. Starting from a fundamental sound projected with the clarinet as generating element, I generate a vibration on diverses objects (panels, pipes, circles and angles of glass, metal or plastic) until reaching their excitation. These resonances obtained cause new tones, durations and variations in height the original transmitter.

The resulting frecuencies captured in the receiver objects are recorded via contact microphones situated in the panels, pipes, circles or angles, obtaining sinple sounds linited by the acoustic characteristics of the organic materials. Subsequenty the samples obtained are put in order and organized in time by different match from max-msp software producing compositions and improvisations which are recorded or created for performing live.

The acoustic instruments and organic material of our surroundings have their own elasticity and therefore they are subject to acoustic instruments and organic material the same difficulties and physical benefits as our hearing.

I try to involve these acoustic instruments and organic material in the same process, transforming their output and the intended purpose for which were built.

I propose a physical-acoustic result obtained by a process of addition

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My Little Pop Group – A Dark Room on a Summer’s Day

My Little Pop Group – A Dark Room on a Summer’s Day

ca060 (October 20, 2007)

My Little Pop Group was formed in Newcastle upon Tyne, UK, in 2005.

All music is freely improvised.

http://www.myspace.com/mylittlepopgroup

My Little Pop Group are:

John Ayers – bass clarinet, percussion

http://www.guessmen.co.uk

http://www.myspace.com/guessmen

http://www.myspace.com/faneater

John Ferguson – electric guitars, effects pedals

http://www.fergalstrandy.co.uk/index.html

http://www.tronlennon.co.uk/

Bennett Hogg – violin, piano

http://www.myspace.com/bennetthogg

http://www.newcastle.ac.uk/sacs/staff/profile/bennett.hogg

Will Schrimshaw – live electronics

http://willschrimshaw.net/

previously available as free CD-R distributed at the exhibition entitled “Schhh . . .” at Konstakademien (The Royal Academy of Fine Arts) Stockholm – work by swedish artist and composer Ann Rosen,

http://www.annrosen.nu/sch/schhh.html

http://www.schhh.se/

Download: http://modisti.com/ccount/click.php?id=873

cover front

booklet 1-4

bookletr 2-3

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

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COTTON : Dragon’s Eye Second Anniversary

COTTON : Dragon’s Eye Second Anniversary

der003

The Cotton compilation and showcase mark the second anniversary of Dragon?s Eye Recordings? continued examination of the intersection between minimalist electronics and unique textures and drones. Cotton represents a mix of current artists, new collaborations between them, and some new additions to the family. All of the tracks on this compilation are previously unreleased and consist of some originals for this compilations, while others are teasers for future Dragon?s Eye releases in the coming year. Cotton comes packaged in a slim clear DVD case to further showcase the photography of Steven Miller.

Tadahito Ichinoseki + Tomoyoshi Date – Gensho no tabi

Yann Novak – Lullaby

Kamran Sadeghi – Untitled (kha series)

Corey Fuller – Light along the edge of water

Manning / Novak – Feeling alone all together

Tomoyoshi Date + Corey Fuller – Midnight sanctuary

Jamie Drouin – Dresden

Son of Rose – Grand treatments

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Lee Rosevere – Ions Nu

Lee Rosevere – Ions Nu

hpr014

ions nu: undiscovered elements of sound buried in digital space

New release from Lee Rosevere: Ions Nu is a stark departure from his usual experimental mode, incorporating much more noise and feedback, as well as some distorted ambience. The album is a deconstruction of a popular album by a very popular artist…don’t try, you’ll never guess who.

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The Beautiful Schizophonic : Musicamorosa

The Beautiful Schizophonic : Musicamorosa

Cronica 029 – 2007

Track #1 is a collaboration with Paulo Silva (Arcano Zero); electric guitar on #5 & #6 by Jos Lus Merca (Matria Prima); acoustic guitar on #9 by Tobias Strahl (Dies Natalis); #13 remixed by @c; ?La letrice? is Colleen (Ccile Schott) reading Proust in Paris. Colleen appears courtesy of The Leaf Label.

Cover art by Christina Vantzou, design and master by MCarvalhais. Sound design by Jorge Mantas, recorded between 2005-2007.

An evening of romantic drones?

Marcel Proust has been one of the main sources of inspiration to me in the last years. His ideas devoted to the affections of the human heart, his approach deeply rooted on the long literary French tradition in which love can only be lived in sadness, is something that goes much beyond pure aesthetic. So it came only natural that somehow I would try to convey this literary and philosophic interest with the sound aesthetic I pursue.

The image of a sleepless solitary writer confined to a Parisian soundproof room, has everything to do with the experience of a modern laptop composer, alone in the dark of a room, in a sort of headphone ecstasy with his acoustic fragments of reality. Both experience loneliness. Both are melancholic dreamers creating from an imaginary memory of the world.

Whether this music is truly related with some of the delicate emotions depicted in la recherche du temps perdu or not, it?s up to the listener to decide. Could this be a possible sound equivalent to the literary images of affection written by Proust in the early 20th century? Is the sound atmosphere of each piece loaded with some kind of sensual aura? Would ever be possible to express a sadness full of joy in the same moment of music? Probably we?ll never know. But perhaps we think about it next time we?ll listen to musicamorosa.

Jorge Mantas, February 2007

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Diona : In Vicinia Urbis

Diona — “In Vicinia Urbis”

[es34]

01 Diona “The Electricity Unites Us” | 15.3mb, 6:43

02 Diona “Automatic Manufacture” | 18.5mb, 8:07

03 Diona “Micromacro” | 25.7mb, 11:15

04 Diona “Canttell” | 14.1mb, 6:12

05 Diona “Cave” | 14.7mb, 6:26

06 Diona “Onlydelay” | 15.1mb, 6:36

07 Diona “Something After Winter” | 25.6mb, 11:12

Diona is the name of young girl from Moscow. But her debut album is not sweet and tasty, as it is a coctail of electroacoustic music, field recordings and tape music.

All tracks are made from self-found samples, industrial and street sounds, strained by effects and different analog sound subjects and recordings on a simple dictophone.

Surroundings are around of us and we are around of them. Particularly when you are young.

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Timeless Pulse : Quintet

TIMELESS PULSE – QUINTET

Timeless Pulse: Thomas Buckner, voice; George Marsh, percussion; Pauline Oliveros, accordion; David Wessel, live-electronics; Jennifer Wilsey, percussion

(Mutable 17527-2)

“Timeless Pulse sometimes recalls the soundscapes of Gunter Muller, Butch Morris, David Shea and AMM, and is thus recommended to fans of them and harmonious (yes, thats right, with harmony) free-improv.”- Mark Keresman

Formed in 1993 in a residency at the Deep Listening Institute, the musicians of Timeless Pulse – whose members come from jazz, classical and electronic – make music together through listening and responding in the moment. The five compositions on this recording from 2005 are warm, compassionate tapestries of soft, rolling sounds performed by accordion, cymbals, drums, gongs, bells, chimes, sampled sounds, and voice.

Thomas Buckner has been singing, presenting, recording and producing composed and improvised music since 1972. He is currently co-producer with the World Music Institute of the Interpretations Series of contemporary music in New York City and founder and artistic director of the mutablemusic label.

George Marsh has been teaching and performing on drumset and percussion since 1954. He is currently touring with the David Grisman Quintet, and teaching at UC Santa Cruz and Sonoma State University.

Pauline Oliveros is a composer, improviser, founder and president of the Deep Listening Institute, Ltd. and a distinguished professor of music at Rensselaer Polytechnic Institute and Mills College.

David Wessel co-directs the Center for New Music and Audio Technologies (CNMAT) at the University of California Berkeley where he practices and teaches live-performance computer-based music.

Composer/performer Jennifer Wilsey teaches percussion and percussion pedagogy at Sonoma State University and maintains a private studio in piano and percussion in Santa Rosa, CA.

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Michael Trommer – live sleep

Michael Trommer – live sleep

[cnv43]

I’ve basically contact mic’d the upstairs bedrooms and various parts of the house, including various appliances (ones that run day-round) and windows/backyard (for outdoor sounds). the idea was to do a live, real-time mix, processing the sounds of the sleeping family/house, and gradually lifting off…slowly separating to outdoor sounds, then to local radio sounds, longwave…mediumwave…shortwave….then finally to a live radiotelescope feed.

the idea is this gradual takeoff from a sleeping bed to deepspace…something that, when i was a kid, i sometimes used to think actually happened (i thought that my bedroom would kind of separate from the rest of the house and blast off into the cosmos when i fell asleep)(I don’t think this anymore, btw)…a recent re-discovery of some of harris burdick’s drawings made me want to do this…’

liner notes by Michael Trommer

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non-profit, cdr/net.label focused on experimental sound art mainly

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Fantastic Merlins : Look Around

Fantastic Merlins : Look Around

Innova 670

Nathan Hanson: tenor sax, electrnics

Jacqueline Ferrier-Ultan: cello, electrnics

Brian Roessler: bass

Federico Ughi: drums

Intensely cinematic (though hardly any movie you would have seen), the rare beauty of the Fantastic Merlins begins with the group’s unusual blend of tenor saxophone (Nathan Hanson), cello (Jacqueline Ferrier-Ultan), bass (Brian Roessler), and drums (Federico Ughi). What’s been called their gift for the psychedelic is really more of an alchemical interplay. Like the bass-piano-clarinet dynamics of Jimmy Giuffre’s Freefall, the group executes a sensual game of freeze-tag between figure and ground. At moments angular and aggressive, but rarely ever austere, the music’s textural elements breathe exceptional warmth into elliptical spaces. Bass, cello, saxophone intertwine for a honey-rich choral effect, splinter with steely “abkratzen,” and epitomize chamber music (both in the sense of containment and a subversive sense of surface attraction). It’s the soundtrack of a strange and beautiful love affair.

Musically they are the spiritual kin of bass sorcerer Fran?ois Rabbath; Albert Ayler’s vibrational, gospel-tinged sonorities; Frisell’s spacious, meteorological impulses; Sonny Rollins’ hopscotch antics; Morricone’s redolent lozenges of mood and memory; and 1980s shoot-from-the-hip, NYC-downtown avant-gardisms that ricochet between angular swing and curveball poetics. While not outwardly a JAZZ group (in the verse-chorus-bridge-solo-solo-solo sense), the Fantastic Merlins’ approach to rhythm and space is firmly rooted in a freewheeling jazz sensibility.

Jean Cocteau once said, “The public does not like dangerous profundities; it prefers surfaces.” The values of jazz and improvised music are typically an affront to the polite surface of life. Call it a left-handed form of human endeavor, but the Fantastic Merlins’ subversive aesthetics are a threat to The Man. They embrace a daring velocity, a dissonant wail, a noir-ish sense of sensuality, intimacy, and risk, they embody freedom and possess, dare I say, a democratic appeal.

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Gunter Adler – The Silver Book

Gunter Adler – The Silver Book

(ca058) (October 14, 2007)

For some years I have been carrying a small silver book along with me. It serves as a note book for sketches, ideas, thoughts… These rarely are palpable or brought to conclusion. Thus they are not suited for any direct use. The silver book is an unlimited repository for inspiration, makes me feel contemplative

or amuses me. At times I wonder whether somebody who comes across the book should be able to discover a use for it or might find some meaning in the nonsensical words and sentences. This EP consists of material I collected and archived messily in the years 1999 to 2005. Call it IllMuzak, Illbient or an experimental audio book, the designation is without relevance. It is a personal and humoristic work, appropriate before a sumptuous dinner or in order to calm down passengers during the take off of an airplane.

My intention was to find blurred, yet nevertheless dense sound qualities offering sufficient room for private associations to the listener, however, simultaneously being powerful enough to carry him away. Although silver is the fairest of colours, the sounds of this EP are rather the opposite…

*Thanks for your voices! Sarah Bogner, Erik Minkinnen.

(c)(p) 2007 by Jrgen Hall

Download: http://modisti.com/ccount/click.php?id=858

Cover Front

Cover Back

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

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Asher : Three Untitled Pieces

Asher : Three Untitled Pieces

(2006, Earlabs, LM033)

The large part of the sounds contained in these tracks wanders around the area of “consumption minimalism”, a place where many people are not usually welcome; yet, they keep going in that direction, hoping to determine the reason of a perennial anxiousness. Coats of digital dirt and hiss complemented by breathtaking subsonics and deep pulses, similar to the heartbeat of a giant entity after many days of decomposition under a thick stratus of soil, create the basis of an unfathomable introversion. Worn out by days upon days of walking around the same circular path, the virtual guide that leads to an unlikely redemption from the commonplaces of electronica still can’t define the source of this deeply meaningful inner desolation; the incessant icy wind that accompanies these fundamental grey/white radiations slaps the cheeks of the braves who want to try again, their weakening bodies completely invaded by humming calls and low-frequency swells that keep illusions alive while slowly conducting to the end of material life.

massimo ricci

Download:

part 1 http://modisti.com/ccount/click.php?id=855

part 2 http://modisti.com/ccount/click.php?id=856

part 3 http://modisti.com/ccount/click.php?id=857

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LaboratoireMODERNE

Hi quality music with hi fi compression. Laboratoire MODERNE presents a release with new and contemporary sounds every month.

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MEMORY GEIST : Funereal Cavern

MEMORY GEIST : Funereal Cavern

eee 48 20.10.2007

Funereal Cavern is the debut album by Memory Geist, a collaboration between the electronic artists Bakis Sirros and Steve Law, from Greece and Australia respectively. The project was initiated when Bakis sent some soundscape recordings to Steve, which he proceeded to edit and process into new pieces of music. The feelings of space, darkness, depth and dampness became immediately apparent to Steve as he began sculpting these works, thus the development of the cavern theme. The three lengthy compositions flow together as a whole, intended to transport the listener on an imaginary journey into the underworld, from the surface to an unknown destination in a kind of fantastic Jules Vernesque

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Off the Sky – Cumulae Movement

Off the Sky – Cumulae Movement

APL049 18.10.2007

Organic Ambient Symphony

Cumulae Movement 27:43 (39.00 MB)

It’s been over two years since Jason Corder last appeared on Autoplate with his “Caustic Light” EP [APL033]. Now he’s back with this single track teaser release to prepare us for his upcoming Autoplate album. Composing as Off the Sky, Jason is recognized for his unique style of experimental, atmospheric ambient music that is often visually inspired, taking images of his natural surrounding and transforming them into affecting, sonic metaphors of reality.

“Cumulae Movement” revolves around the formation of a well-known weather phenomenon know as cumulous clouds. According to Jason he wanted to “create a movement of sound that mimicked the nature of these billowy, slow, shape-shifting atmospheric giants. So this rather long, dense piece simulates the time that Jason spent watching the clouds slowly progress across his field of view.

As a cumulous cloud moves across the sky, its shape is constantly changing, taking on several different forms during its life cycle. Likewise, as you listen, you?ll find that “Cumulae Movement” is an evolving piece consisting of several distinct parts that are interconnected by the same general motif.

As Jason related to me, this long composition was made “to be listened to on a sunny day while watching an entire cloud from birth to death across the span of one’s view while sitting and watching it in one direction. So find a natural location – an open field, a lake, a beach, a secluded hill or mountain – and enjoy this beautiful, placid ambient symphony.

Download: http://modisti.com/ccount/click.php?id=853

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The Glasgow Improvisers Orchestra with Barry Guy : Falkirk

The Glasgow Improvisers Orchestra with Barry Guy : Falkirk

FMRCD168-i0706

Modeled somewhat on the lines of the London Improvisers Orchestra, but with ? dare a compatriot say? ? a greater internal democracy and an air of enterprise characteristic of the Scots. This collaboration with bassist and composer Barry Guy is just the latest in a sequence of remarkable associations set up by GIO (and largely by straw-boss Raymond MacDonald, whose working group is embedded in the orchestra). Previously, the ensemble has workshopped and improvised with Evan Parker and Maggie Nicols (both of these issued on record), Keith Rowe, Harry Beckett, Keith Tippett (a now regular associate of the Burt-MacDonald axis) and Gunter Baby Sommer, who has been touring a duo project with MacDonald this summer.

Heady times, then, for musicians who until relatively recently have had few convincing outlets for free improvised music on this scale. The main event on Falkirk (named after the small, post-industrial town in central Scotland boasting a fine venue in the lovely Callendar House) is a section from Guy?s Witch Gong Game, an open score inspired by the work of Scots-born abstract expressionist Alan Davie, who is himself a saxophonist and improviser. Typical of Guy?s history with the London Jazz Composer?s Orchestra, the basic language is a subtle blend of structure and freedom, with certain passages very strictly interpreted, others left entirely open.

The immediate impression, curiously, is a large-scale work by another great bassist, Charles Mingus. The furious horn clarions, rumbling transitions and simultaneously improvised lines often veer close to some of Mingus? posthumously performed ensemble charts. Guy, though, has a deep understanding of Baroque and classical music, and there are elements throughout the piece of concertante and ripieno passages, not used in any normative or ironically post-modernist way, but grafted securely into an impressive structure. Maya Homburger?s Baroque violin and Nicola MacDonald?s voice are particularly important elements in a piece that balances yin and yang elements with utmost delicacy and daring.

It had been planned to record a further Guy composition, but improvisation is what GIO does best and the opening fifteen minutes of the disc offers a vivid glimpse of an increasingly individual sound-world, whose less familiar elements ? shakuhachi, the seemingly omnicompetent Padden?s range of sounds, twinned guitars and basses ? are never highlighted merely for the sake of idiosyncrasy, but always melded into the collective.

The musicians themselves engineered and produced the recording, which is further testimony to their determination and skill. Compared to recent discs by their London near-namesakes, this is almost studio quality; rich, nuanced music, with an impressive depth of focus and aural detail.

-Brian Morton

CD 1727

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David Velez & V/A : DataTransfer2

David Velez & V/A : DataTransfer2

eko18 2007

An amazing experimental acousmatic work by David Velez with the collaboration of : Karras, Christopher McFall, Sascha Neudeck, Pangea (Juan Antonio Nieto), e:4c (Hlder Vasconcelos, Jos Diogo Correia), Darren McClure, Kate Carr, Juan Jose Calarco, Fabian Moncada, Ben Owen, Gill Arno, Richard Garet, Andy Graydon.

Credits >link

01. Dune – feat. Karras

02. 00183457 – feat. Christopher McFall

03. Diametric – feat. Sascha Neudeck

04. Granulado – feat. Pangea

05. indd – feat. e:4c

06. Jira – feat. Darren McClure

07. Migra – feat. Kate Carr

08. Recuerdos sin memoria feat. Juan Jose Calarco

09. Sum1946D429B – feat. Fabian Moncada

10. Thseonrgemaintshseame – feat. Ben Owen

11. Transient – feat. Gill Arno

12. Efface, Erase, Redact (Triptych) – feat. Richard Garet, Andy Graydon

Download: http://modisti.com/ccount/click.php?id=850

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EKONETLABEL is a collective of artists with the aim to share peaceful & introspective works. We release – under FREE mp3 EP format -

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Thomas Fiancette – Champ de Course

Thomas Fiancette – Champ de Course

edo006 December, 21th 2005

Thomas Fiancette : drums, flute, clariflute, fx

Recorded at l’Ampli (Pau, France) in march 2005

The music of Thomas Fiancette is an arresting blend of jazz rhythms and world grooves. It reminds me a bit of the early world beat/jazz experimentations of Don Cherry except the emphasis here seems to be on an over-all sound environment rather than jazz improvisation. Fiancette plays all instruments but seems most interested in flutes and percussion set on a background of electronics. The opening track “India” is an excellent example of the dense interplay between flutes and percussion. “European Echoes” starts with a simple classical etude and becomes something else. But I like Fiancette best when he focuses on drums. His work is most jazz-like on extended percussion excursions like “Trois” and the wonderfully complex “Gros Moteur”. This is a creative on-line endeavor and one of the more interesting albums on the internet.

Download: http://modisti.com/ccount/click.php?id=849





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eDogm is a netlabel founded in August 2004 by Johann Bourquenez and Eric Pailh, 2 multi-instrumentalists with eclectic background, to release the first album of their duet, Tln 5.

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