ctrl : 25.11

ctrl : 25.11

cs099

Extraordinary line-ups are nothing unusual, just as little as improvising ensembles are extraordinary. There is plenty of everything. As well there is plenty of nothing. But to name the ‘not-yet’ in the present musically is a rare art. That’s exactly what ctrl succeeds in. ctrl explores the extra- in the ordinary, discovers what’s special in the general and enables us to experience the unknown in what we (seem to) know. This is where the sacredness of everyday grind and the power of anticipation rules. ctrl means to ask, to think, to dare: and all that refreshingly neurotical, plasmatic, subtle, consistent.”-Burkhard Stangl, from the liner notes

#1 bionik supersonic

#2 als wir die karoten schaelten, vergasen wir den haferbrei

#3 strg cstrg vkopieren macht spass

#4 nie mehr schilling

#5 string strong strange

#6 ueblicherweise

#7 montag bis freitag

#8 sunburns

#9 uuhu

#2 flip coins

#3 over turn

Gloria Damijan piano

Bernd Klug double bass

Meike Melinz flute

Bernhard Schoeberl guitar

Gabi Teufner flute

Recorded at Amann-Studios, Vienna on 25.11.2006

2007

Cover design Carlos Santos

1807

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tzii + d

tzii + d’incise : oxymore

maison 20 / 31′ / 2008

Un oxymore, ou un oxymoron, est une figure de rhtorique, une alliance de mots dsignant des ralits contradictoires ou fortement contrastes, troitement lis par la syntaxe.

En exprimant ce qui est inconcevable, le pote cre ainsi une nouvelle ralit potique qui suscite un effet de surprise, en ajoutant de la force la vrit dcrite.

01. dincise + tzii – grisaille compagne 11’15

02. d’incise – dpenser moins pour travailler moins 3’26

03. tzii + d’incise – vicres de plomb 11’28

04. Tzii – solitude cuivre 4’33

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Cabinet de curiosits sonores

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RUDIS/CUSTODIO/DIAZ-INFANTE: CRR Live

RUDIS/CUSTODIO/DIAZ-INFANTE: CRR Live

pr90268

“CRR Live” is a follow-up, companion piece to “Crashing The Russian Renaissance,” the studio album by Lx Rudis, Andre Custodio and Ernesto Diaz-Infante. This exorcism of soundscapes is an eclectic mix of instruments and their uses. Darbuka, voice, extended guitar techniques, synths and live DJing. Textures and tones from abrasive noise, hallucinogenic contemplation, ambient relief, and hardcore collage.

All three artists embarked on radically different creative paths shortly after the performances documented on this disc. Ernesto developed a new minimal performance style, ‘mantra strumming.’ Andre formed a two piece punk band. Lx reinvented himself as a DJ, focusing on live remix.

“CRR Live” is a recording that captures these shifts in style and vision as they occurred and were witnessed by live audience.

CRR; Live:

The Performers:

Lx Rudis: DJ rig, Two copies of “Crashing The Russian Renaissance” (CRR).

Andre Custodio: Nord Modular Synthesizer, Microphone, Darbuka, Voice.

Ernesto Diaz-Infante: Amplified Acoustic Steelstring Guitar (extended technique).

The Production Team:

Marjorie Sturm: Executive Producer.

Tomas Hassan: Liaison to PAX Recordings

Lx Rudis: Field Recording, Edits.

Darwin Grosse: Mastering Engineer, Edits.

Tohru Kanayama: Graphics and Product Design.

Special Thanks to:

Sarah Lockhart and Darren Jenkins: 21 Grand, Oakland, Ca.

Rent Romus: The Luggage Store, S.F., Ca.

1806

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ANDRE VIDA

ANDRE VIDA

I dont know whats wrong with me, my computer eyes or my internet knees

[insub24]

“sax solo”

*

un autre enregistrement o

mots et sons tendent se confondre.

cris et notes comme un mme corps

fait de puissance et de punk.

*

another record where

words and sound tend to merge,

screams and notes like a same body

made of power and punk.

*

Andre Vida : tenor saxophone and poetics

*

48 min 14 / 256Kbps mp3+cover / 94Mo

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Insubordinations is a netlabel dedicated to improvised music – freejazz or electroacoustic or other experimentations -

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The Lost Data Project : ANywhere Out of the World cover

The Lost Data Project : ANywhere Out of the World cover

SF-6004

Release Date : 25.02.08

Format : full-length

Grafton, Wisconsin’s Hal Rammel leads this trio of performers which also includes Jon Mueller and Jim Schoenecker (both of Collections of Colonies of Bees and MOUTHS fame). In this live recording from the Haggerty Museum of Art on the campus of Marquette University, Rammel’s skittering lines played on homebuilt electroacoustic instruments are joined by Mueller’s trademark vibration-infused snare drums in a dialogue which is mediated by the rumbling gurgle of Schoenecker’s synthesizers. The conversation drifts and ebbs, exploring the spaces around the three interwoven sound sources while moving inexorably towards a radiant conclusion.

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Stasisfield.com launched in April of 2002 and is dedicated to releasing challenging works of art which may not have the chance to find a home elsewhere.

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xedh – exadh

xedh – exadh

zero090

xedh is Miguel a. Garca from Spain. From the artist’s notes about this piece:

“It’s somehow curious to watch in an almost unconscious way how links

generate themselves, in this case between people/sounds connected by their escape from more established shapes. The

hidden face of one of the most active characters of the most extreme

german industrial music, a french critic-poet with the rediscovered sin

of youth, and a living legend among the Iberian experimental music scene.

I really was Between them, myself and the intention of a piece

which I expected to make them to engage in a dialogue and to exist here

and now together: a kind of tribute to the others. But when i tried

it, i had to face the impossibility of generating something real

without having them transformed, internalized, absorbed, and to

finally recognize myself in them too. I couldn’t deny myself.

So what this piece brought up was the confrontation between

differences, between the other and self, between the foreign and own,

the external, the internal, outside, inside, confused to be just

one. A piece about being human.”

piece composed by miguel a. garc

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Roberto Fega : un geco nella mia casa

Roberto Fega : un geco nella mia casa

cs107

#1 solitudine e giochi d’amore

#2 graffiante

#3 identit evaporate

#4 la serenit del dubbio

#5 rifaccio il bucato

#6 la storia rubata

#7 insurgente

#8 quando la cadillac si fermer

Roberto Fega – electronics

“Born in Formia (LT), Roberto Fega plays Tenor/Soprano Sax, Bass Clarinet and Samplers. Always interested in expressive and devoted-to-research artistic forms, he collaborated with “Cervello a Sonagli” and “Circ.A” and currently with “IATO” and “IXEM”.

He started his musical adventure with the Avant-garde-Rock group “Dura Figura”. He participated in a laboratory-seminar by Tim Hodgkinson (Henry Cow – The Work) on improvisation that opened up into an open collective of improvisation. Afterwards, he participated in a workshop by the musicians Amy Denio, Jessica Lurie, L. Soybelman and the cartoonist D. Zezelj.

He collaborated with P. Angeli in the Fraili project, the live version of P. Angeli’s CD “Dove dormono gli autobus”, participating in some festivals and a concerto that went live nation-wide on Radio RAI 3.

He also collaborated in the CD of the Roman “Solar Ledge”, with the dancer L. Benfenati, Amy Denio, with P. Innarella realising the duet that goes by the title “Timbuctu”. He is a member of the Titubanda (www.titubanda.it), a brass band engaged politically and not , is a member of the multimedia collective “Arturo” which is already seen in some theatre festivals (Mittlefest and Cortona) together with musicians M. Cooper, L. Venitucci (Ossatura), Zar Alekzander Caric, E. Vatteroni, Memoria Zero, A. Sordi, the Dance company of Travirovese and the actresses F. Santoro, L. Barletti and D. Giannetti.

He is a member of the electronic improvisation and electro-acoustic trio “Taxonomy” with Elio Martusciello (www.sinewaves.it/martusciello.htm) and Graziano Lella (www.sinewaves.it/arg.htm) (arg), of a video-musical improvisation trio with M. Bennici and L. Tanzini. He collaborates with group “Solar Orchestra” .”-Roberto Fega MySpace Page

2007

Recorded between 2002 – 2004 in Italy

Cover design Alessandra Angell

1805

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SubtleNoiseMaker – circuitricity

SubtleNoiseMaker – circuitricity

(ca103) (February 20, 2008)

embedding and help

“After soldering several sonic devices, I arranged a track, where I mostly used my selfmade synths. I started selling them in the beginning of 2008 as SubtleNoiseMaker sonic devices and take orders for new units now. In “circuitricity” I used mostly the Weird Sound Generator (with power mod), the Cacophonator (with several mods), the SNM-Chaoscillator, the SNM-Stereo Ringmodulator (sending Field-recordings thru), processed slightly with some Plug-ins (like Hipno, PSP-Neon EQ, Delay and Reverb).”

“After spending many years behind the laptop, my desire to make sound without computer grew increasingly. Actually I play live without laptop, solely with my selfsoldered devices, a delay, a reverb going to a little mixer. The haptic enjoyment of working this way, and the spectacular look of my set, does more than compensate the lack of the endless possibilities with computers.”

Contact:

http://www.subtlenoisemaker.hitart.com

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

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Adrián Juárez / Zenlu : Random Trip

Adrin Jurez / Zenlu : Random Trip

CWZ009

Tracklist

1. Lost in a noisescape

2. Water monster

3. Turn slowly into your head

music by: Adrin Jurez+Zenlu

Release date: 18/02/2008

Random Trip is a collaboration beetwen Adrin Jurez (La Plata, Argentina) and Zenlu (Shenzhen, China). It is the result of an unfinished tracks and raw sounds exchange via e-mail.

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Clinch : Face A — Face B

Clinch : Face A — Face B

four directional doubt rec05

Les bandes magntiques de Clinch, c’est avant tout des heures d’exprimentations la table de mixage boucle sur elle-mme, des slections minutieuses

de squences colles entre elles, des panoramiques droit/gauche qui surprennent les menbranes.

Pour FourDirectionalDoubt, Clinch nous propose de les couter, un doigt sur le bouton avance rapide et l’autre sur lecture. Les bandes lues la vitesse de

la lumire se droulent avec fracas, dans un glissando frntique, parfois coup net dans sa fuite, puis rattrap par un dluge de frquences perches et de

beats centrifuges. Ici les bandes sont lues dans un sens puis dans l’autre, comme des disques, face A, face B. Juste pour vrifier si tout y est!

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Four Directional Doubt is a net-label dedicated to free noise and anti-music ANTI-Copyright | ANTI-Music.

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Asher + Ubeboet | A Map of the Ocean

Asher + Ubeboet | A Map of the Ocean

TRANS009

Net Release Date – February 2008

Codec: mp3 [256kbs]

Physical in October 2008

Edition 50

What is that noise?’

The wind under the door.

‘What is that noise now? What is the wind doing?’

Nothing again nothing.

‘Do

‘You know nothing? Do you see nothing? Do you remember

‘Nothing?’

I remember

[t.s.eliot - the waste land]

recorded in somerville and madrid, june 2006 through november 2007.

m.a. tolosa: field recordings, bowed lap steel guitar, structuring and editing.

asher thal-nir: field recordings, processing and structuring.

field recordings taken in south boston [usa], santiago de compostela and madrid [spain]

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M.B + E.D.A – Regolelettroniche

M.B + E.D.A – Regolelettroniche

karu:8, CD (digipak)

4 audio tracks, (p) 2007

Italians Maurizio Bianchi and Emanuela De Angelis have a generation between them, but that does not prevent them from delivering their first collaboration entitled “Regolelettroniche”.

However, to get there, they had to agree on a few rules, alluded to in titles such as “Earthly Principle” and “Cosmic Norms”, and through these “rulelectronics” credited to both of them.

That being said, these rules are left unexplained; listeners can discover them on their own when they experience this drone-based music: soft, quiet, seemingly reiterative yet clearly transformative.

1804

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Philippe Lamy : CHER SOL

Philippe Lamy : CHER SOL

maison 19 45′ / 2007

ralis en novembre 2007

Cc. 2008

Paysage sonore – Electroacoustique

Marcher comme on caresserait une membrane pour produire un son. Se pencher sur l’empreinte de ses pas comme on se pencherait sur de petits mondes explorer : de petites les mettre en prouvette avant qu’elles ne soient bues par un sable trop possessif. Ainsi, le rythme d’un souffle fait apparatre la cartographie d’un bestiaire. Une rythmique de la chatouille, aussi.

1. Le mercure monte

2. Espces fbriles

3. Entre les meubles.

4. Jusque l bas.

5. A partir d’ici.

6. Erreur de navigation.

7. L’homme qui descendait les escaliers

8. Espces en attente

9. Espces rares.

10. Avant que j’oublie.

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Cabinet de curiosits sonores

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Philip Lemieux / Chao Kheng : cromite

Philip Lemieux / Chao Kheng : cromite

cat: koy001

format: mp3 [320 kbps - 21,5 MB]+ flac [28,7 MB]

release date: february 2008

encoded with the

Free Lossless Audo Codec

based from field recordings of ice and snow captured by Chao Kheng with miniature binaural microphones in winter 2006.

Processing and digital reworking by Philip Lemieux and Chao Kheng in december 2007.

Mastering by Philip Lemieux .

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mp3

flac

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KOYUKI (light snow) is a project focused on minimalist aestethics in sound and image.

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ALFREDO COSTA MONTEIRO :: PICYCLE

ALFREDO COSTA MONTEIRO :: PICYCLE

1-picycle (38:44) <-mp3 fragment

Alfredo Costa Monteiro: Computer

Even in the rarified, difficult to define world of contemporary electro-acoustic improvisation there are artists who can be said to fall into one of two general categories: for some, the listener has a fairly good idea what to expect from a new recording; for others not. There?s no qualitative judgment being made here?certain musicians can mine a narrow area very profitably?but Alfredo Costa Monteiro definitely falls into the latter grouping. From works for prepared accordion to creative abuses of turntables to at least two recordings where the sole sound source is paper, he?s rendered it futile to approach a new offering with any particular sonic expectations. And with ?Epicycle?, he does so once again.

One constant, something that?s always drawn me to his work, is that he possesses an inherent sense of pure musicality. This is a feeling one encounters more often in jazz perhaps, the notion that a musician (say, Monk or Don Cherry) has such a strong musical touch that virtually anything he puts his fingers to sounds good, equivalent to a visual artist like Rauschenberg?whether it?s a goat wrapped by a tire, a white painting or cardboard boxes flattened on a wall, it simply looks beautiful. It?s an ineffable characteristic, something nearly impossible to pin down but at the same time just as apparent when you hear or see it. Costa Monteiro both surprises with ?Epicycle? and retains that wonderful musicality.

One surprise lies in the steady-state, relatively drone-ish character of the piece. Much of his earlier work is less fluid, choppier in the sense of consisting of slabs of sound placed alongside or atop one another. Disjunctive when heard ?up close?, the music nonetheless tended to resolve into satisfying, cohesive wholes. Another unexpected aspect of the present recording is the sound source: Costa Monteiro?s voice. Although processed virtually beyond recognition as such, the listener may still pick up vocal inflections, the sort of shift in pitch occasioned by opening and narrowing the oral cavity while intoning, for instance. ?Epicycle? fluctuates from roars to barely perceptible pings, often with an abruptness that initially startles but on second listen seems entirely natural, like a cloud suddenly blotting out sunlight. And like a cloud?s shadow, it covers vast stretches of terrain. Costa Monteiro?s work has always had a graininess, a sense of soil and sand (it sometimes reminds me Antoni Tapies? gritty work) and that impression remains even when the sounds are derived from modulated airflow. The music recognizes the bumps and irregularities of the ground at the same time as it envelops them, navigating through buffeting winds and acidic rain, not to mention an electrical storm or two before evaporating into a prickly haze. It?s a fascinating, chillingly beautiful journey; you never feel quite safe but always have the sense you?re in capable, acutely sensitive hands guided by a deep musical imagination. -Brian Olewnick.

1803

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8m2stereo – tacet

8m2stereo – tacet

(ca102) (February 17, 2008)

tracks 1,4,5,8 tape music ca. 1993,

tracks 2,3,6,7 winter 2007/8

” one should keep silent, or say things that are even better than

keeping silence .. ” (pythagoras)

” wenn mehr geschieht als man sich denken kann, so kann das nur

unbewut geschehen .. ” (a. schnberg)

” around us are pseudo-events, to which we adjust with a false

consciousness,

adapted to see these events as true and real,

and even

as beautiful .. ” (r. d. laing)

contact:

www.myspace.com/8m2stereo

biswas # gmx # de

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

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Venus Vulture : phantomshadows

Venus Vulture : phantomshadows

rb026 16.02.2008

Some releases are making it quite easy for the listener to create their own pictures while listening to the pieces. Like Astrowind (because of the name) or the last ryonkt-release (because of the title). “phantomshadows” by Venus Vulture is one of these releases too. And I think it’s because of the artwork. It’s done by Sean Monaghan himself and it’s not just a normal cover-artwork. The release also contains eight additional images, complementing the musical part of the release.

From the first keyboard-pattern the complete release let me sink into a big peaceful ocean. It is not a frightened feeling of sinking down and never getting up. It’s more like meditative contemplation. You sink and sink, but when you are looking back to the surface, you can see sunbeams reflecting on the water. You can come up easy and without anxieties or breathlessness.

But that’s just my picture, I guess you’ll see something completely different.

All tracks written and produced by Sean Monaghan. Recorded at home in 2007.

Original field recordings from travels in New York, New England and New Zealand during 2007.

Thanks to Anna and Craig J.

Artwork

done by Sean Monaghan

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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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Muche / Zoubek / Schmickler : sator-rotas

Muche / Zoubek / Schmickler : sator-rotas

cs109

“The music for this CD is based on Marcus Schmickler’s composition Sator Rotas, which was originally written for electronics. For this recording we have “transcribed” and arranged the piece for our acoustic trio of contrabass, trombone, and prepared piano.”-from the liner notes

#1 sator-rotas

Matthias Muche – trombone

Philip Zoubek – piano

Achim Tang – double bass

Markus Schmickler – composition

2007

Recorded at The Loft in Kln

Cover design Carlos Santos

1802

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Svart1 – Silentium est Aureum

Svart1 – Silentium est Aureum

(ca101) (February 14, 2008)

The minimal, mimetic, unsual noises of the nature, and the animal world digitally used are the last release of Svart1 (Raimondo Gaviano). Unmistakable sounds, least atmospheres, sonorous landscapes that pass among thousand colors. The border of the pleasures of small beings that gained “on live” from Svart1 strange meetings become between thousand suspects and a royal demand of comparison. “Schleiereule” it is the only song that also starting from the sounds of the nature has also been realized for Inge; Project of Anticamedea (photos and videos) and Svart1 (sounds and videos).

Video 1: (“Geier” from “Silentium aureum est”) Photos Alice Angeletti (Anticamedea);

http://it.youtube.com/watch?v=8rKjcnl8muQ___ICH

Sounds Raimondo Gaviano (Svart1)

Video 2: (“Schleiereule” from “Silentium aureum est”) Photos Alice Angeletti (Anticamedea);

http://it.youtube.com/watch?v=MKpvKSRgTkw___INGE

Sounds Raimondo Gaviano (Svart1)

Registered in Cagliari and Berlin from August to November 2007.

Photos Alice Angeletti.

http://svart1.altervista.org

www.myspace.com/svart1

http://anticamedea.altervista.org

www.myspace.anticamedea

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Cover Front

Booklet 1-4

Booklet 2-3

Cover Back

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

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Alberto Braida – Wilbert de Joode : reg erg

Alberto Braida – Wilbert de Joode : reg erg

Alberto Braida – piano

Wilbert de Joode – bass

recorded at MU-REC studio, Milano,

on the 3rd of April 2006

“It was early in the morning when I woke up: it was my birthday.

I knew that probably I would have received a gift that day and I was very excited.

On the table I found a small package and I immediately went to open it very carefully.

There was a red toy car inside and I started to play with it. It was great and I could compete in a race with my friends that already had a toy car.

After a couple of days, I looked through the small plastic window of my car: there were the wheel, seats, gear level?a lot of details that I hadn?t noticed till then.

I started to dismantle the car to ?explore? inside it and when I finished, the small pieces of my toy were on the table. Many nice and interesting things, which I couldn?t see before were now in front of me: small screws, mechanism and so on.

From then on, my favorite game had been to discover new objects that I could build using the components of my red toy car.” (A.B.)

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LenQuartet : The Music of the First July

LenQuartet : The Music of the First July’s Day

db042 . 2007

tracks (320 kbps MP3) :

01 _ DK,VM,IB

02 _ DK,VM,IB

03 _ DK,VM,IB

04 _ DK,VM,IB

05 _ DK,IB

06 _ VM,MP

07 _ DK,VM

08 _ VM,IB

09 _ DK,VM,IB,MP

10 _ DK,VM,IB,MP

11 _ DK,MP + VM,IB

12 _ DK,VM,IB,MP

13 _ DK,VM,IB,MP

Dedication to “Sh”

This project arose spontaneously in the summer of 2007 on the celebration of anniversary of St.-Petersburg cultural center “Pushkinskaya, 10″. This quartet is in fact a double duet of two young saxophonists Ilia Belorukov and Maxim Pozin and two inveterate avantgardists Vlad Makarov and Dmitriy Kakhovskiy, both playing cellos. The sound turned out to be incredibly deep and the texture is solid because of the diffusion of the winds and the strings. Just like a nightmare of Dmitriy Shostakovich! The music takes you away to the world of endless “sssss”, schoenberg, shostakovich, schnittke, stockhausen, just to the capital “Sh” – like a metaphor of New music. In this “Sh” the tradition meets innovation.

The title “Leningrad quartet” isn’t accidental. In olden days a quartet like this couldn’t exist, but it was wanted. In order of that this paradoxical title appeared invented by Leningrad resident Kakhovskiy.

Talking about this music would be just like dancing about architecture and so it could be said: stentorian bells of baritone saxophones are getting tied from doubled, infinitely multiplied cello fiddlesticks…

Dmitriy Kakhovskiy – cello

Vladislav Makarov – cello

Ilia Belorukov – alto & baritone saxophones, fluteophone

Maxim Pozin – alto & prepared alto saxophones, clarinet, pocket organ

Recorded at 703 Gallery on 1 July 2007

Mixed & Mastered by Dmitriy Kakhovskiy

Photos by Savva Bogatyrev, Cover Art by Ilia Belorukov

Un merveilleux travail d’improvisation, subtile et complexe… une musique organique, vivante et imprvisible… un son d’une rare qualit. Sans doute l’un des meilleurs albums publis sur Digitalbiotope!

www.myspace.com/belorukov

www.letov.ru/makarov

contact : belorukovmusic[AT]gmail[DOT]com

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_netlabel for for improvised music and experimental audio

_artists : submit your works : contact[AT]digitalbiotope.net

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Andrew Drury : renditions

Andrew Drury : renditions

cs094 2007

#1 the school of the americas

#2 exhalations

#3 more of everything

#4 touchdown of the century

#5 extraordinary renditionskyshifter V (E symphony)

#6 my favorite cereal bowl

#7 i would also like to mention aluminium

#8 from a ww2 veteran’s garage

#9 other prioritiesskyshifter

#10 an advertisement for civilizationkyshifter

#11 an insidious usage of the world “friends”

#12 quaint

#12#5 skyshifter V (E symphony)#6 skyhifte

Andrew Drury ? percussion

ANDREW DRURY–drummer/composer, mostly in free improvisation and jazz, sometimes in and around pop, klezmer, new music, performance art, street performance. A former student of Ed Blackwell he can be heard on about 20 CDs. He performs regularly throughout North America and Europe. Recently he released a solo CD ?Renditions? (Creative Sources 094) and CD of improvisation with Michel Doneda and Jane Rigler entitled ?Clean Brook Loose Too? (Sachimay Interventions). In 2008 Cadence will release ?My Fingers Will Be Your Tears? a CD of his compositions for trio featuring Briggan Krauss and Myra Melford

Current projects include a percussion quartet with Jim Black, Mike Pride, and Mike Sarin and ?Content Provider? a quartet that plays his compositions featuring Peter Evans, Briggan Krauss, and Chris Speed. He plays in Jason Kao Hwang?s EDGE, Totem, Rat Race Choir, Nate Wooley?s ADD, and has ongoing collaborations with Jack Wright, Brandon Seabrook, Jessica Lurie, Reuben Radding, and others. Other artists he has played with (recently or years ago) include Laura Andel, Ricardo Arias, Dean Bowman, Taylor Ho Bynum, Sebastien Cirotteau, Mark Dresser, Bruce Eisenbeil, Marty Ehrlich, Ken Filiano, Drew Gress, Mary Halvorson, Wayne Horvitz, Jihae, Mazen Kerbaj, Eyvind Kang, Adam Lane, Wade Matthews, Brad Mehldau, Andrea Neumann, Stephane Rives, Ernesto & Guilherme Rodrigues, Christine and Sharif Sehnsoui, Brad Shepik, Wadada Leo Smith, John Tchicai, Dicky Wells, Kenny Wolleson?s Himalayas with Butch Morris, Danijel Zezelj, and others

Drury is also an educator who has led hundreds of workshops across the U.S. and in Sarajevo, Zagreb, and remote rural areas of Nicaragua and Guatemala. He has worked independently and through organizations such as the Manhattan New Music Project, Carnegie Hall Weill Institute, Artists & Communities, Very Special Arts, and the Washington State Arts Commission. He has toured homeless shelters in Indiana, worked with inmates in three maximum security prisons in Connecticut, taught at arts camps, worked in battered women?s shelters, and has led workshops with several Native American communities including a six month stint as artist in residence with the Oneida Nation on their reservation in Wisconsin. His students include people of all ages, backgrounds, and abilities including kids with autism, blind and deaf students, students in private schools, ?at risk? teens in New York City, immigrant populations, and graduate students at the Columbia University School of Social Work.

Recorded in Brooklin 2004-2007

1800

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Ernesto Diaz-Infante : s/t

Ernesto Diaz-Infante : s/t

2003 Itz’at Musica/BMI and Pax Recordings

2003 solo release & most diverse yet. Conceptual. Minimalist. Street recordings, solo guitar pieces, noise improvs, sound collages and vocals/guitar songs. “A fascinating album, uncompromising to the bone.” –Francois Couture, All Music Guide

Diaz-Infante adds two more releases to his corpus that gets infinite proportions. His output is spread out on numerous labels like Bottomfeeder, Evolving Ear, InstrumenTales, oTo, pfMENTUM, Public Eyesore, Staalplaat, Seagull, Sweet Stuff Media, and Zzaj. These two new releases are on his own Pax Recordings. The solo one is the special one here. With accordion, acoustic guitar, Chinese hand exercise balls, didgeridoo, drums, electric bass guitar, field recordings, goatnails, mbira, piano, radio, singing bowls, turntalbe, violin, vocals and zither rod, Diaz-Infante creates his own intimate and peacefull little universe. Murmuring day-dreamer Diaz sings his simple songs like somebody who in a lost moment sings and plays for himself, thinking nobody is the neighbourhood. Very relaxed music, not disturbed by the hectic world. Because Diaz-Infante uses many different instruments and objects we enjoy a varied sonic panorama. We hear environmental sounds, loops, instruments out of tune, etc. The result is a very personal music. Maybe that’s why the cd has no title. Ernesto Diaz-Infate says it all. It’s some of the most beautiful I’ve heard from Diaz-Infante.

Dolf Mulder, Vital Weekly

1799

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V.A. Causa Peruana

V.A. Causa Peruana

biodata-21

Chistian Galarreta: Codigo ASCOO

Cristo Demoledor: Felicidad Estrobica

Gabriel Castillo: ~~

Godinez: El Rincon del Box:

Jab Lemur: LEDLBFT (La entrada de la banda floclorica tradicional)

Kollantes: Liberenatahualpa

Lujan: Cuatro Llamadas

Metastasis: Tubulares

Naiadra Muriatica: 03 (Arcadia Archaea)

Omar Lavalle: Track 9

Pulso Adolecente: Esto No Es Mi Hojo

Rolando Apolo: LIPS

Terocal: Dectrogeno

Tica: Pajaros De Miel Con Un Cielo Adentro (no version)

Wilder Gonzales Agreda: Nia Flor

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Biodata is a non profit Microbio Records net based sublabel oriented to the free distribution of experimental electronic music

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Rebelo / Schroeder / Davis : faint

Rebelo / Schroeder / Davis : faint

cs088

FAINT is a project that explores two extremes of musical practice: free improvisation and composition for fixed medium. The trio formation with pianist/composer Pedro Rebelo, percussionist/composer Steve Davis and saxophonist Franziska Schroeder was born out of an impromptu encounter of the three musicians at the Sonic Arts Research Centre in Belfast, Northern Ireland. This double CD presents improvised recordings together with 19 short electroacoustic pieces by Pedro Rebelo which are exclusively based on these recordings. We would like to thank everyone at SARC for their enthusiasm and support, in particular ChrisCorrigan, Michael Alcorn, and Pearl Young. This CD was made possible through the generous support of the Arts Council of Northern Ireland.

Pedro Rebelo is a composer/digital artist working in electroacoustic music, digital media and installation. His approach to music making is informed by the use of improvisation and interdisciplinary structures. He has created a large body of work exploring the relationships between architecture and music including a series of pieces for soloists and live-electronics which take as a basis the interpretation of specific acoustic spaces. In the duo laut [www.lautnet.net] with saxophonist Franziska Schroeder he investigates the extension of interfaces and control in interactive performance practices. His electroacoustic music is featured in various CD sets (Sonic Circuits IV, Discontact III, Exploratory Music from Portugal, ARiADA). Pedro conducts research in the field of digital media, interactive sound and composition. His writings reflect his approach to design and composition by articulating creative practice in a wider understanding of cultural theory.

Pedro has been awarded a PhD in composition from the University of Edinburgh and is currently Director of Research at the Sonic Arts Research Centre, Queen’s University Belfast.

Franziska Schroeder is a performer of saxophone and live-electronic music, a theorist and improviser. She is a founder of the digital media collective l a u t and has been awarded her PhD by the School of Arts, Culture and Environment at the University of Edinburgh, UK in 2006. Since the age of 9 she has been playing the saxophone in anything from out-of-tune brass bands, European music emsembles, chamber groups, oversized saxophone ensembles, saxophone quartets, duo to solo formations. Her development of contemporary saxophone playing has been shaped by Marie Bernadette Charrier from the Conservatoire Suprieure in Bordeaux. She has recorded for German and Australian radio and has commissioned various new works for the saxophone and received her Bachelor degree in saxophone performance in Australia. Her research interests include the intersection of philosophy and performance in technology-informed environments, in particular the role of the body in the age of technological change. She joined the editorial board for the ARiADA (Advanced Research in Aesthetics in the Digital Arts) – online journal, UK. Franziska is currently on a three year Research Fellowship funded by the AHRC at the Sonic Arts Research Centre in Belfast where she investigates network performances.

Steve ‘Dakiz’ Davis has been active as a percussionist and composer for the last 10 years. Steve was born in Belfast in 1974, started having a strange interest in hitting things around the age of 12, and he has continued this obsession ever since. He gained a BA(hons) in contemporary music from Leeds University in 2000, and a Distinction, in a Post-Graduate Diploma in Jazz from Trinity School of Music London 2003. After this Steve studied at the Skidmore Jazz Institute in New York, on a Arts Council funded Scholarship. In 2003 he toured with the European Jazz Orchestra, playing 25 dates throughout all the member states; Denmark, Switzerland, Italy, Germany and so on. Living in London for the last 3 years he has been playing drums with the cream of London?s jazz community, including players such as Julian Seigal, Dylan Bates, Annie Whitehead, Ben Castle, Tom Arthurs, Martin Speak, Mark Lockheart, Jakie Dankworth, Mike Walker, and has also performed with many European and American musicians, such as Dick Oats, Curtis Fuller, Alan Vache, Brunno Tommaso, Marc Ribot, Joe Morris. He continues to concentrate on these and many other projects with the likes of Mathew Bourne, Dave Kane, Paul Dunmall, Django Bates, Brian Irvine, and his own London based band HYPNOTOAD’ who finished a tour of Ireland in 2004.

CD A

#1 a wall of sound: or at least a wall with some sonic bricks in it

#2 the song itself is already a skip

#3 a mistake in speed

#4 less a question of evolution

#5 an activity of selection

#6 mark your distance

#7 an activity of extraction

#8 it has a chance to

#9 an activity of elimination

#10 singing under her breath

#11 the continuous variation they resist

#12 certain conditions

#13 toward less probable states of concentration

#14 causalities and transversals

#15 heard from a great distance

#16 a crowd must be fully individuatedirp in my heart

CD B

#1 instead of breaking with it

#2 an adobe

#3 not going in circles

#4 an immense song of the people

#5 course of events

#6 elements of the pack

#7 I may even lick your hand

#8 summit of agony

#9 explain why

#10 a fascination for the outside

#11 strange imperative

#12 the distinction we must make

#13 fragments of regression

#14 pictorial reasons

#15 intrusions have rhythm

#16 a tendency to end on a higher noterp i

#4 a constant migration

#5 passaggi, percorsi, aperturtrack

Pedro Rebelo – piano, instrumental parasites

Franziska Schroeder – saxophones

Steven Davis – drums

Recorded in 2006, Belfast

2007

Cover design Carlos Santos

1798

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