Val-Inc On

Val-Inc On

Innova 698

I strive to create music that impacts the psyche with esoteric noesis. Val-Inc

Tellus Media, a project of Harvestworks Digital Media Arts Center, in partnership with Innova Recordings announce the release of On, the first CD by New York-based sound artist Val-Inc (Val Jeanty). Created with a variety electronic instruments, turntables, acoustic percussion, and various spoken word samples, the CDs seven tracks lead listeners into her dreamlike expressionism of Afro, Creole and electronic compositions with moving results.

1897
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Innova Recordings redefines the typical relationship between artist and label.

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Jeph Jerman & Tanner Menard – The Now Of Sound

Jeph Jerman & Tanner Menard – The Now Of Sound

ah026

Jeph Jerman and Tanner Menard have unique notions to the world of sound. When meeting in the desert of Arizona, Tanner discovered the unique philosophies that drive Jeph in his ecological recordings. Jeph, in his disinterest in contextualizing sound, has found that music is merely listening to all sonic vibrations. Sound should be experienced wholly, and not isolated by categories. The removal of the formal knowledge of music opens the listeners’ ability to hear, to experience, and to enjoy all vibrations.

‘The Now of Sound’ was created from a synthesis of synthetic bells, written in Supercollider by Tanner, and of desert recordings from Jeph. This amalgamation was then projected with homemade equipment by Jeph, onto the resonant portion of a gong. The resulting frequencies were recorded with a contact microphone, then post processed with basic computer effects.

While ‘The Now of Sound’ is in actuality ‘music’, because of the artistic decisions to alter the sonic vibrations by Tanner, the work still pays homage to the sonic philosophies matured by Jeph. Described by Tanner, ‘The Now of Sound’ is a “meditational work that exists in the sonic stratosphere, the highest and most imaginary harmonics, where real ‘music’ takes place.” With his primary interest in consciousness, Tanner suggests that the listener use ‘The Now of Sound’ to tune their listening environment to include external, and internal vibrations of their sonic surroundings.

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Archaic Horizon is a net label formed in 2006, created to promote independent musicians. We are not limited to any one genre but are focused on the experimental and eclectic, releasing those artists who are forward thinkers and advance music

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M31 : Graviton

M31 : Graviton

MTR-012 25-Aug-2008

Graviton takes you on a trip through a worm hole and drops y… (more)

Runtime:

22 minutes 39 seconds

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Meatronic is a netlabel based out of Tampa, Florida that focuses primarily on experimental and noise artists.

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Joan Bagés i Rubi : Instrumental Music

Joan Bags i Rubi : Instrumental Music

exc016 (August 24, 2008)

These four pieces collect some of my ways of sound work, pieces for solo instrument, pieces for ensemble and pieces for interactive music and electroacustic music.

Alchemy is a piece for ensemble. In this piece Joan has set off from some written scores to modify them and to apply them techniques of electroacoustic composition to obtain new materials and to put them in a new and different context.

Improvisacion-OAAATTA is a instrumental music for electric guitar. Work based on a pictorial series of Jaume Rocmora. The guitar draws the forms. The pedals of the guitar construct a background, a texture of basis about what is constructed the structure. The work explores several resources of sound production of the prepared guitar with paper and metallic objects. In a first instant Joan has made a sound recording with the guitar player Santiago Quintans. Several sound objects have been recorded. Later, after listening the materials proposed by the guitarist the work appears. The process of composition is an interaction between the listen and the musical writing.

Interactions is a piece for ensemble. This work appears as the interaction between different process of electroacustic composition and the musical writing. The instrumental work appears from the analysis of a set of sound files in order to transpose the sound energy, that we meet in certain sounds, in the musical writing. The sound of the birds, the sound of some machines, the recitative of a poetry, etc all this sounds have a different type of energy and Joen tries to transpose it in a musical speech.

Intersections-BouleWav 2.0 is a electroacustic piece with interactive music system. The bassoon draws several sound itineraries with the help of a patch MAX/MSP. Lines, points of the bassoon interoperates with the gesture of the virtual instrument BouleWav 2.0. The ball becomes a gesture controller for the electronic synthesis created totally at real time from the sound of the bassoon.

#1 – UCM Ensemble (London), 2007. #2 – Prepared electric guitar with objects and pedals, Santiago Quintans plays electric guitar, Paris, 2007. #3 – Ensemble Archaeus (Bucarest), Commande de Densties 93 (France), Paris, 2006. #4 – Bassoon and Interactive Musical System, Piece created with the scholarship Phonos 2005/2006 (Barccelona), Alex Salgueiro plays bassoon.

01 Alchemy (8:33)

02 Improvisacion-OAAATTA (9:56)

03 Interactions (7:20)

04 Intersections-BouleWav 2.0 (12:50)

Compiled by Nikita Golyshev

Released by Ilias Mikanaev

cover artwork by Grigory Kochenov

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Musica Excentrica is mp3 netlabel , based in Moscow/Russia, producing selected avantgarde post-music in non-entertainment genres (acoustic as well as electronic)

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Nikola Kodjabashia The Most of

Nikola Kodjabashia The Most of Now

ReRNK2

An exquisite and subtle new composition by Macedonian composer Nikola Kodjbashaia exquisitely realised by a broad and mixed ensemble of exemplary – and mostly Macdonian – instrumentalists: a suite of highly imaginative variations on a theme that meanders purposively through an unusual – I’d say unique – musical landscape in which reflections of everything from lounge music, Macedonian folk instrumentals, Byzantine church liturgy, contemporary orchestra composition and exotica rub shoulders without parody or embarrassment. Constantly mutating, constantly fascinating, this follows the path opened up in his first CD into a completely personal but accessible musical language. Subtle, complex, profane music, that is at the same time easy, even a joy, to listen to.

1896

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Julien Skrobek : Plage Concrete

Julien Skrobek : Plage Concrete

[tmth02F]

Julien Skrobek’s sounds were referred to Timetheory by a netlabel friend, and we were at once pleased and intrigued by what we received. The music of “Plage Concrete” marks our first venture into this style, and it’s a welcome addition. Acoustic guitar, field recordings, AM and shortwave radio and other elements come together to create a sparse but ever-changing soundscape that grabs only as much attention as needed, then slips into the background.

Like much music in the ‘concrete’ field, a lot can be gained by enjoying to pronounced presence of the sounds in the room around you as listen, the additon of the sounds of the land or street, wherever you may be. Peaceful and patient are key characteristics of this music, and you will be able feel yourself on the ‘concrete beach’ quite easily.

1 fantome d’ete

2 poisson-lune

3 plage concrete

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Anders Dahl – Detune

Anders Dahl – Detune

[sijis 22]

This 15 minute piece is composed by Anders Dahl and performed with Henrik Olsson and Magnus Granberg. A slow descending piece based on a simple detuning score which is also provided with the release, it sits somewhere between the worlds of scratchy textural improvisation, field recording and minimal composition.

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Sijis records has been set up to promote and enhance the international experiment music scene

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beequeen: time waits for no one

beequeen: time waits for no one

(remaster 2008)

They look absolutely GORGEOUS – I really think it matches the original Monroe-cover when it comes to beauty.

The paper you used is really nice, shiny and of good quality. The colour-matching is great!

In all, I am very very happy with this release! A nice little classy artifact of a time long gone by.

~Freek Kinkelaar (Beequeen

Audio CD 60 minute +

6 panels digipak

release date: May 200

1895

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PHAT – La Grande Peste

PHAT – La Grande Peste

[insub26]

PHAT is an ENERGIC Free-Jazz/Free-Rock/Noise “power trio” founded in october 2006. It reinvents and re adapts the mixture of the styles with an extreme joy for the most curious and fondest ears of delicacies about “out-of-limits” sound experiments.

Fabien Duscombs: drums, percussions

Marc Perrenoud: bass & electric doublebass

Heddy Boubaker: alto & bass saxophones

Entre le tton et la bire

La grande peste de 1348

La fte des blattes

The great purgatory of dead sdffg stars

Eh !

Ah !

1.2.4.5.6 recorded in Hameau des Joffres, 17-18.11.2007

3 recorded live at TXUS, Toulouse, 18.01.2008

record and mastering by Heddy Boubaker

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

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Oscar Chaves …y te gusta Chile?

Oscar Chaves …y te gusta Chile?

pn033 (August 22, 2008)

The sequence below is a sort of Greatest Hits compilation: all of these pieces have been produced during the last five years, in a made in Chile fashion, using sounds recorded in Chile by myself, with invaluable support from Chilean people around me, and, especially, from my couple Carol Valderrama. (O. Ch.)

1 Mi puchunguita guindeando el baflerio (2004) 04:13

2 Tiriririri (2004) 03:22

3 Canto VI (2004 – 2005) 08:33

4 Canto VII (2004 – 2005) 07:54

5 Estudio para gatita 1 (2006) 02:54

6 Estudio para gatita 2 (2006) 01:30

7 Estudio para gatita 3 (2006) 03:50

8 Tragedia y carinho onomatopeyico (2007) 09:27

9 Toy (2008) 08:13

10 Pedo acusmatico (2008) 00:06

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msica chilena de raz electrnica

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S. Demand / H. Wienert : sirenen $ blten

S. Demand / H. Wienert : sirenen $ blten

cs125

#1 – #18

Unusual experimental and highly charged improvisation on electric guitar, trumpet, saxophone, trumpsaz, sheng, tubes from the duo of Sascha Demand & Hannes Wienert.

“Composer and guitarist, Sascha Demand, is a perfomer of contemporary and improvised music. In 1992, Sascha cofounded the improvisation ensemble, “beside the cage”. Since 2001, Sascha has been a member of the “emsemble integrales” in Hamburg. He also cofounded the duo “9kHz” together with Berliner, boris d hegenbart-matsui (electronics). Sascha is also playing in the electric guitar duo “for regular fellows” with Sebastian Reier and in another duo with the fabulous Hannes Wienert. Since 2006 Sascha is running a series for improvised music “Gegen den Strom” together with Burkhard Friedrich.

Hannes Wienert studied visual Art in Hamburg. Drawings – Paintings -Musicinstallations. graphic Notations & different reed and brass Instruments. (altosax,sopranosax,clarinette,trumpet,trompsax,watertrumpet,. tibetian Dung Chen,Dung Kar, chinese Sheng, HuLuSi,. Quattroflextube). Concerts &Performances with: Japanese Butoh Dancer Mitsutaka Ishii, Malcom Goldstein, Keith Rowe, Fred Frith, Evan Parker, Vinco Globokar, Rhodri Davis, Jack Wright, Jeff Arnal, John Hughes, Chad Popple. Duo Formations with Peter Niklas Wilson, Heiner Metzger, Wittwulf Malik and the great composer & guitarist Sascha Demand. Performances with visual Artist (Light installations) Katrin Bethge. Member of Ton-Art Ensemble Hamburg. Submarine Orchester. Tentacle Tubes & many solo concerts in combination with Lyrik’s (Li Tai Po) and Art Exibitions. ‘Schmeckabend’ Events with Ragna Jrgensen for cooking, music, film & poems. created the Exibition Zyklus ‘Hren&Sehen’ I-IV for. graphic Notations & Partiturs and Live Music. (catalogue I-III)”-Creative Sources

Sascha Demand – electric guitar

Hannes Wienert – trumpet, soprano saxophone, trumpsaz, sheng, tubes

2008

Recorded in Hamburg, 2006

Cover design Carlos Santos

1894

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Wormhole – Breath Wood Bone

Wormhole – Breath Wood Bone

(ca155) (August 23, 2008)

recorded at Newcastle University 2nd July 2006

produced and mixed by John Ferguson

artwork by Will Edmondes

all music is improvised

Will Edmondes – double bass and SU10 sampler

http://www.ncl.ac.uk/sacs/staff/profile/will.edmondes

http://www.virb.com/gwilly

John Ferguson – Guitar and percussion/noise

http://www.fergalstrandy.co.uk

http://www.tronlennon.co.uk

http://www.myspace.com/fergalstrandy

Bennett Hogg – violin, viola, and piano

http://www.myspace.com/bennetthogg

1 Red Sea Herons 07:06

2 Pimp My Freud 07:41

3 Ghost of the Possible 03:15

4 Gateaux Sony 09:56

5 Desert of the 5,000 02:53

6 Me & My Old Lady 09:39

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

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Mensa – Southern Recordings

Mensa – Southern Recordings

rb039

Mensa is a project by Edu Comelles from Barcelona, Spain. Mensa creates soundscapes in a dialogue between sound experimentation with high-tech possibilities and the natural enviroment, the landscape and the countryside.

“Southern Recordings” is the counterpart to Mensa’s earlier work “Nordic Recordings”. Mensa works again with subtle sound-structures, but this time the sound seems to be a bit warmer, and sometimes rougher, covered with a thin layer of dust. The soft delay flickers like the hot summer sun in the noon. Little sound-glitches are flying around like grasshoppers and some soundscapes are reflecting like the surface of a cold lake.

As all of Edu’s work, the sounds are produced to be listened outside, in public spaces or natural enviroments.

Release Date

21.08.2008

Author

All tracks written and produced by Edu Comelles

Artwork

done by Mensa, www.educomelles.com

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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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Kenneth Gaburo : Lingua II: Maledetto / Antiphony VIII

Kenneth Gaburo : Lingua II: Maledetto / Antiphony VIII

The work and thought of the American composer Kenneth Gaburo (1926-1993) exhibited many striking changes during his lifetime. In fact, while the world of commercial endeavor still insists that artists develop a recognizable personal “style,” Gaburo’s life-work can be seen as one of continual change and exploration, rather than one of codification and promotion. Some of these changes are beautifully illustrated by the two works on this CD, Maledetto, for seven speaking voices, from 1967-68, and Antiphony VIII (Revolution), for percussionist and electronic tape, from 1982-3. Both are intricate and powerful works, both take their inspiration from “non-musical” materials, and both require virtuosity of a most uncommon order. However, beyond that, the two works could not be more different.

1893
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Pogus Productions features releases of Electronic, Electro-Acoustic, and Experimental music. Uncompromising, non-commercial, and definitely not for everyone (unfortunately), these releases are geared towards discerning listeners.

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James Devane : james devane

James Devane : james devane

TRANS013

Net Release Date: August 2008

Codec: mp3 [320kbs VBR]

Physical in May 2009

Edition 50

Nine live performance excerpts featuring continuously accumulating loops filtered through different processes.

1. “00-08″ 8:34 [13.3MB]

2. “08-10″ 1:45 [2.7MB]

3. “10-15″ 5:12 [7.5MB]

4. “15-21″ 5:49 [8.4MB]

5. “21-23″ 1:54 [2.4MB]

6. “23-27″ 4:12 [6.2MB]

7. “27-32″ 4:32 [6.2MB]

8. “32-39″ 7:41 [11.7MB]

9. “39-41″ 1:23 [2.2MB]

All tracks written and recorded by James Devane in 2008, except

additional field recordings by Paul Sikivie (Tracks 1-4), and drum

samples by Steve Oda (Track 9). Mastered by Shawn Hatfield

[Twerk].

James Devane website here

http://www.jamesdevane.com/

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bremsstrahlung recordings is a not-for-profit-seeking organization which focuses on publishing egoless sound

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Skryxl – Everything Looks Better On Fire

Skryxl – Everything Looks Better On Fire

[WM085] (August 17, 2008)

Skryxl is aggressive free improv doom-core from the Southern USA, featuring

Marshall Marrotte on bass, Jeff McLeod on guitar and Jeremy Trotter on drums and harmonica. All tracks were recorded live in single takes on a single day in a small room of the drummer’s home. This is music in the moment, pulled from another world and delivered to the head with an ugly hammer blow.

Web:

www.myspace.com/skryxl

www.jeffmcleod.net

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WM Recordings brings you music that is a little “different”. We do not specialize in one style, but instead bring you exciting sounds that you’re not likely to find anywhere else. Almost everything you see here is free, so take as much as you like.

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Van Schouwburg / Demey / Vanderstraeten : surea

Van Schouwburg / Demey / Vanderstraeten : surea

cs112

Free and unusual improvisation with the strange vocal stylings of Jean-Michel Van Schouwburg, bassist Demey, and percussion and bicycle pump player Vanderstraeten. Demey and Van Schouwburg have been a fixture on the London Free Improv scene playing often with guitarist John Russell. Van Schouwburg has been a member of Brussels Inaudible Collective & Workshops since 1984, using extended vocal techniques from low throat singing to high falsetto, overtones and yodels, mouth noises &c. Strange and fascinating work.

Jean-Michel van Schouwburg – voice

Jean Demey – double bass

Kris Vanderstraeten – self-made percussion, bicycle pump

2008

Recorded in Brussels 23-10-2007

1890

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Lezet – Meld 2

Lezet – Meld 2

tng1043

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Mazur & Dymny : Extension

Mazur & Dymny : Extension

[insub27]

“bass/guitare contemporary jazz duet”

Rafal Mazur: acoustic bass guitare

Michal Dymny: electric guitare

flots et vagues, dferlement de notes, extension du langage et navigation intrieure.

floods and waves, surge of notes, extension of the language and internal navigation.

33 min 10 / VBRmp3+cover / 56Mo

Rafal Mazur, Graduate of State Secondary School of Music in Krakow, in the cello class of Krzysztof Okon. Fascinated with jazz and bass guitar, he studied privately with a KraKow bass player Marek Janicki. At present Rafal Mazur plays acoustic bass guitars custom built to his own specifications by guitar maker Jerzy Wysocki. He has developed an advanced and individual approach to his instrumentand to improvisation in generalin which sonority, extended technic and gesture combine effortlessly in performance. Mazurs uncompromising musical standards are matched by the sophistication of his wit and demeanor on- and offstage.

He has taken an important role in Krakw to support young artists and improvised art and has performed jazz and improvised music in clubs and festivals across Poland and in much of Europe (recently in China) . He is a founder of Improvising Artists – an informal association grouping musicians – improvisers, who promote and create improvised music. Rafal Mazur focuses on cooperation with Keir Neuringer, project PROCESS_Laboratory of Intuition and Ensemble 56 Hunagrain-Polish contemporary jazz band. He is an organizer of Meeting of Improvisers the annual international multidisciplinary modern event.He also studying philosophy at the Jagielonian University and practise Tai Ji.

Michal Dymny was born in Cracow in 1985. He was studying piano and percussion in Primary and Secondary State School of Music in Krakow, but his main musical activity is focused on electric guitar. As a guitarist he has developed an individual style full of sonority and preparations that come into being during improvisation. From 2005 he takes part in lots of events that are dedicated to free improvised music and contemporary art. At presence he is a member of PROCESS_Laboratory of Intuition, which is a band/institution (founded by Rafal Mazur) concentrated practically and theoretically on aspects of collective free improvisation and intuitive music. He participates in projects organized by Improvising Artists group.

Rafal Mazur, diplme de l’Ecole Nationnal Secondaire de Musique de Cracovie, classe de Violoncelle de Krzysztof Okon. fascin par le jazz et la guitare basse, il tudie avec Marek Janicki, un bassiste de Cracovie. A l’heure actuelle Rafal Mazur joue d’une guitare basse acoustique ue spcialement conue pour lui par le luthier Jerzy Wysocki. Il a dvelopp une approche propre et pousse de son instrument – et de l’improvisation d’une manire gnrale – o technique tendue et geste se combine sans effort lors de la performance. La position sans compromis de Mazur s’associe son esprit sophistiqu sur, et hors, de la scne.

Il joue un rle important dans la scne de Cracovie, soutenant les jeunes musiciens et les arts improviss. Il s’est produit dans de nombreux clubs et festivals Polonais, Europen, et rcement en Chine. Il est le fondateur d’Improvising Artists, une association informelle de musiciens promouvant et pratiquant la musique improvise. Rafal Mazur se concentre sur sa collaboration avec de Keir Neuringer, sur le projet PROCESS_Laboratory of Intuition et l’Ensemble 56 , un ensemble de jazz contemporain hongro-polonais. Il organise les Meeting of Improvisers, vnements annuelles multidisciplinaires. Il tudie galement la philosophie l’universit Jagielonian et pratique le tai-chi.

Michal Dymny est n Cracovie en 1985. Il a tudi le piano et la percussion l’Ecole Nationnal Primaire et Secondaire de Musique de Cracovie, mais son activit musicale principale est focalise sur la guitare lectrique. Sur cet instrument il dvelopp un style personnel plein de sonorits et de prparations s’intgrant l’improvisation. Depuis 2005, il prends part de nombreux vnements ddis la musique improvise et l’art contemporain. Il est membre de PROCESS_Laboratory of Intuition, groupe fond par Rafal Mazur qui se concentre sur la pratique et la thorie des aspects de l’improvisation libre collective et la musique intuitive. Il participe aussi au projets de l’Improvising Artists.

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

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Evgenij V. Kharitonov – UrbaniZmatic

Evgenij V. Kharitonov – UrbaniZmatic

[AMR151]

try new player!embedding and help

URBANIZMATIC The first part of epic dilogy (2008). Three big compositions. Audio collage using the fragments of author’s sound poems. Then Epic Harsh Noise, and finally audio collage with original sounds as well as voices of Vladimir Mayakovskiy and Raoul Hausman, the classics of avant-garde movement; fragments of musical pieces of Sergey Prokofiev and groups Slade, Video Kids, Modern Tolking, and Art Of Noise.

All Tracks and Cover by Evgenij V. Kharitonov

3 tracks, total time 72: 33

TRACK-LIST:

Urbanizmatic I: Sound collage (36.06)

Urbanizmatic II: Noise Absorbing (23.27)

Urbanizmatic III: Apocalypce Today, Baby! (13.00)

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Parkins / Bruttin / Tara : quick-drop

Andrea Parkins / Laurent Bruttin / Dragos Tara : quick-drop

Creative Sources cs104

From the opening moments of this trio meeting, the intent is clear: a quick fade into a noise thicket of sound indicates strongly that this is not going to be a walk in the park. Even before the disc spins, in fact, the feeling is there. The title, quick-drop, suggests risk, free-fall, a one-time adventure in unknown territory. The cover image, as attractive as it is incomprehensible, turns out to be an assemblage photograph taken by Andrea Parkins, seemingly constructed at a hotel. Transience. a bit of alienation, new rules for familiar tasks.

Parkins met up with clarinetist Laurent Bruttin and bassist Dragos Tara in Switzerland in 2006, and quick-drop is the result. With electric accordion, sampler, effects and live processing, she is the only non-acoustic performer here. The session starts with a dizzying track, but then some familiar signposts begin to appear. Clarinet and double bass slowly etch a triangle into the slate wall. Vocalist Wanda Obertova appears on the third cut (then disappears until the seventh of the eleven tracks), serving as a guide, if without familiar language. In the end, quick-drop comes off as a travelogue, a diary written by a stranger with an aversion to nouns. Fellow journeyers are advised to set their concerns aside and enjoy the surroundings.

1892

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scell – environ+

scell – environ+

[mhrk065]

These works lay on the verge of the audible from their conception till their completion. Not furiously silent but still silent enough to make the act of listening a part of the work itself.

Controlled feedback is the main expressive mechanism here. Microphone placement, processing of the feedback path and occasional faint non-musical sounds as feedback catalysts or inhibitors play role in the process. Working at extremely low overall levels adds the benefit of introducing the recording equipment’s deficiencies into the mix. Indeed, these (normally undesirable) artifacts were the sole method of coloring the feedback signal in the first work, “Environ”, where no intentionally produced sounds were used. “Camera” uses the sounds of a zooming digital camera lens as a method of feedback control, affecting the DSP units in the feedback chain. “Water Shield” employs a similar approach but using water dripping and running on tin foil, and different means of real-time processing.

The raw material was subjected to additional processing to enhance various harmonic and rhythmic properties of the sounds that were not immediately audible in the first place. Additional digital elements were introduced scarcely in “Camera” and “Water Shield” to serve as slight accents and sort of guides for the overall perception of the works.

The volume of the resulting tracks is also kept relatively low. This allows for a different and personal listening experience based on the environment, playing equipment and amplification.

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Obsolete (Office Equipment) – Shuffle / Random

Obsolete (Office Equipment) – Shuffle / Random

noise; experimental

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Stevan Kovacs Tickmayer : Cold Peace Counterpoints

Stevan Kovacs Tickmayer : Cold Peace Counterpoints

A suite of fiendishly complex compositions for mixed real and virtual resources. The real are Bob Drake, Djorge Delibasic, Pegja Milosavljevic and Chris Cutler who, between them, cover electric guitar, bass, drums and virtuoso violin, but it’s mainly Stevan here, who plays all kinds of keyboards, strings, double bass and zither, on top of samples and software. In this collection of highly concentrated compositions we are presented with three thoroughly through-composed and finely articulated pieces: “Concerto Grosso (for keyboards, string instruments and CPU)”, “The Cold Peace Counterpoints”, and “Five Bagatelles for a Polyhistor”. Those familiar with Tickmayer’s earlier recordings, or with the Science Group, will have some idea of what to expect – a rare commingling of high European art music (Tickmayer studied with both Gyorgy Kurtag and Louis Andriessen), various East European folk musics, experimental rock, post rock and computer assisted electronic composition. These are intense, emotionally and philosophically driven pieces that demand attention – and reward it when given.

1889

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P. Tudela / M. Carvalhais : A Mix for Framework

Pedro Tudela and Miguel Carvalhais : A Mix for Framework

Crnicast 033

57’00″, 118.2MB

Tudela / Carvalhais : A Mix for Framework

Framework, phonography / field recording; contextual and decontextualized sound activity, presented by Patrick McGinley, broadcast every Sunday on Resonance 104.4 FM in London, or worldwide on resonancefm.com

The April 13 2008 edition featured a Chronicle of Crnica, mixed by Pedro Tudela and Miguel Carvalhais from music that Crnica has released or was about to release, looking back to the first five years of Crnica and ahead to what we hope is a much longer time.

The full mix is presented here without track markers, with the timing in the mix of each of the tracks used.

–

00:00-28:25

Gilles Aubry, Berlin Backyards

in Berlin Backyards (tbr)

02:00-11:13

Paulo Raposo, A Bag of Water

in Mus*****c

04:08-10:02

o.blaat, one morning (w/ Kaffe Matthews)

in Two Novels: Gaze / In the Cochlea

06:10-15:16

Pigeons in the street, recorded by Miguel Carvalhais

10:49-15:56

Lawrence English, Relocated (UTC)

in Happiness Will Befall

12:57-18:22

PTs cats, recorded by Pedro Tudela

16:19-17:47

Gintas K, track 8 from Lovely Banalities (tbr)

17:19-23:47

@c, 18 (with Manuel Mota and Joo Hora)

in v3

20:57-21:59

Recorded live (1:02:026) by Pedro Tudela

21:22-27:42

The Beautiful Schizophonic, Music for Lonely People

in Mus*****c

23:09-27:04

@c + Vitor Joaquim, Ouvertre

in De-Tour, Feld 005, 2007

25:20-42:19

@c, Blues, recorded live May 19 2006

Crnicast 016

27:57-30:14

kos Garai, To Bjeller

in Essays on Radio

29:19-31:40

Boca Raton, Circle 4

in Product 05

31:18-34:09

James Eck Rippie, Black Transmission

in Mus*****c

32:39-36:37

01.1 – 01.4 (work in progress files) by Pedro Tudela

35:08-39:14

Ran Slavin, DAT Beats

in The Wayward Regional Transmissions

37:33-41:48

Cem Gney, A Phonetics Theme

in Praxis

40:23-41:23

Stephan Mathieu & Janek Schaefer, Maori Love Song

in Hidden Name

41:00-41:59

Davor Mikan, Animal

in Tuschung

41:44-43:31

Autodigest, Expansion

in A Compressed History of Everything Ever Recorded, Vol. 1

42:01-44:13

Davor Mikan, Der Eisverkufer explodiert einfach

in Tuschung

42:18-45:28

Freiband, De Kabale Brug

in Leise

44:00-46:45

The Beautiful Schizophonic, La Lectrice (avec Colleen)

in Musicamorosa

45:12-49:47

o.blaat, Nightvision

in Two Novels: Gaze / In the Cochlea

46:11-47:17

Tilia, …and coming back

in vous rvez/ vous ne rvez pas

46:20-54:45

Feltro, from Crnicast 021

47:41-54:53

Sonega, Alentejo, Portugal. Recorded by Pedro Tudela

50:07-52:20

@c, 56E1

in Compilatorio #2, Alg-a, 2006

52:14-56:59

Pal, live at Passos Manuel, 22 December 2007

53:09-56:59

[des]integrao, 4to

in On Paper

56:34-57:00

Karlheinz Stockhausen, on sound

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