Bogdan Dullsky : DREAMING IN A CONCENTRATION CAMP

«Famous russian experimentalist Bogdan Dullsky – responsible for the Quest Room Project – returns to test tube with a mixed-media release, to much of my own pleasure as I’m a big fan of his work. For this ‘Freedom Reflex | Second’ he invited some friends to collaborate, namely Barandash (the visual artist who created the amazing images that accompany this work); Nikita Golyshev (founder and curator of netlabel Musica Excentrica and musician) on samplers and synthesizers; Olliver Wichman (founder and curator of netlabel Petcord and musician) on piano, and also Ray Kondrashov on acoustic and midi percussions.

On this follow-up of a previous work, Bogdan and friends create a fantastic work of various levels in complexity, rendering the listener numb and dazzled. ‘Freedom Reflex | Second’ is, simply put, an audio-visual materialization of what life could have been in a concentration camp (one like KZ Mauthausen). Life on the edge, full of horrors, misfortune, sadness and agony, but also a life. What is life when you know it will eventually end, sooner than you think? What if you had to enjoy in the best possible way even knowing you would be eventually tortured and executed? What would fill your mind? What kind of pleasure would you try to take from those moments? What would you dream? Would you dream about Death? Despair? Freedom?

There are many answers to these questions. One possible answer is in ‘Freedom Reflex | Second’. Listen to it, and watch the images closely» – Pedro Leitão

«One year ago I had a terrible dream. Both simultaneously grandiose and beautiful. The whole year I have spent attempting to reproduce landscapes of the spiritual world behind the looking glass, in a sound…

Perhaps. Which that was possible. You check up…

It would be desirable that we have stayed near to prisoners of concentration camp Mauthausen and other camps of death. In what time and in what place they would not be… Can not listen to this album… Simply pray for, that some things. Never repeated… Though… What am I to speak for it? It will repeat again and again… I have impudence pretentiously to trust in a good victory

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LRAD : fragment syntax

Fragment Syntax is the first album of LRAD for Carpal Tunnel. The 9 tracks are characterized by repetition, organic ambiences and an inclination for low frequencies. Dark and industrial techno assembled from textures and abstract sounds, essential for lovers of glitch aesthetics and minimalist experimentation.

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Uladzislau Buben, Dzmitry Ladzes, Nasta Labada : ‘the wall of rain’

The recording was performed in early October 2009 – 20 years after the disappearance of Berlin Wall from the map of Europe. This composition describes the emotional state of sound engineers visiting the German capital for NETAUDIOBERLIN festival and presenting Belarusian internet-label HAZE dedicated to contemporary art promotion.

The recording was made on the bridge Oberbaumbrücke1 which used to connect the Eastern and Western parts of Berlin being a symbol of the divided nation. The participants placed themselves at three points of the bridge – a Western one, an Eastern one and right in the middle. At such a position they simultaneously recorded the surrounding sound landscape.
The weather conditions influenced the perception of the sound landscape: a strong wind combined with pouring rain created the background and at times blocked the sounds around. Yet, when the fifteen minute recording was finished, the sky cleared up – Germany reunited.
The recording was performed by Uladzislau Buben, Dzmitry Ladzes and Nasta Labada using recorders of different technical characteristics and afterwards combined in one track.

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Marinos Koutsomichalis : Peripatetic

Peripatetic. adjective. 1. Travelling from place to place, esp working or based on various places for relatively short periods. 2. with reference to the Aristotle’ s practice of walking to and fro while teaching. (Oxford American Dictionary).

Probing the aural

Cities are sound installations – organic sound-emitting devices. They are both ‘generative pieces’ and ‘field recordings’. Our auditory system defines our own individual acoustic space in such an environment. By wandering around, by consciously controlling the way we listen, we can alter this sonic-image and shape it according our will. We can interpret given space, inhabit its sonic qualities and seek aesthetic potential there.
The act of recording highlights and documents such a praxis, while enables me to further shape the soundscape in respect to how various pieces of equipment listen to and perceive sound. But what ultimately matters, is awareness of the sounds around us.
By trying to compose out of given space, I seek to highlight this perceptional shift. Letting Sound guide me to wherever it may, upgrades everyday life experiences into stand-alone compositions.

Assembling experiences

The material consists of field recordings made in the cities of Amsterdam, Athens, Berlin, York, London, Vienna, Brussels, Gent, Antwerp, Liverpool, Leeds and inside various means of transportation between them.Post production was cosmetic – limited to a couple of necessary edits just to remove some short clippings and handling noises. No further manipulation is being applied to the recordings. I chose to provide no indexes both to avoid associations and to highlight the continuity in the act of being aware to sound.

MK, 2009

1st edition of 180 cdrs, November 2009

5 euros

2140

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FMcontrol : Nodes_Factory

dedicated to Menadel and Vizo

complex data structures

Crazy-Languageâs habitué FMcontrol pushes forward his programming and composing techniques with this Nodes Factory release. Known for the precise beats, intriguing sonic manipulation and originality in song structure, Nodes is no exception; Fabioâs style is all over the place. Constantly morphing, these six experiments are a result of new composing techniques, all audio generated by FMc in a tree/node structure applied to both software and hardware, manipulated in real time, quite evident by beasts like Mentalspeed and Nodes Maker. Descriptions will fall flat trying to describe this release. Itâs an experience needed to be heard and explored. [F.G.]

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LARSP : Transit Land

Larsp composes experimental electronic music.

Larsp ’s musical background started with classical music at the Conservatoire where he learnt the cello. In 2002. his first project under the name of PUPPET LE CURE, sounds like hard-techno vs. melodic orchestra, and an EP was signed by independent label CWK in 2002.

His solo project under LARSP was launched in 2005. It follows a radically different approach from Puppet le curé. Larsp has moved away from techno to shift from experimental ambient to melancholic breakcore. The project is based on the atmospheres rather than dance floor, half-way between darkly oppressing sounds and slow rhythmic destructuring.

Length: 46 minutes

Author: LARSP (FR)
Year: 2009

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eric leonardson & steve barsotti : rarebit

“Rarebit” is a highly original recording by artists Steve Barsotti and Eric Leonardson made with their inventive, self-built instruments. The instrumental music has an organic quality, sounding unlike any traditional Western instrument or music. Barsotti and Leonardson’s sense of musical form arises from their deep attention to the individual essences of sounds, rather than the conventional grid of harmony and meter. The duo’s sensibilities are informed in part by their multi-arts education in sound, performance, and visual media, their openness to the aurality of the urban soundscape and many years of studio practice and live performance. What results is abstract sound composition that possesses a communicative style.

2139

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Yersinia Pestis : 002

yersinia pestis is an experimental netlabel project by revolt.destroy.reform. the main focus of the netlabel, is to release pieces of music without revealing the identity of its composer. therefore,major focus is on the piece of music before the listener and not on the image projected by its composing artist; so to kill every form of prejudice. this gives a fair opportunity to the new and old artists to expose their work without any unecessary or premature prejudice, leaving space for experimentation and innovation.

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Hyaena Reich : Agnella Dirigire

Hyaena Reich is a portuguese composer and performer.

She develops a body of sound work since 1996. Her work is based in experimentation and improvisation, involving the capture of real life sounds and ambients, as well as sound sequences with uncanny sound sources – metal and wood objects, stones or the exploration of sounds in spaces with specific acoustic characteristics – being afterwards edited and sequenced according to soundtrack-building techniques, breaking the borders between mere experimental music and sound in cinematic space.

She has a background of Film Studies, Sound Engineering and Scriptwriting taken at the Lisbon Conservatory, is daughter to film directors Margarida Cordeiro and António Reis, has studied matters of improvisation, experimentalism and musicology with portuguese experimental pioneers Vitor Rua and Jorge Lima Barreto (Telectu) and has fronted the solo projects Imbolc, ZLKNF and Arraial, being also the head of experimentalist collective Sabotage en Masse.

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Steven A. Barsotti : Say “tin-tah-pee-mic”

Subtle manipulations of a variety of sound sources including squeaking chairs, impalpable locations and invented instruments. The first two tracks combine improvised elements with existing recordings of disparate locations and ordinary objects. Two live excerpts offer minimal approaches to some of the same material from the studio pieces and explore our auditory perceptive limits by requiring concentrated listening.

Reviews
“Formerly a sound engineer at Chicago ‘s Experimental Sound Studio, Steve Barsotti is now a sound artist based in Seattle . This CD presents two of his studio works, “noise reduction on back porch” and “tintapemic”, and two excerpts from live performances, one from a show entitled “Threshold of Hearing”, the other “Threshold of Pain” (which gives you a fair idea what to expect). The two openers are less predictable – on “noise reduction” Barsotti weaves together numerous and diverse field and studio recordings into a heavy tapestry of sound, where in yer face square wave buzzes are intercut with all manner of strange rattles and crackles, as well as more recognisable elements (bird song and the tinkle of a music box). It sounds almost as if it could be improvised – there are quite a few Berliners whose music sounds remarkably similar – but it isn’t. In fact Barsotti has been tinkering with this and “tintapemic” for about five years. The second track explores the same territory, Barsotti playing expertly with depth and drama in the mix – close-miked sounds inhabit the same space as distant, echoing crashes – eroding the idea of foreground and background. The two live tracks, entitled “hey” and “HEY” (no prizes for guessing which is loud one) are less successful, but are interesting examples of sound art’s increasing preoccupation with positioning itself at one or the other end of the spectrum: it’s either noise meltdown or ultra lowercase, Merzbow or López (though one shouldn’t forget the latter’s spectacular blast of metal a couple of years back). In both categories, there are more interesting offerings than this, though; “hey” can’t hold a candle to bernhard günter, and “HEY” is far less exciting than a good old Japanoise brainfry. But as both are extensively sourced from the two other works, it is interesting to hear how Barsotti has reconfigured his composition in a live context. That said, you’re likely to return to the sophistication and mystery of “noise reduction” and “tintapemic” in a hurry. Now I know how to pronounce it, Steve, what does “tintapemic” actually mean?” —DW PARIS Transatlantic magazine Review by Dan Warburton

Steven A. Barsotti website

select one

Within US $9.50 Outside US $11.50

2136

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karlheinz essl & matthew ostrowski : flechtwerk

On May 5th 2009, Austrian composer Karlheinz Essl and New York-based sound artist Matthew Ostrowski met for a free improvisation concert at ISSUE Project Room in Brooklyn, NY. Although it had been 8 years since their last performance as a duo, the show turned out to be very powerful, each performer complementing the other in ways neither had anticipated. They were so excited about the results of this almost chance encounter that they decided to make the recording available to the world.
This album is dedicated to the memory of Suzanne Fiol (1960-2009), founder of Issue Project Room.

Liner Notes by Tom Hamilton

I go to a lot of concerts. I actually try to go to fewer concerts, but it never lasts for very long. I have lots of friends playing electronic music, because I’ve also been doing it myself for 40 years. Seeing friends and hearing electronic music seem to go together, but that’s just me. So that’s what happened on May 5, 2009, when I schlepped out to Brooklyn to hear Karlheinz and Matt at Issue Project Room.
Sometimes the experience of listening to electronic music is masked to a degree by the “electronic-ness” of it all; the suspicion that we’re now being asked to suspend our musical instincts to allow for the intricacies of the media. So we forget for just a little bit that we really do like a big dose of plain old musicianship. What a relief when we finally get it.
Like in all good concerts, what I did not count on was what I actually heard. And like in all good concerts, it felt like a wholly new experience in the art form itself. And now I listen to the CD and I’m reminded again how valuable and desirable we find contrast, drama and excitement – qualities that we wish for in any other music. I listen again as if it were jazz. Surprise!
OK, I can’t help it. I will digress to one technical point: An obstacle that faces every performer of our electronic ilk is that electronic and acoustic instruments do not project their sound quality in the same way. Our ears hear the subtlest changes radiating from a clarinet in almost any space. Not so with the electronic sources in that same room. Loudspeakers are usually the culprits – they just don’t deliver the punch the way the clarinet does, and microphones just seem to play dumb when they hear anything from a speaker. But in the present recording, I can hear tremendous contrast in dynamic range and a great deal of detail in the sound. This is not because the loudspeakers or microphones were something exotic (they weren’t, sorry). Karlheinz and Matt have made their original computer-based instruments with a great deal of attention to those important sonic qualities and how that bears on the resulting music. High resolution plus large dynamic range plus expressive controls equal a terrific sound. And a little recording common sense never hurts. We’re reminded of the room, reminded that it was a live event, but never limited by it.
The key to this isn’t that it’s electronic, computerized, sampled, or really tied to any particular technology, though ironically each of these artists are well-known for having innovated new techniques that help bring the resulting music across. The importance of their work lies in their abilities to improvise with endless shadings ranging between simplicity and complexity, and to channel the overriding musicality to fuel the performance.
And like a really good wine that we’re experiencing for the first time, we just know that it’s a good drink. Words don’t fail us; we just don’t need them any more.

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Carlos Villena : la foscor de les gàbies

Texturas sonoras en continuo desenvolvimiento, con amplios y lentos gestos de magnetismo y encantamiento afinados.

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mysterybear : Complex Silence 4

For Complex Silence 4, mysterybear (Dave Seidel) provides a decidedly abstract, yet sublime exploration of the Golden Ratio with two long-form tracks. He describes the creative process:

“Both tracks use intervals and waveforms derived from the Golden Ratio.

I usually compose in just intonation, which is based on rational numbers (whole number ratios). The golden ratio, by contrast, is an irrational number. Intervals based on irrational numbers are more complex and less consonant than pure (or just) intervals, and tend (to my ear) to have a darker quality which seemed to me to be suitable for the Complex Silence project. Both pieces were written using blue and Csound.

“Meridian Transit” is simultaneously restless and static. The title refers to noon (i.e., when the sun crosses the meridian), though it also reminds me somehow of 3:00 in the afternoon. Either way, for me it reflects the hot, sunny, humid weather that has dominated northeastern US during the summer of 2009. It uses a five-note scale and a seven-note scale that have no notes in common, and explores some of the different interval combinations that result as the tones slowly shift through a series of four-note chords.

“Solar Midnight” is the scientific name for midnight, the opposite of noon, though for me it really covers the period from about 10:00pm through 1:00am. This piece is more somber than its companion piece and uses longer tones. It is structured as a mensuration canon, where the different voices (three, in this case) play the same sequence at different time scales. There are two cycles: first all three voices are in the same register; then the voices are at different transpositions. It uses a six-note non-octave scale.”

Music composed and produced by Dave Seidel
Artwork and Series Concept by Phillip Wilkerson

The Complex Silence Series welcomes collaboration and contributions from fellow ambient artists who wish to contribute their interpretation of similar musical themes and ideas.

www.myspace.com/complexsilence
www.complexsilence.net

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NOISES OF RUSSIA : Quiet cube

The alboum “Quiet Cube” is a live concert recording, that have been played on a performance
of buto theatre “ODDdance”. This performance had place in a ST-Petersburg,
in a famouse sculpture studio of Anikushin, as a part of “Museums Night” 2008. During the performance
the audience are programmed to a result of invisible process, follow the instruction,
they are crook on a fish-hook witch was suspended by the artists. The audience have no possibility for usual
breathing,they need a respiratory system: an idea, conception, message, fictitious form.

1g0g alias Gosha Solnzev – the composer of electronic music, member project Noises Of Russia.
His compositions often created from stylistically disparate musical
elements are defined by specific composition of music space and by density of sound stream.
The voices of turning machines, church singing or piping,
drops of rain knocking against the metal roof, dog’s barking, tree’s whisper,
howl of the wind, organ accords and any other sounds are changing in his hands enormously
and serve as real-time source material for creating of giant acoustical constructions
of very fanciful forms.
The style characterize as – apocalyptic experimental music.
Be aware that 1g0g always uses to the maximum all facilities and power of concert devices.

Noises Of Russia – www.noises.ru, www.myspace.com/noisesru
ODDDance theatre – www.odddance.spb.ru
sculpture studio of Anikushin – www.anikushin.info

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PholdeOf : Uncertain Aspect

ping things is pleased to announce that our latest net release featuring music by one of the most respected artists in the ambient/abstract musical genres is now available for free download. “Of Uncertain Aspect” by Pholde features music taken from a live performance at Toronto’s AMBiENT PiNG event that captures the unique sound stylings of Alan Bloor at his best. Using found metal objects that are bowed, stroked and struck percussively, Bloor creates a fascinating and inspiring aural landscape that builds and grows organically over time, engaging the listener in a challenging but ultimately rewarding listen.

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He Can Jog : Machine For Sine Waves Speaker And Pebbles

Long tones and gravel from a Minnesota basement.

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Drugcomputer : Catalepsy Documents

“…24-bit coconuts and 32-bit pineapples. A new knowledge recognition is discrete. New one or nothing. The zero or the one.
Neuron/axon entity raised in metal box. Views modelling with sounds of images. But all the same, organic envelope with some speaking/thinking device is just an cyberorganic attachment to computer…”
In this abstract noise/ambient album Russian noise project Drugcomputer explores how they see the progressive process of society cybernation, how human individuals depend on it and which consequences are behind this process.
Uncommon for russian digital noise sound rarefaction and smoothness as well as balance and absolute inhumanity in concept distinguish this work.

Artworks for the release are made by Vitaly Maklakov.

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Exportion : Fadeless

The work of exportion is depiction of a scene made with the space element of the sound and the sight element of the films.

The sound source gained in this work in September from August, 2009, and it is produced the sound that I used on collaboration that live broadcasting lasting for three times with exportion and contemporary dancer reina and koma for the cause.

This work created field recording in the town where we live in and the mixture of various electoronic sounds collected.

The collaboration started to July.
sounds materials colected in suburbs of Tokyo where we live in for two months from May, 2009.

Work with four inspiration as form was performed on production.

A sound source put in this work was live broadcasting, and a re-master ring mixed the loop of the sound that It used again, and it was made.

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Id of Mobius : Excursions

The album consists of two lives shows recorded this year of which the whole content is completely improvised.

Id of Mobius are:
Shaun Blezzard (electronics / bass)
Simon Jones (violin / electroacoustic instruments)
Ian Simpson (electronics / lapsteel)
Harry Gallimore (electronics / kaoss instruments)

Id of Mobius had its roots in last years Centrifuge concerts at the Kings Arms in Salford, Manchester which were organised by Frakture (Liverpool). The chance grouping of Shaun, Harry, Ian & Simon received extremely positive feedback with many audience members requesting they ‘do it again’ sometime. Excursions is exactly that, Id of Mobius ‘doing it’.

Id of Mobius features members from Fonik, Good Noise Bad Noise and Noise Club.

My faith in Electronic Musik has been restored (Phil Morton, Frakture)

Contact:
http://www.myspace.com/idofmobius
http://www.myspace.com/fonikfonik
http://www.myspace.com/goodnoisebadnoise
http://www.myspace.com/noiseclub1

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Piotr Kurek : Lectures

I have no clue as to what Piotr Kurek does to generate his music. Sometimes it seems like improvisations on acoustic percussion (such as in ‘Part 1?) but then something like ‘Tripartite’ could very well be a duet between accordion and laptop. The title refers to lectures given by Cornelius Cardew, who died in 1981, but whose son Walter has from lectures, performances and rehearsals. He handed them to Kurek, who used them in this work. An odd-ball, that brings up some questions, like what the relation is between the spoken word pieces by Cardew and the music by Kurek. Just inspired? Or is the music from Kurek all so spontaneous as Cardew wanted? Why not just add those as liner notes? In some cases music and talking mixes, which is nice, such as in ‘1963?, but when the talking is ’solo’, it turned me a bit off. However the music here is quite nice. A most curious mixture of laptop music (I assume) and improvisation makes this something that is not heard often. Great one. (FdW) Vital Weekly 700

“Lectures” was initially composed in 2007 for a live performance in Warsaw, during a Cornelius Cardew music festival that was part of the series of events “Zakrzywienia Ig?y”, organized by Micha? Libera. The original idea was to perform Cardew’s pieces but this later evolved towards an improvisation based on sounds appropriated from various Cardew recordings, complemented by additional instruments. With the help from Walter Cardew, the composer’s son, Kurek was also able to use unreleased recordings from lectures, performances and rehearsals conducted by Cardew, and recorded for private use. This release presents a further development of the pieces composed for the live performance, inspired by Cornelius Cardew and his lectures.

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MATA : Inócuo

No description available

http://www.amp-recs.com/amp/amp047.html
http://www.archive.org/details/Incuo
http://www.archive.org/compress/Incuo

http://www.myspace.com/matasounds

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The Beautiful Schizophonic : Erotikon

Jorge Mantas, the man behind The Beautiful Schizophonic, is a romantic man – at least that’s what I think, as I never met him. For the press release he wrote a long text, dealing with erotics – and thus he creates a dreamworld of his own. His music, through the years he’s been active, is also of a romantic nature. String like computer sounds, a bit like Gas did, form the basis of all his compositions. Here he gets help from Yui Onodera, Sleeping Me and Christina Vantzou doing voices. Thus he carves out a fine niche of his own. Nothing abstract, nothing ‘nothing’, no mystery – just a plain guy (his own words) with a love for beautiful women and beautiful textured music. Ambient? Sure. Microsound? Of course. Something special? Mwah… no, not really. If you take the music face value, what is left is a beautiful woven tapestry of sound, very ambient, most suitable for long evenings near the fireplace. Nothing special. What makes it special is the context in which he brings us this music – that is a particular daring thing, to be so open about it. Nice indeed. FDW Vital Weekly 700

I dream of dead poets and supermodels, fancy software and scenic drives, Paris or Los Angeles on a late night flight, maybe a PowerBook in a Louis Vuitton bag with a picture of you on the seventeen inches wide screen, I dream of glossy drones and dark eyeliners, long legs and bright sounds, fake breasts and uptight asses, I feel like the speed of your heart when you’re so full of grace, I feel like the light in your smile, the slip of the tongue, I float an inch from the sky to the point of you, I’m out of my eyes with a ballad, washing with kindly tears, I cherish the acoustics of your invisible caress, I undress you in poetry, I read your body, soul of doll, I taste your body of sound with the acoustic memory of love, your flesh in stereo, drunken with loud cells on the rocks, resonance of an old soul with metasynth delay, oh you’re so cute when you loop my heart, you are a beautiful loop in my heart, a phantom voice in high heels, you you so you, baby blue eyes drinking champagne underwater, kissing my heart shaped ears, you look beautiful when you dream, you are all the night gave me in return, you whisper in sweetness the distant melody of the stars, suggesting but truth to my divining, I’m just this superficial guy though, plain and superficial, like your skin when you striptease me, when you fuck me like a virgin, I’m a dirty romantic, too sexy for myself, more a loner than a wolf, more a bleeder than a bruiser, night cruiser with a faded touch of love, chasing in dreams the heart of it all, in dreams, in dreams, like when we walk together, hand in hand, like two strangers, and then your pony tail, pink pony, the ten thousand ponies of your pyjama running every night after me, and then the sound, the almighty sound, the greatest sound of all, the sound of you kissing the snow with dark blue lips.

All tracks composed by Jorge Mantas, except track 6 by The Refractors (J. Martinez) and track 9 by Sleeping Me and Jorge Mantas. Special guests: Christina Vantzou (voice on 2, 3 & 4, rhodes on 2), Yui Onodera (piano on 8), Sleeping Me (guitar on 9), The Refractors (piano on 6). Track 8 contains a sample of a 1860 recording of Au Clair de la Lune, possibly the first recording ever of a human voice.

Designed by P. Tudela and M. Carvalhais. Postcards courtesy of Paulo Silva. Mastered by M. Carvalhais.

I dream you are a song. Love Forevermore

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James Mcdougall : Double Tilde.

The tilde symbol ‘ ~ ’ is used in logic to represent negation. A double instance of this symbol means simply, double negation, which in turn means affirmation.

A special thanks goes to: Manrico Montero and Mandorla, Joan, Emma and Lance Newton-Wade, Juan Jose Calarco, David (Shalom) Velez, Anthony P Kerby, Daniel Crokaert, James Hasselle, Gavin Simmons and Harvey.
All field recordings sourced in The Great South East of Queensland, Australia.

01: bleed compensation 11:42
02: always the days 10:29
03: running long 12:27

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Preslav Literary School : Aura

Aura contains a piano piece originally written by ocdc, the words of Carlos Fuentes, odd environmental recordings, elements taken from decaying magnetic tape, and various other forgotten and untitled audio materials.

Apologies and thanks where due. Originally made for a dance performance of the same name by Katerina Valdivia Bruch in Smederevo,
Serbia in 2009. Mixed and mastered on Audacity for Linux. Released under Creative Commons.

http://www.myspace.com/preslavliteraryschool

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Boiar : MiMinhos

Boiar is a Portuguese collective exploring experimental electro acoustic electronics. “MiMinhos” (portuguese word for treats) are newest sound experiences from Boiar and these guys offer us some really good music under the suggestive title. I might say this is just for real MiMi Records lovers

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