Twyll : Xr.0O9778PT-3(3-Ox4)2(2×0.6&2w%6.e)++(IF!!17 -= 8)
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Archive for December, 2009
Chagas & Simões . vinus musicus
Paulo Chagas – Flutes, Oboe, Clarinet, Bass Clarinet, Alto and Soprano Saxophones, Melodica
Fernando Simões – Slide and Valve Trombones, Objects, Voice
Recorded at Oficina Sonora, Peniche, Portugal, 2009
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Termotank : Exosphere
Un encuentro con la profundidad desde el espacio exterior en estancias con ingravidez casi absoluta e inquieta sensibilidad.
+ info: ruidemos.org/rdmtermotank.htm
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VA : The world is Just not Normal Pt 3
Third in the world is Just not Normal series, and once again a step up in the retrospective megamixing of the best albums on JNN.
At times 4 tracks can be heard at the same time, if you can keep track….
00:00 Altus – Trying to elude that dark place (JNN050 CD1)
06:10 Ian D Hawgood & Miko – Mat (JNN050 CD1)
09:10 Anton Mobin – Frequence (JNN045)
15:02 Stream69 – Souvenirs from Earth (JNN046)
17:21 :retreat: – Movement 1 (JNN053)
20:35 Tim Walters – Termite college (JNN050 – CD2)
23:46 In Cognitus – GoAlgotha (JNN057)
27:29 Hannah M.G. Shapero – Name (JNN042)
30:47 Faustino Goyena – Welter Junior (JNN054)
33:04 Cousin Silas – The sinking of the Cessna (JNN048)
33:40 Emerald Adrift – Phylloxera (JNN050 – CD4)
36:34 My brother Daniel – Tight (JNN059)
40:22 Har – Denormalized (JNN050 – CD3)
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PREC . Outono
paulo chagas – flutes, bass clarinet, saxophones, percussion
fernando simões – valve and slide trombone, flutes, percussion, voice
paulo duarte – guitar, voice
recorded at oficina sonora, peniche, portugal, between october and december 2009
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solstice overtone drone
my laptop set at polly moller’s “long night’s moon” concert at the luggage store gallery. the only sound sources were overtone-singing vocal samples of cary sheldon and an iphone recording of a small bell.
thanks to cary, polly, rent, c.j., matt, suki, michael, and amar.
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noish + xedh : big_fork
improvisaciones grabadas entre madrid (track 4 festival ulterior) Barcelona ( track 3) y Bilbao. Track1 y Track2 improvisaciones parciales surgidas a partir del proyecto “the improvisators network”
covert art >> drawing by raul dominguez http://www.fotolog.com/raun
xedh >> Miguel A. Garía es una de las figuras emergentes mas activas de la música experimental en el País Vasco. Su propuesta actual mezcla indistintamente sonoridades obtenidas por medios electrónicos con grabaciones de campo, en busca de una experiencia inmersiva, intimista e intensa, relacionada con la estética microsound pero que busca un camino propio mas allá de convenciones de género.
Ha publicado sus trabajos en sellos como Hormophoni, Zeromoon, o en su misma plataforma Larraskito
+ Info: http://www.xedh.org
noish >> Oscar Martin. Explorador sonoro, basa su trabajo en la reconstrucción de grabaciones de campo y en el uso creativo de los errores de la tecnología. Luthier-digital con el entorno de programación “puré data”, con el que desarrolla sus propias herramientas para el procesado y la composición algorítmica y generativa en tiempo real.
Toda su obra sonora se encuentra publicada bajo licencias creative commons. Ha publicado en sellos como DroneRecords, TecnoNucleo o Costellam.
Disponibles::> http://noconventions.mobi/noish/
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stanis comella : ec . st
composed by estanislao comella at bilbao (bizkaia), during july-september 2009
web: http://ec.atwebpages.com/
myspace: myspace.com/polinesiaparticular
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kakofunk . live at club le larraskito 21-10-09
doministiku [doku02]
kakofunk . live at club le larraskito, 21-10-09
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DeVis deviLs g. : atavismo risorgente
DeVis deviLs g. , founder member of the italian post-industrial masters Teatro Satanico, offers to us his ChristmEss present : a long liquid track, a river of frequencies that will drag you somewhere into your mind. Dog bless you all, again and again.
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Ji Youn Kang : Enfolding Plane
Korea is one of those countries whose traditional music has it’s own personality. For some time I have been interested in discovering the differences and similarities between Korean traditional music and Western music, and in bringing them together in my composition.
Ritual music from Korea has particularly fascinated me. It has a very long history, over the centuries it has invaded Korean culture and has a strong connection with the everyday lives of Korean people. I especially like the way that during the ritual the music creates a strong energy that triggers a state of ‘trance’, and the way the drama varies in each process. It has strong similarities with what takes place in a concert situation.
The pieces that make up this album were created from my deep affection to Korean ritual music, and at the same time from many attempts to ‘re-present’ the musical drama with spatial movements and structures of sounds or their constructions.
The title ‘Enfolding Plane,’ the title of one of the pieces, refers to the developing polyphony of both musical and spatial structures. All pieces were composed for the Wave Field Synthesis (192 loudspeakers) located in the Scheltema Complex in Leiden, Netherlands, and re-arranged for Quadraphonic/Stereo system for the album.
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Ramon Moro : Magma
…8th May 1902: on all the Martinica the sky was obscured by a dark cloud that sprang from the volcano. It was impossible to see anything anywhere over a couple of meters. In the cathedral of the chief town Fort-de-France the congregation was ready to hear mass, when the darkness suddenly rushed on the city. In a moment, the curch was cleared out and all the believers frightened knelt down in the darkness, praying and crying and asking themselves what ever was happened in the near city of Saint Pierre. In a couple of minutes the death’s wave, that was rolling at more than 150 km an hour, reached Saint-Pierre: all the citizens, terrified, were running away, as far as possible from the hell that was just broken out.
In a very little time, all the people of this town in the Antilles died. There were just two survivors: the shoemaker Léon Compère-Léandre and the black prisoner Auguste Cyparis, to whom the italian poet Giovanni Pascoli dedicated the ode Il negro di Saint-Pierre.
For this work in solo – that I decided to call just Magma – I was inspired by this and others volcano’s disasters. I devoted many hours to a careful sound’s analysis and to try all the resources of a little valvular amplifier: the music that was born from this work is like a soundtrack for deep, dark and disturbing backgrounds, but at the same time it’s possibile to find in it some melodic references, to describe hopes, loneliness and private matters of a man really helpless in the face of nature.
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Christian Alati : Pietra
Pietra is the debut album of Christian Alati, recorded in 2007 in his recording studio (Codhouse).
A complex and intense work, divided into two different but complementary tracks, introduces into an ipnotic and unreal dimension with a gradual pace.
Monolithic in its funereal gait, it rarely concedes and digs from the inside to the inside.
The chords are drifted into silence; noises, distant sounds are recreated into infinite spaces depending on the listener availability.
Pietra is not an album that you can love or hate, but it’s an album that loves and hates you.
Music composed by Christian Alati (2007)
Thanks to Alessandra Di Consoli and Christian Raimondi for their help in field recordings
Photos by Giovanni Curtrupi
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Generic : Distress Call
Generic is a project by Iris Light label owner Adam Sykes. Using manipulated, processed and deconstructed “FOLEY” Tracks, “Sound FX” (both for use in films and tv programmes) with occassional guitars, bass, and found sound to create music from drone, ambience and noise, with a mechanical edge to it.
www.myspace.com/irislight
www.myspace.com/electronicmusiklabel
This was said about the Generic album ‘Torture’ – Almost an admission that he’s not trying to reinvent the wheel, Generic aka Adam Sykes’ choice of band name is apt, given that there are literally thousands of identikit dark ambient / industrial outfits out there. But within the strange cold world of today’s industrial music where drone, machine sounds, unsettling noises and generally terrifying ambience are de rigueur, it’s less about variety and more about whether the artist manages to capture these moods successfully.
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Goh Lee Kwang : Home Brew
Percolating within a sonic melting pot of high frequency drones, bent bytes and buzzing synth lines are the melodic undertones of Malaysian artist Goh Lee Kwang’s latest understated masterpiece. A healthy dose of quiet infuses this collection of sketches and full-blown paintings with a stately austerity as Lee Kwang deftly explores variations on themes and source material from the album’s 22-minute centerpiece title track.
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Bloody Things & Mornings : Live @ Madame Claude
This is a performative duo (Ita/Germany) founded on an open concept of interact and improvise: each component plays recording modifying and recycling the sounds and movements of the other one. the software Pure data provides the battlefield for the live performance, while analog input and output are materially modified to create various moods , soundscapes, receiving data possibilities (piezo mic with metal resonators, speakers are moved or modified). Bloodythings and mornings are made up of no wave, misunderstandings, glamour augenblick, bodies, fuzzzs.
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Heddy Boubaker : Axis
Born in 1963 in Marseille (France) a nice Sunday of March at siesta time, influenced by the Mediterranean sea and the Mistral wind, Heddy Boubaker has played music and experimented with sounds since 1977, starting with electric guitar in a mainly rock/punk even progressive style. He’s now playing free improvised music with his alto & bass saxophones in an indescribable style, in which we are always able to hear the sea, the wind, électronics equipment, … among many other things and influences.
Axis – Heddy Boubaker, his first release on Electronic Musik (2009).
Heddy Boubaker – Axis
alto saophone & mouth
1 {5:22} Proletarian Revolution
2 {4:24} Kill All Capitalists
3 {2:49} Listen Me Not
Recorded and Mastred by Heddy Boubaker at La Maison Peinte
http://boubaker.net/
Things that remain / Scories of everywhere / Wild mind away
Les fantasmes d’un imagination debordee
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THE STUF, NUGLASIS : Tunalfiguss
The first track, Tunalfiguss is an excellent sound collage bringing to mind the likes of live Swedish sound art vs. a Detsroy All Monsters “Swamp Gas” or “Gobbler” mash up.
Complex in it’s variety of sounds but seemingly joined together in smooth and simple ways. Track two, “Goathook”, was more like rock ‘n’ roll (minus a few chromosomes) and it also sounded as if it had been made in the Australian outback! Track three, Doorn, was like ‘free jazz with nature’ backing a humming vocalization that flowed between the shamanic and the psychological trickster presence of Bruce Nauman, ending with a wonderful touch of John Zorn’s early childhood. Track four, Peas Listen, made me feel like I was trapped in a stopped subway on LSD while a gypsy played accordion for money, knowing that I was on LSD and purposely made the accordion more and more unnerving just for me, so as to get all of my money! Track five, Menotrophyt Plank-On, gave me a sense of deja vu, and was very dreamlike with vocals like Lester Bowie in super slow-mo counterbalanced by an incredibly fantastic spasmodic drumming, as if Tony Williams had a nervous fit and someone else was documneting it! All in all I really enjoyed this cd, and will find myself listening to it again and again I’m sure. If anything it was a bit short in duration. To me, Tunalfiguss made jazz, art and spirituality come together to make sense, in a wonderfully playful childlike way.
B.L. Saunders
Produced by The Stuf, Nuglasis.
Made in Ireland, November 2009.
Artwork: Armand Lepeltier.
JOHNCO044 [EP]
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Jeff Morton : Nuthre – Hip Hip
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Makunouchi Bento : Return to Avebell
“You are also caught with the fact that man is a creature who walks in two worlds and traces upon the walls of his cave the wonders and the nightmare experiences of his spiritual pilgrimage.” – Morris West
Total time: 31m52s
Release date: Dec. 2009
Gfx by Makunouchi Bento
http://www.myspace.com/makunouchibento
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NZ & UKQWJB : Azure
We strongly believe in the creativity of the people, as we know that the Network has given us a unique opportunity to develop and express ourselves. Do not let the social and cultural emancipation be held hostages bythe profit, become an active part and show that we want to be leaders of our future.
With this initiative we are talking about net neutrality, the mere conduit, ’s Amendment 138 of the Telecoms Package and the Legalization of P2P without any commercial purpose, around the the Creative 4 Net Neutrality Contest, an international campaign to bring to European Citizens attention on the importance of these issues for the future of the Net.
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London Concrete vs Dave Phillips
Remix project from London Concrete and Dave Phillips
London Concrete
Formed in January 2006, London Concrete are artists Seth Brignell & Dee Bowen. London Concreteâs improvisations utilise plunderphonics, field and concrete recordings, reclaimed objects and hacked electronics, instruments, voice, contact microphones and manipulated technologies such as jumping speakers and pick-up coils.
In juxtaposing everyday and alien sounds and recontextualising found texts and visual art sources they create unique collaged recordings and performances.
London Concrete provide an alternative perspective of contemporary sound art and experimental music, injecting into it more physicality, humanity, chance and play; away from tightly controlled laptop and digitally-driven composition.
Their evolving and exploratory approach to sound making has included work for theatre, radio, dance and live performance. They have also worked directly with performance artist Anne Bean, Joel Cahen (Wetsounds/Scrap Club), poet Mark Anthony Pearce and dancer Lizzie.
www.myspace.com/londonconcrete
Dave Phillips
1986 – 1988: founding member of Fear of God, hardcore-thrash/grindcore-quartett – a few releases (many bootlegs), a few concerts and short tours. since 1987: solo-works as dave phillips (dp); animalism, humanism, bruitism, voice, body, musique concrete, field recordings. bunch of releases and constantly touring. since 1991: member of Schimpfluch-Gruppe, a collective of bruitists and performers dealing with psychophysical tests and trainings, at the core consisting of Rudolf Eb.er (also: Runzelstirn & Gurgelstock/R&G), Joke Lanz (Sudden Infant) and dp. 1994 – 2004: various trips to Asia for field recordings, especially of insects. 2000 – 2004: founding member of OHNE, with Tom Smith (To Live & Shave in L.A.), Daniel Lowenbruck (Tochnit Aleph label, Raionbashi) and Reto Mader (rm74). since 2004: ‘dead peni’ one-man-doom/metal/sludge-project. since 2008: bassplayer with Ketsu No Ana. since 1987: live performances and tours (solo and with various projects) in Switzerland, Germany, Austria, France, Italy, Spain, Belgium, Netherlands, England, Denmark, Norway, Finland, Lithuania, Latvia, Poland, Czech Republic, Slovakia, Slovenia, Russia, Republic of Belarus, Romania, Canada, USA, Taiwan, Hong Kong, Japan, South Korea, Singapore, Australia, New Zealand.
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Luis Antero : Water Recordings II
Choose to be an invisible man : Luis Antero places his recording body between passings, waitings, silences, life rhythms…
Field Recording by Luis Antero.
Luís Antero is a Portuguese field recordist, responsible for the netlabel Green Field Recordings and student of Artistic Studies. His aim, in the field of phonological recordings, is to preserve the endangered heritage and legacy of the agricultural region where he lives.
Cover art by Luis Antero
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Euhedral & Laccohee : Split EP
“A post-apocalyptic doom landscape. Layered textures and beautiful noise structures, barely heard human wails floating on a nuclear wind”
Pixadelica.org
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sap(e) feat. bernhard günter
The music improvised by SAP(e) is entirely centred around a certain ideal of the listening experience.
What this ideal means is basically a total belief in the sonic experience as a perception. Music is not made to be functional; it does not have to fulfil any spiritual or physical needs, apart from what is really heard. What is heard is what only matter. In this aspect, our music is not by any means conceptual, nor it is only emotional. Our music only exist in the perception of the listener, there is nothing else. The perception is the place where occurs the imagination, the sensibility, in other words the music.
Being obsessed by what is perceived when we play, it became quite logical then that we are also obsessed with dramaturgy. We are playing some kind of restricted sonic landscapes at low volume in a very minimal way, but we are not playing drone. We are improvising music that always seeks to match a certain formal accomplishment, which –basically- tries to go somewhere. Needless to say that it doesn’t always work perfectly, this is improvised, thus imperfect. Finally, the recording is a capture of a moment; it has to be considered as this, no more no less.
Guillaume Contré, September 2009.
__ improvisation_ 28:45
sap(e) :
_ aurélien besnard : clarinet
_ christophe devaux : electric guitar
_ guillaume contré : laptop
with _ bernhard günter : pocket trumpet and clarinet, effects
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