Some Asian Females Bodybuilders . 1998
High pitched frequencies are presented with very ambient textures and subtle moving landscapes.
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Archive for February, 2010
noish . TrAnsCoDE
Is a new release containing two tracks originated by playing and experimenting with (bash) linux console and using one simple command:
cat /dev/mem >> /dev/dsp.
This action will dump a file (in this case a file like “/dev/mem” which is related to the computer memory) towards our sound device “/dev/dsp”. It will start then interpreting this input data transforming them into sounds.A raw and 8-bit sound is generated containing its evolutions,dynamic changes, rhythms, silences, textures, etc. Sometimes it sounds like loading old fashioned spectrum cassette games.
At this time, I was reading an essay by Simon Yuill about the concepts and the relation between brutalism architecture and computing art science
(http://1010.co.uk/code_brut.pdf)
This article somehow influenced me at the very beginning of the creative process, but afterwards I decided to work in other directions with these raw materials: cooking them by using mutant mathematics generative processes, iterative and fractal functions applied to granular synthesis parameters.
Simultaneously I was also programming all the software (patches) needed in PureData frameworks generating feedback between product and process.
At the end by mixing the sound blocks obtained from the transformations explained above, the two tracks of the release were born. (in the multitrack editor “Ardour” linux-audio software )
What fascinates me the most from digital media, is having the possibility to transform whatever you can decode into 0 and 1, and been able to dump it into different shapes and even languages (audio can be turned into image, DNA from a cauliflower into a sonora piece…) I find here a retroflavour of poetic absurd DADA; some kind of situationism deviation, or perhaps a shoot of machine desire connection….
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paulo chagas . Cortinas Fabulosas
This is an experimental project of electro-acoustic music using a hybrid concept of sonic construction.
There is a canvas based on field recordings from various sources, sounds from domestic stuff, industrial, radio, wide open space explorations and improvisational music sessions.
The techniques used are essentially the collage and electronic manipulation of noises, voices, objects and instruments.
1 – Cortinas Fabulosas – visio A
2 – Cortinas Fabulosas – visio B
paulo chagas – field recording, electronics, winds
with
bruno duplant – bass
fernando simões – trombone
paulo duarte – guitar
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KraftiM . Voiedge
Voiedge (a trip to the edges of the void?) with collected works from KraftiM made in 2007/2008. These tracks haven`t been released on Musictrade. On 3 tracks rhythmpatterns of dutch artist Justbase were used. Most tracks have a darkish doomy feel, but never without a sprinkling touch of hope. Haumter and Chursed are based on live cathedral recordings (the Zoom H4 makes wonders) but adapted on KraftiM’s VST’s. On Bearice you can hear one of the last Polar Bears begging for seals, Fratatag and Drong both contain monastery fieldrecordings.
2,4,6 tracks – Rhytmpatterns supplied by Justbase.
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karlheinz essl & agnes heginger . out of blue
this is officially the last xs records release.
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Joda Clément & Tomasz Krakowiak . no one is there
Joda Clément – MS20 Synthesiser, Field Recordings
Tomasz Krakowiak – Percussion
Recorded at live at Somewhere There, Toronto, January 3rd 2010
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Terra Engine . Alchemy
After an extended incubation period, the fourth Terra Engine album has been released into the wild. As you might have already guessed, this album is an auditory exploration of the alchemical phenomenon, not only in a strictly material sense, but also in philosophical and psychological (through the theories of Carl Jung) senses as well. Musically, while this album retains some elements of ‘the Terra Engine sound’ (for better or for worse), there are also many new and (hopefully) exciting components assisting in complementing the overall presentation of the album.
Personal notes:
Well, here is the latest Terra Engine release. Of all the material I have put up for inspection, I believe this one has had the longest development time overall. I really cannot remember exactly when I first decided to use alchemy as a theme for the album, but it had been at the back of my mind for quite some time. Personally, the idea of alchemy: that of turning (either physical or metaphorical) ‘refuse’ or ‘corruption’ into ‘gold’ (or the object’s most purified state) is a very appealing and fascinating philosophy. Furthermore, the theories and systems proposed by Carl Jung, that alchemical systems are, in a manner of speaking, coded re-interpretations and/or continuations of various Gnostic systems, and that it could be useful in achieving some degree of individuation, made a great deal of sense to me at this stage in my life. However, I feel that alchemy, in a philosophical context, could be useful to not only myself, but also anyone even vaguely interested in psychological self-examination and improvement.
Originally, the album was only going to be four tracks long: one for each of the four main alchemical stages (‘Nigredo’, ‘Albedo’, ‘Citrinitas/Xanthosis’, and ‘Rubedo’). However, after several sessions, it quickly became clear that, in that particular format, the album would never be completed in any reasonable amount of time. To begin with, I had (probably) over-grandiose expectations of how ‘moments of maximum despair’ (Nigredo), ‘purification’ (Albedo), ‘awakening’ (Citrinitas), and ‘reunification/enlightenment’ (Rubedo) should sound like. Thus, the majority of the sessions never advanced more than various rough sketches of what “Nigredo” should sound like. Eventually, I decided that only two of the four stages would be represented as such (Nigredo & Albedo), not only because (arguably) they were the easiest to represent sonically, but because I had only experienced the first two stages in my life (alternating periods of incredible despair and moments of self-improvement/purification/pseudo-happiness). It is important to note that many of these earlier sketches of darkness (and various song fragments/segments I created when I was sick of dark ambient/drone) were later re-mixed, re-mastered, and re-purposed to what is now known as “Time Distortion”, an album of moderate and radical remixes of Jon 7′s “Time” material.
So, in the end, some of the songs are likely to be better than others, but hopefully many will find them all enjoyable and/or meaningful in some context. Enjoy!
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coeval . distante 3
It is snowing. Water is trinkling. Crickets are chirruping. It is freezing. Winter is here, in some outer space. But the ambiance is widely removed from that. Not some distant, exotic countryside – a more quixotic nature burrows its roots into strata of warm-blooded experience. There is a distance, to be sure. A length measured in paradisiacal strata. A width measured in lengths of vibrational extensions of neurological tendrils into the vast reaches of an inner sanctuary. A depth measured in fathoms of aether. Three dimensions of distance, condensed and compacted into an extended timeframe of corporeality, realigned in constellation. The ensuing aurora only blinds the external eye; but it enlightens us to the length, and width, and depth of being itself.
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Erick Diego . ‘Low Motion Thelepathy’
suRRism-Phonoethics proudly presents you Erick Diego!
A fantastic master spreads his spell from mexico-
taped, unrecorded blisters from the sun as doing became her children!
you’ll be flying!
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cage cabarrett . covil radiophonic workshop
Cage Cabarrett – Este projecto, constituído por Sigma = 10 e Ró=28 do colectivo melómano LorenzFactor, caracteriza-se por explorar a noção de indeterminação na arte (Fluxus) recorrendo a um modus operandi DIY, desconstruindo a complexidade sonora até a uma elementar simplicidade sónica e experimental. Acreditamos na Criação pelo acaso explorando o Princípio da Incerteza e do Aleatoricismo. Todas as performances sáo únicas e irrepetíveis, criando e manipulando sons, revelando ambientes e texturas sonoras, provocando sensações sinestésicas no público.
írecorrente o uso de variadas máquinas analógicas vintage, de Circuit Bending e de qualquer possível fonte sonora: Korg Ms 20, Módulos, Theremin, Buddha Machine II, Jomox T Resonator, Korg KaossPad, Vinyl, rádios a pilhas, spoken word, público e principalmente toda e qualquer acção imprevisível que origine Som.
Poderáo conhecer melhor este projecto em www.myspace.com/cagebarrett.
â¨Music must give birth to orgasm and revolution
Cage Cabarrett explores notions of indeterminacy in art. We encourage a DIY aesthetic and we value simplicity over complexity. Like Dada before, Cage Cabarrett stands for a strong anti-commercialism attitude and an anti-art sensibility, disparaging the conventional market-driven art world in favor of an artist-centered creative practice.
We believe in the creation of art by chance, exploiting the principle of randomness. The word derives from the Latin word alea, the rolling of dice. We give you the sound of that rolling dice. It sounds like Cage Cabarrett!
Os 3 Movimentos de Covil Radiophonic WorkShop foram gravados num único take contínuo no dia 22 de Julho de 2009 no Covil (local de experimentação, discussáo e reflexáo) em Cascais, Portugal. O material utilizado foi: um Korg Ms20, um Theremin, um Radio a pilhas e um Korg KaossPad. A única pós-produção realizada foi uma redução do tempo total dos temas e uma ligeira equalização.
As vozes, conversas e músicas possíveis de ouvir no 1º Movimento foram captadas durante a (des)sintonização aleatória em banda FM.
A conferéncia que decorre ao longo do 3º Movimento foi captada durante a (des)sintonização aleatória em banda AM â Joseph Campbell, Mythology and the Individual.
No tema Persona foram utilizados excertos de poemas de Fernando Pessoa declamados por Joáo Villaret.
íaconselhada a audição dos temas através de headphones de boa qualidade ou através de sistema de som 7.1, de modo a poderem desfrutar da melhor qualidade do som/frequéncias analógicas e respectivos efeitos.
ATENÇÃO: devido a nem todos os sistemas de som terem a capacidade de reproduzir uma banda frequencial mais ampla que o habitual, algumas frequéncias poderáo ser reproduzidas como feedback ou distorção (náo pretendida originalmente). Certas frequéncias inaudíveis poderáo causar sensações de náusea, desconforto, cefaleias e confusáo mental. Níveis de som elevados poderáo causar surdez permanente. Náo é aconselhada a audição durante a condução de veículos e máquinas. Náo existem estudos para a audição durante a gravidez ou aleitamento.
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Luis Marte . iv
Argentinean experimental electronic artist based in Buenos Aires Luis Marte and founder member of Fuga Discos netlabel, released a new EP and the first on Pueblo Nuevo Chilean label and netlabel.
Luis Marte did last year several projects like “Espacios de Ciudad”, “Subtes” and “Call” which were into field recordings, noise and drones.
“iv” which consists in 3 tracks basically composed with mobile devices like iPod and Palm, whose sounds are manipulated with an analogue set-up.
The first two tracks showcase soundwaves, microscopic abstract sounds and clicks but the third one and final is an ambient composition quite different from the other two, focusing on drones and minimal electronics.
Guillermo Escudero
Santiago, Chile, Feb. 2010
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Soegaard Ensemble . Soundmapping the Genes
Soundmapping the Genes is an outstanding, research-based artistic project, using DNA code-sequence structures in music. The complete code-sequence of the H1 histonin protein of the rainbow trout is translated into MIDI language and can be used simply as a melody – consisting of 642 notes – or as information, running electronic music parameters in real-time live music settings. The three electronic wizards are Fredrik Soegaard on guitars, MIDIgenemap, TC FireworX, Claus Gahrn on laptop, MIDIgenemap and Henrik Strandfelt on gongs, gamelan, cymbals, mbiras, electronics.
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Dafna Naphtali & Chuck Bettis: Chatter Blip
CHATTER BLIP is a duo performance piece by Chuck Bettis (electronics/voice and Dafna Naphtail (electronics/processing/voice) — an interstellar multi-character audio operetta involving a multitude of human, alien, and machine voices, in a mash-up of primal and classic sci-fi and electro-acoustics.
Dafna Naphtali, singer, sound artist/improviser and composer, comes from an eclectic background of music-making. In the early 90′s she began studying classical voice and turned her attention to contemporary classical and experimental music. She performs and composes using her own custom Max/MSP programming for sound processing of voice and other instruments, appearing in venues and festivals in NY, Germany, Canada, Belgium, Holland, Israel and Russia and in 2010 to India.
She’s collaborated on projects with Hans Tammen, Kathleen Supové, Lukas Ligeti, Alex Waterman. She is co-leader, with Kitty Brazelton, of the digital punk trio “What is is Like to Be a Bat?” (Tzadik CD 2003), and she was recently awarded a commission to write a vocal work for the vocal ensemble Magic Names (with Gisburg, Daisy Press, Nick Hallett, Peter Scisciolli and Robert Osborne), a group founded to champion the vocal work of Stockhausen.
Chuck Bettis, raised in the fertile HarDCore soil, nourished within Baltimore’s enigmatic avant garde gatherings, blossoming in NY’s Downtown Musical tribe. Past projects include Metamatics, All Scars, Trance And The Arcade. Has also appeared on recordings with Ikue Mori, Nautical Almanac, Yellow Swans, Measles Mumps Rubella, Toshio Kajiwara, Carlos Giffoni. Has played live with John Zorn, Fred Frith, and Afrirampo to name a few.
Current projects include Brown Wing Overdrive (electronic trio of Bettis, Derek Morton, Mikey IQ Jones), Mudang Rouge (quintet with Jerry Lim, Evan Rapport, Josh Blair), Period (quintent with Mike Pride, Charlie Looker, Darius Jones), Hiccup (laptop duo w/ Luke Calzonetti), and a laptop & voice duo with Dafna Naphtali.
Dafna Naphtali – sound processing, electronics & voice
Chuck Bettis – electronics & voice
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Visszajáró . Issza Meg A Lét
The album is made through 2008 by Lenkes László with the use of guitars, effects and computer software in a home made studio.
Visszajáró . Issza Meg A Lét
The cover picture is a painting of a vojvodinian/hungarian contemporary artist dr. Máriás Béla.
The intro is a sample from a modern linguist, thinker.
Visszajáró is a band formed in 2007 of Lenkes László having aimed to cooperate with other artists by the name of Visszajaro for further interesting underground music releases. Located in Törökbecse/Novi Bečej- Temerin, Vajdaság, Serbia.
Contact reference: www.myspace.com/visszajaro
- Time of album: 32’
- Tracklist:
01 – logos
02 – a vajdasági tejúttermelők szövetkezetéhez
03 – blues kóan a mester titkáról
04 – zöld és lila
05 – a varázsló kertje
06 – paris hilton a holdról
07 – intro
In english:
01 – logos
02 – to the vojvodinian milky way-farmers’ co-operative
03 – blues koan on the master’s secret
04 – green and lilac
05 – the garden of the wizard
06 – paris hilton from the moon
07 – intro
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Masashi Harada Trio . Breath, Gesture, Abstract Opera
In the wake of the release by Joe Maneri/Masashi Harada duo (CD LR 553 – Pinerskol) this is Masashi Harada’s trio with James Coleman on Theremin, Glynis Lomon on cello and voice, and Masashi on percussion and voice. Never before the Theremin sounded so original and exciting. The three of them make quite a racket and there is a lot of passion, fire and unpredictability in their music. Nevertheless, this seemingly alien sound world, somehow, makes a lot of sense.
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Post Mortem . Full Mouth
“Full Mouth” is the second release of Post Mortem about intimate home and amateur movies on internet. Movies without music, just the sound of the video-recorder and the room where the video is taken and, of course, sounds from the throats of the people who are filmed.
The composition is a reflection about submission, power and being a star.
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eric la casa . zone sensible 2/ dundee 2
For the best part of a decade, Éric La Casa’s attention to sonic phenomena has resulted in some of the finest contemporary Musique Concréte to emanate from France. A listener of the highest order, La Casa’s methodology for sound recording allows for a versatile examination of both urban and natural environments and it is these interests which are captured on this new edition for Room40. With an ability to find unique perspectives on his sound subjects La Casa’s site specific works ‘Zone Sensible’ and ‘Dundee’ seek to draw a detailed focus and expose unfamiliar, incidental and previously unheard sound worlds. Zone Sensible, exclusively composed from recordings of bees in the Olivier Darné’s hives, located in the Saint Denis suburb of Paris, reveals a chaotic, frenetic microcosm that speaks to the density of the real, whilst hinting at our ears to experience a dance of oscillations – wings beating with boundless energy. As a contrast to this microcosm, Dundee, composed with recordings of Dundee city (during a 10 days residency at DCA museum), sees La Casa turn his microphones outward. Rendering a captivating sound map of sorts, ‘Dundee’ was developed in collaboration with USA Film experimentalist Ken Jacobs’ “nervous magic lantern”, on a 6 channels device. From these recordings LA Casa composed variations and movements in interaction with Ken Jacobs’ processing – a contemplation from the real to abstracted life.
Credits:
Zone Sensible – Commissioned by Les Instants Chavirès (France) for La Brasserie Bouchoule during Lieux Communs festival. Dundee – Commissioned by Arika (Scotland) for Kill Your Timid Notion 2007.
Press:
“An uncompromising production, air.ratio is a truly unique work of auditory topography. Very highly recommended.” –Boomkat
“La Casa shows himself to be one of the premier soundscape artists with this release, as he mixes raw soundscapes with various degrees of processing to create powerful sonic presentations.” –Newstalk 2010
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Five Elements Music . Green Noise
Green Noise is a mysterious and deeply contemplative two part soundscape work that utilizes a mixture of elemental field recordings and blankets of vague hovering drones. The title appears to refer to the sound of wind blowing through trees, and perhaps has some ecological overtones as well. Aesthetically, the cinema of Andrei Tarkovsky comes to mind.
Five Elements Music is a project of Russian sound artist “[s]” who is also involved with a project called Exit In Grey. The project name cites in particular the Vedic philosophy of five elements (air, fire, water, earth and ether).
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Jean-marc Foussat & Sylvain Guerineau . Aliquid
What common ground could there possibly be between a saxophone (a melodic instrument) and a VCS3 analogue synthesizer coughing, spitting, belching and crackling? Jean-Marc Foussat’s world of sounds has the thickness of the chaos and the reality of industrial suburban blast furnaces. The sound world of Sylvain Guerineau is a transparent stream. Their music is like melting snow turning into an avalanche and crashing everything on its way. It is a marvellous nightmare which we are reluctant to leave behind. Not for faint-hearted.
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PREC . Trem Azul
Recording of the first concert of the decade in this important performance space in Lisboa dedicated to the out-of-mainstream jazz.
paulo chagas – flute, oboe, bass clarinet, soprano and alto saxophones
fernando simões – valve and slide trombones, berrante, voice
paulo duarte – electric guitar
Recorded live at Trem Azul Jazz Store, Lisboa, 16 january 2010
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Seijiro Murayama / Éric La Casa . Supersedure
Seijiro plays a snare drum (but in far-flung and microscopic ways, mostly unrecognisable) while Erik uses microphones and field recordings – though this won’t give much impression of what’s on the CD, which is in a category of its own – nothing like anything done with a laptop, nothing like acoustic improvising, nothing like electronic music, but rich and organic and often surprising. Unusual and interesting. In a small edition; folded card sleeve. Rer Megacorp
Seijiro Murayama = snare drum + objects
Eric La Casa = microphones + field recordings (1995-2007)
drawing by Tomoya Izumi
Seijiro Murayama
http://seijiro.murayama.name
Éric La Casa
http://ascendre.free.fr/
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Heddy Boubaker . not smooth, never .ep
recorded and mastered on August 2009 by Heddy Boubaker at La Maison Peinte, France.
heddy boubaker – alto and bass saxophones
Is that the wrong path,
to voluntary get lost on a way with no issue,
step by step
a wish to be only alone,
not being smooth,
not being sad,
not being…
dispearing or paradoxically the proof to be here,
right here now and nowhere else.
Maybe not?
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Erhard Hirt & Axel Dörner . Black Box
Axel Dörner and Erhard Hirt met first at a network radio concept, curated by Jens Brand for WDR puclic radio Cologne in September 2006. A special music project during the Münster Sculptur-Projects 2007 gave the chance for the duo concert you can hear on this CD. Both musicians created a unique musical language far beyond the tradition of their instruments using extended playing techniques and electronics treatments.
1 – Black Box 1 (23:06)
2 – Black Box 2 (19:17)
Total Time: 42:25
Recorded live on 7/30/2007 at BLACK BOX, cuba Münster, Germany, released 2009.
Axel Dörner – trumpet
Erhard Hirt – guitar
Erhard Hirt & Axel Dörner – Black Box by hansteg
Born in Cologne,1964 Axel Dörner studied piano at conservatory in Arnheim and trumpet at the Musikhochschule, Cologne. Moved to Berlin in 1994. He has worked with numerous internationally respected figures in the fields of Improvised Music, New Music and Jazz. Beside his Jazz playing he has developed a unique style of trumpet playing based in part on unusual, often self-invented techniques. He has toured in Europe, USA, Australia, Japan and appeared on numerous CD and record releases.
Since the 1970s, Erhard Hirt works as a musician and promoter/curator in the field of improvised and experimental music. Starting point for his electro acoustic works is the notion of sound as a meaningful surface of musical creativity and activity. Groups (selection): Malfatti – Hirt – Schneider, XPACT with Fuchs, Schneider, Lytton, KING ÜBÜ ORCHESTRÜ, Minton – Hirt – Turner, Lol Coxhill – Erhard Hirt – Duo, STRING TRIO with Phil Wachsman and Alfred Zimmerlin, Trio with Phil Minton and John Butcher, Trio with Martin Theurer and Thomas Lehn / Paul Lovens, Duo with Claus van Bebber.
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Fonik . Scatter Graph
Recorded in St Brides Church, Liverpool UK as part of a Frakture Concert in 2007.
The piece was completely improvised.
The piece starts very, very quietly so dont be deceived when playing on this page that nothing is there !
Digitally recorded by Harry Gallimore.
Harry Gallimore – electronics
Ian Simpson – prepared lapsteel
Previously available as a limited edition cdr from Electronic Musik.
www.myspace.com/fonikfonik
www.myspace.com/electronicmusiklabel
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RELENTLESS . metal workshop
Following a collaboration in the multidisciplinary improvisation-collective In Sit-U in 2003, the two saxophone players Artur Vidal and Sébastien Branche decided to examine together the different relations that could be found between the way they play music and the other forms of expressions involving instant-composition.
For the past few years, they have been looking into the relations between dancing, video and improvised music. /Relentless/ is, in a way, the sound layer that settled through these investigations.
Long tones, circular breathing, multiphonics, objects, are some recurring elements always renewed in a dialog between an idiom that settles through practice, and the necessity to improvise to create a music that takes into account each sound and each instant in its composition.
Sébastien Branche: saxophones & objects
Artur Vidal: saxophones & objects
Recorded in July 09, during a residency on soundscape at CESTA (www.cesta.cz), in a metal workshop, Cerní Remeslníci (Tábor, Czech Republic), while two workers Ladislav svárec Procházka and Karel bruska Sychra, are at work as usual. The piece that comes from it is a 20 minutes testimony of our presence there.
We would like to thank Hilary Binder, Christopher Rankin, Georges Cremaschi, Ladislav svárec Procházka and Karel bruska Sychra.
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