Pilesar . Unusable Signal

Pilesar (pronounced pie-LEE-zur) is a percussionist and songwriter who specializes in creating quirky soundscapes, rhythmically dense improvisations and wildly eclectic live performances. Instrumentation may include drums, voice, toys, electronics, loops, broken effects pedals, borrowed instruments, thrift store finds, tapes and various environmental factors.

As both a soloist and collaborator, Pilesar has released dozens of fiercely independent recordings on his DIY label, Chameleon Dish Archives. For fans of Ween, Boredoms, Ruins, Zappa and Tom Waits.

http://pilesarmusic.com/

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Nelson . Ostatki

Its looks like complexity of nature is only illusion. Nature is based on countless, very simple rules still overlapping and acting on many levels and scales. Some of them have major (for our senses) effects and another are very subtle but in fact all of them are equally important and all of them still affects each other. Results cumulates on each level so that even small change of conditions in one point of natural process can cause very big change on another point. Our analytic minds are trying to follow this or that path of natural process looking for patterns, symmetries and causal relationships but there are too many of them and they are intertwined. Its confusing us. For this reason we cannot value nature qualitatively, we can do it only aesthetically. This new category brings peace to our minds, exempt of tracking to many paths, processes and dependencies.

Lets try to imitate this process, lets use very simple rules and algorithms and let them affect one another on many levels. Lets generate sound from them in almost random way, without undue aesthetic choices. Its impossible being human, but lets try. Then leave this system of feedbacks to itself, dont try to control it. Then come and look at the effect. Lets marvel like a child taking a leaf to hand, use your sense of grotesque. Its a pop music! Never use your existing associations and references. Its impossible, but lets try.

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Massimo Croce and tyyniliina . Meister Eckhart Tribute

“Eckhart von Hochheim O.P. (c. 1260-c. 1328) commonly known as Meister Eckhart, was a German theologian, philosopher and mystic, born near Gotha, in Thuringia. Meister is German for “Master”, referring to the academic title Magister in theologia he obtained in Paris. Coming into prominence during the decadent Avignon Papacy and a time of increased tensions between the Franciscans and Eckhart’s Dominican Order of Preacher Friars, he was brought up on charges later in life before the local Franciscan-led Inquisition. Tried as a heretic by Pope John XXII, his “Defence” is famous for his reasoned arguments to all challenged articles of his writing and his refutation of heretical intent. He purportedly died before his verdict was received, although no record of his death or burial site has ever been discovered. Well known for his work with pious lay groups such as the Friends of God and succeeded by his more circumspect disciples of John Tauler and Henry Suso, he has gained a following in recent years. In his study of medieval humanism, Richard Southern includes him along with Saint Bede the Venerable and Saint Anselm as emblematic of the intellectual spirit of the Middle Ages”.
(From Wikipedia, the free encyclopedia)

Voice: tyyniliina
Soundscape: massimo croce
Artwork: MaMa

tyynyliina biography:
Born in 1985 in the north of Germany, did scandinavian and finnish studies in the extremely north of Germany, so she had to go to Berlin, because every artistic interaction is being scotched in the former towns, but here she bought a really cheap keyboard in january 2009. Tyynyliina possesses aswell several analogue cameras and currently writes her second narration.

Massimo Croce biography:
Massimo Croce was born in Ferrara, Italy 1966, has been living and working in Cairo since 2001. Inspired by the work of futurist musicians of the early 20th century such as Luigi Russolo, Croce celebrates “noise” as an additional element of “sound” that could be utilized in the creation of musical pieces. His music (almost a misnomer) involves the desynchronization of somewhat distorted sounds.
Describing his work pattern, Croce explains that he walks the streets of Cairo with a voice recorder, recording everyday sounds to which the average Egyptian on the street is oblivious. Callers at the bus station, street vendors, the familiar bustle on the Cairene streets, all draw a smile on his face while others may huff and puff about the annoying sound level. “Normally, noise is looked upon as something annoying. Yet, we have always been living with noise,” Croce said. As a matter of fact, Russolo, his role model said the same thing almost a century ago.
Localization: In the winter Cairo Egypt, in the summer Ferrara Italy.

Contacts:
tyynyliina
http://www.myspace.com/tyynyliina
Massimo Croce
http://www.myspace.com/crocemassimo

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michael hoffmann . nebulous

michael hoffmann does not need to be introduced to the netaudio world. several netlabels have seen him publishing excellent releases in various constellations and styles.
this time he presents his experimental side as a solo artist on tonAtom: the acoustic drumkit is the starting point (in terms of both composition and sound) for five aural journeys between live sampling, loop processing and highly sophisticated studio work.
he shows us his sounds en detail through the magnifying glass and through the scanning microscope; and lets them vanish into the fogs of the atmospheres he has created.
let’s accompany michael hoffmann on his journey into the extraordinary sound world he created for us using his drums and his electronics.

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idrioema . ianua

Ianua, a Latin word meaning door, passage…word that gives origin to the name of the god Ianus;
the god of the beginnings, material and immaterial…
A door from which to observe every possibility, a door that conducts to the endless evolutions of the ideas…
A world that always goes, moving itself in circle…departing from itself, to itself returns …
In this work, we can observe the birth of the silence and its continuous evolution until the return in its native form, almost as a dream,
the acceptance of its own consistence, the respect of its own intrinsic integrity…Purity…

5.1 STREAM

In order to stream 5.1 version you must have (besides obviously a 5.1 audio system) VLC 1.3 installed.

To streaming from this player you must have also installed the Mozilla VLC Web browser plugin (Only Mac). Windows users have documentation on how to install it here.

STEREO STREAM

idrioema – ianua (extract) from idrioema on Vimeo.

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Stephane Leonard. Please destroy me

Two years after his album release “Lykkelig Dyr” sound- and videoartist Stephane Leonard joins Frozen Elephants Music with a collection of eight intimate sketches created between 2009-2010 in Berlin (GER) and Bergen (NO). If you pay close attention to the detail you’ll find yourself trapped within the processed and dissonant recordings of Kalimba, Cymbals and many other little toylike sounds. However, as the title indicates these eight tracks are no overall joyful ride. “Please destroy me” runs on sonic chaos, distorted glitch, sometimes bursting in with puzzling plucks and bits from the distant ruins of the original music. These are atmospheric miniatures indeed, but it is the longstreched low vibrations, the static rumble and clatter and the overall sense of alienation that makes this music so bewildering.

Stephane Leonard lives and works in Berlin, is part of various projects (such as Laptop Orchester Berlin) and founding member of the naivsuper artist/film collective. He has published various albums and eps over the past years. His works have been shown in exhibitions in Berlin, New York, Hamburg, Bremen, Bergen, Vienna, Zürich, Bangkok etc.

Cat-No: fe014
Written, recorded & produced by Stephane Leonard.
Artwork by Peter Prautzsch.

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Leonardo Ahumada . Nagual

No description available

http://www.myspace.com/leonardoahumada

All tracks composed & produced by Ignacio Morales. Santiago, Chile. 2009-2010.

Mastering: Daniel Jeffs.
(djefmusic@yahoo.com)

Illustrations by: Andrea Miranda

Artwork by: Mika Martini
(mikamartini@yahoo.com)

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Chris Whitehead . Valentine

Field recordings by Chris Whitehead made on the 14th February 2010.

www.myspace.com/ammonitesound

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idrioema . anechoid

As soon as you are going to reflect on the silence in order to give a definition,
it is clear the complexity and importance of the concept.

The silence you usually defined as a state of rest for the termination of any sound or noise.
But when it stops any noise, when you do not hear apparently any sound, one can not speak properly of “quiescent” since there are many phenomenas
that escape our perception not to speak of everything that happens within us
both physically and mentally …

Silence is not synonymous of emptiness but a generator, an integral part of everything.

”anechoid” has the objective to expose the silence,
to re-create a neutral sound environment but at the same time,
to give the possibility to observe its intrinsic characteristics ,
the hidden aspects to our perception of physical impossibilities.
To create scores of silence, recordings of what we hear as if we were locked in a totally silent ambient,
or rather, seemingly devoid of sound in honor of the innate ability to make music
without implying a single act but, simply existing.

available in 11 copies limited edition

info:
format: lightscribe cdr
lenght : 61.17 minutes
package: printed aluminium box
dimensions: 19 x 13.5 x 1.8 cm
booklet: 17 pages
containing images, texts and
spectrographies of silence
produced by: idrioema
year: 2009

idrioema – anechoid :: 17:44:653 / 21:00:594 from idrioema on Vimeo.

Video from the release anechoid
audio tracks: 17.44.653 and 21.00.594

*note: due to the type of frequencies being used
in relation to the uploading video compression, the audio quality differs from the original.

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Een Pianist? . Pianoless

I have nothing to say and i am saying it.

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restive . six melancholy songs

Six slow, moody trax made partly with Buddha Machine samples.
Released on Load and Clear netlabel: http://www.load-and-clear.net/

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Damian Valles . Bow Echoes

Resting Bell is very happy to welcome Damian Valles. Damian is a Canadian multi-instrumentalist who creates ambient/experimental works based mainly on solo guitar. He utilizes a wide range of sources to expand his sound which include a variety of percussive elements, piano, and field recordings. Past releases include a full length on the excellent Under The Spire imprint, and a 3″ EP on Standard Form. The latter being the first in a series of limited 3″ releases called “Rural Routes” that he is curating for the label.

His work “Bow Echoes” contains 6 audio-tracks with a duration of about 40 minutes and a 10-minute video for the opening track “Ground Truth”. Compared to his other releases, Damian put his focus more on drone- and ambient-scapes; however, “Bow Echoes” still has a very, very strong melodic center. The dominant washed-out and fading guitar-work give the whole release a touch of beauty and sublimity. Blurry shades, dimly lit landscapes, and warm colours layer and fade into each other. In addition, the video for “Ground Truth” perfectly visualises the sound and feel of the complete release.

Enjoy this wonderful release, full of warm drones and melodies, and welcome the spring (at least on the northern hemisphere)!

Release Date
26.03.2010

Author
All tracks are written and produced by Damian Valles

Artwork
done by Christan Roth, www.goyippi.net
Video done by Damian Valles

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restive . [m2008/22-06]

release #22 from restivesonic audio labs, an experimental electronic project started in 2004 and based in cape town, south africa.

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Vincent Bergeron . Forecast Proof

Composition by Vincent Bergeron and collaborators, Viveka Eriksson and Frédéric Szymanski. Visit the link on my name for more info.

As a composer, I am really happy about the diversity of this album, the instrumentations as usual, but also the tempos, the different lengths and the feeling that a listener can feel. It was a busy year, with two albums. It does take me quite a long time for every album I make. I am not the fastest composer, far from the one who never correct his partitions. Instead, I am trying to connect with evey chord and noise. The instruments rarely follow each others, don’t often play the same chords at the same time.

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Anastasia Vronski . The Snow Girl

The Snowgirl has two parts. The first part is a bass-heavy, slightly fluctuating drone punctuated by strange synthesizer noises and samples. The second part is more on the noise side, with filtered guitar sounds and more samples. The whole constitutes a kind of portrait of this “Snowgirl,” influenced by Dada and Futurist art, as well as Marcia Bassett (from Double Leopards and Zaпmph).

Artist Bio:
Anastasia Vronski is a musician from Russia. She plays many instruments and uses them to create evocative drone and noise works. Most of her tracks illustrate a strong emotional theme. She has released three pieces already: The Spell (Date With A Corpse); The Drowner (Electro-Rucini) and The Blaze (Not Final Dot). She favours free net-releases because that is how she discovered this music and believes it should be accessible to all.

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Roel Meelkop . Oude Koeien

Almost all tracks on this disc have been released on vinyl by Korm Plastics, except where noted in brackets. My gratitude goes out to Frans de Waard for his continuing support for my work and his unwavering commitment to the music that we all love so much.
Roel Meelkop, 2010.

Audio CD, 6 panels digipak
50 minutes+
Release date: February 2010
12 Euros + shipping

The problem with being a ‘reviewer’ and having more than one hat ‘in the business’ arrives when things like this land on my desk. Should I really be the one to review it? I wrote the liner notes for this release, because Roel Meelkop is not only a dear friend of mine (reviewers are sometimes asked to write liner notes, we all know that), but also someone whom I occasionally create music with (in Kapotte Muziek, Goem, Zebra and THU20 for instance). That’s two reasons for not wanting to review this. The third is that ‘Oude Koeien’ contains re-releases Meelkop did for my small Korm Plastics label in ancient days when it was releasing highly limited vinyl – all gone of course and rightly so to deserve a re-issue. Oh and a fourth reason is that one track is a remix that I didn’t release but rework an original I did. So, thinking this all over, its hard – neh, impossible – to write something objective about this release. Should I elaborate on the genius that Meelkop usually is? Marvel about the great microsound composer he is? Do you really need MY opinion then to get this? Hardly, I’d say. But one, objective, advise: Meelkop’s music should never be released on vinyl. Its too delicate. But that’s something you know already, I assume. You can now shelf your precious vinyl and hear a wonderfully remastered re-release.
- Frans De Waard -

Roel Meelkop on Why Not Ltd

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Jean-Luc Guionnet. Non Organic Bias

… I mention this last set because I been listening to the first of the two discs in Guionnet’s new Non-Organic Bias set today. The fifty minute single track on this disc is titled Espace Bas (Low space?) and is a piece for church organ, though I suspect that what I am hearing here is the result of several overdubbed pieces or fragments of sound recorded on an organ (one such instrument in Dieppe is mentioned in the liner notes) rather than something improvised completely in real time. The music is great, a troubled, undulating sea of cloying heavy tones overlaid by searing higher lines and the occasional violent crash.

The large wind organ is an instrument so heavily tied to one place in society and everything that comes with it. My strong atheist beliefs are no secret in these pages, but they are formed primarily by a childhood spent often in churches as I attended a Church of England school until the age of eleven that had a vicar as its headmaster. So when I hear even the slightest glimpse of an organ these links are made in my head. Listening for a while longer to this music though and it is clear that Guionnet is reclaiming the instrument from its history and connections. The organ is a hugely powerful instrument, both through its physical ability to generate huge billowing storms of sound, but also because of its place in history. Guionnet is re-channeling these elements into modern experimental music on this piece. For much of the disc the music we hear is expansive and powerful. There is a vaguely nautical feel to the music, gentle swells blowing up into torrential crashes and roars. This is passionate, emotive music but it is divorced from that history. After a while you forget how the music is made and just get pulled along on the journey. A bit of a rollercoaster ride this one and very impressive. I’m intrigued to hear the two tracks that can be found on the other disc and looking forward to Friday’s performance more than ever now. Non-Organic Bias is released on the excellent Herbal label… I returned to Jean-Luc Guionnet’s Non-Organic Bias set today and listened to the second of the two discs. There are two tracks here, the first of which, that might be titled Estuaire (I’m a little confused as to what track is titled what since Lee mentioned there is a mistake on the sleeve) is twenty-one minutes long. Again the source material for this composition all come from recordings of church organs, (several in fact that Guionnet has had the chance to play in recent years) but unlike the first disc of the set, which I wrote about a couple of days ago the sounds are quite heavily processed here. Starting slowly with brooding drones the music grows through passages where it seems to break up into grainy distortion, with the occasional unprocessed roar and plenty of detail coming and going in the background. often all trace of an organ seems to be lost, only for it to return as a more familiar sound appears. the last nine minutes of the piece see the music break apart into smaller particles that flit in and out of silence. In the liner notes to the track Estuaire Guionnet talks of the music being like an estuary, a body of water that is fed by and itself feeds other streams of activity “here” and “there.” As I said I’m not sure if this track is indeed the one called Estuaire but that analogy certainly fits anyway.

The second track on the disc, (probably) called Non-Organic Bias is a very different kettle of fish. The music begins very quietly indeed, with just the slightest murmur of a vaguely organ-like tone slipping into audibility. Steadily over several minutes this sound gathers in volume and intensity, with little swells of twisted sound rising to the top for a moment before the music drifts away again. For the next fifty-odd minutes this virtually featureless, deathly slow progression continues, avoiding any muscularity or show of overt drama and yet also very deliberate and purposeful in its form. I am again left with oceanic references, this time a gentle tide comes to mind, almost unnoticed and yet strangely forceful and direct. This piece is really quite enchanting, a nice companion piece to the passionate power of the first disc and well worth making this a two-disc set for.
- Richard Pinnell

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A. Brandal + F. Barabino . Untitled

«’Untitled’ is the first collaborative work between norwegian Andreas Brandal and argentinian Federico Barabino. Brandal on electronics and Barabino on prepared electric guitar. Both of them have a vast background of working with improvised music, which is precisely what you will listen to in this work.
All audio material was recorded between October 2008 and January 2009, and consists on 10 tracks of Brandal’s manipulation techniques using various electronic tools, both analogue and digital, over several improvised guitar pieces taped by Barabino in Buenos Aires.

All the pieces have numbers as titles, which have no particular meaning, as they all are random attempts at eviscerating guitar samples, through drone, glitch and noise manipulation.
You’ll find pretty much sonic chaos here, but it’s lovely chaos in all its glory.»
- Pedro Leitão

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Sabine Ercklentz / Andrea Neumann . LAlienation

Sabine Ercklentz and Andrea Neumann pose timbre as central parameter in their music. The intrigue of several pieces included in this CD lies in their unusual sound textures, finely tuned through acute processes of hearing, which move within an intensive field between traditional instrumental sounds and electronic tones, sometimes becoming more like organic sounds through the use of hissing, buzzing, fizzling or chirping.

Audio CD extra, 6 panels digipak with 16 pages booklet including essay by Marion Saxer on music on Ercklentz / Neumann. Translated by William Wheeler.
50 minutes+
Release date: April 2010

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Olaf Hochherz . hé, vous, là-bas !

Fractured and minimal, this release is the passing of time interrogating your patience.
Little sounds with no espeficic origin dissolves your aesthetics into a void.
I am still a listener but what I am listening to?
Nevertheless it brings pleasure to my ears and ideas to my brain.
What do you want to find out about this music?
Do you want to feel attracted to it?
Do you feel that it tells you something?
Improvisation, concrete music, reductionism…
Nothing of these yet something different, hard, precise, uncompromising,
crystal clear in its generic essence.
We can learn a lot from Olaf Hochherz about maximizing the potential of economy and concision.

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Bryan Eubanks . No Reunions

Electronics, fm transmitter, dsp | Developed January – March 2010

Recorded on March 3rd, 2010 in Brooklyn, NY

An improvisation exploring the impact of distance and time on both material and personal relationships

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Nō + ICS. . M-Type Alpha

Measured by complex formation, the inhibition of comparable levels.
The overarching physical insight, the splitting and recombination.

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TZii . Anti drama cut-ups

magickal frequencies for occult goats….international spreading, performed many live shows in Europe (western and eastern), USA, JAPAN, AFRICA, AUSTRALIA and CANADA…..collaborated on stage or in studio with these musicians: Ripit, Gamaboy, Steve MacKay (The Stooges), Mike Watt (Minutemen, The Stooges), Marshall Allen (Sun-Ra Arkestra), Sikhara, Rko, Hop-Frog, Jason Lafarge, Temple Of Bonmatin, Sam Lohman, Alveols, Nevroz, D’incise, Klstr, Najah, Koonda Holaa, Stalker, Otto von Schirasch, DJ Urine, Error, Felakkkzion, Cochlea, Pilami, Synoxys, 1997EV, Luna Dopa……..etc…playing, producing, organising…….let’s meet you behind that corner!!!!

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Paul Bailey . Music for Controllers

“Music for Controllers are improvisations performed live using ableton live, korg/nanokey, buddha machine and srutibox (iphone), and korg kaossilator

Music for Controllers I
created using ableton live, buddha machine (iphone), korg kaossillator and nano-key

Music for Controllers II (coming soon)

Music for Controllers III and IV
were improvised live using ableton live/ korg/nanokey, buddha machine (iphone), and the korg kaossilator
Paul Bailey . Music for Controllers

improvisation post-whatever ableton, buddha machine (iphone), srutibox just-intonation drone

Music for Controllers VI (A Stable Job is an Oxymoron)
this track was based on a field recording i made of my last day of work before my “fall break” at CSUF (a one-week non paid work furlough). a few days later i improvised over the recording of my commute (from highland park to union station) with some materials of an earlier piece i made last spring (not getting fired is the new promotion). when it was finished i felt it was a little too minimal and forgot about it until about a week ago and when i listened to it again i realized it pretty accurately captured my dread of what this financial disaster has become in my life.
interestingly enough on that was the same day on my commute home the conductor on my amtrak route told me that she had lost about 75 daily commuters between san diego and los angeles from a year ago and it was pretty sad how so few of us were left. i know for me there aren’t many part time faculty left in the music department at CSUF and at this point it’s can get pretty depressing whenever i think about all of my friends who are out of work.
probably a little TMI, but yeah… i guess it is a bit dark.
spoken word piece based on twitter RSS feeds on the keywords “fired” and “job”. parts of this piece were originally contained in the piece “not getting fired is the new promotion” (2009)
made using ableton live, novation launchpad, korg kaossilator, iphone (buddha machine, srutibox), text-2-speech, and a field recording (zoom H2) of my morning commute (metro goldline from heritage square to union station; los angeles, ca 10/15/2009 (10 min)” – Paul Bailey

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Pablo Ribot . End Of Melancholy

suRRism-Phonoethics is proud to release these sounds performed by Pablo Ribot!

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