Luis Antero – Anton Mobin – MZN-710 . 3pr(iii)²ses

Here’s the second volume of 3priiises on Earsheltering, same concept as the original one, 3 pure field recordings, between abstraction and documentary.
As usual it’s available as a free download.
All the best for this audio experience,

Pas de scission majeure dans ce deuxième volume de notre série 3priiises, voici trois prises de son brutes, entre abstraction et documentaire, dans les contrées reculées du Portugal pour Luis Antero, au plus près de l’eau pour Anton Mobin et en Bretagne pour MZ-N710.
Place aux sons, aux voix, c’est en téléchargement libre sur Earsheltering.
Belle expérience,

JM Charcot.

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…

Born in 1979, Anthony Baron lives in Paris and works between Orleans, Lyon and Paris.
Self-taught musician, he turns very fast to an experimental practice with an approach done wonders for the self-confidence on improvised music for an intuitive music.
He used to play with the collective H.A.K. and more with affinities; with Ayato , Thomas Thiery, Denis Mc Carty, Rinus van Alebeek, Planetaldol, G4z, Colin Johnco…

Fascinated in great detail sounds in everyday life, it is under the name of Anton Mobin, that he produces sound pieces for radio (Arteradio), dance (Syderal Ballet), and theatre (Bobine Theatre).
Field recordings and sound effects are the essential elements of his personal sound art.
Wall of sound, to become landscape, Anton Mobin operates by slidings, where every sound is born inside the other one then comes undone in free style…

Anton Mobin‘s sounds are frequently diffused his creations under the shape of sound installations with the collective Nature Artificielle , with the photograph Jean-François Rauzier , the artist Gil Bensmana and the engraver Mic’Torn ; but also during sessions of listening, and quite always archived on disc for H.A.K. Lo-Fi Record.

Very productive, Anton Mobin diversifies all the broadcasting modes for his music, and it is in Internet that he finds an appropriate answer to his bulimia, of the webradio, by way of netlabels, audioblog of Arte, collaborative projects on Internet, compilations…
We find him on a large part of these virtual places where the improvised music is going full swing.

“MZN-710 started recording sounds five years ago in Auvergne, a place in France where I go on holidays since I was seven. In the moutains, more than a thousand meters high, the sounds of nature are very pure, without disturbances from man activities. I began there, and then recorded near the place where I live, a small town which is much more noisy ! And so on, in different areas, such as forests, near rivers, and by the sea… When you have caught the virus you can’t stop.”

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Franck Smith . Studies on fixed point theorems

These 41 studies are part of the preparatory works realized during the conception/composition of “Théorème de point fixe” – a discographic publication by Franck Smith influenced by algebric topology and scientific concepts on abstract spaces, around the ”fixed point theorems” of Solomon Lefschetz, Bonislaw Knaster and Alfred Tarski… “Studies on fixed point theorems” documents the genesis of the official cd release and contains only inedit sound material not used on the final disc.

Composed & performed by Franck Smith
(electronic manoeuvrings)

Recorded in September 2009
© 2009 Franck Smith
Version for free-download – No commercial usings can be made from this recording.

This work precedes the cd release ‘‘Théorème de point fixe’’
Published by Odiolorgnette — www.odiolorgnette.com

Photo by Less is more
Graphic design by Elvire Bastendorff

Biography: Multi-instrumentalist, noise manufacturer and composer using electronic devices, self-configured digital percussive modules, vinyls, anvils, gongs, sirens, drums, theremin, piano, fictitious dialects… also (un)known as Ijnveïq de Ernestine, Tlü Ejtko, Phrenq, Qiipnm’id Yorgomnüg… Franck Smith runs the private recording collection Odiolorgnette and works as an independant artist in electronic fields, experimental audiovisual contexts and soundtrack production. Member of the dual electronic unit Zn’shñ.

Recent discographic works:
* Franck Smith, “Théorème de point fixe” (odl.9173-658)
* Zn’shñ, “II” (odl.9173-657)
* Zn’shñ, “++” (odl.9173-656)

Contacts:
http://www.odiolorgnette.com/
http://francksmith.blogspot.com/
http://twitter.com/franck_smith
http://www.myspace.com/sthintosmithereens
http://www.facebook.com/pages/Franck-Smith/267373610867
http://www.vimeo.com/francksmith
http://www.youtube.com/znshn
http://soundcloud.com/francksmith
http://znshn.blogspot.com/
http://www.myspace.com/znshn
http://www.facebook.com/pages/Znshn/249027124635

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Chris LynnNear . Lakes & Voices

Chris Lynn’s sound pieces consist of field recordings, ambient pieces, and soundtracks from his films. His first CD Audible Landscapes was released on the Sockets label based in Washington D.C.
His second disc On My Way to the Cinema was released on Earth Monkey Productions based in the UK.

His ‘New Works’ album is also available from Electronic Musik

He frequently posts new tracks on Marblevenus.net

See his site on Opsound - http://opsound.org/artist/chrislynn/

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karlheinz essl & agnes heginger . karlheinz essl – out of blue

On December 9th, 2010 I made my way to the Essl Museum in search of the lost spirit of Advent. It was there that Agnes Heginger and Karlheinz Essl performed for the first time as a duo, developing an improvised musical dialogue ‘out of the blue’. Somehow ‘out of the blue’ fit perfectly for me because I was looking for a way out of my melancholy December mood. Instead of chairs there were cushions spread out on the floor that seemed to invite the audience to a direct, unconventional and comfortable listening experience.
The Essl/Heginger performance: responsive, unpretentious and focused. There was a positive feeling of closeness and a friendly attentiveness towards the audience.

From the very first moment I was stunned and amazed, and at the same time touched and fascinated with what then happened. As I sank deeper into my floor cushion, I felt almost embarrassed by a let’s say ‘complete sense of happiness’. Two highly sensitive personalities engaged each other in a dialogue that should go down in history as a prime example of musical interaction.

There were many innovative moments, alternating quite willingly the musicians pulled each other into reflection, with clear sighted independence, fusing things into perspective. With a dramatic climax at the perfect moment, they communicated affectionately with virtuoso clarity to a spellbound audience. Whether it was ‘out of the blue’ or carefully planned, the opportunity to listen to Agnes Heginger’s and Karlheinz Essl’s musical dialogue was indeed my good fortune.

You were certainly left hoping that this musical conversation will be continued.

Jörg Duit

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Szilárd Mezei . HŐ

Born 1974 in Senta, Serbia (then Yugoslavia) as a member of the Hungarian minority in the multiethnic region of Vojvodina. Completed his violin studies in Senta and Subotica and studied composition for four years at the University of Arts in Beograd under prof. Zoran Eric. His orchestra plays contemporary improvised music, mostly performing his own compositions. As a composer, Mezei is interested in exploring the relationship between improvisation and composition (similarly to Witold Lutoslawski’s aleatoric and Anthony Braxton’s creative music methods), incorporating elements of jazz and authentic folk music as well. As a young musician he followed the path of B.Bartók and Gy.Szabados.Mezei is also very actively involved in composing scenic music (among others with Josef Nadj). He has released CDs with labels like Leo Records, Not Two, Creative Sources, Red Toucan. Played so far with musicians/improvisors like Matthias Schubert, Tamás Geröly, Róbert Benkő, György Szabados, Tim Hodgkinson, Albert Márkos, Peter Ole Jörgensen, Jens Balder, Joe Fonda, Michael Jefry Stevens, Joelle Leandre, Hamid Drake, Herb Robertson, Frank Gratkowski, Charles Gayle. His writings on music have been published in many periodicals in Former-Yugoslavia and Hungary.

Duration 69.25 | Released March 2010

Compositions for solo viola and solo double bass.
Composed & Performed by Szilárd Mezei.
Recorded in Novi Sad- SERBIA.

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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.

_ITA

…8 maggio 1902, su tutta la Martinica il cielo si oscurò, a causa di un’altra nube scurissima lanciata verso l’alto dal vulcano, e divenne ovunque impossibile guardare oltre uno o due metri di distanza. Nella cattedrale del capoluogo Fort-de-France i fedeli si stavano apprestando ad assistere alla Messa delle otto, quando l’oscurità piombò, improvvisa, sulla città. In un attimo la chiesa si svuotò, e le persone, in preda al terrore, e chiedendosi cosa mai stesse succedendo alla vicina Saint-Pierre, si inginocchiarono per la strada, nelle tenebre, pregando e piangendo.

In due minuti l’onda della morte, che rotolava a più di 150 chilometri all’ora, raggiunse Saint-Pierre, dove tutti gli abitanti, terrorizzati, erano intenti a scappare, ad allontanarsi quanto più possibile dall’inferno appena scatenatosi.

Tutti gli esseri umani che abitavano questa città delle Antille morirono in brevi istanti, tranne due sopravvissuti, il calzolaio Léon Compère-Léandre e il carcerato di colore Auguste Cyparis, a cui Giovanni Pascoli dedicò l’ode Il negro di Saint-Pierre.

Questa tragedia e numerosi altri eventi catastrofici legati alle eruzioni vulcaniche sono stati fonte di ispirazione per il lavoro in solo che ho voluto chiamare magma.

Da un accurato studio del suono e da ore di sperimentazione delle variabili possibilità che offre un piccolo amplificatore valvolare nasce una colonna sonora per scenari cupi, scuri e inquietanti, ma anche richiami melodici che dipingono speranze, solitudini e drammi personali dell’uomo inerme nei confronti della natura

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francisco meirino . knowing how to end

Live performances for subwoofer, neon light and feedback

1 : Live at Mme Claude, Berlin, 2009
2 : Live at DF_arte Gallery, Santiago de Compostela, 2009

Performed and recorded live by Francisco Meirino
using: computer, piezo transducer and frequency analizer.

These live performances were mainly made with the sound of vibrating neon lights shaken by low frequencies.

Francisco Meirino Biography

Francisco Meirino (1975 / Spain / Switzerland)

Active since 1994 in sound and live performance, Francisco Meirino explores the tension between programmable material and the potential for its failure, he is primarily interested in theidea of recording what is not supposed to be : gear failures, the death of PA systems, electro static background noises and how a failure can become something more than just annoying.
Francisco Meirino’s music is a complex and constantly changing electronic soundscape that ranges from dynamic electro-acoustic to sheer noise blasts and is fascinating by its physical intensity and detail precision.

He works mainly with the computer, contact microphones and various acoustic devices.« In the end, it’s all about encouraging the listener to get involved. In making your own choice about how you listen to a record. To listen in ways that make you question the act of making or listening to sound itself. » .
With more than 100 live performances in various venues and festivals in Europe, Japan and North America, Francisco Meirino tries to raise the stress level of the audience by using sound phenomena.

Over the years, Francisco Meirino had the honor to collaborate on studio and live with great artists such as : Dave Phillips / Scott Arford / Michael Gendreau / Zbigniew Karkowski / Astro / Randy H.Y. Yau / Lasse Marhaug / Cindy Van Acker / Tim Olive / Kasper TToeplitz.
He has been commissioned with music for: Pro-Helvetia (Switzerland), Radio Airplane(Japan), Companie Greffe/Cindy Van Acker (Switzerland), Mostra d’Art Sonor i Visual de Barcelona (Spain).

He has curated events (at cinéma Oblò in Lausanne), co-curated events for the LUFF inLausanne and given a lecture at the Conservatoire de musique of Montréal.He has been awarded with the composition prize for experimental music in 2003 by the SwissArt Counsil.
He lives and works in Lausanne, Switzerland.

Selected live performances :concerts in : Japan, USA, Canada, Sweden, France, Netherlands, Germany, Switzerland, Italy, Spain,Poland,
in many international festivals including Activating The Medium (San Francisco, USA),Observatori (Valencia, Spain), Musica Genera (Warsaw, Poland), Norberg Electronic Music Festival (Norberg, Sweden),Akousma (Montreal, Canada), Lausanne Underground Film and Music Festival (LUFF, Lausanne, Switzerland).
Selected discography. More than 30 records (CD, Lp, cdr, tapes, online) on labels such as Entracte, Groundfault, Banned Productions, Even Stilte, Sentient Recognition Archive, Solpisism, Gameboy etc… and on his own label : Shiver Sounds. Solo (as phroq) : 2009 : Connections, opportunities for mistakes / CD / Shiversounds 2008 : Half-asleep music / CD / Entr’acte 2008 : Magnetic ghosts / cdr / Sentient Recognition Archive 2007 : Hazards of sound / cdr / Tanczprocess 2007 : 77 sound objects / cdr / Cipher Productions 2006 : We will shiver with fear / cdr / Obscurica 2006 : Attempts to reach Usa / cdr / Harshnoise 2005 : Mâchoire / cdr / Solipsism 2005 : Collapse / CD / Groundfault Recordings 2004 : Confusion / CD / Shiversounds (Swiss art councils award of best composition in experimental music) 2003 : Kobekita, respect is due to? / cdr / Spirals Of Involution 2002 : If a defect is sound / cdr / Shiversounds 2001 : The Microway / cdr / Electronic Musik 2000 : Neko / Lp / Hyhat collaborations : 2009 : Concert à l’Oblò / cdr / Echomusic / with Kiko C. Esseiva 2007 : Raizan tatami / 2x 3′ cdr / Banned Productions / with Mike Shiflet 2007 : Eagle keys / CD / Even Stilte / with Tim Olive

Links :
http://www.franciscomeirino.com
http://www.myspace.com/phroq
http://www.youtbe.com/phroq
http://www.23five.org/archives/phroq.html

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Alexei Biryukoff . Talmenka

“This is my first album devoted purely to field recordings.
Talmenka is the name of the river in Altai Region and a village that stands on it. It’s been a very inspiring place for me, surrounded by the woods, lakes and two rivers.
So here is a bunch of tracks I recorded on my several trips there.
I am sure next time I will come up with something more conceptual, but meanwhile I wanted to share a few local frequencies that are more like a sound diary of last summer.
The artwork that goes along with this release are photos of the places where the recordings were done.
Hope you will enjoy the tracks and the artwork.” – Alexei Biryukoff

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Sabrina Siegel . A Silent Forest

A Silent Forest is a response, “a warning and a prayer……… “,
to the film “A Silent Forest” featuring David Suzuki
which tells of the grave threats posed by genetically engineered trees
to our environment and to human health.
http://www.youtube.com/watch?v=O5rHZE9H7OA

The cover art features Sabrina Siegel’s “Nature’s Recomposition #10, birds”, created in a similar vein as her music, where she creates ” situations where Nature/being may compromise my compositional control as artist. The works thus become loci for dialogical events in collaboration with Nature and yield a more organically complex composition.”

Contact:
http://www.myspace.com/sabrinasiegel

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Anton Mobim . Floating Wood

Calm and surrealist nothing is real in the composition which combines Improvisation & Field Recordings.

For all the improv part Anton uses a handmade Prepared Chamber in wood, using its natural reverb, associated with many metal elements like springs and a home made calimba build with a trap of pigeon.

This meditative sound art composition is contemplative, very languishing melody at the rate of the nature and reveal numerous sound effects in forest produced by my own movements ; Bough, shock of pebbles, crushed leaves…

This composition by Anton Mobin takes part of his serie of recomposed soundscape, with âMicro-Climatâ released by Konkretourist netlabel.

GFR # 008

Floating Wood
by Anton Mobin
(20 minutes)

Devises used for field recordings:

-Hydrophones
in The washhouses of Avaray and in the river called Le Lien (Cher / France)

-contact microphones
Buried in the sand in Le Croisic (Bretagne)
A bottle-boat Immersed in the sewers of Paris

-Nagra Ares M2
For all the recordings in location (France)
the wind in Crozon-Morgat (Bretagne)
Flys in Le Croisic (Bretagne)
Animals in the Zoo de Vincennes (Paris) : monkeys & birds
Ducks around the Serpentine in London and around the Spree in Berlin
sound effects in all these locations

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Fonik . Sounding Second ep

Originally released in 2008 on 3″ cdr.

Two in a set of two (see Sounding First ep, also a free download from this label).

Fonik
Ian Simpson – electronics & lapsteel
Harry Gallimore – electronics

www.myspace.com/fonikfonik
www.myspace.com/electronicmusiklabel

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v.a. – BPM75

BPM75
www.bpm75.net

Collective of musicians and composers living in Paris. Acousmatic art and contemporary music. Open to multidisciplinary activities and non conventional concerts. Our objectif : a research of news way to involve public and artistes. Our principe : generate a deeply relations betwen body, thoughts and spirit from sounds activities. Our dogma : Art is not an discipline, is a way to percept and to enlarged our conscience of reality.

Oliver Rappoport – Identités

The title inspires in the different faces that the individual has had through all his existence. Going to the expansion or the personal deterioration. For this reason one can notice that there are not a great climatic moment but several parts and coats rescheduled to places that are not clearly definite. But all this succeeds with a great discursive coherence, a great work of orchestration and a linking sound in constant transformation.

Adolfo Kaplan – La Sombra del Sonido

Around each complex sound, one will have sounds whose complexity dépends on the wealth of harmonic of the generating sounds, the sound, the sound has a shade. The pièce « la sombra del sonido » is composed by a series of experiments, that mix résonant sound bodies and various résonances of synthesis. The used of several types of synthesis allowed me to show the similarities betxeen acoustic and electronic sources. In some cases givin importance to the natural aspects of the sound évents (especially by the control of vibrato and tremolo velocities), and by the combines processes used in instrumental whriting and concrete music opérations.

Joan Bagés i Rubi – Deux Poissons Japonais Electroniques

A work that delas with de fluid. An interpersonal landscape where any action is trnasformed into an enregizing torrent. The landscape of small surrealist aquarium where acoustic and electronic sounds live together is a metaphor to adress the decanting of enregy, addictions, relations… The work’s original sounds arise from guitar, electronic, and eprcussion sounds. The main processing realised was harmonization and texturazation of sounds with Reaktor to create fluid sequences that are related to each others. At the same time, a MAX/MSP patch controled by Bagés allowed him load the GRM-Tools and to work on sounds with a MIDI controller-Keyboard to be able to articulate sounds and print a certain level of movement on them. This work was composed thanks to the 2007 Generalitat de Catalunya Scholarship.

Pablo Fredes – Sonatisse

Beads made in 2004.This piece belongs of a trilogy of pieces that contrasts and complements trying to build in various types of sources: from the anecdotal to electronics, from the electronic to the natural, since as to what award-acousmatic, etc.This especially is a tonal (tímbrica) structure of electronic sounds with some inserts and inlays of natural sounds perfectly award-ear. A compositional level verticalize ago trying different durations and evolution of sound layers, all at different times of the general time of the piece: something I call “temporal fractal figures.”

Hubert Michel – Salle de bain

«Salle de bain mean Bathroom» in English. This music is a part of a sound fresco call “appartement ” (flat). Originally, it’ a study for the choreographic company “Etant donné” (Rouen-France). The aquatic subjects were principally treated on rhythmic point of view. The length of Salle de bain is about the same time you have a shower. The mean idea is to listen to freshness you fell when you wash your body.

Mirtru Escalona Mijares – Sur le Chemin de la Brume. Cotidiana # 1 – Dedicated to Christine Groult

The piece owes its name to a study on intuition in musical form. That is to say, that I have decided to beguin without any pre-established form and to craft and imagine as I composed the work. Leaving, in this way, the most important place to intuition without losing from sight the aim of a coherent form.This piece belongs to a cycle of works which I set out from material form our daily environnement used as a poetical source by means of electroacoustic and concrete tools. The principal source of sound for this piece are the sounds produced by a washing machine. “Sur le Chemin de la Brume” released in Pentemont’s Baroque Temple by Jonathan Prager, in October 2003. Paris-France.

Esteban Anavitarte – Otom-A

<< La migration inévitable, les successives désintégrations
des espaces habitables / la trace humaine silencieuse et
visible / le quotidien imperturbable, l'illusoire et fragile confort
de notre espace immédiat et familial / la conséquence impitoyable
de la mort >>.

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ibon rodriguez & roberto mallo . saliva . saliva

ibon rodriguez – voz
roberto mallo – saxo alto amplificado

grabado por roberto mallo en le larraskito 17/03/2010

ibon rodriguez web: www.ibonrg.net
roberto mallo web: www.joseghast.org

www.xedh.org/doministiku

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DURAN VAZQUEZ . Laissez Faire, Laissez Passer

The tenth sound work by Durán Vázquez, active sound artist since 1998 from Galicia, Spain. Nine tracks composed and recorded using mainly computer and processed field recordings between 2004 and 2007 and mastered in 2009.
This album might be classified in the Dark Ambient style with Drone and Experimental influences, a lot in a reflexive rather than depressive side of things. But also influenced by early Industrial music from a thematic point of view, it proposes a trip through daily life aspects and its connection with geopolitics of pressure, manipulation and violence. A portrait of present day relevance and also a sound exploration of author’s urban surroundings.

9 tracks / 44 minutes Length.

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Fonik . Sounding First ep

Originally released in 2008 on 3″ cdr.
One in a set of two (see Sounding Second ep, also a free download from this label).

Fonik
Ian Simpson – electronics & lapsteel
Harry Gallimore – electronics

www.myspace.com/fonikfonik
www.myspace.com/electronicmusiklabel

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Cezary Gapik . Vol.45

Cezary Gapik (also know as CEZAR) was born in Czestochowa, Poland in 1963.

He started his musical activity in 1980 as an animator of punk rock bands. Soon enough he discovered new sounds which were brought by the punk rock rebellion. Cabaret Voltaire, Public Image Ltd. or other “new wave” bands had an enormous influence on the perception of music by Cezar.

Plunging into the fundaments of musical avant-garde (Karlheinz Stockhausen, Morton Feldman, Luc Ferrari, La Monte Young), the appearance of new creative possibilities (computer) together with the works of artists like Mick Harris (Lull, Scorn), Illusion of Safety, etc. had definitively shaped the musical direction towards which Cezary Gapik follows. His musical creation is based on drones and micro-tonal sound planes interlaced with abstract “images” (field recordings) or computer-processed synthetic sounds (glitch). In his compositions one has the opportunity to feel the fascination of the artists like Luc Ferrari, Philip Glass, La Monte Young and the masters of isolationist ambient – Lull, Thomas Köner, Nocturnal Emissions. After individual experiments with dark electronic vibes in the mid-nineties Cezar met in 1998 Bartlomiej Kuzniak (bass, sax & electronics musician), with whom he created QG/GQ project.

A little trace of this cooperation is a track “Z1” on ”C9H13O3N” album released in limited, 200-pieces edition under the independent label Polycephal. The year 2000 brought another collaboration of Cezar with musicians like B. Kuzniak (mentioned above), Joe Giardullo (sax – New York’s jazz avant-garde), Dawid Kosiarkiewicz (sax, prepared piano), Zbigniew Szmatloch (prepared guitar & electronics) and Andrzej Zaleski (drums) which evolved into a concert tour across Poland. The memorable concerts were performed in Warsaw (Centre of Modern Art in Ujazdowski Castle) and in Szczecin (“Kana” Theatre). Part of the Warsaw concert has been included on the “Dokument. Program Strefa” compilation released in 2005.

Cezar is very often invited for co-operation by grind-core and death-metal bands like YATTERING, for whom he composed drones which were used to fill the gaps between tracks on the album “Murder Concept” (2000). He can be called a “fulltime” intro & outro specialist for the band INFERNAL WAR which with his contribution released albums “Terrorfront” (2005) and “Redesecration” (2007).

Cezar has also an episode with computer gaming IT Industry on his account where he composed an ambient soundtrack for the PC game “Painkiller” released in 2004 and acclaimed by critics. Up to year 2006 Cezar has composed in his own self-created studio a large volume of sound material which he regularly released on CD-R discs in limited editions for his friends and fans. Originating from this collection – the album “Artefakt” (2000) has been highly valued and recognized by critics and finally re-released by a netlabel Torrentech in 2009. The years 2007 and 2008 can be considered as a pause in Cezar’s creation while the year 2009 brought an increased artist’s activity.

After the re-release of “Artefakt” and release by a Russian netlabel DNA Production of the retrospective compilation „The Collection 1998-2006” Cezar brought to life his own label – C.G. Drone Records. The first “fruit” of this project was a mini CDr (3”) „The Limestone EP”. At the same time Cezar tightened his cooperation with DNA Production which resulted in his new EP to be also available for download (mp3 & FLAC format) from this netlabel’s catalogue.

The year 2009 has also brought a new cooperative project – this time with German ambient musician Siegmar Fricke which concluded with an album CEZAR | PHARMAKUSTIK – „Enukleacja”. The album could be described as a cool, isolationist and dark-ambient creation.

The year 2010 opened with the release in January by French netlabels Le Colibri Necrophile, Earsheltering and M.i.r.e.n.a. of the compilation „Nektar 2017 Volume 2”. Cezar’s contributed to this production with the track „#0421”. In February C.G. Drone Records released „Zaduszki (All Saints Day) EP” which is a re-edition of the tracks previously composed in the years 1998 and 1999 under the same title. What concerns the future – “there is still a lot of unrest in my soul which I desire to transform into sound” – says Cezary Gapik.

Tracklist:

1. #0436 (04:34)
2. #0435 (11:52)
3. #0437 (11:12)
4. #0438 (13:28)
5. #0439 (10:32)
6. #0440 (18:39)

http://www.myspace.com/cezargapik

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Slicer . Ricordi di un’Apostasia mai avvenuta

Slicer is the a/v project of Adern X and Luca Privitera. Their main theme is the relationship between artist and public. This album is the OST of the ricordi di un’apostasia mai avvenuta performace.

website: http://www.myspace.com/slicer_av

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Philippe Lamy . Fil tendu

Philippe Lamy est peintre et musicien : dans ces deux domaines, la densité attendue résulte d’une stratification où apparition et disparition scandent un rythme de traversée, une sonorité à la fois contenue et en attente. Dans sa musique, des évènements divers ( captures sonores, sons retravaillés et transformés, dialogues hachés, voix, respirations, textures d’origines variées), sont détournés, confrontés et assemblés pour produire des séquences, des durées ou des “récits”, aux colorations particulières. L’intention affirmée est de capter l’écoute pour instaler un espace sonore à la fois dense, fluide et étiré.
Peintures: Philippe Lamy; design: M.J.

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IsteronProject – Massimo Croce . Processo di immensificazione Individuale

Sì è soliti considerare individualismo come sinonimo di egoismo, ma di fatto il primo non necessariamente finisce per coincidere con il secondo. Ogni essere umano è un individuo, come tale è unico, conseguentemente è unica la sua visione del mondo. L’individualità, oltre ad essere naturale, andrebbe valorizzata. Noi non viviamo in un epoca di individualisti, ma in un epoca di egoisti. L’egoista è l’individuo che considera il proprio punto di vista l’unico portatore di valori positivi, e allo stesso tempo, considera negativamente gli altri punti di vista. Questa incapacità di mediare tra sé e gli altri si trasforma in una minaccia. Questa percezione di minaccia trasforma l’individuo in egoista. L’egoista risponde a questa percezione di minaccia chiudendosi agli altri individui, ingaggiando con essi una vera e propria guerra per l’affermazione di sé. L’egoista può soddisfare questa sua deformazione della realtà solo nel momento in cui è certo della propria vittoria su tutti gli altri individui. Come un drogato, l’egoista pur di raggiungere il proprio obiettivo di supremazia sugli altri, è capace di compiere qualsiasi azione.
Se tutto ciò premesso corrisponde al vero, ogni individuo che cerca di aprirsi agli altri individui non può considerarsi egoista. Ciò non di meno l’individuo che si apre agli altri, per rimanere tale, non deve assolutamente sacrificare se stesso in nome di una condivisione sociale, poiché il sacrificio della propria individualità è sempre una devianza. Solo il dialogo tra individui, quindi un rapportarsi con gli altri senza che questo porti al sacrificio di sé, rappresenta un modo sano di vivere socialmente. Il dialogo è il mezzo con cui gli individui hanno l’opportunità di arricchirsi senza che vi sia da parte di nessuno un sacrificio. Il dialogo è solo positivo.

Questo progetto musicale che prende il nome di Processo di immensificazione Individuale, vuole rappresentare empiricamente quanto il dialogo tra individui possa portare a risultati estremamente interessanti. In questo progetto l’individuo A ha realizzato una traccia sonora, la quale è stata ascoltata dall’individuo B, l’ascolto rappresenta il primo punto di apertura nei confronti degli altri individui. Dopo l’ascolto l’individuo B ha realizzato una seconda traccia sonora utilizzando i suoni, quindi il punto di vista, proposto da A, ma il cui risultato è differente dall’originale, sottolineando che l’ascolto e la replica non devono per forza di cose portare al sacrificio dell’individualità dei due interlocutori, ma al contrario questo dialogo ottiene come risultato un arricchimento in senso generale. Nella seconda fase del lavoro B ha creato una propria traccia sonora da fare ascoltare ad A, il quale a sua volta ha realizzato una quarta traccia sonora, che è il risultato di una replica a quanto proposto da B. Nella quinta traccia sonora A e B hanno estrapolato i suoni delle 4 tracce precedenti, e in modo indipendente hanno creato ognuno 4 segmenti della durata di un minuto, inseriti alternativamente per la durata totale di 8 minuti. Questa quinta traccia rappresenta il risultato senza mediazione, ma allo stesso tempo priva di ogni imposizione, dei dialoghi precedenti. Questa ultima traccia è una pura rappresentazione dell’individualismo, dove l’ascolto rappresenta il punto determinante sia per un dialogo reale, sia per una maggiore realizzazione dell’individuo. Questo lavoro, di fatto, ci pone di fronte alla manifestazione dell’utopia di un mondo costituito da Individui, in grado di porre l’unicita’ del proprio io, come valore supremo per una più ricca e concreta socialità, libera da qualsiasi forma di imposizione, competizione, oppressione, e ben lontana da quella non meno aberrante forma di socialità che chiamiamo democratica, dove gli individui sono ridotti alla mediazione costante della propria individualità, mediazione che di fatto cade nella medio-crità, sacrificando in questo modo tutte le possibilità offerte da una valorizzazione di tutti gli individui, e dove di fatto, in mezzo a milioni di mediocri, svettano alcuni i quali frustrati dalla mediocrità innaturale, rispondono a queste frustrazioni con la necessità di trasformare la propria individualita’ in egoita’.

Per maggiori informazioni:
www.myspace.com/isteronproject
www.myspace.com/crocemassimo
www.myspace.com/artenelrumore

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Emma Hendrix & Graeme Scott . Coin Gutter – Asthmatics Of Failure

Graeme Scott and Emma Hendrix have been working for eight years on Coin Gutter, an electronic music project that explores the dialog between sound, emotion, repetition and narrative. These guys actually released an album on a 3.5-inch floppy disk.

On November 22nd, Coin Gutter shared a stage in Egypt with performers from 100Copies, the Cairo-based independent music label. Two days later, Emma was to perform in Makan in concert with Graeme, who would be 10,000km away, in his house in Vancouver, Canada. Sadly, (if not unsurprisingly) the show was cut short because the Internet connection was too slow, and collaboration was impossible.

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Infinite Monkey Orchestra

Infinite Monkey Orchestra recorded live at The Bluecoat Liverpool, 24th November 2009.

Rob Dainton – drums
Simon H Fell – bass
Ricardo Fernandez – piano
Richard Harding – guitar
Steve Hood – guitar
Steve Boyland – voice
Phil Lucking – trumpet
Phil Hargreaves – soprano sax
Ian Simpson – electronics

www.myspace.com/electronicmusiklabel

Cover art copyright Ian Simpson 2010

Tue, 24 November, 2009.
Bassist Simon H Fell is here wearing his improviser’s hat, and working in small and large groupings. The trio is amere3, himself, Rob Dainton (drums) and Phil Hargreaves (saxes/flute). The large grouping is the Infinite Monkey Orchestra (because if you gave them enough time they’d play the andante from Brandenburg 4) – a flexible line-up of people involved in the Liverpool Gathering. Adventurers all (taken from the Sound & Music website)

Thanks to Phil Hragreaves (Whi Music) for his help with this release.
Additional thanks to everyone who took part and were happy for me to put this special recording out.

www.whi-music.co.uk

Whi music is dedicated to promoting the power and beauty of improvised and experimental music. Based in Liverpool, UK, it’s largely based around my activities and collaborations.

Simon H Fell formed Bruce’s Fingers record label in 1983 and has documented both long-term associations and less permanent and informal playing situations, along with a series of improvisation-related compositions.

www.brucesfingers.co.uk

Additional biography can be found at www.efi.group.shef.ac.uk/mfell.html

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roberto mallo . la metamaquina

roberto mallo: grabaciones, electrónica, timbre
portada por raul dominguez
roberto mallo web: www.joseghast.org

www.xedh.org/doministiku

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Das Rückgrat Der Nacht . Vier Jahreszeiten

An (dark) ambient approach to the four seasons – awakening of spring, summer heat, autumn storm, winter numbness.
The tracks are very varied, from drones and soundscapes, slow rhythms, piano improvisation to almost noise-like walls of sound.
For this work I used (manipulated) nature recordings, analog and digital synthesizers, samples, my voice, the piano…

Artwork by Martin Besig.

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The Side Effect . Act 1 & 2

suRRism-Phonoethics is honored to release The Side Effect – ‘Act 1 & 2′!
The Trio shares brilliant work of art with us, pleasure up & ENJOY!
Dan Pålsson (Pythagora), Pierre Sjöbring (Pilectro) and Frank Berggrensson.

‘the square horizon became neutral to anger and pleasure without watching any scene it seemed to motorize heat under the table of gifted colors standing up for judgement the step to particles was taken by lungs passing earlobe manners’

-undRess Béton

Visit these masters: Dan Pålsson (Pythagora), Pierre Sjöbring (Pilectro), Frank Berggrensson.

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Leonid M. Zhest’ . Black Box

After more than year russian ambient project Leonid M. Zhest’ is back with the new work called “Black Box”.

As a first release “KaYa”, “Black Box” is saturated with deathly atmosphere of synthetic world. Album cold and lifelessness are underlined with soft and flexible analogue sound. A little bit of minimalism in “Brain Waves” looks like evidence of world’s synthetic nature. It disappears later but leaves strange metallic aftertaste and vibrating silence in the ears.

No doubt, “Black Box” is the present for industrial cynics and dark sci-fi lovers.

Artworks by Leonid M. Zhest’.

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