Mister Madness on the modified Squier Telecaster, Dr. Awesome on the PRS SE Custom, Your Name Here on the Rogue 4-string bass guitar, Fredrick Nielson James III on the Alvarez acoustic guitar and Gibson 1985 Custom Shop Les Paul, and [hate] on the Six-Trak synthesizer and the Yamaha electric keyboard.
Read more: http://www.myspace.com/plasma36
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When I first approached James Fahy (Ambienteer) to invite him to release at FeedbackLoop Label he presented me with an idea, to browse through is collection of more than 200 tracks in his website and choose the ones I wanted. And so I did it, and listened to all of them, I chose the 6 tracks in this release. It was a pleasant challenge and the best thing is that you can also do it. If you check his webpage you can also make your private compilation of Ambieenter work, full of delicate ambiences and well crafted moments.
mastered by madSavVy Productions
photo by Ambienteer
cover design by Leonardo Rosado
(cc) by nc nd 2010
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Live at Bar Ogâmico, Lisboa, 10 April 2010
paulo chagas – flute, bass clarinet and alto saxophone
fernando simões – slide and valve trombones, objects, voice
paulo duarte – electric guitar
monsieur trinité – objects, percussion
paulo ramos – voice, poetry
mario rui – electronics, video-art
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a sequence of instructions can form a simple process. a complex of simple processes can be contained in a block that has a spatial structure. this structure can be changed by reorganization of relationships between simple processes as well as by tuning the settings of the instructions. several tuned blocks can form a composition. if there are more than two blocks, the order can be changed. just modification of the order of each block can make a new composition. just replacement of one block can make global restructures in the entire system. but its not a rule.
2243
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Scheduled Flights
Summer Hum
The Viaduct with Bees< Shop Hum
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The meeting of four of the most experienced musicians in Europe, all of whom have worked with each other in various groups, except that this was the first time that Jörgensmann and Rolin had met. The totally improvised music shows their individual strengths as well as their ability to work together. The first CD contains the results of a studio session that was the first time that Carter, Jörgensmann and Maurer had worked as a trio. On the following day, the quartet played a concert, which can be heard on the third CD. They also made some music, preserved on the second CD, just before the concert. The rest of the second CD contains the results of a later studio duo session by Carter and Rolin. It was not originally intended to issue a 3-CD set, but even though some editing took place in all four groups of recordings, there was still far too much superb music to fit onto just 2 CDs – so be prepared for three hours of excellence. 182 minutes.
KENT CARTER (double bass), THEO JÖRGENSMANN (clarinet), ALBRECHT MAURER (violin, viola), ETIENNE ROLIN (clarinet, basset horn, alto flute)
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MaCu:
CEZAR:
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ketem are shay nassi (aka mise en scene) and tom kemeny
(aka darmock).
they joined together for a sideproject to explore the boundaries of sound and express themselves together as one, each contributing his own very-unique techniques and perspective.
located in tel aviv, israel, they have created those materials in darmock`s studio during winter 2007.
they are working on a full-length album that will be released this year.
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At first I thought I should write some lines about I’ve Lost work, but then I decided to maintain the original texts I’ve got, to write the press release, because it illustrates what I’ve Lost is all about, GREAT MUSIC. Bobby Jones aka I’ve Lost is indeed an emotional full character. Enjoy FbL005 as much as I’m doing for sometime now.
Leonardo Rosado
I’ve Lost makes music for serious listening, and not merely background or ambience. This music takes you places where you need to go. It explores the heart of Inner Space. It will make you think.
Bob Martin
“I had suddenly an odd, and to my own seeming, a ridiculous desire to abase myself before something not human and so stepping into the moonlit road, I knelt in the dust, having no God, the gods having been taken from me by the life about me, as a personal God has been taken from all modern men by a force within that man himself does not understand but that is called the intellect, I kept smiling at the figure I cut in my open eyes as I knelt in the road…. There was no God in the sky, no God in myself, no conviction in myself that I had the power to believe in a God, and so I merely knelt in the dust in silence and no words came to my lips.”
mastered by madSavVy Productions
photo by Jessica Aliaga Lavrijsen
cover design by Leonardo Rosado
(cc) by nc nd 2010
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Soundtrack from the short film ‘Film V’ with an alternate (longer) mix.
Noise Research
Noise Research is the project of UK Sound Artist / Musician Ian Simpson.
Noise Research has material released on the Electronic Musik (UK), Rift Recordings (UK), Earth Monkey Productions (UK) & Bivouac (China) labels.
Downloads / cdâs currently available are
* The Liftshaft EP (also known as Nuclear Liftshaft)
* Split with Barbarians
* Noise Research I
* Noise research II
* Noise Research III (also known as Experiment III)
* Rifts compilation (2 tracks) on Rift recordings
* Noise Research Four (on Earth Monkey Productions)
* Evoluon (On A.M.P.)
* Classwar Karaoke Survey series
* Ocean Epicure with Graham Dunning (on Clinical Archives)
* Forgotten Reel (very early recordings previously unreleased)
* Forgotten Reel II (second volume of early recordings)
* Music for Electronic Tape (Electronic Musik)
* Radio Electronics (Electronic Musik)
* Consisted Construction (Electronic Musik)
Ian has been involved in the experimental / improvised music scene for many years and has performed with / alongside (amongst others).
* Evan Parker
* Graham Dunning
* Acid Mothers Temple
* Sun Ra Arkestra
* Eddie Prevost
* Faust
* Bark!
* Pram
* John Russell
* Paul Rutherford
* Telescopes
* The A band
* Solar Fire trio / Duo
* Mark Wastell
* Rhodri Davis
* Keith Rowe
* Colin Potter
* Pascal Nichols
* Konk Pack
* Janek Schaefer
* Alexander Von Schlippenbach
* Mick Beck
* Phil Marks
* Lol Coxhill
* Matt Wand
He has adopted an uncompromising approach in both playing and performance which has led to his involvement as a performer with The Frakture Big Band (Liverpool), Noise Club (Liverpool), Janx: The Gathering (Wirral), Gnod (Manchester) Aht-N (Cumbria) & Fonik (Warrington). He also actively organises and promotes performances in UK including the Pyramid Experimental Music Festival and Manchester based Electronic Organica Nights. His most recent project is a collaboration with sound artist Graham Dunning, the results of which have been released by Clinical Archives in January 2010.
A recent comment about Noise Research Four –
Such an outstanding album it really is a class piece of work â Jeff Grainger (Dandelion Radio, 2008).
About Rifts
A soundtrack to while away the time to as Western civilisation inevitably continues its steadily increasing rate of decay (Heathen Harvest, 2009)
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Stasisfield founder John Kannenberg presents an initial sampling of an ongoing practice that began in 2005: “performing” John Cage’s 4’33″ in various museums around the world. Instead of not playing an instrument, however, these tracks of unmanipulated phonography are the product of actively recording a space, more fully realizing Cage’s motivation behind composing 4’33″: the encouragement of active listening. By placing this practice within the context of museums, it both translates a primarily visual experience into a purely sonic one, and reaffirms the long-standing relationship that museums have with the experimental music world, serving as venues for avant-garde performances.
01 Rijksmuseum, Amsterdam, Netherlands – February 24, 2010 4.33 11.3MB
02 Motown Museum, Detroit, USA – November 3, 2009 4.33 11.3MB
03 SFMOMA, San Francisco, USA – July 1, 2008 4.33 11.3MB
04 Internet Archive Backup Server, Bibliotheca Alexandrina, Alexandria, Egypt – May 10, 2010 4.33 11.3MB
05 Art Institute of Chicago Modern Wing, Chicago USA – May 16, 2009 4.33 11.3MB
06 Tate Modern, London, UK – March 19, 2005 4.33 11.3MB
07 Milwaukee Art Museum – September 1, 2008 4.33 11.3MB
08 Van Gogh Museum, Amsterdam, Netherlands – February 24, 2010 4.33 11.3MB
09 Open Air Museum, Memphis, Egypt – May 4, 2010 4.33 11.3MB
10 Art Gallery of Ontario, Toronto, Canada – August 1, 2009 4.33 11.3MB
11 Rock and Roll Hall of Fame and Museum, Cleveland, USA – July 3, 2010 4.33 11.3MB
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Arte nel Rumore (Art in Noise) – http://www.myspace.com/artenelrumore
Way too often in Italy “noise” music has been linked to rock or dark genres, and, much worse, to the right-wing political fringe.
However, these are mere prejudices typical of our country, still underdeveloped from an arts point of view, as every noise-musician is well aware of.
In fact, major unsung artists like Luigi Russolo, Pietro Grossi and Maurizio Bianchi, make Italy play a lead role in contemporary music.
The maybe idealistic purpose of the project called “Arte nel Rumore” (literally, Art in Noise) is to spread the concept of “noise-in-music” throughout our country.
As a start, we are going to release come music compilations by the italian artists involved in the project, who will also deal with the theoretical side of noise music, which we think is the base to understand any kind of non-entertaining form of art.
Italian artists and NetLabels who share our ideals are welcome to participate in the project with their own works.
Arte nel Rumore compilations will appear on as many NetLabels as possible, under a “CREATIVE COMMONS” license,
to state once again that art is not for sale!
COMPILATION ARTE NEL RUMORE VOL. 2
TRACK LIST:
Traccia 01
Titolo: Ruvido
Artista: Elisa luu
www.myspace.com/elisaluu
Riflessione sul rumore:
Ognuno di noi è un corpo solido oscillante e crea rumore…
è nella nostra natura.
Traccia 02
Titolo: Metallic heart wave
Artista: Un vortice di bassa pressione
www.myspace.com/unvorticedibassapressione
Riflessione sul suono-rumore:
silence is noise
Traccia 03
Titolo: Monster
Artista: Artcore Machine
www.myspace.com/artcoremachine
Riflessione sul rumore:
Il rumore è lo specchio sonoro di questa società industriale malata, corrotta e alienata. Lo abbiamo assimilato, plasmato, fatto nostro e ricreato in musica per denunciare tutto il marcio di questo mondo.
Traccia 04
Titolo: Backstage Noise Off
Artista: Simone Fratti
http://www.simonefratti.com/home.html
Riflessione sul rumore:
Un vettore casuale è rumore se e solo se il suo vettore medio e la sua matrice di autocorrelazione sono rispettivamente: http://img405.imageshack.us/img405/5259/formula.jpg
Si ha cioè un vettore medio nullo e una matrice di autocorrelazione che è un multiplo della matrice identità . Quando la matrice di autocorrelazione è un multiplo della matrice identità si dice che la correlazione è sferica.
Traccia 05
Titolo: TEDIO
Artista: Massimo Croce
www.myspace.com/crocemassimo
Riflessione sul rumore:
Il rumore è semplicemente un suono complesso ed irregolare.
Il mare è un rumore gradevole e rilassante.
Anche lo stridio delle unghie sulla lavagna è un rumore, questo fastidioso ed irritante!
La musica contemporanea è composta da una miscela di rumori, come tale può risultare rilassante, fastidiosa o un complesso equilibrio tra il piacevole e il fastidioso.
Su questa ultima miscelazione dei rumori è basata la mia ricerca sonora.
Traccia 06
Titolo: Indian Nights ’67
Artista Francesco Lenzi
www.myspace.com/francescolenzi
Riflessione sul rumore:
RUMORE=SUONI VITALI IN ASSOLUTA LIBERTA’
Traccia 07
Titolo: u_n_o
Artista GUN
www.myspace.com/gunoise
Riflessione sul rumore:
il rumore:
uno strumento per far fluire i sogni oltre ogni convenzione…
Traccia 08
Titolo: Predikkt
Artista: Krupnik
www.myspace.com/krupnik1503
Riflessione sul rumore:
Non ho mai concepito la distinzione tra suono – convenzionalmente inteso – e rumore: nel loro uso espressivo, artistico, entrambi sono elementi di uno stesso linguaggio compreso in una grammatica in continua mutazione e dai confini perennemente, sorprendentemente incerti.
Traccia 09
Titolo: My guitar wants to kiss yuor mama
Artista: Torba
http://www.myspace.com/torbadrone
Riflessione sul rumore:
RUMORE è un luogo della mente, meta disuguale della soggettiva pulsione a perturbazioni acustiche.
Traccia 10
Titolo: Last experience, il volo
Artista: Marco Lucchi
www.myspace.com/marcolucchi
Riflessione sul rumore:
Io in fondo penso che il rumore non esista. per lo meno non in quanto entità definita dalle sue caratteristiche. lo sanno un po’ tutti in fondo: un “rumore” usato intenzionalmente è suono, musica. un suono, anche la più bella delle musiche, può disturbare l’ascolto dei suoni dell’ambiente, di una conversazione o anche del silenzio.
Lo so fin da quando ascoltavo “yellow submarine” da ragazzino, da bambino per essere precisi. quei suoni di cantiere navale, quelle voci, aprivano un varco spazio-temporale nella mia percezione e nella mia immaginazione, senz’altro più della pur simpatica voce di Ringo Starr.
E poi arrivarono i Pink Floyd, Brian Eno, Luigi Russolo, Edgar Varese, John Cage…. troppi da elencare…. e tutto fu sempre più chiaro. il rumore è suono, il rumore è musica.
E come è dunque bello ascoltare il walkman, prima, e, adesso, l’ipod lasciando che i suoni che ascolti si mescolino a quelli dell’ambiente e della vita che ti circonda, come in un film, il tuo; o portare le casse dell’impianto stereo in cortile o in balcone e vedere come Charles Ives si sposi bene con il vento e i gli uccellini della primavera già bella calda; o registrare il tuo nuovo esperimento sonoro lasciando (in?)avvertitamente trapelare il rumore, da qualsiasi fonte provenga (se ci piace eh)…..
“Posti di vedetta!” gridava John Lennon….. o almeno così mi è sempre parso di sentire….
Traccia 11
Titolo: Candria
Artista: Difondo
http://www.myspace.com/difondo
Riflessione sul rumore:
Difondo – Rumore
La definizione di rumore sembra mutare a seconda della prospettiva con la quale si tende ad inquadrarla sia in campo musicale (acustica) che scientifico (elettronica). Il lavoro delle avanguardie, in primis quella futurista, è stato teso a minare quelle convinzioni, quei miti a cui i luoghi del comune sentire facevano riferimento per definire la musica e, più in generale, per rappresentare la realtà .
In questo senso la composizione qui proposta prende atto della difficoltà di inquadrare questo termine e nasce dalla volontà di considerare l’intero parco di suoni a disposizione siano essi musicali, concreti, ambientali e, in ultima analisi, il silenzio con il proposito di creare un microcosmo in cui le forze si intersechino, si sovrappongano, in una dimensione che John Cage definirebbe “ecologica”.
Interessante come questa prospettiva sembra legarsi alle teoria della comunicazione di Shannon e Weaver in cui il rumore, definito come un’interferenza tra la formulazione del segnale e la ricezione da parte del ricevente, è inteso come sovrapposizione o sottrazione di un segnale da emettere.
. John Cage, Per gli uccelli, edito da Testo e Immagine, 1999, pag. 254.
2. Shannon e Weaver, Teoria matematica delle comunicazioni, 1954, edito da Etas Libri, Milano 1971
Traccia 12
Titolo: Insano
Artista: Nembrot
www.myspace.com/nembrot
Riflessione sul rumore:
dolce musa di parole
trasparenti e sguardi graffianti, sommergi delicatamente la quiete
esistenza, dove l’armonia è ormai persa, sorgi e sfodera la tua spada
conciliatrice, seminando nell’arido respiro ruggine e verità.
Traccia 13
Titolo: Tic
Artista: Isteronproject
www.myspace.com/isteronproject
Ogni debolezza è un limite.
Ogni limite si maschera con uno schema.
Ogni schema serve a semplificare un problema affidandone la risoluzione, per l’appunto, ad uno schema [che sovente viene imposto da qualcuno e preso per buono da qualcun altro, senza troppe domande (gli schemi fanno comodo ai deboli)].
Questa sorta di burocrazia del pensiero si presenta in ogni azione attiva o passiva che sia, nelle abitudini individuali e nelle consuetudini sociali; le sue maschere sono quelle dell’accademismo, del dogmatismo, dello “stile”, dei principi di armonia in musica e nella monodirezionalità in ambito artistico, formativo, mediatico.
Ho la pelle d’oca quando penso che per secoli e secoli abbiamo usato quasi esclusivamente le stesse 12 note; sarei più sereno tenendo lo stesso paio di calzini per una settimana. A quanto pare siamo così pigri da accettare 12 sbarre purché¨ costituiscano una comoda gabbia.
Ogni musicista dovrebbe decidere su quali frequenze “fissare” le proprie note (sempre ammesso che questo lavoro sia considerato necessario dall’autore: è una questione d’intenti). Quando la percezione collettiva arriverà a preferire la diversità rispetto all’omologazione, l’iniziativa alla ripetizione, scopriremo di essere degli instancabili rumoristi in un mondo di Musica: l’armonia tonale, per la sensibilità musicale, ha finito per rappresentare ciò che un distacco della retina può essere per la vista: ci ha tolto la gioia di apprezzare i rumori per ciò che sono.
Traccia 14
Titolo: ZARATA
Artista: Gigi Masin
www.myspace.com/gigimasin
Riflessione sul rumore:
Suono e rumore non sono come il sole e la luna. Nemmeno l’uno il ‘doppio’ dell’altro.
Come l’aspetto di un’antica divinità si dividono e si uniscono, si fondono e si annullano reciprocamente in un meraviglioso effetto di energia, di variazione, di disturbo.
E’ come voler distinguere la luce ed il buio standosene ad occhi chiusi, il bene ed il male senza aver sbagliato almeno una volta nella vita. Molti hanno bisogno di categorie per superare la paura dell’ignoto, dell’imprevisto, del non conosciuto. Per questo il suono ed il rumore sono stati divisi dalla nascita, fratelli gemelli del nostro desiderio di musica.E’ un culto sotterraneo, misterioso, ma non per questo meno universale, vero e sincero.Suono e rumore sono la mano destra e sinistra di chi ha inventato il sublime kaos della vita e chiamiamo silenzio il momento in cui loro due si fanno beffa di noi.
This project is a collaboration of several Net-labels:
D.N.A. Experimental Net Label – http://www.myspace.com/dnarecord
Gatti rossi che cadono – http://www.myspace.com/gattirossichecadono
Ozky e-sound production – http://www.myspace.com/crocemassimo
SfintRecords Netlabel – http://www.myspace.com/sfintrecords
VJGrecords – http://www.myspace.com/vjgnetlabel
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Straight outta space.
There is a very subtle creepy sound every so often. This vision of creepy crawlies running around. There is something very unnerving about this album, which I cannot quite put my finger on.
Very atmospheric and haunting all at once it makes your hair on your neck stand on end…. this album makes you feel like your in your own sci-fi horror movie.
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Regen ‘ : Album d’improvisation live : Référence : Annexia Live At Home Serie : n°006
Durée : 59:42 minutes
Enregistré live le jeudi 15 juillet à Toulouse / Recorded live on thursday, july 15, 2010.
Stéphane Barascud (Annexia Rec) – Boîte à Rythmes + Guitare + Effets
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In August of 2009, our family traveled to Beijing, Zhengzhou, Guangzhou, and Hong Kong while on our second adoption journey. I made field recordings along the way. During the fall, I edited, layered, mixed and processed portions of the recordings for these 9 compositions. I added a guitar part to each one as a kind of commentary and reflection. The titles come from quirky English phrases I saw displayed on T-shirts worn by Chinese kids across the country.
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fest organized by larraskito with help of gure hitzak
graphic design by estanislao comella
special thanks to josu lafont&mem, kakofunk, olaff&l´mono, elena aiztkoa, natalia vegas, alba burgos
day 28-05-10
01.hector rey + estanislao comella
02.ed jared
03.iker ormazabal
04.niebla fascista
05.ibon rg
06.saliva
07.joaquin lana + grbtt
day 29-05-10
08.valenoise
09.jon mantxi
10.alejandro duran
11.roberto mallo
12.bihotzatransistor
13.daniel del rio
14.ponzoña
15.yo raid + joaquin lana
recorded & mastered by roberto mallo
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The mysterious anonymous musical collective, “Digital Mass”, visit us once again with their mid-form release “Doxology”. This release consists of 2 parts– one much longer, the other quite short. Treetrunk was impressed with the textures and layers in these pieces and hopes Digital Mass will continu….
This item belongs to: audio/treetrunk.
This item has files of the following types: Book Cover, JPEG, JPEG Thumb, Metadata, Ogg Vorbis, VBR MP3
Digital Mass- Doxology
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A performance void of any ‘obvious’ technical concern. Removed individual, homologous, all ability harboured within multilayered intuition. The playfulness of the tools chosen, bricolage, making use of what one finds that day in that place, no rhythm, no discernible structure – starting and stopping at the same time.
Thanks very so much to Gregory Büttner, Birgit Ulher, and Michael Maierhof
Another Timbre
Loris is – Patrick Farmer | Sarah Hughes | Daniel Jones
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A Greek meets a Mexican in London. The Mexican meets an American in Mexico. The American meets the Greek in Madrid. It sounds like the beginning of a joke about airplanes and parachutes but in fact, it’s the beginning of a trio whose music has been acclaimed by the critics as “stunning in its clarity, exquisite in it palette of sounds and inexhaustible invention” (James Wyness), the result of an “incredible level of musicianship.” (Dave X – Startling Moniker). For the musicians, each of whom live in a different country, it’s all much more straightforward: it’s a chance to make music, which is no small thing. Wade Matthews is an american composer and improviser. In 1989, he moved from New York to Madrid and became part of the international improv community. In 2007, he founded Intermedia 28. There, he began to combine field recordings with electronic synthesis in a 2-computer setup that has since become his main instrument.Â
Thanos Chrysakis output consists of composition, performance, and installation. He was born in Athens in 1971, residing  for the last ten years in the UK.  His work âInscape 5â was amongst the selected works at the International Competition de Musique et d’Art Sonore Electroacoustiques de Bourges, while âNekyomanteionâ received an honorary mention at the 7th International Electroacoustic Competition Musica Viva in Lisbon.
Darà o Bernal-Villegas is a composer, improviser and drummer from Mexico City. His aim is to create an intense, creative interaction between the performer and the score; in other words, creating the conditions for a more intense dialogue between the performer and the composer. He is working with the Mexican Improvising Collective Generación Esponánea.
Enjoy it! Â Â
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Richard Knight is a sonic/computational artist, usually performing with digital equipment. Incursions have established him as a practitioner of the no-input mixer, a subverted device which allows analogue feedback to be harnessed in an often precise and diverse manner. The performance for EOVI will see Richard utilise two no-input mixers, in an ongoing collaboration with Rodrigo Constanzo. Other relevant projects include the electroacoustic/jazz duo, ‘Pesticide Organica’; no-input techno project ‘Closed Circuit’ and experimental/electronica ‘Underbaud’.
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the third part of the trilogy exploring rhythm, repetition, sound and noise
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Luminous is Tim Chaplin’s electronic/experimental project.
He has also worked with Shifty Disco, Paranoise, Clinical Archives, 267 lattajjaa, Hikikomori Records and his own label Tara Records.
Tim also creates song-based music under his own name and is one half of the band Factory Kids.
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In 1991, Daniel Plunkett’s stupendous underground label ND put out a split cassette called “Fragment 3″ (onDiscogs) with the artist P B K on one side and Vidna Obmana on the other. This free mp3 release is a re-mix / re-work / re-cycling of both sides of that 1991 cassette release.
Read more about C. Reider here. Big thanks to Phillip Klingler, Dirk Serries and the much-admired Anna Gusevafor permission to use her painting for the cover art. Be sure to check out the videos by Thomas Park below!
Tracks 1-4 are remixes of PBK, 5-8 remixes of Vidna Obmana. Some of the original tracks by Vidna Obmana were re-released on the compilation “Memories Compiled 2″ (on Discogs). The original tracks by PBK are currently unavailable. All source sounds derived from a cassette copy of “Fragment 3″
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