Belarusian band of intuitive improvization “knyaz mishkin” exists for more than 19 years.
Its founder and leader is the guitarist Leanid Narushevich.
The accompanying musicians are constantly changing.
‘a haunting piece!
i feel i fell for fur times shown me felt now
as for seconds called through numbers
they sing for more while
we dear to you and love the temper of your shine!’
Almost all songs on Pixel are based on an improvisation, then digitally cropped, spliced, diced and overdubbed. Subsequently, they are combined to create some form of coherency – reminiscent of mosaicism, an experimental and flotsam prism of production, something of a transitional state of mind. Stimulated by organic performances, which feature natural recordings taken and manipulated to form an exploration of composition, Guanxi focuses on the difference between natural and digital acoustics. Another point of interest in his work is the investigation of the myriad of errors arising from analog and digital systems. Common for all of Guanxi’s artistic endeavors is a fascination of working on the limits of technologies when finding new material, pushing computers to the limit to obtain an aesthetic that emphasizes the imperfections of modern technology.
Pixel leads you to a drifting, encompassing musical travel – you’re carried away with a lofty, almost spiritual grandeur of a spring morning hymns and fabled sweetness of meditative ringing bells, dissolved in a glitchy vibration. In contrast, you witness a swing of the cosmological pendulum, a never-ending story of a subtle and hidden beauty of environmental acoustic reiterations, charming and alerting at the same time. The extreme tenseness of seemingly relaxing compositions, the elastic bounciness of innermost subtle melodies makes the overall impression so sleepy, tidy and sedative yet intense and arousing at the same time – the unforgettable and so uncommonplace experience for an overflowed ambient stream of our musical landscape today. Don’t miss it!
‘Exploration of this superfluid personality
as is then handed some pretty wide ranged thoughts of outdated facts in reverse…’
‘dark current is usually denoted symbolized but never accepted….’
Mat Pogo, his solo set features his voice, a microphone and some electronics devices. Pogo developed his own language as a singer/voice-artist using his experience as a rock singer, an improviser and radio-artist where music, sounds, anecdotic and narrative elements fuse constantly. Weird processed vocal eruptions, intense screams, occasional words, pitched mouth cavity noises and electronics textures melting together in a very expressive way and often with a delicate sense of humor.
A very active musician in the music scene of Berlin and rest of Europe, frontman of Jealousy Party, Pokemachine with Anders Hana, duet with Ignaz Schick, B Unit with Peter Schlewinski and Jd Zazie, Penates, member of the N.E.E.M. Orchestra, Sistemi Audiofobici Burp (dj collective), founder member of Burp Enterprise…
Recorded at NK, Berlin. www.nkprojekt.de
Recording Enginner: Mauro Martinuz
Artwork: Aniana Heras
I sell books for a “job,” so I pack books every day. This summer I began recording myself working over a period of several weeks. At various times throughout, mostly toward the beginning of the recording period, I wore headphones while working so I was made even more aware of the sounds I was making in the course of my daily activities. Immediately it began to affect the gestures used and the speed with which I was going about my tasks. I began to think more and more about the specific sounds I was making while still being able to maintain a productive work flow. In turn, I began to think about all the sounds I was making whether I was working or not, whether I was recording them or not, and about the rhythm of labor in general.
This piece was edited down from many hours of recordings in Texas in August and September 2010. While it is edited, there are no additions; no parts that were not recorded during the process of working. Some days it rained and some it did not.
Ultralibéral est un duo d’improvisation composé de Marc Jolibois (platines, électronique, micro-contact, objets …) et de Sébastien Llinares (guitare, guitare préparée, objets, électronique …). Leur musique est tour à tour mélodique, bruitiste, ambiante et toujours inattendue, à la croisée de l’improvisation brute et du design sonore. Le travail de l’art dans une époque de surproduction culturelle.
Recorded in Experimental Sound Gallery – 21 (jul. 2009) by Andrey Popovskiy.
Mixed and mastered by Nick Sudnick.
Cover design by Andrey Popovskiy and Mikhail Kuleshin.
Produced by Andrey Popovskiy and Mikhail Kuleshin.
Andrey Popovskiy – electric guitar, objects
Mikhail Kuleshin – drums, percussion
Music by Andrey Popovskiy and Mikhail Kuleshin.
Chance is a french duo of electronic improvised music with Xavier Lopez (Trashvortex) and David Vilayleck aka Ayankoko (AyanRecords) on laptop and devices.
Their music focuses on experimental sound improvisation providing a well balance between minimal, drone, ambient, micro sounds, glitch and harsh digital noise.
Produced by Ayankoko, AyanRecords 018, September 2010.
More Info: ayankoko.blogspot.com http://www.trashvortex.net/trashvortex/Trashvortex.html
Ryan Gregory Tallman (b. 1977) is an electro-acoustic composer, noise artist, sound experimentalist, multi-instrumentalist and improviser. Tallman’s primary compositional focus is the manipulation and exploitation of the inherent resonant frequencies of acoustic spaces—rendering his work site specific and experiential. As a graduate from the Master of Fine Arts in Electronic Music and Recording Arts program at Mills College, Tallman studied under Fred Frith, Pauline Oliveros, Maggie Payne, Chris Brown, Roscoe Mitchell, and Zeena Parkins.
musician, performer, anarchist, voyeur, sociopath & more – absynthe addicted – always in fight against authority – reputation lost day after day with diabolic perseverance – formerly known as the Italian GG Allin – crossin’ all musical subversive territories from punk to post industrial – currently involved into sound research – musically cleaned-up from any form of cultural, social and political implications – so far from politically correctness – firm into his being non-opportune and out of tune – blues & XVII / XVIII century opera lover – founder of the industrial-rock band sonicforce99 – co-founder of the multimedia project sadoMarta – his current target is sound, every single sound and its possible modification (virtual chambers, forced spatialization, heaviest saturation, de/re-construction, etc.) – past/present collaborations with: black-sun-productions, kaiser laszlo, ankh sothis, claudio lugo, peter maria herk, p.g. conti, mariae nascenti, 3lcf, johnny grieco & more
After almost five years of existance, the Insubordinations netlabel starts a new serie, in cd format.
And it is KARST that inaugurates it with nine tracks where whole objetcs and percussions panoply supports, coats or even put in trouble voice and texts into an unique alloy of sound poetry, automatic/random reading/writing, free improvisation and (electro)acoustique mass.
KARST is a free improvisation and (sound) poerty quartet; intermingling objects and instruments, creating an architecture of percussions, squeaks, frictions, unreal impulses, instinctive mathematic sounds in constant reorganization.
KARST is a landscape; carved by corrosion, with sharp, underground cavities where thousands of roads offer themselves to the adventurous listener.
1. tomber du ciel des formes étranges mp3
2. postpoeme synaptique D mp3
3. 1656 mp3
4. pyrite soufre or coeur mp3
5. dans le coin-coin de la piépiéce mp3
6. je laverie mp3
7. la vierge mp3
8. K mp3
9. toujours traîner du rouge derrière soi mp3
enregistré les 17-18.08.09 au Studio du Funiculaire, Lausanne. mixé par d’incise. masterisé par Wolfgang Rufenacht. sérigraphié à l’Atelier Obscur.
avec le soutien du Département des affaires Culturelles de la Ville de Genève
Edited as 500cd, it can be ordered through our online distro,Mitenand, or directly with the following paypal button. [15chf/10euros/14usd, worldwide shipping]
Music is not a commodity. art is not a product and market rules should not apply on it. Art must provoke, enquire, stir up the establishment, be noisy.
Música não é commodity. arte não é produto e sobre ela não se devem aplicar as leis mercadológicas. A arte deve gerar ruído, provocar, indagar, chacoalhar o estabelecido.
Alienhits celebrates a 10-year cycle of DBPIT’s work; it comprises tracks from almost every DBPIT’s album plus some previously unreleased song and pays homage to some of the many friends who have collaborated with him over the years.
Alienhits vuole celebrare il ciclo dei 10 anni di vita del progetto DBPIT.
Comprende brani da quasi ogni album prodotto in questo percorso, con l’aggiunta di alcuni inediti.
Alienhits vuole anche rendere omaggio ad alcuni dei molti amici che hanno voluto condividere con DBPIT questa lunga esperienza musicale.
“2000-2010, ten years of out-of-tune trumpet”
DBPIT – Der Bekannte Post-Industrielle Trompeter is an experimental/industrial project created by Flavio Rivabella.
the trumpet is its main feature
a lot of field-recording and electronics are also used but hardly ever computer-generated or synthesised sounds…
each new DBPIT’s work is the result of some twisted-minded,
deeply conceptual experiment…
after several years of partecipations side by side with the most relevant members of Roman underground scene,
Flavio Rivabella (aka DBPIT) set off for an entirely new adventure in the year 2K;
in may 2002 Misty Circles produced the first solo attempt by DBPIT:
“eleven”, after which several solo albums and participations followed;
apart from his “solo” project, DBPIT has collaborated with many important
bands, like Novy Svet, Spectre, Circus Joy, Macelleria Mobile di Mezzanotte, Lendormin and others…
DBPIT is basically a one-man-band but has had a great number of cool collaborators in his line-up:
lendormin, Claudedi of ain soph, Mario FOB of circus joy,
Steve Stroll of ain soph and circus joy, Anna Consuelo and Kenji Siratori on vocals, Pusio at the piano/keyboards
since 2008 DBPIT collaborates with the visual artist XXENA
Frames resting gently apon the constant imagination of a dreamer, diluted shots break the silence of sound that emerges spontaneously from the slow breathing of nature that gradually transforms into genuine symphony of life.
‘Silent Microcosms ‘ is just that: a tribute to life, the slow slide along our everday journey through reality, day after day. A heavy and treacherous path , full of obstacles and pitfalls , disappointments and pain. Silent feelings that belong to our microcosm that by altering the registration, are transformed gradually into experiences of pure sensual sound, disconnected from reality thanks to the violent call that calls for a poetic balance between a romantic future vision ofsensuality and a sentimental,furious lyricism . Whether you use field recordings, instruments such as piano , guitars and keyboards and high-tech machines , Stefano Guzzetti has the ability to paint a changing world; that world that lives mainly inside us, inside those microcosms in which boundless Silence reigns Immaculate within our dreams .
Hailing from Braga, Portugal are Risco Corrosivo and Paranoid Doll. More industrial and more loudness after the delicate experimentalism will sooth your ears when in dire need of release of the chaotic. This very diverse album ranging from lo-fi to noise will certainly peak your interest.
The idea for the album âDos Caminhos do Velho Mundoâ is a roadmap of poetry from Portugal to Russia, for each country a poem by a poet of that nation. Was chosen Portugal -HilÃ¡rio Borges, Spain -Miguel de Unamuno, France -Alfred de Musset, Germany -Jakob van Hoddis, Czech Republic -Rainer Maria Rilke, Poland -Adam Mickiewicz, Belarus -Yanka Kupala and Russia -Alexander Blok. Besides the concept mentioned above, this work shows the evolution of Z.O.T.E. the musics more low-fi songs (from the earlys) contrasts with the latest music, something purposeful so that it represents our evolution and our way of composition made by the pure improvisation without any direct musical influences.