International ensemble/collective o.e.s. brings a multitude of interpretations to a composition by the eccentric avant-garde composer, Moondog.
“Moondogging” is the hommage that o.e.s. pays to the legendary figure of Moondog. o.e.s. worked on a song of his titled “Lovesong” that has a twin in an instrumental track titled “Fujiyama”. The song sings a story that is similar to the one of Tristan and Iseult or of Romeo and Juliet. a very tragic love story.
Some members of the o.e.s. collective contributes instrumental and vocal executions of the song or samples and some members contributes complete compositions or remixes of these materials.
Vocal and instrumental executions, samples and remixes contributed by Hidekazu Wakabayashi, Harold Nono, Roberto Corsini, Marco Lucchi, Giampaolo Violi, Antonio de Braga, Cometa, Eerohz, Massimo Croce, iN2Ni, Jean Montag and Steve Layton.
A project by Marco Lucchi for o.e.s.
Fujiyama, take me too, Now she’s gone my life is through, Fujiyama …
show me where she stood and fell, then i’ll stand and fall as well, Fujiyama
When she heard I died at sea, she was bent on joining me, Fujiyama …
Unbeknown to her I’d live, till I’d have a life to give, Fujiyama …
coming home i’d come to lean, travel on until I’m free, Fujiyama…
Fujiyama, when I’m gone, Tell the world that love lives on, Fujiyama
01 Denis is Moondogging (iN2Ni – 00:03:02)
02 Giampaolo is Moondogging (Giampaolo Violi – 00:03:50)
03 Massimo is Moondogging (Massimo Croce – 00:05:25)
04 Jean is Moondogging (Jean Montag – 00:04:54)
05 Angelo is Moondogging (Cometa – 00:04:46)
06 Antonio is Moondogging (Antonio de Braga – 00:03:52)
07 Steve is Moondogging (Steve Layton – 00:04:41)
08 Marco is Moondogging (Marco Lucchi – 00:09:34)
09 Angelo is Moondogging Again (Cometa – 00:08:28)
10 Benjamin is Moondogging (Eerohz – 00:03:48)
(maximal) minor mutations was composed with Arun Chandra’s powerful ‘Wigout’ software. Wigout allows the composer to link periods of square waves with independent control over duration and amplitutde. In this work multitudes of square waves progress slowly in and out of tandem around a common frequency center.
Music for Early June is the first work completed upon moving from Santa Fe, NM to Denton, TX and, as such, is a study of my new sonic environment. This recording is typical of the sonic palette of my neighborhood in the summer months (indeed, the recording could be doubly titled, ‘Music for Neighborhood’). Various spectra of the original field recording were used as virtual voltage control to
activate sawtooth waves, which are heard as accompaniment in the final work.
TrafficCricket/LaundryMoth is a graphic score which requires players to very consciously transport themselves to a precisely described sonic environment. As such it asks players to interpret layers of that sonic environment in a deliberate and purposeful way without regard for imitation or selfexpression.
This recording was made by members of the Ancestral Groan Liberation Orchestra:
Martin Back, percussion and voice; James Bixler, electric bass guitar and voice; David Hevener, amplified cajon; Philip Mantione, guitar and percussion; Christian Pincock, trombone and electronics;
Walter Menetrey, guitar and voice.
Unstable Rotation Centers uses the ‘ScrollGrid1D’ object available in the Pure Data software. This object virtually represents the process of a scroll-type strange attractor as audio signal. I used this audio signal to frequency modulate several oscillators. The resulting ‘composition’ is nothing more than the unmediated behavior of the attractor as it iterates from its initial parameter settings.
The 1975 release of the TEATIME LP introduced the outside world to five of the ‘second generation’ London-based improvisers: STEVE BERESFORD (piano & toys), NIGEL COOMBES (violin & low grade electronics), JOHN RUSSELL (electric guitar), DAVE SOLOMON (percussion) & GARRY TODD (tenor saxophone). The main contents are two brutally-edited quartet performances (one without Todd and one without Coombes), plus a complete saxophone/guitar duo, all from 1975. There are also two very short percussion codas from the previous year. Added to the CD is a no-holds-barred guitar/percussion duo from 1973. The music is a pleasure in itself as well as being of historical interest. Unlike the ‘first generation’ that tended to perform in groups with fairly stable personnels, the ‘second generation’ tended to change line-up every gig, inspiring Derek Bailey to start his Company series.
Reissue of Incus LP 15 with additional material. 53 minutes.
GARRY TODD tenor saxophone
NIGEL COOMBES violin & low grade electronics
STEVE BERESFORD piano & toys
JOHN RUSSELL electric guitar
DAVE SOLOMON percussion
Federico Monti (1973, Argentina) sound and audio-visual artist , based in Barcelona
works with low frequencies, field recording , digital experimentation with sounds
marked by musical ambience and experimentation. His works has been published
by Homophoni and Koyuki among others.
composed, performed, and produced by Federico Monti
recorded in Barcelona 2007
Project from Russia – Nik XaOS, consists of one person. Permanent
sound he has not. But more often it is an aggressive noise, power
Electronics mixed with psychedelic samples, industrial noises and
vocal samples. Describe the project Nik XaOS can be as follows:
postmodernism, fetish, sex, perverted, mentally ill, LSD,
schizophrenia, misanthropy, apocalypse, death …
Album “Revelation demon” – is dedicated to exorcism rite, where the
background noise of magical rites performed to drive the demons from
the human body .
Javier Iriso aka IRISONO nace en León inmerso en una tradición musical familiar. Realiza estudios musicales en los conservatorios de León y Salamanca (Prof. de Piano y Prof. Superior de Solfeo y Teoría de la Música). Desde 1990 imparte clases de teoría musical en diversos conservatorios. A partir del 2000 el ordenador y las nuevas tecnologías serán sus herramientas de trabajo.
Yooco y AlíBabá son sus primeros trabajos con medios electrónicos tras una etapa dedicada a la profundización en el estudio de la denominada música clásica.
Estas dos piezas comparten archivos sonoros: vinilos tratados con cuchillos y estropajo, discos fabricados con cartón y con cinta adhesiva en una sesión ciertamente noise celebrada privadamente en el salón de mi casa. Yooco investiga las fluctuaciones rítmicas producidas por los armónicos a través de un acorde de re mayor. Utilicé un órgano virtual y sus registros para hacer dichos armónicos audibles y accesibles a su manipulación. En este sentido podría ejecutarse en un órgano convencional. En AlíBabá la espina dorsal de la composición está realizada con un sintetizador pro-53 (también virtual). El uso de discos tratados resulta más decisivo en esta pieza (una edición en vinilo del cuento de Alí Babá y los cuarenta ladrones y un single de Art of Noise).
Odinacusis y Odaxelagnia son dos piezas de 2005 que pueden entenderse como un dueto de violines, donde éstos se sustituyen por dos sintetizadores MS20 (virtuales) en el caso de Odinacusis y por dos Pro53 en el de Odaxelagnia. Pensadas para su manipulación en tiempo real (una de sus dos pistas), ambas fueron estrenadas en Palencia en el 2006. La versión de Odinacusis incluida aquí está realizada en el 2010 para ésta edición.
What are the Belgravian Blues? Knowing that the most punk people alive are probably your grandparents, because they made shit out of nothing during the dirty thirties. Knowing there is a psychic link between all of us (third eye shit). At the very least it is emotional intuition of the kind that will see an audience clap along to the pulsating rhythm of clashing line-hum frequencies while the history of Top 40 bullshit is slaughtered through radio mistunings and the guitarist lays down a style equal parts country and metal. Punk without a fashion sense. Death without romance. A healthy respect for human power, humour and soul.
Diatribes, a strongly libertarian ensemble, began its existence in a Geneva basement in Winter 2004. Adapting the improvised and experimental music languages of today, the duo is highly reactive, dynamic, percussive and/or textured. Initialy a trio, diatribes became a polymorphous formation, accuratly incomplete, extending each time its spectrum with guest musicians, from freejazz to electroacoustic improv, from loud sound wall to intimistic acoustic details, crossing the road of Barry Guy, Keith Rowe, Jason Kahn, Jacques Demierre, Christian Weber, Ernesto Rodriguez, Tomas Korber, Jean Bordé, Mick Beck, etc, travelling through europe to create new entities, with Adbul Moimême in Portugal, Hannah Marshall in England, Rafal Mazur in Poland or HKM+ in Germany.
Phonotopy aka Yann Leguay: both improbable sonic experimentations and self-cons-production label offers a conceptual approach to recording media. Diversion of items, conceptual feedback, tautology, nonsense, concretion and contradiction are the main acoustic ingredients.
Chris Lynn is a multifaceted filmmaker and Sound Artist from Maryland, USA. His work has been screened at festivals and galleries in the United States, Europe and Mexico. His short films focus primarily in urban and rural landscapes. His sound pieces are an assemblage of field recordings, ambient pieces, and soundtracks from his films.
I personally have stumbled upon Chrisâ soundpieces through the various releases he has out on Earth Monkey, Electronic Music and Misspelled Records. Through time I have always enjoyed his works a lot and when Chris knocked on JNNâs door for a future release I was well stumped and immediately took him in. And I have certainly been rewarded with a fine release filled with fragile yet beautiful soundscapes from what appear to be recordings somewhere in Asia. But I believe that is not the common factor of this release. Having heard this now a few times there is a timidness in these recordings, something that nourishes the listeners ears and soul and refreshes the mind.
If youâre a fan of field recordings then this is a release not to be missed. Donât say you havenât been warned!
Sébastien Biset, Jean DL and Impostor (Belgium) have a lot of flight hours under their belt together. They are the founders of MNÓAD (www.mnoad.com), a platform for promotion and creation, which mixes production activities (micro-label, micro-publishing, luxpacks, etc) and event planning (concerts, performances, conferences, bars, etc.).
They have collaborated on numerous occasions, such as on improvised recording sessions.
“La cure” is one of those performances given in a barn in the hometown of the musicians.
It was somewhere in 2009 that through NTNS radio I first heard of this Hungarian artist. I had played an album from him that was released on Amduscias Records and I loved that to bits. The silence after that settled in untill early August Szentpétery contacted me and asked me if I was interested in releasing his latest album. Without hearing even a single tone I welcomed him onboard and new that I would be proud of this fine fine release.
And so it did turn out to be; this 12 track album that floats on soft noise, dark ambience but most of all a great atmosphere of abstract experimentalism. Today is the day that you get to hear from this artist. Put up your feet and relax to the hypnotizing works from Szentpétery, your chance is now!
Nell’anno 2000 usciva il primo volume d’Inquinamento Acustico, che voleva in qualche modo essere un appuntamento annuale ed una fotografia sonora della scena sperimentale italiana ed estera dell’area Industriale rumorista.
Il volume 1 di I.A. viene stampato in cooperazione tra la Misty Circles di Roma e la Oktagon Records, etichetta di Andria che ebbe vita breve ma entrò di diritto nella storia della etichette underground italiane con le sue ottimi produzioni audio e dalle grafiche molto curate.
Nel 2001 era già pronto il master del volume 2, ma per una serie di motivi la Oktagon Records chiuse la sua attività agli inizi del 2002 e questa raccolta non venne mai data alla stampa.
Ogni tanto il master di I.A.Vol2 usciva fuori dall’archivio dei demo e dei promo e tutte le volte ci si chiedeva come fare per potere riportare alla luce questo interessante materiale.
Finalmente la tecnologia ci ha dato la soluzione ideale, grazie al download ed internet possiamo far ascoltare questo documento che registra gli umori, i suoni e le tendenze sperimentali dell’anno 2001.
Ci scuseranno gli ascoltatori della compilation se non ci sono note, ma sono andate perdute, inoltre ci scuseranno tutti gli artisti che non siamo riusciti a rintracciare e contattare di persona per sapere cosa ne pensassero di questa nostra operazione di archeologia sonora dopo quasi 10 anni.
Essendo però un supporto liquido, ringraziando tutti i gruppi e gli artisti presenti nella compilation che gli possiamo assicurare nel caso per qualsiasi loro motivo dopo tutti questi anni non volessero più comparire in I.A.Vol2, gli basterà contattare via mail la net-label e il loro contributo sarà rimosso in tempi brevi.
Il materiale è di totale proprietà degli artisti che all’epoca ci diedero il consenso per pubblicare il loro brano e quindi l’opera del loro ingegno rimane assolutamente di
Il contenuto di I.A.Vol2 è scaricabile gratuitamente, non ci sono scopi di lucro alcuno da parte delle etichette che rendono disponibile questo materiale.
Ultima nota di curiosità il lavoro riporta il numero di catalogo dell’epoca in cui doveva uscire, MCR41.
Buon ascolto a tutti.
Gatti Rossi Che Cadono & Misty Circles.
Field recordings made by Thee Moths (Alex Botton) presented ‘as is’ with no post production. The recordings were made on the 2nd of October 2010 and released on the 4th of October 2010.
Thee Moths formed as a fuzzy guitar pop band in 2000, initially as a quintet with former members of Alex’s old band Magnetic North Pole. That then slimmed to a trio and then down to a duo. The duo version (Alex and Dominique Ferraton) recorded the first two albums plus a slew of EPs and compilation tracks. Though Dominique left the band Alex continued, releasing several more albums before deciding to call it a day in summer 2008
Around the start of 2009 Alex began to feel that he maybe had more to say under Thee Moths’ banner. With this in mind he started up again, this time deliberately moving away from the structured song based roots of the band. Though there may be song centric recordings in the future, these are likely to not be under the name Thee Moths. Concentrating now more on making things limited and special than mass produced and available, Alex has started a series of extremely limited releases, runs of anything between 5 and 20 copies with handmade artwork, released regularly. Live shows now take one of two forms – electronic voice/laptop/synth improv with audience participation under the name ‘Many Hands/Light Work’, and completely improvised ‘singer/songwriter’ shows where the songs are written on the fly during the performance from suggestions by the gig goers. Thee Moths second actions is entirely about improvisation and engaging with the audience.
A lot of the music from the First Actions is available online for free, the Second Actions material is available in very short runs from gigs or the store. To date Thee Moths have been featured on 70 releases over 9 years.
Following our tendency on releasing works from local artists. This october we are glad to present the latest work by Sevillan sound artist David J Fonseca. After many years working on soundtracks and compositions for theater and documentary Fonseca delivers âAl Borde Del Silencio (Something like, âat the edge of silenceâ in spanish).
After releasing on well known Alg-a Netlabel, Fonseca delivers the next step on his personal approach on sound composition. Becoming a trademark of his own style Fonseca presents a collection of minimalistic pieces that explore different ways to display and distribute sound on our auditory perception.
This work ranges from electric-like drones to pure field recordings and explores the dialogues and correlations that can exist between different sound textures. Fonseca tends to create changing structures that sometimes drift to one color and sometimes they change abruptly to something complitley different keeping the audience always ready for the next twist.
This is a collection of tracks that were made around the time of the Dead Pilot Records full length ‘Sleep Paralysis’ – a couple that didn’t make the final album and a few alternative versions. Since they have been sitting around gathering digital dust, and will never turn into anything else, I offer them free to download.
The last track ‘Sleep (Minimal)’ is almost the same as the opening track from ‘Sleep Paralysis’ but comprises of only the base drone over which the additional elements are layered. Feel free to use this as a platform for your own jams, manipulations or for any other purpose. It would be interesting to see what people can get out of such a sparse, relatively still sound.