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Thursday, March 31, 2016

Sophia Loizou - Singulacra (Kathexis)

Sophia Loizou - Singulacra (Kathexis) Bristol, England-based sound artist and producer Sophia Loizou presents Singulacra, the follow-up to her 2014 debut, Chrysalis, which is itself a staggering exploration of the conflict between nature and technology and the space between natural and synthetic sounds.
With Singulacra, Loizou builds on the framework of Chrysalis for her most ambitious offering to date. Ghostly remnants of hardcore and early jungle percolate throughout while fragments of radio transmissions seep in and out through tape-based processes and spectral processing, leaving the listener in a hauntingly beautiful landscape filled with both solidity and disintegration. 
Bringing back the times of pirate radio, almost like lost transmissions from beyond the grave, this work provides a sense of intimacy and familiarity during the contemporary full-speed acceleration toward unknown futures. Exploring its audiences' anxieties surrounding technological utopias while retaining an emphasis on nurturing human value when facing inhuman forces, Singulacra engages with the potential loss of human essence amid technological progress toward artificial intelligence. Ace!

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Tuesday, March 29, 2016

Folklore - Wounding Knife

FOLKLORE - Folktales 001
Label: Folk Tales
Cat: FOLKTALES 001. Rel: 28 Mar 16

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Monday, March 28, 2016

"THE ELECTRONIC MEDIUM" Excerpt of a lecture by Edgar Varèse (Curated by MMMOOONNNOOO)

"THE ELECTRONIC MEDIUM" 
«Excerpt of a lecture by Edgar Varèse  given at Yale University in 1962.» - Curated by MMMOOONNNOOO (Daniel Neves).
First of all I should like you to consider what I believe is the best definition of music, because it is all-inclusive: "the corporealization of the intelligence that is in sound," as proposed by Hoene Wronsky. If you think about it you will realize that, unlike most dictionary definitions which make use of such subjective terms as beauty, feelings, etc., it covers all music, Eastern or Western, past or present, including the music of our new electronic medium. Although this new music is being gradually accepted, there are still people who, while admitting that it is "interesting,"say, " but is it music?" It is a question I am only too familiar with. Until quite recently I used to hear it so often in regard to my own works, that, as far back as the twenties, I decided to call my music "organized sound" and myself, not a musician, but "a worker in rhythms, frequencies, and intensities." Indeed, to stubbornly conditioned ears, anything new in music has always been called noise. But after all what is music but organized noises? And a composer, like all artists, is an organizer of disparate elements. Subjectively, noise is any sound one doesn't like. 
Our new medium has brought to composers almost endless possibilities of expression,and opened up for them the whole mysterious world of sound. For instance, I have always felt the need of a kind of continuous flowing curve that instruments could not give me. That is why I used sirens in several of my works. Today such effects are easily obtainable by electronic means. In this connection it is curious to note that it is this lack of flow that seems to disturb Eastern musicians in our Western music. To their ears it does not glide, sounds jerky, composed of edges of intervals and holes and, as an Indian pupil of mine expressed it, "jumping like a bird from branch to branch." To them apparently our Western music seems to sound much as it sounds to us when a record is played backward. But playing a Hindu record of a melodic vocalization backward, I found that it had the same smooth flow as when played normally, scarcely altered at all.
The electronic medium is also adding an unbelievable variety of new timbres to our musical store, but most important of all, it has freed music from the tempered system, which has prevented music from keeping pace with the other arts and with science. Composers are now able, as never before, to satisfy the dictates of that inner ear of the imagination. They are also lucky so far in not being hampered by esthetic codification at least not yet! But I am afraid it will not be long before some musical mortician begins embalming electronic music in rules.
We should also remember that no machine is a wizard, as we are beginning to think, and we must not expect our electronic devices to compose for us. Good music and bad music will be composed by electronic means, just as good and bad music have been composed for instruments. The computing machine is a marvelous invention and seems almost superhuman. But, in reality, it is as limited as the mind of the individual who feeds it material. Like the computer, the machines we use for making music can only give back what we put into them. But, considering the fact that our electronic devices were never meant for making music, but for the sole purpose of measuring and analyzing sound, it is remarkable that what has already been achieved is musically valid. They are still somewhat unwieldy and time-consuming and not entirely satisfactory as an art-medium. But this new art is still in its infancy, and I hope and firmly believe, now that composers and physicists are at last working together, and music is again linked with science, as it was in the Middle Ages, that new and more musically efficient devices will be invented.
Below you can listen to one of his most famous electronic compositions:
Poème Électronique
Poème Électronique, written for the Philips Pavilion at the 1958 Brussels World’s Fair. The Philips corporation commissioned Le Corbusier to design the pavilion, which was intended as a showcase of their engineering progress. Le Corbusier came up with the title Poème Électronique, saying he wanted to create a "poem in a bottle". Varèse composed the piece with the intention of creating a liberation between sounds and as a result uses noises not usually considered "musical" throughout the piece.
Documentary about the project:

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Wednesday, March 23, 2016

RICHARD DAVIS - Methane Sea (reissue)

RICHARD DAVIS - Methane Sea (reissue) (Spanish Mission) Collectors repress of cinematic 1978 Proto-Electro/Techno/Synth-Pop-Electronic gem by Cybotron founder.

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STEPHEN O'MALLEY - End Ground


STEPHEN O'MALLEY - End Ground (Ideal Recordings) End Ground forms the third and final installment in a series of records documenting the solo prowess of Sunn 0)))’s Stephen O’Malley released on Sweden’s iDEAL Recordings. It was performed on electric guitar thru Sunn model T amps, and captured on a zoom H4 at Centre Cultural Suisse, Bad Bonn Carte Blanche, Paris, France, on 18th October 2013. In solo mode, stripped of his usual accomplices and collaborators, O’Malley is no less than an elemental force. His durational meditations absorb and consume with steady-handed wave after wave of charred, sustained, and sub-harmonised chords casting the mesmerising minimalist practice of La Monte Young into the physicality of Black Sabbath’s original, heavy metal die. The A-side/first half of this 45 minute performance features O’Malley tentatively coaxing out languorous riffs which turn the air around him to a pensive, vibrating mush. As the 2nd half dawns he begins to deliver more crushing blows, drawing out and subsiding the chords with a patented, gut-wrenching and vivifying power that transcends rock, avant-garde, minimalism - all of that - to awaken dormant senses not usually experienced with other musics or concise temporality. As with many of the most affective heavy drone recordings by Sunn 0))), among others, a modicum of patience is required in order to attain the right state for reception, but once your mind and body are malleable, the impact is deliciously visceral, primal and whelming. Colour us blown away, once again. [Preview/Audio Snippets]

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Monday, March 21, 2016

HEINRICH DRESSEL - Mons Testaceum

First edition 2007 (Strange Life Holland) Mons Testaceum (Strange Life Holland) vinyl re-run on Mannequin Recordings, H.Dressel's (Minimal Rome Records Co-Founder) Mons Testaceum comes this beautifull archeological soundtrack with touches from, Tangerine Dream, Goblin (circa Byuo Omega) and 70s Japanese Space manga soundtracks and the typical roma Elka Synthex sound. Its dripping with Giallo juice! Highly Recommended!

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Mundo Urbano #5 On Radio Quantica, (18/03/2016)

Mundo Urbano #5 On Radio Quantica, (18/03/2016)
---Tracklist:

01.Angelo Badalamenti - Laura Palmer Theme
02.Upper Astral - Journey to the Edge of the Universe
03.Roly Porter - Known Space
04.Shackleton - In Norwegen Ganz Verwegen
05.Fatima Al Qadiri - Aftermath
06.Shapednoise - The Man From Another Place
07.Shady P - X Is Whole
08.Marshall Applewhite - Prostrate
09.Gregor Garnutsi - Access Granted
10.Shackleton - Cast The Die
11.Vakula - The Wombflash Forest
12.Maoupa Mazzocchetti - I'll Have The Meat But Not The Teeth
13.Orphan Swords - Astaroth
14.Glass Theeth - Flesh palace
15.Roly Porter - In Flight
16.Colored Music - Heartbeat
17.Jean-Luc Ponty - Individual Choice
18.Effetto Joule - Robespierre (12'' Extended Version)

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Wednesday, March 09, 2016

VIOLET POISON - All Are Welcome In The House Of Lust

VIOLET POISON -  All Are Welcome In The House Of Lust (Candela Rising) The Italian serves up 4 tracks of analogue Proto-Techno... The style can be defined as techno of an esoteric nature with elements from 90’s warehouse material mixed with VHS horror movie aesthetics. Moans, groans, whips and desire can be felt throughout the record with a lustful theme running throughout. Violet Poison's trademark post-punk aesthetic and industrialism are in fine form for 007 with shades of rhythmic noise, experimental dark ambient and power electronics...

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