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Neural 39 > p.30 > .sounds
If, Bwana: Assemble.Age!:MutableMusic> He's back to delight lovers of more "purist" experimentation. Al Margolis is an acrobatic audio-artist, active since the eighties, who remains effective and calibrated, combining acoustic instruments, eccentric vocals and delicate dissonances. Sequenced organic drones, not free from the influence of certain avant-gardes of the sixties, highlight deep vibrations between the piercing notes of the trombone, synth, flute and computer, in refined atonal passages and overlapping layers of sounds and audio emergences. The project involved a number of musicians all of whom are experienced in moving between hard passages. Listeners are presented with atmospheres that are often gloomily hypnotic and prone to surreal and thoughtful collages, sophisticated in their textures but accessible to anyone willing to pay attention to non-conventional and poetic harmonies.
Retina.it: Randomicon:FlatMateMusic > Retina.it (Lino Monaco and Nicola Buono) are back. A certain minimalist aesthetic hides between the grooves, but from the title of this record it is already possible to detect new instincts, suffused with chaosmotic suggestions. "Countless possible combinations" collide in a totally random fashion, giving rise to new forms and knowledge. "Randomicon", the title track of the project, is an example of the complexity of their strategies, articulated and hybrid, combining dark, robotic atmospheres with a metal taste and a metropolitan and industrial foundation. It should be emphasized that most of the recordings were made with the help of homemade modular synths, supported by Quartz Composer. Even the 500 different covers of the CDs are the result of specific customizations, scrambled and randomized, thanks to a program written by Federico Crivellaro.
VV.AA.: Electric Carpets [Part 2 Of 2]:RecordLabel Records> Abstract sound design and experimental atmospheres meet a fusion style, mixing electroacoustic beats and creating an artificial and frantic post-IDM pastiche. Record Label Records is headed in a rather unconventional way by Robbie Martin. His attention is now deliberately focused on the ridge between dance and more rarefied psychonautical elaborations, surprising the listener with liquid sounds and futuristic, sensitive derivations. There are seventeen tracks on the disc, the result of the work of almost as many musicians. Only Kossak appears twice, with "Brookers Bible" and "Mrs. Crabcake", both dark, rhythmic and mysterious. The contribution of Kincsu, the more holistic and ambient "Refraction", is also remarkable. Equally interesting is "Beautiful Grey" by Terminal 11, who stirs vocals and obliquely balanced sinuous musical textures.
Blake Carrington: Cathedral Scan:Dragon'sEye Recordings> In this project by Blake Carrington the architectural plans of the Basilica of St. Patrick's Old Cathedral are subtly decoded and transmuted into open orchestral scores. The album makes use of custom software, treating maps of the environment as a source of data: the sounds themselves are therefore enriched by the reverberations of those places. The results are alluring organ-like harmonics and deep beats, which give rise to a complex auditory involvement, varying in speed and intensity, giving rise to different frequencies and resonances. Yet the contribution of technology produces a "complexification" of the sounds provided by the author, an operation made even more fascinating by the contribution of visual elements in performances, suggesting a precise matching between the structure of the architecture and the music.
Dimitri Voudouris: ΑΛΘ=Φ / UVIVI / 1:ΘΦ4 / ΟΝΤΑ: Pogus> This release focuses on the psycho-acoustic nature of auditory phenomena and on the characterizations they assume in different human relations, in daily events and in less complex dynamics. It is precisely the morphological study of each sound source that is the starting point from which Voudouris restores some degree of order, organizing sensitive blocks of elements and frequencies. "All Tracks in this album to be played loud" warns the author, confirming the chaosmotic nature of a work with a thousand paths – one that is both elusive and extremely dynamic. The collage of sounds, arranged between voices and digital machinery, also draws on more traditional techniques of electroacoustic improvisation, without ever relaxing its tension, creating an imaginative landscape, multifaceted, ever-changing and reverberating. Neural 39 > p.31 > .sounds
Alexander Schubert: Plays Sinebag:Ahornfelder> Acoustic instruments and electronic processing converge in this album through hybrid experimental junctions of captured sounds and elliptical atmospheres. There are almost post-jazz sequences in "A Few Plateaus", while “Preliminary”, "Vowels", "All My Models" and "Slept" offer improvisational and refined interludes. The album’s two full-bodied tracks, “A Few Plateaus” and “Wake-up, Fly Ray”, are dense and passionately evocative productions. Schubert is here surrounded by several musicians, each of whom inserts new feelings in the construction of passages and melodies. The harmonies may appear somewhat fragmented and distorted, but they are never excessive in emphasis and dissonance, wellorganized in often multifaceted rhythms and gentle kinematic concatenations, full of interesting arrangements and harmonic details.
Philippe Petit: Philippe Petit Scores Henry: The Iron Man:Aagoo> Inserted in our player, this CD immediately plays anxious sounds reminiscent of the original soundtrack of the movie mentioned in the cover artwork - "Eraserhead" - the first feature film by David Lynch. The record’s attention is focused primarily on unhealthy environments, developed in hypnotic sounds that are abrasive and dark: a kind of surrealist audio-remake made by stressing drones,
abstract reverberations, samples and digital inserts (by Luis Parisot). Philippe Petit frequently works with science fiction and horror film atmospheres, as in his work with Chapter 24, "The Red Giant Meets The White Dwarf". Here, however, he seems to be at his best, merging experimental, inspired scores whose vitriolic caesuras are perhaps redundant at times, but always engage; heralding a sense of uneasiness at times grotesque, insistent and effective.
Emanuele Errante: Time Elapsing Handheld:Karaoke Kalk> Digital-acoustic mixes, delicate lullabies and ambient scores. Overlapping textures sometimes develop from a single note, among meandering drones and clear harmonic articulations. This is a record that moves between dreamy emotions and narrative plots. The sounds are vibrant with emotional charge, teetering between modernity and classicism. Melancholy emerges more clearly in
"Counterclockwise" and the harmonies are slightly deviant in "Dorian's Mirror, While On Memoirs", impalpable in its barely audible whispers. Sounds that show an evanescent and claustrophobic attention are scattered among sound loops and the cacophonous reproduction of a piano, guitar or harp. It is worth emphasizing the participation of Simon Scott of Slowdive in "Made To Give", an episode that is wide open and quietly dreamy, vibrant and magical.
Jason Kahn: Beautiful Ghost Wave:Herbal International> This record employs a crafty expansion and contraction of the sequences, made using the first analog synthesizers, audio mixers and contact microphones as well as short-wave radios and electromagnetic coils. The recordings were made by putting the microphones in front of the speakers directly behind the artist, in order to produce a greater acoustic sense between the generated sounds and space, modulated in the rarefied action of physical movements. These recordings were then edited bringing together several previous "captures" and manipulations, with an emphasis on "hearing between the lines". The changes between tones and volumes are fascinating, in both rich and faint passages that alternate with silences to create mutating textures, where emotion is still present, even in the uncertainty of the artfully arranged processes.
Igorrr: Nostril:AdNoiseam> Vitriolic sequences, without any sense of sadness even though peppered with church-like and orchestral moments. Accelerations, sudden changes of tempo, and an insane attitude for unusual twists and hyperbolic improvisations. Igorrr moves between Baroque music and death metal, electronic music and classicism. Talking about his own music the artist first uses the term "indéfinissable", before opting for "baroquecore", with a "fusion" nature in some movements. After the initial bewilderment, a certain elegance in the tremors and planned chaos touches the listener in a perceptible way. The variety and freshness of the approach finally prevail, sublimated in the beats and the quick staccatos, in the hypertrophic conjunction of juxtaposed compositional elements. Similar ambiguous influences, full of livid humanity, characterize the interesting graphics of the artwork.