Artist: Mutation Urbaine
Title: Ville Imaginaire
#ca326
Date: 2009-10-30
Keywords: industrial, minimalist, ambient, other
Tracklist:
01 - Lèvres Silencieuses - 5:18 (320 kbps)
02 - Sensation de vide - 5:18 (320 kbps)
03 - Ville Imaginaire - 4:30 (320 kbps)
04 - Paysage Urbain - 1:48 (320 kbps)
05 - Lumiere Vagabonde - 7:59 (320 kbps)
06 - Rame Hantee - 4:29 (320 kbps)
cover front
booklet 1-4
booklet 2-3
cover back
disk label image
Download.zip
Des Lèvres Silencieuses en suspens dans le vide, ondulantes et chatoyantes, fusionnant avec l'eau et le feu, procure une sensation d'apaisement. Décor insolite où la réalité et la fiction se confondent étroitement ; paysage minimaliste évoquant une Sensation de Vide, d'inquiétude et parfois de malaise. Se dissimule au loin une Ville Imaginaire étrangement belle et mystérieuse offrant un regard troublant et angélique. Se cache derrière cet épais brouillard un Paysage Urbain industrialisé et confiné en plein essor un peu plus chaque jour. D' une grande amplitude une Lumière Vagabonde parcourt les ondes et propage une douce mélodie tournant en boucle perpétuellement pour se perdre dans les boyaux de la cité. Aux plus profonds des galeries souterraines une Rame Hantée chancelante en quête d'un passé lointain, d'un souvenir, sillonne inlassablement les glacials tunnels obscurs, pour disparaître à travers la nuit noire.
(Le Hibou)
Quiet Lips, suspended in emptiness, undulating and shimmering, fused with water and fire, gives us a feeling appeasing. Strange decor where reality and the fiction merge narrowly ; minimalist landscape evoking a Feeling of Emptiness, disquiet and sometimes of unrest. In the distance, is concealed an Imaginary City curiously beautiful and mysterious giving a disturbing glance and angelic. Behind this thick fog an industrialized and confined Urban Landscape appears in full development more each day. With a great amplitude, Light Vagabond scans the waves and propagates a soft melody which perpetually gyrates losing itself in the bowels of the city. In the depths of the underground galleries, a Haunted Subway Train, staggered in search of its distant past, tirelessly furrows the icy underground tunnels, to disappear into the dark night.
Le Hibou : Auteur, compositeur, interprète et arrangeur
instr. : guitare, basse, basse baritone, piano et M.A.O.
Contact:
http://www.myspace.com/mutation.urbaine
Artist: Morgan Craft
Title: The Silver Bullet
#ca324
Date: 2009-10-26
Keywords: live, improvisation, experimental, field recordings, other
Tracklist:
01 - Maracaibo - 3:22 (320 kbps)
02 - Edge Of The Sun - 4:04 (320 kbps)
03 - What Are Rebels - 4:08 (320 kbps)
04 - Those Days Before - 2:55 (320 kbps)
05 - The Flowers Are Still There - 3:06 (320 kbps)
06 - Of Many Forms - 3:22 (320 kbps)
07 - Morning Is Cast - 2:31 (320 kbps)
08 - The Streets Moved To Destinations - 3:27 (320 kbps)
09 - Flowing Through - 2:50 (320 kbps)
10 - In Hand - 3:14 (320 kbps)
11 - Toscana - 3:46 (320 kbps)
cover front
cover back
disk label image
Download.zip
All sounds made by, on, or through solo electric guitar, with the
exceptions of tracks 1 & 11 which are field recordings.
All tracks improvised and recorded live.
Copyright 2009 / Morgan Craft
A NEW MACHINE:
Q: Where do you think music is going now, especially with the
availability of affordable technologies making it easy for practically
anyone to become involved in the production, distribution and promotion of
new music? How does this shift affect your thinking?
MC: I've been making the comparison of what's happening now in music to
the advent of photography and what it did to the painters. It forced a
major change in the medium and I think the same will be true now for
music. I'm very excited about this, actually. I like the fact that
things are coming to a head, becoming congested and overpopulated because
it forces a new direction. Musicians or sound artists who are dedicated
to the progression of the form are going to have to discover a way to
continue. Part of my whole research these last few years has been about
building a new machine. I've been thinking about the entire field of
creativity and improvisation as opposed to just the audio or aural. Part
of me doesn't even want to focus on being a musician anymore, I almost
don't want to call myself that. I'd rather hold out for something other.
But the important question is / what is music for? Is it ironic, sexual,
materialistic, glib, sound used for base entertainment or is it something
else? Well, we know it can be all of those things, but it's also a great
responsibility. Music is not a game, it is a spiritual thing. You don't
play with music, its power cannot be underestimated. When the higher
forces give you the gift of musicianship it must be well-used for the good
of humanity. So if, as a musician, your concern is communicating or being
a vessel then it's only a matter of time until that separates what you're
doing from the masses of people just doing it for kicks.
Q: How have you maintained your optimism over these last five years
despite the lack of gigs, rewards or attention?
MC: Well, on one level the work becomes it's own forward momentum and
positivity. As an artist, when you begin to break through your own
boundaries and create something new, just for yourself, it gives you
energy. The art keeps you uplifted. Also, something that I think about a
lot is that I could not continue simply through my own willpower. I have
felt led by the hand, so to speak, for many years now. All along the way
I have followed the signs or intuitions that were put in my path and have
led me here. Then, it's easy to think, 'well, where is here? I'm
invisible.' But underneath the paranoid mind is a belief that this is
what I personally have to go through in order to make music that is
timeless. I've never wanted to just be in the music business, you know,
doing sessions and making a living. My inspirations are those people who
created something that was not constrained by thoughts of money or
popularity. And as you grow and do the research on who has come before,
you begin to notice a pattern. Obviously it varies and there are fast
starters but there are also the ones who had to marinate for awhile and
had to endure long stretches of total obscurity. I've trained a long time
to listen to my soul, going on instinct, intuition, emotion and
inspiration rather than logistics or whatever standards are currently in
vogue for being a success. I have more energy now than ever before in my
life. I'm following that. That's the force that allows you to see the
possibility everywhere. This is what I mean when I say it isn't about me
and my will and what I want to do, it's about what I've been given and
asked to do. I don't have a choice. For me, life is about being inspired
and the rewards have to do with flowing naturally, the earth, space,
feelings. All kinds of glorious things begin to happen when you accept
your duty of contributing at your highest possible level and potential,
whether or not anyone is giving you praise.
Q: Why do you think there hasn't been more of a response yet? You've got
a pretty good resume, you've done the New York grind, etc. It seems like
a perfect time to be out there.
MC: The music that is currently being supported right now falls in line
with certain regressive tendencies that the world is still entertaining.
It's so much easier to market and sell something that has already proven
to be successful, from the styles of music to the way people are playing
their instruments, and it's also much safer in terms of cultural
influence. The power structure obviously doesn't want any renegade forms
to get much room, they never have, and it's always been a struggle between
power and the creative sector. We've been programmed to all nod in unison
at the rightness of the current state of things. Obviously it starts from
the beginning, with the media, with schooling. I don't think I have to
talk much about this, it's a pretty basic thesis and there's enough great
research out there already. (John Taylor Gatto's essay 'Against School'
and Noam Chomsky's 'Media Control' for starters) What I find uniquely
disturbing about this particular moment in time is the overwhelming lack
of progressive opposition. You'd be hard pressed to find a line of
thought that runs contrary to the status quo. And if you do find an
opposition it usually sits nice and safe within a school syllabus or well
established form, like conceptual art or jazz or Marxism. Artists,
musicians, writers have become respectable. They've become careerists.
Somehow the old notion of the independent artist has been replaced by the
specialist willing to work for whomever has the cash or the power to
bestow a title. This, I think, is a new development. What I'm concerned
or nervous about is a generational black hole, a kind of void where
exciting individuals, groups and sounds used to be. That's my area of
responsibility. I want to be the proof that you can blaze your own trail
outside of the institutions and not have any inferiority complexes because
of it. You can be as literate as you want, as aggressive as you want, as
uncompromising as you want, all the while creating your own niche and
setting your sights on doing something original and fresh.
Q: You mentioned something about 'a new machine' you're trying to create
and I assume you don't mean a gadget or mechanical device. Could you
explain a bit more what you have in mind?
MC: It's absolutely human. The body and its intelligences are a machine.
It's about using all of your talents and all of your interests as one
complete expression, without having to divide yourself up to fit into a
box. I'm obsessed with composite forms, new kinds of agglomerations and
energies. The new machine is not some fixed definition, it's a constant
unfolding and I have no idea where it will go. It's really just a phrase
that keeps my attention facing forward. Let's look at it a bit randomly.
I've talked a lot about the new black American avant-garde and
improvisation. For myself this involves a melding of my particular
cultural attributes to the point where there is no division or hesitation
between the parts. I'm interested in rhythm, the rhythms found in nature,
the relationships we have with the seasons, the ocean, cosmology. I'm
interested in literature, writers like Jean Genet, Virginia Woolf, Samuel
Delany. I'm interested in cultural theory, Camille Paglia, Nietzsche,
athletics, Kobe Bryant, Randy Moss, Usain Bolt, poetry, Walt Whitman,
Sylvia Plath, photography, Cecil Taylor, video, Dogme 95, freestyle
motocross, Fleetwood Mac, big wave surfing, volume, excess, discipline.
The new machine isn't concerned with boundaries, only whether it can be of
use or not. It can take energy from any arena and apply it where needed.
But it must be functional, it must be real and not languishing in
theoretical musings. The new machine should be severely physical.
Q: You've said before that every instrumentalist must discover the
infinity within their instrument, what do you mean?
MC: Every instrument must be exploded, atomized and seen for what it
truly is. If you accept that sound, not only the twelve tones of our
western system, but the entire world of sound, can be used for
communication and expression then you must discover the point at which
your instrument liquefies.
(Morgan Craft)
Bonus video:
All video shot by Morgan Craft.
Soundtrack by Morgan Craft.
All sounds made by, on, or through solo electric guitar.
Improvised and recorded live.
Vignette 6
Vignette 7
Vignette 8
Vignette 9
Vignette 10
©2009
Morgan Craft is from New Brighton, Minnesota.
He moved to New York in 1994.
He founded Circle Of Light Recordings in 2001.
He has played with Butch Morris, Talib Kweli, Pete Cosey, Ikue Mori, Meshell Ndegeocello, Anton Fig, Beans, Greg Osby, Rhodri Davies, Johnny Kemp, Marc Ribot, Christian Marclay, Simon H. Fell, Nona Hendryx, Carl Hancock Rux, Daniel Carter, Vernon Reid, Greg Tate.
Discography: 'Swan' / Morgan Craft (Clinical Archives), 'Hymen' / Morgan Craft (Trugroid), 'Adagio' / Morgan Craft (Circle Of Light), 'Rough Americana' / Morgan Craft & Mutamassik (Circle Of Light), 'Mysterium' / Morgan Craft, Daniel Carter & Eric Eigner(Eavesdrop), 'Quality' / Talib Kweli(MCA), 'Apothecary Rux' / Carl Hancock Rux (Giant Step), 'Soul At The Hands Of The Machine' / Guillermo E. Brown (Thirsty Ear), 'Black Sex Yall And Random Bloody Violets' / Burnt Sugar (Trugroid), 'Blood On The Leaf' / Burnt Sugar (Trugroid), 'The Sirens Return' / Burnt Sugar (Trugroid), 'The Crepescularium' / Burnt Sugar (Trugroid), 'Fubractive Since Antiquity Suite' / Burnt Sugar(Trugroid), 'The Rites' / Burnt Sugar (AvantGroid).
He currently lives in a mountain villa in Toscana, Italia.
Contact:
http://www.roughamericana.com
Artist: Trap & Zoid
Title: cosmic microwave background radiation
#ca323
Date: 2009-10-24
Keywords: live electronics, experimental, psychedelic
Tracklist:
01 - the end of space - 5:43 (320 kbps)
02 - persian rat bones - 2:45 (320 kbps)
03 - short pants - 4:53 (320 kbps)
04 - who's there - 11:56 (320 kbps)
05 - chitin obsession - 1:50 (320 kbps)
06 - the 12 lbs banjoing fly - 7:15 (320 kbps)
07 - epilogue - 3:19 (320 kbps)
08 - the return of the gnomes - 5:22 (320 kbps)
09 - semblance - 1:30 (320 kbps)
cover front
cover back
disk label image
Download.zip
Trap & Zoid is a one-human electronic solo project. It's based on a simple constrain : one take live recording and no mix nor overdub. The only postprocessing allowed is cut and fade to select and to compile the tracks. This way of working stimulates immediate instant creativity and leads to a music that is trully antipodal to most usual electronic releases.
The sound is very present and spontaneous, not really easy listening.
It's raw, wild, dark, alive... and it's just next to you !
Heady melodies and drones install some hypnotic environments, creating an unique sonic universe, while organic sounds and noises summon unexpected weird entities.
Only analogue synthesizers were (ab)used, the main one being an EMS Synthi AKS.
The sound's powerful sharpness is fully enjoyable on quality speakers, in-ear and headphones are not recommended.
The one who plugs pins and jacks, turns knobs and shakes joystick is Constantin Papageorgiadis.
He is formerly a rock'n'roll musician, currently playing bass and upright bass in a few bands.
His first contact with synthesizers was in 2008, when he started adding some space effects to his band Fungus Imperator's psychedelic rock.
This would take him further in electronics than he formerly thought. A growing interest in experimenting with analogue synthesizers was born...
Contact:
http://www.myspace.com/trapandzoid
Artist: Id of Mobius
Title: Excursions
#ca322
Date: 2009-10-21
Keywords: sound-art, music concrete, noisescape, electronica, electroacoustic, electronic, experimental
Tracklist:
01 - Excursion 1 - Live at the Bluecoat in Liverpool UK July 2009 - 41:52 (320 kbps)
02 - Excursion 2 - Live at Fuel in Manchester UK September 2009 - 29:58 (320 kbps)
cover front
booklet
cover back
disk label image
Download.zip
The album consists of two lives shows recorded this year of which the whole content is completely improvised.
Id of Mobius are:
Shaun Blezzard (electronics / bass)
Simon Jones (violin / electroacoustic instruments)
Ian Simpson (electronics / lapsteel)
Harry Gallimore (electronics / kaoss instruments)
Id of Mobius had its roots in last years Centrifuge concerts at the Kings Arms in Salford, Manchester which were organised by Frakture (Liverpool). The chance grouping of Shaun, Harry, Ian & Simon received extremely positive feedback with many audience members requesting they 'do it again' sometime. Excursions is exactly that, Id of Mobius 'doing it'.
Id of Mobius features members from Fonik, Good Noise Bad Noise and Noise Club.
"My faith in Electronic Musik has been restored" (Phil Morton, Frakture)
Contact:
http://www.myspace.com/idofmobius
http://www.myspace.com/fonikfonik
http://www.myspace.com/goodnoisebadnoise
http://www.myspace.com/noiseclub1
Artist: NOW
Title: Ooo-Doo-Sigh
#ca320
Date: 2009-10-16
Keywords: experimental pop, electronic pop, improvisation, live, other
Tracklist:
01 - Over The Lust And Greed - 13:14 (320 kbps)
02 - Respectful Restriction - 6:33 (320 kbps)
03 - Excited Lobo Crown - 2:31 (320 kbps)
04 - Song - 9:31 (320 kbps)
05 - Mojoyama - 0:54 (320 kbps)
06 - No Feelings - 2:38 (320 kbps)
07 - I Want To Breeze - 2:51 (320 kbps)
08 - The End Of Song - 1:53 (320 kbps)
09 - Ra - 1:18 (320 kbps)
10 - The PumpRoom - 5:57 (320 kbps)
11 - Pecussion Breaks - 2:34 (320 kbps)
12 - Relive The Jam - 3:56 (320 kbps)
13 - With It - 7:43 (320 kbps)
14 - Hiway Code - 5:53 (320 kbps)
15 - The End Of Song - 4:14 (320 kbps)
16 - The Incase - 4:18 (320 kbps)
17 - Bells - 0:25 (320 kbps)
cover front
cover back
disk label image
Download.zip
"Ooo-Doo-Sigh" is a collection of live recordings taken from NOWs Japan tour in May 2009. It features unique & stripped down version of songs from their albums "Ooodipooomn", "The Hepadaboo" & "Frisbee Hotpot", as well as new improvisations & short sound experiments. These recordings also feature guest Japanese musicians: percussionists Chica Inoue & Viva Sherry, avant-garde guitarist Akira Toyonaga, vibraphone-player Izumi Misawa and energetic drums from Yoshiyuki Ichiraku.
NOW (on this tour/recording):
Angela Last - bass, synthesizer, voice & percussion
Justin Paton - voice, guitar, synthesizer, percussion, drum machine, piano & bass
Richard Thomas - melodica, synthesizer, percussion & voice
feat:
Akira Toyonaga (guitar on "With It" & "Hiway Code")
Chica (percussion on "The Pump Room", "With It" & "Hiway Code")
Izumi Misawa (vibraphone on "Over The Lust And Greed")
Viva Sherry / Hime & Satoko (percussion on "With It")
Yoshiyuki Ichiraku (drum kit & sampler on "Over The Lust And Greed")
Founded in 1998, NOW have released 5 albums, contributed exclusive tracks to many compilations & collaborated with underground musicians such as Damo Suzuki (one of NOWs 5 albums was with him), Charles Hayward & The Go! Teams' Kaori Tsuchida.
They have also attracted support slots with bands such as Faust, Circle, Tunng, Psapp, Rothko, Plaid and A Hawk And A Hacksaw and in February 2009 The Stooges’ Mike Watt dedicated an entire radio show to their music.
Live, NOW move between melodic songs and energetic improvisation.
The band has played inside and outside the UK, most recently completing a Japan tour to promote their latest album, "Ooodipooomn", of which Plan B magazine writes:
"Pursuing their offbeat, off-kilter and occasionally off-the-wall mashup of lo-fidelity experimental pop music and uptempo kosmik grooves at the fringes of undergound and overground success, NOW continue to demonstrate the tireless heart of their being is something close to an unsung national treasure."
NOW could be described as catchy, contemporary, inventive, exotic, melodious, harmonious and disharmonious 21st century pop music.
Contacts:
now_news@hotmail.com
http://www.nowtheband.com
http://www.myspace.com/nowtheband
http://www.myspace.com/ooodoosigh
http://www.facebook.com/group.php?gid=2373288474&ref=ts
Artist: Magical Unicellular Music
Title: Kampuchea, my Kampuchea
#ca317
Date: 2009-10-07
Keywords: post-rock, psychedelic rock, other
Tracklist:
01 - Kampuchea, Take 2 - 3:34 (320 kbps)
02 - Kampuchea, Take 3 - 16:15 (320 kbps)
03 - Kampuchea, Take 5 - 8:51 (320 kbps)
04 - Kampuchea, Take 6 - 10:07 (320 kbps)
05 - Kampuchea, Take 7 - 8:32 (320 kbps)
06 - Kampuchea, Take 8 - 5:45 (320 kbps)
07 - Kampuchea, Take 11 - 7:05 (320 kbps)
cover front
cover inside 1
cover inside 2
cover back
disk label image
Download.zip
Magical Unicellular Music is a project of the Solntsetsvety artistic group, functional in a number of cities of the Eastern Europe. Several different lineups playing this kind of music exist, and they can be distinguished from one another by respective adopted approaches to realization of the commonly accepted method and by sequence numbers (V.O.M. 4, V.O.M. 5, V.O.M. 23, etc.) ‘Kampuchea My Kampuchea’ album was recorded in Minsk by the V.O.M. 3 fraction.
This incarnation's instrumental lineup (drums, radio receiver, guitar) is remarkable for the fact of containing three instruments that create absolutely individual sound ambience each, guitar being a tonal instrument, drums - rhythmic, receiver – noise-producing. Their mutual independence adds a wider scope of mobility and dynamic pressure to the sound of the band.
Волшебная Одноклеточная Музыка -- проект художественной группы Солнцецветы, охватывающий несколько городов восточной Европы. Существует несколько разных составов играющих эту музыку, а отличаются они друг от друга подходом к реализации общей концепции и номерами (В.О.М.4, В.О.М.5, В.О.М.23 и т.д.). Альбом «Кампучия, моя Кампучия» записан в Минске группой В.О.М.3.
Инструментальный состав группы (барабаны, радиоприемник и гитара) замечателен тем, что в нем представлены три инструмента формирующих абсолютно разную звуковую среду: гитара - инструмент тональный, барабаны - ритмический, радиоприемник - щумовой. Их незвисимость друг от друга придает ансамблю большую подвижность и динамическое напряжение.
video: V.O.M. 3 live footage (Живое выступление В.О.М.3)
Contact:
http://www.myspace.com/unicellularmusic
Artist: Trio Antimanierista
Title: Musica Improvable
#ca316
Date: 2009-10-04
Keywords: improvisation, free jazz, jazz, experimental, other
Tracklist:
01 - Black Blues - 4:57 (320 kbps)
02 - Alfonsina y el arroz - 5:12 (320 kbps)
03 - The Problem - 4:18 (320 kbps)
04 - Dialisis dance - 2:34 (320 kbps)
05 - Astracan Blues - 6:15 (320 kbps)
06 - Un Buen Western - 6:06 (320 kbps)
07 - No disparen al perriflautas - 6:36 (320 kbps)
08 - Catalina y el mar - 5:08 (320 kbps)
cover front
cover back
disk label image
Download.zip
"What is music? What is sound? What is art? What is creation? What is style? What is manierism? What is rithm? What is perfection? What is friendly? What is key? What is chord? What is garmony? What is melody? What is nation? What is a child? What is interaction? What is sun? What is telephaty? What is body?"
Antonia Funes: viola, melodica, keyboards, piano and fidle.
David Diaz: Electric guitar, keyboards, piano and Organetta 3.
Victor Sequi: Pseudodrums, clarinet, banjo, and melodica.
Recorded in Madrid, mayo - junio 2009 at Estudios Pedroneras
Contact:
http://www.myspace.com/trioantimanierista
http://trioantim.blogspot.com
Artist: Fabrizio Paterlini
Title: Viandanze (EP)
#ca315
Date: 2009-10-01
Keywords: piano solo, piano, neo-classical, ambient
Tracklist:
01 - Profondo Blu - 2:51 (320 kbps)
02 - Viandanze - 4:01 (320 kbps)
03 - Lontana, dolcemente sospesa - 3:38 (320 kbps)
04 - Veloma - 2:56 (320 kbps)
cover front
cover back
disk label image
Download.zip
The EP is the foretaste of the upcoming "Viandanze" full album, which will be released in winter 2009.
Fabrizio Paterlini’s music has been defined as ambient, minimalist, graceful, sweet and relaxing: “a glass of red wine on a summer evening”, as he himself defines it.
Recentely, he released an EP - "Viandanze" a small preview of the entire full album that will be registered in 2009.
In 2007, on the “Music Center” label, he released his debut CD, “Viaggi in Aeromobile” (Aircraft Trips): a delicate and elegant album that catapults the listener into the intimate world of the artist where he willingly allows himself to be transported by a sound of rare beauty.
Born in Mantua, Fabrizio started playing the piano at the age of 6.
After many years studying classical music, he started perfoming with a number of bands, playing everything from progressive to hard rock, from jazz to pop. It was not until the end of the 90s that he decided to explore new musical paths, concentrating on the piano, the instrument that best expresses his inner world.
Contacts:
http://www.fabriziopaterlini.com - Official site
http://www.fabriziopaterlinirecords.com - Music site
http://www.twitter.com/f_paterlini
http://www.myspace.com/effepi
http://www.facebook.com/pages/Fabrizio-Paterlini/18427006420
http://soundcloud.com/fabrizio-paterlini
http://www.youtube.com/fpaterlini
http://www.flickr.com/photos/fpaterlini
Artist: Mutation Urbaine
