Friday, May 26, 2017

Sounds of the Day #138/2017:Jérôme Noetinger · Anthony Pateras · Synergy Percussion (1) Franz Rosati, Ennio Mazzon, Fabio Perletta, Francesco Saguto (1,2,3,4,5,6)

Jérôme Noetinger · Anthony Pateras · Synergy Percussion - Beauty Will Be Amnesiac Or Will Not Be At All (2017)
An hour-long percussion sextet featuring the instrumentation from Xenakis' Pleïades. Commissioned for Synergy Percussion's 40th birthday in 2014. Beauty is a four movement electro-acoustic work for percussion sextet and electronics combining written materials from Anthony Pateras, improvisations with the electroacoustic composer Jérôme Noetinger and a vast battery of over 100 orchestral percussion instruments, including Xenakis' 17-pitch microtonal metallophones, the Sixxen. Written over 2 years in Brussels and Berlin, the piece explores spatial polyrhythms, slowshifting textural densities, microtonal sieves and psychoacoustic meditations. Vitruosically executed by Sydney's Synergy Percussion, the piece stands alone in scope and sound, drawing on Pateras' unique body of work for orchestral percussion over the last decade. For the occasion of release, the composer interviewed both his collaborator Jérôme Noetinger and founding editor of Semiotext(e), Sylvère Lotringer, who provided the title of the piece. Both interviews topically traverse technology, DIY culture, ethics and the media.

Franz Rosati, Ennio Mazzon, Fabio Perletta - - Différances(2015)

Franz Rosati - Ruins (2014)

Franz Rosati, Francesco Saguto - Gridshape (2012)

Franz Rosati Theory of Vortex Sound (2011)

Franz Rosati Fields II (2012)

Franz Rosati Fields II (2011)

Thursday, May 25, 2017

Sounds of the Day #137/2017: New Canti Magnetici Batch !! / Ginger Breaker (1), Kris Davis(1), Vibration Black Finger (1,2), Sigha (1)

Joshua Bonnetta - Low Islands (2017)
This tape, a map of sorts, resituates recordings of five disparate islands into an archipelago built up from layers of sound fragments. A study in accretion and the sedimentary parallels of geological formations and sound design; islands imagined as repositories for environmental memory, above and below. Created from field recordings collected at various low islands in and around the Baltic Sea from 2012-2015. Processed via cassette and Nagra 4.2 in Manhattan and Ithaca winter 2016.

Acchiappashpirt - Tola (2017)
A side/ Tola Tola is the tale of a girl who discovers freedom through the frequencies of a radio. It is a desperate attempt to connect with a world that Enver Hoxha’s totalitarian system in Albania had shamelessly canceled, as if there wouldn’t be anything but Albania. Listening to the radio was forbidden (accessible only to a chosen few, namely those who supported the regime). This is a personal experience that recalls when I secretly turned on a radio and found some “foreign” frequencies. I couldn’t understand a word, but I heard life beyond Albania. I felt sucked in by the radio waves until I disappeared into the frequencies. A kind of metamorphosis from human being to a free pure wave without boundaries. (Jonida Prifti)

Elisha Morningstar  - MTS (2017)
MTS is made of audio materials collected during the summer of 2016; the two tracks combine and try to reproduce the muteness of documents and various misperceptions. Elisha Morningstar produces abstract sound pieces through manipulation of different kind of sources. Recent releases were out on Strange Rules, Total Black, Ascetic House.

The impressive new 3 tapes batch by
Canti Magnetici

Please bookmark this label (here and here) and take a deeper look into the impressive back catalog containing many gems.

Ginger Breaker Pumping The Tires Of Hell  (2017)

 Kris Davis - Duology (2016)
(LABEL INFO) Pianist, composer and bandleader Kris Davis, just named one of Downbeat magazine’s “25 for the Future,” has made outstanding music in trio, quartet and quintet formats; her most recent output ranges from solo piano (Massive Threads) to an octet with four bass clarinets (Save Your Breath). The next logical step seemed to be duo. After brainstorming with producer David Breskin, Davis was ready to make 'Duopoly,' a series of duos with eight colleagues, all highly regarded and accomplished improvisers. Each duo would play two pieces, one composed and the other free, 16 tracks in all. The album is out September 30th, 2016 on Davis' imprint, Pyroclastic Records. “We decided to limit the instrumental palette of the guests,” writes Davis in her booklet text, and so she chose guitarists Bill Frisell and Julian Lage, pianists Craig Taborn and Angelica Sanchez, drummers Billy Drummond and Marcus Gilmore, and reed players Tim Berne and Don Byron. It was only later that the album’s two-part structure emerged, and within that structure, “a symmetrical, palindromic sequence,” Davis writes, “with what [Breskin] calls a ‘mobius twist’ in the middle.” In other words, the players rotate once through and then again in reverse order, with Frisell starting and finishing. The midway shift from structured writing to free improv feels entirely fluid and continuous. “Additionally,” writes Davis, “the tracks are paired by instrument, for cohesive focus and the suggestive hint (or illusion) of a ‘phantom duo’ between each of the guitarists, pianists, drummers, and horn players.” The DVD portion of Duopoly brings the music even more vividly to life: “We also chose to make a visual record … which we hoped would be as live and uncompromising as the music. Shot by Mimi Chakarova with one fixed camera and one handheld, the goal was for this film to have a kind of 1:1 or indexical relationship to the music itself.” With Davis at the center of it all, her pianism a marvel of dynamic control, harmonic mystery and sonic invention, Duopoly opens with the richly contrasting sounds of Frisell and Lage: first ethereal Telecaster-plus-effects on “Prairie Days,” then the pure, warm timbre of Lage’s 1939 Martin acoustic on “Surf Curl.” The duos with Taborn and Sanchez bring out yet more facets in Davis’s playing: “Two pianos is a unique experience,” she remarks. “I can lose myself in the sound. Angie and Craig are such great listeners, and it was an especially freeing and spiritual experience for me.” The drummers, too, are a study in contrast, hailing from different generations: Drummond the veteran, Gilmore the rapidly rising newcomer, both with complementary approaches to sound and pulse and a remarkable gift for listening. Berne and Byron, on their respective free improvisations, create one of the album’s most captivating transitions — from legato, middle-register clarinet to wrenching, extreme extended techniques on alto saxophone. There are five Davis originals as well as two standards, in keeping with Davis’s approach on her solo piano discs: the Hakim/Sulieman/Monk classic “Eronel” features Drummond while Ellington’s “Prelude to a Kiss” features Byron in a gorgeously oblique clarinet rendering. There is one piece by Sanchez, “Beneath the Leaves,” a satisfying contrast with Davis’s vehicle for Taborn, “Fox Fire.” Davis’s original piece for Berne, “Trip Dance for Tim,” takes inspiration from the title of a great Berne composition, “Hard Cell (for Tom).” The free pieces still convey a structural logic, as Davis remarks in the notes: “In some cases, the free playing sounds more ‘composed’ than the tunes do.” Some are first takes; other pieces needed more thinking through: “There was reconfiguration, experimentation, exploration: these were searching dialogues. This album captures the rawness, intimacy, and immediacy of that process.”

Vibration Black Finger - Blackism (2017)

Vibration Black Finger - Mix (2016)
(LABEL INFO) Our latest guest mix is a big one. Clocking in at a meaty one and a half hours, this is by far the most extensive mix we’ve dropped in terms of both its duration and contents, and we’re privileged to say it comes from spiritual jazz connoisseur, Vibration Black Finger. Lascelle Gordon, the man behind Vibration Black Finger, has a background as colourful and dynamic as this mix, featuring stints as the DJ for post-punk pioneers A Certain Ratio in the 80s, as a member of the Brand New Heavies, Heliocentric World and Campag Velocet, and a wide range of other collaborations, such as astrojazz collective Woven Entity with percussionist Patrick Dawes. Most recently, the acclaimed Vibration Black Finger project has seen Gordon work with the best and brightest of contemporary UK jazz, with the release of a three track EP earlier this year and a debut full length slated for release in autumn. In his own words, the core inspiration behind Vibration Black Finger is ‘1970s spiritual jazz with a post-punk attitude’, a perspective seemingly only attainable via the musical path Gordon has taken. This mix comes packaged with the same ethos behind it - a slow-burning, mind-bending assortment of records, individually disparate but collectively coherent, thrown together with the experimentalism of somebody confident in the power of their own selections. Crucially, in the wake of the Black Lives Matter campaign and continuing state violence directed towards black bodies, Vibration Black Finger weaves a topical political message into the mix, featuring songs from Herbie Hancock and Bayeté protesting the 1970 arrest of Angela Davis, and Nikki Giovanni's civil rights poem, 'The Great Pax Whitie (Peace Be Still)'. The inclusion of 'Martin's Funeral' can be seen in equal measure a tribute to Martin Luther King Jr. and Trayvon Martin, while the centrality of spiritual jazz to the mix, as an artistic and cultural movement that developed in the historical and social context of the late 1960s and 1970s, further represents a celebration of black lives and history. The result is a mix for our times, a musical and historical commentary on many of the issues society continues to face today. We hope you enjoy this as much as we do.

 Sigha - Techno Derivatives (2015)

Wednesday, May 24, 2017

Sounds of the Day #136/2017: WU-TANG Memorabilia #10 //// Broken Thoughts (1), Jay Glass Dub (1), duenn (1) / pHarmerz (1)/Pharmakon (5) / ∑ (2), Deathprod (1,2,3)

WU-TANG Memorabilia #10

Broken Thoughts - Realign (2017)

Jay Glass Dub New Teeth For An Old Country (2016)

duenn - Hz 2.0 (2017)
Maybe a german Umlaut ?

pHarmerz 20 Acid Clonk Greats (2017)
(Ekoplekz / Farmer Glitch)

Pharmakon - Contact (2017)

 - Summe EP (2015)

Deathprod - Treetop Drive (1993/2017)

Deathprod - Imaginary Songs From Tristan Da Cunha (1996/2017)

Deathprod - Morals and Dogma (2004/2017)

Tuesday, May 23, 2017

Sounds of the Day #135/2017: Grzegorz Bojanek(1), Kraus (1,2), Eyvind Kang, Tashi Dorji (8), Oneida & Rhys Chatham (1), Ijrod Ihsat (1), Ryosuke Kiyasu (1) /

Grzegorz Bojanek - Stories of an Old Man (2017)

KrausGrip the Moon (2017)

Kraus - Mountain of the Moon (2016)

Eyvind Kang, Tashi Dorji - Mother Of All Saints (Puppets On A String) (2016)

Oneida & Rhys ChathamWhat's Your Sign? (2016)

 Ijrod Ihsat - Droemkoma (2015)

Ryosuke Kiyasu - Mass Hysteria (2016)
RK (Sete Star Sept, Fushitsusha) solo snare recordings

Monday, May 22, 2017

Sounds of the Day #134/2017: Bernard Stiegler (69), Patricia Kokett (1), Yves Malone (12), Circular Ruins (3), Cooper Bowman (1), Orphan Swords (5), Whirling Hall Of Knives (1), Phantom Chips (1), Troy Schafer (8)

Bernard Stiegler - Les Rendez-vous du Futur (18.May 2017) 


Patricia Kokett - Artefakt (2017)

Yves MaloneBoneblack (2017)

Yves Malone - Moonday Tides (2017)

Circular Ruins - The Thorned Maze  (2017)

Cooper Bowman - Isle of Isms (2017)

Orphan Swords - How Good It Is To Know You're Like Me (Live at Botanique) (2017)

Whirling Hall Of Knives - Arc Molt (2016)

Phantom Chipsi mi dragon (2016)

Troy Schafer- Rigid Oppression (2014)

Sunday, May 21, 2017

Sounds of the Day #133/2017: Robert Crouch (4), J. Tijn(1), Vatican Shadow (8) Félicia Atkinson (1) dramavinile (1,2,3) / Franz Rosati (1) , Gianluca Favaron (4)

 Robert Crouch - Sublunar  (2017)

[Label Info] Presented live in Los Angeles. Source material originally developed as part of mas gestos y mas caras, a collaborative performance with Rafa Esparza and Yann Novak, presented at the Hammer Museum on July 8, 2016. Robert Crouch is an artist and curator whose work encompasses sound, performance, and technology. As an artist, he locates his work with the intersection of post-phenomenological listening practices, conceptual sound art, and contemporary electronic music. At its core, his work can be understood as a conversation between tonality, context, history and subjectivities. Similarly, Crouch’s curatorial work focuses on the overlapping disciplines of sound, technology, movement, and performance. Sublunar continues Crouch’s inquiry into the complex relationships between sound, context, and meaning, first proposed in his 2016 release, A Gradual Accumulation of Ideas Becomes Truth (Line). The four tracks which comprise Sublunar were composed using field recordings from and audio files originally created for mas gestos y mas caras, a collaborative performance with artists Rafa Esparza and Yann Novak. mas gestos y mas caras was a durational performance incorporating sound, breathing, and a series of repetitive actions and gestures, choreographed within an architectural installation of adobe bricks fabricated and designed by Esparza. Sonically, Sublunar is a radical departure from the originating performance, yet these tracks remain tethered, literally and aesthetically, to the processes and context of their construction: Esparza’s labored breathing, cautious footsteps, a soft cascade of water, dust, soil. The title itself, Sublunar, reinforces an attachment to the Earth and the physical world, and intentionally resists metaphysical interpretation or decontextualization. It is precisely through this tethering that Crouch seeks to open up a diversity of possible approaches to the work, rather than confine our reading to a primarily or exclusively musical text. The first track, Descension, opens with sounds of breathing, muted movements, and environmental noises, and serves as an acknowledgement of our collective understanding of sound, of these specific sounds, as physical phenomenon. By extension we are allowed to consider this particular organization of sound itself as a kind of sculpture, architecture, and choreography. The body becomes the primary oscillator and architect, delineating boundaries and defining the work as a space within which we might inhabit.
J. Tijn - Sliema Sixteen (2017)

Vatican ShadowRubbish Of The Floodwaters (2017)

Félicia AtkinsonHand In Hand (2017)
[Excerpt Label info] Composed over the year of 2016 at EMS during a snow storm and at home in Brittany, Hand in Hand could be considered as the most ambitious body of work recorded by the French musician and artist. Doubt and Optimism are the two sides of a same coin. Hand in Hand is arid and warm in its whole synchrony and opposition. Days are burning and nights are made of ice. Coyotes are exchanging sounds with rattles snakes while bunnies are hiding. Strident modular sounds are tearing apart minimal beats and drones. The stories told by A Voice to the auditor are no longer fictions and become slowly reality. Electric waves transmitted by living creatures and machines seem to deliver special sounds and frequencies that only non-human can hear. They grow and vibrate despite of the walls and interdictions. Therefore, the human who is listening to this record might find in it a particular kind of emotion a way to take space in silence, and frame a certain vision of thinking while losing a certain notion of time, acknowledging step by step its universal environment. Plants, galaxies, animals, machines, Hand in Hand. This record is meant to be a moment of common thinking and listening in its diversity and abstraction. In the same way a sci-fi novel by Philip K. Dick or a sculpture by Guy Mees can be percieved: trivial, sensitive and mysterious at the same time. 

dramavinile - La Deuda [Eterna] (2016)

dramavinile dramavinile.November 20, 2015

dramavinile - dramavinile.Painted like an unknow Saint (2014)

Franz Rosati - Black Body Radiation (2015)

Gianluca Favaron - Forget about any non-gray (2015)

Saturday, May 20, 2017

Sounds of the Day #132/2017: Conversation with Ken Vandermark (1), Rodrigo Amado / Gonçalo Almeida / Marco Franco (1,2), James Ilgenfritz (1,2), Philippe Lauzier (1), Haunted Me (1), Pietro Riparbelli's Cathedral Project #3

Mark Dwyer - Conversation with Ken Vandermark 
(from: feral audio)

 Rodrigo Amado / Gonçalo Almeida / Marco Franco - The Attic (2017)

Rodrigo Amado Motion TrioDesire & Freedom (2016)

James Ilgenfritz - Origami Cosmos (2017)
(Label Info) Bassist James Ilgenfritz offers his second solo CD, again exploring the fertile territory between composition and improvisation. Following his debut solo recording Compositions (Braxton) 2011 (dedicated entirely to the music of composer Anthony Braxton), this record features works by four composers who have each contributed to the distinctive musical community in New York over the last few decades. Each composer worked closely with James Ilgenfritz to write music that was a hybrid of their own creative vision and James’s unusual approach to the bass. From hypnotic drone works involving Just Intonation and use of multiple bows to astounding feats of technical virtuosity, this collection of works brings hyper- complexity, improvisation, and lyrical beauty together into a deeply personal tour-de-force of musical invention. Annie Gosfield wrote a piece based on re-arranging James’s unusual vocabulary of extended techniques into a virtuosic hyper-industrial treatise on texture and rhythm. Miya Masaoka wrote a delicate, drone-based work built on sustained harmonics and microtonal tunings. JG Thirlwell (Foteus, Steroid Maximus, Venture Brothers, Archer) created a work that constantly careens from lyricism to ferocity, from precision to frenetic abandon. Elliott Sharp wrote a work that employs unusual bows and objects, from using multiple bows at once to using springs and ball chains to get bizarre, other-worldly textures from the bass.

James Ilgenfritz - Compositions (Braxton) (2011)

 Philippe Lauzier - Dôme (2017)

The first release to reveal Philippe Lauzier’s installation work, DÔME offers two performative compositions that were created with an apparatus made of bells, zithers, motors and a Korg synthesizer. These pieces were played and recorded in 2015 at La Passe, in Montréal. DÔME invites an immersive listening in the density and continuity of the drone – not without proposing a variety of subtleties and atmospheres, at times calm, bewitching, delirious. Saxophonist and clarinetist, Philippe is part of many solo and collective projects in which he explores new instrumental processes, including preparations and electronic devices. He also contributes to interdisciplinary creations that lead him to put his musical language in relation to other forms of expression. In 2014, Philippe was invited to develop an original artwork for the FIMAV sound installation series and created Gritty, which was one of the early stages of the device used for the music of DÔME .

 Haunted MePlague (2017)

Giulio Aldinucci - Cattedrale di Aleksandr Nevskij (Sofia) (2015)

Joseph Sannicandro - Oratoire St. Joseph du Mont-Royal (2015)

Jez Riley French - Notre Dame de la Chapelle, Bruxelles (2012)

Giulio Aldinucci- Abbazia di Sant'Antimo_Siena (2012)

Friday, May 19, 2017

Sounds of the Day #131/2017: JASSS (1), Jan Jelinek (5), drøne (1), Kazuya Ishigami (1,2,3), Mary Halvorson Octet (1), Pietro Riparbelli's Cathedral Project #2

JASSS - A World Of Service // "Hands are for the others"(2017)

Jan Jelinek - Loop-Finding-Jazz-Records (2001/2017)

drøne - A Perfect Blind  (2017)
[LABEL INFO] Disruption between then and now/memory and presence, dulcimer, psaltery, ‘cellos, violas and violin embroider radio, static, stray voices and electronics… ‘a perfect blind’ is the second album by drøne (Mark Van Hoen & Mike Harding) with an array of guest artists, including label supremo Anna von Hausswolff, dreamer and composer Paul Haslinger, field recordist and sound designer Charlie Campagna and Touch artists Bethan Kellough & Philip Jeck. Strings by Seattle-based Marie Takahashi and Oleg Belyaev are also layered into this complex and perhaps more musical offering. Moving in all directions, ‘a perfect blind’ continues where ‘reversing into the future’ [pomperipossa records, 2016] left off; 'a perfect blind' was conceived and designed in Los Angeles with organ recordings from London (at Union Chapel), short wave radio, treated voices and other archaic sound sources. A stunning front cover image by Maria von Hausswolff and miss-taken typography by Nico embrace this sense of dislocation; as the mediaeval language which enfolds our collapsing 19th Century institutions fails to find relevance, our sense of entrapment in the old is accompanied by an assault on the senses. The destabilising effect of “post-truth” adds to our sense of unbelonging, of being elsewhere, observers not participants. ‘a perfect blind’ is the term used for the best possible observation point where the viewer is unseen by the object of interest. Is this the best place to be? Memories which slowly fade away, also reverse back from the past shoving us into the future...

Kazuya Ishigami - Modest Worry (2017)

Kazuya Ishigami M.K.S.O.G.N.ka DX2.D.D.S (2017)

Kazuya Ishigami (Daruin) - REC DRONE 15/11/2009 (2009)

Mary Halvorson Octet Away With You (2016)

Pietro Riparbelli - Santuario della Verna I  (2016)

Pietro Riparbelli - Santuario della Verna II  (2016)

 Giulio AldinucciSagrada Família (2015)

Thursday, May 18, 2017

Sounds of the Day #130/2017: New Midnight Circles Batch: Yuma Takeshita, Gregory Talbot, Die Neuen IBM & Pietro Riparbelli's Cathedral Project #1

Yuma Takeshita - Mechanization  (2017)
[Label Info] Yuma Takeshita's "Mechanization" is an electronic improvisation that combines sweeping rhythms, melodic synthesis and randomized sound patterns. Split in two parts, side A features six pieces of improvised computer music while side B collects two live improvisations which feature a self-made electronic-bass as main instrument (constructed by Yuma Takeshita himself) and were recorded separately in Inage and Egota, Japan. Both sides are percussive in nature and rely on the manipulation of sometimes short or sometimes more elaborate patterns of filtered loops and noises. Especially side A creates the illusion of a room full of random machines which release their sounds over and against one another – a clockwork that was set in motion an now plays for itself in a clipped and stuttering language. Both live-improvisations on side B feature Yuma Takeshita's self made electronic-bass as main sound source (you can find pictures of the instrument here: ). The rhythmic patterns in these recordings resemble the patterns on side A but are getting slowly washed away during the performances. The bass-playing itself becomes noticeable from time to time only to be stopped by sudden reappearances of the percussive loops from the beginning.

Gregory Talbot - Recordings On An Empty Stomach (2017)
[Label Info] "Recordings On An Empty Stomach" is a collection of six experimental pieces combining electronics, found sounds and live mixing to a dense succession of often minimalistic compositions. Gregory Talbot uses a stripped-down arrangement of synthesizers and combines them with pitched field-recordings of street scenes, machinery and speaking people. All pieces of this album evolve slowly and take their time and while each track is comprised of only a handful of sounds, they fit well together and create an atmosphere of shifting appearances and decay.

And an older 
Die Neuen IBM

Die Neuen IBM - Herzkreisnegativ (2015)

The new 3 tapes batch by
Midnight Circles
(one of my favorite labels by the way !)

Please bookmark this label (here and here) and take a deeper look into the impressive back catalog containing many gems already featured here from: 
Die Neuen IBM, Chemiefaserwerk, Escape Hatch to Danny Clay and Greg Gorlen and a lot more!


Luis Marte - Buenos Aires Cathedrals (2006)

Pietro Riparbelli- Notre Dame de Paris (2009)

Pietro Riparbelli- Basilica of San Francesco d'Assisi (2005)

Wednesday, May 17, 2017

Sounds of the Day #129/2017: Daniel Levin, Ingebrigt Håker Flaten, Chris Corsano (1) / Peter Brötzmann, Heather Leigh (2) / Mary Halvorson (1), Jessica Ackerley Trio (1), Anthony Braxton (1) / Alex Mincek (1-4) /

Daniel Levin, Ingebrigt Håker Flaten, Chris Corsano  - Spinning Jenny (2017)

Peter Brötzmann, Heather Leigh - Sex Tape (2017)

Mary HalvorsonMeltframe (2016)

Jessica Ackerley TrioCoalesce (2017)

Anthony Braxton 9 Compositions (Iridium) (2006)

Alex Mincek - Torrent  (2017)

Alex Mincek - Pedulum III (from: Torrent) (2017)

Alex Mincek - Pedulum V (from: Torrent) (2017)

Alex Mincek - String Quartet No 3: lift-tilt-filter-split (2010)