Beirut stands shaken, devastated, stripped, and alone today. Besides facing a collapsing economy and a deadly pandemic, Beirut has been hit by an apocalyptic explosion that has left the city bathed in glass, ruins, and blood. Many are stripped of their homes, safe spaces and livelihoods, as everyone is trying to figure out how best to help a city so rich in music, culture and energy albeit it’s sad history. Text VIA
Individuals and organizations in the country’s music industry, or who have worked with Lebanese artists, have compiled a list of musicians, labels and festivals in the country that listeners can support directly through purchasing their music.
Der Golem is Vitali Harmash’s deep drone electroacoustic reinterpretation of a silent magical story of Golem. These soft crackles and clouds of time-dust sound as though the music is broadcasted straight through the centuries. Seems like Harmash has some kabbalistic drone generator in his studio.
Album was created after Paul`s Wegener “The Golem: How He Came into the World” silent horror film scoring. Performance was hold in the oldest Minsk cinema “Raketa” at Dec12 2012 where opened a week of silent German cinema.
Artists Crystal Baxley and Stefan Ransom created Songs on Conceptual Art by inviting musicians and artists to compose original songs based on Sol LeWitt’s Sentences on Conceptual Art. LeWitt’s text, originally published in 1969, is one of the most important documents of the Conceptual Art movement. In an effort to expose this essential text to a wider audience, artist John Baldessari improvised melodies to each of the 35 sentences in his 1972 video piece Baldessari Sings LeWitt. Baxley and Ransom’s Songs on Conceptual Art shares Baldessari’s intentions and opens new points of access for LeWitt’s Sentences through these musical interpretations.
“I’m so glad to see (and hear) that little Mimi Lopar finally released her music! She always was a nasty yet adorable myopic thing cycling her way through the favelas at all hours terrorizing and delighting residents with her peculiar, catchy songs. Legend has it if Mimi grants a hug or kiss, she leaves behind a tiny, gooey octagonal hole the recipient’s forehead. Aha – an inlet for her music.” — Panasia Alipia Athenaeum
We just came upon this strange release by Jose Ph. Kony. We thought it was worth mentioning. Kony 2013 is tagged as: Noise pop, experimental, afro-glitch, dark lounge, microbeat, and saturated dronecore.
LA-based Cliff Dweller, a sonic and visual project by Ari Balouzian and friends, announces the release of their Perch Verdad EP on Rebel. Combining analog and digital, art and music, and organic and electronic, the five-track EP–including a remix from hotly tipped Baltimore beatmaker Ricky Eat Acid–truly fuses the best of both creative worlds for the aesthetically-minded listener.
A classically trained violist, multi instrumentalist and music producer, Balouzian isn’t shy of incorporating his wide spectrum of influences into a Cliff Dweller output that is all at once warm and melancholy. With the entire EP totaling just over ten minutes, each track seems much like a vignette of sound, rich with emotion and the nostalgia of analog influence. Included in Cliff Dweller’s four original mixes are accordions, piano, funky basslines, claps, vocal layering and plenty of rich elements one can’t immediately identify — which is a testament to the mastery of sonic trickery this project has up its sleeve.
Ricky Eat Acid, though hailing from the opposite coast as Cliff Dweller, provides a fitting complement to the package in his remix of the title track. The mix sees a strip-down the original’s moody elements and building on them with a more commanding beat, electronic plinks making for a contemporary yet reminiscent take on a release already full of brilliant duality.
Icarus’ album, Fake Fish Distribution (FFD), uses generative and parametric software techniques to create 1000 unique records. FFD comes in the form of a vast array of structured variations on the album’s musical content, feeding unique versions to each unique listener.
The album is available as a limited edition, via the normal medium of music distribution — the media file download — with each of the 1000 versions only being sold once and in sequential order. Upon purchase, you become the owner of that unique version.
FFD is encoded as 320 kbps mp3 files, contains no digital rights management software. and will play in any digital music player able to handle mp3 playback.
Chordpunch was set up to explore the many and moving forms of algorithmic music. That might mean a computer program generating every note you hear, or new electronic music inspired by algorithms, or human beings following interesting rules with musical outcomes. We aren’t too dogmatic, and mainly release recordings as documents of algorithmic activity rather than programs. But we hope to generate a lot of excitement.
The name itself could refer to playfully punching harmony a friendly hello, or outright rejecting it in favour of raw timbre. We might imagine an early computer world of card punching, or punching in an aurally devastating instruction sequence. And we might quote John Cage from 1969: ‘Computers are bringing about a situation that’s like the invention of harmony. Sub-routines are like chords. No one would think of keeping a chord to himself. You’d give it to anyone who wanted it. You’d welcome alterations of it. Sub-routines are altered by a single punch.’
Sahel Sounds: This little cassette of music collected from cellphones has been in internet circulation lately (update — and the Guardian UK). Pitchfork did a nice write-up on the phenomena of “musical scarcity”, Rupture at Mudd Up! has given it some blog/radio play, and Portland’s own Gulls put together this remix of one of the tracks:
Niger Autotune (Emsitka) — Gulls Edit
Boomarm Nation: In 2010 returning from extensive travel in Mali and Mauritania, Chris Kirkley (Sahel Sounds) presented “Music from Saharan Cellphones”. The music on the compilation was collected from cellphones in the Northern Malian town of Kidal. In much of West Africa, cellphones are are used as all-purpose multimedia devices. In lieu of personal computers and high speed internet, cellphones house portable music collections, playback songs on tiny built-in speakers, and swap files through peer-to-peer Bluetooth wireless transfer. The songs collected in Kidal range from DIY Tuareg guitar, auto-tuned Moroccan chaabi, Malian coupé décalé, and fruityloop hip hop. Originally released as a limited run cassette tape by Mississippi Records in Portland OR, the cassette was uploaded to blogs and online media hubs, and quickly became a viral source of new and inspiring sounds.
On Oct.10 2011 Boomarm Nation and Sahel Sounds present: “Music For Saharan Cellphones”. Drawing on gifted producers and musicians from a variety of stylistic backgrounds and nationalities, each artist selected and re-interpreted a musical moment from the source material. From bass laden sound/clash ventures, abstract re-creations, and even an amazing autotune cover, the end result holds a rich assortment of well informed musical statements. Reflecting the energy and fidelity of its origins, these versions take on their own rare and exciting form. Using the mp3 as the medium, the Music and the Musicians become the diplomacy.
Another gem by The New Honey Shade that will send you into a world where micro-explorers follow the chemical trails of rusty nano-creatures that slide on magnetic tapes. Here you will oscillate from the ocular to the auditory, and from extrospection to introspection. By producing this collection of ambrosial sounds, Mark Kuykendall respectfully rescues a forgotten document and turns it into a widely available experience for you to listen. In doing so, he remind us of the sometimes foolishly disregarded work of independent researchers around the world who remain hidden as treasures ready to be found.
The New Honey Shade: ‘This album is based on and dedicated to the work of E.D Anderson and his hand-bound book “Industrial Microscopy.” The book was found at his estate sale in Tulsa, OK. The book contains over 200 photographs. E. D. had photographed everything from fibers & fabrics, textiles & weaves, rocks & plants, animal hair & animal flesh all under a microscope at 400X with an old 35mm camera. Each musical piece is a dedication to a particular image he shot.
Download the album and receive a free hidden track entitled, “Skyward Sea Stains.” Also receive 13 hi res scanned photographs shot by Mr Anderson on his 35mm through his microscope in 1959. Each song is titled accordingly after a specific image.’
Arrington de Dionyso has been recording his bass clarinet explorations with Trance Music Ensembles in Malang and Mojokoerto at the east of Java. I experienced de Dionyso playing in Chicago once with his group Malaikat dan Singa and found myself shaking uncontrollably to kraut drum progressions and his guttural clarinet infused with a throat-singing that adorned William Blake poems recited in Indonesian. These recordings however, feature Guyob Rukun Jaranan Malang, Jaran Kepang Sutak, Turonggo Joyo Mulyo, Jaran Kepang Timbul Aji Jubah, and other musicians from different areas of Indonesia. — Wanderlustmind.
Scissor Tail Editions: Just from glancing at the cover, it is apparent that Ozark Dream by The New Honey Shade is a tape created to invoke a pastoral setting. Playing this music brings listeners right into the home of experimental music maven Mark Kuykendall, the stretching fields and golden mountains of Oklahoma. But this is music that transcends geography and occasion – it sounds as great soundtracking hazy, sunny days as it does during dark, rainy nights. Ozark Dream is an extremely unique tape in today’s world of drone in that – instead of aiming for the depths of outer space – it attempts to bring listeners right home and let them appreciate the beauty of their own backyards. Just beautiful.
Constellation Records: Colin Stetson is a horn player of uncommon strength, skill and genre-defying creativity. He composes and performs otherworldly songs that combine a mastery of circular breathing technique with percussive valve-work and reed vocalisations, making a polyphonic solo music that combines influences as diverse as Bach, early metal, American pre-war Gospel, and the explorations of Jimi Hendrix, Peter Brotzman and Albert Ayler. Colin has been making his mark as a staggering solo performer for several years now, in front of audiences small and large, from intimate jazz and experimental music venues to big stages, whether opening for Arcade Fire or The National, or playing at jazz and new music festivals like Moers and London Jazz. His talents have been widely recognised and employed by artists as diverse as Tom Waits, Laurie Anderson, TV On The Radio and Bon Iver; he also plays in Bell Orchestre and Sway Machinery.
Stetson’s live solo performances are absolutely stunning and uncategorisable and he conveys a commensurate intensity and iconoclasm on this new studio album of original material. New History Warfare Vol. 2: Judges is Stetson’s second solo record and his first for Constellation. +++ HERE
Another beautiful release by the dear netlabel Test Tube. As I hear the static and hissing waves of Peaceful Atom, my eyes involuntarily close. Perhaps as way of paying respect to the Chernobyl victims and all the areas affected by nuclear “accidents” and “non-accidents” around the planet (exempli gratia). In my visualizations, the residual radiation hazard is omnipresent and I cannot scape reflecting about hot particles, radioactive contamination, and the different forms of pollution in our brains. Of course, the eerie part is that the padded chords infused in most of these pieces make this experience ambiguously delightful. Thank you Guglielmo Cherchi.
Tibetan hit (03:21) from the album Nepalese: Sounds from Nepal by CLAUDIO CURCIOTTI
Another great release by IMPULSIVE HABITAT:
“Phonographic works like ‘Nepalese: Sounds from Nepal’ are always an amazing experience that literally recreates a journey through many places with different sonorities as it establishes a relation in real time between the listener and a passed moment in time that will never repeat itself.
This is the first publication of this kind by IH, where sound acquires a meaning beyond a mere imaginary, as it serves a window between our lives and the lives of other people and the sounds that define their everyday life.”
“Rogues” is a freely improvised performance by Bryce Beverlin II (percussion, voice), Elizabeth Draper (contra bass), and Timothy Glenn (electronics, laptop) at the iQuit music series on January 15 2006 at the Rogue Buddha. The free improvisation community in Minneapolis, Minnesota is thriving with a solid base of quality performers and enthusiasts. Several regular performance series have been exploring experimental sonic palettes and journeys within a free context for over 4 decades. Milo Fine’s ensembles have been active since the 1960s, while more recent series such as the Tuesday Night and iQuit series have been regularly scheduled for nearly a decade.
Bryce Beverlin II is a multidisciplinary artist residing in Minneapolis where he explores various forms of art, most notably free improvisational percussion music. He runs Insides Music and performs in various ensembles in the Twin Cities such as Squid Fist, Scaphe, Swine Wave, and ICE VOLT.
Liz Draper lives in Minneapolis where she plays bass and music.
Tim Glenn is a Minneapolis musician who can be heard with Squid Fist, HeatdeatH, Celestiial, and in collaborations like this one.» – Bryce Beverlin II
Adam Michalak – fourth color
«Adam Michalak is a polish musician who is doing deep ambient from some time, using a blend of synthesized sounds and field recordings.
‘Seven Colors’ is a gentle collection of very beautiful pieces that Michalak composed during a period of a year and a half, until May 2009. There are some tracks clearly based on specific field recordings picked out carefully by the musician but most of them are very varied in terms of textures and composition. Some are a bit dramatic, emotional and even a bit thick while some others are more ethereal, dreamy and translucid.
Michalak uses dusty vinyl, bells and whistles, electromagnetic buzz, echoing keyboards, drones, silence and many other sound textures to build immense walls of amazing ambient music. Like colors in a faded polaroid, Each ‘color’ represents something and/or tells a story. It’s up to you to discover where it leads. I keep the ‘Sixth Color’ right next to my heart.» – Pedro Leitão
Test Tube, amazing Portuguese netlabel, releases another collection of every release from tube076 to tube124 on one DVD beautifully packaged in 10 different aquatic-themed sleeve designs to choose from.
Roughly 400 tracks/35 hours of excellent eclectic music from the 5 continents.
«’Pulsos Temporales Memorias Estables’ is the second album from SEB here at test tube and this time he made it even bigger than the previous one. Twenty tracks of SEB’s trademark ‘digital nostalgia’ style of clicks ‘n’ cuts and weird sampling. After a couple of listens, it’s clear that Sebastian has been refining his sound. He’s more precise and to-the-point when he tries to capture an emotional essence into a track or simply by telling us a story. Most of his new tracks are also smaller and more effective, like a new engine model that consumes less but takes you farther. Some of this tracks work a bit like interludes of sort, filling the gaps between heavier, denser and more mesmerizing ones. (More…)
LaNoisA – The Adventures of Range Ca-Cah  (January 27, 2006)
LaNoisA (aka SEB… aka Spirit Elevating Brains aka Sebastian Alvarez).
The adventures of Ranger Ca-Cah is the sonic story of a courageous extraterrestrial trying to save its planet from the evil hands of the horrific Zoolbitz, a demonic galaxy eater. High trebled noise pseudo opera. Released on defunct Brazilian noise and experimental netlabel Antena.