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.