SoundCloud Radio Playlist 3

hoi vine a mi kasa antigua i recordé todo lo k hablamos

متامورفوز

Pre-order 2LP compilation at http://bedroomsuckrecords.com/shop/various-artists-midday-moon/

Ambient and experimental music from Australia and New Zealand (1980 - 1995)

Trevor Pearce - Midday Moon (Excerpt)
Meera Atkinson - White
Ros Bandt - Invading the Landscape
Free Radicals - My lips are moving
Sarah Hopkins & Alan Lamb - The Winds of Heaven
Ashera - Indigo
Peter Mumme - Platypus
Peter Westheimer - Cadaghi Dreaming
Sam Mallet - Wetlands
John Heussenstamm - Sawan
Free Radicals - Polarities
Richard Hodgkinson - Optimissmo
Helen Ripley-Marshall - Under the Sun
Sam Mallet - Javanese
Blair Greenberg - Flying
Garry Havrillay - Quadrant (excerpt)
Louise  - Description of a dream
Cameron Allan - Arrival
Gondwanaland - Ephemeral Lakes
Waak Waak Djungi - Rainbow Serpent
John Heussenstamm - Knowing you’ll take me
Peter Miller - Grave 
Andrew Thomas Wilson - Pulses + Rivers
Mark Fields - Old China
Michael Atherton - Moonrise
Sam Mallet - Stream Daimon’s Peak
Robert Bleeker - Time Laps
Robert Bleeker - Bass Bird
Japetus - Rainbow Serpent
Errol H Tout - Metaphoric Allusions
John Heussenstamm - Alone
Peter Ball & Kerry Norman - The world turned upside down
Chris Abraham - And

Transmission A Collection Of Australian Ambience

Midday Moon - NTS Special #1

ravers die too

@jjjacob
"A mythology of bewinged souls, protecting and defending our realms.
Archangels falling as freezing rain, in their struggles with themselves.
Saving the soul from sin and fear, cleansing away your inner disgusts.
Your spirit is ripe for the second coming, tribulation is close at hand.
The Deluge is coming and who will be saved, what becomes of Angelic Hostility."

Artwork by jjjacob
Mastering by Lorenzo Targhetta

Angelic Hostility

List Of Fallen Angels

jjjacob - List Of Fallen Angels

* Announcing CANVAS005 *

Michael Speers - xtr'ctn (LP)

Format: Digital/Vinyl
Cat.No: CANVAS005
Release Date: 13th of September 2019

;
synthetic listening environments :: created with material extracted from field recordings and processed/arranged using software, alongside electronic signals from no-input feedback + test equipment.

most of the source material was generated at my place of work[as a technician]—whilst testing large amounts of audio equipment—capturing electronics’ internal behaviours + using very high levels of amplification on various small capsule microphones, connected to wireless transmitters placed in resonant vessels/spaces and materials of interest
;

Northern Irish, London based musician Michael Speers composes and performs music as a temporal and worldly extension of himself and the tools at his disposition. As a percussionist by training, Michael extends his contact and interplay with resonant objects through instrumentalised amplification and feedback, employing signal processing to articulate the almost tangible constitution of sonic material as structural, nearly cellular, microscopic entities. Following his integral presence in C.A.N.V.A.S. performance events since their inception and his recent participation in the Cipher compilation, xtr’ctn is released in September 2019 as a debut solo LP for both the artist and the label.

Dehumanised black metal screams, attributed to seagulls - specifically “recorded in Ramsgate, 06.2017”. It’s the inhuman that concerns us here, or our complex relationship with non-human entities and abstractions. Extracting is a process. By integrating recorded and found sound phenomena, treated as profane and material entities, Michael meticulously arranges sound objects into composition, upholding a fidelity to their emergent properties. Most of these objects become seemingly un-referential, although occasionally you arrive at a near-recognisable sound source or environment, disrupting the invitation towards a total loss of a sense of self.

This is fictional music - it is of and for a world that doesn’t exist. Although presenting sound with sincerity and integrity, without allusion to linear narrative, Michael's materialistic approach is transcended by the sensitivity of his composition. In a sense, it comes after both feeling and expression, as the subdued emotion of a person attempting to reach beyond their own affective limitations. It reaches out without ever really touching anything. Yet for all it’s clinical reduction, there are moments of unhindered emotion which strike harder for their arrival from such a seemingly nonhuman place.

“xtr’ctn” fails in reaching a point of immanent abstraction - a flatline horizon. It arrives instead at the outer brim of a sensory dam, where organic glitches from the extremities of our perception have spread - like sonic cataracts - intercepting the flow of our auditory awareness. In its state of fiction, “xtr’ctn” acts as a flag for the C.A.N.V.A.S. community, pitched as a marker of our enacted existence, weathered though unliving. To follow this signal to its depth is to accept the unknown - you only follow, knowing no alternative.

Mastering by Ali Najafi
Artwork and product design by AALTAR

@michaelspeers

www.c-a-n-v-a-s.com

Buy DL/LP

Michael Speers - sul. locus

Excerpt from 22:12 length single track: "Cementerio Central Bogotá" (2019)*music by Sábila Orbe. *vocals by Mist Spectra.
 Listen/ Free download full track from 3 alternative links:
- https://archive.org/details/cementerio-bogota-single
- https://humanfobia-official.bandcamp.com/track/cementerio-central-bogot-single-2019
- https://hearthis.at/humanfobia/01-cementerio-central-bogot/

Humanfobia - Cementerio Central Bogotá (Excerpt)

"Mappa editions presents special project of Bruno Duplant and Pedro Chambel duo which connects field recordings (2 CD) and Duplant's photographic project emerging from the same concept. 

“All my new pieces with field recordings are "autofictions/self-fictions". Field recordings, like always with me came from lot of places. I don't care about where were recorded the sound, but much more how to create new entities, territories (the self-fictions/autofictions), which are both fictive, intimate and personal. I like the idea that listeners will enter in that fictive places like if they were real, like they did with a great novel.” 

Bruno Duplant is sound enthusiast, composer, improviser and multi-instrumentalist living in the north of France. In his work he is creating new fictional universes and uncharted territories using many field recordings collected in different parts of world. Architecture and culture of these sonic environments is created in two ways. First one is listening and collecting of surrounding sounds, not especially “natural” ones, but more “cultural” ones. Second one is shaping the sound and the composition itself. 

“Recording and editing are two different states, one more passive for me (the recording) and the other more active (the work on the sounds, the composition itself). The collection of sounds can be seen as fishing, an artisanal harvest in which one can have good surprises and less good ones. The whole approach is about accepting to make do with this. With this method of work I have to accept the hollow periods, failures and even the doubt.” 

In this case the role of active listening is shifted from recording in certain time and space towards studio work and to finding new sound elements, relations and spaces. 

“I see and name my compositional process (whether for instruments or for field recordings) as an "attempt at organizing chance". The composition allows me to assemble more or less logically and incongruously the different sounds collected. I never try to reproduce the sounds that surround me in a logical and precise way. I try to create something new, a new fictional entity that I have named “autofiction”, "self-fiction".” 

The result is discreet witness of everyday life, where the listening ear is trying to decode and create an imaginative model of well-known place. It is a timeless place, which is possible to visit again and again and explore its hidden corners and details. The orientation in space is not easy since whole surroundings is misted by electronic sounds of Portuguese musician Pedro Chambel. 

“The use of discreet electronic sounds came from the idea about to ask oneself the question: where does those sounds came from? Are they from the field recordings? Some sounds came from there, some other not, but which ones? I also like the idea of using those sounds as some disruptive elements, like in most of stories, novels or movies.” 

Duplant is autodidact who following and renewing concepts of John Cage, Luc Ferrari, Rolf Julius or Toshiya Tsunoda. In his work we can also find parallels to literary techniques and space or to forms of reading. 

“First of all, I am teacher, a librarian teacher. I only make music when I have time, in the evening, on the week-end, in my holidays. I spend most of my time surrounded in books. I have this opportunity. Some authors, some texts, some works have become great sources of inspiration for me. This is the case for all the poetry of Francis Ponge, the texts of Georges Perec, the philosophy of Gaston Bachelard. So, my life, my practices are not compartmentalized. 

Besides collaborative sound projects duo Duplant/Chambel is also known for their curatorial work in delicious label Rhizome.s. In past they collaborated with Ilia Belorukov, Lance Austin Olsen, Barry Chabala, Nate Wooley, Ryoko Akama, Manfred Werder.

MAP01 - Bruno Duplant, Pedro Chambel - "Autofictions" [sample]

"Kuryokhin's reputation as the enfant terrible of the Russian avantgarde may have deterred some listeners from checking his work. This CD should change that. Behind its ungainly title lurks his most accessible music to date, a frothy concoction of wit, whimsy and flashing virtuoso power delivered at time with madcap elan." Graham Lock.

CDLR179 - Sergey Kuryokhin "A Combination Of Hands And Feet"

Nuova Musica Ostinata

Non mi è piaciuto

Paranoid Agent

Closing track for @lowincomesquad 's various artists tape #16.
https://lowincomesquad.bandcamp.com/album/li-016

(DJ Loser, DJ Speedsick, DRAAG, Emma DJ, HAJJ, Ismael, Jaclyn Kendall, Julien Andreas, SSSS, Xiao Quan and Zoë Mc Pherson)
Curated by @strahinja-arbutina
Mastered by True Hd from @maison-studio

There is no ending 4 a Grim (LI​$​016)

jungle 1000% regio 

s/o vagabundos underground

Rare Edits and Bootlegs Vol. I

caguamotas

“A Typical Night in the Pit” is a collection of new music by Los Angeles’ Nick Malkin. It is an album that finds the artist absorbed in the density and chaos of the urban complex. It is unquestionably an “LA album,” but not the LA of hi-fi listening bars and twinkling, Instagram-ready New Age. Rather, Malkin navigates something more akin to the LA found in the films of Robert Altman or Alan Rudolph— overheated, tense, hazy, frayed— with blue-lit, nocturnal compositions that at times recall Mark Isham’s noirish scores for those subversive (anti-)Hollywood pictures. Enlisting a revolving cast of LA experimentalists, Malkin has assembled a record that is as chameleonic as it is cohesive, offering up vignettes ranging from the skewed MIDI-jazz of “Sixth Street Conversation” to the skulking menace of “Estacionamiento Privado,” before giving way to the wide-eyed, cloudy closer “View From Two Perspectives.” C’mon, let’s go in here and get outta this heat.

Releases January 17, 2020
Mastered by Kassian Troyer at D&M
Artwork by Alex McCullough and Niall Wynne Lewis

https://sodagong.bandcamp.com/album/a-typical-night-in-the-pit