banskis playlist

noise / ambient

easy listening

here comes the techno  ----  Techno, Acid, Minimal, Trance, Electro, Dark, EBM

ATMOSPHERIC NOISES

In Greek mythology, Scylla (pronounced /ˈsɪlə/, sil-uh; Greek: Σκύλλα, Skulla) was a monster that lived on one side of a narrow channel of water, opposite its counterpart Charybdis. The two sides of the strait were within an arrow's range of each other—so close that sailors attempting to avoid Charybdis would pass too close to Scylla and vice versa.

http://www.falsemirror.de | http://www.facebook.com/falsemirror.de

Sound sources:
Propellerheads Reason, Hungarian shepherd's flute, crackling vinyl, crackling fire, North Atlantic Ocean, my own voice, a buzzing fluorescent tube, pulling a bunch of branches over the ground


Scylla

In Greek mythology, Charybdis or Kharybdis (pronounced /kəˈrɪbdɨs/; in Greek, Χάρυβδις) was a sea monster, once a beautiful naiad and the daughter of Poseidon and Gaia. She takes form as a huge bladder of a creature whose face was all mouth and whose arms and legs were flippers and who swallows huge amounts of water three times a day before belching them back out again, creating whirlpools. In some variations of the tale, Charybdis is just a large whirlpool rather than a sea monster.

http://www.falsemirror.de | http://www.facebook.com/falsemirror.de

Sound sources: Propellerheads Reason, Hungarian shepherd's flute, metal wind chimes, glass wind chimes, crickets and sea waves in Canada (recorded by Axel Baune), jumping on a fallen tree in a swamp, my own voice, a small bell, processed water recordings

Charybdis

The dedication of the opus is twofold. On the one hand I wanted to commemorate the hungarian pioneer electronic composer: Iván Patachich. On the other hand I wrote it to my friend, the excellent percussionist Gábor Palotás, who is also the customer of the piece.

Formerly I read in a scientific magazine that planets and stars play music, in bigger celestial bodies the soundwaves are capable to modulate the light of the stars. This moved my fantasy and driven me to dig deeper into the territory of the music of the spheres, In no time I started gathering the sounds of planets and stars. I wrote letters to the SETI and NASA, who in a turn of mail provided me with countless radio signals transformated into hearable audio ranges. I collected samples and read about the topic for years, until once it combined and came to my mind what I wanted to do.

Böethius’s writing about the Music of the spheres, the various conjunctions of planets, moduses in what planets dominate have inspired numerous composers already. Nevertheless centuries had to elapse so with the help of our technical evolution we could grow gigantic „radioears” to ourselves and listen to the eternal music of the Cosmos. Today we can listen to the non-stop radio stream of the Universe anytime.

The first „transmission in the aether”, the first music which played was undoubtedly the Big Bang. These first soundwaves are about 52 octaves deeper than our regular musical „a” sound. Making calculations it is easily shown that this is an infinite looking period, in which one soundwave sounds only once in 200 000 years.

Modern science proved, that sound influences the same spectrum’s higher waves too, namely the light. Such as in the air on Earth soundwaves spread in the huge, compressed, excessively hot gas spheres and incandescent stars. These sounds are similar from a physical point of view to the pipes of an organ, they remind us to them. According to astronomers the sound of a star depends on a few parameter, like its age, size, extension and chemical structure.

The sound appears as the vibration of the star. I was mainly interested in residual stars , i.e. the special types of neutron stars: pulsars (really quickly rotating neutron stars, for example the period of the Crab-pulsar is 33 milliseconds) and magnetars (neutron stars with gigantic magnetic field).

I composed a bouquet out of these. Strangely it made organlike all-interval, really dense cluster. Later, to somehow make this vertiginous monster move, I used various effects. I wrote down chaotically swaying pendulum motion them thus getting an irregularly increasing and sinking yet constantly static/restless mass of sound.

The motion of the marimba is controlled by the equation of the mathematical or the physical pendulum. The really quickly increasing and sinking, small motives made out of a few sound – which are slowly altering in time – made an audible contrast with the electronic material. 

Several synthesizers, variously tuned gongs and percussions can be heard beside the  clarinets, trumpets, trombones, detuned piano and japanese mouth organs – such as the shō.

Ákos Nagy - Wailing of Pendulum (electroacoustic version)

https://www.youtube.com/user/niceggg
So without a real reason I decided to go to one of the city's cemetery's at night, to get the feeling of being haunted and stuff like that. So I tried to capture the sound of what I was feeling, the tension, the darkness, the feeling of like you are being watched, hope you like it.

Dark Ambient Inner Devil - Cemetery at Night

https://www.youtube.com/user/niceggg
Another dark ambient song by The Inner Devil. This time wanted to give scary ambiences together with melodic pads. Hope you like it. Feel free to download and comment :)

Dark Ambient The Inner Devil - A Place of Emptiness

How can you give electronic music a feeling? 
Everyone has their own way of answering this question and there are many paths to the goal. Landhouse goes his own way and stays true to himself. Nevertheless, he always develops his sound a little further, so that you notice that there is a person behind this project. 

The Goomland Ep is a journey from slow tech to classic anecdotes with a lot of ambient. If you listen to the last track you will be rewarded with the fabulous "Plenten Tum". A track that has already caused great enthusiasm at the first listening of the demo.

Written by @landhouse in Karlsruhe.

Landhouse - Plenten Tum

Different kind of synthetic microtune scales

Zsuzsanna Aba-Nagy: harp
Zsolt Szabó: viola da gamba
Roland Szentpáli: serpent
Róbert Mandel: hurdy-gurd 

recorded/mixed by: Mihály Kádár/ Ákos Nagy
http://www.hangmunka.hu/

HOMMAGE Á ROTHKO

I’ve been searching for a long time how I could totally merge the spectrums of the acoustic instruments with the spectrums of electronic instruments. I would like to do some „Mission Impossible” thing as I am trying to handle an acoustic medium as it would be an electronic one and vice versa.

Robert Mandel found me with the idea that he and Zsuzsa Aba-Nagy wanted to widen their own-founded Geneamus Ensemble named formation which used historical instruments from Vienne and Budapest and electronic instruments together.

As I think to myself as a par excellence electronic composer because I am trying to make electronic soundings in acoustic medium I really liked the idea of mixing the electronic music with the olden instruments which are much more richer in intonation and have more colours than modern instruments.

I have been experimentalising a kind of multitimbral way of composing where the melodies are accompanied by shade voices. In this case I mean the melody as a vectorial direction and I mean the same for the tonal melody but maybe while listening to the tonal melody the listener can feel an arrival or disappointment feeling (unresolved, surprise-cadence, Neapolitan destination tone, minor edge VI, alterations, et cetera). These shade voices are the main reasons for making the unisono voices multitimbral. The multitimbrality is when there are more tones at the same time which can turn into each other back and forth. At this time the spectrum is broadened or narrowed by harmonics or inharmonics so the fluctuation is continuous.

This can be easily put with my former multilayer way of composing together, where I could get complex sound density because of the several hundreds of layers which I wanted to control afterwards. We could call it vectorial multitimbral synthesis where the oscillators and the acoustic instruments morph each other’s tone as a frequency or phase synthesis.

Ákos Nagy - Hommage á Rothko [Geneamus version]

Exploring Ukraine's Underground Rave Revolution | CXEMA
https://www.youtube.com/watch?v=P4G1r2u8m9g
After the i-D movie about Схема my mailbox was tottaly crashed. I have received a lot of messages asking me to release this track. For two years I waited until one rather famous label fooling my head and as a result - it simply did not release my record.
Today I decided to release this track through my bandcamp.
So, the track that you have been waiting for
 https://koloah.bandcamp.com/track/amplification

Amplification

https://www.youtube.com/watch?v=oqLknBMIkUg
Enjoy the atmosphere! 
Pic. http://zamnar.com/304938.html

The Inner Devil - Creatures of Darkness

Nagy Ákos_In dem Nebel_for HAANG

Le treizième podcast a été réalisé par un artiste qu'on apprécie beaucoup : Clarence Rise. Plongez avec nous dans les méandres de la techno atmosphérique.

Podcast #13 : Clarence Rise

Tracklist
Dj Stingray - Acetylcholine 
Go Hiyama - D (Radial remix)
Herla - An Eating House
Helena Hauff - Severe Slash
D-Leria - End Of Line
Urbano - Tishi
—
Myler - Peeling Oranges With Your Face (Ansome remix)
Knarz - Tanzmachine
Psychic Warfare - Tensions
Bintus - Cylinder-Bop
—

E=mc2 / Nastya Muravyova mix for OSNOVA @ summer/2016

Empty and lonely streets of Chernobyl.  The beauty of peace and calmness. Close your eyes and wander around the empty streets of Chernobyl. 

The Inner Devil - Chernobyl's Heaven

Feel the never ending anger, rage, coldness, loneliness and darkness that comes from the black knights heart.
Picture by NeryLucio.
http://nerylucio.deviantart.com/art/Black-Knight-2-622644237
fb. https://www.facebook.com/The-Inner-Devil-704610459634444/

The Inner Devil - Heart of The Black Knight

Experiment in piano variations with Max for Live. Now available on Bandcamp: http://frktl.bandcamp.com

Title sequence track in the Italian/Japanese feature-length documentary “Progetto Hebi” (2014). https://vimeo.com/111404578

Descent / Fjäder

FRKTL — Descent

schubbdoll mesdames et messieurs,

habt ihr lust auf 4/4 in meiner wolke? wir haben eben den ersten mix aus dem jahre 2005 den ich für wighnomy
und sonnemondsterne gemacht habe in die wolke gelegt. das ist auch der erste mix, bei dem ich anfing mit verschieden
layern zu arbeiten. später dann auf der "metawuffmischfelge" und der "wuppdeckmischmampflow" habe ich das dann vertieft.
er wird nicht zum runterladen sein. bitte versteht das. ein geiler stream bringt doch auch ne frequenz.
bei bedarf unterstützt die musikanten. vielen dank.

robag


schubbdoll mesdames et messieurs,

are you up to some four to the floor [4/4] in my cloud ? we just put the first mix i made for
wighnomy for the sonnemondsterne festival in 2005 here in the cloud. that is also the first mix,
on which i started using multiple layers at a time. i refined that technique later on "metwuffmischfelge"
and "wuppdeckmischmampflow". i ask for your understanding that the mix will not be downloadable.
an awesome stream is nice as well. if you want you can support the musician.

thank you!

robag

 liederliste:

MONSIEUR IBRAHIM UND DIE BLUME DES KORAN
ULF LOHMANN - NIGHTS BLOOD
RICHIE HAWTIN - FREAK´D
MATHEW JONSON - REWIRE
DUBKULT - ON & ON / GUIDO SCHNEIDER RMX
ALEX SMOKE - PINGU
SERAFIN - NIDLOCH
FUMYA TANAKA & RADIQUE - B-B
AFX - ANALOG BUBBELBATH1
ALTER EGO - DAKTARI / RICARDO VILLALOBOS RMX
APPENDICS SHUFFLE - SAW SAW SOUP / ROBAG WRUHME RMX
ECHTZEIT - BIPOLAR 1
ROBAG WRUHME - BOBB
M83 - TEEN ANGST / LUCIANO RMX
METABOMAN - EASY WOMAN / ROBAG WRUHME RMX
ADOLF NOISE - DER GRUNDTON




SMS von 2005

this mix was put together for The Selector Jan 2012 -  their only remit is that mixes contain mostly British Music. 

Originally launched by The British Council in 2001, The Selector is an international showcase for the best new music the UK has to offer - A weekly two-hour programme that covers all styles of music, from indie, dubstep, folk, soul, electro and everything in between. The show features interviews, mixes and exclusive live sessions from some of the most exciting British artists.     www.selector-radio.com 



Brits Abroad - mira calix mix for The Selector - january 12

► Closing out our special night with Cxema is local talent Nastya Muravyova.
► Subscribe to our YT channel: http://blrrm.tv/YT

Nastya Muravyova | Boiler Room x Cxema

Part of the wonderful set played by Mess dear friend Nastya Muravyova at one of our previous editions celebrated earlier this year  on 26.06.18.

Nastya Muravyova is rapidly becoming a solid figure in the underground Techno scene, always delighting with her hard cutting 4x4 powerful sets, she's been paving her career in some of the most exiting dancefloors in Europe. She sure delivered at our edition of Mess and we cannot wait to see where this lady is heading leaving Ukraine underground scene very well represented and all the ravers on the floor pretty damn satisfied. 

ENJOY! 

www.soundcloudcom/vsehzhdetsmert

Follow MESS on Facebook:
www.facebook.com/messberlin/

Nastya Muravyova X Mess

Buy 10" | Digital

Radical G & The Horrorist | Here Comes The Storm (Kobosil 44 Terror Mix)

Flipping the record over, we hear Robag shift Vondelpark's pop tune further into dubbed-out DJ tool territory with “Habay Latoff NB”, placing it atop a hand-cranked mechanical pulse that's more tech than house. The vocals are reduced to a mere atmospheric aspect, letting Robag's buzzing and clattering do the talking, as the underlying drawn-out melodic phrases breeze past, with plenty of auditory curveballs to make your ears smile. Grab the vinyl version now—R&S won't be offering these remixes digitally until later in the year.



California Analog Dream - Robag s Robag´s Habay Latoff NB

TicK - Last Try (first loop#1)

a little thank-you gift for great support ♥

Many thanks to http://mastering.sonoa.de for mastering

Jacques Mueller- Trafic Intense (Original Mix)

False Mirror is a one-man project of Tobias Hornberger, focusing on Dark Ambient music and experimental soundscapes inspired by natural forces and industrial derelicts.

Sound sources range from various instruments like flutes, guitars, accordion, synthesizers and some exotic and self-built ones to an extensive use of field recordings and recordings of other non-musical sounds.
Many of the software tools and algorithms are programmed by Tobias himself.

Tobias Hornberger is also engaged in the Musique concréte/experimental music ensemble EMU and doing soundworks for installations, etc.
