https://soundcloud.com/aidons-antoine
https://nosejob.bandcamp.com/album/onkruid

A2 Aidons Antoine - Toupie

From "Microphone Permission" LP, Editions Mego, 2020
https://jasmineguffond.bandcamp.com/album/microphone-permission

An Utterly Dark Spot

From A_A:16 - Arnau Sala Saez - Atenció Attention

Arnau Sala Saez - Si no sóc a l'ara, a on sóc

Artist: Beispiel
Album: Muster
Label#: faitiche 26
Format: LP/DL
Release: March 18th 2022

Faitiche proudly presents Beispiel (German for example, also suggests playing together), a joint project by Frank Bretschneider and Jan Jelinek. Muster is their first album. Free electronic music, the result of spontaneous improvisations. 

“Meaning” is a concept that is overused in connection with music. Muster does not call for the same kind of air quotes. With its title, German for patterns/exemplars, Beispiel’s album frees itself from the ballast of teleological semantics. There is no overarching theme, no preparation, no reading list, no reason for this music. Just two facts: Frank Bretschneider and Jan Jelinek have known each other a long time and appreciate each other’s work; and they share a love of modular synthesizers and of experimental set-ups designed to capture surprise. 
Bretschneider and Jelinek got together for their first joint session in 2016 and the years that followed brought more such meetings at Jelinek’s studio for open-ended musical dialog – at irregular intervals and with no clear objective. The improvisations were recorded in two stereo tracks: one track for Bretschneider’s audio, one for Jelinek’s. After each session, the recordings were processed separately, the options essentially limited to cutting and altering the frequency range. The nine pieces for Muster were selected from the resulting material. 
This approach reflects an ideal: music is when you play your first note without knowing what the third or fourth will sound like. When your 290th note still sees you leaving the beaten track, and when curiosity grows as the piece unfolds. Duping is part of Beispiel’s practice. Improvisation is about disagreement. It’s a matter of addressing the right issues. What’s happening here? What’s mine, what’s yours? Are “why” and “where next” legitimate questions? 
Muster is an exemplary work. Nine suggestions for what can be. Nine ideas for possibilities of listening.
Arno Raffeiner

written and produced by Frank Bretschneider & Jan Jelinek, G. Guillaume Studio 2016-2020 
Front image by Carlfriedrich Claus „Erwachen am Augenblick / Psych. Feld“, 1991 (© VG Bild-Kunst, Bonn 2022) 
18-6-28-FB&JJ-E includes a sample by Cristian Vogel's "Bug 3" 
Mastering by Giuseppe Ielasi 
Design & photo by Tim Tetzner 
Copyright control

Beispiel: FB&JJ2017-1

from KR103:  an moku I stefan schmidt:: zwischenraum
imited edition tape / download out on may 13th 2022

zwischenraum

AN MOKU I STEFAN SCHMIDT:: yama

from KR101:  KAMMERFLIMMER KOLLEKTIEF - Schemen (LP / CD / DL) out on april 28th

Schemen

KAMMERFLIMMER KOLLEKTIEF - Sechstes Kapitel [herausgewunden]

The Exotic Malice Of Your Velvet Despair (atmosfera sanguigna)

core is a feedback loop of the fsh-1 frequency shifter, inside the loop is c0 and mmf-1. modulated by r*s dsg. rhythm and pads itb.

something like a patch diagram: https://imgur.com/6oNm0yH

one output of the fsh-1 goes into the c0 delay (the delay is crucial in this patch, most of the sound gets produced here), the output of the delay goes into a limiter and then back in one input of the fsh-1.
another ouput of the fsh-1 goes into the mmf-1 filter in dual bandpass mode, from there the signal goes again into a limiter and into the second input of the fsh-1.
this is now the basic closed feedback loop, i listen to the mix output of the fsh-1.
by playing around with all the settings i get different tones, again, the delay is crucial here, how much feedback is determined by the limiter and general volume controls or frequency controls of all three modules... now to get a rhythmic patterns going i plugged this "bouncing ball" envelope into the second input of the filter, that is enough to only get feedback at the high portions of the envelope eg i get a rhythmic feedback pattern. variations in tone by manual control of the bandpass settings and the delay time plus occasional tweaks at the limiter section for louder or more distorted feedback. the patch is delicate, i tried to replicate it and i wasnt able to come close to these tones, but other great ones:) enjoy modular synthesis!

fsh1

Vegetal Negatives is a game of sonic mutations, mimicry, inversions, and association inspired by a text called "On pataphotograms", by the French writer René Daumal – a quasi-metaphysical essay that toys with breaking the conceived separateness of natural forms through poetic imagination. 

The four electroacoustic compositions on the album combine and arrange field recordings, electronic feedback, Buchla and ARP synthesizers, bowl gong and harmonium, textures of detailed acoustic sound, and sustained tones with gentle microtonal beating into a precise musical narrative. She juxtaposes recordings of rooms and empty vessels, natural and artificial climates, spontaneous and staged events. Ahti draws upon Annea Lockwood's ideas about associative movements between sounds based on shared characteristics and sonic energy. Her approach to field recordings is neither diaristic, documentaristic, nor purely acousmatic, but rather it starts out from somewhere in between these notions: the sounds hover between abstraction and the deeply familiar, moving into a realm of poetic metaphor where they are set in relation to each other, fleetingly mirroring or shadow-dancing. Acoustic environments mutate into synthetically derived shadow forms. 

The opening track, "Coastal Inversion”, moves from a seemingly familiar seascape into an ocean of wavelike synthetic staccato patterns, turning itself inside-out on the shore, before diving back into a sea of resonance. ”Rooftop gardens” arranges a series of largely unprocessed field recordings into a dream-logic sequence of upward movement towards the clouds. On the other side, ”Symbiogenesis” brews a slow evolution of wet, airy and earthy sounds and resonant friction. The closing track, ”Chora”, imagines a meditative space of breath: filter resonance posing as organ pipes against a backdrop of breezy industrial hoovers merges halfway with a harmonium improvisation that foregrounds the frictions of the wooden instrument itself, just before filtering out into resonant harmony. 

Releases March 29, 2019 via Hallow Ground 

Marja Ahti: composition, production, field recording, Buchla 200 and ARP 2600 
Recorded at EMS, Stockholm, WORM, Rotterdam, and on locations in Greece, Alaska, Finland and Sweden. 
Mastered by Giuseppe Ielasi 
Designed by Ruth Stofer

Vegetal Negatives

Coastal Inversion

Alina Kalancea's Impedance is available on CD and audiophile-quality double vinyl cut by Golden Mastering and pressed at RTI. Both CD and 2LP are packaged in a deluxe, heavy duty tip-on gatefold sleeves printed by Stoughton. 

Highly recommended to fans of Eleh,  Caterina Barbieri, Shasta Cults, Jessica Ekomane, Eliane Radigue and Alessandro Cortini. 

Impedance, an entirely instrumental album spanning 4 sides, contains powerful rhythmic sequences, heart beating frequencies and hypnotic loops that are paradoxically encapsulated in carefully crafted compositions which are full of secret passages and hidden doors. Kalancea's work creates ungraspable sonic experiences, which take us over, immersing us in powerful and mind altering soundscapes. 

There's no quick payoff on Impedance. This is the sound of new, patient electronic music full of depth and substance. 

Alina Kalancea is a Romanian sound artist and composer based in Modena, Italy. She has studied sound design and synthesis with Enrico Cosimi and collaborated with producer Alex Gamez, and artists Julia Kent and Raven Bush.

Alina Kalancea - Impedance/Abandon All Hope/Lost Souls - From Impedance 2LP/CD - Pre-Order available

AUTRE BROUSSE par Johann Mazé & Jihem Rita

Huit morceaux, huit tentatives d'approcher, parmi d'autres obsessions habituelles, la chanson, la pop, l'emballement rythmique, la danse, et ce qui se situe entre.
Avec les voix et les sons précieux de Cesar Amarante, Lou-Mah Al Abed Ratier, Johann Loiseau, Christophe Ratier, Antoine Souchav et Laszlo Mazé.

Enregistré à Floirac, à Bordeaux, à Marcillac-Vallon, à Lima, à Saint-Laurent-des-Bâtons, à Porspoder, à Bergerac, quelque part entre Tan-Tan et Dakhla, et le plus souvent à la maison.

Joué et assemblé en 2020.

Mixé en décembre 2020 à la Grange Cavale avec Manuel Duval.
Mastering par Fabien Meunier
Conception graphique par P.M Laroche

Merci à Cesar pour son inspiration lumineuse et rapide, à Lou-Mah pour avoir finalement accepté de chanter, à Christophe, à Johann, à Antoine, à Valentin Portron pour le moment “chapelle“, à Manuel, à Johan Mailleret pour la proposition, à Elise Amiet pour le piano, à Anne-Cécile et à Laszlo pour leur patience.

Alina Kalancea - Impedance/Abandon All Hope/Lost Souls - From Impedance 2LP/CD - Pre-Order available

IMPREC

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