nice sphere :) would like to know how to synthesise such sounds

sama2

"HAVUZ I-II" CS - OUT NOW!!!

https://cloud-chamber.bandcamp.com/album/havuz-i-ii

Istanbul based audio/visual artist Koray Kantarcıoğlu releases his first tape output for Cloudchamber after 2016's Loopworks (Initially released as a tape from Wounded Wolf Press in 2016 and later issued as a vinyl from Discrepant Records.). 

Havuz (means pool in Turkish) is a two part piece made up of seamlessly mixed loops. Like his previous work, Koray manipulates samples he dug from Turkish records and tapes to create otherworldy sound textures. 
This time instead of a computer, Koray composed Havuz entirely on a minimal hardware setup with limited processing options. Result is an intimate, lo-fi sounding record. 

Album art is uses the collaborative work of Koray Kantarcıoğlu and Erdem Ergaz called Duopoly (2013), which combines the two different perceptions of form within a schematic arrangement. 

www.koraykantarcioglu.com

Composed by Koray Kantarcıoğlu 
Between 01/2021 - 05/2021 
Artwork: Erdem Ergaz & Koray Kantarcıoğlu - Duopoly (2013) 
Mastering: Ahmet Türk

Havuz I-II

Koray Kantarcıoğlu - Havuz II (edit)

https://www.nts.live/shows/sarah-davachi/episodes/sarah-davachi-14th-march-2022

Le Jardin w/ Sarah Davachi 140322

Rq 1 Peluche by Burnt Friedman 2016

The long and mesmerizing single piece of analogue electronic music that develops over the two sides of the latest Die Schachtel "silver series" LP is a soundscape composed by Teresa Rampazzi for the artist Diana Baylon's 1972 exhibition at the modern art gallery "Il Fiore" in Florence (Italy). Diana Baylon (1920-2013) was a cross-disciplinary artist active in abstract and programmatic art. In the summer of 1969 she appeared – along with with Alberto Burri, Pablo Picasso, Jean Dubuffet and Lucio Fontana – at the Festival dei Due Mondi di Spoleto exhibition «Maitres et jeunes d'aujourd'hui».

Italy's equivalent to Delia Derbyshire, Teresa Rampazzi (1914-2001) has enjoyed a resurgence of recognition in the past decade and has taken her well-deserved place as one of the pioneers of electronic and computer music. A former avant-garde pianist (having taken part in performances with John Cage since the late 50s), Teresa was exposed to electronic music "exactly as its birth” – as she once said during a concert of recorded tape music in Darmstad in 1952. She decided to produce electronic music at the age of 50 and she founded the N.P.S. Group (Nuove Proposte Sonore), which became one of the main Studios active in Italy alongside Pietro Grossi's in Firenze and Enore Zaffiri's in Turin. Unlike Grossi and Zaffiri, whose work took a structured and systematic approach, Rampazzi's music explored sound densities, drones and textures, often integrating environmental sounds and undulated electronic patterns to create organically structured soundscapes.

For the 1972 exhibition, Teresa Rampazzi realized this long 'soundtrack' (in her words) to be broadcasted in loop. Sounds were made with the analogue equipment she used at the time, revealing her stylistic tendency to create a pulsing, drone-like  sequence of harmonizing electronic tones. «The inner space of the exhibition» – she wrote – «is made of sound, for the whole duration of the exhibition. The work is composed by a series of sound events, with both informal and aleatory features, in a continuous flux, and there is no planned predetermination in any of the various sections. This choice has been made for the sound space to adjust to the sculptor's plastic and loose images» .
Immagini per Diana Baylon was in fact the third time Teresa Rampazzi realized music for an exhibition. The first was also the very first experimental composition that Rampazzi and Ennio Chiggio composed in 1965, a sound collage for the opening of an exhibition of the Gruppo Enne at the International Biennale d'Arte in Venice. The second soundscape piece, Environ (1970), was realized for the presentation of a 360° round modular couch in foamed resin designed by Chiggio, presented at a furniture shop in Padova in 1970. The piece is featured on the Die Schachtel Musica Endoscopica LP by Teresa Rampazzi released in 2009. Immagini per Diana Baylon is the eigth LP release in the Die Schachtel series dedicated to the pioneers of early Italian electronic music and will be soon followed by Mario Bertoncini's Arpe Eolie LP and Arke Sinth, a radical electronic music enesemble active in Padua in the late 60s.

Teresa Rampazzi "Immagini per Diana Baylon" excerpt

Post-classical and cinematic ambient moods - a mix for soft BDSM libertinism.

Behind the Rock - Zdenek Liska
Testament d’Auguste Rodin - Kenny Morris
Triomphe des Mouches - Univers Zero
Ballet Statique - Conrad Schnitzler
Scarification Ceremony - Quincy Jones
Exit Room 808 - Rene Hell
Lucifer Rising Take Three - Bobby Beausoleil
Sine Times Nine - PYE Corner Audio
Eyes Sharp - Liquid Liquid
RN Gaz - Rene Hell
Wallenberg - The (Hypothetical Prophets)
In the Shadow of the Sun - Throbbing Gristle
Tanabata - Joakim

La Philosophie dans le Boudoir - Avant-Avant Sountrack

The year 2007 saw one of the most remarkable findings in the long treasure-hunting history of Die Schachtel: the complete set of recordings of the early manifestation (1967-1969) of one of the most legendary improv group of all times, the Gruppo di Improvvisazione Nuova Consonanza. Rescued by the private archives of Mr. Walter Branchi, one of the original founding members – alongside with Franco Evangelisti, Ennio Morricone, Ivan Vandor, Roland Kayn, Egisto Macchi, Mario Bertoncini and John Heineman – the tapes were then restored in their entirety, but only a part of them were published in an epic 500 copies -CD-only boxset titled "Azioni 1967-1969", which also featured a DVD with the original film "Nuova Consonanza" shot by Theo Gallher during the rehearsal and the concert that the group held on March 19th and 20th, 1967, at the Galleria d'arte Moderna in Rome. Spanning from free-jazz to total abstract noise to wild electronic sounds (thanks mainly to the wizardry of Roland Kayn and Walter Branchi), their music was – and remains – one of the most dynamic, original and uncompromising expression of a period defined by intense experimentation and musical bravery, that anticipated a lot of the experiments to come in later years. Or, to put it simple, "They were utterly unique", as per the words that John Zorn – a long time admirer of the Gruppo – expressely wrote for this edition.

To mark the 10-years anniversary of its original release, and to finally make it available for the vinyl aficionados throughout the world, Die Schachtel is proud to present AZIONI/REAZIONI 1967-1969, the complete cycle of improvisations (which in fact means thirteen additional inedit pieces, spanning over 2 and a half LPs and two CDs ), taken from the original tapes, lovingly remastered by Mr. Giuseppe Ielasi and masterly cut to five black vinyls, with a new design and an even more complete information apparatus, that includes a 64 page LP-size book in English and Italian, complete with essays, memories from the members of the Group, a new article by Valentina Bertolani exploring in detail the techniques of the group (based on the enclosed DVD), a chronology and a collection of original reviews by Maurizio Farina, and – to add an additional cherry on the almost rather juicy cake - a set of stunning (and inedit) black and white photos of the group playing in the glorious Venice "Teatro della Fenice" in 1968, taken from the archives of the Venice Biennale.

Gruppo di Improvvisazione Nuova Consonanza "Kate"

softer

Nº4
Kranky records
https://christinavantzou.bandcamp.com/album/no-4
www.kranky.net
RELEASED APRIL 6, 2018

1.  Glissando for Bodies and Machines in Space 
2. Percussion in Nonspace 
3. At Dawn 
4. Doorway 
5. Some Limited and Waning Memory 
6. No.4 String Quartet 	
7.  Staircases
8. Sound House
9. Lava 
10. Garden of Forking Paths 
11.  Remote Polyphony ft. Steve Hauschildt

Nº4

@x-y-r

Artwork: https://instagram.com/ventralisgolden

In the evergreen forests, along with the interwoven paths of the Indians, among the Ancient Pyramids surrounded by Amazonian spirals, our lone pilgrim is steadily overcoming challenges he faces along the way. Stripping away all illusions, he reaches an even deeper level of introspection. 

On his path illuminated by the mystical knowledge from the otherworldly dimensions, our pilgrim wonders about his higher purpose. With this in mind, he reaches his destination. Here, all possible and impossible are tightly knitted together, creating kaleidoscopic patterns ... What a sacred place ...

Images of animals, people, stars and distant planets performing the dance of life appear before his eyes ...

Where is he going to go now? Which direction to follow? Is he going to go right? Left? Go up or perhaps, all the way down?

He closes his eyes ... Deep inhale followed by slow exhale ... Doors of perception open up slowly. Gentle lull of solitary meditation reveals a clue that puts everything in place :

- “It's not so much about the direction, but why you stick to it” ...

The moment his eyes gently blink open ... He chooses love ...

X.Y.R. - AMATEUR EXOTIC'S TRIBE QUEST

<body>
Excerpt from the album, available from <a href="http://www.soundohm.com/product/Luciano-CILIO-/Dell-Universo-Assente/pid/20619/" rel="nofollow" target="_blank">soundohm.com</a>. The critically acclaimed "Dell'universo assente" has finally made available again in a stunning double-LP and CD remastered edition. "These recordings sound as they feel self contained, introspective, and determined, you can feel in the music a sort of necessity that can be rarely found, as in Bill Fay's "Time of the Last Persecution", or in Nick Drake's "Pink Moon": this enormous weight that is bearing on it's creators, the absolute need to exorcize it from their lives, a moment in time where you are invited to hear artists truly in contact with their existence. Luciano Cilio holds that moment in time, an authentic emotional testament, something to be cherished (...) from Jim O'Rourke liner notes
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Luciano Cilio "Interludio" da Dell'Universo Assente

You can purchase and download this song here:

https://arambulapaul.bandcamp.com/track/mesquite

(Featured on Democracy Now!- 02/07/2020)

Thank you!

-LYRICS-

The water comes down
They flush to a sea
Where they get into boats
And they manage to flee
And go with the flow
As we wait like some bait 
for a modern pa
to make a flaw with a law
and a new definition for “all” 
holding on
occipital to the thumbs
cover ears with the palms
favorite song sung in a hum
By the velvet mesquite 
Where the guards cannot see
someone sees the bright light of possibility
and when it moves
they yell “run”
Amá and apá sweat yet baby is cold
it shivers with the quivers of the 8 year old’s 
concrete hold
Come out of the sun 
Into the inside
a drop into the rising tide
The old, won’t hold
Noé was the one who was their ideal
Forced to dream, dream until he’s real
now his touch and codes now intertwining,
the pulse silently refining
on both sides of the wall
So we see how it can fall
Because our hands, well they move
with this electrical groove
And the dirt in our nails
becomes soil when it gets wet
from the tide

Mesquite

Released on Longforms Editions March 2019
The title Stereo'frogi'ic is a play on the word stereophonic – to play with the illusion of multi-directional audible perspective – in this case presenting a quasi-bioacoustic sound piece, crafted from found recordings of frogs, insects, a recording of an animal scattering in the bushes and other 'vocal' animals wavering about in a stereo field. This piece was recorded and edited in the summer of 2019.

I have used slightly modified animals sounds to create aural illusions, morphing the perception of animal and machine generated sounds or raw recordings and digitally effected sounds. I wanted to create a tempo that would mimic something similar to the meditative sense you can experience from the flow or sound of the wind and other elements, when you are sitting in an open field while recording.

Stereo'frog'ic (Longforms Editions 2019)

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Excerpt from the album, available from <a href="http://www.soundohm.com/aktuala/la-terra/psych-out-records/">soundohm.com</a>. Following the same path as Third Ear Band in England, Embryo or Gruppe Between, Aktuala tried to mix together the western musical tradition with african and asian instruments, rhythms, cultures and avant-garde forms, creating a pioneering new form of music that went beyond anything heard before. 
During the early 1970s, most aspiring jazzers on the Continent were chasing the voodoo down, or running the noonward race. The (largely) Italian group Aktuala pursued a fusion of a different sort. Aside from Oregon, Aktuala was one of the first bands to craft a coherent, gimmick-free hybrid of improvisational jazz sensibilities with a pan-cultural approach to ethnic music. Led by multi-instrumentalist / composer Walter Maioli, the band (circa 1974) also included percussionist Trilok Gurtu (who went on to play with John McLaughlin, Oregon and Jan Garbarek, to name a few), saxophonist Daniele Cavallanti, guitarist Attilo Zanchi (both now well-established members of the Italian free jazz scene, w/numerous recordings on the Spla(s)ch label), saxophonist Otto Corrado, guitarist Antonio Cerantola, and harpist Marjon Klok. A violinist (Maurizio Dones) and a cellist (Marino Vismara, from Nadma) guest on one track each. La Terra, the group's second LP, contains four extended instrumental tracks that combine Indian percussion, strains of American jazz and blues, and Mediterranean and North African ethnic musics. From the opening lethargic yet colourful rhythms to the ending cataclysmic, almost symphonic, stints of the closer, this album's got everything a grown person could ever want out of a mystical sounding percussion lead adventure in music. Don't miss it, slightly limited to 500 numbered copies, housed in a deluxe textured cover with printed inner sleeve
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Eliane Radigue - Kaylasha

iulians

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