Extra Innings in November

_ synth wave / synth pop / minimal synth _ Set 19

Elektronika...5

Strange...12

Electronic Rock/Pop 12

Giorgio Moroder - The Chase (Extended Maxi-Single) from Midnight Express, 1978

www.giorgiomoroder.com
www.facebook.com/GiorgioMoroderOfficial 
www.twitter.com/giorgiomoroder

Buy the album

Giorgio Moroder - Chase [Midnight Express] (1978)

Giorgio's Theme
The new single by Giorgio Moroder (Adult Swim Singles 2014)

Written and produced by Giorgio Moroder

www.giorgiomoroder.com
www.facebook.com/GiorgioMoroderOfficial
www.twitter.com/giorgiomoroder

Giorgio Moroder - Giorgio's Theme

Unknown - Unknown

Depeche Mode - Enjoy The Silence

Jean Michel Jarre - Equinoxe 7 (cover With Analog And Digital 80s Synth)

Jean-Michel Jarre - Equinoxe 7 (Cover With Analog And Digital 80s Synth)

minimal synth, minimal wave, minimal electronics, synth pop, synth-pop, cold wave, new wave, wave, post punk, italo disco

Esplanades radieuses - 2016 - [Polytechnic Youth ‎– PY71 - UK]

Unknown album (12/07/2016 19:5

Colin Potter / Power

Macedonia - Demo

Agente Muerte (Demo)

Abattoir Blues - Sense
HYMNS005
Released November 4th 2016

Limited vinyl: bit.ly/2d1TUuW
Spotify: spoti.fi/2cIZOpb
iTunes: apple.co/2coaLLq

Tracklisting:

1. Sense
2. Fading

Fading

Dreamcatcher is the 8th track from NetWorks 3: Thresholds, the entire album can be heard on iTunes, Amazon, Spotify, etc. or purchased on Bandcamp: shawnbell.bandcamp.com/album/networks-3-thresholds

NetWorks is a music-generating (MIDI-data-generating) program and a body of work based on artificial-life, complex adaptive systems research and the Honing Theory of creativity. NetWorks uses a hierarchical, scale-free network to generate music that can range from orderly to chaotic. At the ‘edge of chaos’ it generates patterns that exhibit emergent complexity through coherent musical development at low, mid and high levels of musical organization, and often suggests a sense of direction through goal seeking behaviours.

Emergence, in the NetWorks program, is achieved, not through Darwinian evolutionary processes, but through a far older form of evolution called communal exchange. “There is extensive evidence that for the first several million years of its existence life on earth evolved through communal exchange of components amongst self-organizing autocatalytic protocells, prior to establishment of a genetic code, and only once a RNA-based self-assembly code was in place did life evolve through natural selection. … the last century’s emphasis on natural selection in evolutionary theory is not warranted by current research; even today, variation-selection is, quantitatively at least, not the dominant evolutionary process.” (L. Gabora, in press).

There are no selective processes (fitness functions) within NetWorks, so if an output stream is perceived to “evolve” it can then be said to originate solely through communal exchange.

Selective processes occur only between the interaction of the musician-programmer and the NetWorks program, when the musician-programmer (1) generates and evaluates network architectures, rule-sets and mappings, (2) orchestrates, mixes, and masters the most aesthetically pleasing instances of these outputs and (3) tweaks and expands the program itself.

In general, the sounds chosen to manifest the musical patterns discovered by the network attempt to reflect the mystery and wonder that virtually unlimited diversity can come from such simple interactive models. When mapping patterns to sound, an effort is made to preserve the integrity of the patterns rather than obfuscate them with complex synthetic textures or other effects that are readily available during mixing.

Since the MIDI data of NetWorks is computer-generated, sampled acoustic instruments are often used to give the music a “human feel”, and to allow the listener to relate and compare the self-organizing patterns to known genres.

Headphone listening is recommended.

This was a preliminary mix. The final mix is available on Bandcamp: https://shawnbell.bandcamp.com/album/networks-3-thresholds

Album artwork evolved using SBart4 by Unemi Tatsuo.

Networks 3: Thresholds

Dreamcatcher

Shadow Banger is my contribution to #savefabric

http://www.fabriclondon.com/store/save-fabric.html

Shadow Banger

Demo version of 'Baby, Tonight' off Snowy Red's first LP from 1981.

Baby Tonight (Snowy Red Cover)

Korg ms20, korg kr 55, roland sh 2, roland rs 09, yamaha cs 5

Derribar (Alternate version)

Jauzas The Shining -Get Away(Ship042)

Demo 01

Bouffée Délirante

KESS03 vinyl - january 23 2017 via Ready Made, Sound+Matter and Bandcamp.
www.kesskill.com for ordering.

A1. Lines

35. S. Raymond

LOS ANGELES FREE MUSIC SOCIETY (LAFMS) - 35 S. Raymond Avenue (Excerpt 1)

Marino Zuccheri - Milan Rai Studio di Fonologia Musicale 1955-83 (EXCERPT 1)

Для отечественной электроники Михаил Чекалин является не только важнейшим персонажем, повлиявшим на становление и развитие сцены, но и своего рода фигурой символической. На Западе его музыкой восхищались многие — от журналистов и критиков всех сортов до Фрэнка Заппы и Карлхайнца Штокхаузена. В родной же Москве имя Чекалина было долгое время изъято из официальной культурной повестки — его обвиняли в пропаганде чужой «прозападной» эстетики, вплоть до конца 1980-х не давали издавать свои произведения и блокировали выезд за границу. Что впрочем не помешало ему записать десятки новаторских, опередивших свое время электронных композиций и внести большой вклад в развитие неофициального советского искусства в целом — например, создавая звуковое оформление для знаменитых выставок «Двадцати московских художников» на Малой Грузинской или устраивая первые аудио-визуальные перформансы на специально сконструированном «световом органе». 

Впрочем, как и все большие художники, сам Михаил Чекалин предпочитает фокусироваться не на личных достижениях, а на творчестве. «У меня нет биографии — есть только дискография», — эта цитата автора может стать здесь своеобразной точкой входа в представленную компиляцию. Это архивный сборник работ, записанных в период с 1979 по 1987 года — полижанровые эксперименты Чекалина в радиусе от «пространственной музыки» (по сути, предтечи эмбиента) до более современных синтезаторных и пост-симфонических композиций.
_____________________________________

For Russian electronic music, Mikhail Chekalin is not only a major character, who has affected the scene's establishment and development, but also a kind of symbolic figure. His music has been praised by many in the West - from journalists and critics of all kinds to Frank Zappa and Karlheinz Stockhausen, while in Moscow Chekalin's name was excluded from the official cultural agenda for a long time: he was accused of propaganda of foreign 'pro-Western' aesthetics and up until the end of the 80's wasn't allowed to release his works or travel abroad. This, however, didn't interfere with him recording dozens of innovative electronic compositions and contributing greatly to the development of unofficial Soviet art in general - for example, providing sound design for the famous exhibitions of 'Twenty Moscow Artists' on Malaya Gruzinskaya or arranging the first audiovisual performances on a specially constructed 'light organ'.

However, just like all great artists, Mikhail himself prefers to focus not on personal achievements, but on creativity. 'I don't have a biography - only a discography' - this quote of the author may become an entry point of sorts into the compilation presented. This archival collection of works recorded within the period from 1978 to 1987 are Chekalin's multigenre experiments ranging from spatial music (in essence, ambient's precursor) to more contemporary synthesizer and post-symphonic compositions.

GAR001: Mikhail Chekalin – "Ecstatic Lullaby"

Side 1
А1 – A Vocalise in Rapid (4:21)
А2 – The Destructive Dream Dance (4:10)
А3 – Sympho-Break’84 (6:26)
A4 – As If It Was Not From Here (3:50)

Side 2
B1 – Ecstatic Lullaby (5:28)
B2 – Theme in 40sec (0:40)
B3 – Jazz Rock Vocalise (4:18)
B4 – A Passing Melody (1:02)
B5 – Sentimental Intermezzo (2:41)
B6 – Music 3 With Continuation (5:15)

Side 3
С1 – A Piece in Jazz-Rock Mode (4:16)
С2 – Song Without Words (4:37)
С3 – Torn Page (5:12)
С4 – Dream Dance (4:18) 

Side 4
D1 – Naive Song (3:02)
D2 – Slavdom Psychedelic March (2:37)
D3 – Vocalise in Blues (3:55)
D5 – Farewell to the Music in the Style of Rock (5:10)

music — M. Chekalin
photo – M. Chekalin
text – S. Sharifullin
english translation – E. Nemtsov
compilation – I. Zaynetdinov, E. Fadeev, A. Ryazanov
art direction – P. Milyakov
executive producer — I. Zaynetdinov

2 x 12" LP, full colour sleeve, 180 grams
© «ГОСТ ЗВУК», Moscow, Russia, 2018

ГАР001: Михаил Чекалин «Экзальтированная Колыбельная 1979 – 1987»

Danske Båndamatører // Danish Tape Amateurs 1959-1976 (Excerpt 2)

Danske Båndamatører // Danish Tape Amateurs 1959-1976 (Excerpt 4)

Taken from the Peripheral Minimal Records album, V/A "Prophecy + Progress: UK Electronics 1978 - 1990" LP. Available here;

WEBSITE: www.peripheralminimal.com
BANDCAMP: www.peripheralminimal.bandcamp.com

V/A "Prophecy + Progress: UK Electronics 1978 - 1990"

Vice Versa "Idol" [1979]

¢ãíùóôï Üëìðïõì (17/12/2019 12:16:50 ìì)

GLAMATRON!   ''factor 222''

Kess Kill Records started in 2016. 
Run by Rivet. 
Vinyl distributed by Readymade Berlin.
Digital available via Boomkat and Bandcamp (as well as most other stores).
Qu'est-ce qu'il fait chaud!