Fresh Poulp Records is an eclectic electronic music netlabel, created in 2004 by Boris Thomas ( dmute.net  webzine's webmaster), Sébastien Charpiot (bassist for french band UHT° ) and Geoffrey Marchand now managing the record label with Tsunami Wazahari. Sailing through dub, techno, electronica and drum'n'bass, the poulp's tentacles also lead to other musical style fiting with the electronic domain and all its crossovers (hip-hop, jazz, oriental music). One of its main goal is to promote its artist via internet with its website, and to release all its catalogue (EP's, LP's and compilations) in free downloadable mp3 format, under Creatives Commons licence. The other goal being the artist's booking, since 2008 Fresh Poulp Records makes the best to find gigs and venues by searching and being open to all opportunity. So feel free to contact us by sending your demos or gig's propositions at the adress at the end of the page. We need time to listen to all the stuff, but be sure that we'll fully listen your material and anwser you back. For more informations, please write us at contact@fresh-poulp.net  .

Optogram è un duo di musica elettronica nato a Parma nel 2013 grazie alla collaborazione fra Gian Maria Pizzi e Roberto Segreti.
L’album d’esordio dal titolo omonimo, pubblicato da Minus Habens Records, contiene 8 tracce e raccoglie la prima fase della loro ricerca sonora.
Il tema comune è l’uomo ed ogni brano ne rappresenta un’ ossessione o una perversione attraverso atmosfere cupe e distorte, spaziando tra IDM, Glitch e Techno.
Bloody Faces è il primo singolo estratto dall'album, presentato con il videoclip diretto da  Rino Stefano Tagliaferro.
Nel settembre 2015 gli Optogram sono stati i primi musicisti ad esibirsi dal vivo presso la piramide del Labirinto di Franco Maria Ricci a Fontanellato (Parma), accompagnati dal videomapping del collettivo milanese Karmachina .
È ancora con Karmachina che nel settembre 2016 prendono parte al progetto 22.2.22, un videomapping sul Palazzo della Pilotta di Parma che inaugura il festival Verdi del quale curano la colonna sonora rielaborando le opere del maestro.
Nel novembre 2016 condividono il palco con i Plaid in occasione del Barezzi festival a Parma..

Felipe Baradit Stevenson es uno de los gestores del prolífico sello Epa Sonidos, activo desde 2001 en Valparaíso y con internet como medio de expresión sin fronteras para una amplia oferta independiente; asociable, sobre todo, a la experimentación electrónica.

Sus primeras composiciones datan de 1999, cuando ya se interesaba en los discos de Nine Inch Nails y Aphex Twin y «[en Valparaíso] eran muy pocos los que conocían los computadores para componer», según contaba en entrevista con Mus.cl. Su trabajo desde entonces lo ha ido acercando a lo que él mismo define como un ambient experimental, siempre influenciado por el paisaje a su alrededor y plasmado hasta ahora en más de una decena de discos.

A la edición del LP Ambiente digital, en 1999, le han seguido una serie de producciones, siempre independientes e individuales; de entre las que destacan Farmacia virtual (2001), influenciado por la geografía del sur de Chile, y Techno synth pop (2007), más anclado a las melodías.

Desde el año 2001, Baradit trabaja de modo paralelo en La Guagua Que Tira Fuego, proyecto que lo asocia a Miguel Jáuregui (Basstk) y André Baradit (Jack Plug), y que ya ha publicado varios álbumes también descargables a través del sitio web de Epa Sonidos. La etiqueta a su cargo es una de las más activas netlabels chilenas, la cual, según Baradit, propone «acercarnos a otras sonoridades como si fueran otras geografías. Es como si siguiéramos el patrón de Chile, donde existe una diversidad de climas abrumante. Recorremos esta silueta para compartir experiencias, música y visiones».

—Marisol García.

// Webzine about experimental electronic music //

For general inquiries, use the address below ONLY: 
Contact: editor [at] datawv [dot] com.

Land of the Living Official Release- May 29th. 

There comes a time in every man’s life when he must question the principles of his culture, his community, and his ancestors. Some may ignore the questions, while others, particularly artists, wrestle with them until something new and lasting is formed from the struggle. Shortly written after the death of his father, Matthew Perryman Jones’ latest record, Land of the Living is a courageous personal Odyessey through life’s most troubled waters of love and loss, and communicates the process by which we grieve, and the fight to find restored hope.The writing process of Land of the Living was an intense wringing of words, emotions, and melody from the rags of Jones’ solitude, but are an account of his truth found in the pain.

His first full length album since 2008, Land of the Living was produced by Cason Cooley (Katie Herzig) and is set to be released on May 29th. The record could not have found a better birthplace than the elusive bohemian studio in Round Top, Texas, where it was recorded. The studio itself was made from a 1700’s Amish farmhouse, is surrounded by vast land and skies, and haunted by a woman the band came to call Sarah.  Matthew slept in a teepee outside the studio for the week the band recorded.  The short time span forced them to “trust our gut and bring our very best to the table.” 

For this record, Matthew decided to entrust the fate of his musings to the ones most likely to connect with it: his fans. In just thirty days Matthew’s “tribe” contributed $26,000 to fund the creation of the album. “Going into making this record supported by fans inspired me in a whole new way. It really awakened the sense of why I went into music in the first place-creating a meaningful connection with people through music.”

Inspiration also came in the form of the writings of Rumi, the letters of Vincent Van Gogh to his brother Theo (from which the title Land of the Living was taken), and Federico Garcia Lorca, who wrote about the idea of Duende—loosely translated as a heightened sense of emotion, expression, and authenticity in art, and particularly, in music.

In each song there is a sense of wandering in the desert and wrestling with the angels.  “Waking up the Dead” conveys the transition from mourning to once again feeling passionate about life. “I want to dance on fire and be born again” is Jones’ earnest mantra. Matthew mirrors the poetry of Leonard Cohen when he sings, “You stand in the water with your arms crossed, groaning hallelujah.”  In “Oh Theo,” he grasps Van Gogh’s artistic and spiritual struggle saying, “My heart was still unknown, I was drunk and full of sorrows. I was longing for a home with nowhere to go.” 

Perhaps the crux of the record’s struggle can be heard on “Cancion de la Noche”, or “Song of the Night.”  Echoes of Daniel Lanois’ mysticism float in the mournful guitars and full, round drums. He sings, “I was alone in the water, deep in the water, where did you go? Oh the light is in disguise, breaking slowly, pull me close and I will push you away.”

A response to “Cancion de la Noche”, is the song “The Angels Were Singing”, which delves into Jones’ grief over the recent loss of his father.  As if in a Flannery O’ Connor short story, he says, “I started running to feel more alive, to wake up my senses that slowly had died . . . each tear was a chorus, a sacred reprise, and I finally was grieving that long goodbye.”  

Is the pain we encounter in loss worth living and loving to the fullest?  In no way a trite answer to the question, the title and last track on Matthew Perryman Jones’ philosophical record gives us a resounding yes.  “You cannot love in moderation, you’re dancing with a dead man’s bones.  Lay your soul on the threshing floor. . . I am coming home.”  And as Rumi said, and Jones has shown us to be true through the journey of Land of the Living, “A thousand half-loves must be forsaken to take one whole heart home.”



Official sound cloud account for Australian Band St Leonards FREE DOWNLOADS

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www.martacarillon.com

Igloo Magazine is an electronic music e’zine publishing articles about current, classic and upcoming music from around the globe. Our mission is to introduce readers to the burgeoning undergrowth of electronic musicians by covering a wide range of genre’s including ambient, experimental, dub, dubstep, shoegaze, electro, techno, drone, IDM, industrial, post-industrial, and all the debris in between. Pulling together a vast tapestry of like-minded contributors, the virtual Igloo doors officially opened December of 2000. We consistently seek to provide coverage for musicians creating left-of-center music that is not necessarily covered in general music media. Igloo Magazine publishes articles in the capacity of Newswires, Reviews, Features and Profiles for artists that wouldn’t normally receive the light of digital ink.

We are sleeping now... Welcome on board of Klangboot Radio. Klangboot radio is a podcast for ambient, electronica, soundscapes and other beautiful creative commons music. The word „Klangboot“ is German and means something like a boat or ship full of sounds...
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