[Weekly Mix] 2020.05 (1)

SoundCloud Weekly .849838

sokkyou

For the Forest

E/Tape   .NCR.

Compuma - Sounds&music Sample1

Compuma - Sounds&music Sample2

Compuma - Sounds&music Sample3

passing it clockwise is good luck,
anyone can join the joy of joint, just choose a time and post ! #remotejoint

Passing it clockwise (21:20 - kojitanigawa)

E/Tape - MOJ Mixes 2

新アルバム＜ことほきす＞から。
長崎県の民謡です。

■ まいわい　『ことほきす』　2015年9月14日発売
mmnr-001　全12曲収録　￥1,852（税抜）／ ￥2,000（税込）

オンライン販売はこちらから。
http://amzn.asia/bVOufYI

[収録曲]
M1 さめざめ 
M2 おぼろげなひかり 
M3 あらかしこ 
M4 みなみのなみ 
M5 アパート 
M6 でんでらりゅう 
M7 まにまに 
M8 つき 
M9 うらがわ 
M10 まほろ 
M11 ひふみ 
M12 ことほき

◆ Twitter：
twitter.com/maiwaimaiwai
◆ WEB：
mmnr.jp/maiwai
◆ Soundcloud：
@maiwai

発売元
mmnr：みみなりが聴こえる音楽レーベル
Web : http://mmnr.jp　
Mail : info@mmnr.jp

でんでらりゅう "FreeDL"

American avant-electronic musician and essayist Bret Schneider holds no institutional allegiance to one artistic medium. His background encompasses a wide range of work experiences and reveals a man who is connected to the world around him in complex, alienated ways. His thoughts on music and philosophy are intertwined into a billowing exposition. But when exploring the dark recesses of his more aural works, there is an inherent flexibility. Phasing percussive elements and frayed droning lines all lead to a perpetually shifting feeling for an aural uncanny. As fractured as his music can be, there is a dim spark of rumination that threads through his synthetic machinations.

On his latest release, “Xilinx,” Schneider taps into a primordial electronic noise—the kind that rests just on your periphery, unwinding itself to reveal myriad sordid circuits and disjointed projections. These tracks maintain a wired mania, expressing an unsettling undercurrent of ragged repetition and warbling drones. There’s an unexpected elasticity to Schneider’s cabled rhythms, and they often shift across several temporal lines before turning inward, struggling to illuminate an intimate dissonance or imagine a multi-chambered core. Displaying a raw and unusually concise knowledge of how these sounds might fit together, “Xilinx” is part zoetrope, part post-industrial dreamscape. It is an inquiry into the idea of internal movement, a contorted experiment in musical patterning, and an experiment in self-replication.

Xilinx

Bret Schneider - VaVE1

part of "ASADUKI", vv.aa.(hdm03)

.written and produced by Universildo aka Pedro Canale

download complete release:
http://www.archive.org/download/ASADUKIvv.aadisc1hdm03/Asaduki_disc1hdm03.zip

LA NOCHE MAGICA DE MILES, Universildo

Spectral folk and electronic ambience from the Oregon coastline.

Read more: https://www.residentadvisor.net/podcast-episode.aspx?id=621

Resident Advisor podcast

RA.621 Grouper

Robe rehearsal 181017

https://anjicheung.bandcamp.com/album/terma

Terma

Decan Of Clear Light

momang

Will Guthrie
Some Nasty
C30 (XIX-II)

Release date: April 2019
www.hasanaeditions.org

Some Nasty

XIX-II - Will Guthrie - Some Nasty Side A (excerpt)

Music is the beauty to explore sound. A way to express that which cannot be put into words, but cannot remain silent.

1 hour of e/tape on Red Light Radio - 26.06.2019.

www.wakinglife.pt

e/tape - Red Light Radio - Waking Life

The Sun Is Shining

Big Hands

@ https://soundcloud.com/karlfousek

Established as a key voice in modern synthesizer music, Karl Fousek’s focus lies on the sense of movement inherent in his modular. And it is indeed ‘movement’, along with its close cousin ‘time’, that seems to inform the pure experimentalism with sound generated on Another Use For Time. Fousek’s tones flurry back and forth across and inside each other, with the Canadian composer oscillating between the macro and micro gestures of his instrument to create a sonic sculpture in constant motion. Fousek himself describes it as an album made in transition: “It's kind of a reflection of my past work and taste and techniques, while also trying to move forward.” 

Unusually for Fousek, these three pieces were recorded at separate times, straddling a period of transition as the artist left Montreal to move back west to Vancouver. 

The album’s opening 18-minute exploration, ‘What Was Once Or Twice’, was recorded in Seattle, and is split into two movements. The first sees Fousek introduce a variety of whooshes, bleeps, and frozen tones, and the second sends them spiralling out of control, and receding back into the outer reaches of his setup, short circuiting and colliding into mind bending new forms that seem to fold space-time. The entire piece is built around a custom software delay network that “reacts automatically and changes itself based on the incoming signal”. 

The brief interlude at the centre of the record – ‘Circling’ – dates further back to 2016 and deploys those embryonic delay techniques Fousek would later develop, while the second two-parter dates to Montreal in 2018. Constructed from noisier jams, “Time For Another User” is dense with ideas; an attempt to make a “classic” electroacoustic composition devoid of narrative and structure. Algorithms and spontaneity are deployed to encourage maximum disruption, making it a sonic smorgasbord that rewards close listens. Every modest, Fousek views it differently. “Hopefully,” he says, “it just floats by.” 

credits
releases May 1, 2020 

What Was Once Or Twice recorded 2019 at The Chapel, Seattle. Circling recorded 2016, Montreal. 

Time For Another User recorded 2017-18, Montreal; Philippe Vandal contributed additional synthesizer. 

All tracks compiled, edited and mixed 2020 at Deep Blue, Vancouver. 

Mastered by Josh Stevenson at Otic Sound. 

Artwork by Maurizio Vicerè from the HOLOGRAMS series. 
www.akavice.com

Another Use For Time

_ph002 Karl Fousek - What Was Once Or Twice Part 1

Tychonaut

Don't Be Afraid

Everything Is Easy

Stick and poke baby

Written by stevie
Produced by stevie and bram inscore

Chapped lips

Stream

' .. son-ambient sculptures or creeping gas leaks, seeping out of speakers and into the atmosphere. '

_ph002 Karl Fousek - What Was Once Or Twice Part 1

Phinery