Keigoe man ! Boeiend van begin tot einde.

Bravo - a truly remarkable piece - and congratulations!

I'm honored to present an extraordinary piece, winner of the 7th International Competition of Electroacoustic Music Composition  - for 'Masterpieces of Experimental Music'

Such a captivating piece, full of tones, textures and surprises... Great work!

track 5 from 'a sanguine twilight'. out now

https://photiczone.bandcamp.com/album/a-sanguine-twilight

elegiac

Móatún7 | TUN011 | Nike_Vomita
10" Vinyl + Digital - moatun7.bandcamp.com/album/tun011

It's TUNlicious -- 6 EP's from the TUN series.
Double CD jewel case--like in the old days! 
https://moatun7.bandcamp.com/album/tunlicious

10" Vinyl + Digital

TUN011 | B1 - NikeVomita - Jordan's Training

RELEASE DATE: Nov. 4th, 2022

http://www.misanthropicagenda.com

Prerequisite is the first collaboration between Network Glass and
Jason Crumer.

Developed from an adaptation of John Cage’s “Fontana Mix,” came a
long brewing but unlikely marriage of contrasting attitudes and
approaches to sound work. Through the vocabulary of modern noise into
the ether of the distorted and fucked, hours of source material were
shaped into a concentrated six piece album. Years of friendship,
foehood, shit talk and gushing led to this auditory thesis on the
state and history of noise.

On “Prerequisite" the olde folk theory "Incapacitants are just
distorted fontana mix" gets tested and proven very right and very
wrong. Don't worry, noise can take it. A modern look at
America's great noise Prerequisite.

- Network Glass and Jason Crumer

Prerequisite

Network Glass and Jason Crumer "Prerequisite"

In Smiling In Slow Motion

The intention for this piece is to create a quantum planetary universe of splintered sounds. This can easily result in just chaotic randomness. Therefore I clot seperate short soundclips into groups. In turn, those new groups clot into bigger clusters. This way I gain massive individual soundobjects with high granular density. Polyrhythmical structures are enclosed by repeating short granular patterns, like frozen mechanisms. These loops connect the bigger soundobjects in time. Some things are too big to control, others too small. In between I compose.
"Helena" received a special mention on the competition "Métamorphoses 2014" (Brussels), was finalist on the competition "Città di Udine - TEM 2014" (Italy) and won first prize on the 7th International Competition of Electroacoustic Music Composition, Category Acousmatic, of The Foundation Destellos  (Argentina) in 2014.

Helena (march 2014)

나중까지

from forthcoming: Francisco Meirino "A Perpetual Host" CD

A Perpetual Host is Francisco Meirino’s fourth full-length, solo studio album on Misanthropic Agenda.
A deep dive into personal loss and the banalities of life and art, A Perpetual Host captures the raw, solitary, and often acerbic extremes that drive creation. Across four pieces, Meirino explores sonic tension and boredom, questioning the simplicity and complexity of the mundane with bursts of clarity that redefine existence itself.

Francisco Meirino is a Spanish sound artist based in Switzerland.

His music explores the tension between programmable material and the potential for its failure. His interest lies primarily in what is not supposed to be recorded : the end of life of electronic devices, electrostatic noise, magnetic fields and the unconventional use of music hardware and sound systems and how to exploit these sonic failures in radically different ways in his sound pieces.

His music combines intricate textures, sonic precision, wide spatial panning and is fascinating by its physical intensity and detail precision.

He mostly uses the modular synthesizer (Eurorack-Serge), various microphones, the computer, the field recorder, tape recorders and tape echoes, EMF detectors and various home-made electro-acoustic devices.

https://misanthropicagenda.bandcamp.com/album/francisco-meirino-a-perpetual-host

misanthropicagenda.bigcartel.com/product/francisco-meirino-a-perpetual-host

A Perpetual Host

Francisco Meirino "Something Always Remains"

try above

The intricate sonic activity behind 'Live at default' testifies to Francesco Corvi's recent post-acousmatic practice. Intense multi-layered textures and rich synthetic soundscapes are fused with micro-sounds. Highly detailed digital noise is made warm and enchanting by the live performance and ambience recordings, and reaches its best character on magnetic tape.

"In my practice software is not conceived as an instrument, neither as a virtual agent, but rather as a dynamic network of interconnected components that exhibit emergent properties by monitoring their own behavior, adapt to changes and alter their own structure. Immersed in this ecosystem of sonic processes, I shape the unfolding of the performance by modifying the software on stage and responding to its behavior. This peculiar form of improvisation possesses a unique performative idiom that cannot be reduced to bodily gestures or human intentions, as the sonic activity itself becomes the medium for conveying the liveness of the performance. This release focuses on how such a feeling of liveness might be translated into a record, placing particular attention on the capturing of the acoustic space of the concert hall and the additional layer of meaning it creates."

Francesco Corvi (aka nesso) is a performer, composer, and multimedia artist. He works with custom digital technologies including live coding environments, adaptive systems, and spatial audio engines,
creating shows at the intersection of computer music, new media art, and deconstructed club. He released music on Superpang, Kaer'Uiks, Genot Centre, HEEL.ZONE, Mossa records, Riforma.

released December 15, 2023

Music composed and performed by Francesco Corvi, live recorded 16.03.2023 at default #3 in Den Haag
Mastered by Francesco Corvi
Artwork by Ran
Cover silkprinted at Papier Gâchette, Strasbourg

Live at default

Live at default (excerpt)

oruia

la mort aura tes yeux — dominica dies

Roeland luyten (Leuven, Belgium, 1977). By watching science-fiction and horror movies as a young boy he comes for the first time in contact with electroacoustic sounds. At the age of 8 he starts to study flute at the music academy in Louvain. During high school, he learns to play the electric guitar as an autodidact and starts to experiment with effects pedals. During his study of classical flute at the Royal Conservatory of Antwerp, he finds his real passion in the studio for composition of electroacoustic music with Joris de Laet. Since then Roeland composes regularly new pieces and works as a composer and sound engineer along with various theatre and dance productions in Belgium and abroad. His music is played and has recieved prizes throughout the whole world.


Helena (march 2014)

Roeland Luyten

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