Enter 'LIMINAL EXISTENCE,' G3NOT's latest vibrational exploration. This album is a collection of states, raw and unyielding, born from the dissonance where frequencies meet introspection. It navigates thresholds, transforming inner turmoil into sonic landscapes that challenge perception. An authentic journey through the ambiguous, designed to make your skip button's existential crisis resonate. Are you ready to inhabit the space between? /breɪk/ #sabotageinstereo #smileitsnotamask

CROCKET

THRESHOLD

LIMINAL EXISTENCE

WALDGERINSEL

LIMINAL EXPERIENCE

TAMBOR

CHLOROPHYLLAKTIER

KIO 17

UNSKIPPABLE CORE

PANDAU

راقب الأصوات من حولك
راقب الأصوات من وراء رأسِك
راقب الإشارات.
انظر.. كما لم تنظر من قبل
لا بصيرة هنا، هكذا النظام.
ها هو المستقبل، هذا هو النظام.
تجردْ. تخلْى. ولا تخف.

HUMAN.EXE DELETED

04 - Anxiety.exe

dummershit

 Notas Interpretativas
-Esta es una pieza dedicada a las orcas del Pacifico Noroeste de Norte America. En particular a T065A (mejor conocida como Artemis) una de las orcas más conocidas e importantes dentro de este grupo matrilineo.
-Que el intérprete tenga la libertad de modificar su embocadura de modo que deje salir aire y se produzcan irregularidades en el tono y afinación de sus líneas melódicas de vez cuando, si así le apetece.
-Que la interpretación sea llena de energía, y juguetona pero con cierta pesadumbre en todo momento. Se trata de dos mamíferos nadando por abajo del agua.
-En la sección A, en las áreas con muchas notas, el intérprete es invitado a cambiar dichas notas por slaps (x) de manera total o, si la técnica lo permite, de manera gradual a lo largo de la frase.
-Cuando sea necesario y por razones interpretativas, se puede ignorar a ratos la señalizaciones de dinámica I articulación que se indica en la partitura.
-Si el intérprete siente que le puede añadir alguna cualidad teatral o drama a la pieza por medio de modificaciones a la textura de las notas o algún movimiento en el escenario, es alentado a que lo haga.
-Cualquier otra decisión musical queda a discreción del intérprete, y puede ser planeada o espontánea.


Transients and Residents for Bass Clarinet duet (M)

845 pm by the Pacific Northwest for wind quintet (M)

Thanks for listening. How do you like this track? Please, feel free to leave a comment.

toposonic – Rouen – France

🍌 BANANA FAMILY PRESENTS: VOL.7 — “Experiments from the Potassium Zone”

Welcome to the fruit lab.
Vol.8 explores the stranger side of sound — blending experimental electronic, ambient breaks, and post-club energy into one surreal mix.

This is music for underground thinkers, late-night walkers, and anyone who’s ever heard a melody in machine noise.

🎧 Vibe: experimental electronic • post-club • ambient breaks
📍 Location: The Potassium Zone
💛 Mood: surreal, synthetic, and emotionally glitchy

⚡ Drop a 🍌 if...
• you’ve ever danced to silence just to see if it counts
• your playlists sound like a broken modem in love
• you think “genre” is a government conspiracy

💬 Comment your favorite moment — best one gets pinned for Vol.8 👀
🔔 Subscribe for more Banana Family mixes & original tracks.


Cool Top Notch Badass DJ Set Vol.7 (Experimental/Techno/Electronic)

Was traveling when i recorded this. All the vocals are voice memos. Probably will rerecord and rerelease.

Sampled this track by @dearlain : https://soundcloud.com/dearlain/ceremony?in=dearlain/sets/demos

chemicals demo  (prod. dear lain + me)

Everything about Gurrisonic Orchestra exudes majesty. Even at its most minimal, José Gurría’s compositions and the musicians’ immaculate execution of the countless twists and leaps, lulls and bursts project a certain indefinable eminence. 
 
Jeff Tamarkin
Jeff Tamarkin is the Associate Editor of JazzTimes Magazine.

Gurri Sonic performs genre-bending original repertoire, integrating spoken word, multi-media, song-writing works framed by through-composed orchestral landscapes with tinges of avant-garde, jazz, and classical contemporary music.
If you like it please pass it around.
Coming soon:
www.gurrisonic.com

Jose Gurria-Cardenas
Los Angeles-based drummer/composer/arranger Jose “Gurri” Gurria, holds a BM from Berklee College of Music, and an MM and DMA in Jazz Studies from the Thornton School of Music at the University of Southern California (USC). Gurri’s many projects have taken him to China, Singapore, Indonesia, Brazil, Holland, Germany, Peru, Cuba, USA, Mexico, Colombia, Puerto Rico, Paraguay, and Guatemala. As drummer/percussionist, he has played with Peter Erskine, Robert Gupta, Howard Alden, Putter Smith, Vardan Osvepian, Miguel Atwood-Ferguson, Mark Ferber, Moira Smiley, Dorian Wood, Mark DeClive Lowe, She-e-Wu, Daniel Rosenboom, Root System, Ciaramella, and Victor Goines. With the USC Thornton Jazz Orchestra he has played with The Yellowjackets, Michael Mossman, and Maria Schneider. 
Gurri is founder of numerous progressive new music ensembles: Ethos Trio, Third Root Consort, Jazztec, and Jose Gurria Quartet. Gurri’s current focus is with Gurri Sonic, a 24-piece chamber orchestra, which brings together some of the most creative improvisers in Los Angeles such as Daniel Szabo, Justo Almario, Eric KM Clark, and Gavin Templeton among many others. Gurri Sonic performs genre-bending original music, pushing the boundaries of instrumentation and style with a mix of spoken word, poetry, multi-media, and singer–songwriter work, framed by through-composed orchestral landscapes with tinges of avant-garde, jazz, and classical contemporary music. 

Gurri has recently been recognized as a composer/arranger of note, by the Jazz Education Network for the year 2013. 
Sabian cymbals, Remo drum-heads, and Sibelius(Avid) are sponsors of Gurri’s career.


G3NOT /ˈdʒiːnɑːt/
You read the name. But do you hear it?
I'm not here to fit in - I'm here to short-circuit your algorithm.
Noise with a grin. Silence with intent.
G3NOT: The glitch you can't debug.

/breɪk/

This isn't music - it's sabotage in stereo.
Smile. It's not a mask.
G3NOT - your skip button's existential crisis.

/breɪk/
I am a Klangfurtoniker.
Not a musician. Not a therapist. Not a performer.

I shape moods,
not because they are beautiful,
but because they exist.

I take the moment,
fold it like a piece of paper –
audible.
tangible.
I shape it into a frequency
that fits me.

Not perfect.
Not pleasant.
But real.

The heartbeat as bass,
my breath as a pad,
my smile as a subtle glitch.
And within it all –
a Joker.
Laughing inside me,
because I found the tone
in which I can bear myself.

I don’t project outward.
I let the inside become audible.

I am my own space,
my own speaker,
my own echo.

I am a Klangfurtoniker.
I hear myself –
and keep shaping.

/breɪk/

Electronic. Rough. Probably still far from finished – but who says you have to start quietly?
I make music for myself. And share it, because silence isn’t always the better choice.
Just a beginning. In waves and noises.

Field recordings become music. Listening becomes art.

Sound artist Christoph Busch combines field recordings and electronic music to create atmospheric, location-inspired compositions. Influenced by musique concrète and Detroit techno, his works explore memory, movement, and transformation.

Photo: Michael Kleinespel

New tracks tagged ##AvantGarde