Etude Friction n° 12

Mi Cosa de Resistance is Buenos Aires, Argentina based artist Fernando Perales, who has released with labels including Elm, Rusted Tone, Minimal Resource Manipulation, Aural Tethers and his own imprint ‘Hissful Tapes’. Fernando was also the spearhead behind the various artists album ‘A Speechless Body’ which we released on Whitelabrecs in January 2022. Within the line-up of artists included in this project was Ciro Berenguer with whom he has collaborated for this album.  Ciro also originates from Argentina, hailing from Rosario but for the last couple of decades, he has lived in Barcelona, Spain. Ciro’s music has been released on labels such as Dauw, Eilean and Slaapwel. He has also collaborated with Ghost and Tape (Heine Christensen) as Sokkyo.

This collaborative album between Mi Cosa de Resistance and Ciro Berenguer is entitled ‘El final de las lluvias', which translates to ‘The end of the rains’. It is inspired by moments of transition; in the Mediterranean they know Spring has ended and Summer is approaching once the rain subsides. This may be the title of the album and but one example, yet the broader theme of the album is to mark the end of something, and the beginning of something else.

There is a balance of these artists’ respective styles and inputs, in an album adept in presenting light, dark and melancholic moods through its many shades. It’s a space in which their musical personalities can live alongside one another as one, with Fernando’s hints of darkness placed alongside Ciro’s music box compositions and recordings of bicycle rides through the suburbs of Barcelona. It draws in experiences of pre and post pandemic life, from the viewpoint of two populous cities, and its blend of blurred naturalistic-leaning tones sit, decayed, against an urban bedrock. At times optimistic, at times despairing, El final de las lluvias was finished in Spring 2022 as these artists emerged from a 2 year period of life, learning to deal with the challenges of the pandemic. This record, a document, marks the conclusion of one phase, and the beginning of something else.

El final de las Iluvias

wlr138 Mi Cosa de Resistance & Ciro Berenguer - El final de las lluvias

This track is improvement of 20230812.
I let it go music side little more.
How to put meaning and messages into auto-generated songs is a future challenge.

Thank you for listening!! :-)

Made by Max8 and MBP Mid 2012

20230828

Format: CD, Digital
Pre-order date: 10th November 2023
Release date: 16th November 2023

"'Rituals' is the first solo album by CIRCA ALTO, an electroacoustic set of songs built around clarinet, guitars, pianos, and electronics. Copenhagen-based multi-instrumentalist and composer Mathias Lystbæk is behind CIRCA ALTO, working with cinematic and experimental music in genres such as jazz, classical, and ambient music. He balances composed material with improvisation, relying primarily on acoustic instrumentation. On this record, he is joined by Tom James Scott, who adds piano on tracks three and four, while artist Maja Malmcrona created the accompanying artwork."


Copyright © 2023 ROHS! RECORDS, All Rights Reserved

previews. CIRCA ALTO - Rituals | Lᴏɴᴛᴀɴᴏ Series

2023-11-04

Dark Forest In The Fog

pict free wallpaper
only mood with strings

2023-11-06

Just Swing A Little

Sonidos Subterraneos is pleased to premiere a new track, this time we have the great label: Dead Channel Records, with the track of:  Fashion Flesh - Muted Cowboy
"Muted Cowboy" is the release name!
The album contains 7 electronic music original tracks . ENJOY
Next we leave you the description of the release

Fashion Flesh, the solo-output moniker of experimental electronics pioneer John Talaga, mutates onto Dead Channel with this fully analog, titan of a seven tracker.

Atomic-age western meets flying saucer minimal-wave, in this absolute howler. Hand crafted, heavily modified electronics, built by Talaga himself, mangle 50's death rays, fuzzed-out alien lasers, and primitive mechanized robotics, swaying in perfect unison with dusty, wind-swept guitars, sludgy whistling vocals, and rich delay in a symphony of old west psychedelia. So saddle up and hit the trail with a 10 strip in your pocket, a ray-gun at your hip, and ride off into the psychotropic sunset before the fallout blows your way. 


Artist_ Fashion Flesh
Title_ Muted Cowboy
Label_ Dead Channel Records
Format_ Digital & Cassette
Catalogue_ DC023
Release Date_ December 15, 2023
Buy_ https://deadchannelrecords.bandcamp.com/album/muted-cowboy


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Muted Cowboy

| PREMIERE | Fashion Flesh - Muted Cowboy | [Dead Channel Records]

Salaam Kalyubia et Gunnera nous partagent leur sensibilité pour les musiques des marges. 
Mêlant instruments traditionnels et électroniques, cette sélection est une invitation à se jouer des genres et des rythmes, jusqu’à se perdre au détour de paysages interlopes et oniriques. 


CHRONOLITHE w/ KALYUBIA &GUNNERA (02/01/24)

A potentially surprising release on Editions Mego. Another planned prior to the untimely passing of Peter Rehberg in 2021. 

Melvin Gibbs is the renowned bass player and producer from Brooklyn who’s vast resume includes playing with Sonny Sharrock, John Zorn, The Rollins Band, Dead Prez, Caetano Veloso and Femi Kuti amongst others. A solid resume, no doubt, but what is Gibbs doing on Editions Mego? 

Behind the scenes, those who know Gibbs knew that amongst all this he was also tinkering away at another form of music, one which skirts around the border between music and sound design. The Wave is the first release that reveals this side of Gibbs’ creative output to those outside his inner circle.

The driving force for this output is Gibbs’ multi-decade friendship with acclaimed  American video artist and cinematographer Arthur Jafa. Over the course of time Gibbs and Jafa have had many conversations about music and the connection between film and music. Jafa’s desire to make film that worked the way Black (as in Black/African-American/ Afro-diasporic peoples) music worked inspired Gibbs to study the filmmakers Serge Eisenstein and Dziga Vertov and incorporate their philosophies and tactics when recording his own music. The two discussed sound design which directly informed Gibbs’ choice of music making tools and led to him acquiring Symbolic Systems Kyma software and hardware, incorporating this as a composition tool and sound design and component in his work. These conversations bore concrete fruit through Gibbs’ work for TNEG, the film studio Jafa ran with filmmakers Malik Sayeed and Elissa Blount Moorhead. Gibbs created the soundtrack for their very first project, the short film “Deshotten 1.0” (2009 - directed by Jafa and Sayeed) as well as their Martin Luther King-inspired meditation on Black life “Dreams Are Colder Than Death” (2013, directed by Jafa)  

The bass-forward music, or ‘sonics’ as Gibbs calls it, emerged from an alternative mode of contemplation, a mode that he sees as closer to the mindset of a rootworker, an African-American herbal doctor who cures psychic ailments using means derived from African spiritual practice, entering a forest to find the right plants for a suffering client than a mediator attempting to invoke mindfulness. Gibbs says this practice yields results that suggest an aural form of creation akin to coagulation, a formal movement that gives the sense that a flow of sounds can emit something bearing resemblance to solidifying objects. 

In 2020 Jafa asked Gibbs to work on the soundtrack for a work in progress called “The Wave''. When they got together to work on the soundtrack, Jafa played Gibbs a selection of sounds that included random moments of (probably unwanted) feedback on 70's Miles Davis records, Pop Smoke's Brooklyn drill, the music of Bernard Gunter and Darmstadt-style compositions made with test equipment. Those sounds, filtered through years of conversation with Jafa about Black creativity and the possible evolution of Black music, formed the sonic vocabulary of “The Wave”. 

Over time the sonics evolved and “The Wave” became the piece Jafa calls "AGHDRA". This soundtrack incorporates and expands upon the sonics composed for “The Wave”. Gibbs mentions although the work with Jafa has always skirted these lines of evolution, this side of his vocabulary has been generally neglected, until now, due to his current jazz musician/jazz festival-centric focus and radar. 

The result of this parallel exploration is a deep excursion into a nuanced sound world. The rich tapestry of textures allows one's mind to explore and project within this bed of curious investigation of sound. The bristling, itching, restless, clicking, diving nature of the electronic sound world presented by Gibbs, is abstract and unearthly on the surface but closer listening (which it demands) reveals a very human quality to these austere shapes.

Anamibia Sessions 1: The Wave

Ibo Code

Melvin Gibbs 'Ibo Code' (EMEGO291)

Artefact

Sans Titre

Locked – In
for 8 solo-voices 2012/13 (Version A)
(Text: Lisa Spalt)

Version a / Version b

Locked–In als Körperempfindung, schier unerträglich in der Vorstellung, ist gekoppelt mit Vorstellungen auch klanglicher Natur, die ein Paradoxon in sich einschließen und dieses erlebbar machen: Ich will mich ausdrücken und kann es nicht, ich will etwas sagen, aber mir versagt die Stimme. Das Nicht-Ausdrücken-Können wird zum Ausdruck, wird zur ganz besonderen Form der Mitteilung. Dieses Paradoxon ist eines, das unsere gesamte Kommunikation bestimmt: Ich kann nie wissen, ob ich meinem Gegenüber das, was ich sagen will auch in der Form mitteilen kann, dass diese Mitteilung auch adäquat verstanden wird. Je komplexer diese Mitteilungen werden, desto weniger sicher kann ich sein, dass ich mich ausdrücken kann, dass ich ausdrücke, was mich bewegt, und auch, wie meine Mitteilungen verstanden werden.
Diese Körperempfindung, gekoppelt mit der aus der Stimme idiomatisch entwickelten Klanglichkeit, die dieser Körperempfindung entsprechen, sind der Ausgangspunkt für die Text- und die Musikebene. Beide Medien entwickeln das Thema ihnen entsprechend, eigenständig und dennoch aneinander gekoppelt durch die Kongruenz von Erscheinungsformen des vokalen Materials. Beide Ebenen arbeiten dabei an je ihrem Ausgangspunkt in transformatorischer Absicht und in gegenseitiger Reaktion aufeinander. Es wird eine dritte Ebene angesteuert, in der Musik und Text sich so notwenig verbinden, erreicht durch die Bearbeitung jeder Ebene, sodass das sich-nicht-ausdrücken-können zu einem spezifisch künstlerischen Ausdruck wird, von dem vielleicht nur gesagt werden kann, dass Etwas (bestimmtes aber unbestimmbares) sich ausdrückt.

C.G. 5/13

locked-In – for 8 voices (version A)

Clemens Gadenstätter