We invite you to hear the 2nd of three album preview pieces.

“Practical guide to shamanism for young people”,
Is from the album “Above a Darkness of Earth.”

Paulo Chagas initiated this trio piece with his wind instrument part. Henry Koek added many sound textures in addition to his voice, I finished with percussion and my MaaTeeSaa1 sounds.

This piece continues the shamanist inspired tone of the album.

Hear and/or download the album from BandCamp: 
https://darkpebble-bluewave.bandcamp.com/album/above-a-darkness-of-earth

Enjoy!
Wilhelm Matthies

A practical guide to shamanism for young people

Speedcore, noise, industrial, industrial hardcore, experimental, abstract techno, death industrial, power electronics, powerviolence, digital hardcore, breakcore, hip hop, rap, gangsta rap, drone, dark drone, ambient, dark ambient, ritual ambient, terrorcore, hardcore, acidcore, acid, noisecore, 8bit, chiptune, breakbeat, hnw, harsh noise, harsh noise wall, splitter core and extratone professional musical artist, producer, mix engineer from Darwin, NT, Australia. Currently living in Wodonga, VIC, Australia. Making extreme music and funny skits/sound collages since 2011.

External links: 

https://www.facebook.com/cornholecrucifixion/
 
https://www.youtube.com/channel/UCqk6JGm4fyOFHR_g2gLdOuQ

https://cornholecrucifixion.bandcamp.com/

https://bandcamp.com/cornholecrucifixion0

https://www.discogs.com/artist/4820783-Cornhole-Crucifixion

https://www.mixcloud.com/cornholecrucifixion/

https://www.mixcloud.com/blaze-vansyl/

https://enderecords.bandcamp.com/album/ende85-dj-california-crisis-cornhole-crucifixion-dj-californiacrisis-cornhole-crucifixion

https://speedcoreworldwideaudionetlabel.bandcamp.com/track/armee-der-toten-cornhole-crucifixion-remix

https://cornholecrucifixion.bandcamp.com/album/cornholecrucifixion-album-bitchezzz

https://cornholecrucifixion.bandcamp.com/album/the-crucification-of-cornhole

https://brokentothecorerecords.bandcamp.com/album/bttc-03-cornhole-crucifixion-vs-low-entropy-extreme-speedcore-disorder-ep

https://cornholecrucifixion.bandcamp.com/album/rift-in-anal-prolapse

http://extratonerecords.blogspot.com/2018/08/cornhole-crucifixion-rift-in-anal.html

http://lowlifehighvolume.biz/LLHV-16.html

https://lowlifehighvolume.bandcamp.com/album/enjoyable-cornhole

https://plataformarecs.bandcamp.com/album/hell-machine-series-001-03-cornhole-crucifixion-antoine-trauma

https://plataformarecs.bandcamp.com/album/split-misantropskia-vs-cornhole-crucifixion

I was trained in tradition, yet I stepped beyond its walls. Sound is my language, not to decorate but to liberate. Composer, performer, and listener — one fire, three sparks, inseparable.

I write and compose to uncover what is hidden: the truth buried beneath power, the dignity of the ordinary, the current of awareness that flows through all.

I belong to no authority, only to sound, to truth, to the silence from which all begins. My work is not mastery, but remembrance — a manifesto in every note, every word, every breath.

I am a composer of the 21st century: a studio artist. The studio is my forge, my battlefield, my sanctuary. Machines hum like choirs, circuits burn like torches, cables twist like roots in the earth. Tradition breaks open in this fire — the score turns to light, the instrument becomes the world itself.

To be a studio artist is to seize sound at its rawest, to sculpt electricity and breath as one, to summon the invisible power that belongs to all. Here music is not bound by walls, not enslaved by profit, not tamed by form. It is free, untouchable, unending — a living flame for the century that is ours.

The Oxford Ambient Collective (OAC) is the solo musical alter-ego of David Smith, an artist who began his compositional journey in his early thirties using software such as Buzz, FL Studio and Reason. He has a  focus on a aesthetic of crafting immersive "ambient drones and ethereal soundscapes." Intentionally grounding his work in the history of the genre, Smith’s creative output reveals a clear artistic lineage, with albums like Berlin Vol. III acknowledging the "subtle German EM influences" and paying thematic homage to the pioneering Berlin School of electronic music. While deeply reverent to this historical lineage, Smith's methodology is aggressively contemporary, positioning him at the vanguard of mobile sound design by relying on a sophisticated suite of iOS applications to perform complex sonic morphing and generate his signature textures; his advanced workflow employs Soundscaper as an "experimental sound mini lab" for textural manipulation, with all audio professionally routed through the AUM mixer and hosting application. This innovative approach powered his self-proclaimed "proudest achievement"—a 90-minute live performance at Oxford's prestigious Ashmolean Museum, an opportunity secured through his affiliation with Oxford Brookes University as part of its 150th Anniversary celebrations. To solve the inherent challenge of engaging an audience with long-form ambient music, Smith transformed the event into an immersive audio-visual installation, pairing his soundscapes with curated visuals from sources like The Internet Archive to command "active listening." The project's visibility expanded significantly beyond this institutional context through a pivotal relationship with the independent Focussed Silence label, which was instrumental in securing national airplay on BBC 6 Music. This success highlights a versatile appeal, with OAC's work finding a home on highly experimental programs like A Duck in a Tree on Resonance FM—hosted by the influential group :zoviet * france:—as well as on sophisticated global platforms where his work was programmed alongside compositions by genre progenitors like Brian Eno and Vangelis. While OAC remains a solo endeavor at its core, Smith actively engages in digital collaboration with a network of sound artists like Encym via platforms such as SoundCloud, effectively transforming the solo project into a decentralized creative hub, thereby giving true meaning to the "Collective" in his moniker.

Dear friends,
This is my site for reposting my friends.
You are very welcome to visit my music at my Main Page.
I don`t get notifications from my Main Page when my friends post new music, ( something is wrong, or is this something new?  soundcloud can`t help)so I hope to get your posts when using this new Page.
Music is Magic, 
Much Love
Oddrun

I share music that I have made here solo or in groups. I am bundling my work with some online friends as a project oriented, micro-collective. We are happy to share with you!

https://darkpebble-bluewave.bandcamp.com/

Wilhelm Mattthies, John Daly (aka Tuneind52), Paulo Chagas and Matthias Boss

Re-Evolution Cafe' Orchestra is an multimedia, sound and art project, featuring sonic canvasses and videos for your perusing: "eclectic musings" and "musical disambiguation", sometimes with lyrical commentary, sometimes not even a mere word. Near an unassailable flow, memory re-asserts its musicality.

Life forms commanded by code and intuition.
All code can be hacked!
Re-invent your paradigms.
Hack into your code.
Re-define who you are.
This is a yoga, 
this is you... 
Re-Evolution Cafe' Orchestra.
Always open to collaborations:

I am an amateur musician.
I make music with "Magix Music Maker", because I can play the piano very little.
The singer in my tracks is not a human being. She is a synthesizer software named "Vocaloid Yukari".

https://progettosonoro.bandcamp.com/follow_me
progettosonoro è Marco Mascia, accumulatore seriale (e parallelo) di strumenti musicali e oggetti sonori e (non)musicista. Dal 2007 fa parte (con Manuel Lain) del duo Le Pecorecaramellate che ha all'attivo un Cd (Una botte e via! edito da Sesto Esercizio Records) e ha partecipato (Cagliari, 10 Ottobre 2015, Nuovo Panificio) al Multiversal EXP-OFF. 
Il 1 Maggio 2016, sempre al al Nuovo Panificio, ha partecipato, con la Roaring Pianolas Orchestra, alla perfomance live "pianoltre"

Beside improvising and meeting the moment ,I bring my poetry in a sferic  of sound , interaction of fibration , using a variety of instruments .

www.henrykoek.com
www.maisonbleuecollectifartistes.com
henry.koek1956@gmail.com

My Soundcloud Collaborations :

- @a-cutteridge
- @ankea-collaborations
- @arnold-cabott-again....
- @Darius-improvise
- @edafraux
- @free-variety-theatre 
- @Henri-Roger
- @kamikuma
- @mcirab
- @nos-namajs
- @popropo-goes-collab
- @Urban-BallShit
- @vascomorais
- @KONOKUNOK
- @RoNniE-Free-Improv 
- @letterfounder
- @meshmass
- @Yellow-Salamandr7
- @Bruno-Gussoni
- @laurent-avizou
- @Lutz-Thuns
- @Augenmerk
- @Unearth-Noise
- @STMD-"Steve-the-Mad-Drummer-SteveMauro
- @numbersinthedream
- @unstable-range
- @jwiedenfeld
- @Wilfried-Hanrath
- @Guy-Frank-Pellerin-1
- @King-Imagine
- @Wodwo   Derbyshire-United-Kingdom 
- @re-evolution_cafe

UK creatives should listen to this: https://www.youtube.com/watch?v=yK4wBWiozyM

You must hear this: https://vimeo.com/52766051

*****

Ed Brunsden was kind and patient enough to interview me for  his blog Desert... Mountain... Dust...  - you can read it at https://desertmountaindust.blogspot.com.au/2017/02/tuonela-primitive-progressive.html

After silence, that which comes nearest to expressing the inexpressible is music. ~ Aldous Huxley

All good music resembles something. Good music stirs by its mysterious resemblance to the objects and feelings which motivated it. ~ Jean Cocteau

All music is beautiful. ~ Billy Strayhorn
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I've become addicted to drone. Again. I was the kid with his head on the piano, listening to the overtones die away, or pressing his ear to the steel hull of the ferry, enthralled by the sounds it created. I was the kid who formed wordless songs to accompany the sound of train wheels on a long journey, or hummed along with the fan on a hot day.

In the 60s I used to play my 45s on 16, or backwards, or by hand using razor blades as stylii.

I made cut-up tapes on a cheap cassette recorder in the 70s and experimented with reel-to-reel in the 80s. 

Thank you Subotnick, Lygeti, Coltrane, Jimi, Mimaroglu, Eno, Cluster, Tangerine Dream, Klaus Schulze, Frank Zappa, Pink Floyd, Kraftwerk, Throbbing Gristle...

I am not a musician. I am a scavenger of sounds. I use the most basic software to process those sounds, stretching and filtering until something emerges that makes a joyful noise. Or not...

https://www.youtube.com/user/DRORELIMELECH120V

https://www.facebook.com/dror.elimelech.338/


ACOUSTIC AND   ELECTRO-ACOUSTIC  COMPOSER .
STUDIED  COMPOSITION WITH  SERGIU  NATRA .
ELECTRONIC AND  ELECTROACOUSTIC  MUSIC  WITH YIZHAK  SADAI .
PIANO  --  WITH  PNINA  SALZMAN  , BART  BERMAN  , AVI  SCHONFELD .
CONTEMPORARY CLASSIC  COMPOSER , ACOUSTIC ,
ELECTRONIC AND  ELECTROACOUSTIC   MUSIC , 
EXPERIMENTAL  MUSIC . SOUND  ARTIST .
IMPROVISATION AND INTUITIVE MUSIC .
PIANIST .
ACCORDION AND  RECORDER  PLAYER .
FOUNDED  AND  CURATED    2  SERIES  OF  CONTEMPORARY  CLASSIC  MUSIC   IN TEL AVIV  ,  ISRAEL  -- 
 " NIGHT  HAPPENING -  FORUM FOR EXPERIMENTAL MUSIC "    1986  -  2007
" OTHER  ISRAELI  MUSIC "      1985   -  1987
MANY COLLABORATIONS  WITH  POETS , ACTORS , DANCERS ,  PAINTERS ,
 VIDEO ARTISTS , PERFORMANCE  ARTISTS .
MORE THAN  120  PREMIERS  OF  NEW  CONTEMPORARY  CLASSIC MUSIC - 
ACOUSTIC , ELECTROACOUSTIC , MULTI-MEDIA  --  WERE  PRESENTED
IN  HIS  SERIES DURING  23  YEARS OF ACTIVITY .
HIS  MUSIC WAS  PERFORMED  IN  EUROPE , CANADA , USA .
WON  VARIOUS GRANTS AND PRIZES .