Flatland FrequenciesThis was originally streamed as a live improv on Bandcamp Live. In hindsight, I think it’s an OK set, with range of moods and timbres. My fave sections are the looser unpredictable bits (mostly phonogene-related weirdness) and in the future will try to focus in more on these techniques. Maybe a bit overkill on the pentatonics, but there we go…
Things used:
We present the first in a series of recordings for micro-listening.
Micro listening is the practice of deliberately focussing on elements of a sound environment that may pass unnoticed in everyday experience. Listening to sounds in this way can lead to a magnification of our experiences. The finer details of sound become magnified enabling us to notice the effects these may have on the psyche. Any sound can be the subject of a micro-listening, recorded sounds or real-life ambiences function equally as well. There is no preference for ‘natural’ or ‘artificial’ sounds as there is no ‘nature’ from which human beings are separate from, just one universe which acts upon and is acted upon by us. The point of a micro-listening is to remind the listener that they and the sound form part of the same acoustic environment.
Recording situation: underneath the A47. A warm, still summer’s afternoon. Traffic can be heard passing over the road bridge above us and reverberating below. Birdsong can be heard from the wet grassland and riverbanks close by.
A bit late to the party with this one, but still worthy of a mention. The debut release from Swedish musician/composer Egil Kalman, who plays modular synth and double bass.
A strong record, which balances rich and interesting beeps and FX, with engaging melodic motifs over thick drones and arpeggiated backing. The sound quality of the Synthi 100 really shines through with some great playing throughout.
‘Kingdom of Bells Egil Kalman plays the Synthi 100’ is his debut album as a solo artist.
Digital available at Bandcamp
Lovely EP of rhythmic tones and pure drones, performed by Marc Méan (Ciat Lonbarde Cocoquantus & Plumbutter, FX) and Fabien Iannone (Serge synth & FX). A well rounded selection of five tracks that balance the lush, off-kilter plumbutter drums, with the raw tonal power of the Serge.
Previously released on cassette via the excellent Miracle Pond label and long since sold out, World of Inherent Noise is now available to stream everywhere digitally.
Check it out on Spotify or ask Siri to play it.
Of course, you can still purchase the high quality digital files at bandcamp
OHM: The Early Gurus of Electronic Music is a compilation of early electronic music and excerpts from the period of 1948 to 1980. Many included works are essentially experiments with sound, using a variety of non-traditional instruments including homemade circuits, tape ribbon and early synthesisers.
“The advanced societies of the future will not be governed by reason. They will be driven by irrationality, by competing systems of psychopathology.”
J.G. Ballard
Dystopian writer J.G Ballard needs no introduction and is one whose influence has stretched beyond literature across all mediums. From successful screen adaptations by Cronenberg (see Crash), to influencing lyrics for bands like Joy Division and Hawkwind (to name just a couple).
With this present compilation, curated by Raffaele Pezzella (Sonologyst), ZeroK label (in collaboration with, Lars Bröndum, Eraldo Bernocchi, Gavin Morrow , Joel Gilardini, Esa J. Ruoho, Heikki Lindgren, Mario Lino Stancati, Erik Jarl, Roberto Quezada, Jarko M. Hedenius, Janne Liimatainen, Mombi Yuleman and Christian Schneider) provides sound descriptions of the dystopian world narrated by the English master J. G. Ballard in his novels and short stories, creating an imaginary soundtrack of those s/f masterpieces.
Woodford Halse keep the tapes coming thick and fast, covering all manner of experimental electronics. This next one from Nunton Eletrikz (aka Nick Edwards) is particularly interesting, a collection of very raw synth jams that could easily be mistaken for an early electronic sound experimentation from someone like Joji Yuasa.
The press release reveals some insight into the tools used in the process (Arturia Microfreak, Korg NTS and stylophone ), however the manner in which the tracks are executed goes far beyond any signature synth preset, which is the essence of what experimentalism should be.
Fresh out the airlock, Space Surgeries appears on the radar with two drone-based releases from Ali Wade and Quiet Clapping.
You may recognise these names from UK ambient/electronic label Frequency Domain and as such, Space Surgeries can be considered a sister label to the aforementioned.
Strictly drone focused with these offerings, Ali Wade’s ‘The Unbearable Quickness of Doubling’ focuses on shorter, focused themes. Whereas on the second release ‘Adversary’, Quiet Clapping goes long form, with 2x 15 minute journeys.
