password

sorry folks, some downloads need a password to extract and i forgot to attach.

password: noisestorage.

ethan rose - spinning pieces

  

Ethan Rose is a musician, sound-artist, and faux-pilot who resides in Portland. His music reflects his varied interests in old technologies, new sounds, and all things both inside and out. Much of Ethan’s music has centered around his fascination with automated instruments from years long past, including things like music boxes, player pianos, and carillons. Although, don’t be mistaken - he is more interested in pulling new sounds and ideas out of these old and varied devices rather than treating them with a sense of preservation. Not to say that he doesn’t appreciate them for what they are, only that he is more interested in linking their histories to the modern age for the love of the sounds that they make. His latest album, “Spinning Pieces,” was released in 2007.

Boomkat guys, which mainly wants you just to buy records but at list are aware that these records exist:

 Oregon’s Ethan Rose follows up last year’s Ceiling Songs album with this wonderful collection of mechanised electronic pieces. Rose even brought together old player pianos, prepared music boxes and various electronic treatments consistent with these sorts of primitive, automated sounds. There’s a very tangible warmth to these three extended pieces, with all the ramshackle instrumentation maintaining some semblance of acoustic identity whilst being taken way out of context by the machinations of Rose’s processes. You might compare these sorts of working methods to some of Oren Ambarchi’s recent motorised pieces or Jason Khan’s mechanical percussion drones, but there’s a far stronger grip on melody and all-round approachability in these pieces. ‘Singing Tower’ introduces itself with a single bell-like chime, before accumulating a wonderfully melodic, sonorous density. As the piece develops the shuffle and flutter of the chimes dissolves into a grainy landscape of thick string-like drone tones, not unlike the kind of sound textures you might find on a Phillip Jeck piece. ‘…The Dot And The Line’ is even better, comprised of a far more spacious, airy acousmatic environment, piling sounds from the natural world on top of rickety layers of piano. It makes for a bewitching listen, never quite resorting to outright drone or overly busy sound masses. Somewhere toward the middle of the piece the core sounds drop away to leave only a broad stereo field of crackle. It’s a thoroughly beautiful piece, one which slowly dies out into thinned, waif-like tones, setting itself up as an ideal contrast to the thick, glazed sonorities of ‘Miniature & Sea’, a piece that swells up to a gloopy mass before a fiery organ tone cuts through the mix, taking the album to a searing finish.

 —–LISTEN—–

julianna barwick - sanguine

it’s really amazing what this girl does with her voice, truly stunning and beautiful. Loops falling on loops. Voice treatment. Suggests a modern take on choir music, or at least a post-modern clicks and cuts one. You can see that she was raised listening and singing to religious choirs as she said talking to the great folks at má fama, which is a great live radio show with interviews and live music on studio.

Mark Richardson, one of the few pitchforkers that I can really read said about the amazing track “Dancing With Friends”:

She’s self-released one record, the mini-LP Sanguine (13 songs, 24 minutes), but Brooklyn’s Julianna Barwick has already played a few shows in Europe and recently appeared on Má Fama, the internet radio show broadcast from Lisbon, Portugal. You might remember Má Fama, which combines interviews with in-studio performance, from two previous Forkcasts (Kyp Malone and Animal Collective); the site also played host early this year to Panda Bear.

Animal Collective (and Panda Bear specifically) are an interesting reference point for Barwick’s music. Generally, she creates tracks by looping short vocal phrases and arranging them into a one-woman choir, and the effect is sometimes reminiscent of tracks like Person Pitch’s “Comfy in Nautica” or the more layered material on Young Prayer. Barwick, however, communicates with few recognizable words, letting the spires of harmony that she builds piece-by-piece do the talking. As she explains in the interview with Má Fama host Sérgio Hydalgo, her father worked in a church and she spent a lot of time there as a kid, amusing herself by singing in the building’s empty auditorium. The liturgical connection in her music is obvious and welcome, adding a bit of spiritual weight and mystery. Barwick has a version of “Dancing With Friends” available for download on her website, and it’s very good, but I like this live take even better. She extends it by a few minutes, allowing more time for the elements to lock in place, and her upper-register trills in the last third are more unhinged. It’s beautiful and utterly transporting stuff, warm sunlight rendered into sound, and the rest of the music from the Má Fama broadcast is of the same caliber.

Portuguese site Bodyspace reviewed the album(in portuguese).

LISTEN TO SANGUINE

Silent

Two moths withouts posts, so long I don’t even remember how was it. Then there was Oink and more joy in keeping the stuff going on here. Haven’t had time to post, or when I was too bored and lazy to do. I just wanted to listen to music. I wasn’t sure about the meaning of keeping this running, you can get everything you want on other blogs or on soulseek. Maybe I just want to share what I’ve been listening and enjoying - well not everything, this place is mostly dedicated to experimental/electronics/drones and other out there stuff, but time to time it appears some pop sounds, which I also love but believe is too easy to find elsewhere to loose time on my poor connection speed.

It’s good to be back. End of the year, time to see what will stay ———

Akira Kosemura - It’s On Everything

 

From Boomkat: Akira Kosemura is amongst the current wave of Japanese artists working in the field of minimal yet melodic electroacoustics. Much as is the case with the recent batch of Spekk releases, “It’s On Everything” manages to be at once a rigorous exercise in sound design yet also a delicate, highly musical listening experience. Kosemura takes recordings of acoustic performances (most notably piano) and merges them into a softly spun soundscape of high frequency electronics, field recordings, glitching beats and all manner of laptop squeaks and pops. There are comparisons to be made to The Boats, or even the recent Fennesz + Sakamoto album, such is the skill and composure of Kosemura’s touch. While some pieces are heavily based around simple, emotive phrases on the keys (’Solace’ brings to mind the stark economy of Swod, for example) others, such as ‘Pause’, rely almost exclusively on digital instrumentation and location recording treatments. In either case Kosemura manages to sustain the same degree of elegance and intimacy, making for an album’s worth of highly captivating contemporary electronica. Gorgeous stuff.

—–LINK—– 

Stuart Busby - ‘Breathe’ & ‘Drift’

From his MySpace page: Stuart, a native of Brisbane Australia, generally plays trumpet layered with effects, but also ventures into other instruments including glockenspiel, ukulele, keyboard, recorder and voice. Stuart is also a member of the Deadnotes and Fractions.

About “Breathe”, Fozy Digitalis folks said: Stuart Busby is one of the little known artists on Brisbane’s Kindling imprint that, if more people were aware of his music, would be receiving a lot of praise from the experimental community. On “Breathe,” Busby is in top form. This 20 minute EP is a beautiful exorcism of death and fear. It’s like the days after a loved one has died and all the pressue feels like too much to bear. Your friends assure you, things will be okay, just “breathe.” It is apt that the opening track is called “Sorrow.” Hushed keyboard drones roll in like waves on a beach under grey skies. You can’t help but feel a certain melancholy when the environment is the physical emobidment of the emotion. Never before has the sound of a person working through such intense emotions been so beautiful. “Sunken” turns up the saddness another notch to the point where it’s almost too much to bear. But it’s for this reason that it works so well. Muted trumpets cascade toward the open sky, begging you to set yourself free. If you have ever gone through this experience, you know that at some point you feel like you just can’t take it anymore. There’s an overwhelming sense of “What do I do now?” And it feels like there are no good answers. This is perfectly embodied in “A.H.” It is a heartbreaking piece constructed of only Busby’s beautiful trumpet playing. “Breathe” is possibly the best 3″ disc to be released all year. Its impact is underscored by its beauty. Busby is a true sculptor, and everyone would be well advised to check this out. Stunning.

LISTEN TO BREATHE

LISTEN TO DRIFT

Pulga - Pulga Loves You

 

Pulga is a collaboration between Valerio Cosi of Taranto, Italy and Vanessa Niwi Rossetto of Austin, Texas.
Valerio Cosi seems an unstoppable force in the experimental underground these days, lending his ultrapsychedelic free jazz stylings to Uton, The North Sea and other projects – as well as compiling a very impressive list of recordings under his own name. The equally creative Vanessa Niwi Rossetto is best known for her project The Mighty Acts of God. She has also performed with Brothers of the Occult Sisterhood at Terrastock 6 and has collaborative projects with Michael Donnelly (Brothers of the Occult Sisterhood), Salvatore Borrelli (Etre) and others.
As impressive as their accomplishments are, Pulga Loves You marks a creative peak that will be hard to top in the experimental music realm. Self described as an otherworldly freakedelia unit influenced by freedom, ethnomusicology, chaos, drugs, horns and strings; these reference points can only begin to give you an idea of the majestic listening experience that awaits one here.

We love Pulga back, and know that you will as well after giving their disc a listen!

—–LISTEN—— 

SYLVAIN CHAUVEAU - S

 

From Boomkat: Following on from his hugely acclaimed “Un Autre D�cembr” for Fat Cat offshoot label 130701, and a number of collaborations with Steven Hess and friends under the “On” moniker, Chauveau has amassed a sizeable following with his pristine blend of electro-accoustic minimalism and piano-based composition. Type have quite a mouth-watering release schedule lined up from this exceptional artist (including a number of key reissues of scarcely available albums originally available via the DSA imprint), but this opening 21 minute salvo gives us a glimpse into Chauveau’s current modus operandi and will surprise even those of you who have followed his career closely. “S” opens up with the quite magnificent “Composition 8″, a threadbare electronic hum that builds up an expectant tension that leaves you unsure as to what exactly might happen next, at what frequency, and to what effect. After a couple of minutes the threads begin to fray and what could so easily have turned into an ear-splitting fragmentation soon dissolves into a delicate, moving, slow motion berceuse that brings to mind Oren Ambarchi, Ry Cooder’s Paris Texas and Donato Wharton’s most fulfilling material in one fell swoop. This remarkable piece just about falls within the brackets of modern day soundtrack music we love so much, but something in the technique and realisation gives it an unnerving edge that’s quite removed from the soothing recitals you might expect. Second track “P.” shifts back to Chauveau’s more familiar Piano work, with nominal elements yielding the fullest sonic ramifications. Like Alva Noto / Ryuichi Sakamoto’s much loved “Vrioon” without the digital tempering, or a compacted Morton Feldman shed of much of the academic baggage, its another sweeping gesture realised with an immense attention to detail that never fails to engage the listener absolutely. It’s this aural scarcity and assured minimalism that’s the most rewarding and impressive aspect of Chauveau’s work, overcoming the clinical, sterile impact of so much material of its ilk with an emotive underlay that’s not hidden so far beneath the surface as to become impenetrable. On the closing piece “A_” many of these archetypal elements become entwined, with a warm fuzz of digital detritus becoming surrounded by a wistful hue of acoustic tempering and even a dismembered narrative, inserted to remind you that flesh and bone reside behind, and control, these wonderful machines. Maginficent stuff - and a huge recommendation. …

—–LINK—– 

Rolan Vega - Documentary

Label release: A beguiling, classic new release comes to Community Library this spring: Documentary , the debut album by solo artist Rolan Vega . Synthesizer expert, art-film aficionado, and enthusiastic upstart of Chicago ’s vibrant electro/synth scene, he has compiled years’ worth of his favorite synthesizer vignettes into a comprehensive debut album. We first heard his stuff as a handful of mp3s from friends in Chicago a couple years back; track-swapping and culling ensued, resulting in this final collection.

Is Documentary a collection of works for actual short films and media, or an attempt to pay tribute to the synth epics of media music’s past? The answer is, ultimately: both. Most of the music in Documentary was written as live scores for short films, including Vega’s own Super 8s. But at the core of this effort one finds his love for ‘library music’ (the anonymous, public-domain music composed for UK media in the 60s and after), as well as the synthetic, futuristic theme music of 1980ies American Public Broadcasting programming.

But like all ComLib artists, Vega is too individualistic to simply be re-enacting musics of the past: all kinds of extra elements leak into Documentary , making it a work that straddles the line between classic and alien. Vega’s ambiguous, dream-like presentation and tendency to shift between shorter, passing pieces- as we think of them, vignettes - gives a sense of constant motion and change. These vignettes are not TV-studio enabled audiophilia; rather, these are home-recorded, four-track-tape inflected morsels of sound. Vega has collided the melancholic, low fi aesthetic of early 90ies Bristol artists like Flying Saucer Attack with the epic, arpeggiating ambience of synth maestros such as Michael Stearns, Richard Pinhas, Biosphere, and TONTO. A few of his tracks even resemble the sand-blasted melodic noise of composers like Tim Hecker or Chris Herbert

Rolan Vega’s mixed-up revisions of anonymous media music, and his recombination of lo-fi experimentalism with synthesizer majesty hits a perfect spot for us, and we hope it does for you as well. Vega is perpetually working on new material in this vein, as well as yet-to-be-released pop electro. Stay tuned for more great music from this new artist, ComLib associate, and Chicago scene-motivator.

Tracklist:
1. Painted By Children
2. Motion Crisiis
3. Surface Cleanse
4. Viva Myria
5. Skypoint Fall
6. Playlite
7. Bells of York
8. Lense Flare On
9. 4 Autiim
10. Nether
11. Surface Cleanser
12. Morning Call
13. Something Wrong with Today
14. Guiitav
15. Documentary

Almost Cool Review

 —–LISTEN—–

Black Dice - Load Blown

‘mind blowing’

About This release, ban-member Eric Copeland wrote,  “We spent almost a year and a half, off and on, doing this record. So there was less of a goal in mind for the album as a whole; we tended to focus on each song individually. We wanted to make strong singles.

“Consequently, none of us really knew what to expect until we finished the sequencing, just a few weeks ago. I think it’s a pretty upbeat record for the most part. I don’t think anyone expects our records to sound like anything else we’ve done, but this one seems pretty different from the last. I hope everyone’s always surprised.”

Load Blown:

01 Kokomo
02 Roll Up
03 Gore
04 Bottom Feeder
05 Scavenger
06 Drool
07 Toka Toka
08 Cowboy Soundcheck
09 Bananas
10 Manoman

—–LINK—–