I wish they would give composer credits when they do a mixtape like this. I'm kinda trying to fix this as they are loaded into iTunes, but I'm getting no mentions in the files and the Bandcamp page shows last names (and sometimes not even that). Frustrating grandstanders.
"BITROT is an independent and artist-run record label based in Tehran, Iran."
"In our "Kollektive" series we hope to bring out a common thread among tracks and artists we choose. Sometimes we will give artists a concept to work on. Sometimes, like the first Kollektive, we make it our own task to find it. Although tracks might be from varying styles of experimental electronic music and countries, we think no matter what style or which country the artists may come from, they share some common characteristics. This gives the global underground scene of the experimental electronic music, a sense of a tight community even though it`s spread miles apart physically.
In the first edition of Kollektive we bring you music from Iran, Mexico, Ukraine, Greece, France, Russia, Netherlands, U.S, U.K and Canada."
Great ambient-electronic stuff. Recommended to everyone, but especially to GP.
Every
year on the 9th of February we celebrate Shakey Graves Day here in
Austin by throwing a show/party and I use the opportunity to release a
new album of B-sides or live recordings that are only available online
for 72 hours. All of my albums (including the 8 previous Shakey Graves
Day releases) go on a “pay what you want” model for 3 days and then
disappear back into repose for another 365.
But
as I typed it out I realized that throwing a party and putting some
tunes on the internet didn’t seem to match up with my desperate yearning
I feel to help in some way. So, I decided that from now on I'm
going to donate half the proceeds of the SG Day album sales to one or
more good causes. These can be charities, think tanks, frozen natives,
music programs, homeless shelters, basically anything nice you can think
of.
From Feb. 9-11, ten albums will be out on www.shakeygraves.bandcamp.com for
the price of “pay what you want,” so if you donate even one dollar for
the whole catalog, fifty cents will go to a good cause. After the 72
hours have passed and we have processed all suggestions, we will post an
announcement about what good causes we've learned about and show you
exactly where the money will go. >>>>>>>>>
- "Available as a free download from Korm Digital, this is a recording of Frans de Waard’s live performance during the Forthwith festival last February 10, 2017 in Winnipeg, Canada – less than a week ago. Actually comprised of a unique 34mn track, the music is build on excerpts from various de Waard projects under different aliases (QST, Modelbau and Quest), all gently seguing into one another. The whole forms a coherent continuum, a magnificient, slowly evolving odissey whose pace is strikingly noble and elevated. The musician expertly alternates between abstract sequences and catchy electronic loops, with hints of Kraftwerk, Kosmische music and a fascination for analog synthesizers. A superb performance that supports repeated listenings"
Here's a vintage stash of folk music field recordings made and released in the 1950s and 1960s by one Jean Mazel, a French cinéaste and ethnologue, about whom I can find little information online. Most of his published recordings (and a disambiguation with a namesake) can be found here, and a number of his publications are listed here.
The recordings presented here were originally released on one 10-inch album (33 RPM) four 7-inch EPs (45 RPM). They have been resequenced and made available for streaming/download by the "UK-based one-man trancedental-drone band" Tuluum Shimmering:
- "In the light of the recent death of composer Pierre Henry (9 December
1927 – 5 July 2017), I found out this live recording from Berlin in 2003
when I was invited to create a kind of live mixtape using my own
materials combined with recordings of Henry. I processed, stretched,
treated, and reworked original recordings and created this live fluid
mix in the theatre.
I once travelled with Henry across Belgium, to a tiny ancient chapel,
where we played a concert together. He slept almost the entire car
journey. At the show that evening he performed an elegant and engaging
tape piece, and when I took the stage I was quite nervous, clearly keen
to impress this legendary figure. As I looked up I saw him sitting there
in the audience, contentedly deep asleep again. Let's hope he's
sleeping happily wherever he is now too."
A rainy stay-at-home holiday provides a perfect opportunity for a trip around the world. The latest sound map from Cities and Memoryoffers listeners the chance to hear Sacred Spaces around the globe, to note the similarities and differences, and to gather their own conclusions. If in the process one feels closer to God, or simply more at peace, all the better.
Each person’s trip will be different. Mine began in Iceland, where I was a bit disappointed to hear an English-language choir singing “How Great Thou Art”. The reason: it sounded so much like home, when I didn’t want it to sound like home! The reimagined version (“Culture, Art and Harmonics”) was much better, far more mysterious. Fortunately I soon found the page of bell sounds, and realized that Cities and Memory is engaged in a constant process of cataloguing its sounds even between sound maps. Here were the bells of Zabreb, Seville and Venice ~ and these were only the first three locations. Zagreb’s bells are crisp and clear in the unadorned field recording, but Andy Billington’s soundscape “The History of Zagreb” is a fascinating alternate take, rife with looped narration, organ, choir and clocks. A similar thrill is achieved by Walker Wooding, who adds fitting poetry to “Edgar Allen Poe in Seville”. Further on, “A symphony for San Marco” welds strings and other ambience to the sound of the bells. There’s so much more in this section, from Amsterdam to Asiago (not just a cheese), but we have to move on ~ before we do, we highly recommend this as a podcast playlist.
Now let’s return to the sound map, and check out the outskirts ~ like filling in the borders of a puzzle. Here are the sounds of birds and bells in Montreal’s Christ Church Cathedral, balanced by the soft sounds of the altar at Universal Pathways, New York ~ a quiet bench near wind chimes. And now the frantic singing, chanting, rustling and stomping of the Matachinas dancers in San Antonio, Texas. Only a few contributions come from the Americas, which means these territories are rife with unexplored sacred sounds. Better perhaps to swim to Japan (it’s a long swim, but a virtual one) to encounter Buddhist chants in Kyoto, cymbals and drums in Shanghai, prayer wheels in Kathmandu, a boat trip in Myanmar. The world of sacred spaces is starting to open: not just churches, temples and mosques, but nature and interaction. Is it insulting to record the crickets outside of Sicily’s Monreale Cathedral when so much work has been put into making the building a sacred space? Not at all ~ such inclusions represent an expansion of ideas, while further expansions are offered by those who offer altered takes on the subject matter ~ in this case, Sequencial’s “… on glistening singing wings”.
Visitors to the site map will likely be interested in checking out samples from their own territories, if only to see what has been included and what has not. Many of the treasures are far from obvious. If one begins to feel overwhelmed by all the site map clicking, one may simply play the hundred-plus contributions in order. This tactic produces a pleasingly multicultural feeling ~ from hemisphere to hemisphere, field recording to soundscape, church organ to street musicians, cathedral song to remembrance speech.
A few outliers are worthy of special mention: “Trieste Taumaturgo Tech”, which combines techno with church chanting in a manner far removed from Enigma; Angel Muniz’ crazy “Vocal Memories (Montreal), a sub-bass track based around samples from a Jewish funeral home; “Two and a Three”, which overlaps the sound of auctioneers and customers; Myrornas Krig / Cadlag’s buzzing, dripping “Deep Inside the Chapel Cavern”; Tony Whitehead’s captured downpour at the “West Ogwell Church”; Ian Dean’s thick and immersive “The Sacred and the Quotidian”, based on recordings inside the Duomo; and Alex Hehir’s “Falling Gongs (Myanmar)”, a mesmerizing melange of tones. Too much to take in? Try the fifteen-track digital album, which compiles highlights of the reworkings. While the collection is far from representative, it makes an excellent entry point. Best perhaps to wait for a rainy holiday, to travel around the aural world, and to create one’s own sacred space. (Richard Allen)
Originally released in 2009 on the Timetheory netlabel as part of
Phillip Wilkerson's Complex Silence series, as mysterybear. Both pieces
have been re-rendered for this reissue using the latest versions of
Csound and blue as of October 2017. The original liner notes follow:
Both tracks use intervals and waveforms derived from the Golden Ratio.
- "I usually compose in just intonation, which is based on rational numbers
(whole number ratios). The golden ratio, by contrast, is an irrational
number. Intervals based on irrational numbers are more complex and less
consonant than pure (or just) intervals, and tend (to my ear) to have a
darker quality which seemed to me to be suitable for the Complex Silence
project. Both pieces were written using blue and Csound.
"Meridian Transit" is simultaneously restless and static. The title
refers to noon (i.e., when the sun crosses the meridian), though it also
reminds me somehow of 3:00 in the afternoon. Either way, for me it
reflects the hot, sunny, humid weather that has dominated northeastern
US during the summer of 2009. It uses a five-note scale and a seven-note
scale that have no notes in
common, and explores some of the different interval combinations that
result as the tones slowly shift through a series of four-note chords.
"Solar Midnight" is the scientific name for midnight, the opposite of
noon, though for me it realdifferent time scales. There are two cycles: first all three voices are
in the same register; then the voices are at different transpositions.
It uses a six-note non-octave scale."ly covers the period from about 10:00pm
through 1:00am. This piece is more somber than its companion piece and
uses longer tones. It is structured as a mensuration canon, where the
different voices (three, in this case) play the same sequence at different time scales. There are
two cycles: first all three voices are in the same register; then the
voices are at different transpositions. It uses a six-note non-octave
scale."
Prices remain the same as his personal distribution biz, so nothing fishy there, imo. I know Jon is pretty sensitive to the idea of replacing the audio experience of his releases with streaming, so no surprise for me that he doesn't enable full-streaming.
I don't really mind pricing like that. I'm increasingly inclined to spring for the CD, if it's just a few bucks. Would like to see Bandcamp labels offer a break on shipping for ordering multiple CDs
Prices remain the same as his personal distribution biz, so nothing fishy there, imo. I know Jon is pretty sensitive to the idea of replacing the audio experience of his releases with streaming, so no surprise for me that he doesn't enable full-streaming.
Hi @kargatron I don't really have a problem with this at all, more sort of commenting that it is against the Bandcamp norm. More power to Jon's elbow for keeping this going and moving forward. Unlike @Doofy I'm fine with just a d/l as a cd just means it has to join the impossibly long queue of things to rip. Having said all that I haven't yet registered my new card with Bandcamp since the last one got compromised with a seller (I don't know who) there.
Would like to see Bandcamp labels offer a break on shipping for ordering multiple CDs
Jon:
I would love to do that, there's no way to do that unfortunately. can you send that person directly to me to order, erstrecs@aol.com? thank you. I mean, if they want to order multiple CDs, it is really messed up overseas they only allow you to set a price for the first one and then for each additional one so overseas that has to be $14 and then $9 more, because 2 discs cost $23 to ship now (!!!) but 7-8 discs also cost just $23
--- Jon runs ErstDist too, and is very responsive and reliable for personal orders. I've spent $thousands with him over the years.
Comments
when they do a mixtape like this.
I'm kinda trying to fix this as they are loaded into iTunes,
but I'm getting no mentions in the files
and the Bandcamp page shows last names (and sometimes not even that).
Frustrating grandstanders.
http://us9.campaign-archive1.com/?u=689f9b867e8b0fabb8a5caa9b&id=2b416e6fc6&e=08fc7cbe00
https://bitrotrecords.bandcamp.com/album/kollektive-1
"BITROT is an independent and artist-run record label based in Tehran, Iran."
"In our "Kollektive" series we hope to bring out a common thread among tracks and artists we choose. Sometimes we will give artists a concept to work on. Sometimes, like the first Kollektive, we make it our own task to find it. Although tracks might be from varying styles of experimental electronic music and countries, we think no matter what style or which country the artists may come from, they share some common characteristics. This gives the global underground scene of the experimental electronic music, a sense of a tight community even though it`s spread miles apart physically.
In the first edition of Kollektive we bring you music from Iran, Mexico, Ukraine, Greece, France, Russia, Netherlands, U.S, U.K and Canada."
Great ambient-electronic stuff. Recommended to everyone, but especially to GP.
Posted today as "name your price" :
Home To Wander (2016 Sampler) by Home Normal
'Home To Wonder' is a small collection of some of the tracks we were lucky enough to release in 2016.Thank you. And here's to a wonderful 2017. x
The fourth free/NYOP compilation from Assembly Field
Illuminations (The Dronarivm New Year 2017 free compilation)
released January 7, 2017From the above link:
>>>>>>>>>
Every year on the 9th of February we celebrate Shakey Graves Day here in Austin by throwing a show/party and I use the opportunity to release a new album of B-sides or live recordings that are only available online for 72 hours. All of my albums (including the 8 previous Shakey Graves Day releases) go on a “pay what you want” model for 3 days and then disappear back into repose for another 365.
But as I typed it out I realized that throwing a party and putting some tunes on the internet didn’t seem to match up with my desperate yearning I feel to help in some way. So, I decided that from now on I'm going to donate half the proceeds of the SG Day album sales to one or more good causes. These can be charities, think tanks, frozen natives, music programs, homeless shelters, basically anything nice you can think of.
From Feb. 9-11, ten albums will be out on www.shakeygraves.bandcamp.com for the price of “pay what you want,” so if you donate even one dollar for the whole catalog, fifty cents will go to a good cause. After the 72 hours have passed and we have processed all suggestions, we will post an announcement about what good causes we've learned about and show you exactly where the money will go.>>>>>>>>>
@ Forthwith, Winnipeg, February 10, 2017
by Frans de Waard
A Name-Your-Price comp that's kind of interesting...
Frecuencias en Expansión (Latino American Shoegaze Compilation)
I like the fourth track: Velodromo - "Petra"
The fifth track from Telephone Exchange "Proton Salad" floated my boat in a Spacemen 3 sort of way.
https://latinoamricashoegaze.bandcamp.com/album/frecuencias-en-expansi-n-latino-american-shoegaze-compilation
People and Music Series Volume 2: CD 1
1950s Moroccan Field Recordings
From Moroccan Tape Stash:A Guide to Iran’s Electronic Underground
KONNEKTED (Free Download) by Stick Men
Ecco by Celer. all these are NYOP, all up this weekA Temple In The Clouds, Jeffrey Fayman & Robert Fripp (name your own price)
Updated link to the 'Latino America Shoegaze' comp posted above by @jonahpwll:
https://sonidosquepermanecen.bandcamp.com/album/frecuencias-en-expansi-n-latino-american-shoegaze-compilation
An Introduction to Avant-Garde Electronic Music in Poland
Scanner - Nomadic Concrete
Review from A Closer Listen
Cities and Memory ~ Sacred Spaces
Each person’s trip will be different. Mine began in Iceland, where I was a bit disappointed to hear an English-language choir singing “How Great Thou Art”. The reason: it sounded so much like home, when I didn’t want it to sound like home! The reimagined version (“Culture, Art and Harmonics”) was much better, far more mysterious. Fortunately I soon found the page of bell sounds, and realized that Cities and Memory is engaged in a constant process of cataloguing its sounds even between sound maps. Here were the bells of Zabreb, Seville and Venice ~ and these were only the first three locations. Zagreb’s bells are crisp and clear in the unadorned field recording, but Andy Billington’s soundscape “The History of Zagreb” is a fascinating alternate take, rife with looped narration, organ, choir and clocks. A similar thrill is achieved by Walker Wooding, who adds fitting poetry to “Edgar Allen Poe in Seville”. Further on, “A symphony for San Marco” welds strings and other ambience to the sound of the bells. There’s so much more in this section, from Amsterdam to Asiago (not just a cheese), but we have to move on ~ before we do, we highly recommend this as a podcast playlist.
Visitors to the site map will likely be interested in checking out samples from their own territories, if only to see what has been included and what has not. Many of the treasures are far from obvious. If one begins to feel overwhelmed by all the site map clicking, one may simply play the hundred-plus contributions in order. This tactic produces a pleasingly multicultural feeling ~ from hemisphere to hemisphere, field recording to soundscape, church organ to street musicians, cathedral song to remembrance speech.
NYOP
Ten Records that Blur The Line Between
Electronic and Classical Music
released August 8, 2017
Lee Fletcher: Vocals, Synths, Keys, Soundscapes, Programming, Treatments, Ghost Whistling
Tony Levin: Bass
Markus Reuter: U8 Touch Guitar
Luca Calabrese: Trumpet
Troy Jones: Drums
Jacqueline O'Dell Kershaw: French Horn
Viv Goodwin-Darke: Flute
Roz Harding: Alto Sax
Billy Bottle: Grand Piano
Clint Hollinson: Acoustic Guitar
Senyawa - Brønshøj (Puncak)
More Senyawa at Emusers
(Brønshøj is an area in Copenhagen)
Complex Silence 4
Both tracks use intervals and waveforms derived from the Golden Ratio.
https://erstwhilerecords.bandcamp.com
Mind you a bit coy with the samples and the prices are "nice" as we say in the trade.
I don't really have a problem with this at all, more sort of commenting that it is against the Bandcamp norm. More power to Jon's elbow for keeping this going and moving forward. Unlike @Doofy I'm fine with just a d/l as a cd just means it has to join the impossibly long queue of things to rip. Having said all that I haven't yet registered my new card with Bandcamp since the last one got compromised with a seller (I don't know who) there.
Jon runs ErstDist too, and is very responsive and reliable for personal orders. I've spent $thousands with him over the years.