[nx010-4] Miquel Parera Jaques (Tomorrow is Unreal)

Six iterations of nxH1.
| Drone | Ultraminimal | High Pitch | Insect |

Download FLAC.

Download MP3.

Download OGG.

View code and info.

Archive.org mirror.

SonicSquirrel mirror.

First livecoding iteration on nx010.

[nx2011.12] Noise Christmas

Download & listen: http://www.archive.org/details/nx2011-12

nx2011-12_01: [at047] Per Fly – 03.Per Fly 3 (Oriol Rosell)

Info:: http://www.audiotalaia.net/at047.html
nx2011-12_02: [insubrwk02] V.A.  -  03.The Tide is Gone on its own (Honoré Feraille)
Info:: http://www.insubordinations.net/releasesrwk02.html
nx2011-12-03: [snr223] Sedna – 04.Sedna (C remix) (The 17 Sons of Abraxas)
Info:: http://the17sonsofabraxas.bandcamp.com/album/sedna
nx2011-12-04: [ar055] Radical Poland IV – 11.Live in Krakow (Moljebka Pvlse)
Info:: http://www.auditionrecords.com/ar055.html
nx2011-12-05: [sub010] Immutable Law – 01.Salt,Sulphur & Mercury (Subterrestrial)
Info:: http://subterrestrial.blogspot.com/2011/11/sub010-subterrestrial-immutable-law.html
nx2011-12-06: [edp042] A agua,o cuiza,o vao – 04.Moviola (Mezukov)
Info:: http://www.archive.org/details/edp042
nx2011-12-07: [cwk0016] 34.Asteroid (Oystein Jorgensen)
Info:: http://www.archive.org/details/CWK_0016
nx2011-12-08: [ar058] Wonderwerp –  07.Wonderwerp 25 (ZLB: Miguel Cerdeira Marreiros Negrão)
Info:: http://www.auditionrecords.com/ar058.html
nx2011-12-09: [ar052]  Velak Gala – 02.Velak Gala #60 (Caroline Profanter & kaltraum Vollmondt)
Info:: http://www.auditionrecords.com/ar052.html
nx2011-12-10: [slnt028] Outercloser II – 04.The Valley Returned Our Echoes (Tapage & Rick de Greef)
Info:: http://silent.com.md/tapage-rick-de-greef-outercloser-part-two/
nx2011-12-11: [zen083] Cold Water – 02.Cold Water/ Of Creative Devastation (December Nightskies)
Info:: http://www.zenapolae.com/zen083
nx2011-12-12: [ar054] Radical Poland III – 10.07.11.05 (II) (Emiter.Arszyn)
Info:: http://www.auditionrecords.com/ar054.html

All tracks are CC, but if you do not want your work in this compilation, please contact me: computer.music.neix@gmail.com

Download pdf tracklist.

[2011.12] I heard this december 36 fine experimental releases

2011.277.12.01 Hal McGee (Contact Compilation vol.3)
Info:: http://halmcgee.bandcamp.com/album/contact-compilation-3-2011
2011.278.12.02 Hal McGee (Contact Compilation vol.4)
Info:: http://halmcgee.bandcamp.com/album/contact-compilation-4-2011
2011.279.12.03 Hal McGee (Contact Compilation vol.6)
Info:: http://halmcgee.bandcamp.com/album/contact-compilation-6-2011
2011.280.12.04 Hal McGee (Contact Compilation vol.7)
Info:: http://halmcgee.bandcamp.com/album/contact-compilation-7-2011
2011.281.12.05 [ar050] VVAA (Beyond the Horizon-Japan 2011)
Info:: http://www.auditionrecords.com/ar050.html
2011.282.12.06 [ar052] Velak Gala (Vienna 2007-11)
Info:: http://www.auditionrecords.com/ar052.html
2011.283.12.07 [treetrunk192] Diego Caicedo (Diego Caicedo)
Info:: http://treetrunkrecords.wordpress.com/2011/11/30/diego-caicedo-diego-caicedo-treetrunk-192/
2011.284.12.08 [rw018] Der Domestizierte Mensch (Fall)
Info:: http://arewrecordings.blogspot.com/2011/12/der-domestizierte-mensch-fall-rw-018.html
2011.285.12.09 [siro265] RedSK VS Pollux (Hush Rush)
Info:: http://www.archive.org/details/siro265RedskVsPollux-HushRush
2011.286.12.10 [den008] Subterrestrial (Map of the Interior World)
Info:: http://www.archive.org/details/den008Subterrestrial-MapOfTheInteriorWorld
2011.287.12.11 [slnt028] Tapage & Rick de Greef (Outercloser Part Two)
Info:: http://silent.com.md/tapage-rick-de-greef-outercloser-part-two/
2011.288.12.12 [cwk_0016] VA (Classwar Karaoke 0016 Survey)
Info:: http://www.archive.org/details/CWK_0016
2011.289.12.13 [rb102] Saito Koji (Music)
Info:: http://www.restingbell.net/releases/rb102-music
2011.290.12.14 [sub010] Subterrestrial (Inmutable Law)
Info:: http://subterrestrial.blogspot.com/2011/11/sub010-subterrestrial-immutable-law.html
2011.291.12.15 [exp-net] Jaime Munarriz (Long Wave Short Wave)
Info:: http://www.archive.org/details/JaimeMunarriz_LongWaveShortWave
2011.292.12.16 [exp-net] Hydra (Petites Ondes/Grandes Ondes)
Info:: http://www.archive.org/details/hydra_petites.ondes.grandes.ondes
2011.293.12.17 [pf032] Fashionmasters (Splits vol.2)
Info:: http://www.pandafuzz.com/pf032
2011.294.12.18 [snr223] The 17 Sons of Abraxas (Sedna)
Info:: http://the17sonsofabraxas.bandcamp.com/album/sedna
2011.295.12.19 [at047] Oriol Rosell (PerFly EP)
Info:: http://www.audiotalaia.net/at047.html
2011.296.12.20 [nk096] Traqueurs de Combes (Gakona, AK)
Info:: http://www.nowaki-music.org/album.php?id=139#album139
2011.297.12.21 [exp-net] Javier Pinango (i.r.real.tres)
Info:: http://www.archive.org/details/javier.pinango_i.r.real_._tres
2011.298.12.22 [insubrwk02] V.A. (Marées de hauteurs diverses)
Info:: http://www.insubordinations.net/releasesrwk02.html
2011.299.12.23 [Eg0_049] Mystified (Reduced)
Info:: http://eg0cide.com/2011/12/18/eg0_049-mystified-reduced-remastered/
2011.300.12.24 [rw-062] Gerry Miroux (O Ceu, o Mar e as Pedras)
Info:: http://www.archive.org/details/ArewRecordingsPresentsrw-062GerryMiroux-OCuoMarEAsPedras
2011.301.12.25 [oz098] NOS Project (New Old Stock)
Info:: http://www.archive.org/details/oz048
2011.302.12.26 [nk097] Kluge (Lorida)
Info:: http://www.nowaki-music.org/album.php?id=141#album141
2011.303.12.27 [ecaclv1] VA (Exquisite Corpse Audio Chain Letter, Volume 1)
Info:: http://www.archive.org/details/ecaclv1
2011.304.12.28 [ctfl011] Fubsan (Pulse Variationen)
Info:: http://www.archive.org/details/ctfl011
2011.305.12.29 [phirnis] Phirnis (Kontakte)
Info:: http://www.phirnis.de/blog/index.php?/archives/64-Kontakte.html
2011.306.12.30 [ctrlvlv032] Carl Kruger (Intrepid Hobbyist)
Info:: http://www.controlvalve.net//
2011.307.12.31 [edp042] Bezukov (A água, o cinza, o vão)
Info:: http://www.archive.org/details/edp042
2011.308.12.32 [tube243] Mas and Travis McAlister (The Fade Out Room)
Info:: http://testtube.monocromatica.com/releases/tube243.htm
2011.309.12.33 [zen083] December Nightskies (Cold Water/Of Creative Devastation)
Info:: http://www.zenapolae.com/zen083
2011.310.12.34 [ar054] VA (Audio Tong – Radical Poland III Krakov 1988-2011)
Info:: http://www.auditionrecords.com/ar054.html
2011.310.12.35 [ar055] VA (Audio Tong – Radical Poland IV Krakov 2005-2011)
Info:: http://www.auditionrecords.com/ar055.html
2011.311.12.36 [ar058] Wonderwerp (Studio Loos | The Hague 2010-2011)
Info:: http://www.auditionrecords.com/ar058.html

Two thoughts on creative commons experimental electronic music in 2011.

A. The quantity resulting quality.

This year, I listened, intently, 311 releases. They are not far from all who have posted, since I only hear that, after a superficial examination, I decided to download because I seem interesting to me, from my personal taste. To this we must add all those who have not come to my reader, twitter, etc.. Let us, therefore, that within the tag? Creative Commons Experimental electronic? 600 releases have been published: many, too? Definitely not.

In the world of commercial music, there are three filters until the disc comes to fit into our hi-fi:

1. The first is the filter of the artist: it commonly develops a technical and aesthetic approach that culminates in the finished work. On the other hand, if the artist is professional, he must ensure the salary. So we have to adapt his method, in addition to the aesthetic and technical requirements, to the audience being addressed and other criteria like commercial, technical, etc..

2. The second is the filter of the recording company: They have made an investment and want to recover the money. Furthermore, in most cases, they also make the technical, so I must return to artist accommodate your method twice: the criterion of the label and technology available in the company.

3. The final filter is a personal filter: which will mutate over the time and the music heard and is modulated by personality. This criterion is the target of a commercial artist and label. It is the gateway to the money. It is strongly influenced by the processes of acculturation and marketing efforts to define the culture of a particular form suited to their interests.

If we agree that experimental music should demand the highest standards of freedom: What positive things provide free licenses and Internet distribution to the group of experimental music makers?

1. Eliminate the economic consequences of the label filter, as netlabels earn no money and its catalog is based on other criteria (aesthetics, consistency in the collection, etc.).

2. If the artist does not publish on netlabels, if self-publishing, the label filter is completely eliminated.

3. If the artist is not professional, and do not try (remember that many artists released with CC licenses to get concerts, charging, or to become known to later sell records -which I think is also a good use of the license-) eliminates also the distortion it causes in their method created for a specific audience that is, is what you might want your music.

4. Technically there are two interesting questions: the first is that the internet ensures higher availability than physical stores (that we should be grateful, especially to servers or sonicsquirrel as archive.org, and without their existence would be much more complicated) and also if the release is free the listener does not need to think whether or worth spending the money on that. The second is that if the author chooses to complete the cycle and use the computer with free software to their creations out of the equation all technical barriers imposed by the cost of instruments, microphones… The author used to create the same tool to distribute and communicate.

In short, experimental music tries to answer the question: How would sound if I did this, and that …? At this question must be added “buts” of  the author something like: How would sound if I did this, and that …? But I have this technical restriction, but I have this aesthetic restriction,.. It seems clear that if we add more “buts “, at the end we can not call it experimental music.

600 releases not are many. Now, as artists, we should not think about money or the public, we may publish everything that passes our filter, which is undoubtedly more than a record label would like. Now, as listeners, we must be more accountable, and we can not say: “I do not know how it published this, is a waste of money”. If we lose time or a few megabytes in your disk in a release we do not like is because our approach is not sufficiently refined. Freedom and quantity causes evolution, dynamism, self-criticism and collaboration, which eventually leads, sooner or later, a handful of extraordinary works like have been published this year.

B. I need your feedback, even negative.

Despite all the above on individual freedom as creators, the truth is that one hopes to talk, even argue about their creations. But do we, experimental musicians, appropriate channels for discussion of issues around which revolves our music? And, in addition to channels, feedback culture have developed enough to take advantage we have?

Regarding the first question, it is widely used social networks as channels for communication and review: twitter, emails, web blogs, Google +, Facebook, etc. In addition, there are audio only initiatives, such as SoundCloud, and more specific as Modisti. Nevertheless, it seems that everything is very scattered and fragmented, are we so few as not to run an exclusive forum for cc experimental electronic music, or is that neither the creators nor the listeners are willing to openly discuss this ?

Which brings me to the second question: Why when someone listening to a disc and form an opinion, favorable or unfavorable, not the author writes a few lines to inform? (With respect, of course, without falling into being a troll) Why do not argue with us about philosophical, aesthetic, technical or whatever we do in music? Beyond the notable exceptions (for example, C. Reider), it seems that no culture or interest for this.

I leave these questions in the air, but I reaffirm the view that communication is necessary because extensive reflection on our art and gives us different views can be useful.

Versión española.

2011 works

Releases.

• [nx008] I Love the Sounds of  Moving Parts.
• [nx009]  Silence and Freedom.
• [nx010] Now is the Time.

Works on Compilations.

• nxLiveCode17_2011-04-22_05-46-11 on [[bs050] Doing Nothing]
• nxAutomatic2011-05-02-06-06-01 on [[imc03] Dead Voices White Noise]
• nxUrsonate04 on [Ursonate Fanzine 001]
• Deconstruct Drones of C.Reider I on [vuzh028]
• nxS200110309 on [Pi Day 2011]
• Less than a Minute for CMJ (v4) on Computer Music Journal Volume 35 Issue 4.

Radio & Podcasts.

• Sismógrafo (RNE3) 14/3/2011.
• Via Límite (RNE Clásica) 08/11/11.

Compilations.

• nx2011-11
• nx2011-10
• 2011.04.05.06.07.08.09 coming soon…
• nx2011-03
• nx2011-02
• nx2011-01

[at047] Oriol Rosell (PerFly EP)

Download.

From: http://www.audiotalaia.net/at047.html

To hear a Oriol Rosell release is a tough call, lets get that clear and move on to other considerations. After assuming that Rosell’s work is indeed something that requires more than a simple listening we should ask ourselves what is he trying to achieve and why.

Reading the liner notes on Ulrich Seidl EP at Crónica Electronica we can get a clear idea on Rosell’s intentions and aims. Basically Rosell seeks for a sonic experience based on time and perception and the relationship between author or performer and listener or the audience.

“My interest in time comes after many years working with stage performers, mainly dancers. It still shocks me how the experience of time changes when you are exposed to a certain aesthetic input or another, how many different ways of consuming a minute are there depending on your side of the stage — as a viewer/listener or as a player —, and how you can manipulate the viewer/listener’s time perception through compositional and timbre-choice decisions.”

On PER FLY we are dealing with those issues while be go through the album and we get more and more into his work. Once again Rosell is demanding a certain attention and he is trying to present a extreme experience that could be compared to other sonic projects dealing with the boundaries of hearing and sonic bearability (just invented that).

According to the previous, he could be working on a noise level trying to achieve what Merzbow does. But not, Rosell, delivers sound parcels that range from extremely high-end frequencies to tone-like drones that technically are clear, clean and neat, adjectives not associated with noise, or those kind of music genres where extreme sonic experiences are the basis of the work. No distortion, no 140 Dbs, no low bass frequencies, and no electric guitars. Rosell deals with noise and bearability from an aseptic perspective and minimalistic approach.

[sub010] Subterrestrial (Inmutable Law)

From: http://subterrestrial.blogspot.com/2011/11/sub010-subterrestrial-immutable-law.html

“Immutable Law” explores harmonic drones and dark minimal soundscapes inspired by the ancient art of alchemy.

Tracklist:
1. Salt, Sulphur & Mercury 7:25
2. Lapis Philosophorum 7:00
3. The Emerald Tablet 7:05
4. Homunculi 6:36
5. Magnum Opus 7:16

Total length: 35:21
Encoded at: 44.100 KHz 192Kbps

[ar052] Velak Gala (Vienna 2007-11)

Download.

From: http://www.auditionrecords.com/ar052.html

History and Philosophy

Velak is a loose collective and open platform, founded and maintained by former and present students of “Computermusic and Electronic Media”, University of Music and Performing Arts Vienna.

In 2004, students were looking for opportunities to perform their music and experiments, although being unknown to the market, and began a concert series, then called elak gala (ELAK is the short form for the institute for “Elektroakustische Musik”), with the claim to be a platform for different minds with different approaches. the concert series soon got known not only in Vienna, but also internationally. Now, there´s a lot of international musicians coming by in Vienna playing at velak gala. Often a multichannel system is installed. A love for assymetry of loudspeakers as well as a preference of mono can be found within the members. The founding of the concert series was accompanied by the formation of a loose musical collective, named “velharmonic orchestra” meanwhile, a dependance in Berlin formed, the “Donauwellen”, a festival for improvised, mostly electronic music, a collaboration between Vienna and Berlin, Viennese in Berlin and vice versa.

The musical context of Velak can be contoured with: electroacoustic, live-electronic, instrumental abstract music, field recording, improvisation, tape, noise. All in all, a certain affinity to electricity can be stated. Not to forget, interdisciplinarity, transmediality, performance, video, collaborations play an important role. Velak can hardly be objectified. Or, in other words, Velak is a lot within a small field and still an explicit coexistence.

[nx2011-11] A compilation of creative commons electronic experimental music on november 2011

Download.

nx2011-11_01/-Fabio Keiner -  Totengedenken-02 Totengedenken
http://fabiokeiner.bandcamp.com/album/totengedenken
nx2011-11_02/-Saffron Slumber -  [vuzh031] Piano Drones 1 02-Part 1 Drone 2
http://vuzhmusic.com/releases/pianodrones.html
nx2011-11_03/-Elias Merino -  [at046] Environment 03-Self Coloured
http://www.audiotalaia.net/at046.html
nx2011-11_04/-Atrio Serenade -  [oan01] Tierra Desnuda 04-Atrio Serenade – Nueva Vida
http://organicacoustic.bandcamp.com/
nx2011-11_05/-Precocious Mouse + d0x10 -  [6x2] 11-Strut (pm variant g)
http://limit-cycle.org/records.html
nx2011-11_06/-Raining Cloud -  [bs06] Dreamscapes Volume 1 02-There’s a Cloud in the Street
http://blacksquarenetlabel.blogspot.com/2011/11/bs060-raining-cloud-dreamscapes-volume.html
nx2011-11_07/-Morphine Bandit -  [treetrunk185] Wave Motions EP 03-The Relaxing Time
http://www.archive.org/details/Wave_Motions_EP
nx2011-11_08/-Mystified -  [bof008] Drifting 05-Drifting
http://buddhistonfire.com/2011/11/8-mystified—drifting-remastered/
nx2011-11_09/-Specta Ciera -  [fbl020] Underpass 04-Underpass (Darren Harper rmx)

http://feedbacklooplabel.blogspot.com/2011/11/fbl020-specta-ciera-underpass.html
nx2011-11_10/-Christian Doil -  [earman185] Maschinen 07-Im Toaster
http://earthmantra.com/release-detail.php?id=185
nx2011-11_11/-Ice guild Kaiser (C.P.McDill) -  [bof010] Asphalst’s Parakeet 03-Bayou Magnetics
http://buddhistonfire.com/2011/11/10-ice-guild-kaiser—asphalts-parakeet/
nx2011-11_12/-Alozeau+Edu Comelles -  [tn030] A unes passes a l’oest de Greenwich-01 N39.4730 E -0.3659
http://www.tecnonucleo.org/index.php?page=release&release=30

Every release is Creative Commons, but if an author does not agree with the redistribution in this compilation, please contact me:

computer.music.neix@gmail.com

Thanks to all sound explorers for share your works!

[2011.11] I heard this november 26 fine experimental releases

2011.251.11.01 [ar40] Ayankoko (Harsh Coma)
Info:: http://www.archive.org/details/Ayankoko-harshComaar40
2011.252.11.02 [dw083] Cocktopussy (Tijuana Bible College)
Info:: http://www.darkwinter.com/dw083.html
2011.253.11.03 [treetrunk185] Morphine Bandit (Wave Motions EP)
Info:: http://www.archive.org/details/Wave_Motions_EP
2011.254.11.04 [bof008] Mystified (Drifting)
Info:: http://buddhistonfire.com/2011/11/8-mystified—drifting-remastered/
2011.255.11.05 [siro231] Djozr & Lezet (Dedication Grind Troopers)
Info:: http://www.archive.org/details/siro231DjozrLezet-DedicationGrindTroopers
2011.256.11.06 [siro233] Master Toad (CHAOS ep)
Info:: http://www.archive.org/details/siro233MasterToad-ChaosEp
2011.257.11.07 [dys005] Mystfied (Power Drain)
Info:: http://dystimbria.cc/
2011.258.11.08 [Ctrlvlv030] Abusive Consumer (Define Divine)
Info:: http://www.controlvalve.net/
2011.259.11.09 [zen082] Winterbound (Creature)
Info:: http://zenapolae.com/zen082
2011.260.11.10 [sphi037] Pollux (Melo)
Info:: http://sphicot.blogspot.com/2011/11/sphi037pollux-melo.html
2011.262.11.11 [nx093] Barascud (De la Nuit)
Info:: http://www.nowaki-music.org/album.php?id=134#album134
2011.263.11.12 [earman185] Christian Doil (Maschinen)
Info:: http://earthmantra.com/release-detail.php?id=185
2011.264.11.13 [limitcycle_6x2] Precocious Mouse + d0x10 ([6x2])
Info:: http://limit-cycle.org/records.html
2011.265.11.14 [limitcycle_blocktype] Gaetano Fontanazza & Jukka-Pekka Kervinen: (Block/Type)
Info:: http://limit-cycle.org/records.html
2011.266.11.15 [ij14] Deti (The Songs 1)
Info:: http://itsujitsu.wordpress.com/2011/11/16/the-songs-1/
2011.267.11.16 [bof010] Ice Guild Kaiser (Asphalt’s Parakeet)
Info:: http://buddhistonfire.com/2011/11/10-ice-guild-kaiser—asphalts-parakeet/
2011.268.11.17 [etchedtraumas] Melophobia (Silencing Complexes)
Info:: http://www.etchedtraumas.net/discography/silencing-complexes/
2011.269.11.18 [treetrunk189] Digital Mass (Fictive Martyrdom)
Info:: http://treetrunkrecords.wordpress.com/2011/11/21/digital-mass-fictive-martytdom-treetrunk-189/
2011.270.11.19 [fbl020] Specta Ciera (Underpass)
Info:: http://feedbacklooplabel.blogspot.com/2011/11/fbl020-specta-ciera-underpass.html
2011.271.11.20 [vuzh031] Saffron Slumber (Piano Drones I)
Info:: http://vuzhmusic.com/releases/pianodrones.html
2011.272.11.21 [tn030] Alozeau + Edu Comelles (A unes Passes a l’Oest de Greenwich)
Info:: http://www.tecnonucleo.org/index.php?page=release&release=30
2011.273.11.22 [oan01] VVAA (Tierra Desnuda)
Info:: http://organicacoustic.bandcamp.com/
2011.274.11.23 [kopp.25] V.A. (Last Stop on Kopp)
Info:: http://www.archive.org/details/V.a.LastStopOnKoppkopp.25
2011.275.11.24 [at046] Elías Merino (Environment)
Info:: http://www.audiotalaia.net/at046.html
2011.276.11.25 [bs060] Raining Cloud (Dreamscapes Vol.1)
Info:: http://blacksquarenetlabel.blogspot.com/2011/11/bs060-raining-cloud-dreamscapes-volume.html
2011.280.11.26 Fabio Keiner (Totengedenken)
Info:: http://fabiokeiner.bandcamp.com/album/totengedenken