Carlos Suárez is, now a days, one of the most interesting musicians exploring the compositional possibilities of field recordings in Spain. His work has been widely regarded as a revelation on how to present processed field recordings as elements of a very bast and complex symphonic music system or language.
Moreover, Suárez has been able to develop something quite bold in the realm of field recordings, this is his ability to have a certain sound identity that defines his oeuvre. Through the usage of silence, textures and noise, Suárez has been able to create a very personal and creative sound world that ultimately becomes a language by itself.
After his acclaimed work “Transit Mundi” (Luscinia 2012) Suarez has been developing that very own language, following that premise, a month ago Exp_Net released “O Tempo Do Desengano” which explored similar accents and phrases such as the ones found on this album but reversing the sound sources. In the album at Exp_Net Suarez focuses on the us e of a modular synth (Doepfer A-100) and here, with Fin Da Terra, Suárez tries to do the opposite, to work mainly with field recordings and just a bit of analogue synthesis.
Fin da Terra is a compositional exploration of sounds gathered in costal areas, beaches, breakwaters and different locations in the Atlantic galician coast, where Suárez currently lives. What’s interesting of this piece is the usage of those recordings and how they have been moulded to become “voices” at the service of Suárez sound language.
Also, Fin Da Terra uses field recordings as a canvas, a surface where to play different experiments and combinations. The soundscapes are relegated and become background to the sonic accents that define Carlos Suárez oeuvre, even, he allows himself to add, here and there, elements such as a modular synthesizer that appears hidden but present if we carefully listen as a reminder of his previous work on Exp_Net.
The overall conclusion is that Fin Da Terra cannot be understood if not listened after “Transit Mundi” and “O Tempo Do Desengano”, all of it form a consequent evolution and exemplification of creative process.
Sonic transcription of a laudanum trip. You enter a fluffy space. Your mind try to catch the sounds but the more you approach them, the more they move away.
Artist : Chrome Pontex
Title : Laudanum Dreams
Catalog # : TXR061
Duration : 49:31
Date of release : December 4, 2013
Genres : dark ambient, drone
Format : digital (FLAC and MP3)
With the first bars the journey begins and the discreet sound approaches the razor’s edge. The cut is surgical and manages to draw a clean line in the epidermis. From there the strikes go bouncing from one hemisphere to another.
Adduce are not two disassociated brains, but four functioning as a trio. The equilateral triangle between three hard drives with faces, eyes and beards. I have seen them live several times and always consider the difficulty of achieving this level of performance, so absorbed, not by the act of entering the required tempo or playing a certain note, but rather by the unfolding developments that create this conversation that you don’t ever want to end, and which in reality doesn’t ever end, because this inconclusive construction always remains ringing in eternal evolution.
Here is the path that gives meaning to the journey, not the destination, which in the case of Adduce may be many.
The form opens itself and shows us the tracks of a geometric and organic puzzle, sometimes disturbing and other times suggestive, but always an invitation to stroll along the ledge of the highest tower, from where only silhouettes distinguish themselves on the horizon, but which allows the widest panoramas.
ADD+ has no era nor time nor place: it floats in the weightless space of two brains, which I insist seem like four!
ADD+ is a gem that can help us to daydream or to imagine a new kind of retrofuturistic science fiction. The imagination of power!
“Wind Of Change” is the 4th release from the Russian beatmaker/producer Bruks with Dusted Wax Kingdom. Dreamy hip-hop instrumentals, cooked with dusty jazzy samples, deep atmospheric synths and lush drum breaks.
“Dawn breaks up behind the eyes, where sun doesn’t shine”. We Are Forever goes out to all those emotive experiences that let us dream, that went deep into ourselves and that we’ll never forget. Things that we want to keep close or need to get rid of in order to escape from ourselves. A caress. A consciusness. A drop of eternity lost beneath our souls. Sebastian Love’s 4th ep.
Auf dieser Seite weisen verschiedene Netzlabels auf ihre neuen freien Veröffentlichungen hin. Bei Interesse kannst du dir die Musik auf den Seiten des jeweiligen Labels herunterladen. Die meisten Labels veröffentlichen ihre Musik unter einer creative commons Lizens.
Die Musikpiraten haben heute ihren CC-Adventskalender gestartet. Jeden Tag kann man einen weiteren Song runterladen. Den Anfang macht “Can’t Afford Another Christmas (ft. Copperhead, Robert Siekawitch)” von Steven M Bryant.
[teilweiser crosspost von iRights.info] Es hat länger gedauert als gedacht, ziemlich genau doppelt so lang, aber am heutigen 25. November 2013 wird sie endlich vorgestellt: Die Version 4.0 der Creative-Commons-Lizenzen, kurz CCPL4. Dies soll so etwas wie “die endgültige Version” sein und wenn die Abstände zwischen den Versionen weiter so zunehmen, wäre mit e […]
Bei Creative Commons gehen die praktischen Vorbereitungen für die anstehende Lizenzenversion 4.0 gerade in die heiße Phase. Ein wichtiger Teil der Vorbereitung ist die Übersetzung der Textbausteine, aus denen die “Commons Deed” (die vereinfachte Darstellung der jeweiligen CC-Lizenz) auf dem Server von CC zusammengebaut wird. Es sollen so viele Sprachen wie m […]