“Electronic” (Used 364 times)
Pavillon36 on 04/16/2013 at 09:59AM
Based in Nîmes, France, our DIY netlabel Pavillon36 Recordings is celebrating 5 years of abstract, IDM, dubstep, drum & bass & breakcore releases. As an anniversary gift for everyone, we're offering three compilations called "Circuits Imprimés," which is French for "Printed Circuit Board."
Circuits Imprimés Vol. 01: A collection of tracks picked up from other netlabel collections as a tribute. This songs, artists and labels inspired us create Pavillion 36 and to start making our own great music for free. We hope you'll discover some music you've missed from past years in this mix, though for us these are all classics.
Circuits Imprimés Vol. 02: New and unreleased tracks by our main artists including Anagramm, Le Perche Oreille & Kez Le Zek to name a few. From IDM/Glitch to Drum & Bass, this is the essence of our netlabel.
Circuits Imprimés Vol. 03: For this release we invited some of our favorite artists to make their own 'PCB' sound to celebrate 5 years of our netlabel. Abstract, IDM, Glitch or whatever the style, you'll find on this final volume some great interpretations of what we call "Circuits Imprimés." We hope we have succesfully connected all these electronic components together to create a complex circuit. These 'PCB' tracks are not intended to be printed only on your hard drive, but to be printed on your brain.
newweirdaustralia on 03/25/2013 at 09:00AM
No Love Lost (WW15) is the debut release from electronic producer Sarah Phelan, under the name Drill Folly. Sarah has been making music for a number of years as a founding member of Melbourne's Tantrums, whose debut EP Anomie was released on New Weird Australia in 2010, featuring remixes from Collarbones & Worng. As part of Tantrums, Sarah has played live supporting Unkle, Mount Kimbie, Caribou, Four Tet, PVT, Xiu Xiu, My Disco, Jason Forrest and more.
This debut release is designed to be listened to on your own, in headphones. Sarah notes: "This is about expressing human emotion through machines. This is about therapy ... immersion ... escape ... about words being insufficient ... about trying to remember and remembering to forget. This is about not letting things sit on your hard drive until you die."
Beginning in early 2012, Adelaide’s Hollow Press has been using drone, glitches, field recordings, voices and industrial sounds to create his work. His first two albums, Fleeting Joy and Between Us were released digitally and on CD by US label Drug Arts. A remix album of his work was released in early 2013 with reworks from The Atlas Room, Shisd, Delphine Coma, Amanda Schoepflin and more.
The third Hollow Press album in the span of a year, Heads in Dust (WW16) is a collection of blissful and at times unsettling songs - an abstract soundtrack to someone’s innermost, darkest thoughts, as it drifts seamlessly though sonic atmospheres. Clearly Hollow Press loves the darker shades of experimentalism, exploring ambience, mingling sounds, wave-like-synths, bells, and distorted voices, resulting in a captivating and significant Australian experimental album.
noisemaxim on 03/18/2013 at 06:56PM
I am very glad to present to your attention an album of an experemental band of Radiomaniac under the name: "Antenna Theory"
It is one of the most mad things in the direction of post-rock, without foolish smack of ambient. The most real maniacs in creation of unusual sound landscapes in which strong communicate electronics, post-hardcore and noise. It is the present song of radio waves, not human music created by people for people.
That they speak about themselves:
"Radiomaniac - four from the island of mixed marriages, talented brewers and, deceiving topographical intuition, the routes, the Distances impressed with painting, Sonic Youth and Nirvana plates, clips The Prodigy, David Lynch's movies, plants, mines, urbanism, the sound effects upset with guitars, faulty sound pickups, a happening - art, infinite night conversations, and also such groups as: Mogwai, 65 days of static, Joy Division, Radiohead, Pink Floyd, HTRK, Velvet Underground, Television.
As a whole sounding of group similar to if Tom York, Tyorston Moore, Dominique Eytchison and Stephen Morris in common would began to play 65 days of static changing Nirvana, in the spirit of Nine Inch Nails.
We never used an acid, did not arrange a session of group meditation, did not play composition lasting over 6 minutes, did not think of the name for group which would consist of 4 words and more, did not do myself in quality оберегов a figure of participants of God is an astronaut."
NetMusic_Life on 02/14/2013 at 01:48AM
Aspetti il vento che senti scivolare da lontano. La stesse barriere incolore che i soliti profili corporei ti erigono per propria difesa. Eppure la primavera è qui e si fa ascoltare in ogni suo senso. Le scelte sono scelte nel campo delle innumerevoli opportunità. Restare fermi è una scelta, a volte masochistica e a volte provocata dal timore di un’oscurità che basterebbe illuminare di luce propria. «Machines in Heaven» provoca una beata sicurezza situata all’interno dei suoi precisi contorni elettronici. Pop? Royksopp? Techno-pop? Ha ancora un senso?"bordersbreakdown" si reiventa ogni definizione appena scritta nel suo svilupparsi in un trama progressive galleggiante in un lago post-rock illuminato da boe elettroniche. Il caso sta con le spalle al muro nell’angolo più buio della stanza.
newweirdaustralia on 01/28/2013 at 07:00AM
This week sees the release of The Pomegranate Cycle by Textile Audio on Wood & Wire. Woven from song, sound textures and fragmented orchestration, The Pomegranate Cycle is the creation of composer, mezzo soprano and sound engineer Eve Klein.
Since 2002, Eve has been working as a professional operatic mezzo soprano, electronic musician and academic. The Textile Audio project finds her working with scores, field recordings, and operatic-pop composite vocals to weave rich melodic soundscapes and textures that she describes as "unashamedly romantic". With a PhD in Music and Sound from Queensland University of Technology, and over 300 shows for Opera Australia under her belt, The Pomegranate Cycle marks the culmination of many years of explorations into the marriage of opera and classical forms with contemporary audio production.
An early work, Some Kind Of Mininova opened New Weird Australia's free compilation, Volume Four, and introduced Textile Audio to an audience who were among the first to experience Eve's unique contemporary Australian experimental opera. This was shortly followed by The Pomegranate EP on Feral Media, which featured early versions of tracks from The Pomegranate Cycle as well as a wonderfully sensitive rework of The Pomegranate Cycle's Demeter's Lament by electronic producer, Gentleforce.
"In a way, whilst there is a provocative electronic subversion inherent in the disruptive industrial clicks, blips and tears that punctuate the work, it is the sheer beauty of Klein's voice, heard against itself, against the samples and lines, against the disembodied choruses, that is the glue by which The Pomegranate Cycle is most potently held together. Here, at the point of Klein's voice and its placement in the structure of the music, are operatic traditions celebrated, challenged and reframed. This is contemporary music at its most relevant - it is simultaneously inward and outward focused in addressing the challenge of its existence and its capacity to produce something great."