corda fang samplers | recopilatori

corda fang samplers | recopilatori
2018
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Date of release: 17.12.2018 
Format: FILE - MP3 / WAV 
Length: 50:00 min 
Artwork: Audiotalaia 
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It was inevitable that sooner or later David Area, Guillermo Torres and Tomás Gris would assemble, record and mix one of the numerous improvisations they have been working on since a while back. The three of them are part of the almost-historic collective maDam based in Madrid. This variable ensemble has been operating since almost 10 years and has been at the core center of the improvisation movement in the capital of Spain. Its latest iteration has been very close related to the trio here presented.

Beyond the musical links, the three of them share a friendship forged over the years and a listening understanding of each other cristalized also in the shared project with Madrid based artists Mario Sarramián which whom they have recorded and played under the name Nanimo.

The trio explores silence, tension, the audible and repetition as a process. The tension arosed from the intent of finding a common ground is what drives the music of this three. Contradiction, dynamics and staticity are also elements of play and rules of engagement in this project.

The pieces that form this album are all a reflection of their daily live, and the struggles of a obscure and almost intimate musical scene. The fact that the recordings allow to listen to Madrid soundscape beyond the windows of the room, exposes the simplicity and grounded nature of the music of Area, Torres and Gris.

The title of the album obscures inner jokes by the authors and exposes their struggles within the scene, the uncertainty of a hyper-underground cultural network and its internal tentions between artists, schools, genres and styles. Again, a reflection of the daily live of this liminar form of music.

This album, beyond its intentions, and thematics talks about a proximity music, honest, direct and raw. A playground for small sounds and affordable electronics. Dig in.


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Tracklist:

01. La Culture
02. C'est
03. Comme
04. La Confuture
05. Moins On
06. En A
07. Plus On
08. Létale
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 Guillermo Torres: flugelhorn
Tomás Gris: Guitar

David Area: turntable & electronics

 Recorded in Madrid in 2018.

This work is protected under a Creative Commons License 4.0 Share-Alike.
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Date of release: 17.12.2018 
Format: FILE - MP3 / WAV 
Length: 09:06 min 
Artwork: Audiotalaia 
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On Patterns is a sound diptych that explores the concept of violence in sound gestuality. Through digital aesthetics and concrete sounds Carlos Gonzalez unfolds ideas, concepts and tentatives towards an experimental practice in two main directions, recorded sounds and digital processing.

The first piece has been entirely generated from synthetic sounds, is obsessively developed from an initial motif that leads to gestures of a generative nature. On the contrary, the second piece explores diverse cyclical patterns, mechanical gestures and granular textures from a recorded sample of scratched plastic.

Both pieces are intended to transport the listener into a world of sounds of apparent certainty, whose sources and behaviors we believe we are able to decipher, only to be eventually evaded.

This is the first released work by Canarian young artist and composer Carlos González Bolaños (1991). We are thrilled to discover the talent from this young composer and the prospects of what his creativity might lead to.

The synthesis and shaping of gestures and sound patterns has been designed and synthesized with SuperCollider. The pieces have been mixed and mastered with Logic Pro X.

On Patterns was included in the list of highly commended pieces in the XII edition of Forum Wallis Ars Electronica.


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Tracklist:

01. On Patterns I
02. On Patterns II

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Mixed, Composed and arranged by Carlos González Bolaños. 
This work is protected under a Creative Commons License 4.0 Share-Alike.
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Date of release: 02.11.2018 
Format: FILE - MP3 / WAV 
Length: 32:00 min 
Artwork: Audiotalaia 
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Víctor Trescolí is one of those rare musicians one encounters in live that has the ability and humbleness of being able to drift, enjoy, make and compose in a wide variety of musical styles. As he always states in conversations "I love all kinds of music". That statement could be something rather simplistic but in fact it just underlines his understanding of music and curiosity for all forms of it, regardless of styles, schools or genres.

But not only that is unique from Victor Trescolí, he's also a tirelessly worker and researcher and  advocate of the use of Toy Piano as bast and complex instrument. Six years ago Trescolí released in this very label Not a Toy a statement of intends (fostered by the very Karlheinz Essl) that marked and registered its devotion for this particular instrument and the certainty of its sonic and creative capabilities.

After all this time, Trescolí has find the time in his daily live to thoroughly compose the four pieces that shape this "States" a tour-the-force in which to embrace the full potential of Toy Piano and its expansion through the use of electronics, field recordings and live signal processing.

States is about funneling, filtering and tweaking the instrument to resemble nature, to reflect on it. States is about small elements that can become a whole galaxy. States is about a very tiny instrument with the capabilities of imitating nature, physics and the world around us. States is about how powerful creative self-limitations and hard-working stubbornness can lead to something bold, self-aware and gentle as what Victor Trescolí does with a Toy Piano.

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Tracklist:


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Mixed, Composed and arranged by Victor Trescolí. 
Recorded at Taller de Pepe March, Valencia. The 24th of June 2018.

This work is protected under a Creative Commons License 4.0 Share-Alike.
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Live vídeo excerpts:


 
Date of release: 02.11.2018 
Format: Bandcamp Streaming 
Length: 60:00 min 
Artwork: Audiotalaia 
Photo: Vera Marmelo
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Lukas Kühne was commissioned by Lisboa Soa festival to conduct a series of soundwalks at the underground facilities of the Mãe d'Água reservoir at Lisbon. This building was built in the 19th Century to distribute water into the city of Lisbon. Now a days, the building remains obsolete due to technological advances, still it is visitable and in September 2018 became the venue for the sound art festival curated by Raquel Castro, Lisboa Soa.

During the days of the festival Lukas Kühne designed a walk that took visitors from Mãe d'Água reservoir (the main building of this water reservoir system) to the Patriarcal Reservoir. Both underground water reservoirs are connected through and underground 1km long tunnel that crosses the city below the streets of Lisbon.

The recording features, in one single take, the entire hour we spent walking, in complete silence, into the depths of the underground tunnel systems from Mae d'Agua till Patriarcal Reservoir.

The soundwalk starts at Casa Do Registo, the room at Mãe d'Água that connects with the tunnel and also hosted my installation "Sínia / Noria / Azenha" that can be heard even half way through the walk. While designing the walk, Lukas decided to keep the installation on integrating the timbers, textures and soundscapes of this piece as part of the whole experience.

During the walk one can grasp the experience by listening through headphones. Resonances, echos, the sound installation, the city soundscape above and footsteps are all blurred, merged and entangled in strange and mesmerizing ways by the acoustics of the tunnel and its architecture, its location and the act of being down there in complete silence, being dragged and following the keen ear of Lukas Kühne.

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Thanks to: Raquel Castro and the team of Lisboa Soa who made this walk and the festival possible. Also special thanks to Lukas Kühne for allowing the recording and the release of it in this label.

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Recorded by: Edu Comelles.

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+info: 
http://www.lukaskuehne.com/
http://www.lisboasoa.com/

Date of release: 10.09.2018 
Format: FILE - MP3 / WAV 
Length: 45:00 min 
Artwork: Audiotalaia 
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Memòria Pétria is a project born from stone and tradition. More specifically Ferran Lega explores the acoustic, timbrical and sonic properties of slate tiles. Those pieces of stone are usually find as the most common rooftop covering in the Catalan Pyrenees. The tiles carry within it a historical background that starts with hardcore rock compression and the formation of sheets of metamorphic rock, commonly know as mountains. From there, slate becomes a basic material for the inhabitants of the mountains across history until the present day where misusage and dereliction has changed habits and uses of this black tiles.

Ferran Lega, reckons the deep and rooted into the land background of those tiles and uses them to create soundscapes filed with memories, textures and life of its own by extracting the electroacoustic trademark of this partially resonant materials.

As a homage to the way those rocks are formed and its transformation through centuries, Ferran Lega treats the sounds extracted from the slate tiles in the same way. Through a process of layering, filtering and morphing of long term recordings using contact microphones and exposing the tiles into various situations designed to activate the resonant capabilities of the material.

The outcome is this album, a series of recordings, compositions and textures echoing the burden of centuries of usage and homaging, sonically materials that become sonic textures.

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Tracklist:

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Recorded, produced and edited by Ferran Lega Lladós, field assisted by Cleo Campuzano at Espot, Pallars Sobirà (Catalonia) between summer 2016 and spring 2017.

Thank you to Mingo Roca Cecilia, (casa Xaulet) for providing their ancient rooftop tiles, and the spaces where to record. And thanks to Cleofé Campuzano Marco for priceless support and passion upon my work.

This work is protected under a Creative Commons License 4.0 Share-Alike.
Date of release: 05.09.2018
Format: FILE - MP3 / WAV 
Length: 11:25 min
Artwork: Audiotalaia 

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 Someone could argue the value of keeping a Netlabel alive this days. Many are the reasons to move to other spheres, media or formats but sometimes, there are a projects that by the nature of it, bring along a sense of coherence to what we do.  Even that the concept behind Ilir Lluka's work is not about that, a certain aspect of it, it is. This is maybe the use of a very short span of time to develop a piece of work such as "An Étude In Two Variations" that only last 10 minutes.  By its shortness, one thinks that a net-release is the best way to present this kind of work, and we are glad to find again reasons to keep supporting this kind of craft.

"An Étude In Two Variations" is a two track album. Both pieces are the outcome of an exercise in composition in which Lluka stablished a common begining for both pieces and a certain set of timbers that would shape both compositions as similar. The only difference between both pieces is the sound source of each. The first one uses a japanese koto and electronics, and the second a custom made synthesizer (a mixture of Nord modular patches combined with a virtual synthesizer designed by himself). Both compositions follow more or less the same compositional line but each one in its own character, similar timbers but unexpected and distant outcomes.

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Tracklist.

01. First Variation
02. Second Variation

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Produced, mixed and composed by Ilir Lluka in 2018.
This work is protected under a Creative Commons License 4.0 Share-Alike.
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This is the release page of the outcome of the 9 days workshop "Audiotalaia Summer Camp" held at El Polell, Montseny, Barcelona, Catalonia between the 13th and the 22nd of July 2018.

The works are the result of various exercises proposed by Edu Comelles and the outcome is the what remained of different collective processes taking place within various groups of participants at the Summer Camp.

Very short premises where stablished for the exercises giving a big amount of creative freedom and the right amount of constriction. Final presentations open to the public are also featured in this album. These are works done collectively and without creative or technical restrictions.

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Credits:

All works done collectively by Joan Cot Ros, Carina Pesch, Martina Weber, Ludwig Meckel, Varun Krishnan, Robert Coleman, Joe Dixon, Tiago Tobias, Arzu Saglam, Emma Fern, Beth Horseman, Robin Meeker-Cummings, Sonia Killmann, Martín Pineda and Constanze Flamme.

All videos and photos taken by Balbina Sardà.

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Audio Recordings:

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Video Documentation:

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Photos (More on Facebook):












Date of release: 07.06.2018
Format: FILE - MP3 / WAV 
Length: 50:25 min
Artwork: Audiotalaia 

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Le Espectacle de la Société du l'Espectacle is the latest work by galician artist Durán Vázquez. This album has been divided in three parts that are presented as a continuous reflection on soundscapes of our contemporary life recorded as fragments of common places in our western capitalist contemporary society. Leisure, sports, cultural manifestations, protests and daily life are entangled together to shape a tapestry of how Durán Vázquez perceives his immediate environment. In his own words Vázquez states that those recordings and the fusion between whats fictional and whats truthful aims to portray the implicit political aspects of the daily life soundscape, regardless of what society defines itself.

The album is furrowed by electronic sonic structures that detaches the listener from the inmersive experience of the soundscape. It seems that those instances are a reflection of a certain feeling of rejection from the artist himself, a way to listen to the environment with perspective, and distance; or just as if drowned by soundscapes, we need to swim up to catch a breath from all the complexities and noises from the mundane soundscape around us.

Who knows.
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Tracklist.

01. Shin BLU 43 (Primera Parte)
02. Shin BLU 43 (Segunda Parte)
03. Shin BLU 43 (Tercera Parte)

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Produced, mixed and composed by Durán Vázquez in 2017-18.
This work is protected under a Creative Commons License 4.0 Share-Alike.

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Reviews:

 Marxist theorist Guy Debord warned about the seductions of the information age long before the internet existed: “Young people everywhere have been allowed to choose between love and a garbage disposal unit. Everywhere they have chosen the garbage disposal unit.” Durán Vázquez adopts Debord’s food shredder as a structural metaphor on Le Espectacle de la Société du l’Espectacle. With an eye (and ear) on public sites haunted by specters of consumerism, the Galician sound artist mulches field recordings into vexing soundscapes. The first track opens with water lapping a lakeshore; but the tranquility is soon bruised by motorboats. An electronic drone provides a quiet foil for the furious recreation. Transporting us from an idle day on the lake to a street rally, shouts for help unsettle beside gunshots on the second track. Bleating car horns sound like a flock of strangled geese; elsewhere, a studio laugh track cackles eerily. The final track seethes with gurgles and gratings. Passing airplanes drown out a speech, the announcer coaxing chants from the crowd. (In an era of tribal politics, authority captivates when amplified on stage.) Life may be a festival filled with ghosts of our desires; but if the party never stops, how will we know what we celebrate versus what we mourn? Never has a garbage disposal sounded so broken.

 Todd B. Gruel . A Closer Listen. 


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 #50 / Riso Printed Postcard Limited Edition + Digital Download

Random risography printed postcards on Muncken paper framed within a Fabriano Paper Passepartout (16x16 cm). Includes download links for the full album and a Live Recording. The item comes folded into a sealed Polypropylene bag.

Includes unlimited streaming of Aquí Llega El Invierno via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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Concept.

The 11th of December 2017 snow covered Guadalaviar, a village in Central Spain right in the middle of the most unpopulated area of Southern Europe, the so called Spanish Siberia. After the snow storm 5 days followed and clouds give pass to wind, thaw, water and finally the sun.

The cicle of cold, snow, ice and thaw has been  something rather usual in Guadalaviar, but its starting to become an exeption. It still snows, and the cold is there, but not as before. Climate is fragile and unpredictable.

In Guadalaviar there is a rural school that hosts only 5 children (town population is less than 150 habitants), and two more on its way. According to spanish law, to maintain the school open, there must be exactly that: at least 5 children and the prospect of more to come. The town depends entirely on those fice children, those who, unaware of their role on the hereafter, play in the snow.

While and ecosystem is threatened by climate change, another ecosystem, the human one is theatened by rural depopulation. Both worlds  share, space and time, and both walk the line of an uncertain future. This album is a homage to both.

This albums draws attention on the 5 days following the snow storm of the 11th of December 2017, the landscapes and the small things that shape Guadalaviar and those living there, small things that for locals, sometimes can go unnoticed. "Aquí llega el invierno" (literaly translated as Here Comes The Winter) talks about all the aparently mundane things that on a blink of the eye can become something extraordinary. Its all about the school and those five children sustaining the towns life, the uncanny reverberation at the town sports pavilion, and the music of cowbells and cattle becoming instruments rather than tools. Its about silence, snow, ice, thaw, water and finally the sun on the heart of the most remote and forgotten region of Spain.

Finally this work is a microcosmos of isolated elements on a god-forsaken land that fights to exist.  The album is a claim to the landscape, the region and how its percieved, listened and felt.

There are 100 CD copies of this work, most of then have been distributed among Guadalaviar neighbors. The rest of it can be acquired for free at the Town Hall and the local Museum.

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All works under a Creative Commons License. Audiotalaia, .