TRACKLIST:
01. Reflection in Ocean (4:03)
02. Colored Surface (4:15)
03. Ballet of Life and Death (4:44)
04. Visual Clutter (4:03)
05. The most Perfect Harmony (3:44)
06.Tangle of Feelings (4:18)
07. Seems to follow some Rules (4:52)
08. Skin of Octopus (3:37)
09. Becomes (3:57)
Blit is a well-known talented chilean producer who adds to the catalog of Modismo with a new proof of his versatility.
‘Repite’, track that opens the album, manages to outline the ground in which ‘Fauna Ficción’ moves, as a smoke screen we pass through to go all over a work where experimentation in electronic music is addressed with a ludic spirit.
This way, he is able to approach these compositions to a more restless instrumental pop, crossing over intricate keyboard sounds at dark low frecuencies that works as counterpoint. It is a careful production of the rhythmic patterns that sounds updated with contemporary urban rhythms and with a strong accent on hip-hop derivatives.
The centerpiece of this Blit’s new delivery are the three parts of ‘Exilio’, being the second one the moment in greater tune with the dancefloor. The album closes with ‘Morel’, a track that seems to recall Richard D. James’ legacy, though it ends up shaking the nostalgic off with a powerful rhythmic dose.
In less than 20 minutes ‘Fauna Ficción’ succeedes in introducing us into a world that catches us, captivating our ear with fresh sounds and keeping our feet in constant motion thanks to its playful beats. Seven tracks that only confirm Blit’s huge potential and the good times for the electronic music production that prevails in today’s Chile.
By Javier Moraga, Valparaíso, Chile, 2017
Here you will hear aggressive rave beats, distorted synths and other electronic lo-fi sounds, mixed with some vocals here and there – music that will make you wanna lose your mind!
Recorded in five days in London, at James Ogilvie’s studio in 2010, Dragon’s Teeth is the confrontation of eddie 135’s experimental tweaks and Shitblaster’s science of mix. Saturated like the oil from the fish and chips that three musicians greedily gulp up between two work sessions, the series of improvisations produced by Adrien, Matthieu, and James one evening, serves as the sizzling play-do used to conceive this future disc. From this initial magma that blends rhythm boxes, Juno synthesizer, and a deluge of pyrotechnical effects, accidental beaches form and reveal little by little large blankets that wrap the listener into an actual flow of lava. Petrified, the listener thus takes all the time needed to let oneself become invaded by the ensemble’s numerous textures…
Taking everything with them on their way, the four gobbling geezers deployed here evolve in jolts to bring back from the depths this mysterious dragon’s tooth. Instinctive, brutal, yet mastered, this album’s boiling energy proves once more that the first idea is often the right one.
Dragon’s Teeth, the 33rd release of Da! Heard It Records, is distributed under a Creative Commons License BY-NC-ND. The album is available for free listening and downloading at the following link:
http://www.daheardit-records.net/en/discography/dhr-33
Bombing
Lost Boy
Love Hurts
Numb
Parents
Sorry About The Rain
Sunday Morning
Electronic Abstract Ambient Musician Noisesurfer invites you to
a chill out journey into rivers & forest trying add few sounds
from around the world.
Mixed & Fixed & Collated By Noisesurfer
The sweetness of the fi pop and a different electro , between breaths and hot insecurities, a magnificent album that Marco aka Butipreferrominapower aka Cloud Traveler gives us, and it will be a joy for all.
home recording tracks recorded and mixed in the living room and kitchen of
the end of 2015 and 2016 by Butipreferrominapower.
Mastering by L. Munari @MSD Studio.
Split album “Deformation” consists of two “bonus” tracks, which were conceptually dropped from the current project material [mikra] and Izvнe. It turned out that the split all began to sound harmoniously and acquired its completeness.
-Belt, faux pox alergant
Subtle beats and delicate melodies echo throughout. Something gentle to ease us towards summer!
“Red Kite” (‘Cometa Roja’ in Spanish) is a project by Sergio Sánchez, sound artist and anointed experimental musician in Murcia (Spain), that is born from the need to bring together several of his scattered works that did not follow the aesthetic criteria of his better known alias, ‘Jazznoize‘.
These compositions are differentiated by the use of distinct sound sources. While with ‘Jazznoize‘, the principle element for sonic experimentation is the field recording, with ‘Red Kite‘ it is precisely the opposite, electronic music as a compositional basis for generating sound structures that participate in what Kim Cascone called ‘Aesthetic of error’, centered on the less complacent drone and ambient genres. The post-digital sounds, with the use of software and instruments such as samplers and some low fi synthesizers, are the principle reference coupled with a Marxist ideological posture in the conception of his works.
An example of this is his new work under this pseudonym. It is titled ‘#1‘, and brings together topics inspired by some moments of the twentieth century, such as the revolution in Germany organized by the Spartakus League, or the Argentine dictatorship with his criticism of the 1978 World Cup that celebrated goals while a genuine genocide and the suppression of liberties was occuring, and also the revindication of revolutionary and anti-imperialist Marxism by a well known figure, Ernesto Che Guevara. The other two recordings move away from the political commitment to concetrate on highlighting figures like the composer Eliane Radigue. And in the case of ‘Olimpo’ (Olympus) it is a stylistic exercise, a simple re-reading of the previous themes using samplers from some micro-sounds. The most significant influences for generating the textures of ‘Red Kite‘ are Oval (his first works), Tim Hecker, Fennesz, Adam Pacione, Alva Noto, but with an isolationist edge in his sound and with a sense of repetition as a nodular element that redirects the noises and the melodies of his compositions.”
Sergio Sánchez
(Murcia, España / Spain. Abril / April, 2017)
Intro
Where I Am
This Desert Life
Forgot Our Names
Swim Back To Me
February
Another Poem
Sleep
The Wolf
Never Built Doors
Strange Places, Strange Things
Cold Hands
Epilogue
Isn’t it too simple? Made with a 10 year old software from basic 10 year old samples? Consider it like a fossil from times when the Matrix was still something new and sensational, and everyone was still listening to trance, not psytrance – the original trance. Like a can with a sample of air conserved with those moments.
Every track is a separate composition, every track has its own unique sound and mood, consider this album a compilation of 10 different stories. And even more – each of them has its own hand-drawn artwork which also is an anachronism in this computer graphic ruled world. Artworks are like impressions that pop into an abstract mind after listening to the sounds.
Structurally difficult and non-paced attacking rhythms, getting more complex and running from rules dictated by background structures, while those rules fading away, anxious melodies which are trying to compensate the constant urge to lose the control of composition.
