sonic update is a project initiated by composers/performers/improvisers Nikolaus Gerszewski and Gustavo Aguilar in which the utilization of an instrument’s full sound-producing capacity mimics and informs the duo’s interest in the social and communicative aspect of making music. In his notes for the original versionof Conference, which was scored for percussion sextet, Gerszewski writes:

The piece is essentially a soundscape that makes use of tambourines, shakers, guiros, spring drums, harmonicas, cabassas, sleighbells, slide whistles, bowed cardboard tubes, and the crumpling of newspaper. My aim was to produce, through manual means, sounds that resembled those typically produced electronically. The title, Conference, refers to the fact that the performers are sitting at tables while playing, much like many of today’s electronic music processors (e.g. laptop performers) might do. Yet what is lost when there is no corporeal match between electronically produced sounds and their human interlocutors? Could I recuperate that match by asking performers to interject that corporeality?

In this latest version of Conference (now aptly titled Conference for One since Aguilar is the lone performer), Aguilar tries to create a non-hierarchical and thoroughly re-embodied and interdependent social interactivity between a laptop and a human.

Conference for One is sonic update’s first release.

www.ordinary-art.com
www.gustavoaguilar.com

Download: FLAC | MP3 | Ogg Vorbis

Cezary Gapik (also know as CEZAR) was born in Czestochowa, Poland in 1963. He started his musical activity in 1980 as an animator of punk rock bands. Soon enough he discovered new sounds which were brought by the punk rock rebellion. Cabaret Voltaire, Public Image Ltd. or other “new wave” bands had an enormous influence on the perception of music by Cezar. Plunging into the fundaments of musical avant-garde (Karlheinz Stockhausen, Morton Feldman, Luc Ferrari, La Monte Young), the appearance of new creative possibilities (computer) together with the works of artists like Mick Harris (Lull, Scorn), Illusion of Safety, etc. had definitively shaped the musical direction towards which Cezary Gapik follows. His musical creation is based on drones and micro-tonal sound planes interlaced with abstract “images” (field recordings) or computer-processed synthetic sounds (glitch). In his compositions one has the opportunity to feel the fascination of the artists like Luc Ferrari, Philip Glass, La Monte Young and the masters of isolationist ambient – Lull, Thomas Kaner, Nocturnal Emissions. After individual experiments with dark electronic vibes in the mid-nineties Cezar met in 1998 Bartlomiej Kuzniak (bass, sax & electronics musician), with whom he created QG/GQ project. A little trace of this cooperation is a track “Z1″ on “C9H13O3N” album released in limited, 200-pieces edition under the independent label Polycephal. The year 2000 brought another collaboration of Cezar with musicians like B. Kuzniak (mentioned above), Joe Giardullo (sax – New York’s jazz avant-garde), Dawid Kosiarkiewicz (sax, prepared piano), Zbigniew Szmatloch (prepared guitar & electronics) and Andrzej Zaleski (drums) which evolved into a concert tour across Poland. The memorable concerts were performed in Warsaw (Centre of Modern Art in Ujazdowski Castle) and in Szczecin (Kana Theatre). Part of the Warsaw concert has been included on the Dokument. Program Strefa’s compilation released in 2005. Cezar is very often invited for co-operation by grind-core and death-metal bands like YATTERING, for whom he composed drones which were used to fill the gaps between tracks on the album “Murder Concept” (2000). He can be called a “fulltime” intro & outro specialist for the band INFERNAL WAR which with his contribution released albums “Terrorfront” (2005) and “Redesecration” (2007). Cezar has also an episode with computer gaming IT Industry on his account where he composed an ambient soundtrack for the PC game “Painkiller” released in 2004 and acclaimed by critics. Up to year 2006 Cezar has composed in his own self-created studio a large volume of sound material which he regularly released on CD-R discs in limited editions for his friends and fans. Originating from this collection – the album “Artefakt” (2000) has been highly valued and recognized by critics and finally re-released by a netlabel Torrentech in 2009. The years 2007 and 2008 can be considered as a pause in Cezar’s creation while the year 2009 brought an increased artistâs activity. After the re-release of “Artefakt” and release by a Russian netlabel DNA Production of the retrospective compilation âThe Collection 1998-2006â Cezar brought to life his own label – C.G. Drone Records. The first âfruitâ of this project was a mini CDr (3) “The Limestone EP”. At the same time Cezar tightened his cooperation with DNA Production which resulted in his new EP to be also available for download (mp3 & FLAC format) from this netlabel’s catalogue. The year 2009 has also brought a new cooperative project – this time with German ambient musician Siegmar Fricke which concluded with an album CEZAR | PHARMAKUSTIK â âEnukleacjaâ. The album could be described as a cool, isolationist and dark-ambient creation. The year 2010 opened with the release in January by French netlabels Le Colibri Necrophile, Earsheltering and M.i.r.e.n.a. of the compilation “Nektar 2017 Volume 2″. Cezar contributed to this production with the track “0421″. In February C.G. Drone Records released “Zaduszki (All Saints Day) EP” which is a re-edition of the tracks previously composed in the years 1998 and 1999 under the same title.

What concerns the future – “there is still a lot of unrest in my soul which I desire to transform into sound” – says Cezary Gapik.

Read more: http://www.myspace.com/cezargapik

Gameboydrice is a project of Eugene Voronovsky, also known for his work as Cisfinitum. “Selden” is the soundtrack for a film of the same name, which is based on the Hound of Baskervilles by Conan Doyle. The music has roots in old silent film scores, yet with some modern experimental twists. Exotica, plunderphonics, and sense of the absurd prevail throughout.

Cover: Front | Back

http://www.myspace.com/cisfinitum

Intelligent noise music label ZEROMOON is proud to release MEMORY GOSPEL, the newest release from MYO, the solo project of Cory O’Brien – self-taught hacker, computer musician and electro-acoustic improviser.

Memory Gospel reads as sonic text wherein tones are stretched to their breaking points; sounds twist and turn inwards onto themselves; numerations of crackling static and looped feedback shatter and then recontextualize in a perfect illogical reasoning; all culminating in the title track’s rhythmic pulse-signaling.

The sounds of Memory Gospel are mini-soundtracks informed by greater occurrences: Digital Overboard / Lipoma 08 and Emergent Citrus Feedback Multiphonics / Lipoma 02 v2 by O’Brien’s week-long recovery from a lipoma removed in spring 2009; People Are So God Damn Fucking Selfish and Memory Gospel were recorded during the recession slump in late 2008, during an uncertain future; with the remainder of tracks recorded in winter 2009.

In a similar pattern where harmonics and timber are altered in prepared piano or guitar work, Myo has created a new audiology of ‘prepared’ electronics: “It is digital noise that got confused and thinks its analog shortwave feedback,” states O’Brien. “The whole thing was done with a very raw and gritty aesthetic.”

“louder, dirtier, gritty and angular, but still with ingredients of microsound…” ~ vital weekly

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The Third Object Orchestra brings together six electric and acoustic string improvisers to create a sound combining ambience, pantonality, chance and friction. This recording of “Five Movements for Six String Players” captures the August 2009 performance of a graphic score by Daniel Barbiero, conducted by Chris Videll. With Paolo Vallodolid on viola, Doug Stailey on cello, Daniel Barbiero on double bass, Gary Rouzer on NS bass-cello, electronics and toys, Doug Kallmeyer on NS bass and electronics, and T.A. Zook on NS bass-cello atmospherico continuo.

Download: FLAC | MP3

Jazznoize’s sonorous aesthetic manipulation of Zan Hoffman’s free and intuitive recordings.
Royal (Real) instruments (clarinet, guitars, percussion…).
Welcome to a new subworld.

(Sergio Sanchez & Zan Hoffman)
http://www.myspace.com/zanstones

http://www.myspace.com/jazznoize17

Jazznoize is a project by Sergio Sanchez (sound artist from Murcia, Spain) which started in 2000 with some cassette tape manipulation heavily influenced by Francisco Lopez, Pierre Schaeffer, Merzbow, John Duncan, Daniel Menche, Comando Bruno, Esplendor Geometrico, or Whitehouse. However, most of this early work is lost forever. Recent Jazznoize work has have evolved into subtler transformation of field recordings, audible manipulation, reality fragmentation and reassembly, all of it meant to be a(nother) blow against older art forms, much in the way the first generation of industrial musicians fought the existing musical industry.
The world like sound instrument.
My own definition: ruidista ibarico (iberian noiser?) noiser = musician who creates noise.

AHAD – viola, circuit bent toys, crackle box, home-made springophone, lo-tech optical theremin, samples, radio, selected percussions, effects, voice
DESPERA – guitar, effects etc.

The music was analogue tape recorded in mono by Despera in Budapest, September (track 1-6.) and on the “Ahad’s Masters Garden I.: Shapeshifting” live concert in Bp. at the music club West Balkan, 17th December, 2007 (track 7.). Edited and pre-mastered by Despera at Worstward Records in Tokyo, 2008. Post-mastered by Ahad in Budapest, April, 2010.

AHAD & DESPERA

AMMEn – O / Chapters from the Ahad’s Masters Garden Sessions

Click on titles to download FLAC files

1. AMMEn – O 23:21
2. “Rrose Selavy’s Anemic Cinema” Session 13:19
3. The Hell of Retribution and Justice 2:54
4. The Hell of the Black Rope 14:17
5. The Hell of Unlimited Suffering 15:39
6. “And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him” 21:09
7. “The Private Life of a Cat” Live (Fragment) 18:06

Cover art: Front | Inside | Back | CD 1 | CD 2

Download as MP3 VBR zip

Notes:

• Track 1.: [Emma-o:] “The Japanese Buddhist god of the underworld (from the Sanskrit Yama ). He lives in the Yellow Springs under the earth in a huge castle all covered in silver and gold, rosy pearls and other jewels. He is the judge of the dead and notes the sins of those who are sentenced to purgatory, and decides the degree of their punishments according to Buddha’s Law. Anyone who has killed an innocent will be thrown into a boiling cauldron full of molten metal. However, if they have made a pilgrimage to each of the 33 shrines of the goddess of mercy Kannon, then all the evil they have done will disappear. Sometimes he is portrayed less pitiless and returns life to those who appear before him. On the last day of the Festival of the Dead, the sea is full of shoryobuni (“soul ships”), for on that day the high tide brings a flood of returning ghost who go back to their spirit world. The sea is luminescent with the light these souls emit, and their whispering can be heard. While the ghosts are embarking, no human ship should come near. Should one stray into the soul-covered sea, the ghosts will ask for pails. The sailors should only offer them pails without bottoms, for if they do not, the ghosts will sink their ship. Currently, Emma-o is used as a bogeyman to scare little children.” (Micha F. Lindemans, http://www.pantheon.org/articles/e/emma-o.html)
• Track 2.: Improvisation on a theme from “Ahad’s Masters Garden I.: Shapeshifting”. Rrose Selavy aka Marcel Duchamp: “Anemic Cinema” (1926) is the first part of Ahad’s film soundtrack project “AMG I.: Shapeshifting”. Duchamp’s original film is a silent movie.
• Track 3-5.: A famous Japanese Buddhist text, the Ojoyosho«, or “Essentials of Birth in the Pure Landâ was written before 986 by a monk of the Tendai sect named Genshin. The Ojoyosho« reads in many ways like Dante’s Inferno, where Genshin depicts various kinds of Buddhist hell realms, where various types of cruel and selfish actions are punished. In keeping with Buddhist theology, the hell realms are not permanent states of rebirth, but one can stay there for a very, very long time before being reborn again. “The Hell of Retribution and Justice”, where one dwells for 12,500,000 years for destroying life or eating meat and people here are pummeled by demons into mincemeat; “The Hell of the Black Rope”, where murderers and thieves are flogged with whips of fire and cut with burning axes; “The Hell of Unlimited Suffering”, where the worst of the worst go: Devadatta, who tried to kill the Buddha a number of times, and split the early monastic community, is said to dwell here, but one day he too will be a Buddha though.
• Track 6.: Revelation 6:8
• Track 7.: Alexander Hammid: “The Private Life of a Cat” (1944) is the third part of Ahad’s film soundtrack project “AMG I.: Shapeshifting”. Hammid’s original film is a silent movie.

Dedicated to the memory of the legendary japanese psychedelic noise rock band Les Rallizes Denudes and Nobuo Nakagawa (18 April 1905 – June 17, 1984), director of the horror film masterpiece in 1960, Jigoku (Hell).

Special thanks to Enike Buday, Ishii Junya, Zsolt Koroknai Men Lareida MÃte Maros, Jeff Surak aka Violet.

Cover art by Ahad (“Cyberdeiwill” series – 1995, mixed media)
Cover design by MÃ

Further informations about Despera (from the band Uramichi):
http://www.myspace.com/uramichi
Further informations about Ahad:
http://www.myspace.com/ahadnoisemusic
http://www.reverbnation.com/ahadsmastersgarden
http://inaplo.hu/ahad

Ahad’s Masters Garden VII.
AMG logo by Buda Varga

zero106

Strotter Inst. is generating dense sound- and rhythm-structures by using five modified and manipulated Lenco-turntables and various cut or scotched records. The music ranges from a low-fi rumble changing into concrete clicks and scrapes, followed by epic drones and multilayered broken beats to fall back into tricky bass-meditations. Hardly using sounds from LPâs the main source of sound are the prepared pick-ups (i.e. sewing needles or strings instead of the diamond or the extended use of rubber bands). The treatment involves the unclean nature of the sounds as part of the music.

This performance was recorded live April 17, 2010 at Comet Ping Pong in Washington DC.

http://www.strotter.org

Download: FLAC | MP3

In Flight of the Solstice Queens, Blue Sausage Infant offers a deep dose of sonic escapism, ranging from the layered drone of pure head music (The Sentimental Communist) to earthy krautrock grooves (Radiant Arc). Through these methods and a reckless thirst for improvisation, BSI’s singular motive is to conjure trance states by any means necessary.

Washington DC’s Chester Hawkins has performed as Blue Sausage Infant since 1986, cross-contaminating the far corners of psychedelia (bitter noise, pastoral soundscapes, dadaist editing) to produce unique and demanding music. Tools include an even mix of electronics and organics: everything from synth and bass to harmonicas, scrap aluminum, and amplified electric toothbrushes.

Blue Sausage Infant has produced 14 handmade releases under the Intangible Arts imprint and has contributed to compilations across the USA and elsewhere. Past collaborators include Violet, Haunted Toilet, Changes to Blind, New Carrollton, Lida Husik, and Stolen Government Binder Clip. A selection of BSI material has been used for the soundtrack to Tim Ashby’s film Surface To Air, due for release in 2010. For Flight of the Solstice Queens, Hawkins drafted Chicago’s Michael Shanahan on drums (tracks 2 & 7) as well as DC’s Jeff Surak (a.k.a. Violet, track 3), Jason Mullinax (a.k.a. Pilesar, acoustics track 4), and Gary Rouzer (un-prepared bass & amplified textures, track 4).

With a renewed focus on live events (including two celebrated performances at the Sonic Circuits Festival in 2008 and 2009), Blue Sausage Infant is spreading a new and deeply interior breed of feral freakout music that insists upon an active partnership with the listener: All BSI tracks remain unfinished until they reach the brain of a willing host.

Listen to “Flight of the Solstice Queens”

bluesausageinfant.com
myspace.com/iabluesausageinfant

zero010 CD – $10.00 BUY ME NOW

Pilesar (pronounced pie-LEE-zur) is a percussionist and songwriter who specializes in creating quirky soundscapes, rhythmically dense improvisations and wildly eclectic live performances. Instrumentation may include drums, voice, toys, electronics, loops, broken effects pedals, borrowed instruments, thrift store finds, tapes and various environmental factors.

As both a soloist and collaborator, Pilesar has released dozens of fiercely independent recordings on his DIY label, Chameleon Dish Archives. For fans of Ween, Boredoms, Ruins, Zappa and Tom Waits.

http://pilesarmusic.com

Download MP3 VBR zip