It is a sad fact that some artists gain recognition late in their lives, sometimes due to a reappraisal of the “genre” they write. In hindsight some are realising that New Age and Melodic Instrumental music is really worth sitting down and listening to, albeit a bit late for some as in Pauline Anna Strom’s case, or too late for others. Without sounding preachy here – give things a listen, you might be pleasantly surprised.
Sonic Panorama: Sonic Feminisms, SAOUT RADIO Artists: Randa Maroufi, Cathy Lane, Habiba Effat, Myriam Pruvot. There are as many sounds as possible ways to be woman. As many women as possible feminisms. As many feminisms as possible sounds. For the 2017 program at ifa Gallery Berlin, Anna Raimondo proposes for Saout Radio a sonic travel into the […]
“Saout Radio, represented by Younes Baba-Ali and Anna Raimondo, explores the universe of sonic arts, including radio, sound art, video and interventions in the public space. It proposes a sonic travel into the universe of sonic arts exploring its different possibilities, the richness of its languages and the multitudes of its sensuous experiences.”
There is nothing to say as introduction…..Just listen.
Moor Mother – An artist in ascendance who is not afraid to tell it as it is.
” File with Clipping as fellow noise-rap geniuses; both making some of the most dense and exciting music currently being released.”
Moor Mother follows her amazing 2016 album, ‘Fetish Bones‘, a collection of home-recorded protest songs that are as fierce as they are strange, testaments to troubling time, with this, her second release on the Don Giovanni label. ‘Crime Waves‘ is a collaboration with producers Mental Jewelry. Continuing with the subject matter of ‘Fetish Bones’: racism and police violence, ‘Crime Waves’ packs an avalanche of sound and words into its shorter EP-length duration.
Coiling bass and echoing sonar-ping beats erupt from opening track, ‘Hardware’, Moor Mother repeating “is anybody out there?;” police brutality, blood and taser guns described with a pixelated noise-eroded voice. The vocal delivery is anguished and desperate: “how dare I exist?”; the music is an uneasy combination of sick-step rhythms, queasily pitching sound-levels and industro-scrape atmospherics bouncing off a brick-wall background. ‘Death Booming’ is a woozy low-key nightmare; low, slow and sparse; claustrophobic can-clack…
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September 15, 2017
By Johann Merrich
September 29, 2016
By Robyn Fadden
October 4, 2016
By Roger Tellier Craig
Finally, reblogging this review and ICYMI.
Wonderful sonic postcards that demonstrate “field recordings are worth the exploration as Furchick shows”
I remember once reading a negative review on a humble and honest blog named ‘yeah I know it sucks’ for a release done by a field recording artist who recorded all these city courtyards. It resulted in the artist writing a angry email why it was presumed boring, which of course nobody in our humble office had the will to reply; after all the audio on the album spoke for itself.
Courtyards in the city, some children playing, a bit of sunshine and all of the tracks could be only separated from the track title that corresponded to the place the track was recorded; these courtyards might have been beautiful in real life, a great walk for the recording artist himself but the actual audio recordings had been frankly boring and…
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There is so much music!, so I’m trying to revisit some artists and releases with ICYMI.
Here’s an artist I discovered via Yeah I Know it Sucks.
Flaer Smin is from Kazakhstan and if you are a fan of expansive New Age / Chillout / Downtempo then her music is for you and can be found at Archive.org
She has a brand new release – In Search of….. https://o2label.ru/releases/07-036/
Artist: Flaer Smin
ca: o2 label 05 – 06
keywords: new age,instrumental
label: o2 label https://archive.org/details/@o2label
reviewer: Willem van O.
Imagine a piano on the beach, being played by a person with the urge to sing a song that sounds a bit like ‘holy night, silent night’ in a way as if the voice was a humming violin. It’s a tiny bit odd as you can imagine that the little waves of the sea are softly splashing against the piano and slip back against the toes of the musician that is responsible for it. Nonetheless this is a bit what the first track seems to sketch in the mind. The piano music is very nice and fits quite nicely with the little waves and the soft beach background sounds; as if it is complimenting the scenery with every note of the key.
Than the weather seems to change…
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