Izabela Dłużyk’s Soundscapes of summer was A Closer Listen‘s favorite soundscape of 2016, and her latest album is just as remarkable. For this release, the artist has turned the dial back to spring, and we’re hoping (reasonably so) that the project will eventually become a quadriptych. The sounds here are as clear as any we’ve ever heard; […]
via Izabela Dłużyk ~ Soundscapes of spring — a closer listen
A thing of beauty is a joy forever….
Artist: Stephanie Merchak Title: Collapsing Structures Keywords: experimental ambient electronic atmospheric electronic music harsh noise industrial San Diego Label: Silent Method Records Collapsing Structures by Stephanie Merchak is like a gigantic trip, one that goes on a personal tour inside the artist her mind, exploring the deepest corners without revealing any details, converting a lot […]
via Stephanie Merchak – Collapsing Structures — Yeah I Know It Sucks
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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Today’s Discovery….
Artist: Electric Elizabeth
Title: FutureConeB
Keywords: experimental, noise, video
Electric Elizabeth’s description of one of her actual music videos online sounds way simpler than what it deserves. She wrote “Some slowed down footage of water with one of my tracks over the top.” Of course that’s what it is, literally speaking, but imaginative speaking there is so much more to it. First of all the ‘one of her tracks’ that she added to the visual video is one that fits the water footage so extremely well, so much so that it might even be a bit frightening in how good it fits.
It’s like every bit of water flow, every wrinkle on top and in it is attached to the sounds generated by her track. It is as if the water knows exactly when to move and is triggered by her sounds, or that Electric Elizabeth had made the track…
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“You see more women taking charge as festival and event promoters [because] in order for this to change there needs to be more women organizing,” she says. “Soon, [gender inequities] will be a thing of the past.”
I hope so…
So glad this has been noticed : )
Artist: Susan Drone
Title: Laurie Spiegel
Keywords: experimental ambient dark ambient drone experimental electronic Murcia
This one is intense, with its thick blissful sound that feels like some kind of godlike drone that mysteriously appeared out of the skyline. Everything else is silent, making it appear at a time in which most people are asleep. Some kicks can be felt, bashing like the hammer of Thor while being washed away in the grotesque emerging dronescape.
It really goes into me as the impressive piece that it is, making me feel little and the audio universe gigantic. A shimmering pulsation can be felt in this ambience, as if in the far distance some-kind of army of spirits march above the thick clouds. It keeps the intensity for the full amount that this track plays, humbling me down as if it made me realize what an unremarkable tiny dot we are on…
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The composer talks with us about music’s place in her personal ecosystem and tracing a coming to awareness with synthesizers.
via Kaitlyn Aurelia Smith Finds Her Inner “Kid” — Bandcamp Daily
Is it too early to declare that 2017 has been a great year for women in electronic music? Berlin’s Ziúr is only the latest to release a stunning debut album. The beauty of what we’ve been hearing is that each of these artists has a signature sound, and follows her own muse. U Feel Anything? is a […]
How could I have missed this ?
If you’ve seen Sarah Angliss play live and wondered how she could capture her rambling, magical suitcase of weirdness in a recording, ‘Ealing Feeder’ goes some way to realising it. Sadly missing the robotic ventriloquist dummy heads and breathing handbag of her performances, this album still retains the eerie magic of Sarah’s music which pitches between spooky and a benign and welcoming oddness. ‘You Taught Me How to See the Crows’ is a pastoral recorder ensemble summer fantasia. ‘A Wren in the Cathedral’ features recordings of birdsong, manipulated by theremin, their pitch and melody bent and swirled; a narration about domes and altars overlays the song, sinister bells drizzling through the sound cracks. ‘The Bows’ is an evocative haunting of backwards whispering and creaking strings. ‘Ventriloquist’ lists the craft and objects of ‘modern Merlins’, the perversions ‘a parliament of monsters’, backed with ghostly operatic theremin and squealing metal…
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Just spent twenty minutes sidetracked by this minimalist piece and was happy to do so.
Artist: Elizabeth Veldon
Title: ten shaker dances for mother ann lee and christian that he may dance (group 3)
Keywords: experimental avant garde electronic noise United Kingdom
I don’t know about you, but I was really in the mood to hear music that had come out of the mysterious hands & mind of the legendary Elizabeth Veldon. Just when I clicked for ‘experimental’ stuff in bandcamp her name appeared and when I followed it; pretty music followed as well.
Twenty minutes of it, a time period that anyone in need for some fine minimal ambient drone material would be very happy and pleased to find within their ears. The tone that the artist is giving its attention too is ringing like some kind of magic, a vibrant minimalism that felt to me like it’s a morning time that never ends. As if Elizabeth Veldon had captured the morning glory…
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Feminatronic 
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