Meg Bowles: Evensong: Canticles for the Earth Released: 22 June 2018 http://www.megbowlesmusic.com Meg Bowles makes us vulnerable to the beauty of our planet. In doing so, she shares something of herself with us. With each album release she is becoming new herself – in ways that matter. Evensong: Canticles for the Earth (63’13”) is a […]
via Meg Bowles: Evensong: Canticles for the Earth — starsendradio
Recorded between 2016-17 here we find two longtime experimental composers at work, and both women have pioneered new sonics at every turn over five decades. Released via the Soundscape Series (Gruenrekorder; 2xCD) New Zealander Annea Lockwood and German Christina Kubisch deliver The Secret Life Of The Inaudible. The record consists of four tracks, two from each artist, separated on the two included disks. Starting off with Wild Energy (with Bob Bielecki) Lockwood darkens the room with a earthly rumbling, maybe she’s a storm-chaser? The atmosphere is cavernous with sudden broad bass. As she conducts this muffled noise symphony tiny starry electronic blips emerge and disappear quickly. At 70-something she is still sculpting soundscapes with intuition and a greater understanding of minimalism. As the storm moves out a tiny watery ‘thwack’ grows into what sounds like distortions derived by nature. A rustling whistle plays audibly on the…
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This warms my heart. –
” The percentage of women on the pan y rosa discos label is equal to the percentage of women in the world. This makes the label a true find: their dedication is impeccable, their selection superb. Stay tuned as the next release is never far away.”
Many labels make an effort to raise the profile of female electronic musicians, but pan y rosa discos goes all out. Of their fifteen releases so far this year, eight are by women. Their music demonstrates an incredible variety of styles and is drawn from a wide variety of countries. Incredibly, all of the downloads are free! Our respect for label head Keith Helt continues unabated as quality music comes our way multiple times each month.
When listening to the first few seconds of attractive synthesis by Latvia’s Līga Smirnova, one thinks, “oh, it’s just another club-based synth track.” But listen just a little longer, and all preconceptions will be destroyed. The five-part piece eradicates all traces of club culture on its way to becoming a thick, drone-based suite. Part two alone begins like a cyclone and ends like a forest fire. By the fourth segment, the cycle has…
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Artist: Emily A. Sprague Title: Water Memory Keywords: ambient ambient eurorack minimal modular synthesizer natural New York I woke up at four in the morning to hear a collection of pretty birds singing and chatting in front of my open window. To thank them for their beautiful sounds of peace I decided to return them […]
Decaycast Reviews: MARLO EGGPLANT “head/rush(ed)” (Vaux Flores, 2018) by Dr. Decaycast Momentus sound artist, label head of Corpus Callosum Distro, longtime noise queen, and curator and founder of the legendary Ladyz In Noyz compilation series, UK based Marlo Eggplant offers her newest work via Travis Johns VAUX FLORES imprint (who also happen to make […]
via Decaycast Reviews: MARLO EGGPLANT “head/rush(ed)” (Vaux Flores, 2018) — D E C A Y C A S T
‘Metal Aether’
by Lea Bertucci
Overview and thoughts here – on lea bertucci’s metal aether, out via nna via The Hum Blog
The title expresses everything in a good way..
Less shot through the head with a diamond bullet than being walloped repeatedly with a crystal hammer, Maria W. Horn’s ‘Excitation – Frustration – Excitation’ matches elegance with brutality in admirably brain-wrenching fashion. Tough kickdrums and serrated noise jags serve the pain, their unquiet digital gristle occasionally recalling Ben Frost at his glowering best. The title track is a fine example, its percussion stomping holes in the space time continuum through which pour gibbering waves of sleety, saturated howl.
Despite all that slurry, Horn’s compositions have a stony grandeur that impress as much as they terrify. Rapid-fire squelches, carousel synths and silky keystroke jabs lift things from the abyss, their textures nodding towards the disco, even if Horn keeps things awkward and arrhythmic. The clubby bleeps of ‘Voluntary Auto Intoxication’ sparkle in the spluttering backdrop like gemstones set into a cliff-face, while the steely, D&B-tastic tessellations…
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