★Ventil
Alchemical Allures
Tip! »Alchemical Allures« is the first album by the duo Claussen/Klement, founded in 2019. With a unique instrumentation of voice, objects, zither and electronics, the artists have created a soundscape composed of field recordings, vocal and instrumental elements as well as electronically generated sounds and noises. All the tracks on this album were recorded during a residency at the Center National de Création Musicale GMEA in Albi-Tarn in July 2022.
Kill A Phantom
Rent ist the pseudonym of artist and ecologist Katrin Euller. Rent’s sounds refer to industrial ecosystems, interconnections, dark landscapes and their stories and the stories of those who inhabit these places. At the same time, it is the processes of sound creation itself that emerge in Rent's compositions: sounds influence each other, reinforce each other, cancel each other out, dissolve and become noise, sound like the city, a car alarm for example. Then everything gets lost in the fog again.…
Bajo
*2024 stock* Billy Roisz has been a driving force in the experimental music scene for many years. She is widely known and has earned critical acclaim for her artistic work, which ranges from cinematic (her films are regularly screened at major film-festivals such as Berlinale-Shorts or the IFF Rotterdam) to pure audio-works, as she presents with this new album. Her last solo-release »Walking The Monkey« dates back to 2012 (Editions Mego) and now she unveils her successor: »BAJO« A sonic explorat…
Decomposition I-III
'Decomposition – I – III' is an experience of sonic realities and aural layers that usually remain undetected by our perception. This collaboration of Peter Kutin and Florian Kindlinger has brought forth a conceptual piece that leads the listener through three territories antagonistic to human life. Following the subjects 'Absence' and 'Introspection', 'Illusion' concludes the perennial trilogy now released as a sound edition. A live implementation of light, sound and film will be combine…
Le Temps
'There is a beguiling sense of simplicity in the complexity of le temps. In the scale of its orchestra - containing at least samulnori, clubs, bicycle bells, and bathtub plugs - that could be confused for just the kit. In the breadth of technique, in opening, closing, rubbing, and other gestures that confront the ear with a blown snare but could otherwise pass as traditional play. In the seemingly singular focus on one aspect of the kit in each vignette, the metal of rims and cymbals in “ouvertu…