Over n` out!!
Justin / COLD SPRING
Stridulation Records (www.stridulationrecords.com) is a brand new label and their second release comes out on March 15.
Check it out here: http://stridulationrecords.com/?p=Releases/SR002_Aborym
We are STRIDULATION RECORDS, a new record label based in New York, Rome and Trondheim dedicated to fostering and supporting artists who have something to say and whose music challenges boundaries and flexes definitions… or just artists we love! We release records by carefully selected artists who we enjoy and support and we are committed to make every release stand out with amazing audio quality and unforgettable unique artwork and packaging. We release music by artists from all over the world and across many genres. We will only release limited editions (sometimes hand-numbered) with gorgeous artwork and unique packaging and we make every effort to make every release something special, distinctive, personal and unparalleled.
πoise (self-incestuous noise inception)
release date: 03.14.14
|Provocation. Research. Experiment.
Who are all these “noise” artists out there? What exactly do they do? Can anyone do it? What kind of noise do they make? Why do they make noise? How do they make noise? Could one make a noise record without actually recording any noise at all?
These questions prompted Cræsher to research the origin of noise and the art and science of generating noise that is somehow “musical” and “interesting”.
The project originally started as a provocation but quickly turned into a research on the genesis of noise and an experiment in the manipulation of the most simple, pure, unadulterated and basic source of sound itself: the sine wave.
Cræsher started with a single sine wave (the most basic component of sound) and set out to create a piece of “noise” music with the sole use of sine waves effected and manipulated with changes in panning, volume and a few basic non-instrument DSP effects such as reverb, distortion, delay.
The next challenge was to build upon and around that basic sine wave in a way that would generate and shape dynamics. The noise would have to generate a life of its own. The goal became to create an experimental form of ambient-noise WITHOUT ANY sort of recorded sound. Everything would have to be generated from a single sine wave and would have to feed off of itself to generate change in the music without any human intervention and without any recorded sound.
The process is incestuous, because any sound controls its own parameters and feeds into itself to create a new sound. The process is also inceptive because it represents the commencement of a new sound. In a way this process is the sonic version of the Penrose stairs (made famous by M.C. Escher, the Penrose stairs make four 90-degree turns as they ascend or descend to form a continuous loop, so that a person could climb them forever and never get any higher). The same principle was also applied to the album as a whole.
While on tour in Europe, Cræsher opened the laptop, set up a Pro Tools session, created a bunch of Aux tracks and started bouncing signals around tracks. After the first piece Cræsher created 10 more pieces. Every piece is different but every piece starts from a basic sine wave and contains absolutely no recordings or samples. Some of these pieces follow cyclical evolutions while others morph in time arguably in accordance with absolute randomness. One such piece is the opening track, which is the same as the closing track but contains very different sounds because of the random nature of the incestuous process that is happening within. In line with the impossible geometry of the Penrose stairs, the opening and closing tracks of the album are variations on the same theme and would flow into each other seamlessly, if only CD players allowed for crossfades between the last track of a disc and the first track of the same disc the way consecutive tracks can.
Every piece (except the opening and closing track) on this album was clocked at 4’14”. The opening and closing track were clocked at 3’44”. This would make for a 50’10” long CD, however every track shows a duration of 3’14”. This was achieved by crossfading every track into the next with a 1’00” long crossfade, effectively shortening the duration of the CD to a continuously flowing and ever changing 38’48”. The mathematical near-impossible incongruence of such juxtaposition of tracks is also a tribute to the Penrose’s impossible object.
The Cræsher project chose the Greek letter π as the main title for this project because in mathematics π has two fundamental properties: irrationality (it cannot be written as a relationship of two other numbers) and transcendence (no sequence of algebraic operations can be equal to its value). The creation process of this noise is both irrational and trascendental and therefore “pi” is the perfect symbol to represent it.
Because “pi” is also defined as the ratio of a circle’s area to the square of its radius and is approximately equal to 3.14159, and this is why all the tracks on this album are exactly 3’14” in duration.
All the pieces on the album are numbered with greek numbers/letters.
The choice of the artwork for this release is intrinsically connected with the contents of the release itself. It features a modern day rendition of Myrrha (Greek: Μύρρα), also known as Smyrna (Greek: Σμύρνα), who according to Greek mythology was transformed into a myrrh tree as punishment for having an incestuous relationship with her father Cinyara (Greek: Κινύρας), king of Cyprus, who is also revered as the creator of art and musical instruments. The incestuous relationship between Cinyara and Myrrah gave birth to Adonis (Greek: Ἄδωνις), the god of beauty and desire. The image on the inside cover of this release, created by Italian digital artist Nico De Luca, aims at portraying Myrrha to depict the incestuous nature of the creative process of this experiment. In the same way that Myrrha created beauty (in the form of Adonis) through incest with the creator of art and musical instruments (in the form of Cinyara), these tracks aim to create sonic beauty through sonic incest with the most basic of all creators of art and music (in the form of the sine wave).
As Cicero said: “Omnia vivunt, omnia inter se conexa.” (“Everything is alive; everything is interconnected.”)
|Artist Contact||Label Contact|
release date: 03.15.14
Industrial-Extreme Metal masters ABORYM are celebrating the start of 2014 with their brand new “DIRTY REMIX” album, to be released on STRIDULATION RECORDS (www.stridulationrecords.com).
The album comes in a limited edition aluminium box and contains a previously unreleased track entitled “A.T.W.A. | All the way Alive”, a new version of “Does Not Compute (“Captain Morgan” version)” from the critically-acclaimed album “With No Human Intervention” as well as 7 remixes of tracks taken from the latest double-album “Dirty”, which were chosen by the italian band through an open contest. The remixes are by Mortiis, Throne of Molok, Kingdom, XP8, Red Sector A, Emiliano Natali and Narchost.
The first 150 copies of “Dirty Remix” come with hand-made artwork featuring 3 antique and original rusty nails from the early 1800s. The remixes that did not make the album will be available shortly within the media player of the official Aborym ReverbNation page (http://www.reverbnation.com/aborym)
A.T.W.A. | All the way alive (unreleased song, by Aborym)
High Resolution Photos of the band:
Official site: www.aborym.it
TMR MUSIC PROMOTIONS
“[π]oise (self-incestuous noise inception)”
Stridulation Records (www.stridulationrecords.com) is a brand new label and their first release comes out on March 14 (to honor the number value of “pi”, which is 3.14)
CRÆSHER is a project by Marc Urselli (New York based 5
time nominated, 3 time Grammy award winning engineer/producer)
“[π]oise (self-incestuous noise inception)” is an experimental noise concept album – in fact it is the ultimate experiment of noise because it consists of noise that was generated by noise, without human intervention except for the creation of the algorhithms and signal processing which perform the noise generation
the creation and concept of the CD is equallyrooted in mathematics, greek mythology and sonic experimentation
the CD comes in an exclusive and super limited edition bamboo wood enclosure with laser-engraved lettering and laser-cut CD holder (this environmentally-friendly case consists of all wooden parts that fit together like a puzzle and hold the CD in place – the booklet is printed with vegetable oils on recycled paper – no plastic was used in the making of this packaging)
the CD contains 10 tracks which morph and crossfade into one another to create a continuously-playing flow of noise patterns which defy the laws of math with 10 tracks that are between 3’44” and 4’14” long but all show a duration of 3’14” per piece and create a 38’48” long album
check it out at: http://stridulationrecords.com/index.php?p=Releases/SR001_Craesher
following you can find our new April releases – pre-orders can be done from now
until 3rd April. For pre-orders of those 3 new cds there’s a special offer for:
42 Euro incl. worldwide postage.
Pre-sale and shipment will start at 4th of April – our new releases will be also
available at our stands in April at:
ELEKTROANSCHLAG 2014 – 4th and 5th April 2014
FORMS OF HANDS 14 – 25th and 26th April 2014
For forthcoming showcases please check:
Pre-orders / Orders can be done over:
pm: www.facebook.com/ hands.official
Out on HANDS 14th April:
HEIMSTATT YIPOTASH Mecanismos De Control cd
HANDS D202 Hands Paper Pack 13 euro
Heimstatt Yipotash, notoriously headstrong hybrid project, surrender their
fifth album for HANDS: Highly political and subversive, “Mecanismos De
Control” is an accentuated criticism of the Orwellian times we live in.
Musically their unique blend of electro and industrial elements comes all of
a piece; the leitmotif of (mostly) Spanish language vocal samples makes
for coherent listening, and the intense rhythms will let you shake the
chains of control – for sure!
“Mecanismos De Control” follows Heimstatt Yipotash’s massive anniversary
remix package, but actually picks up where the 2009 album “Urban Night Motifs”
ended, in modern day metropolis. This time, the focus shifts from the urban
structure itself to the people who live in it: Anonymous, working like the
gearwheels of a globalized machine constantly mislead to work for accelerating
economic growth. “Mecanismos De Control” denounces corruption in high
finance and the politicians’ involvement in it (“Putsch”, “Banco Malo”), it brings up
the lack of diversity in media (“Receptor Universal”), arbitrary police action and
the various levels of state control in general (“Mecanismo De Control”).
Musically it somehow suggests itself to drop the Esplendor Geometrico
reference, not only for the Spanish language samples, but also for the raw and
repetitive rhythmic backbone of all tracks. But of course Heimstatt Yipotash acts
in a much more ample scope, with lots of diversified, contemporary elements to
be found throughout the album: Spotless electro sequences (“Diez Segundos”,
“Pulsador”), almost organic percussion (“Banco Malo”), shuffling all-but-grooves
(“Magnetar”, “Rescoldo”), an electric harp in “El Mal Menor” and a swelling acid
sequence in “Fuerza Devastadora”. And the final say goes to The_Empath, who
transforms “Rescoldo” into a solemn lullaby for man, bereft of his dignity in the
Brave New World of today.
“Mecanismos De Control” works in the attractive contradiction of its dystopian
theme and being at the same time thoroughly enjoyable, in larger parts actually
dance floor compatible. A coherent, conceptually feasible and convincing album.
1. Diez Segundos
2. Que Se Vayan Todos
3. Mecanismo De Control
6. Banco Malo
9. Receptor Universal
10. Marcha Experimental
11. Rescoldo (Revisada)
12. El Mal Menor
13. Fuerza Devastadora
14. Rescoldo (The_Empath’s Lullaby)
Out on HANDS 14th April:
SYLVGHEIST MAËLSTRÖM Pripyat cd
HANDS D203 Hands Paper Pack 13 euro
Sylvgheist Maëlström hasn’t taken much of his time to produce the follow-
up to his HANDS debut “Skaftafell”. On “Pripyat” he deals with
transformation and extinction of nature, thus he discards the majestic
minimalism of the predecessor and adopts a very different musical
language, with chunky IDM rhythms and dense soundscapes to portrait the
numerous disturbances man inflicts upon nature – and the way nature
reacts to that, reinventing itself. A heavyweight, unsettling electronica
album that is topped off with crackling remixes by [basementgrrr] and Yura
Pripyat is the “nuclear city” where the Chernobyl power plant is located.
Abandoned after the infamous 1986 disaster, it stands a rude reminder of man’s
ruinous effect on nature – and the inimitable way nature achieves a weird
comeback after the seemingly worst blow.
Such forbidding thoughts are the main preoccupation Sylvgheist Maëlström used
as an inspiration for this album, and it shows soundwise: Heavy rhythms
throughout, sinister melodies, throbbing bass sounds, all tracks saturated with
sharp-edged fuzz. “Pripyat” flows in a multi-layered sound design, which creates
a constant atmosphere of unease, quite appropriate for tracks dealing with the
world’s worst industrial disaster in “Bhopal”, where thousands died due to
exposure to toxic substances in 1984, or “Agbog Bloshie”, the infamous e-waste
dump in Ghana.
Even the most seasoned connoisseur of electronic music will be challenged to
discern on first listen all the details to be found within every single track as even
the comparably calmer tracks like “Prion” (a fatally infectious protein composition)
or “Mountain Pass” overflow with sounds, not to speak of the massive noise-
flavoured tracks like “Ajka” (a town in Hungary where an industrial accident
caused a flood of toxic mud in 2010). The contributed remixes by [basementgrrr]
and Yura Yura remain within the sonic framework of “Pripyat”, but add dynamic
bass sequences and a noise rhythm respectively.
As an album, “Pripyat” serves a dual function: Each of the tracks is strong
enough to stand alone, as a whole they merge into an utterly disturbing, yet
absorbing 78 minute trip, a reminder that man is dying in his own changed
6. Mountain Pass
8. Deepwater Horizon
12. Agbog Bloshie
13. Kessler Syndrome
15. Inlandsis (basementgrrr) Remix
16. Kvanefjeld Yura Yura Remix
Out on HANDS 14th April:
hyDrone Chronos cd
HANDS D201 Hands Paper Pack 13 euro
HANDS welcomes hyDrone, an act with a remarkable pedigree already, now
ready for a proper debut CD release. “Chronos“ is a captivating, deeply
atmospheric conceptual release about time and its perception, revealing
influences from various eras of electronic music, pouring into a very
individual musical language. Nine tracks plus remixes by Gjöll, Libido
Formandi and Proyecto Mirage let you take a 57 minute lapse from the
regular course of time!
Preface: hyDrone is the alias of Panos Kouretas from Greece, who has got CD-R
releases on Fich-Art and Le Petit Machiniste and a fancy vinyl on Sealt under his
belt, as well as a performance at Maschinenfest – the accolade of the industrial
scene. Now it’s time for Χρόνος, an album which truly deserves a distinguished
Takeoff: The opener “Carefully and patiently [we are counting time]” draws the
listener in with vocal snippets, atmospheric parts and insidious bleeps, while
“Always late” moves along accordingly slow in eerie halfstep mode. “Whenever”
is a grainy drone piece, “Backwards” fuses bass heavy drones with a cinematic
melody and the title track draws heavily from 70s Kosmische Musik in an ambient
mode. “Passing time” is a masterpiece, the perception of time during a human
being’s lifespan in a nutshell, seemingly accelerating, while the actual pattern
never changes. With “Chronotaraxis” we have finally left the time continuum for
good and are prepared to plunge into the psychedelic ambience of “Time is
running out of time” and “To maintain the balance”.
Overtime: Jóhann Eiriksson aka Gjöll contributes a fuzzy, Raster-Noton style
drone piece, Libido Formandi turns out a nicely accessible electronica track and
also label mates Proyecto Mirage get the final say with archaic, analogue
Epilogue: Far from easy listening, sometimes demanding, this album is a treat for
anyone into atmospheric electronic music. Panos displays a knack for sound
design and composition, the result being well-defined and yet complex, abrasive
and beautiful at the same time. Worth your time!
1. Carefully and Patiently [We are Counting Time]
2. Always Late
5. Chronos [Cronos/Chronos]
6. Passing Time
8. Time is Running out of Time
9. To Maintain the Balance
10. Always Late [Remix by Gjöll]
11. Carefully and Patiently [Remix by Libido Formandi]
12. Whenever [Remix by Proyecto Mirage]