20121126

0020 survey / 30th November 2012

117 participating acts, with 108 pieces of music and 23 short-films. No more musical chairs. Please be nice to one another. 

0020 survey is dedicated to the memory of Robert Chrysler

02_Elements: In spring 2012, I began inviting players whose work I like to contribute improvised parts towards a long-term project with the working-title of 'Elements'. The intention was that each player contributes in isolation, without any knowledge about the other players taking part. After gathering a workable pool of these parts, I then began composing with these elements - processing, editing and such like - along with adding my own work. This is the seventh of these pieces, comprised of myself and one other player: 02_Elements. Improvisers: Anthony Donovan: electric contrabass, acoustic bass, percussion, electronics, voice, field recording / Daniel Heikalo: kitchen cupboard orchestra, GRM tools developed at IRCAM Paris France, Spektral Delay / Composer: Anthony Donovan. (Anthony Donovan, November 2012)

04_Elements: In spring 2012, I began inviting players whose work I like to contribute improvised parts towards a long-term project with the working-title of 'Elements'. The intention was that each player contributes in isolation, without any knowledge about the other players taking part. After gathering a workable pool of these parts, I then began composing with these elements - processing, editing and such like - along with adding my own work. This is the eighth of these pieces, comprised of myself and three other players: 04_Elements. Improvisers: AG Davis: voice / Anthony Donovan: acoustic guitar, electronics, voice / Hal McGee: synthesisers / Thomas Fernier: bass sounds / Composer: Anthony Donovan. (Anthony Donovan, November 2012)

4-PARAL-LEL : Ayato, Anthony Donovan, José D. a double-deaf trial called PARAL-LEL: several artists/musicians were invited to contribute one or more tracks of about three minutes which are randomly combined. editing (minimal) and mix: Hopek Quirin and Kris Limbach. this is the fourth result of the experiment

5-PARAL-LEL: MaCu, Jochen Arbeit. 5th result of the double-deaf experiment with electric guitar (played with knife) by MaCu and electronics by Jochen Arbeit

06_Elements: In spring 2012, I began inviting players whose work I like to contribute improvised parts towards a long-term project with the working-title of 'Elements'. The intention was that each player contributes in isolation, without any knowledge about the other players taking part. After gathering a workable pool of these parts, I then began composing with these elements - processing, editing and such like - along with adding my own work. This is the ninth of these pieces, comprised of myself and five other players: 06_Elements. Improvisers: Jared C. Balogh: synthesiser / Anthony Donovan: percussion, voice, electronics / Philippe Petit: electric guitar, electronics / Oblivian Substanshall: ukelele / Crank Sturgeon: voice / Thomas Fernier: electronics / Composer: Anthony Donovan. (Anthony Donovan, November 2012)

6-PARAL-LEL: Bryan Lewis Saunders, Hopek Quirin. 6th result of the double-deaf experiment

7-PARAL-LEL: Kris Limbach, Hopek Quirin. Kris Limbach: turntable, tapes, electronics / Hopek Quirin: electric mandolin. 7th result of the double-deaf experiment

09_Elements: In spring 2012, I began inviting players whose work I like to contribute improvised parts towards a long-term project with the working-title of 'Elements'. The intention was that each player contributes in isolation, without any knowledge about the other players taking part. After gathering a workable pool of these parts, I then began composing with these elements - processing, editing and such like - along with adding my own work. This is the tenth of these pieces, comprised of myself and eight other players: 09_Elements. Improvisers: Adrian Beentjes: field recordings / Mark Browne: percussion, objects / Matt Chilton: laptop, clapping / AG Davis: voice / Anthony Donovan: contrabass, electronics, voice / Michael Durek: theremin / David Fenech: *unknown / Sonia Paco-Rochia: bassoon / Thomas Zunk: Moog Etherwave Theremin, Boss RE-20 Space Echo twin pedal, Electro-Harmonix Talking Machine / Composer: Anthony Donovan. (Anthony Donovan, November 2012)

A Xperisougs: lost tapes / http://soundcloud.com/xperisougs

AG Davis: i address myself purely to the body, for the body's means.  the body is redundant: it repeats itself so that it can begin to exist---AG DAVIS (2011)

AG Davis and Jamison Williams: May 6, 1937 - Maniacal and amorphous word-less stream of consciousness throat-thrashing meets mangled and mutilated woodwind on side A. Side B is the equivalent of the smoke afterwards, the eerie hum of reality closing in again. AG Davis (voice and electronics) and Jamison Williams (alto-saxophone) are both involved with Vantage Bulletin Publishing, an experimental, noise, and free improvisation label based in Jacksonville, Florida. To fit the succinct 7” format, Davis and Williams cut to the core of their musical approach and hit the straight to catharsis–button." ---Morten Brohammer

aka_bondage: [...]

Alex Drool and Zohar Shafir: Quartz Fail / It's already a million degrees outside - already ---- past sentinel and in stealth...avoiding black dove custodian, up,up,up..disregarding smoke signals air billowing ..into house arrest/a safe haven. disgruntled hunting expedition, relics from failed attempts of yore-- conjuration commence.....follicles debris, purple silver tinsel & saliva ---- light beacons shine inwards - warning reads: "extra-fine". she's tired.."go to sleep"

Alexei Borisov, Olga Nosova, Giuseppe Birardi and Dario Fariello: Composed, played and recorded in October 2012, at A-Spirale studio in Napoli / Alexei Borisov - Korg monotron, dictaphone, voice / Olga Nosova - drums, percussion, voice / Giuseppe Birardi - trampet / Dario Fariello - sax, megaphone / Mixed and edited by Giuseppe Birardi, Alexei Borisov / Special thanks: Mario Gabola, Maurizio Argenziano

Alvari Lume: Night Poems are a series of free improvised solo guitar suites that are recorded in one take/suite as a document of the moment and published in order as they were no matter what happened during the recording. each of these suites are done without any pre thoughts and are expressions of emotions of that precise moment / Alvari Lume (aka Jaakko Savolainen) is a free improviser guitarist, born 1970 in Helsinki, Finland, current location Espoo / “Alvari Lume’s music is an emotional stream in constant evolution,” says Italian composer, Emiliano Pietrini , who records under the name,  Globoscuro, “Alvari’s radical improvisation is like an illumination. Images and sensations evolving according to the rhythm that explodes from the heart of the performer. A perpetual motion of inspiration. What you hear is a kind of struggle: The thoughts expressed by each instrument fighting among themselves. But it is a harmonic struggle harmonic. A quiet chaos…a shiny madness.” / http://alvarilume.weebly.com/ / http://soundcloud.com/alvari-lume

Anbis: Tups is piece of Sound Design/Sonic Art that explores the relationship between a low tone and a variety of partials that can be extracted from that tone. It also tries to create a feeling of fluidity of pitch by using a number of glissandi effects / http://soundcloud.com/anbis

André Damião: http://andredamiao.hotglue.me/

Anla Courtis: Salbutamon Crowd Surfing / recorded in Buenos Aires, Argentina 2011 / www.myspace.com/courtis

anotherAntidote: [...]

Anthony Donovan and John Hyatt: words by John Hyatt / Music by Anthony Donovan and John Hyatt

Arcane Waves: [...]

Art Electronix: [...]

Astral Social Club: “Twenty years from now, if I get asked to come up with a list of records or artists that speak of the late 2000s, then Neil Campbell’s Astral Social Club, and very definitely this second full-length for VHF, will be on it. The collision of electronic and acoustic textures is extreme and compelling all at once – spastic drum machines, flickering synthesizer riffs, mangled guitar lines and countless other bits of sonic debris cluttering and then overloading the stereo spectrum. This density of sonic information, packed into every ASC piece, overwhelms, and aurally approximates our own daily information flood, suggesting that instead of resisting it, maybe we should ride it.” (Matthew Wuethrich, dusted) “Neil Campbell is a one-man subculture. In 30 years of music-making in various configurations of improvised rock, psychedelia and electronics, he has released hundreds of hours of recordings, mainly in micro-editions of home-produced cassette, CD or mp3, and collaborated endlessly with a global network of musicians that have fallen through the cracks of genre or stylistic allegiance. Since separating from Leeds-based guitar drone group Vibracathedral Orchestra in 2006, he has mainly concentrated on his activities as Astral Social Club.” (Joe Muggs, the arts desk) “Given Neil Campbell’s musical track record, it may be surprising to hear him state that, “I don’t take psychedelic drugs.” With a penchant for experimentation, Campbell’s hallucinogenically inclined pallet has been an important presence on the British side of the experimental pond for years now. Having left the rock-drone pursuits of Vibracathedral Orchestra in favor of his own unit, Campbell continues to explore levels of electronic catharsis on this album, which moves from techno-inspired ravers to drifting expanses of electrified psychedelia.” (Henry Smith, brainwashed)

Ayato and Naoki Ishida: [...]

Blutwurst Blutwurst: record live in a concert in Grosseto in july. The musicians in this piece are: Edoardo Ricci (alto sax), Marco Baldini (trumpet), Cristina Abati (viola) and Michele Lanzini (cello)

Bob Ostertag: Mark Dresser - contrabass / Gerry Hemingway - percussion / Phil Minton - vocals / Bob Ostertag - sampler / Say No More is a unique ensemble in the history of music. On the surface it is simply a superb quartet featuring four virtuosos. But through innovative use of computer technology, the group coexists with a digital mirror of itself. Changing form as it becomes virtual, then flesh and blood, then virtual again, Say No More combines the emotional power of live performance with the technical power of computer music, making a hybrid that transcends both media. Ostertag began Say No More by sending the three instrumentalists, separately, into studios with no instructions other than to record improvisations. Using a computer, Ostertag then took these tapes and reconstructed them into a "band" that played works he composed from fragments of the improvisations. The remarkable recording that resulted, Say No More, is possibly the first recording ever released by a band that had never played a note together. Ostertag then returned this recording, along with a score, to the musicians. In effect they were challenged to re-learn their own playing, but as heard through the prism of Ostertag's work. When the musicians gathered to rehearse, the ensemble began to develop a life of its own through the direct interaction of with the musicians struggling to perform the computer-derived material. In October 1993, the ensemble made a live recording at ORF-Vienna which was released as the band's second CD, Say No More in Person. It features the same compositions that Ostertag developed on the computer, performed in their transformed, concert rendition. Ostertag put the live recording back into the computer, exploded it once again into little bits, and assembled a new work, Verbatim, released in 1997. The group premiered the live version of Verbatim at the Taktlos Festival in Switzerland, 1996. A performance in Gent Belgium was released in 2000 as the fourth and final CD, Verbatim Flesh & Blood

Bob Ostertag and Anthony Donovan: Dad Infinitum / Includes possible sounds by Phil Minton, Fred Frith, Otomo Yoshihide, Mark Dresser, Gerry Hemingway, Justin Bond, Charles K. Noyes and Bryan Medwed.

Boss Magliocchi MaCu: Matthias Boss: violin / Marchello Magliocchi: sounding sculptures / MaCu: guitar, vocal, sound bowl

Brennan and Hyatt: [...]

Bryan Lewis Saunders: Cornbread (from Nola's Crack House) / Johnson City, TN, USA / 2012 / http://bryanlewissaunders.org

Cagey House: Beetles are cool, and so are butterflies. Monkeys also, except when wearing clothes. (Some exceptions allowed.) Alligators run hot and cold, especially if there are crocodiles around, which trump them every time. Lizards are always welcome. As are crows. Marmots are sentimental favorites, although mythical. So are dancing bears. Bears on bicycles, however, are real, and so are bears that eat people. Both should be treated with respect. Hogs are okay, I guess. And half a snake is better than no snake at all

Chevo Légé and Pier de Beyr: homologue dans son avancée / chevo légé: guitare à l'archet, guitare aux doigts, percussions / Pier de Beyr: violon à l'archet, violon aux doigts

Chris Lynn: Description: Audio-Title-Evening Clouds over Tawes Hall / Film-Title: Carderock Sunday: A b/w super 8 film / Description: Sunlight on Potomac, leaves in shade, wind, documenting, small journey / Bio - Chris H. Lynn is a filmmaker, sound artist, educator, and curator. His sound pieces consist of field recordings, minimal compositions, and audio from his films. His digital images and super 8 films capture the subtle rhythms of light, movement, and sound in urban and rural landscapes. His work has been screened in galleries and festivals across the globe. Chris also curated the Experimental Film Program / “Urban/Rural Landscapes” for the Utopia Film Festival in Greenbelt, Md and the Takoma Park Experimental film festival in Maryland 2010. To learn more about Chris, visit: framingsounds.wordpress.com/

Christian Munthe and Christian Jormin: Title: MEANDER / By Christian Munthe (acoustic guitar) and Christian Jormin (drums & percussion) (STIM) / Time: 3:05 / Recorded: 2009

Colin Webster: is a saxophonist from London. Postpetiole is taken from ‘Antennae’, an album of close-miked solo improvisations. These improvisations explore breath sounds, percussive sounds, resonance, extreme quiet, mechanical sounds (key/pad noise), sub-tones, multiphonics, overtones, 'non-notes', and combinations of these elements. ‘Antennae’ is available on cassette and download from Gaffer Records / http://colin-webster.blogspot.com

Crank Sturgeon: http://www.cranksturgeon.com / http://www.cranksturgeon.blogspot.com / http://www.twitter.com/crangst / http://www.last.fm/music/Crank+Sturgeon / http://www.soundcloud.com/user6719786

Crush!!!: Cute Chaos!!! / Crush!!! are Mark Browne, Sonic Pleasure and Ian Smith. Following a number of successful concerts this year, the group has recently been described as “the new jam”. The group utilises an array of found and home-made sound making devices combined with more traditional instruments within an improvisational context. Sonic Pleasure is famed for her unique crafting of sound from bricks and masonry, reducing much of her instrumentation to dust by the end of a concert with an orange haze clearly visible over the playing area. Some of the bricks will be transported from her home, others will be collected near the venue. She also plays flute. Mark Browne plays piranha and castrato saxophones (sopranino “the small one that bites” and soprano “the Farinelli pastiche”), broken glass, clarinet, earth, gongs, burnt piano and bones. Ian Smith plays brass in an extraordinary and creative manner. For this venture the aim was to exploit the use of recording methods and create music that was not simply a ghosting of the concert performance. The members of the group individually created their contributions (with Sonic P living in Manchester, Ian in London, Mark in Aylesbury this has become a activity necessary for ongoing interaction). For 0020 there was no compositional outline and the mixing and production was performed by Sonic Pleasure.
The activities of Crush!!! can be found at http://crushtime.bandcamp.com/ and are represented on Facebook at https://www.facebook.com/pages/Crush/#!/pages/Crush/347435088629590

Daniel Heikalo: a prepared/non-prepared guitar composition-improvisation piece that I cut-up and treated many of the fragments to electroacoustic manipulations. I also added percussive sounds I obtained from metal objects. They were edited in place and treated also. It contains prepared zither sections too. I also add the cover of the CD it is taken from. The electric prepared guitar at the end is by my friend Arthur Bull. The title means: In the grassy paths of the contaminated mountain

Dental Dames: Lora Bloom: Guitar, Vocals / Jamie Campbell: Bass, Vocals / Bonnie MacAllister: Vocals, Keys / DENTAL DAMES at JR's by Jeanine Campbell: The Tom Waits like creeping on the keyboard great voice bold the kind that gets your attention and makes you stop feeling so self-conscious, ready for a kind of bluestocking combat. Is this an art band? No it’s not. Literal, lyrical, for writers, but the words are loud and clear. You can see parts of the brain lighting up little gaslight lotus petals. In contrast to the structure, here the words walk unaided, capable little spiders all in their own right. There’s references and alliteration, it’s all decidedly—can I say it? Po-po-mo. There’s real poetry here, gem-like sounds that sparkle and turn, twisting facets, adding an inhale in what’s between, building under the ruby deepness that’s not been present yet. “I want to tell you” Bonnie banshees, face scrunched up, hard to resist her, word-person that I am, she’s one. Oh my god. Was that a museum reference. Why yes it is, it’s the Brooklyn. It’s a love song for Judy Chicago. Something drops. Somebody cheers, keeps cheering which goes nicely when the singer says ovular. The audience is skeptically intrigues. Is this like school? It’s a tribute. There’s something about a Roman Empire. Incantations, borderline witchcraft especially with Campbells heavy strumming, patiently following Bonnie’s list of names. Considering the third beer with money I don’t have. It’s OK, water’s better anyhow. More names. I ask the bartender for a glass with extra ice, don’t realize that I’m going to get it in a plastic cup. Names, people are afraid of hearing women’s names read like this memorial style, everyone from Isis to Virginia Woolf to Susan B. Anthony is there in monumental attendance. Jaime starts the next one, sarcastic eye rolling because what she’s saying is important to her. Lora takes over, eyes close like me when I squint in front of the camera. I’m surprised at the harsh his in her voice,the edge. I was used to something civil, and now there’s disobedience, but it’s the earthy type, stronger than it should be. Patti Smith but without the compromise, something True Blood lurking there that makes it like glossy gash of photoshopped on a cover model who’s too pretty for words. I wonder if my soul’s old enough to take it. There’s a space that opens up here, and I find I don’t want a beer, I want to watch and and I want to write because suddenly there’s volume, there’s a bed to crawl under, someone else there to figure it out. Bonnie’s transition is seamless, barely noticeable. The ice water tastes good, not Schuykill at all. Neat little stabs at the keyboard. The crowd breaks up, I step outside to join the satellite bunch who’s snapping phone photos, smoking cigarettes in heavy, dank air. I have no money and I’m sleepy, thinking about avocados and home, wishing I could pay better attention because there’s another band I want to see. But distortion and a guy wearing a freedom of ’76 t-shirt steps on. Black Mountain, whirl of noise but the pleasant kind, the quiet harmonic glow of late nights spent under red lights, something golden and forgotten, an uncountable noun. There’s a twirling motion to the sound that makes no sense at all but rolls out smooth. I stop writing and I wish I hadn’t. The guitar it makes me think of the sky, majestic and orange burnt with gray, abruptly tarnished. I think briefly about how now I can happily go home but I find I’m not ready yet, I'm already letting go here because there’s freedom, there’s something lovely in its own right. He’s been doing this for a long time, you know because he knows how to make you forget. The contraction and expansion of space, that’s what noise bands are about, sneaking past border control time

Donovan Romani Tamura: Grey Matter / Personnel: Anthony Donovan: 6 string bass, electronics / Lawry Romani: Korg MS20, Phonogene / David Tamura: tenor saxophone / Recorded in Northampton, UK, and New York, USA

Eggblood, and Aglaia is always wrong: Burn Away / Eggblood : vox, guitar pingin, fx and drums /horseblood @ mouth_in_foot - Birmingham 2010 / Aglaia : drums, synth. field recordings, rejiged /recorded  -  Athens 2011/2012 / http://soundcloud.com/eggblood / http://soundcloud.com/aquarious / more soon at http://mouthinfoot.net / perfect complete stranger and there right next to you... / mechaniseddysphoriajunkpoetrydrownedneurotic / statementsmouthinfootgarbagedunesbaldpets / dreaming...paused ... bluringfunctioninitiateseyebublingspeechassault / suffocatinghypothesisfalsegodeggbloodwrongprophesy / aglaiaabandonedestheticstubesteethburncircles

Elizabeth Veldon: [...]

Ergo Phizmiz: [...]

Exponential Negentropic Ensemble: Karolina Ossowska, violin. Asia Zielecka, flute. Jeff Gburek: prepared guitar. Composition and Assemblage by Jeff Gburek

Feeding Goats: Michael Hafftka - Synth, fretless nylon string acoustic guitar, fretless bass, flute, garahand, jaw's harp, vocals / Yonat Hafftka - theremin

Gino Robair: [...]

Grove of Whispers feat. Pixyblink:

Gurdonark: Remote uses a sequenced sample of an ocarina to paint a sound image of distance and solitude

Herr Penschuck and Karl-Friedrich Hacker: Annie Thing Goes On (2012) / Instant Movie shot in Spring 2012 - people come and people go. some are striking - some bore the shit out of you. what can you do? stay tight to the daily run. isn't there some severe truth in those moments never written in the official narratives? we come and we go and the account is rendered, finally. what is beauty today? the coincidence of a knitting machine and an umbrella on a breakfast table. or a piece of art sold to pay the last bills? the music renders a cut-up from footage taken fom one person in one place: the heidelberger printing press of edition bauwagen in action used by the editor himself. later playing on his saxophone. what never can happen outside this film. "Who is want to come (...)  I can invitate (...) She can stay my home..." (mahir cagri) - herr penschuck, conceptual and sound artist, born australian, based now in north west germany. founder of the german museum for printing stamps. member of ti*to - the trance industrial toy orchestra / www.herrpenschuck.eu / www.youtube.com/tiproduktionen

Hidekazu Wakabayashi: This is a piece that I composed with my original scale called "iceface typeB" which includes lots of micro tones in search of total new ways to compose music. The detail of the scale, how to use will be published when it's ready. Please let me know if you are interested!

Hopek Quirin, Anton Mobin and Ayato: [...]

Illi Adato & Guy Harries: From the Ov / Performed live 6 November 2012 at Tuesdays Post, The Retro Venue, London. Thanks to Georgina Brett / Illi Adato's work with altered-states of being as a Hypnotherapist provides an additional layer to his music. Creating within the field of free-improvisation, "one of the only, truly here-and-now art forms" he combines acoustic and electronic instruments to produces deeply penetrating sounds noises and frequencies / http://www.myspace.com/illlllllli / Guy Harries is a London-based composer/performer/sound artist. He performs with flute, voice, electronics and multimedia. He is also a singer-songwriter, practising electronic troubadourism with his laptop and voice / http://www.guyharries.com/

Infinite Gaaah: this is a dusting off of an old 4 track cassette recording, made spruce in commemoration of the passing of said 4 track recorder. a poppy of spool. listen out for other archaic manoeuvres herein

Invisible Sports: from album 'the future tastes' / http://invisiblesports.com/

Jared C. Balogh: Country: Pennsylvania, U.S.A. / http://www.alteredstateofmine.net, http://www.facebook.com/jared.balogh, https://www.twitter.com/j_balogh1, http://www.freemusicarchive.org/music/balogh

Jaroslaw Misiewicz and LIL: Angelic Problem / Jaroslaw Misiewicz - piano / Arkadiusz Nowacki - electronics / Marcin Tomczak - samples, mix

João Guimarães: oobvioenlouquece is a collection of works by João Guimarães. check also the following links to know more about oobvioenlouquece / http://oobvioenlouquece.blogspot.com / http://joaoguimaraesf.wix.com / http://oobvioenlouquece.bandcamp.com

John Hyatt and Jo Pearson: 'Little Boy Blue wants sweet words to make his love happy. Will he find them as he wanders through Professor Hyatt's glorious paintings? Who knows: but he sees and hears some strange stuff along the way. Maybe you will too...' / Music and painted images by John Hyatt / Video and animation by Jo Pearson / © John Hyatt and Jo Pearson, 2012

John Hyayt and Jo Pearson with Lewis Sykes: A new short film based upon a true account of the apparition of the Radiant Boy by John Hyatt and Jo Pearson with Lewis Sykes (background coding)

Jonathan Dilas und Mama Baer feat. Kommissar Hjuler: [...]

Justin Wiggan: The building has stopped. The dream was false. Doberman's with no voice boxes patrolling rented forests

Kalistongue: ( ........^ ) / http://andrewhowes.bandcamp.com/ / http://archive.org/details/DegreesOfAbsence

Kecap Tuyul: Between two carpets / If i had something to say, it would be written here: http://kecaptuyul.wordpress.com/

Kine: Meditation 4 / Recorded Spring 2012 at PAS Studios / Credit: Dah Ankh Khanh - Vocals, Brett Zweiman ($50 Doller Trumpet) - Guitar, Amber Brien (PAS) - Garrahand, Robert L. Pepper (PAS) - Electronics, Synths / Mixed and mastered at PAS Studios in Brooklyn, New York / The never has nought been seen through thought. Incantation station be fair to the internal sound of mind chaos. Prepare for your journey and suffer not because the transition is simply wonderful

Korhan Erel: http://korhanerel.com/ Korhan Erel is a computer musician, improviser, sound designer based in Istanbul, Turkey. He plays instruments he designs on a computer by employing various controllers. He also uses analog and digital electronics. He is a founding member of Islak Köpek, Turkey’s pioneer free improvisation group, which is regarded as the band that started the free improvisation scene in Turkey. He composes and designs sounds for dance, theater, installations and film. He collaborates with dancers, video artists and spoken word artists. Korhan’s computer performance system is called Omnibus. The instruments within Omnibus are a culmination of Korhan’s musical past and aesthetic choices. Omnibus instruments use concrete sounds (samples, field recordings), morphed and processed in realtime. They can be as simple as one single sample being played using a Nintendo Wii controller to a complex system that employs granular synthesis and spectral processing. The instruments are played interactively using Nintendo Wii controllers (Korhan’s choice of controller when he plays in ensembles with acoustic/electric instrument players), an iPad (used in solo/duo performances as well as ensemble concerts) and several midi controllers. Korhan spent two residencies at STEIM (Center for research & development of instruments & tools for performers) in Amsterdam, where he studied use of sensors in music performance and instrument design. He was a guest composer at the Electronic Music Studios in Stockholm in January 2011. He performed and had compositions played in radios, festivals in Turkey, Austria, Australia, Holland, Germany, Finland, Ireland, Israel, Italy, Russia, Greece, Sweden and the UK. He performed telematic concerts over Skype in Germany, Spain and the US. Korhan has played with the following artists: Alexandra Reill, Christian Asplund, Dirk Stromberg, Ecotone Experimental Theater, Erdem Helvacioglu, Han-earl Park, Ilknur Ayisik, Jonas Kocher, Karlheinz Essl, Kevin William Davis, Kirstie Simpson, Le Quan Ninh, Mark Alban-Lotz, Michael Fischer, Michel Doneda, Nikos Kyriazopoulos, Oguz Büyükberber, Richard Nunns, Sumru Agiryürüyen, Tolga Tüzün, Tom Soloveitzik, Wolter Wierbos, Yanael Plumet, mecha/orga (Yiorgis Sakellariou)

Krank Pappa: heralds The Hague's shady loft scene ... Being a partial outsider, he easily finds the freedom needed to develop his music slowly, as a pure non-musician creating his multi layered tracks by chance. Based upon location recordings on half broken equipment, possibly made in his own livingroom with unsuspecting visitors voxs; fx'd with sloppy freeware, and interspersed by retard musical notes squeezed into psychotic grooves / http://soundcloud.com/krankpappa / Debut EP coming soon - http://mouthinfoot.net

Krishve: Faint sounds in the far distance. Traces of music. This is a place between places. On a journey. A landscape of ressonance. Clouds of sound swirling in and out of focus. A dance of spectral veils. Shrapnels of filtered feedback echoing between the mountains. This is not about arriving but about traveling. A perpetually undecided state of mind. As we don't know anything about where we are going – apart from vague rumors overheard in conversations – we are free to let our imaginations build castles in the sky. Nothing is real. The thought leaves us in a vacuum – suspended in a dreamlike state – in the end as real as physical reality – because it is a world created by our subconscious. The world we live in is our sensory apparatus. A direct linkup to our past, to the beginning of the universe and to the future. Krishve uses a fairly limited assembly of hardware to create a completely improvised time travelling experience. A small mixer is the hub of operations, while several small synths, stompboxes, acoustic instruments, Krishve's body - anything that makes the required sound - provide the raw sound material. Everything is performed live and recorded directly to 2-track. The limitations of dedicated hardware and the discipline it requires is a source of creative inspiration. Krishve works as a composer and sound designer for performances/exhibitions including most kinds of multimedia, theatre and film /www.krishve.com

Leafcutter John: http://leafcutterjohn.com/

Lezet: May Everett Gant rest in peace and may God bless his generous soul for showing us what it means to be human. We're all minorities in this world

LIL: Daydreaming I / video - Marcin Tomczak / music - Arkadiusz Nowacki and Marcin Tomczak

M4SK 22: The Next Wave by M4SK 22. Music by m4sk 22, machinima by David Moss

Marco Oppedisano: 47-07 41st Street Apt. 2K Sunnyside, NY 11104 USA / Phone: 718-752-0106 / Cellular: 917-561-8875 / E-mail: marco.oppedisano@gmail.com / Website: www.reverbnation.com/marcooppedisano / Marco Oppedisano is an American guitarist, recording artist and composer whose compositions focus on the innovative use of electric guitar in the genre of electroacoustic music. His compositions have utilized multitrack recording and extended performance techniques for electric guitar and bass. In addition to musique concrète, recent compositions by
Oppedisano also consist of "live" electric guitar in combination with a fixed playback of various electronic, acoustic (specifically female voice courtesy of his wife, Kimberly Fiedelman) and sampled sounds. His electroacoustic music has been described as “...mindbending music for guitar and electronics...hear Oppedisano’s intricate roar.” (Time Out New York) “...for those unafraid of seeing the world through a distorted mirror, they make for some of the most willfully unaccommodating and hauntingly intense music out there at the moment." (Tokafi) “…[Mechanical Uprising] is an important work..” (Mark S. Tucker – FAME) Since 2003, Oppedisano has held various concerts featuring his electroacoustic works for electric guitar and works for live electric guitar and CD playback. Oppedisano has three solo album releases on the OKS Recordings of North America label (OKSRNA): Mechanical Uprising (2010), The Ominous Corner (2008), and Electroacoustic Compositions for Electric Guitar (2007). Also in 2008 on OKSRNA, Oppedisano collaborated on an album with David Lee Myers (aka. Arcane Device) called Tesla at Coney Island. In 2012, his music was featured in a short film by Don Cato called “Dead Man Rides Subway” and was premiered at the Queens World Film Festival. Television appearances by Oppedisano include the Discovery Channel and CUNY TV. He has had compositions programmed on WNYC "New Sounds," WFMU, BBC Radio 6, CBC Radio 2 and various other internet radio stations. Oppedisano has also live on WOR710 in New York City, Vin Scelsa's long running radio program, "Idiot's Delight" and done radio interviews for Kalvos and Damian’s New Music Bazaar. Oppedisano’s music have been reviewed by a variety of publications and he has done online interviews for online music sites such as Guitar-Muse, Tokafi and Contemporary Guitars Blog He was also profiled in a book of distinguished State of the Axe: Guitar Masters in Photographs and Words by renowned photographer, Ralph Gibson. (Museum of Fine Arts, Houston, October 2008). His works have been performed and heard in various areas around the world and are all published through his company, Out Your Ear (ASCAP). In addition to his electroacoustic music, Oppedisano has had works performed by the Fireworks Ensemble, Glass Farm Ensemble, Morris Lang and The Brooklyn College Percussion Ensemble, The Zyryab Guitar Quartet of Portugal, and distinguished guitarists; Oren Fader and Kevin R. Gallagher. He has recorded for Capstone Records (Vox Novus 2003 60x60 project) and performed the music of Glenn Branca. Oppedisano is also featured with Tom Buckner on an electroacoustic composition titled, “Hoodlum Priest” by Noah Creshevsky (Hyperrealism, 2003 [Mutable Music -17516-2]). Oppedisano also served as editor and producer for First Flight, a solo classical guitar disc by the prolific New York City based guitarist, Oren Fader. Oppedisano is a native of Brooklyn, New York and currently resides in Queens, New York. He holds a BA in Music Composition from the Brooklyn College Conservatory of Music and an MA in Music Composition from the Queens College Aaron Copland School of Music

Matthias Boss: [...]

Miquel Parera Jaques: The Sunset of Complexity / (NX017_Score01-2012-10-28_05_14_55) time: 3'26'' [eng] The Sunset of Complexity. It is necessary for the development of a new mental paradigm, the exponential growth of the complexity. There is, however, a limit beyond which descends steeply to negative levels. It is the dawn of simplicity. Surely you have experienced many times, when after much thinking to a problem, the solution is very simple. [cat] El Capvespre de la Complexitat.Cal, per al desenvolupament d'un nou paradigma mental, el creixement exponencial de la complexitat. Hi ha, però, un límit, a partir del qual descendeix bruscament fins a nivells negatius. És l'alba de la senzillesa. Segurament vostè ho haurà experimentat moltes vegades, quan després de donar-li moltes voltes a un problema, troba que la solució era molt senzilla.[esp] El Atardecer de la Complejidad.
Es necesario, para el desarrollo de un nuevo paradigma mental, el crecimiento exponencial de la complejidad. Hay, sin embargo, un límite, a partir del cual desciende bruscamente hasta niveles negativos. Es el amanecer de la sencillez. Seguramente usted lo habrá experimentado muchas veces, cuando después de darle muchas vueltas a un problema, encuentra que la solución era muy sencilla. Tech: LiveCoding improvisation with Supercollider programming language. Image: nxComposition023a (Miquel Parera Jaques)

Murmurists: A piece of music, dubbed 'Nibiru_haemosex', a piece of film, dubbed '127'; both made by Anthony Donovan, as Murmurists, at Cafe Abdab, England, sometime during 1963-2012. Things you may hear: Bach Utensil 911 played by a Quartertonal Prog Elvis; also, Geddy Lee Helium Voice harpooning omenta. Things you may see: Soutine thick line as Alfred Jarry Rifle Gap, Colorado, 1971, at fahrenheit 452

Nate Young: Wolf Eyes Demons Hatred Regression Toxoplasmosis Stare Case Moon Pool and Dead Band Overspace / http://www.wolfeyes.net/nateyoung/

Noise Research Vs. Joincey: Collaboration via mail / digital transfer from Noise Research (aka Ian Simpson) and Joincey (Inca Eyeball). Noise Research's source material was created, edited and 'mailed' digitally. Joincey transferred to 4 track analogue cassette and added to / reworked the source material.  Cassette tape sent by post to Graham Dunning to be re-digitised.  Finished track sent back to Noise Research via digital means

Oblivian Substanshall: is an amateur entertainer with an obsession for the absurd. His favourite colour is turquoise, and chips are never that far from his lips. His favourite movie is Holy Mountain by Alexjandro Jodorowsky, which he hasn’t seen all the way through yet. His favourite tipple is cognac and cider and the occasional glass of water. His influences range from dreaming, a hearty breakfast, decent underwear, and anything silly. His favourite band is nobody in particular, and his favourite artist is a fictitious character called Mr Banana

Owl Brain Atlas: Thank You / J. D. Nelson: Vocals, Noise, Programming / November, 2012 / OWLNoise.com

Øystein Jørgensen: Aka..Ambient Fabric / Area 51

Pablo Ribot: Ingravidez / 2012

Painburn: shyness is a State of being noble, is the soul which dress shoes elegant and distinguished, this guitar notes are timid, this track is an ode to shyness

Patrizia Mattioli: patrizia_mattioli@fastwebnet.it / Spectrale Traviata music for Poetry Happening in Reggio Emilia. The Spectrale Vision of Violetta's dead and granular words.....

Philippe Petit & Friends: Multiversal / David Tamura: Saxophone / Ron Anderson: Electric Guitar / Robert L. Pepper: Korg Ms 2000 / Philippe Petit: Fender Rhodes + Tubular Bells + Synths + Electric Psalterion + Electroacoustics + Kazooed-Voices / www.philippepetit.info
            
Pixyblink: [...]

Prometheus (Unbound) vs W.T. Richards: Friction Rub (Pericardial) / Instrumentation: Synthesizers, Soft Synths, Keyboards, Field Recordings, Electronic Treatments, Live Sampling, Samples, Percussive Sounds, Electronic Noises and Interference Sounds. Heart sound recordings and samples care of the NHS, Doctors & Staff. (Recordings used for training and identifying various heart conditions and anomalies)

Ronny Wærnes: Double No Input

Rose Bolton: www.rosebolton.com / Firmament of Time / My mother was a fantasist, visionary and an amateur astronomer. As a kid, she would take me to a rocky point in Killbear park (near Parry Sound, Ontario), and we would gaze deep into the night, observing and identifying shooting stars, planets and constellations. Over a period of 6 years until 1996, she constructed an intricate quilt, applying tiny phosphorescent beads to represent the milky way. A few years later she painted a number of acrylics on canvas about the night sky. One in particular is a visual depiction of a mysterious dream. In response to her art, Firmament of Time… is about stars, the unending scope of the universe and the unfathomable dark caverns of our own minds. I would also like to thank the City of  Toronto through the Toronto Arts Council for funding the creation of this work. The premiere of this work was at New Adventures in Sound Art, with John Kameel Farah, piano, and the electronic sounds came out of an eight channel speaker system, diffused live, through customized controllers / Bio: Based in Toronto, Rose Bolton creates music for documentary films. She is also well established as a composer who creates and envisions new sounds in the areas of classical and electronic music. She has written and produced full scores for four hour-long television documentaries for the CBC main network: Who’s Sorry Now?, The Disappearing Male, Surviving the Future, and End of Men. In 2011 she was commissioned by the Canadian Music Centre to create a sound and video installation for Toronto’s 2011 Nuit Blanche. The finished work, The Crown of the Bell, was produced in collaboration with film artist Marc de Guerre, and over 1000 people experienced the piece during the all-night event. Her concert music has garnered awards and grants from the Canada Council for the Arts, Ontario Arts Council and the Toronto Arts Council; and her work has been performed across Canada by the Kitchener-Waterloo Symphony, the Vancouver Symphony, the Esprit Orchestra, Tapestry New Opera, L’ensemble contemporain de Montréal, New Music renowned Aradia Ensemble. Her music has been broadcast extensively on CBC radio and has been performed throughout Europe and North America

Rosendo J. Rocha: wen / dark meditative improvisational experimental electronic / 343 / acoustic improvisational experimental, castanets, jar, ukulele, acoustic guitar / http://rosendorocha.bandcamp.com / https://vimeo.com/rosendojavier / https://www.facebook.com/netcollab

Ruela Pinho and Z(enseider)Z: Music/soundart - Lack of Belief by Z(enseider)Z | video art by Ruela / Image -  Lack of Belief by Ruela / Text - by Z(enseider)Z: [start of track introduce a little anarchy, upset the established order and everything becomes chaos... I'm an agent of chaos... oh and you know the thing about chaos... it's fear[music drops in] [end of track] do I really look like a guy with a plan? You know what I am? I'm a dog chasing cars... I wouldn't know what to do with one if I caught it. Y'know I just DO things... The mob has plans The cops have plans They're schemers, schemers trying to control their little worlds I'm not a schemer I try to show the schemers how pathetic their attempts to control things really are

Satisfacción Lab: Jorge Marredo was born in Badajoz, Spain, in 1977. Self-taught, his work encompasses styles ranging from field recordings, to the soundscapes, from electronics with analog synthesizers, the radio art, noise and psychedelia. His work is essentially published on netlabels, particularly in the U.S.A, but also in Belgians, Argentines, English and Spanish; he has participated on compilations with Eduardo Polonio, Llorenç Barber, José Iges, among others. He has also been invited to participate in the Ciclos de Música Imprevista (Cycles of Unplanned Music), organized by the collective Antipasto, and has played with free improvisation groups / More info: Blog: http://satisfaccionlab.blogspot.com.es/ / Twitter: @satisfaccionlab / Some sounds: http://soundcloud.com/satisfaccionlab

Shaun Robert: Born 25 2 66 in Brixham, Devon. Started recording, making music from about the age of 8, it's not very clear. Using tape machines by utilizing the pause button, crash editing sounds
together; not seen as a form of art, more away to understand, adapt the world around him. Using a catalogue of pseudonyms, to do various projects. These creative outings became more and more like an imaginary friend, coloring things with a rainbow of the minds eye

Sinus Buds: [...]

Sonervol: [...]

Sonvol: [...]

Sound inhaler: d.2012 / travelogue part 2 / Slogans have become the tools of oppression!!! / soundinhaler@yahoo.co.uk / soundcloud.com/soundinhaler / discogs.com/artist/Sound+Inhaler

Spidey Agutter: Owing knowing and small hours to pay in. Down in the trenches, where the laughter sounds like belches. Automatic writing...........only when the fish be biting. What cannot be faked cannot be escaped. I know you know I know that we both know what we owe and knowing what we know is what we owe now. In the still small hours, daylight to come and nurturing darkness holding me afloat in arms of expectant possibilities, I lay with chance to listen.... the quiet calm voice spoke in it's deafening sure silence, all doubts dispersed, unsureities banished....do it all now cause down in the trenches the laughter sounds like belches

Stirner: [...]

Stormhat: This time Stormhat has chosen to work without the use of fieldrecordings and has instead used the handmade synth bC8R – made by the great Ben Fischer – for improvisations which later are mixed and treated in the nice and flexible software Kenaxis by Stefan Smulovitz. The results are far from perfect as they ought to be as only the imperfect and clumsy continues to tease our taste which, admitted, may be a bit odd and mouldy

Sun-Inside: the track was written in early spring and the spring is filled with love, it I used a Korg sampler and virtual sintezatory.nazvanie I took such as Igor Stravinsky - The Rite of Spring

The Implicit Order: is not involved in any wave, stream, genre or scene

The Thud Experiment: The Thud Experiment - Sanity Cycle / An improvised performance 13th October 2012 / Igor’s Roomy Lab Coat – kaoss, feedback and whispers / Jack Twang – Electronic tonalities / Noel Kidderowski – Bass looping and FX / Mixed and mastered by Jack Twang / Recorded at Elusive Studios

Thomas Zunk and the Berlin Improvisers Orchestra BERIO: Thomas Zunk: edit of the rehearsal at Jazzkeller69, Berlin with the Berlin Improvisers Orchestra (BERIO), 8th November 2012 / THE BEST REHEARSAL YOU NEVER HEARD / Duration 6:23 / Personnel: Thomas Zunk - (Moog Etherwave Theremin, Boss RE-20 Space Echo twin pedal, Electro-Harmonix Talking Machine) / Niko Meinhold - Klavier (piano), Mbira / Tristan Honsinger - Cello / Alison Blunt - Geige (violin) / Denitsa Mineva - Geige (violin) / Wolfgang Georgsdorf - Geige, Stimme (violin, voice) / Andrea Sanzvela - Bratsche (viola) / Anna Kaluza - Altsaxophon (alto sax) / Manuel Miethe - Sopransaxophon (soprano sax) / Henrik Walsdorff - Tenorsaxophon (tenor sax) / Ricardo Tejero - Tenorsaxophon, Klarinette (tenor sax, clarinet) / Robert Würz - Flöte (flute) / Gerhard Gschlößl - Posaune (trombone) / Max Andrzejewski - Schlagzeug (drums) / Julian Bonequi - Schlagzeug, Objekte, Stimme (percussion, objects, voice) / Jan Roder - Bass (double bass) / Horst Nonnenmacher - Bass (double bass) / Stephan Bleier - Bass (double bass) / Antonio Borghini - Bass (double bass) / Ulf Mengersen - Bass (double bass) / Maresuke Okamoto - Bass (double bass)

Trans Atlantic Rage: Country: Pennsylvania, U.S.A. / http://www.freemusicarchive.org/music/transatlanticrage

Tumei Tejas and Michael Durek: Music by Michael Durek, Video by Tumei Tejas / Hurricane Sandy devastated the New Jersey shore, as well as New York City and areas surrounding them. This collaborative effort of video by Tumei Tejas and music by Michael Durek immerses the viewer in the emotional response to this loss and the memories associated with the place. After a 5 day power outage following Hurricane Sandy, Michael Durek plugged in his theremin and this melody came out rather spontaneously.  He was reflecting on the loss and frustration felt throughout the American Mid-Atlantic region.  The track uses a single theremin with an octave delay effect so that it loops over itself. The video montage by Tumei Tejas layers aspects of memory and loss over the ubiquitous power of nature. It reflects on the to and fro, the passage of time, breakdown of permanence, and the decay of that which is familiar and well-loved. We dedicate this project to all who have suffered loss through this disaster and by extension disasters others have faced. We also dedicate this video to the selflessness of first responders and all who have given to help those in need

Tunel and Anton Mobin: 7even / Tünel (Cisco C. & Monobloc Sound Fidelity) & Anton Mobin / http://www.tunel.fr/ / http://antonmobin.blogspot.fr/ / Recorded at the Maïzing Studio, Paris on June 20th, 2012. First contact in trio recorded in multitrack just before the “A Maïzing Session With...#43”,  and mixed later for Classwar Karaoke...

Tvlasunor: [...]

Twin Realities Dreamers: is a duo created in december 2011 in Montreal. The two members Damaris Baker and Ed End are also involve in video works http://larevolutiondemain.blogspot.ca/ Toward Reality Desert Part 3 is part of the Desire Sellotape, their third tape but first one to be released

V.A.G.U.E.: CWK-20 / Ellis Hawkins - Soprano Saxophone / Chris Smith - Drums

Vincent Berger Rond: Elle avait raison Hathor Description / Après la musique de l'homme (Un doux rêveur dans. Homme Sauvage dit.), voici la musique de la femme (Elle avait raison Hathor). Elle avait raison Hathor se veut déconnecté, hors de ce monde, en dehors du réalisme socio-historique lié aux thèmes choisis et surtout le moins terre-à-terre possible. Le projet ne se base même pas entièrement sur la mythologie (de laquelle il s'inspire librement). Ils'agit de se concentrer sur ce que je compose de mieux. Oui, il existait quand même un semblant de réalité dans Un doux rêveur dans. Homme Sauvage dit. Il s'agissait d'une erreur négligée et circonscrite depuis, l'ennemi sobre des cataclysmes inébranlables. Jusqu'à aujourd'hui, c'était seulement  l'erreur que l'on avait lue ! Elle avait raison Hathor complète également la logique derrière [{ }], celle d'une seule chanson et de quatre instrumentaux. Après avoir complété, une version vocale de la première composition avec l'aide de Laura Kilty, je me trouvais entièrement satisfait : la présence vocale omniprésente maintenant explorée, le texte dense résumant la thématique des autres textes, réunissant même les deux derniers projets à propos de l'homme et de la femme alors qu'il ne peut s'agir de que de la première chanson. Après Izanami, il me semblait que la musique devenait un contre-poids d'énergie positive ne confrontant les zones plus sombres qu'avec confiance et force. La légereté instrumentale de Maât m'a semblée toute nouvelle, nécessaire après une chanson saturée de partout. Les guitares de toutes sortes agissent comme la véritable voix de ce projet. Comme pour [{ }], les poèmes deviennent un lyrisme optionnel à celui qui veut les lire, rien n'est imposé, contrairement aux différends d'Izanami. L'interprétation demeure libre malgré mon amour pour la chanson lyrique et mon peu d'intérêt pour la composition de bruitage vocal (quelques-unes de mes compositions dans cette avenue me suffisent). After music about manhood (Un doux rêveur dans. Homme Sauvage dit.), here is music about womanhood (Elle avait raison Hathor). Elle avait raison Hathor is wanted disconnected, out of this world, outside socio-historical realism linked to the selected themes and mostly the least down-to-earth possible. The project is not even entirely based on the mythology (from which it is inspired freely). It is to concentrate on the composition that I do best. Yes, there was still a form of reality in Un doux rêveur dans. Homme Sauvage dit., it was a neglected mistake, now found out, the humble enemy of unwavering cataclysms. Until today, it was only the error that we had read ! Elle avait raison Hathor also completes the logic of [{ }] made out of one song and four instrumentals. After completing a vocal version of the first composition with the help of Laura Kilty, I found myself completely satisfied: the omnipresent vocal presence has already been explored once, the dense poem is including most of the elements of the other poems, also linking the two last projects about manhood and womanhood, yet it can only be the first composition musically and  lyrically. After Izanami, it seems to me that the music is becoming a counter weight of positive energy that only gets into dark zones with confidence and strength to get out. The instrumental lightness of Maât sounded all fresh suddenly, needed after a song that was saturated on all levels. The guitar of all kinds are the true voice of this project. Like in [{ }], the poems become an optional lyrical aspect to who want it, nothing is imposed, as opposed to the disagreements in Izanami. The interpretation remains free as much as I love lyrical songs and have little interest for the composition/collaboration with purely sound oriented vocal interpretation (a few of my compositions explored it in the past and that was enough). (Japan) The first gods summoned two divine beings into existence, the male Izanagi and the female Izanami, and charged them with creating the first land. (Egypt) Maât was the ancient Egyptian concept of truth, balance, order, law, morality, and justice. (Egypt) Hathor's cult is unusual. Many of them were artisans, musicians, and dancers who turned their talents into creating rituals that were nothing short of works of art. (Inuits) a young woman (Sedna) becomes the mother of all sea creatures. (Greeks) In the Odyssey, Homer describes her as 'The loveliest of all immortals,' living on the island of Aeaea. V What dominates most here are Fred Szymanski's several electric guitars whose sound and improv-flow are modified and recomposed by Vincent Berger Rond in late 2011; and Jim Goodin on banjo (Hathor) is important. V - Laura Kilty on vocal composition, singing, rewriting lyrics (Izanami). V Alexandra Fol on electric organ plays Hope of Dawn by Ana Paola Santillan Alcocer (Izanami); Bruce Hamilton's electronic pieces Rockplaco and Dark are remade (Maât; Circée); as is Steve Moshier's electronic piece The Far End of a Forgotten Street (Circée). Spectropol Records 2012 [SpecT 11] Some rights reserved: Creative Commons CC BY-NC-ND

Vor Onus: [...]

Wayne Mason: is a writer and sound artist from central Florida, USA. He spends most of the time in a factory that pays little in the way of money, but dividends in misery and inspiration. http://brokenzen.wordpress.com/

Wilhelm Matthies and Paulo Chagas: “Lemmings Concert” is a graphic composition by Paulo Chagas. The included track icon shows the graphic composition. Wilhelm Matthies interpreted it to evoke the literal closeness and itchiness of many together, but also the dread of going over the edge. Paulo added to this mood with the soprano saxophone / Paulo Chagas http://soundcloud.com/pauloxagas
or http://soundcloud.com/zpoluras / FaceBook: http://www.facebook.com/pauloxagas

Wilhelm Matthies and Pedro Duarte: “morning field, early fall-1” / This piece was made, in part, as a response to photo-field walks. The track icon is taken from one of those walks. A sense of organic seasonal change literally and metaphorically is the intent of this piece. Wilhelm Matthies on mosesa, a bowed instrument of his own invention, and Pedro Duarte on piano. It is part of a set we are working on and releasing on SoundCloud / http://soundcloud.com/wilhelm-matthies/sets/fields-2/ / Photo field walks can be seen on my Facebook site: http://www.facebook.com/wilhelm.matthies /
Pedro Duarte http://soundcloud.com/speedphrenia / Wilhelm Matthies and Pedro Duarte

Winter Umbrellas: [...]

Zilmrah Murmurists Tamura: Remote Viewing / Zilmrah: Eurorack Modular, 18 String Guitarwheel / Murmurists: 6 string bass, electronics / David Tamura: tenor saxophone / Recorded in New York, USA and Northampton, UK

Zoviet France: http://soundcloud.com/zoviet-france / http://www.mixcloud.com/zoviet_france/ / https://www.facebook.com/zovietfrance

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