The 17 Sons of Abraxas - Dual Face 204 (17 Sons Records, 2011)

1 South Face 12:54
2 North Face 07:55

//north face//the darkest one//slowly evolving drone for theta brainwaves resonance research//=+=//south face//shiny but glitchy//background noises pops clicks amplification//
The 17 Sons of Abraxas

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Oren Ambarchi, Günter Müller & Voice Crack - Oystered (Audiosphere, 2003)

1 Walking Oysters 10:51
2 Briefing Oysters 13:11
3 Grounding Oysters 7:57
4 Oystered 9:47

Debates continue to rage about what to call the ever more important genre of AMM-influenced electronics. Still freely improvised, the music has variously been called lowercase improv, egoless improv, electro-acoustic improv, post-AMM improv, glitch-prov, and more. I don’t know what in the world to call it, but if anyone is even remotely familiar with the genre then the names of the musicians on Oystered will be instantly recognizable. Australian guitar experimentalist Oren Ambarchi – one of the more interesting young players in this scene – met up with Swiss masters Voice Crack (Andy Guhl and Norbert Moslang on "cracked everyday electronics"), who have recently disbanded, and Günter Müller, who plays electronics and selected percussion. Apparently gorged on oysters and wine, they headed into the disturbingly named Big Jesus Burger studio in Sydney. It’s a very rich meeting, comprised of four tracks over 41 minutes, and doesn’t sound much like what one might expect from a Müller/Voice Crack summit.

"Walking Oysters" opens with processed drum throbbing away, a gentle catalyst for some jarring, almost serrated electronic sounds. Perhaps no surprise here, since Voice Crack have always struck me as among the more rhythmically oriented electronics improvisers. The Müller’s and Ambarchi’s strategies work well in concert with this approach – somewhere in this piece it sounds like a helicopter flying above a crowd involved in ritual incantations (with somebody playing a contrabass clarinet). As always with this music, one has very little idea about the source of the sound; that’s part of the intrigue, as is trying to describe it. On "Briefing Oysters," muffles and subdued whines try to keep down flinty scraping noises, but fail beautifully. The slowly changing frequencies – tones being altered in pitch – create some delicious tension, as the crackles and rustles suggest tiny animals clawing their way out of your speakers. "Grounding Oysters" is the most nervous and claustrophobic track, with its insistent pulse and sounds of a robot’s indigestion. On the closing title track, Ambarchi’s processed and treated guitars are very eerie. Though this is a one-off meeting, ultimately the group sounds very coherent, a single-celled sonic organism that might well have emerged from the same muck as the group’s beloved oysters. In general this is subdued music which might appeal to fans of Ambarchi’s work with Keith Rowe, some of Müller’s duets (with, say, Taku Sugimoto or Lê Quan Ninh), or sound artist Ralf Wehowsky.
Dusted Reviews

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Lechones Sangrientos - Kaseum (suRRism-Phonoethics, 2011)

01 David Lynch Lunch Kaseum
02 NaCi
03 Kanopedia I
04 EbaY
05 Caratula Gorrion
06 Kanopedia II Live in Japan
07 Alesis X
08 PerfectH
09 Kanopedia III
10 Mas Aya
11 Pork Fest

'less wave with independently smiling at the momentum
more similar may cause this, so they are certainty such as unsanitary moments'
-undRess Béton

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Pablo Ribot - Mix.Step (suRRism-Phonoethics, 2010)

1 Intro Dm fux
2 Cycle
3 Airport Interference
4 Mthfucker
5 Antimateria
6 T-Khazeem pt.1
7 T-Khazeem pt.2
8 T-Khazeem pt.3
9 Dial
10 N_chip
11 Alpha Frecuencia
12 Tunel
13 Inn Dub
14 Snapshot

suRRism-Phonoethics is proud to release Pablo Ribot's 4th sPE_release 'Mix.Step'!

Audiovisual artist, producer, composer and guitarist.
Mix.Step (2010) released with the suRRism-Phonoethics netlabel.

His work focuses on electronic-experimental-electo-acoustic music.
Micro sounds, broken and unarticulated shapes, are combined with free-style,
taking influences from the avant-garde, jazz, glitch and circuit bent sound.

Pablo Ribot grabbing the nut once AGAIN!
suRRism-Phonoethics

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CONTROL-Z - Cut To Cut (suRRism-Phonoethics, 2010)

1 Cut X
2 Cut XX
3 Cut XXX
4 Cut XXXX
5 Cut XXXXX

'he decided to hence, so the rest already already did try to do cancel.
fortunate sample was times as they also noticed colors-
while realizing the wait the step was caused!
larry was out of reach…
could wanting to deceive a mission?
ranting cause trashed ‘bangs’'

-undRess Béton

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Abluonihil - R100%=G (Biodata, 2010)

1 Tiempo
2 Vacio
3 Pensamiento
4 Ruido Interno
5 Ruido Externo
6 Medio Final

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Pablo Ribot with God Pussy - Interruptor Magnetic (Torn Flesh Records, 2010)

01 - Hitchcock's Dream
02 - Heat Of The Night
03 - Nasa Report
04 - The Cold Of Days
05 - Retro-Invasion
06 - Interruptor Magnetic

Available enjoy new musical work in collaboration by Pablo Ribot (Argentina) and God Pussy (Brazil). 'Interruptor Magnetic', combines the different styles among the musicians merging in an impressive mixture of noise, contemporary music and idm.

The immediacy of the images, the mystery of a poem, and the metaphor from the sound textures, provide means to approach a new state of contemplation.

Technology and the subsequent alienation are presented from a retro point of view, urging to meditate upon the processes of perception.

Bent technology and glitch theory are in dialogue within the concept of the composition. Drama, nostalgia and random forms are part of the free-style developed throughout the EP.
Torn Flesh Records

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Pablo Ribot - Bent Interlocutor (suRRism-Phonoethics, 2010)

1 Intro
2 Hipnosis
3 Paiaro Mecanico
4 Random Voice
5 Helo Me Dada Computer
6 Bent Interlocutor
7 Apocaliptica Version Del Futuro
8 Neutron

This EP explores the 8 bit sound and glitch music, with a ludic approach in the composition of the tracks.
The sound integrates abstract and freestyle.

'vibarentoligy furental'ed my final stage today may across the be is so anyway blessed come whatever need of whatever not
he is so intended and will be inverted pleasures decompiled advance tactic is kindly pushed along towards you'
-undRess Béton

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Gabran - Secrets (Just Not Normal, 2010)

1 Secret 1
2 Secret 2
3 Secret 3
4 Secret 4
5 Secret 5
6 Secret 6
7 Secret 7
8 Secret 8
9 Secret 9
10 Secret 10

Return in the forest for a new harvest of sounds...
I'm looking for other sounds ... other worlds ...

These are just some of the sounds that I brought home after my last trip ...
After my last dream ...

Echoes of distant nebulae disappeared into infinity of the mind...
only a few sounds, a gift for those who want to listen ...

To hear them turn off the light and let the images exploding in your mind ...
only a candle... and, then, a full immersion into sounds ...

Sounds help us to understand ourselves...

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Sam Hamilton - Low Hill (CLaudia, 2006)

01 Low Hill 9:30

Based in Auckland, New Zealand, Sam Hamilton works through various media, including groups such as City Peoples Farmers Music and Muffin Seeks Sunship, and film collaborations with Eve Gordon. But he's known mostly for his solo recordings, of which the nine minute "Low Hill" is a fine example. Hamilton digitally edits recordings of busy, shuffling percussion and pinging guitar harmonics into a short suite loosely held together by low, abraded drones. All the action happens thanks to Hamilton's deft editing, as he cauterises little moments of static and smears them across the dashboard. Towards the end, he starts humming along absentmindedly, inserting the auteur's presence indelibly into the frame.
The Wire

Sam's CDR contains just one nine minute piece, for which he lists guitar, voice, computer and drums, and all of these instruments are to be recognized in this strange curious piece of computerized noise, guitar strumming and playing the cymbals. There is some sort of cut-up collage like elements to be discovered here, which reminded me of thefirst solo CDs of Dean Roberts. A nice mixture of glitch music,improvisation but also in a strongly composed manner.
Vital Weekly

Just under ten minutes of minimalistic fish slapping. It's funny how droney, small buzz laptopism can still be quite striking. While at times mellow, it's full of changes and varied instrumentation. Tense trebled free drums. High freq strobes. Guitar loops interchanging. Static bursts in tiny melody. Whispers of downtempo mouth trumpets xoring the jazzerblues. Levels of crank extending like a teenage robot on a tense day at the microchip hurler.

It's easy to say, "ah, yet another laptopper." and dismiss this, but I think the effects here are applied a little more wildly. Not bombastically, but with more emotional dynamics than a glacier's chemistry in action on a winter's day, which is what so typically passes as laptop sound art in the last few years especially.

I feel scratched. It's good to hear the young NZ experimental crowd continuing to push outward and keeping the NZ noise faith alive.
Foxy Digitalis

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Cordell Klier - Espionage (Gears Of Sand, 2007)

1 Untitled One 0:21
2 Untitled Two 5:00
3 Untitled Three 4:04
4 Untitled Four 4:31
5 Untitled Five 4:12
6 Untitled Six 2:00
7 Untitled Seven 3:38
8 Untitled Eight 5:08
9 Untitled Nine 3:56
10 Untitled Ten 2:28
11 Untitled Eleven 10:00
12 Untitled Twelve 4:29

Many and various are the credentials and designations paraded by Cordell Klier, who appears to have been around the media arts and musical genre block a few times. Experimental sound artist is, for our purposes, the most salient signage for this digi-art-punk-pop proteus, his latest incarnation coming on the back of a gamut-run of 90s-00s genres, taking in various types of pop and a few tips of hop. Klier has alighted upon minimal drone and glitch as his currently preferred mixer flavors, pushing Espionage into the area of what he describes as ‘cold pop music.’ He brings to bear his predilection for minimal drone and Raster-ized microsound and glitchscapes on a series of emptied-out virtual song structures with occasional spoken word interleaving. The result is a kind of brittle cybernetic nearly-pop that dips its own-bristled brush largely into the palette of another’s stick-figure sensuality and freeze-dried (r)emotion (12k/Line). The artist’s personality emerges towards the end as a somewhat arch, even threatening entity. Glitches, drones, twangs, and found sounds cohabitate, though the notoriously annoying yowl of a siamese cat resonates the longest. Espionage is a bit like the difficult kid in the class, in an idiosyncratic, occasionally discomfiting collection that both compels and repels, sometimes simultaneously.
e|i magazine

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