DOME 1, 2, 3, 4

after Wire broke up in 1980, Bruce Gilbert and Graham Lewis switched from the style of those legendary minimalist punk records to woking on many much more free form projects, the main one being DOME. industrial experiments, ambient scapes, rhythmic noodling, poetic sound works-in-progress, half songs, and occasional pop epiphanies, these 4 volumes are documents of the uninhibited play of minds filled with ideas at a time when borders and names were not important, and in fact didn't really exist. the music is not this, not that, but predominantly very listenable and enjoyable, containing more than a few not replicable brilliant moments.

one two three four


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Polyphonic Singing From Sardinia
Tenores de Oniferi

1. Su Determinu
2. A S'omine
3. Gosos Di San Gavino
4. Sos Antigos
5. Muttos
6. Ottava Del Tre
7. Sa Supposta Partenzia
8. S'andira
9. Tiu Bustianu
10. Serenada De Lerru

Release Date: March 23, 1999
Genre: International
Styles: Mediterranean
Label: Music Of The World

Strictly a cappella, Polyphonic Singing from Sardinia is an appealing example of the type of traditional vocal-group performing that has been heard on the Italian island of Sardinia for centuries. There are some similarities between the harmonies employed by Tenores de Oniferi (one of Sardinia's most well-respected traditional vocal groups) and the harmonies used by Catholic monks in Italy, Spain and Portugal. In fact, play this CD next to the a cappella Chant by The Benedictine Monks of Santo Domingo de Silos (a fine collection of Gregorian chants by monks in a Spanish monastery), and you can't help but notice the parallels. But the Italian lyrics embraced by the Tenores de Oniferi can be either secular or spiritual in nature. Traditional Sardinian vocalists often come up with improvised lyrics, and sometimes, they turn their attention to Sardinian poetry of previous centuries. "Su Determinu" was written by the 19th century poet Paulicu Mossa, while "Sos Antigos" comes from poet Antioco Casula Montanaru (1888-1957). Music of the World can usually be counted on for thoughtful liner notes, and for this album, the label has printed the Italian lyrics as well as English translations. Recommended.



Cuba: La Familia Valera Miranda

after the crazy drugs fueled carioca funk in the hills that lasted 20 hours, where you almost got shot, TWICE, come sit at the kitchen table with a bowl of hot soup...


tomorrow, to the funky hills

about two years ago there was a website called

a lil hype:
"Do Morro" translates to "of the hill", and has been ingrained in brazilian slang as reflection of the culture of the segregated favelas that have firmly rooted themselves in the hills of Rio De Janeiro...This archive is intended to share the hip hop beat produced in the hills of Rio, the favelas of Sao Paolo, and the streets of Salvador - funky do morro: the funk of the hill...Much of this music was found with independent sellers, and produced in garages, with not much international distribution. Many of the individual artists on the track may remain anonymous to global audiences...

maybe you missed it?

a large collection of brazilian mix tapes - I dl'd the whole thing while at a wedding in pasadena. some of the these *.zips are incomplete - if i recall correctly, the files were not on the server when I dl'd. and these files are not tagged. regardless. enjoy!

all links rapidshares...

as melhores do la

batidao cruel

castelo 10

castelo 11

funk cruel

funk neurotico 23 pt1

funk neurotico 23 pt2

funk neurotico

hip hop cultura de rua


ta dominado


Piano Music of the Darmstadt School, Volume 2
Steffen Schleiermacher (Piano)
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1. Intervalle
Composer Karlheinz Stockhausen (1928 - )
Performer Steffen Schleiermacher (Piano)
Josef Christof (Piano)
Genre 20th Century Period
Date Written 1969
Period 20th Century
Country Germany
Recording Studio

2. Metapiece [Mimetics]
Composer Mauricio Kagel (1931 - )
Performer Steffen Schleiermacher (Piano)
Genre 20th Century Period
Date Written 1961
Period 20th Century
Recording Studio
Notes This selection is performed simulataneously with Steffen Schleiermacher's "Schoen Hut."

3. Echo Andante
Composer Helmut Lachenmann (1935 - )
Performer Steffen Schleiermacher (Piano)
Genre 20th Century Period
Date Written 1961-1962
Period 20th Century
Country Germany
Recording Studio

4. Corroboree
Composer Earle Brown (1926 - )
Performer Steffen Schleiermacher (Piano)
Genre 20th Century Period
Date Written 1964
Period 20th Century
Country USA
Recording Studio

5. Caracteres
Composer Henri Pousseur (1929 - )
Performer Steffen Schleiermacher (Piano)
Genre 20th Century Period
Date Written 1961
Period 20th Century
Country Belgium
Recording Studio

6. Schoen Hut
Composer Steffen Schleiermacher (1960 - )
Performer Steffen Schleiermacher (Piano)
Genre 20th Century Period
Date Written 2001
Period 20th Century
Country Germany
Recording Studio
Notes This selection is performed simultaneously with Mauricio Kagel's "Mimetics." Schleiermacher performs his work on a toy piano with IKEA-bells.

(Mimetics - Metapiece (Mauricio Kagel) Part I simultaneously with Schoen Hut for toy piano with IKEA-bells (Steffen Schleiermacher). Caracteres (Henri Pousseur). Echo andante (Helmut Lachenmann). Mimetics - Metapiece (Mauricio Kagel) Part II simultaneously with Schoen Hut for toy piano with IKEA-bells (Steffen Schleiermacher). Intervalle. Piano-Duo Four Hands - to be played with closed eyes from For times to come (Stockhausen). Corroboree for three pianos (Earle Brown).)

Performed by Steffen Schleiermacher (piano, toy piano). Pieces by: Earle Brown: "Corroboree"; Mauricio Kagel: "Mimetics"; Henri Pousseur: "Caracteres"; Helmut Lachenmann: "Echo Andante"; Karlheinz Stockhausen: "Intervalle". "Steffen Schleiermacher is famous for his recordings of modern piano music. Maurico Kagel's Mimetics from 1961 requires that an additional piece be performed simultaneously. Schleiermacher chose to perform his own 'Piece for Toy Piano and IKEA Bells' 'Schoen Hut'. Schoen Hut is the manufacturer of the toy piano which he customized with bells from the toy department of the IKEA furniture store. Stockhausen's 'Intervalle' was composed and inspired by the societal turmoil of 1968. The composer identified with the Darmstadt Summer School movement took the stringent serialistic compositional methods of the 1950s and opened them up for improvisation and other devices."



spectral special part the 57th

much thanks to monsieurlodus, Miskc, Aporia6, and Obelix from SFRP for their inspiration and knowledge on the subject, and the following recordings:

Pawel Mykietyn - Sonata for violoncello solo (2006)

Andrzej Bauer, cello

Horatiu Radulescu - Cinerum

(world première performance)

Hilliard Ensemble and European Lucero Soloists/Horatiu Radulescu
Römisch-Katholische Kirche, Dübendorf, Switzerland, February 9 2005


Tristan Murail - Random AccessMemory (1984-1987)

pour 6 instrumentistes (guitares électriques, batterie, synthétiseurs, ordinateurs)

Gerard Grisey - Le Noir de l'étoile (1989-90) (a different version from the one previously posted. i think i might prefer it to the previous recording)

Ensemble S. Massimo Mariani - sound direction

Gérard Grisey - Quatre Chants pour Franchir le Seuil

For soprano and fifteen instruments
Catherine Dubosc (S). Klangforum de Viena. Dir. Sylvain Cambreling

Gerard Grisey - Talea
fl, cl, vn, vc + pf

Tristan Murail - 13 couleurs du soleil couchant
fl, cl, vn, vc + pf

EnsembleL'Itineraire/Pascal Rophe



"Au Dela de Movemur" (for orchestra & strings)
"Monades (Gamma & Epsilon)" (for 6 monocords, crystals & metallic objects)


"Ekagrata" (for orchestra)
"Signum Geminai" (for ensemble and tape)
"Zodiaque III" (for prepared piano, percussion and tape)


1. ASTREE LOINTAINE / Iancu Dumitrescu
soliste: Claude Delangle
Orchestre RTV de Roumanie

2-6. SYMETRIES / Georges Astalos
atelier sonore: I. Dumitrescu, A-M Avram
voix: Pierre Lamy

7. ARCHAE / Ana-Maria Avram
soliste: Ana-Maria Avram

8. HOLZWEGE / Iancu Dumitrescu
soliste: Ioan Marius Lacraru



"Ouranos II" (for 12 violoncellos, tape and percussion)
"Gnosis" (for double bass, performed by Ion Ghita)
"Orion I & II" for 3 groups of percussion


"Swarms III" (for string orchestra)
"Labyrinthe I" (for strings and amplified percussion)



"Eon- Dans Un Desordre Absolu (II)" (for bassclarinet, percussion, string ensemble and electronics)
"Temps Condenses" (for ensemble and electronics)
"Eon- Dans Un Desordre Absolu (I)" (for electronics)


"Orbit of Eternal Grace" (for bassclarinet, saxophone, percussion and string orchestra)
"Ascent" (for bassclarinet, bassoon, 2 percussions, 2 altos, 2 cellos, 2 doublebasses)

rytis mazulis - twittering machine

computer piano music

1 twittering machine part 1 6.59
2 twitering machine part 2 9.03
3 ex una voce 12.45
4 clavier of pure reason 9.37
5 hanon virtualis 19.20
recorded in Vilnius september 2006

Doina Rotaru

Over time
Pierre-Yves Artaud, flutes/Yoshikazu Iwamoto, shakuhachi

for flute and flute orchestra (24 players)
Pierre-Yves Artaud and Orchestre Français de Flûtes/Pierre-Alain Biget

Tristan Murail - Winter Fragments

1 Winter Fragments Pour Ensemble Instrumental, Sons De Synthese Et Dispositif Electronique
2 Unanswered Questions Pour Flute
3 Ethers Pour Flute Et Ensemble Instrumental
4 Feuilles A Travers Les Cloches Pour Flute, Violon, Violoncelle Et Piano
5 Le Lac Pour Ensemble


Horatiu Radulescu - String Quartet No. 5 etc.

01 String Quartet No. 5
02 Piano Sonata No. 3
03 Lux Animae
04 Where Beyond

Georg Friedrich Haas - Torso (1999-2000)

nach der unvollendeten Klaviersonate C-Dur D 840 von Franz Schubert
für großes Orchester

Rundfunk-Sinfonieorchester Berlin/Peter Hirsch


shrines, nests

I feel as if I'm late for class. summer's cresting, and hey - tom's on the diff_waters crew, throwing reat sounds against the ceiling...I've been hiding out under a hectic season. so, here's a little something...

shrine | nest

Keiichi Sugimoto
Yuichiro Iwashita
Namiko Sasamoto
Tetsuro Yasunaga

Recorded live at Suwa Shrine, Nishi-Nippori, Tokyo, October 13, 2002 (1); and at On Air Nest, Shibuya, Tokyo, November 10, 2002 (2)

two ~30 minute jams (as such). totally low-key, low-case, low-cal. A fine statement on the state of solid-state digitalized, ambient improvisations, turn-of-the-century (that is what it will be called, y'all).



tu m'

First full-length CD from this italian group, while they
were still working as a trio.

Recorded 2001 in Città Sant' Angelo, Italy.

Andrea Gabriele
Rossano Polidoro
Emiliano Romanelli

sigh -> getting farther away from the halcyon early oughts. these sounds just seemed to happen back then. and there they were, here they are...



anyway. back into the waters...I'll try to splash a bit more...


Yumiko Tanaka / Ivar Grydeland
Continental Crust
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01 Downgoing Slab (2:59)

02 Semi Rigid Lower Mantle (9:09)

03 Young Oceanic Crust (12:00)

04 Eurasian Plate (From 7 different views) (12:22)

05 Mid-Atlantic Ridge (10:54)

06 Bonus Track (4:58)

Ivar Grydeland - acoustic guitar

Yumiko Tanaka - futozao shamisen, taisho-goto & voice

About Continental Crust
Continental Crust by Yumiko Tanaka and Ivar Grydeland is slightly folk-inspired acoustic sound improvisations captured in Osaka in April 2004.

Liner notes
This music was composed and recorded at the venue Bridge in Osaka on April 17th 2004. Bridge is located high above the ground in the middle of the amusement park called Festival Gate - right between slot machines and the big roller coaster. I don't think Festival Gate is Osaka's hot spot, the park is nearly empty, but Bridge is a nice and spacious venue. With relatively small acoustic instruments we tried to fill Bridge with sound and music that we find interesting. Meanwhile, we could see the roller coaster passing by every now and then - we could also hear it, and feel it. The whole building would shake each time it passed by, like a small earthquake. Maybe this wasn't the perfect recording situation, but listening to the music now I feel it gained an identity of it's own. The music on this CD somehow made me think of plate tectonics.

Ivar Grydeland, Oslo, November 2004


Grydeland on acoustic guitar and Tanaka on futizao shamisen (a small banjo-like instrument) and percussion somehow combine in these surreal circumstances to create improvisations of great intimacy and light. The instrumental voices are fundamentally small, however resonant, and the musicians take varied tacks to the space at hand, sometimes building dense overlays of rapid twanging lines, as on «Young Oceanic Crust» and elsewhere allowing isolated sounds to bend and waver as they decay, as in «Eurasian Plate from 7 Different Views.» The musicians have forged profoundly personal approaches to their instruments, to the extent that it's ironically difficult to tell them apart, whether it's a modified acoustic guitar or a shamisen that's carrying a particular line, but the difficulty is hardly problematical. This is music about submerging identity, whether in the free interaction of sound, floating high in space in an aged amusement park or diving in the oceanic imagination to the earth's shifting plates. It's music of compelling delicacy and rigor-especially striking when Tanaka plays and sings the traditional «Hidakagawa Iriaizakura» in the midst of an extended improvisation-but it feels resilient, not fragile, with a poetry all its own.»


Hisato Higuchi
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Album: 2004 11 2005 4 (*live album)
Label: Ghost Disc

Watashi Wa Kotoba O Ushinatta
Kokei To Bmen
Hikari No Rakka

35 :14[total

dusted review-
Hisato Higuchi's debut CD, last year's She, was an intriguing blend of gentle guitar, field recordings and electronics that showed an individualistic style despite the wide range of offerings. On this new release, he presents a more cohesive set of live recordings. At just 35 minutes, it's more an EP than an album, but in these times of excessive 80-minute yawners I applaud the self-editing.

The first three songs of the six are brief solo guitar works, uniformly contemplative and simple. From single notes to subdued strums and the occasional wordless vocal, it's all quiet enough that at times you can hear the audience shift or cough. Somehow those sounds add rather than detract from the almost confessional atmosphere.

"Hate" (probably romanized Japanese meaning "horizon" rather than the English word) is a nine-minute piece pulled from two different shows with drummer Yoshihisa Suzuki. It begins with just the guitar; slow, reverbed notes – muted, almost muddy. The piece remains ghostly, with Suzuki primarily adding gentle cymbal brushings and occasional light drum taps. "Manazashi," the other piece with Suzuki, is 10 minutes and get much denser as Higuchi's guitar achieves a distorted intensity that somehow fills the sound field without accelerating the pace: Feedback, fuzz, and brief arpeggios in and around moments of slim single notes and tentative drum hits.

The seven-minute "Hikari No Rakka" features a forceful but skeletal guitar, with stronger leads that aren't as ghostly as most of these songs. Consisting of two live recordings with sampler player Sadafumi Sugai, it's difficult to tell what's sampler and what's guitar. Especially during the song's quieter moments, the hums and strums could be from either player.

As a documentation of Higuchi's live shows, this short album demonstrates a strong control of atmosphere and evocation of a ghostly feeling, but at the same time it lacks the focus of his previous release. As is to be expected from what are seemingly improvised sets, there are moments of illumination tempered by occasionally aimless wanderings. The shorter solo pieces, not surprisingly, are more effective in communicating succinctly and moving on. That isn't to say, of course, that the longer tracks are without their rewards. Their shadowy atmosphere is evocative, but they need either the focus of the shorter pieces or the breadth of experimentation of his previous album's longer tracks.

http://rapidshare.com/files/19928954/_Hisato_Higuchi__2004_11_2005_4.r ar.html