Abnot Kraz – Le Neuroplamsa Chronovibrant

AQz – Electric guitar, synths
JM – Electric guitar, synths
IL – Sampler, synths

Live – Le Placard Headphone Festival – Paris –  La Générale – 29-11-2025.

Les Filles de Pute – Dark eyes don’t pink

Dark eyes don’t pink est le troisième album du trio Les Filles de Pute, avec Sarah Blow Jones (guitare trafiquée), Anna Karthëin (guitare affreuse/percussions) et Sandra Coelho (batterie, percussions), enregistré et produit par Ian Linter.

« C’est brut, c’est direct, et ça ne s’excuse pas. On l’a appelé du Cunt Rock parce que ça nous ressemblait : un peu sale, un peu classe, toujours humide. On voulait faire un album qui cogne, mais sans perdre notre fine ironie. Même dans l’ombre, y’a toujours une lumière… rose. »

Sandra Coelho

OFFB035

Les Filles de Pute – Aube Étrange

« Aube Étrange » est le deuxième album du trio Les Filles de Pute, avec Sarah Blow Jones (violoncelle, contrebasse), Anna Karthëin (piano trafiqué, percussions) et Sandra Coelho (batterie, percussions), enregistré et produit par Ian Linter.

OFFB034

Les Filles de Pute – Soirée Bizarre

« Soirée Bizarre » est un album du trio Les Filles de Pute, avec Sarah Blow Jones (violoncelle, contrebasse, guitare), Anna Karthëin (piano trafiqué, contrebasse, percussions) et Sandra Coelho (batterie, percussions), enregistré et produit par Ian Linter.

OFFB033

Peter Hart, Billy Guidoni & Ian Linter – Live à DATA

Rentrez chez vous (11:02)
Le vrai complot (7:11)
La jungle de l’oubli (5:36)
L’existence s’éclipse (8:16)

Enregistré à DATA médiathèque, Marseille, le 5 NOVEMBRE 2022.

Improvisation en trio avec Peter Hart, Billy Guidoni et Ian Linter.

Soirée intimiste de poésie et de brutalisme pour fêter la sortie des albums Les Rouages de l’Inconnaissance de Peter Hart et Billy Guidoni et En craie dans ton corps de Peter Hart & Ian Linter.

Peter Hart – voix, paroles
Billy Guidoni – batterie, percussions
Ian Linter – guitare, électroniques

offb032

A collection of tracks previously released on compilations.

1 – Vurn in Mir’Ias (5:02) – Classwar Karaoke – 0012 (2010)
2 – The Massive (8:19)- Classwar Karaoke – 0013 (2011)
3 – Kan on (7:51) – Le Colibri Nécrophile (2011)
4 – The Iruminan (5:36) – Classwar Karaoke – 0014 (2011)
5 – 1961 (5:02) – Dungeons & Riots – DR012 (2011)
6 – Dictators in Savannah (6:58) – Peak the Source Vol.1 – suRRism-Phonoethics (2011)
7 – Poraquê e Bacaba (8:02) – Head Full Of Music Vol. 1 – Kulturterrorismus (2011)
8 – Tinar Minus (7:17) – Classwar Karaoke – 0016 (2011)
9 – Nitumas morn (4:54) – Classwar Karaoke – 0017 (2012)
10 – In Leur queur (4:58) – Republica Iberica Ruidista – RIR027 (2014)

Peter 23 Hart & Ian Linter – En craie dans tons corps

1. Promenade (7:08)
2. L’émeute (6:07)
3. Chemin de contemplation (5:00)
4. Image limace (9:47)
5. Yeux Dieux (7:13)
6. Vivant invivable (4:04)
7. N’Existe pas (6:37)
8. Impossible… Normal (6:26)

Immédiatisme poétique en deux actes

Enregistré le 4 juin 2022 au Covil – Marseille

Peter 23 Hart

Les Paroles du Grand Gourou, projet de poésie improvisée, légèrement inspirée, pseudo-ésotérique. Un vaisseau spatial, un véhicule spacieux et chaud, les chuchotement de l’éternité, l’insistance de la pluie, la nuit qui fond comme la neige, tout et rien, tout et son contraire, le contraire, le contraire de la merde, éventuellement un peu d’or dedans, dans la merde du vivant, plus vivant que vous, tout est devenu plus vivant, tout est de la merde, tout est trop obscur, plus personne ne sait ce qui se passe, il y a surtout du silence.

Ian Linter

Abstrtact is con zer. Na perfidia assuma um.

Ian Linter:Scanner Biosdor:28/06/2021:pG

« Electromagnetic radiation emitted by nuclear reactions of two perpendicular waves, one electric and one magnetic, propagating at the speed of light. »

RTP:Ian Linter:2021:pG

RTP:Ian Linter:2021:pG

La Société de Curiosités, A Stranger Paradise and Classwar Karaoke present

Octaèdre Resonant

an octet in two movements for electro-acoustic instruments, guitars, bass, prepared chamber, effects pedals, machinery, electronics, tapes, monotron, goyamoog, kaossilator, objects

With Adrian Beentjes, Anton Mobin, Ayato, Colin Johnco, David Cunliffe, Hopek Quirin, Ian Linter, Murmurists, Thomas Fernier

Recorded Live at Les Voûtes – Paris – 21st April.

Concept by Ian Linter.

Produced by Ian Linter & Joséphine Muller.

Photos by Anton Mobin, Lysvia Maïz and Chloé B. Video by Chloé B.Special thanks to Eric Périer (La Société de Curiosités) and Remi Gros (Les Voûtes).
http://instantnet.wordpress.com
http://lesvoutes.org

Murmurists (Anthony Donovan) (uk)

Artist, musician, writer, composer, working solo as Murmurists. Improviser – with Vultures Quartet, Familiars, Donovan/Graham, and others. Member of Lux P0G0 and the.clinamen. Ardent collaborator. Co-founder of Classwar Karaoke with Jaan Patterson and Adrian Beentjes. Erstwhile academic. Born North West England; now Middle-England. Mid40s; moderately-healthy. Interests all either obscure or intentionally opaque, but morally authentic.

Fretless half-guitars, Goyamoog, Objects

http://murmurists.blogspot.com
http://vulturesquartet.com
http://classwarkaraoke.com

Adrian Beentjes (usa)

Born in 1973 in Philadelphia, USA. He lives with his family in the north-west England. Obsessed with sound​​, his passion draw upon the exploration of soundrecording, mixed / multi-media, performance and unrecordism. He leads the collective Classwar Karaoke with Anthony Donovan and Jaan Patterson and currently produces sound works under the project named Deadzoo.

Pickup, pickup coil, circuit bent toys, Field Recording, Microcassette, dc motors …

http://youtube.com/nadazipp
http://classwarkaraoke.com

Hopek Quirin (de)

Musician, objector, member of AADK, working with 6 or 7, abq, jochen arbeit’s soundscapes, classwar karaoke, madzaru etc.

Bass, Effekt pedals, Objects

http://myspace.com/hopekquirin
http://classwarkaraoke.com

Ian Linter (pt)

Electro-organic immediatism in any possible structure through a real-time feedback series of necessary events, expressed since the early 90’s on distinct anti-aesthetics with names like OLoF NiNe, ACT9, Airf’Auga, Massacre Divino, La Main Traumatique with Joséphine Muller, Plasma, RTP, among others.

« Non musika Excentrica IN! For electronikal renoise Key. Submit Random Science & reduction. Overflow cast Numar is for Den emon exp & la mort pour Vitas body convolution. »

Electronics, ohmed guitar

http://astrangerparadise.com/ianlinter
http://astrangerparadise.com/offbruma
http://pganza.com

Anton Mobin (fr)

Radio producer, sound artist and improvisator. He develops an intuitive, energetic music and done wonders for the self-confidence by any elitist codes which the improvised music. Anton Mobin multiplies the meetings with numerous international artists on stage and during his home radio show « A Maïzing session with… » on the webradio KKWNE.
Curator of the Improvisator Network and of the label H.A.K. Lo-Fi Record.

Prepared Chamber, Microphones, Objects, Electronics

http://antonmobin.blogspot.com
http://maizingsessions.blogspot.com
http://h.a.k.free.fr

Ayato (fr)

Musician, guitarist, do-it-yourselfer, composer of a dense and complex high-jacking music. One of the most active members of the collective H.A.K with a considerable production published on the label H.A.K. Lo-Fi Record. Part  of  Crash  Duo,  Cluedo  Krew,  Polymagoo  Commando, Thanato Twist with  Oleg’s  Sound System. Ayato  also  develops  a  particular  dialogue  with  Image  during  live  soundtracks  and  with  the photographer Malik Nejmi.

Prepared Guitar, Objects, Cassettes

http://ayato-sn1984.blogspot.com
http://h.a.k.free.fr

Thomas Fernier (fr)

Musician, composer, working solo (Chevo Légé), in duo (Marteau Mu, tvlasunor & Thomas Fernier) Part of the collective of improvisation “ Supersoft [14-18] ” (label : Partycul System) and of “Poésie  Is  Not  Dead” (collective  of  improvised  sessions  with  poets,  musicians  and  video directors). Realisation of soundtracks for des bandes-son for the theater and the dance (Benoît Bradel, Tomeo Verges)

Prepared Guitar, jack

http://myspace.com/thomasfernier
http://myspace.com/chevolege

Colin Johnco (fr)

Musician  and  sound  designer  based  in  Paris,  France.  In  late  2006,  he  created  LEEP (Les Enregistrements de l’Europe Parisien) then CJC records, both independent net-labels favoring ambient and experimental electronic music. Colin Johnco is currently playing in different bands such as FareWell Poetry, DR(DR)ONE and Prison Food Sucks.

Closed analog circuit

http://colinjohnco.com

David Cunliffe (uk)

Mainly drummer/percussionist with long history of playing in a wide variety of groups. Also interested in writing and recording solo music Member of YMMV, an experimental / avant-garde project with Adrian Beentjes. Originally only drummer, he now plays  extending percussion/electronics/sequences and effects processing with some vocal elements. He appeared on the CWK series as a solo artist (Igorspacieuse blouse/coffin Boffin) and as a member of The ThudExperiment, « Turso iku ». Photography and cinema are his interests.

Percussion, Electronics, Contact Microphones, Vocal emissions

http://archive.org/details/BlankCanvasem153

Classwar Karaoke

Operated by Adrian Beentjes (usa-uk), Anthony Donovan (uk) and Jaan Patterson (de), Classwar Karaoke is based around a series of ongoing quarterly surveys. Each act contributes a piece of music or film, an image, and a piece of writing.

As a project, classwar karaoke is based around a series of ongoing, quarterly surveys, the first of which, dubbed ‘0001 survey’, was released in May 2008. Each survey is different – in terms of personnel, number of personnel, and in terms of theme. Participation is fairly open – so long as those interested in being involved work intelligently within the broad context of experimental music and do not seek to use the project as just another on-line shop-window for their material. So far, the inclusive nature of classwar karaoke has worked wonderfully-well in terms of quality of material. See and hear for yourself by checking out our internet archive pages. Indeed, the label itself was envisaged, from the very start, as an experiment in the positive power which inclusivity can have upon artworking if included in meaningful ways. That said, we reserve the right to maintain the quality of both the art which is offered and the community from which it comes. Our ambitions for the label do not stop at periodic on-line releases. In the short time it has been running, we have already had  one  classwar  karaoke  live  showcase;  which  featured  as  0005  survey.  More  events  are  planned. Similarly, physical releases – of CDRs and DVDs – are forthcoming.

All material remains the property of the respective artists and is offered for free download in line with this license. The nine surveys published so far feature almost one-hundred artists, from all over the world; and the material in toto represents significant documentation of the experimental scene itself. Involvement in the project has helped spawn many fruitful collaborations, live-shows and a vibrant exchange of ideas; so much so that, for several repeat-participants, Classwar Karaoke is as much a collective as it is a mechanism for the release of new material.

http://classwarkaraoke.com
http://myspace.com/classwarkaraoke
http://archive.org/details/classwar-karaoke
http://classwarkaraoke.bandcamp.com/
http://ilike.com/artist/classwar+karaoke
http://last.fm/label/CLASSWAR+KARAOKE
http://reverbnation.com/label/classwarkaraoke

La Société de Curiosités

Dans l’enjeu actuel d’un choix d’orientation culturelle collective à grande échelle vers la croyance ou bien vers l’intelligence, le projet Infact Paris/La Société de Curiosités, en engageant les pratiques de production et d’écoute dans des échanges plus divers et moins normés, emprunte des voies possibles. Il propose des façons de faire des nouveaux partages, d’autres configurations de places pour donner libre cours à des pratiques artistiques inhabituelles et transformer leur abord en une activité.

http://instantnet.wordpress.com

A Stranger Paradise

L’association A Stranger Paradise a été créée en 2009 et a comme objectif la création et la dynamisation culturelle sous toutes ses formes, dans une logique d’expérimentation multi-disciplinaire et d’échange.

http://astrangerparadise.com
http://pganza.com

Ian Linter – Epsilonia

This recording was made on the 9th February 2012, during the live improvisation for the cult French underground radio program Epsilonia (Squadra Lumaca division) at Radio Libertaire studios, Paris.

Special thanks to Joséphine Muller and to the Epsilonia team: Jérôme Florenville, Nicolas Marmin, Xavier Roux and Olivier Lebeau.

Original cover-photo by Nicolas Marmin.

Structure // Sampler N and generator 23 for chroma in multi domains, pad OFF multi, m-IN, effects Zoomer for bleed interference, controlled mic, ohmed guitar,ohmed voice, can 2d, can 4, can 9, controlled flute, screws 23# and zen#a, surfaces A – D

Ian Linter

Electro-organic immediatism in any possible structure through a real-time feedback series of necessary events expressed since the early 90’s on distinct anti-aesthetics with names like OLoF NiNe, ACT9, Airf’Auga, Massacre Divino, La Main Traumatique with Joséphine Muller, Plasma, RTP, among others… Ian Linter turns the third axis created by Bórgia Ginz and mirrored by Juca Pimentel.

« Non musika Excentrica IN! For electronikal renoise Key. Submit Random Science & reduction. Overflow cast Numar is for Den emon exp & la mort pour Vitas body convolution. »

The consecration concert of Tina Blue and her Big Band, celebrated on the 31st of October 2011, a rare occasion for her fans spread all over the world to share the myth of this all-time exponent of the Big Band Jazz.

Alex Kimball & Ian Linter – Kathedrikos Maschine

A Live Transmission with Alex Kimball and Ian Linter applying abstractions from different locations: Little Rock, USA, and Paris, France. An absolute act of improvisation after the render Myth & recording passion for Lodovico Series 9. Recorded Saturday, number 26/11 in 2011.

Alex Kimball

« Really, The Death Sound started in 2007 when I was beginning to explore early industrial music. I had gotten a bug to look into older industrial music while I was going through a Numb kick. I am someone who likes to « go back to the beginning » of things, so to speak, study origins, so the logical starting place was Throbbing Gristle. I was fascinated by it; it was different, challenging, and like nothing you’d really hear called « industrial » today. I’d remembered my friend Matt from college did sequencer programing on a freeware program called Jeskola buzz. I called him up with the proposition of starting a project. The Death Sound was born. Our first recording was just an experiment with using sound editing software, chopping up samples. The result was « A Series of Tubular Bells », which was a joke track that we threw up on myspace until we had time to do anything better. That is, until Cosey Fanni Tuti sent us a message telling us she enjoyed our sound. Late 2007, we had a flurry of recording and put together the 5 or 6 track (depending on which version) Series of Tubular Bells EP, mostly Matt doing instrumentation and myself doing arrangement, composition and some vocals. By 2008, we had been making connections all over the world, and our sound was growing more diverse from the different influences. While we had discussed possibility of touring europe, plans never fully materialized (and we weren’t ready for live performances anyway). While we were making a small name for ourselves in the European scene, very few local shows developed and the reception was lukewarm. Summer of 2008 I arranged and recorded « Loneliness on the Psychic Seas » largely by myself, but building on Matt’s instrumentation. Around this time, I was also doing a number of collaborations with artists from around the world (OLoF NiNe, Tarsus, Arte Sacra Atelier, and several with both Finger Painted Death and Glitchgore) under the name The Death Sound, though these were largely a solo affair. Late summer, we finally scrounged some mediocre gigs to try to promote a compilation of odds and ends « Nothing But a Nightmare » and our band’s one year birthday. This would lead to the retrospective album TDS: « Year One », a compilation of our first two EPs and the full live set from our « birthday » gig, on OFF/BRUMA, a Portugese net label. TDS: « Year One » was intended to be a milestone from which we would launch ourselves forward, and still remains in heavy rotation on underground internet radio, however nothing is as we intend. We played « Easy Street » not long after our birthday show, which proved to be our most successful show. The live album from that night would be the Death Sound’s last full length release. We had intended to begin work on a follow up to Year One, which was to be titled « All Part of Nature’s Plan », however in early 2009 only a few tracks were finished. The birth of Matt’s daughter was a happy occasion, but it meant that he no longer had the time to devote to musical projects that he once did. I found myself playing for the Kill Crazies, a punk band spun off of the band we had played our last show with, which is a story unto itself. Essentially, the Death Sound went on Hiatus. The brief re-emergence of the Death Sound last year had a lot to do with Dakuu, Stillborn Diz, Fuck Your Scene Vol 2, and the breakup of Medicide. I discovered and absolutely fell in love with Stillborn Diz, who ended up on Fuck Your Scene Vol 2. Through Stillborn Diz, I’d heard of a band called 13th Moon; a member of 13th Moon had put out a free Japanese goth compilation called « Plan X From the Eastern Dark ». I checked it out because it had Darkside Mirrors on it (whom I adore). Masahide from Dakuu, a band on that compilation, saw I was familiar with his music from Plan X, and checked out what I was doing with FYS and The Death Sound. -Masahide-san and I talked about the possibility of putting something out on Retro Virus Records. In the end, we decided to include the Death Sound, Stillborn Diz, and Finger Painted Death. Very long and complicated, I know! This gave Matt and I the perfect excuse and opportunity to dust off what we had been working on before our hiatus. While « All Part of Nature’s Plan » will almost certainly never see the light of day, the 5 tracks on Mundus Patet are representative of what the album might have been like, as we were moving away from our harsher sounds to a more moody and melodic style. »

// Keyboard, flanger, phaser, delay, gristleizer//

http://retrovirusrecords.com

Ian Linter

Electro-organic immediatism in any possible structure through a real-time feedback series of necessary events: OLoF NiNe, ACT9, Airf’Auga, Massacre Divino, La Main Traumatique with Joséphine Muller, Plasma, RTP… Ian Linter turns the third axis created by Bórgia Ginz and mirrored by Juca Pimentel.

« Non musika Excentrica IN! For electronikal renoise Key. Submit Random Science & reduction. Overflow cast Numar is for Den emon exp & la mort pour Vitas body convolution. »

// Sampler Z and generator 14 for chroma in multi domains, pad OFF multi, effects Zoomer, controlled mic, ohmed guitar, ohmed voice, pG guitar, surfaces M – Z //

http://astrangerparadise.com/ianlinter

Anthony Donovan & Ian Linter – Amplex, Onomatopoetry

A Live Transmission with Anthony Donovan and Ian Linter applying abstractions from different locations: United Kingdom and France. An absolute act of improvisation after the render Myth & recording passion for Lodovico Series 9. Recorded Wednesday, number 19/10 in 2011.

Anthony Donovan (Murmurists)

Artist, musician, writer, composer, working solo as Murmurists. Improviser – with Vultures Quartet, Donovan/Graham, and others. Member of Lux P0G0 and the.clinamen. Ardent collaborator. Co-founder of Classwar Karaoke. Erstwhile academic. Born North West England; now Middle-England. Mid40s; moderately-healthy. Interests all either obscure or intentionally opaque, but morally authentic.

// Zither – with contact mic and guitar pick-up, homemade light-sensitive analogue synthesiser (made by Adrian Beentjes), digital synthesiser, 4 string electric bass, 6 string acoustic guitar, loop station, digital delay, analague flanger, digital multi-effects, distortion, mini-amp/speaker with contact mic, electric toothbrush, electric fan, cello bow, objects, balloons, radio, microphone, walkie-talkie (x 2), glass slide, crocodile clips //

http://murmurists.blogspot.com

Ian Linter

Electro-organic immediatism in any possible structure through a real-time feedback series of necessary events: OLoF NiNe, ACT9, Airf’Auga, Massacre Divino, La Main Traumatique with Joséphine Muller, Plasma, RTP… Ian Linter turns the third axis created by Bórgia Ginz and mirrored by Juca Pimentel.

« Non musika Excentrica IN! For electronikal renoise Key. Submit Random Science & reduction. Overflow cast Numar is for Den emon exp & la mort pour Vitas body convolution. »

// Sampler N and generator 23 for chroma in multi domains, pad OFF multi, effects Zoomer for bleed interference, controlled mic, ohmed guitar, pG guitar, can 2d, can 4, can 9, ohmed flute, screws 23# and zen#a, meta-Artaud, surfaces A – D //

http://astrangerparadise.com/ianlinter

La Main Traumatique – Cadavre Liquide

Live at Le Placard Festival, Sèvres 2011. La Main Traumatique is Joséphine Muller and Ian Linter.

Anton Mobin & Juca Pimentel

Live at Le Placard Festival, Sèvres 2011.

Anton Mobin : http://antonmobin.blogspot.com
Juca Pimentel : http://astrangerparadise.com/juca-pimentel

Après avoir surfé sur sa guitare sur différentes vagues musicales, Dongle Doc découvre le laptop et commence à changer de cap voyageant désormais dans les océans de l’expérimental et de l’improvisation.

C’est pourquoi « Electrou Rideau » (c’est l’anagramme de son vrai nom ) tanguant entre compositions, improvisations et collages sonores, permet de belles plongées dans les profondeurs…

Laissez-vous donc emporter par le courant.

« The initial results of the testing show that the patients were responsive to the regimens of treatment provided, however it soon became apparent that any signs of recovery were entirely illusory at best. Remission of symptoms were promptly followed by extreme palpitations of the heart, what the patient described as ‘painful synesthesia’, and finally a tightening of the chest similar to those experienced during an asthma attack. No patients lived longer than 24 hours following the initial procedure. In this, we claim a small degree of success. »

Recorded live in the studio April 5th, 2011
Sid Sickness – Synthesizers
Alex Death – Bass Guitar

Dedicated to Heather Drain. Medicide would like to thank those who have believed in the clinical trials, given us practice space, gigs and couches to crash on. Rx2011. »

Naal Stayn

Naal Stayn is the man behind many names and many bands like KZSE, Tattooed intestine, Melanome, Trendy Store, Lipstandärd and just mentioning a few… 78’s, altered playing, après-garde, blind recording, bore-friendly, claustrophone, complex-minded, concrete folk, de-music, de-taught, do it myself, err-hazer, far listening, hybrid wave, isolated live, krautsynth, leftwave, lo-psychedelic, maximalism, mental synth, multicraft, no-fi, one-off releases, otherground, overdubbed underdubs, own listening, prepared accidents, proto fünke, re-taught, self sufficiently, sexophobic claps, shield recording, sober sophistication, solitarium, sorrow garden, stream of unconsciousness, uncareering, unsync devices. You can check his one-off & self-produced discography under licence of Self Sufficient Records.

http://self-sufficientrecords.blogspot.com
http://myspace.com/naalstayn
http://myspace.com/trendystore1983

Empathy Kills (aka |Joséphine Muller|)

|Joséphine Muller| has been creating metamorphic video-sound fields under different names like Sex on Saturday, Empathy Kills, Abnot Kraz, or La Main Traumatique. Improvised and minimalist electronic manipulations or electro acoustic abstractions, these are some manifestations of this OFF/BRUMA netlabel and ASP association co-founder.

http://astrangerparadise.com/josephinemuller
http://astrangerparadise.com

MaCu (aka Susanne Hafenscher)

MaCu is the project of the Austrian musician Susanne Hafenscher. She started her musically activities with studying piano and vocals. After a certain period without doing any music she began to play guitar. Soon MaCu started to experiment with prepared guitar and to generate music by using field recordings and processed sounds of objects and vocals. She has an extensive discography and composition collaborations released by some of the finest netlabels, and recently she co-founded the netlabel kultur[Terrorismus].

http://macu1.wordpress.com
http://kulturterrorismus.de

Anton Mobin

Anton Mobin is a concrete music composer & radio producer addict of field recordings. Co-curator of the collective H.A.K. and curator of the Improvisators Network. Objects manipulator & improvisator experienced due to several meeting with international artists which one of the most important was certainly with Rinus van Alebeek in Berlin. Always in search for new articulations between objects, manipulations, and interaction with his own body. A crack, a fold, a brightness, a jolt in the plan of the sound, a convexity of surface…

Dreams face downward

Performed live by Anton Mobin at the ASP studios Paris on December 22th, 2010.
Recorded in multi-channel by |Ian Linter| for OFF/BRUMA.

Prepared Chamber. This chamber is a home-made acoustic instrument prepared by Anton Mobin and composed with a large box in wood, upgraded with several springs and others metallic found objects selected for their capacity to create melody. The box is divided into three parts among which each is covered with a different surface (a wood, a metal and a plastic one). Three different contact-microphones are placed in suspension under these surfaces: bass contact for the wood, medium contact for the metal and high contact for the plastic surface. Deliberate accidents produced in the Prepared Chamber create a micro universe which I dread in an intuitive way to resound as the pling plong music. Prepared chamber & Objects manipulated by Anton Mobin in an acoustic mode with effects application and treatments in real time by |Ian Linter|. Each of the 3 microphones were plugged and recorded in a separated track with different processing and equalization on each of them.

http://antonmobin.blogspot.com
http://h.a.k.free.fr

Alrucini (aka Albedo Rubedo Citrinitas Nigredo)

Ricardo Alrucini is the entity behind names like Alrucini, Shamahan, Bad Slap Org, Ombilic, Umbra, Apocalipse Político, and many others. They are Ritualistic Dada manipulations and Industrial Surrealisms transformations in exponential relation with the Moon’s shadow. Alrucini is underground. His extensive discography can be heard at Electro Rucini, the label he founded in 2007.

http://alrucini.blogspot.com
http://obraemalrucini.blogspot.com
http://archive.org/details/electro-rucini

OLoF NiNe (aka |Ian Linter|)

The idea is to have no idea, just frequencies. Metamorphic industrial/immediatism/sensorial. Application controlled for the moment in the superior axis of the Immediate.

http://omnicorn.com/olofnine
http://myspace.com/olofnine

Juan Antonio Nieto (aka Pangea)

Juan Antonio Nieto is a sound artist who signs some of his works under the name of Pangea. His records have been published in labels around the world as Trente Oiseaux, Mandorla, Experimedia, Impulsive Habitat, Idiosyncratics, TestTube AMP, among others. Pangea has collaborated with some of the most prestigious avant-garde artists of the world, Brazilian classical composer Leo Alves Vieira working with string quartets and choirs, the Japanese author Kenji Siratori who has voiced his compositions and David Velez, this latter release was considered the best album of 2007 by the journal Earlabs. His music has been included in art installations in the Circulo de Bellas Artes de Madrid and the Cultural Center of Spain in Buenos Aires. Pangea has performed in various European and American cities.

http://pangea-juanantonionieto.blogspot.com
http://myspace.com/juanantonionieto

Ian Linter

Ian Linter is an original member of the Portuguese underground collective produções Ganza, co-founder of OFF/BRUMA netlabel, and also many others sonic entities like the non-stop webradio Strange Frequencies Channel, under the label ASP. His creations are electro-organic immediatism in any possible structure through a real-time feedback series of necessary events, and have been expressed since the early 90’s on distinct anti-aesthetics with names like OLoF NiNe, ACT9, Airf’Auga, Massacre Divino, La Main Traumatique with Joséphine Muller, Plasma, RTP, among others… Ian Linter turns the third axis created by Bórgia Ginz and mirrored by Juca Pimentel.

http://astrangerparadise.com/ianlinter
http://astrangerparadise.com/strange-frequencies-radio
http://pganza.com

OFF/BRUMA would like to thank all the beautiful dreamers who gave substance to this album.

Luís Antero’s latest project named Out Level consists of a laptop, electric prepared guitar or field recordings. Having had 7 releases in several netlabels around the world, it is a project composed of many sounds from one lone man. Luís is originally from a small village at the foot of the Serra da Estrela Mountain range in Portugal where his musical influences fuse with his philosophical views as well as literary references.

« To discover Out Level is undoubtely an experience. More enjoyable for ones, less for otherones, all this sound universe touch us in the way as it interwines all a variety of aesthetic languages, that walk from a sight more close to indie and shoegazze, to all a universe of field recordings and idm, with a close contact to the new tendries of all the electronic music of germain alternative circuits […] » Tiago Morgado | XS Records

« O projecto Out Level nasceu da vontade de experimentar… de improvisar, tendo os livros, o cinema e a fotografia como cenários primordiais para a criação musical, a que se juntou mais tarde o universo da fonografia. O objectivo (se é que existe) é criar ambientes que consigam projectar o ouvinte para lá do mero exercício de ouvir música… Quase tudo é gravado ao primeiro take, partindo de uma velha premissa que Kerouac usava em relação à escrita. Só assim se deixa na música o momento…

Discografia

Delay – Guitar Solo # 4 (biodata, 2010)
Strange Sounds Could Make a Man Happy (Just not Normal, 2010))
10 (prepared guitar solo live) (Electro Rucini, 2010))
Merzbau EP Guitar Solo (MiMi, 2009))
sx guitar ep (Test Tube, 2009))
Guitar Solo # 2 (EdP, 2009))
PrEgUiZzA (Electro Rucini, 2008))
Water Recordings (Bypass, 2008))
Estrela EP (XS Records, 2008))
K – EP (edição de autor, 2008))
Espaço (I)Limitado – Ao Vivo na Zero (Merzbau, 2007))
The Bedroom Sessions, Vol. 1 (Merzbau, 2006)

Author: Out Level (PT)

Home production: February 2011
Original photo: Out Level / Artwork: OFF/BRUMA

Vladislav Buben, well known under the name Buben, is a sound artist and an imminent pioneer of the underground scene in Bielorussia. The connexion between Buben and Anton Mobin was established by Rinus van Alebeek a few months ago, when Rinus asks Anton a technical help to digitalize sounds from a tape which was used by Buben to compose the great album released on Clinical Archive

After this technical support, Buben naturally asks Anton if he have some sounds to send him to start a new collaboration. Of course, Anton Mobin had sounds and he is always interested in new connexions and web collaborations. Sharing sounds with Buben was very spontaneous; Anton picked up in his sound bank many different textures, like extracts from Live improvisations, radio fragments, Field recordings and everyday life moments.

The real and unique composer still being Buben, in this release!

Listeners must know that nothing in Creation is an easy thing and to complicate the story the first version of this collaboration was killed by Buben’s laptop, which hard disk has burned!!

The revenge was terrible and it’s not one album, but two albums that Buben recorded in two completely different aesthetic!!
One influenced by « darkbeat » and the second more « experimental »…

Thanks to Just Not Normal and OFF/BRUMA, the two releases are OUT simultaneously on December 7th, 2010!

Please visit the both websites, to have a complete vision on the project called: « On the Different Side of the Objects ».

http://off-bruma.net
http://justnotnormal.wordpress.com

Anton Mobin

Four solos improvised live for Anton Mobin’s « A Maïzing session with… » radio show, broadcasted on the KKWNE webradio, successively by :such: (tape manipulation), Ian Linter (electronic manipulation), Rinus van Alebeek (tape manipulation) and Anton Mobin (tape manipulation).

:SUCH:

The first meeting with :such: was during the Estafette Rue Cassette in Paris in June 2010. :such: plays an heavy and dense ambient with a fine meditative touch. He played on two prepared tape desks by the great Doctor AxDelbor of the collective H.A.K.
:such: is also co-curator of the label SDZ Records and animator of the Crudités radio show.

http://sdzrecords.free.fr
http://crudites.free.fr

IAN LINTER

Ian Linter is an original member of the Portuguese underground collective produções Ganza, co-founder of OFF/BRUMA netlabel, and also many other sonic entities, like the non-stop webradio Strange Frequencies Channel, under the ASP label. He records under several names but always in different aesthetics, like OLoF NiNe, ACT9, Airf’Auga or La Main Traumatique with Joséphine Muller, among others…
His creations are electro-organic immediatism in any possible structure, through a real-time feedback series of necessary events…

http://astrangerparadise.com/ianlinter
http://astrangerparadise.com/strange-frequencies-radio
http://pganza.com

RINUS VAN ALEBEEK

Rinus is an imminent member of the Berliner underground scene. Musician, curator, writer, cassetteur, he plays with Angie Yeowell, De Drones with Raoul Haarmannero, Diktat, Jeudi Pop among many other collaborations. He’s also co-animator of the radio show “Radio On” with Adrian Shephard. Also, note that OFF/BRUMA was pleased to release offb007 dnasnow/mouseup – 7 with Zan Hoffman, in 2008.
Last but not the least, Rinus van Alabeek is the curator and producer of Staaltape, the cassette division of the famous Staalplaat label.

ANTON MOBIN

Concrete music composer & radio producer addict of field recordings.
Co-curator of the collective H.A.K. and curator of the Improvisators Network.
Objects manipulator & improvisator experienced due to several meeting with international artists which one of the most important was certainly with Rinus van Alebeek in Berlin.
Always in search for new articulations between objects, manipulations, and interaction with his own body. A crack, a fold, a brightness, a jolt in the plan of the sound, a convexity of surface…

http://h.a.k.free.fr
http://antonmobin.blogspot.com
http://arteradio.com

Míriades de sais amenos na penumbra incandescente do só-MINA e Inamoradas glórias do passado em Vaca celestial do Só-T! Encontros fortuito nas masmorras vibratórias de acasos em drama Y e Solitárias sombras dos anjos fir-AMUS da Eslováquia, e mais casos. Acasos dumiar na Téc Nik Tam er com soluções de índice alto. Parafernália coerente. Duas an MIR para estalo suficiente nas ondas do SAR. Para finalizar um esboço de Caixas uma em pancadas FU F a.

Juca Pimentel

Tron Conu are Joséphine Muller, Samuel Ufus and Juca Pimentel

Date: July 21th, 2010

Mystahr – Ian Linter – Anton Mobin

For the passage of Mystahr in Paris, Ian Linter and Anton Mobin decide to join their forces to organize several sonic events to celebrate this occasion. Each artist is in contact on the web since a long time, but never had the opportunity to meet together. That’s done on July 21th, 2010 at the Maïzing Studio in Paris, where these three friends set up their complete gear to a special two hours radio show!

The Maïzing session was divided in two different parts:

First, each artist present a solo set around twenty minutes, which is the better solution for everyone to discover the sound of each other. Then, all three join for the real Maïzing session of 40 minutes, when each of the three sound universes collapses in a singular one.

After the session, Mystahr and Ian Linter, decided to release the two different parts : Three solos on OFF/BRUMA and the collective improv’ on Just Not Normal.

JNN103 – A Maïzing session with…
OFFB015 – Three solos

Please, visit both websites which offer you to hear the whole journey!

Os miseráveis tombam pelas praias daninhas
de tempos imemoriais
Furtam o vento com as pontas dos cabelos em desalinho
e procriam o efémero como se fosse uma mulher
Os membros
velozes como antas
assemelham-se aos desânimos das pessoas que passam
de pernas ao léu

Le Placard Festival, Sèvres 2011.

La Main Traumatique Live. Instants Chavirés / Placard Sèvres.

La Main Traumatique live for Placard Hamburg. Joséphine Muller & Ian Linter.

Ian Linter:2010:pG

Fictional soundtrack to the theatre piece « A Pele » by Juca Pimentel. In this prologue Beatriz is in her room wondering about her dreams and frustrations, dissipating a certain mental despair within loneliness.

Live recording of the concert streamed for Le Placard @ Hamburg, 15th May 2010, Paris.

The differential dielectrometer was designed to measure small differences in Porn-complex direct manipulation & the sensitivity of the difference in the phase coefficients of the electromagnetic waves were propagated in the measurement cells permittivity.

ACT9:Ian Linter:2010:pG.

Oi Kundra na noite subida, espetada em fundo. Nas tuas planificações de híbrida alongas os espantos das horas e dos pontos anunciantes, os da espiral em ondas de mar e sonho. Nos tormentos suícidas dos anjos cantantes na contra-lua a matéria se infinda pelo vasto olhar dos Lapónios marantes. Amealhados cantantes das brumas fecundas pelo olhar moreno. Oi Kundra nas guitarras famintas e cartias nas esperas, nos fundos, no min.

Live recorded at Le Placard – Sèvres Vision Sonique 2010.

Massacre Divino – Live at Le Placard : Hamburg, Paris. Ian Linter, 2010.

KHEOSTATIC – Joséphine Muller & Ian Linter

Composed improvisation, in three acts.

KHEOSTATIC is an improvised play with a total duration of about three hours trying in an encyclopaedic way to make a sound transcription of several elements which constitute the human reality, in its language, intellectuality and action. In this third and final act is completed the cycle initiated in Universal Transfusion. Abyssal Force is the color of Love number twelve, and power itself in the maximum material and metaphysical expansion. The three parts of KHEOSTATIC were live recorded at La Société de Curiosités, Paris.

KHEOSTATIC – Joséphine Muller & Ian Linter

Improvisation composée, en trois actes.

KHEOSTATIC est une pièce improvisée d’une durée totale de près de trois heures cherchant de façon encyclopédique à effectuer une transcription sonore de plusieurs éléments qui constituent la réalité humaine, dans son langage, intellectualité et action. Dans ce troisième et dernier acte, est achevé le cycle débuté avec Universal Transfusion. Abyssal Force est la couleur de l’Amour numéro douze, et puissance dans l’expansion matérielle et métaphysique maximale. Les trois parties de KHEOSTATIC ont été enregistrées en direct à La Société de Curiosités, Paris.

KHEOSTATIC – Joséphine Muller & Ian Linter

Improvisação composta, em três actos.

KHEOSTATIC é uma peça improvisada com duração total de quase três horas, na qual se procura de forma enciclopédica efectuar uma transcrição sonora de vários elementos que constituem a realidade humana, na sua linguagem, intelectualidade e acção. Neste terceiro e último acto conclui-se o ciclo de expanção sonora iniciada em Universal Transfusion. Abyssal Force é a cor do Amor número doze, e potência em si mesma na máxima expanção material e metafísica. As três partes de Kheostatic foram gravadas ao vivo na Société de Curiosités, Paris.

KHEOSTATIC – Joséphine Muller & Ian Linter

Composed improvisation, in three acts.

KHEOSTATIC is an improvised play with a total duration of about three hours trying in an encyclopaedic way to make a sound transcription of several elements which constitute the human reality, in its language, intellectuality and action. In this second part the sound degeneration completes a cycle semi-controlled by electronic fragments with a double precision: the chaos does not exist, the chaos is Human. The three KHEOSTATIC‘s parts were live recorded at La Société de Curiosités, Paris.

KHEOSTATIC – Joséphine Muller & Ian Linter

Improvisation composée, en trois actes.

KHEOSTATIC est une pièce improvisée d’une durée totale de près de trois heures cherchant de façon encyclopédique à effectuer une transcription sonore de plusieurs éléments qui constituent la réalité humaine, dans son langage, intellectualité et action. Dans cette seconde partie la dégénération sonore complète un cycle semi-contrôlé par des éclats électroniques de double précision : le chaos n’existe pas, le chaos est Humain. Les trois parties de KHEOSTATIC ont été enregistrées en direct à La Société de Curiosités, Paris.

KHEOSTATIC – Joséphine Muller & Ian Linter

Improvisação composta, em três actos.

KHEOSTATIC é uma peça improvisada com duração total de cerca de três horas, na qual se procura de forma enciclopédica efectuar uma transcrição sonora de vários elementos que constituem a realidade humana, na sua linguagem, intelectualidade e acção. Nesta segunda parte a degeneração sonora completa um ciclo caótico semi-controlado por estilhaços electrónicos e de precisão dupla: o caos não existe, o caos é Humano. As três partes de KHEOSTATIC foram gravadas ao vivo na Société de Curiosités, Paris.

KHEOSTATIC – Joséphine Muller & Ian Linter

Composed improvisation, in three acts.

KHEOSTATIC is an improvised play with a total duration of about three hours trying in an encyclopaedic way to make a sound transcription of several elements which constitute the human reality, in its language, intellectuality and action. In this first part the human perception is condensed in sound signs of the avant-garde, concrete and electroacoustic, through the recourse to an immediate and proto-metaphysical language, in narrow correlation with the possible conceptuality of the matter and its relations with the spirit. The three KHEOSTATIC‘s parts were live recorded at La Société de Curiosités, Paris.

KHEOSTATIC – Joséphine Muller & Ian Linter

Improvisation composée, en trois actes.

KHEOSTATIC est une pièce improvisée d’une durée totale d’environ trois heures, dans laquelle on tente de réaliser une transcription sonore encyclopédique de plusieurs éléments qui constituent la réalité humaine, dans son langage, son intellectualité et son action. Dans cette première partie la perception humaine est condensée en signes sonores avant-gardistes, concrets et électroacoustiques, à travers le recours à une immédiateté et à un langage proto-métaphysique, en étroite corrélation avec la possible conceptualité de la matière et ses relations avec l’esprit. Les trois parties de KHEOSTATIC ont été enregistrée en live à la Société de Curiosités, à Paris.

KHEOSTATIC – Joséphine Muller & Ian Linter

Improvisação composta, em três actos.

KHEOSTATIC é uma peça improvisada com duração total de cerca de três horas, na qual se procura de forma enciclopédica efectuar uma transcrição sonora de vários elementos que constituem a realidade humana, na sua linguagem, intelectualidade e acção. Nesta primeira parte a percepção humana é condensada em signos sonoros do avant-garde, concreto e electroacustico, através do recurso a uma linguagem imediatista e proto-metafísica, em correlação estreita com a conceptualidade possível da matéria e suas relações com o espírito. As três partes de KHEOSTATIC foram gravadas ao vivo na Société de Curiosités, Paris.

Larsp composes experimental electronic music. In 2002. His first project under the name of PUPPET LE CURE, sounds like hard-techno vs. melodic orchestra, and an EP was signed by independent label CWK in 2002.

His solo project under LARSP was launched in 2005. It follows a radically different approach from Puppet le curé. Larsp has moved away from techno to shift from experimental ambient to melancholic breakcore. The project is based on the atmospheres rather than dance floor, half-way between darkly oppressing sounds and slow rhythmic destructuring.

Night over in k. Ian Linter’s Kuma structures.

« Anarkam is forever. »

Ian Linter

Guitarra anestesiada em sentido fundo. The beauty of paradigms. Imenso descer dos sentidos em revolta suprema pelo sempre Não. The beauty of strangeness. Regressão aritmética profunda. The beauty of shadows.

Bruma side congenitus. Fade Out. Lion meet Stalker. Oragon.

Sex on Saturday – Full Of Void:Ilayali Bunder:2008:pG.

Le Mal D’Archive is a project at the turn of independent electronic and sound design that sees its distinctive feature in the intersection between two apparently irreconcilable worlds such as experimental music on the one hand and the « chanson » for the more harmonious and Matrix melodic heritage of Italian music on the other.

Pharadigmatic elements of Bapttisti (first of all, a master of music degree in commercial attention to the universe of sound and harmony), as well as Fabrizio DeAndré, Leo Ferré, George Brassens, Massimo Volume, and many others is mentioned as tutelar figures, fragmented and dissolved into a homogenous sound magma and inscrutable, but not for this lack of balance as large moments of pleasantness. The structures of cyclic ballads of popular music, once cut, destructured, with the ring out and « work » become sound fragment, bearer of spaces and places strong connotations. These capsules image-time tools that Le mal d’archive disclaim spatially, in many molds.

« ‘Histoires de Plage’ is like a gem set between two monoliths, as a thing that becomes the first sweet, then strong, then languid and desperate, the various forms of memory, which in this project become malleable sound field. »

Le Mal D’Archive

I soon found out that Zan was one of the key figures in the cassette culture, and had collaborative works with more then 200 sound artists worldwide. The encounter during some sessions in a worn down roof apartment in the very heart of Barcelona resulted in the formation of a duo called dnasnow/mouseup. Our collaboration continued in Valencia, some weeks later, where we did an illegal concert in one of the cones of the Calatrava-complex. Recordings from those days came together in dnasnow/mouseup 1 – 6 which were compiled by Zan.

In the summer and autumn of the year 2001 I stayed for three months in Zan’s hometown in Louisville, Kentucky. The outcome of that visit were twelve more releases by dnasnow/mouseup, of which 7 is the first. Listening back to it, several stages in my life come to mind. The spoken word passages bear immediate links to places and persons, very dear to me, and completely unknown to those who read these lines.

But another thing occurred to me. Besides the amazing variety of sounds, and the drive behind it, I once again was struck by the uncomplicated communication between Zan and me. But 7 might also contain information for future sonic archaeologists. It was in 2001, more or less seven years ago, that the US was struck by a so-called terrorist attack. While politicians and media talked about « a world that never would be the same again » we worked on recordings and site specific performances. In 7 one could recognize the aftermath of this attack, and a visionary audio portrait of a country in transition.

I, for one, to describe 7 prefer the epic stillness of a land after the flood. Little and bigger objects slowly float by on their way to grand rapids. The roofs of houses stand praying in the mirrorlike waters. Each little thing is animated, speaks with a different voice. The big rains, the roaring of the invading waters have gone, but if you listen close enough, they are there. Of course each one of you might hear a different story. Ours is from long ago.

« We are the curators of the Natural History Museum of Sound. We will look for, involve and invite hometapers and homelabelers alike to take possesion of the rooms of the Museum. We will create sounds from nowhere, and turn the alphabet inside out, to finally find the words with those holes in them. We will find music you would not dare to call music. »

dnasnow/mouseup

Leo Alves Vieira is a Brazilian composer, Born in February 13th, 1978. Composer of many soundtrack pieces, for theatrical and movie plays since 1994, Leo Alves Vieira has been writing for many other instrument formations in the ‘academic’ scene since 2001. His debut as a composer was at the XV Biennial of Brazilian Contemporary Music, 2003, with the piece « Estilhaços-Constante Volta ao Indeterminado » (2002) for acoustic and electronic instruments, played by OFELEX. His debut album « Sounds of the Orange Coloured Forest » was released in september 2006 by Pralaya Records, from Brooklyn/NY.

« Try to create what you think, and what you think you think. »

Leo Alves Vieira

Labir into.

« De jour en jour le besoin s’impose d’avantage. Il ne se prête plus guère à une considération détachée.
Le caractère fonctionnel de l’art sans aucune action modificatrice sur la situation. C’est une tendance évidente: le système clos et son immense fécondité.
La stylistique appliquée n’est pas l’observation du réel.
La main ankylosée par l’immuable contrainte.
La main traumatique. »

Joséphine M

In trust, The Death Sound has its origins as far back as the late 90s and early 00s, when Matt was recording minimalist electronic and IDM as the Bitter Poets, and Alex was aware of Matt’s programming work (indeed, they even attended college together), but realization of TDS would be not come until late spring of 2007. The idea behind TDS was initially to bring a retro-Industrial sound to Arkansas, but it soon become clear that TDS wasn’t retro, would never be retro, and would be better off doing something new and their own.

« This collection serves to show where TDS has come over the last year, bringing you our earliest recordings and the show that marked our first anniversary, and perhaps to show where we may be going in the future. »

The Death Sound

« I just remember the album was a serious joke. A joke because originally I wanted to criticize the stereotypes of « french cold wave » (« grey » being the cliché of cold wave). But it was then a serious project as art surrounded the joke to create & experiment my own anti-formula. Slap bass is generally « cool » or quite « fun » music. My will was to make sad and chill the « funk » technique for instance. The title was a deconstruction about the « grey » stereotype in cold wave. I tried to use and deform the cold aesthetic to find my own, thanks to a mix of toy synthesizers and chill basses. »

Naal Stayn

This release is also available (CDr format) at SELF sufficient records.

IS KYA Mounten For INTo the see of Namar dar. Naster timura et foal the fall into the sens sensor Martir.

Plasma : Digital : Ian Linter

Additive synthesis width massive amount of sine-wave oscillators.

Em BCP, RTP continua o trabalho de destilação sonoro-Nacional começado nesse pantanoso ano de 2001, com JAE. Ano: 2008. Porn’n’wild.

Massacre Divino live at Fábrica de Som. Porto, 04 October 2008.

Massacre Divino – Agarez/Arnal:Ian Linter:2008

Nyx Khaos – Massacre Divino:Ian Linter:2007

Le Miroir, 1st December 2007, Paris.

During microwave breakdown at atmospheric pressure the plasma front propagates towards the microwave source because of the larger field in the front due to reflection where the ionization coefficient is no longer constant but is the result of the complex interaction of the plasma with an incident microwave beam.

ACT9 – CLOUD : this is nomern TURT na sombra e esporádica transmissão do verde puro. Nas Félias do amargo sotUMA se levantam os pós electriK down to the maximum rotorvator.

The interaction of the larger the number of partial waves required for convergence typically peaked around the equilibrium distance of the diatomic molecule in the ground state is due to the electric field-induced coupling between different partial waves.

During microwave breakdown the plasma front propagates towards the microwave source using a diffusion coefficient equal to the free electron diffusion coefficient everywhere gives a density profile closer to the one obtained with the effective diffusion coefficient.

Sex on Saturday – Dating You:Ilayali Bunder:2006:pG.

OLoF NiNe – Fuck, You’re Dead:Ian Linter:2005:pG.

ZVoid (Trash is my heart) – KUM : Rua de S. Bento, Lisboa : 2004 : Ian Linter : pG.

OLoF NiNe – Some Suicide:Ian Linter:2002:pG.

Pianíssimo alcoólico no Casio SA-5 improvisado. Betereb-es. We can forget love & o piano é um instrumento de eleição pelo tempo fora do mastro-jazzOFF. We can’t forget love & olhos fechados em tardes de primavera, fecundos, amenos, lentos, vagos, lama. Amal! Uno e carrega-se nas teclas uma a uma, às vezes duas a duas, às vezes mais, com toda a técnica e mais Uma. Olha-se a janela e o Sol is falling. Ganza-se o olhar e a janela cai antes. SA-57. Virtude.

Minur foi um pássaro que encantou a corte de Sirah, a casta mais bela de todas as vinhateiras moçoilas. Enfim livre de qualquer mortandade a vinha subiu ao monte Jazz e descendeu. Descentou-se e a partir daqui entra o aleatório. Mil batimentos no fusco. Sempre a parir na teoria tecnológica e cortante na periferia do anal. Sempre a parir. Trogloditas a escancararem-se em tronos e dísticos partidos, e selvajarias a condizer e a soerguer: mais! We & transumância do terreno.

Juca Pimentel – Casio SA-5:pG:2001

Ian Linter:2001:pG.

JAE é a destilação sonora do ambiente político, cultural e social do Portugal ano 2001. Uma visceral e tremenda merda consentida. Os sonos perdidos e as mortes amealhadas pelo fúnebre. Um tormento que se quer bem longo, para logo se poder escancarar a mandíbula em forma de torpedo. As injúrias de um labirinto de animalidade suicida, que os adventos não são de explicar quando falamos do homem-pária, do homem-merda. O espaço consentido para morrer pelo desprezo da inacção. Cosmos do desprezo assumido. Longos dias a penar misericórdias sem sentido, a extinguir assombros de ruína. Os ventos paralelos que indicam a explicação do nauseabundo. Laços a colmatar tiros. Lanças na penúria. Podemos assumir um golpear de baixo ventre, de baixo-homem, de aranha hiperbárica. As nostalgias de um eterno tombar sobre a imundície do sentir. O desmembramento fértil da incoerência e da merda coabitada pelos mentecaptos industriais. Tudo isto congemina o infértil da precaridade e de trombas padecido. Junção da miséria com o saloio da inundação. Fogo para ele. A fogueira para ele. Deitemos-lhe enxofre para que dançe bem. O planeta escolhe os seus carrascos tão bem como escolhe os escravos: eis pois vós aqui assumidos. Arre! Que o mundo tenha piedade!

OLoF NiNe – Dancing Days/Tek No:Ian Linter:2001:pG.

OLoF NiNe – Tek No:Ian Linter:2001:pG.

OLoF NiNe – Dancing Days:Ian Linter:2001:pG.

Airf’Auga recordings were made by some people at their home, in someone else’s home, on the streets, in bars, in trains, at night, by day. Most of these people never made conscious sound before. Some of them don’t know that it was recorded. Most of these recordings were made on tape, some on minidisc, and were collected as is.

Airf’Auga sound recordings represent several untouched audiograms of real time existence of some people.

produções Ganza:1991-…

Airf’Auga recordings were made by some people at their home, in someone else’s home, on the streets, in bars, in trains, at night, by day. Most of these people never made conscious sound before. Some of them don’t know that it was recorded. Most of these recordings were made on tape, some on minidisc, and were collected as is.

Airf’Auga sound recordings represent several untouched audiograms of real time existence of some people.

produções Ganza:1991-…

Airf’Auga recordings were made by some people at their home, in someone else’s home, on the streets, in bars, in trains, at night, by day. Most of these people never made conscious sound before. Some of them don’t know that it was recorded. Most of these recordings were made on tape, some on minidisc, and were collected as is.

Airf’Auga sound recordings represent several untouched audiograms of real time existence of some people.

produções Ganza:1991-…

OLoF NiNe – Rare Birth – 1998 – Ian Linter:pG

The release of Rare Birth (OLoF NiNe, 1998) is a tribute to Rebirth, an emblematic software of the 90’s that influenced a whole generation of musicians. The album gathers 7 tracks that were entirely made with Rebirth, and another equally legendary software, used here for the voice, called Generator (ancestor of Reaktor). These softwares were obtained thanks to the excellent audio software magazines (Future Music, Computer Music, etc.) which came with a CD with dozens of test versions of the best softwares of the time. Most of the time these versions had time limitations (15-30m each time) and didn’t allow to save the patterns, which imposed live recordings and complete improvisations: like the whole OLoF NiNe discography.

Rare Birth is Rebirth!

OLoF NiNe – Inst Vöid’Tzen V:Ian Linter:1998:pG.

OLoF NiNe – Inst Vöid’Tzen IV:Ian Linter:1998:pG.

OLoF NiNe – Inst Vöid’Tzen III:Ian Linter:1998:pG.

OLoF NiNe – Inst Vöid’Tzen II:Ian Linter:1998:pG.

OLoF NiNe – Inst Vöid’Tzen:Ian Linter:1998:pG.

OLoF NiNe – Fist:Ian Linter:1997:pG.

Airf’Auga recordings were made by some people at their home, in someone else’s home, on the streets, in bars, in trains, at night, by day. Most of these people never made conscious sound before. Some of them don’t know that it was recorded. Most of these recordings were made on tape, some on minidisc, and were collected as is.

Airf’Auga sound recordings represent several untouched audiograms of real time existence of some people.

produções Ganza:1991-…

Airf’Auga recordings were made by some people at their home, in someone else’s home, on the streets, in bars, in trains, at night, by day. Most of these people never made conscious sound before. Some of them don’t know that it was recorded. Most of these recordings were made on tape, some on minidisc, and were collected as is.

Airf’Auga sound recordings represent several untouched audiograms of real time existence of some people.

produções Ganza:1991-…

« A barbaridade está para a morte como a morte está para o homem. Anis cruéis, visíveis no chão. Pintado de fresco. Sem manchas que não as propositadamente, pela alma, lá colocadas. Anis cruéis. Se soubessem o tempo que leva a medir um sonho. Não há tempo que chegue. Nunca se tem tempo. Ele está sempre a menos no processo do lado esquerdo. Sei qual o processo e não quero esse processo sempre e sempre mais e nunca sempre mais. Lanicídios cruéis. »

JP

Estilhaços lunares : produções Ganza : 1997

Airf’Auga recordings were made by some people at their home, in someone else’s home, on the streets, in bars, in trains, at night, by day. Most of these people never made conscious sound before. Some of them don’t know that it was recorded. Most of these recordings were made on tape, some on minidisc, and were collected as is.

Airf’Auga sound recordings represent several untouched audiograms of real time existence of some people.

produções Ganza:1991-…

Airf’Auga recordings were made by some people at their home, in someone else’s home, on the streets, in bars, in trains, at night, by day. Most of these people never made conscious sound before. Some of them don’t know that it was recorded. Most of these recordings were made on tape, some on minidisc, and were collected as is.

Airf’Auga sound recordings represent several untouched audiograms of real time existence of some people.

produções Ganza:1991-…

Airf’Auga recordings were made by some people at their home, in someone else’s home, on the streets, in bars, in trains, at night, by day. Most of these people never made conscious sound before. Some of them don’t know that it was recorded. Most of these recordings were made on tape, some on minidisc, and were collected as is.

Airf’Auga sound recordings represent several untouched audiograms of real time existence of some people.

produções Ganza:1991-…

Airf’Auga recordings were made by some people at their home, in someone else’s home, on the streets, in bars, in trains, at night, by day. Most of these people never made conscious sound before. Some of them don’t know that it was recorded. Most of these recordings were made on tape, some on minidisc, and were collected as is.

Airf’Auga sound recordings represent several untouched audiograms of real time existence of some people.

produções Ganza:1991-…

Airf’Auga recordings were made by some people at their home, in someone else’s home, on the streets, in bars, in trains, at night, by day. Most of these people never made conscious sound before. Some of them don’t know that it was recorded. Most of these recordings were made on tape, some on minidisc, and were collected as is.

Airf’Auga sound recordings represent several untouched audiograms of real time existence of some people.

produções Ganza:1991-…

Airf’Auga recordings were made by some people at their home, in someone else’s home, on the streets, in bars, in trains, at night, by day. Most of these people never made conscious sound before. Some of them don’t know that it was recorded. Most of these recordings were made on tape, some on minidisc, and were collected as is.

Airf’Auga sound recordings represent several untouched audiograms of real time existence of some people.

produções Ganza:1991-…

EXP1 is the second OLoF NiNe’s album, released on tape in 1995, and it’s the result of tape manipulations on a domestic double deck recorder. No mixing and no post-editing in any form. The digital files were reaped directly from the original tape. EXP1 is an a-logic transfer in time!

Airf’Auga recordings were made by some people at their home, in someone else’s home, on the streets, in bars, in trains, at night, by day. Most of these people never made conscious sound before. Some of them don’t know that it was recorded. Most of these recordings were made on tape, some on minidisc, and were collected as is.

Airf’Auga sound recordings represent several untouched audiograms of real time existence of some people.

produções Ganza:1991-…

Airf’Auga recordings were made by some people at their home, in someone else’s home, on the streets, in bars, in trains, at night, by day. Most of these people never made conscious sound before. Some of them don’t know that it was recorded. Most of these recordings were made on tape, some on minidisc, and were collected as is.

Airf’Auga sound recordings represent several untouched audiograms of real time existence of some people.

produções Ganza:1991-…

Airf’Auga recordings were made by some people at their home, in someone else’s home, on the streets, in bars, in trains, at night, by day. Most of these people never made conscious sound before. Some of them don’t know that it was recorded. Most of these recordings were made on tape, some on minidisc, and were collected as is.

Airf’Auga sound recordings represent several untouched audiograms of real time existence of some people.

produções Ganza:1991-…

Airf’Auga recordings were made by some people at their home, in someone else’s home, on the streets, in bars, in trains, at night, by day. Most of these people never made conscious sound before. Some of them don’t know that it was recorded. Most of these recordings were made on tape, some on minidisc, and were collected as is.

Airf’Auga sound recordings represent several untouched audiograms of real time existence of some people.

produções Ganza:1991-…

Airf’Auga recordings were made by some people at their home, in someone else’s home, on the streets, in bars, in trains, at night, by day. Most of these people never made conscious sound before. Some of them don’t know that it was recorded. Most of these recordings were made on tape, some on minidisc, and were collected as is.

Airf’Auga sound recordings represent several untouched audiograms of real time existence of some people.

produções Ganza:1991-…

Airf’Auga recordings were made by some people at their home, in someone else’s home, on the streets, in bars, in trains, at night, by day. Most of these people never made conscious sound before. Some of them don’t know that it was recorded. Most of these recordings were made on tape, some on minidisc, and were collected as is.

Airf’Auga sound recordings represent several untouched audiograms of real time existence of some people.

produções Ganza:1991-…

Airf’Auga recordings were made by some people at their home, in someone else’s home, on the streets, in bars, in trains, at night, by day. Most of these people never made conscious sound before. Some of them don’t know that it was recorded. Most of these recordings were made on tape, some on minidisc, and were collected as is.

Airf’Auga sound recordings represent several untouched audiograms of real time existence of some people.

produções Ganza:1991-…

Airf’Auga recordings were made by some people at their home, in someone else’s home, on the streets, in bars, in trains, at night, by day. Most of these people never made conscious sound before. Some of them don’t know that it was recorded. Most of these recordings were made on tape, some on minidisc, and were collected as is.

Airf’Auga sound recordings represent several untouched audiograms of real time existence of some people.

produções Ganza:1991-…