Raucous hard ambient tunes with progressive rock experimental flavors coming at the listener from one-half of veteran recording artists, Moon Men. Engaging and demanding, this music will take the listener to landscapes warped by the fabric of alien sounds. Hence, oblique observations.
released April 2, 2021
Bret Harold Hart and Jerry King provide all of the instrumentation for the album, while Bret handles the artwork & mixing duties as well.
chicago, in the middle of deepest winter. snow covered. at this time of year, the title track of this e.p. was created as a collaboration between slow children (whom we welcome as a new artist) and area (most recently in 2009 on “objet trouvé” [tonatom.103]).
“zima” means winter and this is reflected in the meandering, powerful, deep, ambient opener. five alternative interpretations of this work take up different aspects in a new way, continue it with a new focus and complete this e.p. this is far from being a ” one original title and remixes” release, but rather presents six very different variations of a theme combined, which allows an attentive listening as one piece.
in addition to alternative interpretations of slow children and area as the originators of the original, we meet our long-time companion drmlgcc/dreamlogic again (most recent release: “treader” [tonatom.128] in 2013) as the creator of the final version.
should such a work be released in the middle of summer and in times of a climate crisis? well, absolutely! when else. welcome slow children and welcome back area and drmlgcc.
These tracks came to life growing on pre-existing musics like epiphytes do on plants or trees. Found herein are excerpts and samples from 78rpm laughing record, operatic singer, 20th century contemporary musics, YouTube detritus, etc, as well as a flotsam of electronic loops, synth sounds and the omnipresent human voice, especially wordless female vocals – hence the title ‘Chant de naufrage’, French for Hymn of Wreckage.
LF: records, samples, virtual synth
Recorded 2019–2020
New instrumental offering from Northern California home recording musician, Don Campau.
No songs, no rock, no raging lead guitar. Although some beats , this is mainly a quieter album with keyboards and a kitchen sink, improvisational nature.Miniatures that are strung together.
A tribute and hat tip to home tapers worldwide doing whatever they want with no concern for sales or business.
Hard copy available with original art covers for $10 postpaid in the USA from campaudj@comcast.net
please add $5 for international orders
credits
released September 23, 2021
Campau, all instruments.
GAJOOB Review by Bryan Baker, :
I was immediately interested in this new release by Don Campau since my own creative explorations are taking me in similar directions. The four tracks here are made up of short improvisational bits employing a wide variety of tones (guitar, flute, piano, synths, percussion, etc.). The first and last tracks are 15-minute plus pieces, however, they are comprised of short sections so the whole album shifts and flows by way of bursts of changing structures, sounds and styles. I enjoyed this album very much.
Five years in the making, hometaping demigod Dino DiMuro delivers the expected in delivering something completely unsuspected here. With computers becoming ever-present in hometaping circles you might think Dino would return to the scene with an opus of progressive magnitude. But true to form, DiMuro continues to surprise. This “rock album” contains, as Queen was fond of saying in better days, NO SYNTHESIZERS. And the guitars come at you thick with crunching riffs to rival Lou Reed with a clean power that pummels out of the speakers like a monster. The meat of the album is pure Dino on guitar and bass, along with Terry Rodman on drums and Tony Lamberti on digital drums. Lots of guests make appearances as well, notably Kevin Fowler on lead vocals on two tracks, lots of guitarists (Alan Rankin, Chris Assells, Mike Reagan, BB Russell) and vocalists (Don Campau, Robin O’Brien, Linda DeFranco, Julie DiMuro), and Jay Richardson on sax. DiMuro has been spinning sound candy for many years and those of you familiar and fond of his kiss-cut album crafting will find it alive and well here as well; notably on wife Julia’s “Surrounded By Love” improvised song to their baby which segues hilariously into “Talkin’ With the Wise Guy” — you gotta hear it, you gotta hear it. Which, needless to say, goes for the entire album — you gotta hear it.
This album was recorded in my bedroom studio, the same room in which I grew up from 1962 to 1990 (my parents sold the house, but my wife and I have been renting from the new owners). I record exclusively on Pro Tools, having used this program on all my film and TV work. This album’s instrumentation is so dense that I opted not to master these tracks with any kind of program. In tests, Mastering seemed to flatten the dynamics.
My audio setup is embarrassingly simple, as I find that the less I have to deal with, the more I can do. I use very little outboard gear. Some of my musical passages are transferred from old cassettes or reel to reel tapes. I do music the same way I used to do sound effects: I concentrate on the elements, not the huge amount of gear that’s available to alter those elements. I don’t think this is superior to what anybody else does; it’s just my preference.
Among the instruments used on this album are:
Fender Squire Stratocaster
Epiphone Baby Les Paul
Ibanez GRGR
Fender Telecaster Bass
Sigma & Alvarez acoustic guitars
Glarry 5-string Banjo
Washburn mandolin
Rogue Lap Steel
Various 80’s vintage synths
Glockenspiel
I try to make each album different from, or a logical extension of, the previous album. Stopgap Sam’s Last Stand was a double CD with lengthy songs and lots of guitar solos, so the follow-up Project 5 became an album of extremely short songs and just one guitar solo.
Thematically, there’s not really a concept here. On each of my current albums I try to include a quirky cover tune (here it’s “The Ballad of Heisenberg”, from Breaking Bad), a Captain Beefheart copy or cover tune (“Based on Buggy Boogie Woogie”), and a roughly equal number of vocal and instrumental selections, including two all-keyboard tracks. I also pick and record a song from my past, hoping to reimagine it with my current studio and more “seasoned” sensibilities (“Single Guy with a High Income” was first recorded in 1983).
On this release I sang and played all the instruments myself, including drums. The only track where I have a guest is “Rockjam with DJ” which features DJ Gibson on drum kit, along with short snippets of my old partner John Gibson playing with his synth.
The cover photo and audio sample of the restored Big Boy steam locomotive were both captured in Victorville, California on October 12, 2019, just because I like trains
Carl Kruger CHEFKIRK – chefkirk.bandcamp.com Console Jammer – Fumbata Phiri – linktr.ee/fumbata Gintas K – gintask.puslapiai.lt mhzesent NRZK odd person – oddperson.bandcamp.com sadfem – sadfem.bandcamp.com Stormhat Sylvia_Din – soundcloud.com/sylviadin vÄäristymä – vaaristyma.surge.sh Yu Hein – twitter.com/Ninelo_ compiled and mastered by Travis D. Johnson cover art by Neal D. Retke panpanpanaviandistresscall.bandcamp.com
GAJOOB Review by Bryan Baker:
I highly recommend this volume of tracks collected by Poverty Electronics, a netlabel dedicated to experimental and electronic music of all kinds. It’s a diverse collection of music from ambient electronic pieces to noise that plays well to my ears, always hungry for new directions. This one will take you there. Go get it at a price of your choosing.
“Mantra Da Destruição (Hypnos)” is an experimental electronic album by Interzona, released on January 18, 2025, through Harsh Reality Music. The album comprises seven tracks, each delving into avant-garde soundscapes characterized by harsh noise and ambient elements.
The opening track, “I,” sets a haunting tone with its 6-minute duration, blending dissonant textures that challenge conventional listening experiences. As the album progresses, tracks like “II” and “IV” extend beyond 8 minutes, immersing the listener in complex layers of sound that evoke a trance-like state. The centerpiece, “VII,” spans over 25 minutes, serving as an audacious exploration of auditory boundaries.
Jean Souza, the sole creator behind Interzona, is responsible for all music, sounds, production, and artwork on this album. His meticulous craftsmanship is evident in the intricate sound design and the cohesive yet unpredictable progression of the tracks.
“Mantra Da Destruição (Hypnos)” is available for streaming and download in high-resolution 24-bit/96kHz format on Bandcamp. This album is a compelling listen for enthusiasts of experimental and harsh noise genres, offering a profound auditory journey that defies traditional musical structures.
Ricardo Arias and Violeta García’s collaborative work, AÑAGAZAS, ESTRATAGEMAS. JUGARRETAS Y TRETAS is a 2024 cassette release that captures the intricate dance of two avant-garde musicians engaging in a dialogue that is as equal parts subtle and profound. Each track feels like a room full of gestures where the artists coax and cajole their instruments to reveal deeply expressive and often surprising sounds.
Violeta García, an exceptional cellist from Argentina, demonstrates her prowess by conjuring a wide array of sounds from her cello. Her technique spans from deep, granular strokes to high-pitched calls that seem to flirt with the edges of human hearing. Each note she plays contributes to a rich tapestry of sound, making her performance both captivating and emotionally resonant.
[ar044] Ricardo Arias | New York-Bogotá 2000-2010
Ricardo Arias, equipped with his unique bass balloon kit, proves to be an equally inventive partner. The bass balloon kit, with its elastic membranes, complements García’s cello in unexpected ways, creating a playful yet intricate interplay. The result is a conversation between two instruments that feels organic and alive, each responding to the other in real-time.
One of the standout features of this album is how the artists embrace quietude. They allow moments of silence to exist and gestate, giving the music space to breathe. These “instrument whispers” create a dynamic ebb and flow, inviting listeners to immerse themselves deeply in the auditory experience.
This project was born out of a meeting in Bogotá, when García visited in March 2020. The duo initially performed with Mange Valencia (of Meridian Brothers, Mirlitorrinco, etc.) under the name Asteroidea for matik-matik’s birthday celebrations—a legendary venue known for experimental sound. The pandemic’s onset provided an unexpected opportunity for Arias and García to record as a duo, and the resulting tracks reflect a sense of urgency and spontaneity that is both engaging and texturally rich.
“AÑAGAZAS, ESTRATAGEMAS. JUGARRETAS Y TRETAS” is a compelling exploration of texture, gesture, and improvisation. It rewards repeated listens, each session revealing new layers and nuances.
Discover Sounds reviews sound recordings we find worthy of discovery. It’s published by Briyan Frederick Baker of GAJOOB (that’s me). Send bandcamp download codes, tapes, CDs, vinyl and other things. Read more…
