 | Demetrio Cecchitelli
| "Empty Spaces” SR224
Type: mp3 |
"In the process of "Empty Spaces" the evolution of the musical message is given by the use of multi-layered sounds, found sounds and digital processing. The main characteristic is the use of the repetition and looping techniques, both from live electronics and prepared material. Sounds passes from ambient music influences to post-drone atmospheres, by inserting passages of melodramatic and melancholic feelings, all with a soft touch of transported restlessness." | |
Our albums are under Creative Commons License
 | Hado Navarro
| "Moebius Dancinstrument 2” SR195
Type: mp3 |
Sequel to "Moebius Dancinstrument 1" "The idea was make a song with the sounds of dancing bodies, where the movement of the dance generates the sounds to dance to and the danced sound is another movement sounding itself, and so on, in a cyclical manner. An allusion to instruments of the future where the body is the generator of sounds: play, music and dance are the same thing." | |
Our albums are under Creative Commons License
 | Chris Silver T | "bd hbt” SR192
Type: mp3 |
| Sounds / Photo – Chris Silver T Cover art by neta
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Our albums are under Creative Commons License
 | KWAKU KAMASO | "ANGOLA DIVINA / REPARTO SPOI” SR184
Type: mp3 |
| “Feeling sick, being unwell, dragging yourself from ward to ward, silent commutes by car, staring at the window the roads, faces, fields go by, while all around you marbled gypsum is white and crumbly, undecipherable like the blank stares of those who won’t make it. But sometimes the code unfolds and everything is clear and bright like Gods and Goddesses in the blinding clearings of Africa, and suddenly you see land and this land is Angola, a maze of rivers and deserts, anguished and miserable like the dark and obscure and looping thoughts of melancholic ebony Goddesses, once fierce and all-mighty and magical, now scattered on floors of corridor after corridor, white cigarette paper burning and the toxic smell of disease and solitude. When nobody understands you and the only thing left to do is let go and flow along the currents of the Kwangu river, all the way to the oceans and plains once inhabited by proud tribes, now as vast as desolated and miserable, heavy with sorrow and disconsolation. Sick. The faintest of chances you’ll be better. And then one day you are better. Your skin shiny, limps moist and you don’t need to close your eyes to the sun, you’re not afraid of pain. Angola unfolds, in the midst of marbled gypsum and savannahs.” | |
Our albums are under Creative Commons License
 | Jimmy Watt | "The Tragedy Phenomena” SR164
Type: mp3 |
| Abuse of Melody is a necessary evil for those who can not handle a drift.
It's like being in a large room without light. You need to touch the walls and artifacts that fill the room to feel welcome in the position and perspective. | |
Our albums are under Creative Commons License
 | SLP | "I Canneti Presbiteriani” SR163
Type: mp3 |
| Recorded in 2008, in Tokyo, Japan, in 24 hour Waseda university computer room during the night.
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A sequel was released in 2020.
Our albums are under Creative Commons License
 | Rasalasad | "Inthiscipline” SR162
Type: mp3 |
| Abuse of Melody is a necessary evil for those who can not handle a drift.
It's like being in a large room without light. You need to touch the walls and artifacts that fill the room to feel welcome in the position and perspective. | |
Our albums are under Creative Commons License
 | Ibuki Fkuda | "Futurism” SR153
Type: mp3 |
| New age ambient, drenched in neon light and digitally animated 90s empty reception rooms. Flying sedans still in the sky, waiting for the future to happen and for anyone to notice. | |
Our albums are under Creative Commons License
 | Alessandro Dinetti | "251” SR153
Type: mp3 |
| "251. Some tunes. Always the same." | |
Our albums are under Creative Commons License
 | Chris Silver T | "POTone” SR148
Type: WAV |
| Chris Silver T - field recordings, electronics, objects / Cover design by neta
POTone is nothing more than a combination of sounds, frequencies and rhythm patterns that suddenly emerged and grabbed my attention one morning as I was washing my coffee pot in the sink. | |
Our albums are under Creative Commons License
 | Remo De Vico | "Five Door Handles” SR137
Type: mp3 / wav |
| A collection of musical works between 2013 and 2015.
All tracks composed by Remo De Vico. Credits: Artwork: "Portato Via", by Denis Riva.
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Our albums are under Creative Commons License
 | Hado Navarro | "Moebius Dancinstrument” SR109
Type: mp3 |
| "The idea was make a song with the sounds of dancing bodies, where the movement of the dance generates the sounds to dance to and the danced sound is another movement sounding itself, and so on, in a cyclical manner. An allusion to instruments of the future where the body is the generator of sounds: play, music and dance are the same thing. | |
Our albums are under Creative Commons License
 | INDN WAR DRUMS | "São Nicolau” SR087
Type: wav - Released together with HYSM? |
| Indn war drums is hot water descending from ancient mountains, green and orange lights dancing in a sleepy African morning. The trip in São Nicolau explains these sensations. It is like being naked in Cabo Verde, swinging on your self, feeling free and in peace with the environment, laughing with friends and be ready to hug the universe. | |
Our albums are under Creative Commons License
 | Nitwit | "Are You Sure This Is Sound” SR075
Type: mp3 |
| Nitwit's come back. The sheer uneasiness of awkwardness. | |
Our albums are under Creative Commons License
 | Le Cose Bianche | "2008-2011: Parte Seconda” SR058
Type: mp3 |
| This disc collects a selection of the best reasoned philological repertoire produced by LCB in these three years. You can find older songs and experimental pieces mixed with the latest openings far more lyrical sound. A real milkshake sounds. | |
Our albums are under Creative Commons License
 | Polvere In Cantina | "Polvere In Cantina” SR046
Type: mp3 |
| la musica si riferisce estremamente alla sperimentazione elettronica ed indeterminatezza musicale come rifiuto della concezione della musica come suono organizzato. i brani sono composti da microtonalità ed accenni jazz. The music extremely refers to electronic experimentation and musical indefinability, as a refusal of the conception of music as an organized sound. | |
Our albums are under Creative Commons License
 | NITWIT | "Constant State Of Panic” SR042
Type: mp3 |
Our albums are under Creative Commons License
 | NITWIT | "I'm a Bug” SR036
Type: mp3 |
Our albums are under Creative Commons License
 | NITWIT| "Fuck My Romagna” SR026
Type: CD |
Our albums are under Creative Commons License
 |
Austin Smith/SLP | "The Dissolution of the Cube” SR016
Type: CD |
Our albums are under Creative Commons License
 | NITWIT | "#2” SR010
Type: CD |
Our albums are under Creative Commons License
 | NITWIT | "V.L.F.” SR009
Type: CD |
Our albums are under Creative Commons License
 | SLP | "La Vita Agra” SR008
Type: CD |
| As the origination of the dead sense was accumulating its power of determination on every sense of being in process, superflously tending on imposing itself as a reigning utopia of total fictitious sense, the universe of objects, concrete crystallizations of the dead sense, sense-things in being against the live sense in process, it verified together with the immensity of its own quantitive extension - the "actual" produced and determined more and more - and negatively, the immense vacuity of its own dominion regarding the constantly eluded value, never reciprocated: the "value" of the being that accomplishes itself in its moment. So much that, around the nucleus of its own negated corporeality the siege of "objects" has nailed itself where the sense of fictitiousness actualizes itself. And still the less, the live sense takes place and has the opportunity of comparing itself in the being, more and more tending towards dying apocalyptically or to overturn insurrectionally the mortal glaciation of the thingness "grip". As it is impeded to the being to accomplish itself if not in the ways of being more and more automized and rapidly obsolete in which it recognizes itself as immediately betrayed, nothing can restrain him any longer from finally measuring itself with its own instant "value" and expect to realize it immediately. The collapse of the "money" objects, figures of a rapid inflation, fictitious representations of being indirect in seeming, is more profound and irreversible as it accelerates, like mints of a state in ruins, the frantic emission of for ever measures of value. When practicable hope will no longer exist, between one and the other production time of the fictitious, then the global insolvency of the fictitious will reveal itself openly as the last wall to tear down before the body of the species conquers the dimension of its own essence. (Giorgio Cesarano, Critique of the Capital Utopia)
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Our albums are under Creative Commons License