Llahuar Leh is an ambient music and sound art project by the Mexican Erick Ruiz Arellano, made 100% with sound field recordings that he&#8217;s been doing since 2002 in travels in more than 30 countries. Imaginary scenes generated by the improvised mixing of the sounds of the world, their nature, languages, rituals, curses and malfunctions....</p><p><a class="more-link" href="https://modisti.com/netlabel/?p=1227">Read More &#187;</a></p>

<p><img src="http://modisti.tk/netlabel/wp-content/uploads/2017/02/modisti82-Llahuar-Leh-Scape-Sound-Cities-thumb.jpg" alt="" width="600" height="600" class="alignnone size-full wp-image-1228" srcset="https://modisti.com/netlabel/wp-content/uploads/2017/02/modisti82-Llahuar-Leh-Scape-Sound-Cities-thumb.jpg 600w, https://modisti.com/netlabel/wp-content/uploads/2017/02/modisti82-Llahuar-Leh-Scape-Sound-Cities-thumb-150x150.jpg 150w, https://modisti.com/netlabel/wp-content/uploads/2017/02/modisti82-Llahuar-Leh-Scape-Sound-Cities-thumb-300x300.jpg 300w, https://modisti.com/netlabel/wp-content/uploads/2017/02/modisti82-Llahuar-Leh-Scape-Sound-Cities-thumb-180x180.jpg 180w" sizes="(max-width: 600px) 100vw, 600px" /></p>
<p>Llahuar Leh is an ambient music and sound art project by the Mexican Erick Ruiz Arellano, made 100% with sound field recordings that he&#8217;s been doing since 2002 in travels in more than 30 countries.<br />
Imaginary scenes generated by the improvised mixing of the sounds of the world, their nature, languages, rituals, curses and malfunctions.</p>
<p>A contemplation to the harmonious side of this planet, but also to its dark side, to the extinction of the calm.</p>
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//--&gt;
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Llahuar Leh is an ambient music and sound art project by the Mexican Erick Ruiz Arellano, made 100% with sound field recordings that he’s been doing since 2002 in travels in more than 30 countries.
A contemplation to the harmonious side of this planet, but also to its dark side, to the extinction of the calm.

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Llahuar Leh is an ambient music and sound art project by the Mexican Erick Ruiz Arellano, made 100% with sound field recordings that he’s been doing since 2002 in travels in more than 30 countries. Imaginary scenes generated by the improvised mixing of the sounds of the world, their nature, languages, rituals, curses and malfunctions....
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Llahuar Leh – Scape Sound Cities

Free improvisation Diushi Keri: saxo, batería, teclados J.G. Entonado (a.k.a. Arín Dodó): voz, guitarra, bajo, trompeta, trombón, percusión, trompa &#160; &#160; INSERT PLAYER IN YOUR PAGE [crayon-640e01f239000956876171/] report broken link

<p><img src="http://modisti.tk/netlabel/wp-content/uploads/2016/06/modisti_81_thumb.jpg" alt="modisti_81_thumb" width="600" height="600" class="alignnone size-full wp-image-1217" srcset="https://modisti.com/netlabel/wp-content/uploads/2016/06/modisti_81_thumb.jpg 600w, https://modisti.com/netlabel/wp-content/uploads/2016/06/modisti_81_thumb-150x150.jpg 150w, https://modisti.com/netlabel/wp-content/uploads/2016/06/modisti_81_thumb-300x300.jpg 300w, https://modisti.com/netlabel/wp-content/uploads/2016/06/modisti_81_thumb-180x180.jpg 180w, https://modisti.com/netlabel/wp-content/uploads/2016/06/modisti_81_thumb-550x550.jpg 550w, https://modisti.com/netlabel/wp-content/uploads/2016/06/modisti_81_thumb-200x200.jpg 200w, https://modisti.com/netlabel/wp-content/uploads/2016/06/modisti_81_thumb-380x380.jpg 380w" sizes="(max-width: 600px) 100vw, 600px" /></p>
<p>Free improvisation</p>
<p>Diushi Keri: saxo, batería, teclados</p>
<p>J.G. Entonado (a.k.a. Arín Dodó): voz, guitarra, bajo, trompeta,<br />
trombón, percusión, trompa</p>
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Free improvisation
Diushi Keri: saxo, batería, teclados
J.G. Entonado (a.k.a. Arín Dodó): voz, guitarra, bajo, trompeta,

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Free improvisation Diushi Keri: saxo, batería, teclados J.G. Entonado (a.k.a. Arín Dodó): voz, guitarra, bajo, trompeta, trombón, percusión, trompa     INSERT PLAYER IN YOUR PAGE [crayon-640e01f239000956876171/] report broken link

Diushi Keri & Arín Dodó – Degeneración Progresiva II

Cthonic Hymal, 2014 This work is a lament.  A lament for what, exactly, I am unsure.  I composed this work after discovering a set of short (< 3 minutes) recordings of cello playing I had made some 3 years earlier and which I had perhaps not listened to since.  Each sample was of a different...</p><p><a class="more-link" href="https://modisti.com/netlabel/?p=1183">Read More &#187;</a></p>

<p><img src="http://modisti.tk/netlabel/wp-content/uploads/2015/10/modisti_80_thumb.jpg" alt="modisti_80_thumb" width="600" height="600" class="alignnone size-full wp-image-1186" srcset="https://modisti.com/netlabel/wp-content/uploads/2015/10/modisti_80_thumb.jpg 600w, https://modisti.com/netlabel/wp-content/uploads/2015/10/modisti_80_thumb-150x150.jpg 150w, https://modisti.com/netlabel/wp-content/uploads/2015/10/modisti_80_thumb-300x300.jpg 300w, https://modisti.com/netlabel/wp-content/uploads/2015/10/modisti_80_thumb-180x180.jpg 180w, https://modisti.com/netlabel/wp-content/uploads/2015/10/modisti_80_thumb-550x550.jpg 550w, https://modisti.com/netlabel/wp-content/uploads/2015/10/modisti_80_thumb-200x200.jpg 200w, https://modisti.com/netlabel/wp-content/uploads/2015/10/modisti_80_thumb-380x380.jpg 380w" sizes="(max-width: 600px) 100vw, 600px" /></p>
<p><strong>Cthonic Hymal, 2014</strong></p>
<p>This work is a lament.  A lament for what, exactly, I am unsure.  I<br />
composed this work after discovering a set of short (< 3 minutes)
recordings of cello playing I had made some 3 years earlier and which
I had perhaps not listened to since.  Each sample was of a different
length and explored a different possibility of timbre with
unconventional bowing techniques.  I cannot recall if the player of
the cello is myself or someone else, although I would venture to
speculate that it is indeed myself, since I am capable of only
unorthodox cello playing since I am not, in any way, trained as a
cello player.  I time-stretched the most interesting recordings so
that all of the resulting sound files would be of commensurate length.
I then arranged each time-stretched file on separate tracks in a
digital audio workstation and applied no other
post-production/compositional strategy other than slight adjustments
of gain and stereo field placement. 

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<div class="sdm_download_link"><a href="https://modisti.com/netlabel/?smd_process_download=1&download_id=1191" class="sdm_download green" title="modisti 80 Martin Back – Cthonic Hymnal" >Download Now!</a></div>
<div class="sdm_download_count"><span class="sdm_count_number">1056</span><span class="sdm_count_string"> Downloads</span></div>
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<p><strong>de elementorum: laecrimatic solo, 2014</strong></p>
<p>Although this work very much happened by a happy accident in that I<br />
happened to be sitting outside enjoying a rainy afternoon when my<br />
attention was caught by the sound of shifting rhythmic patterns caused<br />
by fluctuations in the volume of rain falling from the roof of my<br />
house onto a metal vessel my wife and I use to water our garden<br />
plants.  The piece was exhibited/auditioned at a group show of sound<br />
art, And Then I Whirled to the Sound of, in Dallas, TX.  I was<br />
interviewed about the work in an article that appeared online at<br />
artandseek.net.<br />
http://artandseek.net/2014/07/22/make-some-noise-sound-art-at-oil-cotton/</p>
<p><strong>Winter Metal + Sounds Occurring (2014)</strong></p>
<p>The impetus for creating this work arose out of facets of my thinking<br />
regarding loosely connected philosophical concerns, such as the<br />
misconception that the human environment is somehow separate from<br />
nature; how I might simultaneously create an improvised performance<br />
and a field recording—meaning a desire to conflate them into a<br />
single entity—and in doing so treat my immediate ambient environment<br />
as both collaborator and performance conductor.  I meditated upon how<br />
these thoughts might manifest as a piece of music for some days before<br />
deciding on using a single sound source, a cheap tam tam suspended<br />
from a metal armature, that I would perform in order to respond to the<br />
sounds of the environment in time.  I recorded this piece in one take<br />
while giving my utmost care to attempt to be guided by time and<br />
amplitude—so as to subsume my identity and needs and allow the<br />
environment to direct me rather than the other way around. As the<br />
title suggests this work was recorded on a winter day, which I<br />
remember as being sunny and bright, yet rather cold.  </p>
<p><strong>In The Cauldron of the Body</strong> </p>
<p>This work was composed in 2009, premiered in March of 2014 and<br />
recorded in April of 2014 by vocalist and performer Lily Taylor.  The<br />
foundation of this work is a Taoist text describing a process of<br />
spiritual alchemy by uniting the Green Dragon and White Tiger energies<br />
in order to form the Golden Elixir.  I made a statistic analysis of<br />
the text in order to discover how many times letters occurred<br />
throughout, which I used for the basic time structure of the piece.<br />
In other words, if the letter ‘T’ occurs 10 times in the text then<br />
the sound associated with ‘T’ is repeated, or sustained, for 10<br />
seconds each time it reappears in the work. I also created a loose<br />
system of certain letters corresponding to orthodox dynamic<br />
indications, such as pianissimo, fortissimo and so forth. The actual<br />
score is notated in the International Phonetic Alphabet and allows for<br />
a great degree of performer interpretation within its rather rigorous<br />
structure.    </p>
<p><strong>Resonant Machine Music 2, 2015 and Pendulum (second performance),<br />
2014</strong></p>
<p>Both of these works belong to my ongoing series, Copulative Signules,<br />
which explores the possibilities of designing semi-autonomous musical<br />
systems in custom software.  These systems use audio and data feedback<br />
and recursive circuits of modulation as the primary compositional<br />
strategy to produce real time, generative sonic environments.  While<br />
both Resonant Machine Music 2 and Pendulum share similar<br />
compositional/systemic construction they explore very different<br />
timbral terrains.  Both systems, however, were recorded as they were<br />
performed/performed themselves and were allowed to unfold with very<br />
little intervention by me.  It should be noted that the full title of<br />
each piece is Copulative Signules: Digital Simitals: Resonant Machine<br />
Music 2 and Copulative Signules: Pendulum (second performance).</p>

Cthonic Hymal, 2014
This work is a lament.  A lament for what, exactly, I am unsure.  I

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de elementorum: laecrimatic solo, 2014
Although this work very much happened by a happy accident in that I
Winter Metal + Sounds Occurring (2014)
The impetus for creating this work arose out of facets of my thinking
In The Cauldron of the Body 
This work was composed in 2009, premiered in March of 2014 and
Resonant Machine Music 2, 2015 and Pendulum (second performance),

Both of these works belong to my ongoing series, Copulative Signules,
which explores the possibilities of designing semi-autonomous musical
systems in custom software.  These systems use audio and data feedback
and recursive circuits of modulation as the primary compositional
strategy to produce real time, generative sonic environments.  While
both Resonant Machine Music 2 and Pendulum share similar
compositional/systemic construction they explore very different
timbral terrains.  Both systems, however, were recorded as they were
performed/performed themselves and were allowed to unfold with very
little intervention by me.  It should be noted that the full title of
each piece is Copulative Signules: Digital Simitals: Resonant Machine
Music 2 and Copulative Signules: Pendulum (second performance).

Cthonic Hymal, 2014 This work is a lament.  A lament for what, exactly, I am unsure.  I composed this work after discovering a set of short (Read More »

Martin Back – Cthonic Hymnal

An exploration of the cognitive process of the audition vinculated to the speed and saturation of various and continous sounds, everything made from a simple sample of a synth-guitar that derivates in the search of orientation&#8217;s sense across the sonoruslandscapes, this pretention forces the softwares to their limits of computing some simultaneous patrons of trebble...</p><p><a class="more-link" href="https://modisti.com/netlabel/?p=1153">Read More &#187;</a></p>

<p><img src="http://modisti.tk/netlabel/wp-content/uploads/2015/09/modisti_79.jpg" alt="modisti_79" width="450" height="450" class="alignnone size-full wp-image-1154" srcset="https://modisti.com/netlabel/wp-content/uploads/2015/09/modisti_79.jpg 750w, https://modisti.com/netlabel/wp-content/uploads/2015/09/modisti_79-150x150.jpg 150w, https://modisti.com/netlabel/wp-content/uploads/2015/09/modisti_79-300x300.jpg 300w, https://modisti.com/netlabel/wp-content/uploads/2015/09/modisti_79-180x180.jpg 180w, https://modisti.com/netlabel/wp-content/uploads/2015/09/modisti_79-600x600.jpg 600w" sizes="(max-width: 450px) 100vw, 450px" /></p>
<p>An exploration of the cognitive process of the audition vinculated to the speed and saturation of various and continous sounds, everything made from a simple sample of a synth-guitar that<br />
derivates in the search of orientation&#8217;s sense across the sonoruslandscapes, this pretention forces the softwares to their limits of computing some simultaneous patrons of trebble and maximum velocities, so, this is a navigation through the frontiers of the audio that can be generated by informatic methods. And has a combination of diversesample resolutions, cross synthesis and interpermutation bettween and their results with the other results and so on.  Also contains a reverted part of sonata&#8217;s num 6 of Paradisi and an exe file converted in audible format. The album is a chaotic mass of distortion, horror semivoices and a map of some sonic path to perdition.</p>
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An exploration of the cognitive process of the audition vinculated to the speed and saturation of various and continous sounds, everything made from a simple sample of a synth-guitar that

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An exploration of the cognitive process of the audition vinculated to the speed and saturation of various and continous sounds, everything made from a simple sample of a synth-guitar that derivates in the search of orientation’s sense across the sonoruslandscapes, this pretention forces the softwares to their limits of computing some simultaneous patrons of trebble...
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Hado Navarro – Sonic decartography

A breathless sound suddenly sucks us back from the abyss of our timeless sleep Bird chantings, the ambassadors of morning, mark as in primordial times, the birth of a new day: the first evidence of creation and the existence of things.

<p><img src="http://modisti.tk/netlabel/wp-content/uploads/2015/03/modisti_77-thumb.jpg" alt="modisti_77-thumb" width="1" height="1" class="alignnone size-full wp-image-1098" srcset="https://modisti.com/netlabel/wp-content/uploads/2015/03/modisti_77-thumb.jpg 600w, https://modisti.com/netlabel/wp-content/uploads/2015/03/modisti_77-thumb-150x150.jpg 150w, https://modisti.com/netlabel/wp-content/uploads/2015/03/modisti_77-thumb-300x300.jpg 300w" sizes="(max-width: 1px) 100vw, 1px" /></p>
<p>A breathless sound suddenly sucks us back from the abyss of our timeless sleep<br />
Bird chantings, the ambassadors of morning, mark as in primordial times, the birth of a new day: the first evidence of creation and the existence of things.</p>


A breathless sound suddenly sucks us back from the abyss of our timeless sleep
Bird chantings, the ambassadors of morning, mark as in primordial times, the birth of a new day: the first evidence of creation and the existence of things.

JesterN . Les Retours Des Oiseaux

some experiments with cross synthesis and many other alterations INSERT PLAYER IN YOUR PAGE [crayon-640e01f239c93829676211/] Download Downloaded times. report broken link

<p><img src="http://modisti.tk/netlabel/wp-content/uploads/2015/04/modisti_78_thumb.jpg" alt="modisti_78_thumb" width="700" height="700" class="alignnone size-full wp-image-1137" srcset="https://modisti.com/netlabel/wp-content/uploads/2015/04/modisti_78_thumb.jpg 700w, https://modisti.com/netlabel/wp-content/uploads/2015/04/modisti_78_thumb-150x150.jpg 150w, https://modisti.com/netlabel/wp-content/uploads/2015/04/modisti_78_thumb-300x300.jpg 300w, https://modisti.com/netlabel/wp-content/uploads/2015/04/modisti_78_thumb-180x180.jpg 180w, https://modisti.com/netlabel/wp-content/uploads/2015/04/modisti_78_thumb-600x600.jpg 600w" sizes="(max-width: 700px) 100vw, 700px" /></p>
<p>some experiments with cross synthesis and many other alterations</p>
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some experiments with cross synthesis and many other alterations

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Hado Navarro . sonorus diary

17 electroacoustic compositions based on phenomena and nature landscapes. were composed in Labuerda (Pyrenees of Huesca, Spain) the summers of 2012 and 2013. marc egea: hurdy gurdy, processed sounds, electronics, field recordings, resonating stones created in labuerda (pyrenees of huesca, spain) the summers of 2012 and 2013 picture &#038; cover design: marc egea www.marcegea.com INSERT...</p><p><a class="more-link" href="https://modisti.com/netlabel/?p=1046">Read More &#187;</a></p>

<p><a href="http://modisti.tk/netlabel/wp-content/uploads/2015/02/modisti_76-thumb1.jpg"><img src="http://modisti.tk/netlabel/wp-content/uploads/2015/02/modisti_76-thumb1.jpg" alt="modisti_76-thumb" width="600" height="600" class="alignnone wp-image-1055" srcset="https://modisti.com/netlabel/wp-content/uploads/2015/02/modisti_76-thumb1.jpg 700w, https://modisti.com/netlabel/wp-content/uploads/2015/02/modisti_76-thumb1-150x150.jpg 150w, https://modisti.com/netlabel/wp-content/uploads/2015/02/modisti_76-thumb1-300x300.jpg 300w" sizes="(max-width: 600px) 100vw, 600px" /></a></p>
<p>17 electroacoustic compositions based on phenomena and<br />
nature landscapes. were composed in Labuerda (Pyrenees of Huesca,<br />
Spain) the summers of 2012 and 2013.</p>
<p>marc egea: hurdy gurdy, processed sounds, electronics, field recordings, resonating stones<br />
created in labuerda (pyrenees of huesca, spain) the summers of 2012 and 2013<br />
picture &#038; cover design: marc egea<br />
www.marcegea.com</p>
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<p>Download</p>
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<p>modisti 76</p>

17 electroacoustic compositions based on phenomena and
marc egea: hurdy gurdy, processed sounds, electronics, field recordings, resonating stones

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modisti 76

17 electroacoustic compositions based on phenomena and nature landscapes. were composed in Labuerda (Pyrenees of Huesca, Spain) the summers of 2012 and 2013. marc egea: hurdy gurdy, processed sounds, electronics, field recordings, resonating stones created in labuerda (pyrenees of huesca, spain) the summers of 2012 and 2013 picture & cover design: marc egea www.marcegea.com INSERT...
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Marc Egea . Alba

This is the meeting between a Slavic soul and a monk with no religion. Weronika Partyka with AndrÈ Darius propose to us three tracks as three disenchanted views on human relationship. &#8220;Subconscious city&#8221; reminds me the citizen rootless existence, whereas &#8220;Mr and Mrs Blackwood&#8221; sound as an old couple&#8217;s lamentation and the short/too short &#8220;Mirage&#8221;,...</p><p><a class="more-link" href="https://modisti.com/netlabel/?p=1039">Read More &#187;</a></p>

<p><a href="http://modisti.tk/netlabel/wp-content/uploads/2015/01/modisti_75-thumb.jpg"><img src="http://modisti.tk/netlabel/wp-content/uploads/2015/01/modisti_75-thumb.jpg" alt="modisti_75-thumb" width="600" height="600" class="alignnone size-full wp-image-1040" srcset="https://modisti.com/netlabel/wp-content/uploads/2015/01/modisti_75-thumb.jpg 600w, https://modisti.com/netlabel/wp-content/uploads/2015/01/modisti_75-thumb-150x150.jpg 150w, https://modisti.com/netlabel/wp-content/uploads/2015/01/modisti_75-thumb-300x300.jpg 300w" sizes="(max-width: 600px) 100vw, 600px" /></a></p>
<p>This is the meeting between a Slavic soul and a monk with no religion. Weronika Partyka with AndrÈ Darius propose to us three tracks as three disenchanted views on human relationship. &#8220;Subconscious city&#8221; reminds me the citizen rootless existence, whereas &#8220;Mr and Mrs Blackwood&#8221; sound as an old couple&#8217;s lamentation and the short/too short &#8220;Mirage&#8221;, at first sight, may seem like an optimistic final note but the more I think the more I doubt about it, perhaps because of the title and the lenth of this track but it sound too good to be true <img src="https://s.w.org/images/core/emoji/12.0.0-1/72x72/1f609.png" alt="😉" class="wp-smiley" style="height: 1em; max-height: 1em;" /><br />
anyway it&#8217;s a fantastic adventurous music played by two great musicians, enjoy !</p>
<p>(note by Etienne Brunet.)</p>
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<p>Weronika Partyka &#8211; saxophone, duduk, voice<br />
AndrÈ Darius &#8211; bass guitar, eub, objects</p>
<p>Recorded in Slovenia and France. 2013.</p>
<p>cover by Richard Schneider</p>
<p>http://www.weronikapartyka.com/<br />
http://andredarius.blogspot.fr/</p>

This is the meeting between a Slavic soul and a monk with no religion. Weronika Partyka with AndrÈ Darius propose to us three tracks as three disenchanted views on human relationship. “Subconscious city” reminds me the citizen rootless existence, whereas “Mr and Mrs Blackwood” sound as an old couple’s lamentation and the short/too short “Mirage”, at first sight, may seem like an optimistic final note but the more I think the more I doubt about it, perhaps because of the title and the lenth of this track but it sound too good to be true 
(note by Etienne Brunet.)

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Weronika Partyka – saxophone, duduk, voice
Recorded in Slovenia and France. 2013.
cover by Richard Schneider
http://www.weronikapartyka.com/
http://andredarius.blogspot.fr/

This is the meeting between a Slavic soul and a monk with no religion. Weronika Partyka with AndrÈ Darius propose to us three tracks as three disenchanted views on human relationship. “Subconscious city” reminds me the citizen rootless existence, whereas “Mr and Mrs Blackwood” sound as an old couple’s lamentation and the short/too short “Mirage”,...
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Weronika Partyka – André Darius . Subconscious city

Recorded during my stay in Bjoa, Norway, August 2014. Instruments: organ, drum kit and Zoom H4n. INSERT PLAYER IN YOUR PAGE [crayon-640e01f23a8f1431805639/] Download Downloaded times. report broken link

<p><a href="http://modisti.tk/netlabel/wp-content/uploads/2014/10/modisti_74-thumb.jpg"><img src="http://modisti.tk/netlabel/wp-content/uploads/2014/10/modisti_74-thumb.jpg" alt="modisti_74-thumb" width="600" height="600" class="alignnone size-full wp-image-1018" srcset="https://modisti.com/netlabel/wp-content/uploads/2014/10/modisti_74-thumb.jpg 600w, https://modisti.com/netlabel/wp-content/uploads/2014/10/modisti_74-thumb-150x150.jpg 150w, https://modisti.com/netlabel/wp-content/uploads/2014/10/modisti_74-thumb-300x300.jpg 300w" sizes="(max-width: 600px) 100vw, 600px" /></a></p>
<p>Recorded during my stay in Bjoa, Norway, August 2014.<br />
Instruments: organ, drum kit and Zoom H4n.</p>
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Recorded during my stay in Bjoa, Norway, August 2014.

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martin rach : borrowed improvisations

Voices in the silence. The speech of philosophers, children and rebels: abstracted. INSERT PLAYER IN YOUR PAGE [crayon-640e01f23ad2c967627422/] Download Downloaded times. report broken link

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<p>Voices in the silence.<br />
The speech of philosophers, children and rebels: abstracted.</p>
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Voices in the silence.

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