I just started to participate in the lines community and wanted to share a label I collaboratively run called Nada.
Nada was established in 2011 as a platform for the promotion of subversive musics and contemporary sound works. Activities include publication and distribution of recordings and objects, as well as hosting events, happenings, and radio.
Currently we have a 40% discount on all physical/digital releases on our Bandcamp until Sunday.
Welcome! Nada is awesome. I bought the physical Mesabi Range a few months back while learning TidalCycles. It was great being able to simultaneously listen to an album while following the code.
Now announcing the release of:
Michael M Flora and Pooch Karton - Mu / Winter Makes Skulls Quick
Mu
Michael Masaru Flora
grain (ver3) 02. Eun j6 03. nothing
Three audio works developed between 2016-2018. Although developed separately, these works exhibit an intersection between electroacoustic music, computer music, and sound art. The construction of these works has been guided by algorithmic and spectromorphological* composition techniques, while utilizing an array of digital synthesis and processing methods. In addition to aesthetic and narrative concerns, the sonic materials are designed to activate space and reframe the auditorâs relationship to the listening environment. Playback is intended for loudspeakers.
*Smalley D. (1986) Spectro-morphology and Structuring Processes. In: Emmerson S. (eds) The Language of Electroacoustic Music. Palgrave Macmillan, London
Winter Makes Skulls Quick
Pooch Karton
I 02. II 03. III 04. IV
âWinter makes skulls quickâ is a misheard phrase. What was actually said and in what context are long gone, but the phrase stuck with me (somehow relevant to winter life in Minnesota) as did the idea of activating new meanings out of such mishearings. What if I heard what I heard, and without missing a beat, continued on, not realizing that the effects of a perceptual error were taking me ever so slightly off course? Where might this mishearing lead? Maybe nowhere, or maybe my reality would be fundamentally changed. It seems unlikely, but these kinds of transformations must occur all the time and on all levels, even down to our most subtle intake of sensory information. Somewhere down the line it all gets sorted out. Familiar patterns, semantics and syntax help to realign us, but imagine if the errors were to spin out of control, and we crashed, melted down into perceptual grey goo, or simply came to live in a winter that makes skulls quick. Or - for all the practice weâve already had in encountering systems that tilt drastically in and out of control, weâd probably be just fine, just fundamentally different.
-Pooch Karton, August, 2019.
OUT NOW
Philippe Vandal - Synchronous Vicious Sting after M_Bomb (nada24)
Available as a limited edition cassette and digital DL.
Our interaction with the outside world is effectively unconscious, some estimates say that only 0.01% of our neural activities are consciously fired, leading us to critically question the extent of our involvement in everyday actions and decisions. Our conscious perception has been compared to a black box program, a serial protocol communication machine in a multi-parallel environment. In our digital age this analogy is undoubtedly pertinent: big data, quantum noises, chaotic information, political and social complexities, and cultural biases â an overflow of stimuli. The unconscious mind grasps everything to induce a comfortable intelligibility of our informational surroundings. There are some slips, glitches, biases, noisy assimilations, errors, cacophonic impressions. Our vigilant apprehension of the environment is bent through our responsive apparatus as it seeks for meaning. Parsing is easier through this processed conglomeration, producing spasmodic psychological illusions and phantomatic bleeps.
credits
released April 13, 2020
Music and Artwork: Philippe Vandal
Layout: Christian Langheinrich
OUT NOW
William Fields - Live at In Situ 2019
Digital DL available at: nadarecs.bandcamp.com
âThis recording documents my performance at the In Situ festival in Minneapolis on December 6, 2019. The first half of the set are improvisations based on an algorithm developed in conjunction with the audience at a workshop the night before. The second half are based on randomly selected âseedsâ that were generated in advance. In both cases, I didnât know what was coming at the beginning of each section. I had to improvise based on whatever was presented by my music system, and attempt to shape it into something musically interesting. Itâs a scary way to perform, but itâs an interesting challenge and very engaging for the performer!â -William Fields
