CROWW
PROSTHETICS

「デス・オブ・レイヴからのオーランドのデビュー・アルバム「Croww」は、ヴィニール版特有の補綴物(Prochhetics:MechaMix)と、過去20年間のポップとサブカルチャー現象が痛烈に解剖され、 90年代のD&Bとハイパーモダンなラップインストゥルメントのラップメタル、フラッシュコアが溶けて合金化されたもの」
「いずれにしても、それは現代文化の時間的な流れの砂の中でユニークな地面を釘付けにして、ひどく妥協することのない魅力的なサイバネティクス・ボディ・ホラーとプライベート・エクスタシーの表現で、 最終的には2017年にしか現れないレコード」

http://www.soundohm.com/product/prosthetics/pid/30021/
https://www.deejay.de/Croww_Prosthetics_RAVE019_Vinyl__282805
https://www.facebook.com/The-Death-Of-Rave-358961784287514


Croww ‎– Prosthetics
The Death Of Rave ‎– RAVE019
Vinyl, 12″, 33 ⅓ RPM, Single Sided, EP, Limited Edition, Transparent
UK
27 Jul 2017
Electronic
Experimental, Industrial, Abstract
A Prosthetics (MechaMix) 14:03
“There Was A Peach Colored Couch And On That Lay A Woman In A Peacock Headdress” Etched Into Run-out Groove
THE DEATH OF RAVE 2017

Boomkat:
Boomkat is the online manifestation of Manchester-based Pelicanneck Records (29/06/1998 – 28/04/2007) which was once affiliated with Baked Goods (now defunct). Boomkat operates as a digital retailer (Boomkat Digital Ltd – active since 2006), distributor (Boomkat Distribution Ltd – active since 2013) and online physical retailer (Boomkat Ltd – active since 2006). Boomkat also houses several labels.
Less
~sub
Boomkat Editions, Boomkat Selected Mixtapes, Modern Love, Ripatti, The Death Of Rave, Type Recordings:
Boomkat Limited
Second Floor, Swan Building
20 Swan Street
Manchester
M4 5JW
United Kingdom

amorphous – nothing but …ism –


8/27 (sun) 2017 17:00-21:00 2000yen(inc 1drink + CDR)
@ environment 0g (zero-gauge)
amorphous – nothing but …ism –
bricolage: AGI Yuzuru

https://nuthings.wordpress.com/2017/08/11/2017年08月27日(日)-amorphous-nothing-but-ism/

10月発行のジン「0g zero gauge」の編集も最終局面だが、今の先端音楽を編集するのは想像以上の時間がかかる。こんなことも初めてのことだが、まとめたものをなんども崩しては組み直し、再構築しなおすのに頭を悩ませていたからだ。でもやっと全体の構造が把握できたので、あとはまとめて終わり・・・やはりこの2、3年で最も重要な音楽といえば、ハード・ノイズの美しい美学とビートレスの雰囲気を融合させたDIFFERENCE CIECLES だろう。彼らのダンスフロアを破壊するようなトラックに衝撃を受けると古い音楽なんて聴いてられない・・今回編集したものを少し抜粋すると、
” Mumdanceの、「進化するにつれて進化する」可能性の高い音楽。
「私は物事を動かすことが重要だと思っています。なぜなら、新しい、進歩的な音楽を発見することは、常に私の人生の大きな部分を占めているという単純な理由です。同時に、私は過去へのつながりを見せて、想像力に火をつけて物事を動かした音楽の道や重要な触媒の軌跡を強調したい」・・・「 無重力 ( weightless ) のアイデアは、クラブの感性を生かしてクラブ・ミュージックを開こうとしているだけです。・・・このINA-GRMからインスピレーションを受けた “ 無重力 ” のacousmaticな経験は、アンビエント・ミュージックをブレークダウンとセグエ ( segue ) させDJツールとして使用することです」”

というわけで、8月7日、ぜひお越しください。
4時間ぶっ通しのDJは疲れるので、途中1時間はみなさんからの質問に答えるTalk timeをとる予定です。
質問ありましたらなんなりと・・・
映像は予測不可能な衝突、現実と人工との間の緊張と平衡、比喩と抽象、古いものと新しいものを脱構築しているロンドンで活動しているヴィジュアル・アーティストQuayolaの映像を使用します。

Optical Musics ‎– The First Words (Recordings 1984-1987)


press release
In the period from mid-1984 to mid-1987, Costis Drygianakis and his friends, gathered round the name Optical Musics, regularly produced recordings; the ones considered the most advanced formed the album Optical Musics Volume 1, published in 1987, while some others were recycled later in Costis Drygianakis’ solo albums, in the last years before the Millennium. Most of these recordings were works-in-progress rather than finalized pieces, open to a possible reworking; a possibility which, at that time, was confronted in a lukewarm manner, mainly due to the inadequacy of technical means. Most of the old recordings were just left aside. The list of contributors included, in alphabetical order, Takis Agrigiannis, Kostas Anestis, Yiannis Argyropoulos, Thanassis Chondros & Alexandra Katsiani, Christos Kaltis, Alexis Karavergos, Kostas Kostopoulos, Kostas Pandopoulos, Eleni Varouxi and Nikos Xirakis, some of which had already then an independent, distinctive presence in discography.
Costis Drygianakis started working on a compilation of such recordings in 1999, but through successive postponements the idea was practically abandoned, to be revived in the last years and to find its way to the audience in March 2017, thirty whole years after the realization of the recordings themselves and their first discographic appearance.
The new edition has the title Optical Musics: The First Words (Recordings 1984 – 1987), it is a collaborative publication by the labels Hxoi Kato Apo To Spiti, More Mars and Noise-below and consists of a 64-page book (Greek and English versions) and two CD’s. It includes 27 recordings of that era, practically unedited, along with pictures and notes by almost all the participants, aiming to form a testimony about the things that happened, in the way they did happen at those times, but also about the trace they leave on memory, after the passing of three decades.
Along with this publication, Costis Drygianakis attempts and the opposite approach to this material which was, this way or that, intended for further processing; in the piece The Stone which the Builders Rejected, published as a cassette tape by the label Noise-below, he reconstructs a number of “underestimated and mislaid” such old recordings, employing them as raw material, without any intention to stay faithful to the historic narration. Thus, he creates a new piece, where the old shapes are assembled together in a new architecture, taking advantage of the possibilities of the digital media.
More information can be found in the following sites:
http://noise-below.bandcamp.com/
http://www.moremars.org/
https://hxoikatoapotospiti.wordpress.com/

https://ja-jp.facebook.com/more.mars.58
https://inchesbelow.wordpress.com/2013/11/10/more-mars-team/


optical musics (Οπτική Μουσική) – Lemon Lies
moremars team
moremars team
2017/05/12
Optical musics – Lemon Lies (Costis Drygianakis, tape recorder, electronic organ, desk, string)
Οπτική Μουσική – Ψέματα από λεμόνι

March 23, 2017 9:03 pm Published by moremars team
Optical Musics is one of the most pioneer Greek avant-experimental projects, founded by Costis Drygianakis and a group of people, formed in Volos. They were early experiment with musical forms like free improvisation and electroacoustic experimentation etc, creating a highly personal musical idiom. From 1984 to mid-1987 the group started to make their most absurd home recording. The line-up of the group changed several times acted like an open collective, with the line-up of the group, focused more on experimentation with custom instruments, child instruments, synthesisers, bass etc. The most sophisticated recordings was used for the the disc “Optical Musics Volume 1” LP, released in 1987. Some other recordings of that period was used / recycled in personal works by Kostis Drygianaki like “Post-visual landscapes” (EDO, CD, 1999) and “Eantaisglossaistonanthroponlalokaitonangelon” (EDO, CD, 1999).
The “First Words: recordings 1984 – 1987”, that is presented here, is including 27 unpublished works of the group, maybe their more rough material, which were then a work-in-progress or “unfinished” tracks, covering a wide range of musical experimentation (free improvisation, minimalism, avant gard). With this publication, we are very happy to bring to light recordings of Optical Musics, a group that at that period did not get the publicity they deserved, but in the future their music influenced a younger generation of people in Greece that involved in the Greek experimental music scene.
Optical Musics’s “First Words: recordings 1984 – 1987” is out as a 2 X CD with a book (Greek + English version) of 64 pages, full with information and images of that period. The recordings include alphabetically the musicians: Takis Agrigiannis, Kostas Anestis, Giannis Argyropoulos, Eleni Barouksi, Costis Drygianakis, Christos Kaltis, Aleksis Karavergos, Kostas Kostopoulos, Nikos Ksirakis, Kostas Pantopoulos, Thanasis Chondros, Aleksandra Katsiani. This release is a collaboration of the labels moremars, Hxoi Kato Apo To Spiti and Noise Below.

Optical Musics is a pioneering Greek avant-experimental project, founded by Costis Drygianakis and a group of people, formed in Volos. They were early experimenting with musical forms like free improvisation and electroacoustic experimentation etc, creating a highly personal musical idiom. From 1984 to mid-1987 the group started to make their most absurd home recording. The line-up of the group changed several times acted like an open collective, with the line-up of the group, focused more on experimentation with custom instruments, child instruments, synthesisers, bass etc. The most sophisticated recordings was used for the the disc “Optical Musics Volume 1” LP, released in 1987. Some other recordings of that period was used / recycled in personal works by Kostis Drygianaki like “Post-visual landscapes” (EDO, CD, 1999) and “Eantaisglossaistonanthroponlalokaitonangelon” (EDO, CD, 1999).
The “First Words: recordings 1984 – 1987”, that is presented here, is including 27 unpublished works of the group, maybe their more rough material, which were then a work-in-progress or “unfinished” tracks, covering a wide range of musical experimentation (free improvisation, minimalism, avant gard). With this publication, we are very happy to bring to light recordings of Optical Musics, a group that at that period did not get the publicity they deserved, but in the future their music influenced a younger generation of people in Greece that involved in the Greek experimental music scene.
Optical Musics’s “First Words: recordings 1984 – 1987” is out as a 2x CD with a book (Greek + English version) of 64 pages, full with information and images of that period. The recordings include alphabetically the musicians: Takis Agrigiannis, Kostas Anestis, Giannis Argyropoulos, Eleni Barouksi, Costis Drygianakis, Christos Kaltis, Aleksis Karavergos, Kostas Kostopoulos, Nikos Ksirakis, Kostas Pantopoulos, Thanasis Chondros, Aleksandra Katsiani. This release is a collaboration of the labels moremars, Hxoi Kato Apo To Spiti and Noise Below.


Optical Musics ‎– The First Words (Recordings 1984-1987)
more mars team ‎– mm20, noise-below ‎– none, Hxoi Kato Apo To Spiti ‎– hxoi v-02
2 × CD, Album, Limited Edition, Numbered
Greece
Mar 2017
Electronic, Non-Music
Experimental, Sound Collage, Abstract, Free Improvisation
1-1 After The Water Brooks
Effects [Sound Effects], Recorded – Takis Agrigiannis
Percussion – Yiannis Argyropoulos
Piano, Toy [Toy Elephants] – Costis Drygianakis
1-2 Lemon Lies
Tape, Harmonium, Other [Desk], Strings [Χορδή] – Costis Drygianakis
1-3 Bas-reliefs
Guitar, Voice – Alexis Karavergos
Recorded By – Takis Agrigiannis
Tape, Guitar, Harmonium, Voice, Mixed – Costis Drygianakis
Voice – Elisa Koutsopoulou, Eleni Drygianaki, Petros Koutsopoulos
1-4 The Cherry Season
Drums, Other [Bed, Ground Connector] – Costis Drygianakis
Trumpet [Toy Trumpet] – Kostas Pandopoulos
1-5 In Mood Of Togetherness
Synthesizer – Nikos Xirakis, Kostas Kostopoulos
Voice, Synthesizer, Other [Ground Connector] – Costis Drygianakis
1-6 Instead Of Explanations, Light
Synthesizer, Saxophone [Toy Saxophone], Recorder, Harmonica – Nikos Xirakis
Trumpet [Toy Trumpet], Other [Table, Drawer, Bottles] – Costis Drygianakis
1-7 In The Forest Pit
Synthesizer, Drums, Trumpet [Toy Trumpet] – Costis Drygianakis
1-8 As Time
Glockenspiel, Other [Drawer] – Nikos Xirakis
Synthesizer, Drums, Recorder – Costis Drygianakis
1-9 Equinoxes
Percussion – Costis Drygianakis
Saxophone [Toy Saxophone], Other [Drawer], Recorder – Eleni Varouxi
Synthesizer – Kostas Anestis
1-10 Floating Landscape
Bass – Christos Kaltis
Guitar [Plastic Guitar], Other [Drawer] – Nikos Xirakis
Guitar, Percussion, Synthesizer – Costis Drygianakis
1-11 The Years Of Silence
Bass, Other [Matches] – Christos Kaltis
Synthesizer – Costis Drygianakis
1-12 Memory Painful
Bass – Kostas Pandopoulos
Synthesizer – Costis Drygianakis
2-1 Chaos Quantifications
Bass – Christos Kaltis
Recorder, Percussion – Nikos Xirakis
Synthesizer, Tape, Other [Ground Connection] – Costis Drygianakis
Whistle [Mantoura] – Kostas Pandopoulos
2-2 A Letter Never Sent
Bass – Christos Kaltis
Synthesizer, Tape, Other [Lid, Pruning Shears, Ground Connection] – Costis Drygianakis
2-3 The Unknown Battlefielder
Bass – Christos Kaltis
Synthesizer, Harmonium, Tape – Costis Drygianakis
2-4 Few Are The Suspects, And All Have Alibis
Bass – Christos Kaltis
Synthesizer, Harmonium, Tape – Costis Drygianakis
Voice – Thanassis Chondros
2-5 Vague Details
Bass – Christos Kaltis
Bass, Synthesizer – Costis Drygianakis
2-6 Meeting Points
Bass – Christos Kaltis
Guitar – Alexis Karavergos
Synthesizer, Tape – Costis Drygianakis
2-7 The Tropical Forest
Percussion – Costis Drygianakis
Recorder – Kostas Pandopoulos
2-8 The Red Circle
Synthesizer, Tape – Costis Drygianakis
2-9 The Third Day After The Ressurection
Bass – Christos Kaltis
Percussion – Kostas Anestis
Synthesizer, Tape – Costis Drygianakis
2-10 Wrecked In The Harbor
Bass, Guitar, Effects [Effects Pedals] – Christos Kaltis
Percussion – Yiannis Argyropoulos
Piano, Synthesizer, Tape – Costis Drygianakis
Recorded By – Takis Agrigiannis
2-11 Love, The Unconquered In Battle
Bass – Christos Kaltis
Recorder, Other [Balloon] – Kostas Pandopoulos
Synthesizer, Guitar, Other [Ashtray, Desk Lamp] – Costis Drygianakis
2-12 Farewell
Bass – Christos Kaltis
Guitar, Other [Teapot] – Kostas Pandopoulos
Saxophone – Kostas Anestis
Synthesizer, Recorder, Tape – Costis Drygianakis
2-13 Heart Of The Winter
Guitar – Alexis Karavergos
Synthesizer – Costis Drygianakis
2-14 The End Has A Sweet Fragrance
Synthesizer, Guitar [Plastic Guitar], Recorder, Other [Drawer] – Costis Drygianakis
2-15 Rain
Synthesizer, Sequencer, Other [Funnel] – Costis Drygianakis

Composed, Recorded, Mixed – Costis Drygianakis
Layout – Eirini Papadopoulou
Liner Notes – Alexandra Katsiani, Christos Kaltis, Costis Drygianakis, Eleni Varouxi, Kostas Anestis, Nikos Xirakis, Thanassis Chondros*, Alexis Karavergos*, Kostas Kostopoulos*, Kostas Pandopoulos, Takis Agrigiannis
Photography – Costis Drygianakis, Kostas Anestis, Thanassis Chondros, Alexis Karavergos, Kostas Pandopoulos, Maria Argyriadou
Translated – Becci Brandon
Manufactured – Μ. Πετράκης Α.Ε.Β.Ε.
Printed – Palmos Typography
Filmed at Φώτο Κάρμη
Filmed at Στούντιο Αγραφιώτης
Hand-numbered limited edition to 500 copies, contains 64-page book with credits, notes and photos.
• 300 copies in greek version
• 200 copies in english version (this)
MORE MARS TEAM 2017