Els treballs que podeu descarregar en aquest bloc estan sota Llicència Creative Commons o els seus autors els han ofert com a descàrrega lliure; per tant no es comet cap il·legalitat al copiar, distribuir o comunicar públicament l'obra, segons les condicions marcades per l'artista, ja sigui en cada una de les llicències que acompanyen al disc o en la pròpia web.

divendres, 20 de desembre de 2013


Anus Kings is:
Sydney Ward: Guitar/Vocals
Brian Rodriguez: Bass/Guitar/Vocals

Recorded Live @ The FIDLAR house 2/11/2011 by FIDLAR.
Mixed by Elvis Kuehn.
Cover Art by Andrew Fairweather
All Songs by Anus Kings except:
Track 10 by Phil Ochs
Track 17 by The Dead Milkmen.

Bass & Vocals on 7. Vocals on 10 & 17. Guitar & Vocals on 15. Guitar on 16.
Guitar/Vocals on All Tracks. Sydney plays Guitar and doesn’t sing on Track 10.

dimarts, 17 de desembre de 2013


Engineered by Paco Cathcart on a four-track TASCAM.

Palberta son: lily, ani i nina

Llicència Creative Commons
Palberta facebook

divendres, 13 de desembre de 2013


Danny-Guitar, Vocals
Ann-Bass, Vocals

Brannigans Law facebook

dijous, 12 de desembre de 2013


Gravat a l’exili dels amants (Alpicat) durant el mes d’abril de 2013. Masteritzat a El Zulo (Almacelles). Txabi Àbrego toca la guitarra a “Preparatius inútils” i “L’excés brutal”. Ramon Godes toca la guitarra elèctrica i Meritxell Gené canta a “Com havíem somiat”. La portada és una obra d’ Ignasi Puente. Assessorament lingüístic: Joan-Josep Miracle.

Contacte: jordigasion@gmail.com

Produït per: Jordi Gasion

dimecres, 11 de desembre de 2013


Descarrega / Download

"Kukkia" (Florir) és el nou EP de Violeta Päivänkakkara, tercer a La Gramola Netlabel.

En ell, Violeta torna a cantar a la natura, l'univers i a les petites grans coses. Ho fa, com sempre, acompanyada per instruments acústics que li donen aquest caire eteri i bucòlic que ens té encisats.

Els cinc temes del disc tornen a ser un viatge al món particular d'una artista que ja té fans des de Japó fins a Estats Units.

Llicència Creative Commons
La Gramola Netlabel


"Salsa de cuervo” es ese disco que, en un más difícil todavía, pondrá de acuerdo a bakalas, punks, gafapastas y nuevos románticos. Inamovibles en cuanto a sus presupuestos estéticos -EBM, el punk electrónico de Suicide, la vocación arty y exploradora de Cabaret Voltaire- “Salsa de cuervo” desarrolla sus ideas en una colección de nueve temas siempre a punto de explotar, tocados por la extraña capacidad de Ernesto Avelino para pintar imágenes tan sugerentes como aparentemente incoherentes y que, por vez primera en su trayectoria, no sólo apelan al músculo sino también al corazón: no en vano “Agua helada” es una de las canciones más hermosas que nos dejará este 2013." [Mondosonoro]

Discos Humeantes website

dimarts, 10 de desembre de 2013


recorded 2011

released by Night People (http://raccoo-oo-oon.org/np/) 2012

sarah smith / zach phillips

king tuff : guitar on "results"

chris weisman : guitar on "mercantile rugs" and "the fake" , bass on "jason's list"

graham brooks : guitar on "with or without you"

Llicència Creative Commons

dilluns, 9 de desembre de 2013


John Casey Connolly - vocals, synth
Gawby Moon - vocals, guitar
Josh Dean - electronics

Produced by Josh Solomon

Cover photograph by Richard G. Auxilio

All songs written by Ghost Noise

Ghost Noise facebook

divendres, 12 de juliol de 2013


"Seven chill communications from Role Mach janglist Gal Gracen make up Blue Hearts in Exile. Alternating between instrumentals and songs – electrified guitar exotica and wavering, soulful proclamations of love – this cassette creates the perfect atmosphere for a romantic night-time beach picnic or basement couch makeout party. “Love Fantasy, My Beautiful Girl” chugs along with an earworming bassline, while “Sylvan Tragedy” glistens with sleazy, falsetto melancholia. These are soft ‘n sexy jams for summer ’13’s Casanovan conquests." (Bryce Warnes - electrified exotica)

Gal Gracen facebook

divendres, 19 d’abril de 2013


Descarrega / Download

When I entered a Masters in Fine Arts in 2010 I was expecting to solve a series of questions that I had towards the action of recording. I felt that the ephemeral and unrepeatable experience of a certain moment couldn't be fully dealt with by simply using microphones, a recorder and loudspeakers.
During the process of my Masters I developed an interest in the convergence of our architectural, sculptural and sonic perceptions of the world: three aspects that are strongly connected in the construction of the resonance and sense of environment that we can establish with a certain moment.
Three years later I was immersed working on 'Deriva y catastrofe' my final Thesis project where sound composition, sculpture and architecture worked together towards the idea of the catastrophe and its three stances: the anticipation, the strike and the aftermath. A sort of performative space containing quotidian objects that when moved produced a series of sonorities and musical structures.
The idea of the project was exploring how the catastrophic events confront us with ourselves through the mixture of the pleasure we find in the formal display of the destructive forces and the compassion we feel towards the object of destruction and its resistance to its imminent disappearance.
'Deriva y catastrofe' required infinite hours of construction work, research, practice, errors, budget overflow, aspects that lead to moments of disappointment and to a constant sense of crisis that lead the project to a temporarily cancellation a few days before its exhibition: the process behind the work became a personal intimate catastrophe that pushed me to the brink of losing my emotional grip: 'Deriva y catastrofe' confronted me with myself like no other project ever did and it will leave a strong mark in me for the rest of my days.
The process behind this project reminds me of the production of the films 'Apocalypse now' and 'Fitzcarraldo' where directors Francis Ford Coppola and Werner Herzog were driven to the edges of their sanity during the production as reflected on the documentaries 'Hears of darkness' and 'Burden of dreams'. In this regard I would like to quote Eleanor Coppola -wife of Francis Ford Coppola and one of the directors of 'Hearts of darkness'-
'The film Francis is making is a metaphor for a journey into self. He has made that journey and is still making it. It's scary to watch someone you love go into the center of himself and confront his fears, fear of failure, fear of death, fear of going insane. You have to fail a little, die a little, go insane a little, to come out the other side.'
Deriva y catastrofe' materialized to perfection, its exhibition draw very positive comments and interesting feedback from the Thesis jurors John Castles -sculptor- and Federico Demmer -sound composer-, and from some members of the audience as well.
The title 'Unseen terror' was given on the earlier stages of the 'Deriva y catastrofe' project and served as some sort of anticipation of the crisis that I will go through while materializing the project.
'Unseen terror' was composed using sounds captured during the research and production process of 'Deriva y catastrofe' between August of 2012 and February of 2013.
I would like to thank Lina -my wife- for all the patience and support during this process, Jorge Rincon -the logistic director of the project- for its incredible work and emotional involvement, Trixi Allina -my Thesis Director- for her guidance, Andres Cortes, Sebastian Palau and Andres Nanez for the documentation, Marta -my mother- for her support and interest in the project, Rojo Galería for the exhibition bracket, the crew (Javier, José, John and Diego) and would also like to thank Yiorgis Sakellariou for his interest in this project and for providing his great publishing project Echomusic to release it. Extended thanks to Camilo Rojas, Felipe Rodriguez, Juan Jose Calarco, Chris Whitehead and Darius Ciuta. - David Velez

Photo credits: Lina Velandia