lunes, 20 de mayo de 2024

Selección de música Creative Commons #37

Nota: aquí en el blog solo colgamos los listados de temas de estas selecciones, que pueden escucharse en la web de Onda Terral los lunes a las 17.00 horas (16.00 en Canarias) y los domingos a las 18.00 (17.00 hora canaria) las semanas en que no hay programa.   

lunes, 13 de mayo de 2024

Programa #827 - MiMi Records (I)

'Vanity beach' - Intangible 23 / Playground AI

En esta primera parte de un monográfico sobre el sello MiMi Records, escuchamos las propuestas de varios artistas de Portugal.

Sintonía: tdBt & The Garys - "Feel like…" (del álbum A la poursuite de René Fonck - Antiblues 020)

  1. likeicare - "april 28th" (del EP CTRL)
  2. Gobi Bear con J-K - "Canção do Engate", versión de António Variações (del álbum de Gobi Bear Dare)
  3. Prémio Mistério - "Vanity Beach" (del Prémio Mistério EP 2011)
  4. 9VoltDisaster - "Narcosis", con Buja (del álbum Film Space)
  5. Projecto Gentileza - "Blues Explosion" (del álbum Sencillo)
  6. illplaygirl - "One Million" (del illplaygirl EP)
  7. José Valente - "Esta Gravata não combina com a cor das Meias" (del álbum Circunstâncias)
  8. Lizzy's Husband - "Love Satellite" (bonus track del álbum Violent Stomach)
  9. Enleio - "On Track" (del EP The Shape of Things to Come)
  10. Rarareruri's Acquaintance - "Galileo" (del álbum Wet Pillow Syndrome)
  11. Vicente-Marjamaki - "Cluster" (del álbum Alternate Translations)
  12. The Idiot Society - "Snob Music" (del álbum Zorba the Buddha Part 1)
  13. Homem em Catarse - "Novo Começo", con Gobi Bear (del álbum Homem em Catarse)

domingo, 5 de mayo de 2024

Selección de música Creative Commons #36

Nota: aquí en el blog solo colgamos los listados de temas de estas selecciones, que pueden escucharse en la web de Onda Terral los lunes a las 17.00 horas (16.00 en Canarias) y los domingos a las 18.00 (17.00 hora canaria) las semanas en que no hay programa.   

lunes, 29 de abril de 2024

Programa #826 - Sascha Müller

'Embrace of techno' - Intangible 23 / Playground AI


Disponible en el Internet Archive y en iVoox

Programa dedicado al DJ y productor alemán Sascha Müller, destacada figura de la electrónica bailable bajo licencias libres. También pusimos un par de temas publicados por otros artistas en la netlabel Pharmacom, que Müller dirigió entre 2004 y 2012.

Sintonía: tdBt & The Garys - "Feel like…" (del álbum A la poursuite de René Fonck - Antiblues 020)

  1. Akemi Tanaka - "We Came In Peace, Part 1" (del EP We Came In Peace - Eyes Wide Open)
  2. 4ZZZ1 - "Armadillo" (del Armadillo EP - Psychocandies)
  3. Frank Dorittke - "Alone In The Dark" (del álbum Mare Tranquillitatis - Pharmacom)
  4. N-Qia - "Rome" (del Haze EP - Pharmacom)
  5. Sascha Müller - "Spocks Brain" (del Earth On Acid EP - Säurebad)
  6. Ausgang II - "Taklamakan" (del EP New Rendering - Eyes Wide Open)
  7. Sascha Müller - "Delicious, Midsummer Mix" (del EP Delicious - La Bomba)
  8. Sascha Müller - "Song For Robertra" (del Song For Robertra EP - Psychocandies)

lunes, 22 de abril de 2024

Selección de música Creative Commons #35

Nota: aquí en el blog solo colgamos los listados de temas de estas selecciones, que pueden escucharse en la web de Onda Terral los lunes a las 17.00 horas (16.00 en Canarias) y los domingos a las 18.00 (17.00 hora canaria) las semanas en que no hay programa.  

lunes, 15 de abril de 2024

Programa #825 - Justin Wierbonski & Anthill Recordings

'Demonic sweater' - Intangible 23 / Playground AI


Disponible en el Internet Archive, en iVoox y en Spotify

Esta vez seleccionamos música del sello Anthill Recordings, dirigido por el batería estadounidense Justin Wierbonski.

Sintonía: tdBt & The Garys - "Feel like…" (del álbum A la poursuite de René Fonck - Antiblues 020)

  1. Ronan Conroy - "Do You Have What It Takes?" (del recopilatorio Anthill Recordings Vol. 2)
  2. hums - "hello" (del single hello / differ)
  3. Demonic Sweaters - "No Pixels" (del álbum Earth Asylum)
  4. The Children of Mu - "Innumerable Waters" (del álbum Sessions 2011)
  5. Justin Robert - "A Vida Está", con Krystle Quinn (del álbum Coruja)
  6. Demonic Sweaters - "Sandstones Of Lemuria" (del álbum Atlantis Falls)
  7. Demonic Sweaters - "Rot" (del álbum Is that you?)
  8. Demonic Sweaters - "Sunset Park" (del álbum Turn Of The Scroct)
  9. Demonic Sweaters - "Tiny Helicopter" (del álbum The Two Thousand Eighties)
  10. Mach-Man Mini - "Psymoon" (del álbum Lead Your Double Life To Its Fullest)
  11. Manasota - "Canopy Road" (del álbum Manasota)

lunes, 8 de abril de 2024

Selección de música Creative Commons #34

Nota: aquí en el blog solo colgamos los listados de temas de estas selecciones, que pueden escucharse en la web de Onda Terral los lunes a las 17.00 horas (16.00 en Canarias) y los domingos a las 18.00 (17.00 hora canaria) las semanas en que no hay programa. 

lunes, 1 de abril de 2024

Programa #824 - Lezet

'Espiral' - Intangible 23 / Playground AI

Disponible en el Internet Archive, en iVoox y en Spotify

Te proponemos en esta ocasión un recorrido por la discografía del compositor serbio Igor Jovanovic, alias Lezet.

Sintonía: tdBt & The Garys - "Feel like…" (del álbum A la poursuite de René Fonck - Antiblues 020)

  1. Focal Point - "Zadnja" (del álbum Focal Point - Murmure Intemporel)
  2. Lezet - "The Mirror Shrank" (del EP Intimate - Etched Traumas)
  3. Lezet - "Houses" (del álbum 3 - Murmure Intemporel)
  4. Lezet - "Taking Off" (del EP Curds 8 - Mindblasting)
  5. Lezet - "Guilded Potatoes" (del álbum Utterings - Etched Traumas)
  6. Lezet - "an iffy lull" (del álbum Two - Faux Fetus)
  7. Lezet - "Spiral" (del álbum Spiral - Very Small)
  8. Imperial Needles - "Murmaid Momhe" (del EP Imperial Needles - Murmure Intemporel)
  9. Pluto's Head - "Alongside collect arguably" (del álbum Title Sometimes Featured - Murmure Intemporel)
  10. Sweat Of Limbs / Hans Castrup / Lezet - "Drive" (del álbum Glyptic Procession Scenes - Three Way Dance)
  11. Protecious y Lezet - "Prepared, remix" (del álbum de Lezet Accumulation - Buddhist on Fire)
  12. Lezet - "Lenses" (del álbum 3 - Murmure Intemporel)
  13. Lezet - "Candles" (del álbum Curds 3 - Murmure Intemporel)
  14. Lezet - "Clocks" (del álbum 3 - Murmure Intemporel)
  15. Lezet - "Fuelling" (del disco compartido Lezet / Protomechanoid - Mindblasting)
  16. Lezet - "A Prophet, My Friend" (del álbum 3 - Murmure Intemporel)
  17. Lezet - "No Development, Mrs' Mix" (del álbum RoMoXoZ / New Age - Argali)
  18. Lezet - "Do Good, Do Well" (del álbum 3 - Murmure Intemporel)
  19. Lezet - "Winter Cleansing" (del recopilatorio Landing at Year's Ending - Ensemble for Sound Poetry and Contemporary Music)
  20. Lezet - "Balkanise Us" (del álbum 3 - Murmure Intemporel)
  21. Lezet - "Spit In The Drain" (del álbum 3 - Murmure Intemporel)

[Programas relacionados: Mindblasting Netlabel | Thomas Park & Treetrunk | Jared C. Balogh]

lunes, 25 de marzo de 2024

Selección de música Creative Commons #33

Nota: aquí en el blog solo colgamos los listados de temas de estas selecciones, que pueden escucharse en la web de Onda Terral los lunes a las 17.00 horas (16.00 en Canarias) y los domingos a las 18.00 (17.00 hora canaria) las semanas en que no hay programa.

miércoles, 20 de marzo de 2024

Interview with Jazzaria / Entrevista a Jazzaria

Here is our interview by email with Jazzaria, whose music was featured this week on Intangible 23.

[Esta es la versión original en inglés de nuestra entrevista a Jazzaria por correo electrónico]

What can you tell us about your musical background and work methods?

My original musical background is classical (piano and clarinet) and jazz (sax, clarinet, etc.), hence the name Jazzaria. The vast majority of my tracks rely heavily on samples and synthesizers, i.e. a lot of my music is "in the box" (made in a Digital Audio Workstation or DAW with virtual instruments and plugins). I do play a number of instruments: piano, clarinet, saxophone, flute, and other aerophones (e.g. ocarina, recorder, penny whistle, etc.). So, some of my tracks (mostly clarinet, some sax) are true acoustic recordings of me playing (accompaniment, if any, is virtual). Virtual instruments I either play (like the piano) or enter into the DAW.


How did you come up with the idea of publishing one track every week? How do you manage to keep up with that schedule after nearly ten years?

I'd been experimenting with music production for several years before I started this project; the result was dozens of incomplete projects littering my hard drive. None of them were ever quite "right", and it was always easier to tinker with something new and not go back and finalize anything.

I realized I'd only ever release music if I made it a habit by putting myself on a schedule (and publicly committing to it). This lets me short-circuit the perfectionism: releasing *something* is paramount, and so if it's a tight week and I spend less time polishing, so be it.

As for how I've kept up: I maintain a backlog of track concepts, usually in the form of a tentative title and some notes on the idea (instrumentation, style, structure, motifs, etc.). In a good week, inspiration strikes and I end up making something completely new (sometimes based on a prompt from something like the Disquiet Junto). But if that doesn't happen, I select something from my backlog. If time is particularly tight, my track is likely to be more improvisational and with fewer instruments (or more dependent on scripted/looped instruments).

How do you approach the dichotomy between improvisation and composition? Do you consider yourself more of an improviser or a composer?

They are closely related for me, but I definitely lean towards improvisation in most of my production. Improvisation comes naturally to me; I've always "noodled" on instruments, figuring out songs by ear. But I have also studied music theory, and incorporate ideas from it in my work.

I view improvisation as a form of exploration: in the ideal, you hit a state of "flow" and aren't consciously worried about technique but instead focused on expression. Composition is of course expression as well, but it is more premeditated and structured, often with iterative improvements. Still, the seeds of a good composition (e.g. thematic material, grooves) arguably come from moments of improvisation.



The clarinet could be considered your main instrument, since you've done many solos and experiments with it. What are your thoughts about that instrument?

It is absolutely my main instrument: it is my voice, and I can say things with it that I can't express in any other way. My relationship with the clarinet is well-described by a quote from Kalmen Opperman (from his obituary in the New York Times): "Everyone discovers their own way of destroying themselves, and some people choose the clarinet".

Beyond my personal connection to it, I see clarinet as a flexible, diverse, and often under-appreciated instrument. It has a wide range and is capable of extreme dynamic and timbre contrast; with extended techniques, it can produce a great variety of sounds. It is an integral part of many genres, at home in jazz, classical, and beyond. Learn it, and picking up other woodwind instruments (including the now-more-popular saxophone) is quite approachable.

But the popular conception of clarinet, if any, is that it is the "band geek" instrument, and one that is hard to get enough students to play (a wind ensemble needs clarinets much like an orchestra needs violins). I hope that in some small way, my use of the clarinet can inspire more to give the instrument a try.

Many of your tracks show a sense of humor, and also a fondness for wordplay in the titles. Any thoughts about that? Or, as Frank Zappa said, does humor belong in music?

Music is life, humor is part of life, so humor absolutely belongs in music. It can be a way to make it more approachable, or a way to incorporate a message. Consider Mozart's "A Musical Joke" and Shostakovich's 9th Symphony.

I wouldn't claim my humor is so far-reaching as those examples. Much of the time it is a bit I add because I find it amusing, and hope others find it enjoyable as well. But I think humor is an important part of keeping art fresh, alive, and engaging.

Portada del single de Jazzaria 'Making Up Your Mind'

A Jazzaria track is not only the music, but also the title, the cover, the text... how do you create those elements? Do they always come once the music is created?

When I started this project I learned that releasing often required (or at least encouraged) a cover image and description. So I decided to find (or occasionally make) appropriate images, tweak/touch them up, and use that for my covers. I always choose images that are either public domain, or from a service that I have paid for the rights to use. Often my changes to the image are fairly minimal, but sometimes I spend awhile cropping, transforming, combining elements, shifting colors, and so forth. The track name on the cover is generally from the GIMP (GNU Image Manipulation Program) "script-fu" presets.

Occasionally I find an image that I want to make a track for (i.e. sometimes it is image first), but usually the order is:

  • Track concept (e.g. "I want to make a fast blues song about hot weather in 5/4 time signature with clarinet + jazz trio")
  • Track audio (record, mix, etc.)
  • Final track title (I usually have a tentative one from the concept, but might change it based on how the track comes out)
  • Cover image
  • Text description

The text was originally meant to describe the track style and instrumentation. But as the project developed, I realized I enjoyed having a place where I could write snippets of thoughts, sometimes even poems. This lets me explore the track concept in a second way, with a goal of tying the ideas together with the music. It's also often where the wordplay and humor is more developed.

How has been the experience of publishing music under Creative Commons licenses? Are you happy with the reception of your music on the internet?


When I started the project I originally intended a CC BY-NC-SA license, but found that BY-NC-ND was more compatible with distribution services (to e.g. automatically upload to YouTube: not my favorite platform, but there is value in having your music available where people listen). I do grant exceptions to the ND clause for people who reach out and ask, for a recent example:


I take a pragmatic approach to the release of my music. I have a preference for and engage the most with the Creative Commons and Fediverse side of things, but my music is also distributed to commercial outlets such as the aforementioned YouTube. In that universe I also get listens, but thousands of listens times fractions of a penny isn't much. I definitely see more from the "pay what you want" Bandcamp. Amusingly, in the commercial ecosystem my most-listened track has become "Salad Days", a humorously surreal jazz swing track meant as a Shakespeare reference, but I believe being selected by people as background music for videos of their lunch.



Overall I'm happy with how it's gone. I particularly appreciate the engagement I've gotten on the Fediverse (aka Mastodon: I'm @Jazzaria@mastodon.art). I also enjoy seeing the international uptake: this show itself is a good example, and there's a number of European countries where I seem to do well.

Remarkably, I have over 1.2 million listens on Jamendo (a European CC-centric music service). Of course, more listeners are always welcome, but in the end I'm doing this project because it's something I want to make.    

[Escucha aquí nuestro monográfico sobre Jazzaria]