New and Experimental Music,
Art & Technolgy
Harmonious Highlights: Top Albums of 2024 – Q2
Welcome to Soundologia’s selection of the twelve most mesmerizing albums released on Bandcamp between April and June 2024. This diverse list encompasses a diverse array of genres and sub-genres, ranging from electroacoustic works, chamber music, abstract electronics, algorithmic composition, tape music, drone, glitch, field recordings, ambient landscapes, improvisation, spiritual journeys, and post-industrial explorations. Each album embarks on its own unique sonic odyssey, pushing the boundaries of musical experimentation.
We recommend immersing yourself in these auditory masterpieces with high-quality headphones. Prepare to be transported to new realms of sonic wonder.
And don’t forget to discover the hidden musical treasures that will spark your imagination – find the link at the end of this page.
1. David Rosenboom – Future Travel (Black Truffle, Australia)
“Future Travel” is a musical journey into the future that happened 33 years ago, when David Rosenboom made it in 1981 and which chose to anchor in the year 2024. The reissue on the Black Truffle label features a double-LP vinyl with remastered tracks from the original album, as well as never-before-released songs and a comprehensive booklet filled with new texts and captivating images.
“Future Travel” represents the convergence of two significant aspects of Rosenboom’s artistic exploration during that period. Firstly, it showcases his groundbreaking work in “propositional music,” which involves creating complete cognitive models of music by questioning the very essence of what music is. The album is an extension of Rosenboom’s larger project, “In the Beginning” (1978-1981), where proportional relationships dictate every musical parameter, from harmony and melody to rhythm and dynamics. Secondly, “Future Travel” documents Rosenboom’s collaboration with synthesizer pioneer Don Buchla. Having contributed to the development of modules for the Buchla 300 Series Electric Music Box, an innovative analog modular system controlled by microprocessors, Rosenboom went on to write software for Buchla’s hybrid analog-digital keyboard synthesizer, the Touché. This instrument plays a prominent role in the album, allowing Rosenboom to manipulate the In the Beginning algorithms in real-time and creating a symbiotic relationship between performer and synthesizer.
Rosenboom combined electronic sounds with acoustic instruments and occasionally incorporated the processed voice of Jacqueline Humbert. Similar to their collaboration on Daytime Viewing, where abstracted synth-chanson challenged the boundaries of musical genres, “Future Travel” defies categorization. It effortlessly blends radical formalization reminiscent of Xenakis with expressive jazz harmonies and nostalgic folk melodies, creating a truly unique sonic universe. One of tracks, “Nova Wind,” showcases Rosenboom’s virtuosity on the piano. From hyperactive pointillistic flurries to a space-age gospel vibe, his performance defies stylistic conventions and pushes the boundaries of musical expression.
2. James Díaz & Julia Jung Un Suh – [speaking in a foreign language], (New Focus Recordings, New York)
Vocalize for violin and electronics or “[speaking in a foreign language]” is a captivating collection of 10 studies by James Díaz that explore the intricate interplay between the violin and electronic elements, delving into the vast array of timbral possibilities they create. Julia Jung Un Suh brought the violin material to life, which was then meticulously layered, multiplied, and transformed using a diverse range of effects such as reverb, delay, phaser, and synthesis techniques. The result is an expansive palette of sounds that transports us from clusters of sinewaves to ethereal organ, accordion, and harpsichord tones, from the dark and industrial drone sounds to the haunting presence of the human voice and even resonant bells.
The second track “they became his angels” introduces a myriad of brief violin fragments that revolve around a single stable pitch. Electronic sounds add a fresh dimension to the ending of each phrase. Tracks, like “they became his angels” and “Fire walk with me,” employ flageolets and artificial and double harmonics. These techniques introduce microtonal intervals, resulting in delightful harmonies and captivating dissonant ‘fractions.’ In “INSIDE THE BOX,” dynamic oscillations of each tone create rhythmic patterns that culminate in resounding ‘cadences.’ This experimental approach involves altering the microphone position or adjusting the channel slider during recording or post-production.
“[Speaking in a foreign language]” explores the violin’s resonance body, blending it with reverb tails from small rooms to grand concert halls. The ring modulation adds an intriguing twist, using the violin’s sound as the carrier and electronic tones as the modulator. “Noche digital” pushes the boundaries of digitally sharpened frequencies, which some may find too piercing for sensitive ears.
3. Inés Terra – regougar (scatterArchive, Glasgow, UK)
Have you ever experimented with creating small sculptures using plasticine, sand, or water? Or perhaps you’ve tried shaping figures out of dough? Have you playfully imitated the sound of bubbling or gurgling with your mouth? If so, then you might want to engage in the art of sculpting sound with your voice – and that’s precisely the creative process behind Inés Terra’s album, “Regougar,” published on scatterArchive. Terra skillfully mimics the sounds of water, animals (birds, frogs, foxes), and industrial objects and cars. She also dissects phrases, words, syllables, and morae/moras to create a unique auditory experience. The album blends various stylistic elements and genres, evoking echoes of folk and world music through enchanting melodies and vocals. The technique involves dubbing and recording new tracks on top of the voice-sculpting foundation, as well as skillfully combining different loops and chops.
This album serves as a fascinating exploration of Phonology studies, showcasing the intriguing outcomes of speech sounds’ organization, articulatory features, and acoustic properties. In some tracks, such as “Terra” and “Grude,” the voice is skillfully sculpted through a mesmerizing interplay of voices. One voice establishes a rhythmic layer or creates effects, while another takes on the soloist role, delivering melodic fragments with a short chanting style. Meanwhile, additional voices contribute to the composition by providing a counterpoint.
“Fio” and “Pulso” utilize the voice and body as instruments, allowing for a diverse range of sound articulations. Through the manipulation of lip firmness, air speed and direction, breathing, teeth openness, tongue position, and more, these compositions imitate wind instruments and produce percussive sounds. On the other hand, “Peles” showcases remnants of early heterophony and polyphony development. Multiple voices layer together, creating a rich texture, while an occasional supporting bass line adds depth akin to a quasi-bourdon.
4. Matchess – Fundamental 256 Hz (Matchess, Chicago, Illinois)
Matchess, also known as Whitney Johnson, is a Chicago-based composer, experimentalist, improviser, and writer. In her solo work, she explores sound reproduction using historical techniques like reel-to-reel tape looping, cassette tape sampling, and field recording. With a limited instrument selection of a 1960s Ace Tone organ, viola, analog drum machine, and voice, Johnson creates transient songs layered over continuous ambient noise. She also obtained her doctorate in the sociology of sound from the University of Chicago, focusing on the cultural significance of embodied sensory perception in sound art.
“Fundamental 256 Hz” is a sound experiment based on neuroscience and psychoacoustic research. It explores the effects of binaural beat stimulation on brain activity. A binaural beat is a phenomenon that occurs when two tones of different frequencies are presented separately to each ear, creating the perception of a third tone oscillating at a different frequency. Research shows that binaural beats can be perceived in the 1-30 Hz frequency range, which aligns with human EEG (electroencephalograph) frequency bands. The Science of Brainwaves shows that the raw EEG has usually been described in terms of frequency bands: Gamma (greater than 30Hz), BETA (13-30Hz), ALPHA (8-12 Hz), THETA (4-8 Hz), and DELTA (less than 4 Hz). When, for example, a tone with a frequency of 300 Hz is presented to the right ear and a second tone with a frequency of 320 Hz is given to the left ear simultaneously, a binaural beat of 20 Hz will occur. To learn more about the effects of binaural beat stimulation on brain oscillatory activity, read this article.
The album has two tracks: side A – “Fundamental 256 Hz,” previously released on Longform Editions and a remix of the first track on side B with slight changes to the harmonic series. Both tracks are 37 minutes long. “Fundamental 256 Hz” takes the listener through four stages of simulated brain activity, creating descending binaural beats. The first movement features a sine wave oscillator, tuning forks, and voice to create Beta waves, representing conscious, alert brain activity. The following section introduces a viola in just intonation to create Alpha waves, representing a relaxed waking brain state. The second half begins with an Arp Odyssey synthesizer to create Theta waves, representing deep relaxation or the state just before sleep. The final movement reintroduces dissonant voices to induce Delta energy, representing dreamless sleep. The activation of LFO creates slow vibrations and rhythmic pulses that have a special effect on the brain and body. Johnson found it difficult to finish the final movement, often falling asleep at the mixing board during the transition to the Delta phase.
This approach is rooted in the concept of Deep listening, which involves opening and narrowing our senses to fully absorb the sounds around us. By doing so, we can delve beneath the surface of our consciousness and break down any limiting boundaries. To explore Deep Listening further, read the article “Deep Sound Hunting – When Sounds Build Music.”
5. The Howling – The Skydivers (The Tapeworm, London, UK)
The Howling is a collaboration between Ken Hollings, a broadcaster and writer, and Howlround, a sound artist. They focus on audio and audio-visual works, specifically audiotape and Trash Aesthetics. The live narration is processed and manipulated in real-time using reel-to-reel tape machines. The goal of these two tracks is to re-create a narrative and interpretation of two past works: the 1961 American crime film “The Skydivers” and “The Picture of Dorian Gray.”
Track A includes a video with movie images that follow the narrative. The sound of the engine gradually approaches, creating tension in the air through the inflection of speech and reading of the text. The first climax occurs at 7:00 when the engine sound briefly stops, and the text reads, “People are hollow floating between border and violence.” Then, the loop intensifies, signaling the drama. The second climax happens after Harry’s death – “Harry plummets to his death.” This theatrical silence holds immense dramatic potential, similar to a theater performance or a “moody soap opera where people either fall in love or jump out of planes.”
Step into Dorian Gray’s world and hear how Hollings sees that world in “A Picture Of The Picture Of Dorian Gray” (side B). This recording at The Horse Hospital pays homage to a 1970s Italian movie adaptation of Oscar Wilde’s masterpiece, capturing the era’s fashion and sexual liberation. The Howling reconstructs Wilde’s narrative, presenting a collage of plot points, themes, and movie scenes.
Can fake blood spread contagion or provoke madness? No. The picture of Dorian Gray does not exist for us, and we only see its versions in images and words. Only Dorian Gray can see the picture of Dorian Gray. However, cinema and movies from the 70s make us believe what we see, showing us pictures of “what we fear the most.” Fake blood, breasts, sex, fake news, words, and drag queens… “One of one found it relevant!”
6. Rafael González and Hal McGee – Rastro Sonido (Gainesville, Florida)
Rastro Sonido is a project that demonstrates how experimental music can be a fun and creative endeavor that people can engage in at home or while traveling. All you need is one tool: a field recorder. In this project, two artists, Rafael González and Hal McGee, used a Sony ICD PX-470 stereo digital voice recorder to create a collection of 472 recordings while traveling through Tenerife (Canary Islands, Spain) and at their home in Gainesville, Florida (USA). They mixed the sounds using a random chance process, playing them back in random/shuffle mode without any post-production work.
González and McGee used various sound sources, including trumpet, voice, metallophone, shortwave, acoustic guitar, turntable, Casio PT-1, Alesis Microverb 4, laptop, Korg Volca Modular, Yamaha Reface YC mini-organ, Yamaha Reface CS mini-synth, dumpster floor tom, circuit bent Casio SK-1, two-string pink dumpster guitar, transparent plastic ukulele, and environmental sounds like dog barking and dental clinic appointments. These sounds were mixed to create a richly layered, immersive audio collage.
Despite occasional clippings during recording (like the gunshot sound at 19:07), this 60-minute collage encompasses a broad range of music references, including modern and traditional genres, instruments, famous songs, improvisational style, brass music, noise and tape music, free jazz, electronic and church organ music, Latin salsa, synth-pop, computer sounds, and elements from old video games. The collage also incorporates whimsy and humor, with theatrical and ironic references such as the out-of-tune singing of the American national anthem and the inclusion of a Reggaeton segment.
Rastro Sonido invites us to explore new sound territories, breaking free from conventional music-making. Embrace limitless possibilities with your field recorder and embark on a sonic adventure – who knows what extraordinary compositions await?
7. AMSIA – Estrategias para el baile (Discordian Records, Barcelona, Spain)
Renowned sound artist AMSIA presents “Estrategias para el baile” (“Strategies for Dancing”), his latest release on Discordian Records. AMSIA skillfully merges turntablism and modular synthesis, creating a captivating MIDI fusion of original and generic sounds from samplers and sound modules of the 80s and 90s.
With the freedom to manipulate pitch, time, harmonic scepter, amplitudes, and formant, AMSIA’s improvisations yield strange and unsuspected sound properties. His ability to exploit old sound libraries and samples results in extreme saturation of MIDI data. His collection of vintage instruments includes renowned brands like Clavia, E-mu Systems, Eurorack, AKAI, Roland, Alesis, Kawai, and more. Through his innovative techniques, AMSIA pushes the boundaries of sound creation, showcasing the limitless potential of old music technology.
This album demonstrates the exclusive artistry of live electronic music production, where the sound design unfolds in real-time. The dynamic range and nuances during the performance impact the music’s dramatization and overall structure. A notable example of this can be found in the mesmerizing track “Inork ezaitu horrela ikushi nahi,” where electric tones seamlessly transition with brief samples from acoustic instruments such as the cello, flute, and guitar. The final part of the piece features a captivating segment created using an array of synthesizers.
8. Andy Moor, Marta Warelis – Escape (Relative Pitch Records, New York)
Marta Warelis and Andy Moor’s “Escape” mesmerizes with its captivating live concert recording, showcasing their improvisation skills at Zaal 100 in Amsterdam. The prepared piano takes on a new identity, morphing into a percussive instrument that sets the rhythm and the strings that create rapid passages, arpeggios, and ostinatos.
The journey begins with “Thaw Bush,” an intro composition swiftly transforming into a ‘technical exercise’ for piano and guitar, with fast-paced, minimalistic patterns. “Highway Trajectory” pulses with rhythmic energy as the piano strings are scraped to produce a shrill vibrating sound. These tones soar like the highest flageolets on a violin, engaging in a spirited dialogue between two instruments. As the track progresses, this exchange becomes increasingly weary and fatigued, ultimately reaching its exhausted conclusion.
After beginning with the engine’s ignition sound, “Maintenance Cabbage” takes us on a thrilling sprint up and down the register on both instruments. “Imbue” gradually builds up energy until it reaches its peak with the sustained pedal. In “Incunabula,” Warelis treats the piano as a bowing string instrument, experimenting with harmonics (combining natural, artificial, and double harmonics) to create a rich tapestry of overtones. The guitar adds additional tones and chords through subtle pitch detuning.
Even though the technical execution of the playing passages may not be flawless, the album’s true triumph lies in its successful exploration of timbre.
9. gintas k – Electroacoustic Space Drumming (Anticipating Nowhere Records, Lithuania)
Gintas K, a renowned Lithuanian sound artist, pushes boundaries in experimental music through the innovative use of diverse media and composition techniques. His expertise lies in captivating live performances and significant contributions to the computer music genre.
“Electroacoustic Space Drumming” is a fusion of minimalist rhythms that deconstruct musical textures. The album is an amalgamation of unconventional and captivating sounds, predominantly percussive in nature, crafted through the art of synthesis and pre-recorded loops. Sound granulation takes center stage, accompanied by a vast array of waveforms sampled from diverse sources, used as oscillator shapes in sampler and synthesizer. All tracks are united by the technique of stretching the sound and a bubbling water motif. It feels like a tribute to Hugh Le Caine, one of the composers who introduced granular synthesis and created “Dripsody” in 1955, a composition based on a single recording of a water droplet.
Throughout the performance, the rhythmic pulse and tempo fluidly shift on both micro and macro levels, propelling the musical movement to alternate between acceleration and deceleration, resulting in an ever-evolving experience. Vintage video game waves and sounds are ingeniously woven together to construct intricate micro-rhythmic melodies.
Enjoy the delicate tinkling, resonant ringing, tantalizing crackling, ethereal strings rubbing and winding, bubbling water gurgles, enchanting stalagmite crackles, glitch sounds, reverberating pipes, and an array of other captivating auditory delights.
10. Niagara – Música para 10m2 de Relva Sintética (NIAGARA / ASCENDER, Loures, Portugal)
Portuguese trio Niagara produces underground electronic and dance music, blending genres like electronic, house & techno, synth-pop, jazz, and funk. They create atmospheric themes by recording live performances and using various instruments and synths to craft compelling rhythms, grooves, and melodies.
Step into a realm where nature reigns supreme while humans peacefully coexist. Immerse yourself in the breathtaking splendor of the natural world, enveloped by the enchanting melodies of birdsong, the soothing symphony of flowing water, the gentle embrace of a summer breeze, and the serene whisper of wind through the trees.
“Música para 10m2 de Relva Sintética” is a live performance by Niagara at Lisbon’s MAAT museum in April 2020. The music combines synths, percussion, vocals, and industrial drone sounds to showcase the interconnectedness of the biosphere. Inspired by Steve Reich and Terry Riley, Niagara captivates their audience with mesmerizing minimalistic loops and improvisational synth passages.
At the 24th minute, a transformative shift takes place. A haunting industrial drone emerges, enveloping the senses. It is accompanied by a symphony of intriguing sound design elements – piercing laser blasts and resonating metallic tones. Amidst this sonic metamorphosis, a familiar vocal motif grounds the composition. The performance reaches its crescendo before nature’s symphony restores tranquility and harmony.
11. Federico Bonacossa – Elettroarmonico (New Focus Recordings, New York)
The second album on this list comes from New Focus Recordings. Federico Bonacossa, a composer and guitarist, has appeared on the Soundologia podcast. Passionate about microtones and their intricate relationships, unique timbral characteristics, and unconventional tuning systems, particularly intonation, Bonacossa has spent years exploring and experimenting.
“Shikantaza,” a composition for guitar and live electronics, explores the interplay between the guitar and the electronic elements. The guitar is tuned to an open harmonic tuning, creating a rich and resonant sound. A metal slide is used to detune both the guitar and electronic components. The live electronics offer various possibilities, including real-time additive synthesis, “moving blocks” loops, pitch shifting, and delays.
“De Profundis” challenges clarinetists with technical prowess and vocal-like rhythms. The expressive sound of the clarinet is enriched through the use of electronic elements and techniques such as granular synthesis, loops, delays, pitch-shifting, and ring modulation. “AEDO 5” and “AEDO 6” are compositions inspired by Modartt Software’s classical guitar library. They use a carefully selected set of pure ratios to create an almost even octave division. In “AEDO 5,” the classical guitar sound is blended with Surge XT, a versatile digital synthesizer.
In “Like Flowers in the Sky,” the cello takes center stage alongside live electronics. This unique combination creates a captivating dramaturgy, where the ‘duo’ of cello and electronics transforms into a grand string ensemble, enhanced by the concert hall reverb. A short melodic fragment echoes and reverberates across the stereo image throughout the piece, creating an ethereal atmosphere. And if you find yourself imagining the sound of an acoustic guitar in the midst of this musical journey, you are correct – Bonacossa intentionally sought to make the cello emulate the soulful tones of a guitar.
“DE-FLUIT,” a composition for electric guitar and electronics, was created for Eric Goldenberg’s Bichord Drone, a 3D-printed instrument with limited tuning. The electronic elements dynamically tune the instrument in real-time, creating a captivating long drone sound and glissandi. The composition starts with a delicate string drone that transitions into a resounding and subtly distorted chord, enhanced by an enchanting comb filter effect.
12. phoanøgramma & Luca Ferro – limen memoriae (Unexplained Sounds Group, Italy)
The Unexplained Sounds Group is an experimental label founded by Raffaele Pezzella, also known as Sonologyst. With a collection of sublabels under its wing, this group is dedicated to the art of experimentation and acousmatic ambient recordings. Their extensive catalog boasts numerous releases from artists hailing from diverse corners of the globe. The label’s unique approach involves spotlighting specific geographic regions and providing a platform for talented sound artists to showcase their work.
“[limen memoriae]” is a sonic journey inspired by the transient nature of memory that walks us through the vast spaces and alien architectures, embracing the acceptance of memory’s impermanence. The titles of the four tracks evoke a sense of mystery, conjuring up enigmatic emotions, undulating mental images, and fuzzy expectations. These captivating musical compositions were born out of single improvisational sessions, where a blend of electronic and acoustic instruments was skillfully employed.
The first track, “veiled riddle,” begins with a minimalistic multilayered feedback loop, which serves as the foundation for the entire performance. The loop consists of a bass drone and occasional subtle noise. Additional elements like Rhodes-like sound and melodic fragments enhance the experience. The second track, “puzzling memories,” maintains a similar essence and unfolds gradually with shared elements from the first track.
The third track, titled “eidetic secrets,” is introduced by the harmonica and the sound of strings. This combination sets the stage for a performance filled with solos and melodic movements. All the instruments contribute to a slow and steady beat. Flute trills add urgency, while a baroque cadence on the harpsichord concludes the cycle. Even when the subject becomes distorted, mental images like music provide intricate details from the past. The last piece, “transient endurance,” seems like the least structured track on the album. However, the second part of the performance introduces drama with LFO, laser sounds, and synths. The final three minutes transport us to a new realm, like the dawn of a new era. This track has potential as an opening act for a larger live performance.
