Sounds and images from Spain (2010)

Top-40

• Musique concrète
• Field recordings
• Found sounds
• Conceptual
• Non-music
• Sound collage

Comment: this is a subsequent virtual journey around the world regarding the imprint top-40`s audio-visual teleportative series Sounds and images from… . The recent issue of three parts is based on the recordings from Malaga, Dilar, San Jose, Tenerife, Lanzarote, and Fuerteventura. The field recordings are recorded by Vadim Ugryumov. In general, the issue does not surprise because the sounds represented over there do coincide virtually with other ones based on the same concept of necessity. For instance, there are up the snippets of street sounds (the sounds of bypassing motorcycles, for instance), the chirping of cicadas, speech snippets. In a word, the mechanical sounds are either set against or interwoven with the organic, natural ones. However, the most striking characteristic are recordings of the covers of some rock and roll classics. In a nutshell, given that it embraces a bunch of different, intriguing sounds the result is captivating.

Fun Fusion - no name mix (2012)

Top-40

Archive.org

• Ambient
• Soundscapes
• Microtonal
• Experimental electronica
• New Age
• Musique concrète
• Minimalism
• Glitchtronica
• Sound art
• Avant-garde
• Microsound
• Organic electronica

Comment: I have no chance but to shamelessly praise this issue of 2 lengthy compositions (both of them clock in at a 27 minute). Indeed, it is a magical experience to listen to this masterpiece where every sound seems to be determined yet all those sounds used to flow in an organic, effortless way. One could hear the swaths of panoramic sounds which used to constitute the main line however the elements are streamlined by efferent and afferent sounds which are birthed from nothing and ready to go back there. One could enjoy subtle glitched-out chords atop and flute flickers and indecipherable yet epic human voices and accelerated sonic effects and the crackles of wondrous concrete sounds which truly make difference and it might be due to their minimal nature. Given that it is not a disjointed aural example of involving staccato sounds and jerky parts at least by deciding emotionally. Even if it used to be in the opposite position de facto it does mean sense at all. Indeed, it is quite surprising of how such sort of minimal music could arouse emotions and sensuous enjoyment through sparse and austere progressions and structures. Given that might it be related to the essential functioning of the human brain? Might it be the representation of circuitry of the ganglions and synapses below the cerebral cortex? Furthermore, it is an extraordinary issue because all those dreamily chugging, at times even hyper-realistic aspects used to develop in a slow manner and eventually result in the silent crescendos. The project comes out of Syktyvkar, Udmurtia, Russia and their issue is a part of the formidable discography of Top-40.