Ayankoko – Dreaxine (2009)

tecnoNucleo

Ayan

• Rhythmic noise 
• Power electronics 
• Avant-garde 
• Experimentalism 
• Leftfield 
• Electronic music 
• Drone
• Noise

Comment: this handful of tracks is intermittently advanced and retreated by the attacks of rhythmic noise, and bouts of more restraint appearances. Dynamically it creates the sense of moving further, from one detail to a different one. In the music history, it is a classic narrative to showcase the clash between noise, and silence. Within the whole the listener may perceive music as multiply shattered and crushed but the aforementioned wrestling gives it coherence and constructive tension. Pulsating signals being accompanied by convulsive glitches and cut-ups are the counterparts of one's heartbeats though as such kind of ones impending of an attack of cardiac arrest. Thereafter when all of that aggressive by its nature is succumbed the angels of the rusting are up there to fade away across a silent pathway to the corroded garden of an Eden. The outing is a bit in the discographies of tecnoNucleo, and Ayan Records.

Miquel Parera Jaques – Empty Space (2012)

tecnoNucleo

• Abstract 
• Avant-garde
• Avant-electronica 
• Minimalism 
• Drone 
• Noise drone 
• Micronoise 
• Microtonal 
• Experimentalism 
• Experimental electronica 
• Non-music

Comment: by watching the spongy cover print of this 6-track issue it could be said it describes the outing quite well. Indeed, it is a gaunt collection of signal-alike progressions which used to reach maximum from its minimal premisses. Mostly it is relied on shrill, noisy droning as if coming from the sonic laboratory. On the other side, it is not surprising at all because the Barcelona, Catalonia, Spain-based artist is being active as a producer and interested in the sound in the first place. Because of that his sound can be considered an example of anti-music, the kind of sonic formalism. Furthermore, it is determined partly by music programmes such as SuperCollider, and Puredata, therefore representing the collaboration between artificial intellect, and human being`s flexibility. The big question is – how it is possible to create the most desolate and dejected soundscapes, could it be done by the human being alone or does he/she need some assistance by machines as well? How it is the most proper way to evaluate it? Yeah, it is intriguing by its concept and by its sound being released on tecnoNucleo.