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Learn more about our security practices. Do you have any volume discounts? We offer volume discounts on annual plans for more than 10 Album). The discount will be automatically applied if you use our self-checkout process. Dynamic noise music, planned with care, executed with style. That's how I like them best. Who says I don't like noise music? They started doing so when he was alive and continue doing so after his death, last year.
This is the first release since then, from his archive. Julius is a man of 'small sounds', making 'small music' in mostly empty spaces with a minimum of equipment. His work could either be installations or compositions. Small speakers in small or large rooms, or even outdoors, using field recordings of say rain, such as the almost fifty-four title piece on this CD. Its very minimal music, of rain sounds and 'something else' which I found very hard to define, but it gives that electronic texture to the piece.
That something which I think also very much defines music by Julius. More water like field recordings can be heard in 'Weitflachig' - music for a wide plain. Here too we hear insect like sounds, over water sounds. Are they tape loops, real time recordings? Its hard to say.
All of these pieces are very minimal, and show hardly any development. But that's hardly the point of Rolf Julius' music. Its more about perceiving space and silence and it works best when played softly in your space. Open up windows - if you are in a quiet surrounding I should think - and have this on repeat for a long time.
It will definitely alter your perception of space and time. An excellent release - once again, and hopefully with more to follow. Proto-type dark ambient music if you ask me.
Lots of synthesized ambient scapes, perhaps made with real synthesizers, no doubt with lots of field recordings, much electronic processing and all such like, but the good news is that this doesn't lead to abstract drone patterns, but in each of the pieces there seems to be the shimmering of small melodies humming along, making the whole thing more 'musical' than y'r average drone record, which I guess is nice.
Each of the eight pieces takes a considerable time to develop, as all of these pieces are easily between eight and thirteen minutes. That makes it quite a long album, but its one that can hold the attention quite well.
Kshatriy moves along various patterns, ideas, motions and emotions and it makes a highly varied and mostly enjoyable record. On the same label a musician from the Oryol area, also in Russia, with lots of Russian titles, but somehow I think the main title is 'Invisible Landscapes'. The music is made with old analogue Soviet synthesizers, some field recordings, a bit of voice and lots of sound effects.
Here too we go deep down in the underworld of sonic isolationism, also with a bit of melody, but also with occasional mumbling voices, which I guess are not really my cup of tea. But then in some pieces the keyboards are a bit too standard in their settings, and sounding a bit too much like cliche.
This makes this album also varied but it doesn't work always out too good. It seems like Corvuz doesn't want to make up his mind what he wants with his music. Go something very dark, for something very light and almost new agey? Some of the ideas are pretty much alright, its well produced but its in need for some clear choices.
These works can be reviewed together as they might be regarded as the product of some musical dialectics, or a translation of music, a play of differences of the Unknown Message - Orga (2) - Vibrant (CD of sound which in themselves are empty. Have become empty. Bodies without organs then. The operation of the dialectics of not only music but also post-theory have cut across any idea that art is related to Maoism, which obviously it is. The triumph of capitalism is of its own capitalization, its selling itself as now success now failure, the commodification and trade for instance of carbon dioxide capitalizes not the destruction of society but its continual re-structuring, novel, novelizing.
So its not a case of making something of this or not. If, and quite rightly, any analytical movement is seen to be threatening to creativity then a recourse to dialectics seems obvious and appropriate, however in this kind of art, the process is reversed. In other words — inaccessible. Now I know this would justify him at all. But then, I just digested a five CD set by him, which sheds another light on the man. The works on these five CDs are all composed, perhaps not always in the traditional sense of the word with the five lines but surely with notations of some kind.
Each CD in this box treats one instrument, and in one case more than one: the first disc is about chamber music and orchestral pieces. Two discs are with works for the piano, of which one disc is with prepared piano works, one disc with pipe organ and electronics and one disc of works for percussion.
Its a lot of music to take in all at once. The hectic and nervous, 'many notes here', of the solo piano unprepared disc 'Block Don't Bleed', which is forty-five minutes not easy to access music, or, by contrast the more contemplative mood of 'Architexture' piece for pipe organ and electronics, with its slow developing dissonant sounds.
Or the three shorter electronic pieces of 'Keen Unknown Matrix' on the same disc for analogue synthesizers - and perhaps the most 'Vital' music. The disc with prepared piano works is also one I liked very much. Its not easy to avoid the name John Cage in here, with a similar gamelan styled preparing - damping the strings with objects, played with great speed and a minimalist setting - makes it hard to believe this is a prepared piano and sounds exactly what Cage already intended: a small ensemble of percussion instruments.
The bookends on this box, CD one and five, contain perhaps the most conventional works in this set. Disc one has pieces for small ensembles and one Unknown Message - Orga (2) - Vibrant (CD an orchestra, and is perhaps the disc I least liked in here.
This has very much to do with the fact that I don't get along well with serious modern classical music. It might be my problem of course.
The hectic of notes, bending, glissandi and such like: its not my thing. The box closes with a long disc of percussion works, two of which are for a small ensemble, and lengthy works for solo percussion players.
This too may sound like improvised music, its all carefully planned out and has that modern classical feel to it, but unlike disc one this is definitely something that I enjoy very much. Tags: young lean, yung lean, yung, young, lean, codeine, sadboy, sadboys, sad boy, sad boys,vapor, vaporwave, vapor wave, glitch, seapunk, sea punk, witch, witchouse, witch house.
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Speciation and behaviour of free Fe III haem in aqueous solution. Interaction of Fe III haem with antimalarials and effects on haem in cultured parasites. His main research interests are in the therapeutic aspects of HIV-associated tuberculosis and drug-resistant tuberculosis, antiretroviral therapy in resource-limited settings, and the pharmacokinetics of antiretroviral and anti-tuberculosis drugs.
She participates in research projects across Africa, as well as in Asia and South America where a key interest is the support and mentoring of investigator-initiated pharmacology research projects.
Computational scientist with expertise in the development of Parallel and Hybrid model computer codes for application to chemical, life and biomedical sciences. Research is balanced between development of life science software and its application to biomedical projects where more recently the biomedical application has been cancer.
Scientific interests are focused on the roles that carbohydrates play in biological processes.
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