Demo account on 1st June

Tomorrow demo email account for artists, do not forget. Will be updated on the official site, let it know to your friend artists. We wait for you!

Alva Noto

Carsten Nicolai (* 18 September 1965 in Karl-Marx-Stadt, now Chemnitz) is a German artist, musician and label owner. As a musician he is known under the pseudonym Alva Noto.

Carsten Nicolai was born in Karl-Marx-Stadt (now Chemnitz) of Saxony, GDR in 1965. He studied architecture and landscape design before pursuing art. In 1994 he founded the label NOTON, following which a collaboration with RasterMusic began and by 1999 the two labels had merged into Raster-Noton, which operated until 2017. Returning to the labels origin in 2017, Nicolai runs NOTON separately.

In 2009 Nicolai wrote the opera Sparkie: Cage and Beyond in collaboration with Michael Nyman.

Nicolai performed and created installations in many of the world's most prestigious spaces including the Guggenheim, New York, the SF MoMA, Modern Art Oxford, NTT Tokyo, Tate Modern and Venice Biennale, Italy. As a member (and co-founder) of the Raster-Noton label he was responsible for the acclaimed CD series 20 to 2000 that went on to win the Golden Nica prize at Prix Ars Electronica, 2000.

Carsten Nicolai also works as a visual artist. In 2013, Nicolai participated as a visual artist in Biennale Documenta, an official collateral show of the 55th Venice Biennale of Art.

Nicolai started his professorship in art with focus on digital and time-based media with Dresden Academy of Fine Arts since 2015.

Nicolai co-scored the music for Alejandro González Iñárritu's The Revenant, along with Ryuichi Sakamoto. The score was nominated for a Golden Globe, BAFTA, Grammy and Critics' Choice Movie Awards. In 2018 he created the sound design for Iñárritu’s groundbreaking VR project "Carne y Arena" Flesh and Sand.

Barre Phillips - Double Bass

Barre Phillips - Call me when you get there. Released in 1984.

Barre Phillips - Double Bass.

All Pieces by Phillips.

Barre playing Barre and that’s all you’re going to get - Not that I’m complaining cause these pieces for double bass are actually quite good. I love his tone on the instrument and it’s amazing to hear the variety of ideas, sounds and moods he creates on this album with just one low frequency instrument.

I Love Jazz And Jazz Loves Me

Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana, in the late 19th and early 20th centuries, with its roots in blues, ragtime, European harmony and African rhythmic rituals. Since the 1920s Jazz Age, it has been recognized as a major form of musical expression in traditional and popular music. Jazz is characterized by swing and blue notes, complex chords, call and response vocals, polyrhythms and improvisation.

As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. However, jazz did not begin as a single musical tradition in New Orleans or elsewhere. In the 1930s, arranged dance-oriented swing big bands, Kansas City jazz (a hard-swinging, bluesy, improvisational style), and gypsy jazz (a style that emphasized musette waltzes) were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music" which was played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines.

commmons

これからのcommmonsのこと。

commmonsは2006年に「音楽の共有地」を標榜し坂本龍一がエイベックスの力を借りて、主に日本向けに立ち上げたレーベルです。自身が自由に音楽作品を制作する足場として、また音楽を作る個人が作品を発表したり販売するためのツールとなったり、リソースを提供することを目的としていました。その目的が満足のいく形で達成することはありませんでしたが、それでも坂本龍一の日本のホームとして一定の認知を得たのではないかと思います。

さて、これからです。

坂本龍一が今生を離れたいま、わたしたちには何ができるのか。

坂本龍一が残した作品を守り、残し、伝えていくこと。

坂本龍一の言葉から音楽への想いを学び、新たな音楽が生まれるチャンスを作ること。

そんなことを考えて、気持ち新たに坂本龍一と歩もうと思います。

その意思を表明すべく新しいロゴを作りました。

「共有地(commons)の中には“m(music)”がある」

私たちのこれからを見守っていただければ幸いです。

https://www.commmons.com/

Ryuichi Sakamoto

Tribute to Ryuichi Sakamoto

"Micro Ambient Music" Vol.1

配信スタート !!

音楽より音。小さなものにこだわり続けた故・坂本龍一の晩年の音楽への追悼として集められた『Micro Ambient Music』。

Vol.1は、秋山徹次さん、大友良英さん、中村としまるさん、Sachiko Mさん、David Toopさん、Rie Nakajima and David Cunningham、Lawrence Englishさんを収録

▼配信はこちら！

https://commmons.lnk.to/MicroAmbientVol1

Una estrella

"Hace poco más de tres décadas que una estrella nos alcanzo para iluminar este mundo cuando cae la noche, y recordarnos todo lo bueno que tenemos aquí"

Soon an email for demos

"Nühn company is going to exercise the wait for those projects innovating and adapted to modern times, something revolutionary but experienced, that provoques explotion into the own body of those projects and at the same time inside the label. Next 1st of June the demo email is going to open the doors, the information and details will clarified in the main website by unlimited time until new actualization."

Arild Andersen Group

ECM Records

Andersen was born at Strømmen, Norway. He started his musical career as jazz guitarist in the Riverside Swing Group in Lillestrøm (1961–63), started playing double bass in 1964, and soon became part of the core jazz bands in Oslo. He was a member of Roy Hellvin Trio, was in the backing band at Kongsberg Jazz Festival in 1967 and 1968, was elected Best Bassist by Jazznytt in 1967, and started as bass player in the Jan Garbarek Quartet (1967–1973), including Terje Rypdal and Jon Christensen. After completing his technical education in 1968, he became a professional musician and collaborated with Karin Krog, George Russell, and Don Cherry (Berlin 1968), and with visiting American musicians Phil Woods, Dexter Gordon, Bill Frisell, Hampton Hawes, Johnny Griffin, Sonny Rollins, Sheila Jordan, and Chick Corea. During the same period he worked with Ferenc Snétberger and Tomasz Stańko.

In the early 1970s, Andersen collaborated with Norwegian musicians Magni Wentzel, Jon Eberson, Ketil Bjørnstad, and Terje Rypdal, before leaving for an eventful visit to the U.S. in the winter of 1973–1974, and has since 1974 led his own bands, at first a quartet (1974–79). He worked with the Radka Toneff Quintet (1975–81) and has recorded more than a dozen albums as band leader for ECM Records, founded the critically acclaimed band Masqualero, and appeared as side man on a series of recordings. In January 2009, he was named "Musicien Europeen 2008" by the French Academie du Jazz, In 2010, Andersen received the Ella Award at the Oslo Jazzfestival.

The Big Issue

The Big Issue (The Magazine)

Inspired by Street News, a newspaper sold by homeless people in New York City, The Big Issue was founded in 1991 by John Bird and Gordon Roddick (husband of The Body Shop entrepreneur Anita Roddick) as a response to the increasing numbers of homeless people in London. The Body Shop provided the equivalent of $50,000 in start-up capital. The magazine was initially published monthly but in June 1993, The Big Issue went weekly. The venture continued to expand with national editions being established in Scotland and Wales, as well as regional editions for Northern England and South West England. Further editions are also produced in seven locations overseas.

In 1995, The Big Issue Foundation was founded to offer additional support and advice to vendors around issues such as housing, health, personal finance and addiction. Between 2007 and 2011, the circulation of The Big Issue declined from 167,000 to less than 125,000. Competition between vendors also increased at this time. From July 2011, the different regional editions were merged into a single UK-wide magazine. In January 2012, the magazine was relaunched, with an increased focus on campaigning and political journalism. New columnists were added, including the Premier League footballer Joey Barton, Rachel Johnson, Mike Shinoda of Linkin Park^[ and Samira Ahmed. The cover price was also increased.

In 2016, The Big Issue celebrated surpassing 200 million magazine sales. In September 2021, the magazine celebrated its 30th birthday. 

Arturia

Arturia was founded in 1999 in Grenoble by INPG engineers Frédéric Brun and Gilles Pommereuil to create affordable software synthesizers. Their first product was Storm, a virtual instrument workstation. The close emulation of classic analog synthesizers helped the company gain popularity in its market. Brun and Pommereuil developed new software algorithms that create sounds with minimal digital artifacts.

Arturia worked with Robert Moog in 2003 to create the Modular V softsynth, which uses Arturia's True Analog Emulation (TAE) to faithfully reproduce the oscillators, filters, and other modules from the Moog 3C and Moog 55. Following these releases, Arturia developed software emulations of well-known synthesizers, including the ARP 2600, Roland Jupiter-8, Minimoog, and Sequential Circuits Prophet-5. Arturia continues to develop software synthesizers and effects, bundled respectively in the V Collection and FX Collection, which are updated every year.

In 2007, Arturia combined sounds from several of their softsynth titles into Analog Factory, which offered about 2000 preset synthesizer patches, offering this the following year as Analog Experience, a hybrid system which combined the software with a MIDI keyboard controller specifically designed to play and control it.

In 2009, Arturia released their first hardware synth, the Origin, a standalone, DSP-based system utilizing the same software engine as their virtual synth products. This was followed up in 2012 with the MiniBrute, a vintage-style 25-key monophonic analog synthesizer with one voltage controlled oscillator, two low-frequency oscillators, and a multi-mode Steiner-Parker filter. Despite pre-production uncertainty about sales, the MiniBrute sold well due to its low price point and expressive sound. The following year, Arturia announced the MicroBrute, a smaller and less expensive version of the MiniBrute with minikeys, a patch bank, and a sequencer. Both synthesizers received critical acclaim.

In 2015, Arturia launched the AudioFuse, a compact 2-input audio interface with dense connectivity. This was the start of a new line of products which now includes bigger-scale audio interfaces such as the AudioFuse studio, the AudioFuse 8pre and the updated version of the AudioFuse. In 2021, Arturia announced a more affordable line of audio interfaces called MiniFuse, with different number of inputs and colour formats.

In 2016, Arturia released the KeyStep, an entry level 32-note keyboard focusing on sequencing and connectivity. Arturia added to this line with the KeyStep Pro, the BeatStep Pro and the KeyStep 37.

Released in 2016 as a part of the Brute family, the Drum Brute is an analog drum machine with a dedicated sequencer and 17 drum engines. Two years later Arturia released the DrumBrute Impact, a smaller and reworked version of the DrumBrute with the ability to add accent to sounds which changes the timbre of each drum engine.

In 2018, they introduced MiniBrute 2, a semi-modular analog synth that includes a patch bay that connects to Eurorack modular gear. They also introduced the MiniBrute 2S which swaps a traditional keyboard for performance pads and a sequencer that can be recorded in real time.

In 2019, Arturia released the MicroFreak, a 4-voice digital synthesizer with an analog filter and a distinctive touch capacitive keyboard. The digital oscillator allows for different algorithms to be loaded onto the unit, including algorithms by Mutable Instruments and Noise Engineering. Arturia followed up with the MiniFreak in 2022, which featured 6-voices, more functionality and a larger traditional keyboard.

Arturia released the PolyBrute, its flagship 6-voice-polyphonic analog synthesiser in 2022. Its layout is reminiscent of its monophonic counterpart, the MatrixBrute, and shares the same analog architecture as other analog synthesisers from Arturia's Brute range. In addition it features a touchstrip over the keyboard and a multidimensional touchpad called “morphée” which allows more control over the sound.

The Dark Side of the Moon

The Dark Side of the Moon Redux 

Is the sixth studio album by the English musician Roger Waters, released on 6 October 2023. Produced by Waters Gus Seyffert, Redux is a new version of The Dark Side of the Moon (1973) by Waters' former band, Pink Floyd, released for its 50th anniversary. It received mixed reviews; some critics praised the artistic exercise and renewed focus on lyrics, while others criticised its slow pace or saw it as indulgent.

Waters co-founded the rock band Pink Floyd in 1965. Their 1973 album The Dark Side of the Moon, with lyrics by Waters, spent 736 consecutive weeks on the Billboard 200 chart and sold more than 40 million copies worldwide. In 1985, Waters left Pink Floyd and began a solo career.

In 2022, Waters released The Lockdown Sessions (2022), comprising stripped-back rerecordings of several of his solo tracks and tracks with Pink Floyd. During the recording, it occurred to him that he could make a similar rerecording of The Dark Side of the Moon for its 50th anniversary. In a press release, Waters wrote: "[We] were so young when we made [the original], and when you look at the world around us, clearly the message hasn't stuck. That's why I started to consider what the wisdom of an 80 year old could bring to a reimagined version.

The Dark Side of the Moon Redux features no other members of Pink Floyd, and was recorded with musicians including Gus Seyffert, Joey Waronker, Jonathan Wilson, Jon Carin, Johnny Shepherd, Azniv Korkejian (Bedouine), Via Mardot, Gabe Noel, and Robert Walter. It features spoken-word sections and no guitar solos, to "bring out the heart and soul of the album musically and spiritually". The new version of "Speak to Me" includes Waters' recitation of his lyrics from the 1972 Pink Floyd track "Free Four".

Waters did not intend Redux to replace The Dark Side of the Moon, and instead intended it as a tribute and a way to readdress its political statements. He said: "The new recording is more reflective I think, and it's more indicative of what the concept of the record was." The Pink Floyd drummer, Nick Mason, said Redux was "absolutely brilliant ... It's not anything that would be a spoiler for the original at all, it's an interesting add-on to the thing." He supported the concept of revisiting and developing existing work.

This is ArtCore Machine

"Uncandescent elaborated sound laboratory from our both geniuses, more than a simple post modern aesthetic brings us today a tremendous album this next 7th June. It is not for collapsed minds as it turns the braindance structure the main approach feeling we could experimenting. This is ArtCore Machine"

ANS synthesizer

Fragments of Eduard Artemyev's score for the film "Solaris" for ANS synthesizer.

The ANS synthesizer is a photoelectronic musical instrument created by Russian engineer Evgeny Murzin from 1937 to 1957. The technological basis of his invention was the method of graphical sound recording used in cinematography (developed in Russia concurrently with USA), which made it possible to obtain a visible image of a sound wave, as well as to realize the opposite goal—synthesizing a sound from an artificially drawn sound spectrogram.

In this case the sine waves generated by the ANS are printed onto five glass discs using a process that Murzin (an optical engineer) had to develop himself. Each disc has 144 individual tracks printed onto it, for a total of 720 microtones (discrete pitches), spanning 10 octaves. This yields a resolution of 1/72 octave (16.67 cents). The modulated light from these wheels is then projected onto the back of the synthesizer's interface. These are arranged in a continuous swath vertically, with low frequencies at the bottom and high frequencies at the top.

The user interface consists of a glass plate covered in non-drying opaque black mastic, which constitutes a drawing surface upon which the user makes marks by scratching through the mastic, and therefore allowing light to pass through at that point. 

On the horizontal axis of the score, the time is plotted. The vertical axis is the pitch of the sounds on a logarithmic scale, i.e. the tempered scale of pure sinusoidal tones. The optical slit of the pure tone generator is located behind the score along the vertical pitch axis. Light beams modulated with pure tones are projected onto the optical slit. On the other side of the glass of the score is placed a reading photocell. The glass of the score can be moved in the direction of the time axis. Along the optical slit of the generator, all pure tones have the same width, and each tone occupies a definite geometric place according to the logarithmic scale of the pitch of sounds.

In front of the glass plate sits a vertical bank of twenty photocells that send signals to twenty amplifiers and bandpass filters, each with its own gain adjust control. It is akin to a ten-octave equalizer with two knobs per octave. The ANS is fully polyphonic and will generate all 720 pitches simultaneously if required (a vertical scratch would accomplish this).

The glass plate can then be scanned left or right in front of the photocell bank in order to transcribe the drawing directly into pitches. In other words, it plays what one has drawn, similar to how a score is written. This process can be aided with a gear-motor drive (similar to an engineering lathe) or it can be moved manually. The scan speed is adjustable down to zero. The speed at which the score scans has no relation to pitch but serves only as a means of controlling duration.

Murzin named his invention in honour of the composer Alexander Nikolayevich Scriabin (ANS): Scriabin (1872–1915) was an occultist, theosophist, and early exponent of color-sound theories in composition. The synthesizer was housed in the electronic-music studio situated above the Scriabin Museum (just off of the Arbat in central Moscow) before moving to the basement of the central university on the corner of Bolshaya Nikitskaya. It was saved from the scrapheap thanks to Stanislav Kreichi, who persuaded the university to look after it.

The ANS was used by Stanislav Kreichi, Alfred Schnittke, Edison Denisov, Sofia Gubaidulina, and other Soviet composers. Edward Artemiev wrote many of his scores of the movies of Andrei Tarkovsky with the help of the ANS. Of particular note is Artemiev's score of Tarkovsky's Solaris in which the ANS was used to abstract, sci-fi effect akin to ambient music.

After several years at the Theremin Center, the ANS (there is only one—the original was destroyed and this is the improved version) is now located in the Glinka State Central Museum of Musical Culture in Moscow.

Oblique Strategies

(A. Patterson source)

"ARTIFACTS FROM THE EUROCK ARCHIVES

OBLIQUE STRATEGIES

One of the most unique collectable items I ever got. A card-based method for promoting creativity jointly created by musician/artist Brian Eno & multimedia artist Peter Schmidt, first published in 1975. Each card contains a gnomic suggestion, aphorism or remark which can be used to break a deadlock or dilemma. A few are specific to music composition; others are more general. A 1975 LTD Edition deck #132 of 500 copies."

About understanding

"It's all about understanding; Not behavior identifies cruelness but exhausting tries that tells everything is wrong and the next step is an inside destruction, many are called but few chosen. Is not offensive the meaning, about comprehension you feel pity, it's losing the faith and falling into attacks. Nobody wants that, but some unlucky people suffer from it. They transmit pity, nothing offensive, and that's hard. It's all about understanding that behaviour. And if we see incomprehensible both eternal debates or attacks is all about how hard it is to suffer that. We going to keep in that role of course, but at least understand it"

Björn Meyer – Provenance

Meyer started playing the piano as a child, learned the trumpet in the Swedish youth music school, sang in a boys-choir and played guitar in local punk bands. At the age of 18, he switched to the electric bass and - after completing his studies in computer science and physics - started working as a professional musician in 1989. In 1996 he moved to Switzerland.

Together with the Nyckelharpa player Johan Hedin and the percussionist Fredrik Gille he co-founded the Swedish trio Bazar Blå in Sweden in 1996.

In 2002 he co-founded the musicians network and CD Label Bazaarpool with the Persian harpist Asita Hamidi. Until her passing in 2012, he was also active in their many mutual projects such as Asita Hamidi's Bazaar, "Garden of Silence" and Bazaaris.

Since 2008 Meyer works with Anouar Brahem (The Astounding Eyes of Rita - 2009, Souvenance - 2014) and was for more than a decade - from the beginning until 2012 - also a member of the ritual groove collective of Nik Bärtsch's RONIN and helped shape the term Zen Funk.

In 2013 he founded the trio Amiira with Samuel Rohrer on drums and Klaus Gesing on bass clarinet and soprano saxophone. In 2014 a long time collaboration with Mats Eser and Ania Losinger — with her self invented instrument Xala — resulted in the formation of NEN also featuring drummer Chrigel Bosshard.

Meyer also works regularly with the Swiss composer and reed player Don Li and is an occasional guest lecturer at the conservatories in Stockholm, Zurich, Bern, Lucerne and Lausanne.

His first solo album "Provenance" was released on ECM in autumn 2017.

Indexation

"Some lines I wrote today, indexation coding. Nowadays is also easy just develop a full web in a Samsung mobile, Linux is for losers"

CSS Robot

"It is how I feel myself programming all day, a CSS Robot. Yaxx!"

Ryuichi Sakamoto 坂本龍

SKMT | dig

When BTTB (Back To The Basics) was first released in 1998, the limited edition included a 3.5" floppy disc containing the MIDI data of Sakamoto's performance, along with piano scores.

By utilizing instruments that accept midi, fans could play the data of Sakamoto's performance on their own keyboards, synthesizers, and other midi-equipped devices.

*It was recommended to use the YAMAHA MU100 or similar gear for the most precise playback at that time.

Listen to BTTB:

https://kabamerica.lnk.to/BTTB

In his liner notes for the 20th anniversary of BTTB in 2018, author Haruki Murakami wrote:

"Personal and intimate music—somebody (an anonymous somebody) sitting alone in front of the school piano early in the morning, weaving a melody, exploring harmonies. Music that gradually fills a space with high ceilings that contains the wafting presence of rain. But music that leaves gaps where necessary."

Dave Liebman

David Liebman (born September 4, 1946) is an American saxophonist, flautist and jazz educator. He is known for his innovative lines and use of atonality. He was a frequent collaborator with pianist Richie Beirach.

In June 2010, he received a NEA Jazz Masters lifetime achievement award from the National Endowment for the Arts (NEA).

Biography

David Liebman was born in 1946 into a Jewish family in Brooklyn, New York. As a child in 1949 he contracted polio. He began classical piano lessons at the age of nine and saxophone by twelve. His interest in jazz was sparked by seeing John Coltrane perform live in New York City clubs such as Birdland, the Village Vanguard and the Half Note. Throughout high school and college, Liebman pursued his jazz interest by studying with Joe Allard, Lennie Tristano, and Charles Lloyd. Upon graduation from New York University (with a degree in American history), he began to seriously devote himself to the full-time pursuit of being a jazz artist.

In the early 1970s, after recording with Genya Ravan and Ten Wheel Drive, Liebman took the leading role (as President) in organizing several dozen musicians into a cooperative, Free Life Communication, which became an integral part of the fertile New York loft jazz scene in the early 1970s and was funded by The New York State Council of the Arts and the Space for Innovative Development. After one year spent with Ten Wheel Drive, a rock group with experimental leanings, Liebman secured the saxophone/flute position with the group of John Coltrane's drummer, Elvin Jones. Within two years, Liebman reached the zenith of his apprenticeship period when Miles Davis hired him. These years, 1970–74, were filled with tours and recordings. At the same time, Liebman began exploring his own music, first in the Open Sky Trio with Bob Moses and then with pianist Richie Beirach in the group Lookout Farm. This group recorded for the German-based ECM label as well as A&M Records while touring the U.S., Canada, India, Japan and Europe. Lookout Farm was awarded the number one position in the category "Group Deserving of Wider Recognition"in the 1976 Down Beat's International Critics' Poll. In these years he also played and recorded with Pee Wee Ellis.

Love you

🤘🏻

Cat Power - New York