noish


audio
releases
NEWS !!
label : Drone Records

cat : DR-90

format : 7" vinyl

release year : 2008

edition of 300 / milky vinyl, white
cover with black silk-screen print

web :
DRONERECORDS
Free Software Series
noise&capitalism.txt >> /dev/dsp

label : Free Software Series

cat : FSS 15

format : CDR &freeDownload

release year : 2010

CDRS editions of 200 in nice oversize
sylver-on-black printed sleeves, listen and free download from archive.org or buy them via

web:
METAMKINE
title : AQHG

label : uzusounds

cat : uzucdr_10

format : CDR & freeDownload

Coded, edited and mixed at Txucrut Studio bcn. Field recordings, synthesis, diy software pure data. Experimental generative techniques for composing.

Graphic LC Pino

web :
UZUSOUNDS
title : calipso

label : BRRR

cat : brrr05

format : CDR & freeDownload

release year : 2011

Extreme dsp and de-generative
process. Rec, mix and master
txucrut studio bcn.

artwork Lcpino

web :
BRRR
title : noish_vs_automata

label : H.A.K Lo-Fi RECORD

cat : H.A.K 205

format :CDR & freeDownload

release year : 2010

live at piksel 09 improvisation with
automata. computer. punk. nerd. robot. markov.mutant. vaucanson.

web :
H.A.K Lo-Fi Record
title : trAnsCoDE

label : tecnoNucleo

cat : [TN022]

format : online freeDownload

release year : 2010


experimenting with (bash) linux console, granular synthesis and mathematics generative process

web :
tecnoNucleo
noish + xedh

title : big Fork

labels : AMP-RECS

aMorDiscos

cat : amp053

format : CDR at aMordiscos

Netrelease at amp-rec

colaborative impro
Noish + Xedh

web :
AMP-REC
donwload

ZIP
donwload

ZIP
donwload

ZIP
download
side A flac
side B flac
about
reviews
Noish + Xedh
Big Fork
AMP-RECS AMP953 CDR
(2010)
Spanish electronica artiste Miguel A.García impressed us last ish with his “stern and severe” approach to very minimal electronic noise on Armiarmak. On Big Fork García appears under his xedh guise alongside fellow player noish, and together they stew up four gorgeous tracks of edgy, fizzy, electronic mashed turnip paste, with plenty of mesmerising power leaking out through the wodges of dense sparking-plugging mayhem.

They can sometimes drift into the unchallenging droney-ambient comfort stations, but I like them best when their eruptions are abrasive and slightly cruel, suggesting a degree of friendly sadism. The tracks are expressed as complex streams of characters which are too hard to type, but the 15-minute opener piece is a strong one, containing four or five separate ideas which seem to fold in and out as if operated by a restless hand tuning the shortwave radio dial. It creates a vaguely daydreamy sensation which is not unpleasant.

The second track is more full-on and brutal, and for three minutes one endures the goring of a snorting electronic bull. The fourth long track is again episodic, like the first, but not quite as thrilling or unpredictable.

On the cover, detourned versions of Disney cartoon characters gamble, drink and smoke cigars, but it's an image of funny sleazy degradation that Big Fork can't quite live up to.



noise&capitalism.pdf»/dev/dsp - NOISH~ FSS-15

Recording under the moniker NOISH~, Oscar Martin has released an album for the Free Software Series, a label that spotlights experimental music, produced using free software. For this experiment NOISH~ has described his process as a “transcodification of the book noise&capitalism to an audio release, where he used a Shell Linux console and the command:
cat noise&capitalism.pdf»/dev/dsp

Now for some context. There are a few dimensions to this release that should be considered. Firstly, there is a difference between using software that is free, and software created by individuals with a strict philosophy regarding how their tools should, or should not be used, distributed. If you are a bit hazy on the details, check them out at GNU Operating Systems – The Free Software Series definition.

I tend to stay away from making value judgments on artists political preferences on software, or methods of creation; ie paying money for something could contribute to an economic system that maybe deemed unsavory. Discriminating at this level might lead down the path of making aesthetic judgments based on socio-anthropological-economic concerns, and I am not an anthropologist or ethno-musicologist. Also my degree in economics doesn’t really contribute to the field of music criticism, but I find it interesting how much Marxist theory gets unpacked in Noise & Capitalism, which for the uninitiated is a compilation of essays by various writers and musicians.

That said, I do love discussing the technical concerns of hardware and software possibilities, and I do think a “part” of the Free Software movement, is empowering people to explore creative expression without having to spend a lot of money.

The other dimension to this release, is that NOISH uses a text source, as a starting point to synthesize a product, that is indeed noise, and perhaps a “meta-critique” of the varying viewpoints contained in Noise & Capitalism. In essence, we have ideas, which are converted to binary code which a digital audio engine converts back to analog sound for our ears to transmit/transcode for our brains to interpret.

“Noise & capitalism” (edited by Mattin & Anthony Iles) attempts to describe the nexus of “noise” to copyright, and capitalism. More specifically, “… Noise & Capitalism, is a tool for understanding the situation we are living through, the way our practices, and subjectivity are determined by capitalism. It explores contemporary alienation, in order to discover whether practices of improvisation, and noise, contain or can produce, emancipatory moments, and how these practices point towards social relations to extend these moments.”

On a release titled trAnsCodE 2010 Oscar Martin illuminates his artistic motivations…”What fascinates me about digital media, is having the possibility to transform whatever you can decode into 0 and 1, and been able to dump it into different shapes, and even languages (audio can be turned into image, DNA from a cauliflower into a sonora piece…) I find here a retro flavour of the poetic absurd DADA; some kind of situationist deviation, or perhaps a shoot of machine-desire connection…”


Using a software combination of Shell, Pure Data and ARdour, and other devices; tape recorders, cassettes, feedback mixers, NOISH processes the output to an extreme universe of sonic dynamics. Here is my personal log of the twenty six minute listening journey.

00:00:00-00:00:32 ear prickling stereophonic grit begins

00:00:33-00:01:30 three to four various timbres of static interspersed with feedback

00:01:30-00:02:25 white noise floodss the mix the track is nowing raging loud

00:02:26-00:03:10 circuit bendy type bleeps and noise

00:03:11-00:05:40 a noise swell followed by random deeper bass tones erupt

I realize that my monitors are going through a serious workout, and although I feel sorry for them, it is quite entertaining to watch the speaker cones dance.

00:05:40-00:08:33 little random waved shaped tone blips do their little “sample and hold” dance

00:08:33-00:09:15 waves of granulized sound swing back in forth like a pendulum…next a transition

00:09:15-00:10:53 motor-like noise with a subtle drone in the distance, a time for reflection

00:09:15-00:12:22 soothing static starts to wiggle into recognizable patterns as 60 hertz hum rises

00:12:23-00:15:50 RF interface, loud rumbles and sine tones fight for the spotlight while more flavors of white noise are mixed and panned around. It gets louder and louder.

00:15:51-00:19:06 A thinning out occurs, noise subsides to allow one skittering electronic voice which eventually evolves into a rapid fire machine gun serenade

00:19:07-00:20:43 I think I have reached the valley of BUFFER OVERIDE

00:20:44-00:24:13 a resonating metallic sound undulates amidst a dense forest of harsh scraping static

00:24:13-00:26:11 the slithering digital beast makes its way back to its cage.

If you make it this far and still curious, I believe the strengths of this release rely on what I consider Martin’s vision of composition, and not a simple machine translation of the data. As far as I can tell, NOISH only uses his Shell Linux trick, to gather sound for inspiration. There are a plethora of other post-processing tricks, mixing and stereo panning to aggregate the noise into a finished piece. It is worth a listen if you appreciate anything DSP, and its not as academic as the premise may suggest.

noise&capitalism.pdf»/dev/dsp - NOISH~ FSS-15

He de reconocer que en los últimos años ha habido muy pocos trabajos dentro del noise patrio que hayan llamado mi atención. La mayoría de ellos me han llegado vía Desetxea, ese depósito netlabel bien conocido por todos y dirigido por el gran Mattin. Hará ya como unos tres años cuando el de Getxo decidió ampliar estrategias y abrir este nuevo apartado llamado Free Software Series, sello en formato cdr con ediciones de 200 copias para la publicación de trabajos experimentales realizados exclusivamente con software libre.

La última referencia aparecida en su catálogo es este excelente nuevo trabajo del artista barcelonés Oscar Martin (NOISH), una pieza única de 26 minutos producida con Shell, PD y Ardour corriendo bajo Linux (Karmic Koala). No sólo basa todo su sonido en software sino que utiliza también diverso aparataje analógico (grabadores de cinta, pequeño mezclador para producir feedback, etc.), ampliando su paleta tímbrica.

De esta colisión entre el mundo analógico y el digital, NOISH saca una buena lectura en esta pieza, un fino trabajo de texturas superpuestas, y su mejor producción hasta la fecha donde las virtudes de pasados trabajos son desarrolladas en un continuo devenir orgánico, construida casi a golpe de cincel, con todos sus ángulos y formas muy bien definidas dentro de una estructura que, a pesar de su firmeza y aparente abstracción, se mueve perfectamente en múltiples direcciones, imprevisibles, asimétricas. Gran trabajo, no hay duda.

[UBE] http://www.con-v.org


noise&capitalism.pdf»/dev/dsp - NOISH~ FSS-15

When I first listen to a CD, I almost always put it on without paying any attention to the sleeve notes or press release, and usually in the morning before work, while I go about the day’s early chores, washing, ironing, putting CDs into envelopes etc… So I don’t pay as much attention to it, or to the details I may have about how it was created, the instrumentation involved etc, as I would in the evening when I listen much more closely with the intention of writing about the music. So early today I played through tonight’s CD a couple of times, letting it pass me by as a just-OK disc of computer generated feedback and white noise detail. The sleeve notes later revealed what I was listening to to have begun life as something more interesting, though the question of whether the end result is any more listenable once this added information is known remains to be asked.

The disc is the fifteenth release on Mattin’s Free Software Series label, which will eventually be available as a free download from the label’s website. It is named Noise&Capitalism.txt and is credited to NOISH, who apparently is a computer musician named Oscar Martin. If the title rings a bell, then you may remember that the book edited by Mattin that came out last year had the same name, and it is the text of that book that has lead to this music being generated. Although the diagram on the sleeve that shows the process used is a bit vague, it seems that Martin took a pdf of the book’s text, fed it somehow through a laptop into a cheap radio cassette recorder, presumably somehow processing the pdf as an audio signal, maybe using an automated text reading voice. He then used a combination of digital and analogue transformation processes to feed the work back into a computerised audio file, which is then presented on this CD.

Interestingly, this is almost exactly what Robert Kirkpatrick seems to have done for his latest limited edition release, details here. Though he started with a different text, the two musicians seem to have independently struck upon the same, or at least very similar conceptual ideas to make their music. I haven’t heard Robert’s piece, but I suspect that it could sound not dissimilar to Martin’s CD, a kind of mashed up mess of digital and analogue feedback and distortion, full of tiny details jammed together, occasionally landing on some interesting shapes and patterns but ultimately much more interesting as an idea and concept than as a piece of music.

The track here is divided up into clear sections, with dense sections of what sounds like a badly tuned radio and electronic scribbling interspersed with quieter, more spacious parts, these little breathing spaces being more interesting to listen to. In many ways the music reflects what I thought of the book, really thoughtful and thought-provoking in places, a bit of an impenetrable wall in others. The whole thing clocks in at a little under half an hour, which is long enough for me, but to be fair the CD doesn’t overstay its welcome and changes gear often enough to retain the attention. The sounds themselves though are very familiar and well worn. Knowing how they were originally sourced adds a layer of intrigue to the whole work, but ultimately as a piece of audio to listen to I’m glad there isn’t more then twenty-six minutes of it. Although I would never have guessed how it was made, there is still a sense of disconnection in the music, away from too strong a human touch. I might have guessed that audio signals of some kind were being fed through digital patches of some kind, but otherwise I’d never of known.

So I find myself wondering if, had I not been intending to write about this CD, would I ever have noticed how it was made? Is the conceptual side of the release actually a vital part of the whole project, an element without which the music is rendered entirely uninteresting? Is there a point being made here? Could any text have been used to the same effect or does the piece of conceptual art require Mattin’s book to retain its power? Does the music stand up on its own? Soon it will be available as a free download and you can decide for yourselves. Personally speaking, without the added information about how the track was created, this review would have been a lot shorter than it is now.


Part of it is a CDR (and - soon to be - free download) by noish~ (moniker of Oscar Martin) that has appeared as the 15th release in the Free Software Series, promoting experimental works that were realized using free software.
Being a digital file, the pdf version of Noise & Capitalism at heart is nothing but a mass of 0's and a 1's, which - with suitable tools - can be materialized in whatever form one chooses. Oscar Martin choose to let his free software read Noise & Capitalism's pdf as an audio file.
When doing so, at least in theory, anything could happen. Interpreted as sound, sequences of digits encoding the text might correspond to sequences of digits of some encoding of a hypothetical audio recording of the voice of Karl Marx himself.
In practice, though, I guess that chances that a certain decoding will make such a thing happen are as slim as the chance that a randomly generated sequence of letters and spaces turns out to be the same as the first chapter of Graham Greene's The Human Factor.

What it does - in both cases - bring on, is a glorious heap of noise.















I like the idea of transcoding. It is a means to perform 'cultural hacks' which is easy to use and accessible, but at the same time remains highly abstract. And I like even better the conceptual twist of thus 'hacking' precisely this Arteleku book, and make it come out as (technological) noise. (The fact that whatever other pdf encoded document is very likely to transcode into a similar type of audio, is beside the point.)

The resulting sound piece - "noise&capitalim.txt >> /dev/dsp" - lasts somewhat over 26 minutes and - as far as I am concerned - stands out as a highly enjoyable and varied sonic metaphor for the text from which it is derived. (No, I do not think that the 's' missing in 'capitalim' is intentional.) The piece is composed: like the ideas and words in the book, the raw noise that resulted from the raw data has been subjected to a transformational and editing process, that you find schematized in the picture above.
In his review of the piece on the furthernoise website, Derek Morton provides a detailed log of his personal listening journey. Here is my rendition of Derek's impressions:



















[logged by: Derek Morton (furthernoise.org)]

The combination of the textual and the sonic version of Noise & Capitalism actual confirmed my conviction that here and now (in this badly capitalist world) we need not worry about the music's future. I deeply believe in a 'music' doing very well also without us reflecting upon it, without us scheming and plotting to have it run a certain course rather than another. Though admittedly there may be limits to what we are able to imagine, the music - such is my profound conviction - will take care of itself, in whatever future context one may envision. All that it needs are dedicated individuals, and a society that allows them unrestricted freedom of speech and access to the means to express themselves in whatever way they seem fit.

As long as these basic conditions are met, the music will continue to thrive.
There will be ups, and there will be downs. Of course.
I never said it would be easy.

Is there any reason why it should?

review by Harold Schellinx harshmedia / soundblog
00:00-00:32 * Ear prickling stereophonic grit
00:33-01:30 * 3 to 4 timbres of static interspersed with feedback
01:30-02:25 * White noise floods the mix; track now raging loud
02:26-03:10 * Circuit bendy type bleeps and noise
03:11-05:40 * Noise swell followed by erupting random deeper bass tones; watch the speaker cones dance
05:40-08:33 * Random waved shaped tone blips doing 'sample & hold' dance
08:33-09:15 * Waves of granulized sound swing back and forth like pendulum
09:15-10:53 * Motor-like noise with distant subtle drone
09:15-12:22 * Soothing static wiggles into recognizable patterns with rising 60 Hz hum
12:23-15:50 * RF interface, loud rumbles and sine tones fighting for the spotlight; flavors of white noise mixed and panned around
15:51-19:06 * Thinning out, noise subsides to a skittering electronic voice which eventually evolves into rapid fire machine gun serenade
19:07-20:43 * Valley of BUFFER OVERRIDE
20:44-24:13 * Resonating metallic sound undulates amidst dense forest of harsh scraping static
24:13-26:11 * The slithering digital beast makes its way back to its cage.
review by Richar Pinnell - The Watchful Ear
review by Derek Morton - Furthernoise.org issue octomber 2010
review by Ed Pinsent issue 19 the sound projector

Noise Dreams Machina – In / Out VÖ: 2008 Label: Drone Records
Genre: Drone, Noise, Power Electronics

Exzellentes Futter für “Kopfkinojunkies”!

Wenn sich ein Projekt absolut passend benannte, dann Noise Dreams Machina aus Spanien, das auf diesem Release zwei spannende Noisecollagen präsentiert, die für exzellentes Kopfkino sorgen.

“In / Out” erschien im Rahmen der 7inch Reihe von Drone Records, welche hier in klarem Vinyl (limitiert auf 300 Exemplare) & schlichter Gestaltung (schwarzweiß) Auslieferung findet.

Hinter Noise Dreams Machina verbirgt sich der spanische Künstler (mit Sitz in Berlin) Oscar Martin, der seit 2006 mittels seiner interstellaren Waschmaschine post-digitale elektronische Musik erzeugt, die eine tiefe Vereinigung der Stile Drone, Noise & Power Electronics darstellt, welche gemeinsam ein kurzweiliges Hörerlebnis garantieren.

Wo die A-Seite zwischen den Extremen ambienthafte Drones & harschen Power Electronics schwingt, wartet die Rückseite nicht mit Gleichklang, aber ehr ruhigeren Noisespuren auf, die grundsätzlich mehr in Richtung Atmosphäre anstatt Krach tendieren. Gerade Hörerkreise, welche Tonkunst suchen, um neue “Kopfkinotrips” zu starten, sollten sich diese Arbeit von Noise Dreams Machina nicht entgehen lassen! Besonders mag der Abwechslungsreichtum innerhalb der zwei Tracks gefallen, wodurch sich das Material deutlich vom oft angebotenen Stumpfsinn unterscheidet.

Fazit:

Oscar Martin präsentiert mit der 7inch “In / Out” eine vielschichtige Veröffentlichung, die über eine Menge Ausdrucks- wie Durchschlagskraft verfügt, wodurch sie besonders Kopfkinojunkies ansprechen dürfte – meine absolute Empfehlung, wenn man (Frau auch) gegenüber Noise oder Power Electronics keine Aversionen hegt!
review by RAF kultur[terrorismus]
review by UBE ursonatefanzine nº 001


Noise Dreams Machina – In / Out 7″ Vinyl, Drone Records, 2008

The noisiest of a recent batch of releases by Drone Records is something of a new name, one Oscar Martin under the moniker Noise Dreams Machina – a name that fits perfectly in the Dream Machines theme from Drone Records.

The two tracks on this release are simply called “In” and “Out,” and they were created using a collection of free or homemade software and field recordings. The result is quite immense and bombastic and definitely not easy listening. “In” is thematically based on in-your-face noise, later combined with more minimal layers. “Out” begins with a drone and is later joined by dissonant structures, but the drones keep evolving in the background. Just the second track makes this vinyl release worth buying!

The milky-transparent vinyl is presented in a simple white cover with black prints of plugs, and the label description mentions “File under: Advances Electro-Acoustic Drones.”

[7.5/10]

review by Bauke van der Wal connexionbizarre
download
ZIP


review by Keith Moliné the WIRE unofficial channel "free software series" dec 2010
code
video
listen!
reviews
contact
New: Institución_RS >> /dev/dsp RRS audiocapsule
title : eetz

label : FIBRR RECORDS

cat : VIBRIRRR006

format : online freeDownload

release year : 2011


caos audio teorie – extrange attractors — [from mathematical functions to organic jungle sounds]

covert art: lcpino

web :
Fibrr Records
download
audio VBR mp3 31 mb
audio WAV 256.6 mb
CodE Pure Data

Noish - Free SS 15 CD - Free Software Series

Inspired by "Noise & Capitalism", a book and audio-cd by Mattin & Anthony Iles - a sharp and tendentious reflection on the political role of noise - this fifteenth implementation of the Free Software Series features another radical sound activist, Oscar Martin, aka Noish, an experimenter whose work is as "cryptic" as the aforementioned text, but still effective in its presentation of a "transcoding". This work makes use of performative meta-criticism as it reintroduces the same doubts about musical stereotypes and the dynamics related to them as "noise" and "subversive frequencies”. "What fascinates me about digital media is that you can transform anything that can be decoded into 0s and 1s, crossing different forms and languages," says Noish, an author for whom "sound can be transformed into image" just as the DNA of a cauliflower can become a sound piece. The result is a combination of software such as Shell, Pure Data and ARdour, together with other devices, tape and cassette recorders, mixer feedbacks, the summa of a productive "pauperism" which is actually very fruitful and imaginative.
review by Aurelio Cianciotta NEURAL
download
audio FLAC


title : EETZ z.23 - Live Version

labels : Audition Records

cat : ar[034]

format : Online freeDownload

Recorded at La Clínica Mundana by Edu Comelles,

Pictures by Pablo Llopis
Design by Aniana Heras

web :
Audition Records
download
ZIP
English
Spanish
PILGRIM TALK PT[18] noish & xedh rlhaaa to
(Pilgrim Talk, 2012)
cassette 70 copies – silkscreened covers by NH
more info

Noish & Xedh – rlhaaa to (Pilgrim Talk, 2012)

Si je n’avais pas trop aimé le mini cdr de Miguel A. Garcia (aka Xedh) publié sur Ghost&Son, cette cassette en duo avec Noish (Oscar Martin de son vrai nom) m’a beaucoup plus convaincu. Pour rlhaaa to, le duo Noish/Xedh a composé deux pièces d’environ vingt minutes chacune. Une pièce par face, toutes deux maintenues par une cohésion et une continuité, malgré la rupture du changement de face. Ça commence par des textures abrasives où se mélangent des bruits parasites et des interférences électriques, accompagnés de quelques objets et divers sons préenregistrés, ainsi que d’une radio. L’intensité monte petit à petit, faible au départ, elle est parfois rompue par des interruptions analogiques puissantes, mais il faudra tout de même longtemps avant de sortir de l’enchevêtrement de câbles jack avec leur souffle parasitaire et de manipulations électriques sur les interférences. Mais même si ce n’est pas fort, il y a tout de même une forte tension, une ambiance presque angoissante où les bruits les plus incongrus peuvent surgir à tout moment, de manière souvent inattendue.

Comment les deux artistes sonores espagnols parviennent à sortir de ce fatras de bruits hétéroclites et parasitaires? Réponse: l’analogique bien sûr. Synthétiseur analogique à fond, trituration de bandes, la puissance de l’analogique renverse la quiétude et la méditation digitales. Les sinuosités tracées par les interférences deviennent de vrais reliefs et une nouvelle dynamique semble engagée. Une dynamique beaucoup plus puissante et forte, tout aussi fracturée et ponctuée d’évènements inattendus et hétérogènes, de manipulations et de déconstructions sonores qui forment des textures denses et des dynamiques violentes et puissantes.

Deux pièces inspirées par l’eai et la musique concrète, puissantes, denses et intenses. Recommandé!

review by Julien Héraud IMPROV-SPHERE

Noise&Capitalism.txt>> /dev/dsp Free Software Series Free SS 15 CDR (2010)

Listening to this recording, I feel nostalgic for the days ten years or so ago when Mego truly was a force for good in the universe: it’s got that light, cheeky, devil-may-care attitude with the sharp crackly edges that made several Mego releases so outstanding. Spanish native Oscar Martin takes a txt file of “Noise and Capitalism” and shoves into the dsp of his computer to generate sounds which he then puts through a wringer in the shape of analogue tape on a cassette recorder, and edits and refines the sounds to something very sculptured, animated and sometimes surprisingly crystalline and clear. There are points where the track barely hangs together and stutters its way through a series of bleeps, blinks and urgent pulses. The impression I get is we’re going through a tunnel, a worm-hole with transparent sides, through a strange soupy universe of mercurial liquid sounds that shape our journey and send our tunnel into strange detours and valleys where we are more lost than ever before. The music expands and contracts, making for a most uncomfortable ride.

Perhaps it could have been shorter and more compact – there are times where I feel Martin lets his laptop have a little too much freedom and the critter runs away from him, and Martin’s got to try and get it back under control and go to where he’d like to be. But if a computer can’t have some scope to play with its sounds, it’s going to be a surly and rebellious child and there are moments where indeed it sulks and pouts and sidles along with long droning siren noises. In the last few minutes I sense a bit more urgency as if there’s a lot more territory to cover and we still haven’t reached the halfway point of our trip. We continue on and all of a sudden the CD ends just when we’re almost home; this gives the impression that there are still more areas that Martin has discovered that remain undiscovered.

review by nausika The Sound Projector

title : Black Nature

label : HUM.REC

cat : hum[01]

format : Cassette & Online freeDownload


Boids Warriors

web :
HUM.REC
download
ZIP audio + code
Instalations
dance