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MV 002CD
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"New album of Moscow-based project Cisfinitum is the experiment in more emotional rather than in musical domain. Deep and profound, it's touching the most dark corners of human soul and takes it to the imaginary otherworlds. This peculiar quality of Cisfinitum music is achieved through extensive use of Soviet analogue synthesizers (ANS, Polyvox, Yunost-21, Formanta amongst others), but the spiritual beauty of Bezdna is also created by violin and omnipresent voices. Psychoactive dark ambient combined with melodic incantations."
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MV 005CD
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... Selected words 1994-2004. "First official CD album of Rafael Flores who hails from the depth of Spanish noise underground scene, known for his early works released under Comando Bruno moniker. This compilation presents the latest decade of his sound experimentation, and shows quite diverse sides of his creative efforts, which ranges from collaged field recordings to noise ambient loops, from rhythmic structures to hypnotic electronic passages."
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MV 003CD
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"This is the new, remastered version of classic material recorded back in '80s, next to post-industrial aesthetics priority in electronic music. Rigorous and austere, ascetic but dynamic, this music rearranges everyday being into mind-challenging imagination, reserving the leading parts for the habitual processes and domestic objects. From the deep underground of Spanish industrial music, it comes to be rediscovered after 15 years."
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MV 001CD
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"With his 8th solo album, French composer Laurent Pernice presents the pure electronic music, providing fresh views for academic avantgarde, from the different sides of microtonal music, reductive minimalism and other methods of digital decomposition. Ever since his first album (Details, 1988), Pernice has been collecting certain sounds which came into being all on their own, so to speak, the haphazard result of certain manipulations. By letting them run free, he realised that they produced a kind of minimal music, even microtonal at times -- yet a truly alive music worthy of being heard. Most of these sounds came about through sheer experimentation while trying to distort the use of an instrument. Thus, the first immobile music was based on a double bass using only its extreme high notes and on a zither played with bass drumsticks. The incongruity between the technique and the instrument produced chance music which, in a certain sense, created itself..."
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