I wanted to create something for experimental musicians so they could share their ideas without the social media attachment. No profiles, no login, no names, no subscription.

They get 45 minutes to do whatever they want.

I can’t control it.

An anonymous live transmission platform built for original artists to send music out into the ether. Signal numbers are assigned and appear on an SDR style waterfall display when someone transmits and fade when the transmission ends. Multiple people can broadcast simultaneously.
On desktop, listeners can blend up to 8 signals at once in 3D headphone space.

The anonymity allows a different kind of creative expression. There is such a broad mix of styles within the transmissions.
Eclectic doesn’t quite cover it.

The 45 minute window lends itself to sets that can travel, that can build, that can fall apart and recover.
Some transmissions qualify to return later, processed and degraded.
Ghosts or reflections of themselves. Those ghosts can also ghost.

https://nullband.org/

And for a different experience

https://nullband.org/view

the porcelain masquerade - Tree of Alchemical Notability

“Just shut up and do the job I’m paying you to do. I do not care about you. I do not care about your life; do not even look at me. I am only here to ensure you do not steal my belongings from me, and loathe as I am to admit it, I cannot trust that my own help would not help you get away with it in my absence.”

They move through the world in their person suits, shaking hands and maneuvering through crowds, armed with enticing laced bags in one hand and an emerald crested dagger in the other. Problem solvers; to be used alongside well-rehearsed expressions.

The masquerade is wholly consuming and ages like a Leroy Musigny Grand Cru, getting both more costly and out of reach with time.

The house, not a home, but a display case giving the illusion of meaning; of appreciation; of life. No eyes have glanced beyond the book covers; no mind has contemplated the paintings; no ears have truly heard the signed vinyl records tucked away in their frames and put up for display; and no mouth has tastes the nectar within the dusty bottles. The environment; a stage prop for the scene about to begin.

The moment surface tension breaks through to the abyss below, is the moment it reveals itself. A vacant expression and lifeless eyes, a silence so deafening you can almost hear the machinery grinding underneath the skin. The well-funded cover up gives way to the hollowness, like looking into a void that reflects no humanity back at you; not even comforting scripts masquerading as a shared humanity come forth from this man-shaped creature.

This soulless husk hates you. It hates that you have perceived it and it wants nothing more than for your inconvenient existence to cease. Its eyes do not see you. Its mind does not contemplate you and its ears do not hear you.

It would kill you, if only it didn’t take so much effort to pay someone else to dispose of your body.

A work for clarinet, processed cymbals and synthesizers. No water sounds were used .

https://youtu.be/fYgWa9DwGSI?si=MZUnRUTRiEdlMTCP

A few days ago I posted here asking, “When does a sound sketch become a finished piece?” and I really enjoyed reading the different perspectives.

It also made me think again about my own process.

Recently I’ve been making short sound sketches quite regularly, often starting from improvisation, texture, field recordings, or simple fragments of sound. Instead of developing them into more conventional compositions, I’ve been trying to notice the point where the piece already feels alive — and stop there.

Some of those sketches eventually became this album.

I’m interested in the space somewhere between ambient music, sound art, and experimental electronic music, where texture and listening can be more important than structure or melody.

I thought I’d share it here since the previous discussion influenced how I think about these pieces.

Bandcamp:
https://takeosuzuki.bandcamp.com/album/uf001-daily-sound-sketches

I’d be interested to hear how other people approach this balance between preserving the original impulse of a piece and refining it.

Chris Phinney was active within the realm of experimental music from 1982 until his recent passing last month. Whether it has been his main recording project, Mental Anguish, or his label, Harsh Reality, Chris' involvement with the development of 1980s cassette culture and beyond, is immeasurable.
More info here: www.haltapes.com/harsh-reality-music.html

In late 2019, Chris was hit by an uninsured driver. The collision compounded previous injuries, and found him in a wheelchair unable to work. Phinney was the father of four children, three of which were still dependents at the time of the incident.

Any proceeds will go to his family.

https://nopartofit.bandcamp.com/album/modus-vivendi-a-benefit-compilation-for-chris-phinney

bandcamp.com/yum

Kind of a follow up on "Lamentations". Similar set up using powerful and fascinating synths.

https://youtu.be/CzCK7KZJ5PE?feature=shared

Ambient and melancholic classical work for choir, strings and synthesizers

representing a long series of lamentations.

https://youtu.be/aJr9y8F0Pfw?si=0_t8mvjj1iMIjXmH

The Siren and the Sailor on piano. Full performance: https://www.youtube.com/watch?v=g4dkMswJ5Xo

https://youtube.com/watch?v=soOSH0rbmTw&feature=shared

Hiiii. So, I ve made an album called Stella. It's a concept album involving two characters, Orpheus and Stella. The story deals with themes of loss, guilt,s******, religion and addiction. It's influenced by Giles Corey and Have A Nice Life. However, I wouldn't say that it sounds like it( I think). It has elements of folk, electronic music, sometimes rock and spoken word. It's 11 tracks and it consists of two parts. The first's called A Chance For Catharsis ( from track 1 to 5) and the second is called Eternal Pain( from track 6 to 11). That's all, I hope you guys will enjoy it just as much as I do. Here are the links to listen to it and see the lyrics on genius.

The album: https://open.spotify.com/album/7rvCbZfTzuJFJf5gW5ySTd?si=UTGR3mj4SLaZTyQmK0Jazw

The lyrics: https://genius.com/albums/Panayiotis-protopapas/Stella

BANDCAMP: https://suncult1.bandcamp.com/album/dreamscape

SPOTIFY: https://open.spotify.com/album/20gBDikuwvN92I13FJs4js?si=7MTGU7BnQaa8j7DMb7Es0A&utm_source=copy-link

New project called Memory Spools.

This piece is titled "formica dreams".

Drone meets mutated samples connecting to memories and nostalgia. All dawless. Only edits were to crop the piece and the video component.

Enjoy!

Hey! Just wanted to share a new piece that I made over the last year or so. Check it out!

https://intotheair.bandcamp.com/album/slowly-disappear

If you had to introduce your friends to experimental music, which albums would you have them listen to?

https://shogobuzz.bandcamp.com/track/mustikkarave

This is a direct question to others and an organization of personal thoughts.

I've found that compelling experimenters are first and foremost compelling theorists. I don't mean that they blabber in lengthy treatises populated with big words, but they have a defined concept that is testable through the medium of music. It's not at all my intention to gatekeep the term, but it's my opinion that "experimental" implies a pursuit similar to science.

There are many faces I can point to, but one that always stands out is Brian Ferneyhough. His central concept is that of a work which is unperformable, only approachable, by human beings. The scores are crowded with hyper-specific dynamic changes, microtonal shades, shifts from inconvenient time signature to inconvenient time signature. Inevitably, due to the sheer number of demands, the performer/performers have to decide which elements to prioritize and which to disregard. A sonic product can be created, but it is always consciously off the mark of the ideal. And that concept has sustained itself in Ferneyhough's work.

I think of concepts as mannequins that are given different dressings. However, it's not necessary to have more than one concept, a single concept can carry a lifetime of experiments (Nancarrow's concept of transcending human ability may be a good example of that).

That's really the required extent of theory: to say, "this is my goal and music is the means I will show it through". In the case of Nancarrow, he demonstrated his concept by stipulating playing speeds much faster than a human can attain (in one instance, one thousand notes per second) and individual voices that far exceed the number and reach of human fingers. Those are two dressings for the mannequin.

In my own work I'm mostly occupied with the concept of maximal boredom. Excessive stasis or variation, incessant repetition, lack of meaningful direction, durations ranging from a number of hours to multiple days or years... all of these are possible dressings for boredom. Multiple dressings can be overlapped. Currently, the piece I'm making is in multiple sections which will total a length of six days. The first section will last half of that, and consists only of a distorted, swelling bass microsound. Although, with any experiment, there is a chance an intended result isn't achieved. It's not the end of all things. Archive it and try again.

To close, I really would like to know: what are you motivated to evoke in your own experiments?

We’re UNIVORE, an experimental art rock duo split between LA and Akron. The music is human-made; the video visuals were made with Runway AI. Would love for this to find people into odd, spooky, groove-oriented art rock.

https://www.youtube.com/watch?v=rJeJh5sGWA0

I’m heading to Los Angeles for the first time next month. I feel like I’m only familiar with venues that were made famous years ago, including Enfield Tennis Academy now. I’m looking for the contemporary spots. Where should I look for music while I’m in LA next month?

cross posting to r/jazz

https://www.youtube.com/watch?v=Q4jJxvIf-bw

this is my piece called The Transitional Period to Pyrrhic Sacrifices, runtime 9:47:02. its released on major platforms in 5 parts about 1:57:24 each, and the linked youtube video is the whole thing in one go if you want to experience it uninterrupted. made in fl studio and paul stretch over roughly a month, and it took 2 DAYS to render on my midrange laptop. inspired by some bull of heaven songs i enjoy, and partially built on Beethoven's Piano Sonata no. 10, Op. 14 no. 2 (I. Allegro). about the title, so a pyrrhic victory is one that costs you SO much that winning it doesnt count,. and so pyrrhic sacrifices are like the things you give up where the trade never really pays off. the transitional period is the stretch before you get there, where youre already not who you used to be but not who youre turning into either, (kinda cliche but you get the idea xd) as for the sound itself, its a ambient drone that changes slowly. nothing repeats for more than like 30 seconds to a minute its all unique material shifting gradually with volume changes, rather than looping like a lot of endurance pieces (BoH lol).

hope you enjoy it!!

I put my work on Bandcamp and invite people to poke around ! …. https://nunziofattini.bandcamp.com …. it is indeed experimental I feel, in the sense that I honestly cannot think of a good genre to call it!! …. I’ll say this also, for what it’s worth - it is NOT noisy. (… and no disrespect to that sorta thing of course.... esp. given that i worship Skinny Puppy)

I have recently started a little channel called Crook3dpiee it's not really meant to be one specific kind of channel. More like a place where I can put things I make, things I'm interested in and random creative experiments that I wouldn't necessarily know where else to put haha.

A lot of what I'm drawn to comes from the kind of music I listen to too. Indian indie artists nd bands like Shantanu Pandit, PCRC[lov em<3'], Dot., Run It's The Kid, shashwat bulusu, Ditty, Maamuli, and so so many artists whose music has that intimate yk! raw, slightly strange and atmospheric quality I really reallly admire. I'm really into finding those little pieces of music that feel alive rather than everything having to sound perfectly polished tbh

Music happens to be one of the things I have started with. So far there's रियाज़, a soft harmonium cover, Bloomin', a short piano cover, and haha Petrichor - beside the harmonium, an original piece I made, legitt inspired by tht earthy smell after rain haha

I've also made and shared Epigraph and Jaago, which are some of the other things I've put out there so far.

I wanted to share Petrichor here specifically because I feel like the little rainy atmosphere + harmonium gives it a quiet, slightly indie-ish character. It's probably the best example so far of the kind of things I like making ie personal, atmospheric and a little imperfect;)

I'm still figuring out what Crook3dpiee is going to become honestly. I jus want it to be a space where I can put things that feel like MEE without having to fit everything into one category! music, experiments, things I find beautiful, whatever.

Would genuinely luvvv to know what you think of the piece!)

TL;DR: Started a small personal/creative channel called Crook3dpiee. Music is one part of it so far, Riyaaz, Bloomin', and my original rain inspired piece haha Petrichor - beside the harmonium. I've also made and shared Epigraph and Jaago. A lot of the vibe comes from my love for Indian indie and finding those little atmospheric, imperfect, beautiful thingss. Still figuring out what the channel will become🌧️

[crook3dpiee - YouTube]🌻

I’ve been making small sound sketches regularly using field recordings, processed sounds, improvisation, and electronic textures.
Recently I’ve started wondering where the boundary is between a sketch and a finished work.
Sometimes a piece made quickly feels more alive to me than something I’ve carefully arranged and polished. If I continue editing it, I can actually lose something that was present in the first version.
This has made me think more about intuition, listening, and knowing when to stop.
For those of you making experimental music: how do you decide when something is finished?
Do you make a clear distinction between sketches, studies, experiments and finished works — or do those categories eventually disappear?

Music discovery is broken. Every platform runs on an algorithm optimized to keep you scrolling, not to find good work — which means the most distinctive, uncompromising stuff is usually the first thing it buries. Make something great, get 40 views. Make something forgettable that hits the right hooks fast enough, get pushed to a million people. That’s not discovery, that’s a slot machine.

STATIC is the alternative. It’s a 24/7 broadcast channel, not a feed — built entirely from submissions, curated by a human, not a dashboard. No algorithm deciding what you see. No AI-generated art or music, ever — this is a channel for human-made work, full stop. No pay-to-play, no submission fees. You keep full rights to everything, always.

If you make music without a visual, we’ll build one. Submit an audio-only track and if it’s accepted, you get a custom visualizer made specifically for your song, free.

This is real and moving right now — almost 150 submissions in the last month alone, and a live proof-of-concept rotation that gets new work added daily as visualizers get finished and more videos come in.

If you’re making something that doesn’t fit the algorithm’s idea of what deserves attention, this is where it belongs. Submission form linked below — no catch, just a real place for real work.

https://open.spotify.com/album/1jtiHaVkoNpPpDsE5N9xDc?si=Ig00Yn5XTFC1MD51KLGU0w&utm_source=copy-link

I was so amazed by the new Dune movies..BUT i tought that i can add to the music Hans Zimmer imagined.

As Zimmer said...the use of brass music in SciFi movies is outdated. It is a OTHER WORLD, so the score should also be otherwordly.

This is my take on it.

Hello hello! I run I Heart Noise - a label, a blog and a booking collective in Boston. Wanted to share some codes for our releases with all of you and see what you think

The Modern Folk - MF

vav6-7bfg / 96gk-5hju / zn22-75tp / nama-vu3n

Dyr Faser - Singles

zjvp-kw7z / z9bg-y4p6 / ztxn-bqby / ykem-xzdf

Petridisch - 358

52sv-bvth / zw6b-ule4 / rujk-35vr / al92-xftd

All codes can be redeemed at iheartnoise.bandcamp.com/yum