Ok, lets start. This is a list of all non-conventional music, with stunning experiments and very rare ideas. All suggestions and recommends are welcome. Bass Communion "Ghosts on Magnetic Tape
Bass Communion is a project by the prolific Steven Wilson, member of alt-indie rock band Porcupine Tree and the ambient-atmospheric project, No Man. Ghosts on Magnetic Tape is inspired by scientist Konstantin Raudive’s famous attempts to communicate with the dead and subsequently capture his efforts on magnetic tape.
Each of the five pieces showcases a particular sound that stands out against the enshrouding atmospheric wash. The first features solitary piano notes against dense bass reverberations, followed by a pre-recorded tin-like orchestral score likely culled from an old 78.
A striking characteristic of Ghosts on Magnetic Tape is the crackle and hiss of analogue limitation, exemplified in the recurrent use of music from 78's. Rather than dirty the sound, the cracklings add a warm and charming dimension, further emphasized by the seamlessness of the work.The Caretaker
The Caretaker’s first three albums ("Selected Memories From the Haunted Ballroom", "A Stairway to the Stars" and "We'll All Go Riding on a Rainbow") are all excellent examples of hauntology existing in music. These initial three albums are all said to have been heavily influenced by the famous ballroom scene in the film "The Shining" the idea of ghosts from the past re-emerging from the shadows to share one last waltz around a previously empty and deserted ballroom only to vanish soon after. In many ways The Caretakers music is a musical re-representation of this scene with the ghosts of those long forgotten ballroom dancers replaced with the now seemingly archaic and long forgotten yet ‘Uncannily’ familiar ballroom music of the same era. These first three Caretaker albums were all created using re-processed 1920/30s ballroom music from old 78rpm records as their base source. These antique tunes are not simply re-produced however, but are instead buried under layers of feedback, dusty ambience, and vinyl crackle; before at times being smeared, re-sampled and stretched almost beyond recognition. These sounds never come fully to the fore, they are never allowed to be fully realised, never allowed to continue for too long or simply play out, and never allowed to take flight as they once did. These sounds are not simply the past brought back to life through music, but due to having been buried under layers of ambience and combined with their crackly, semi-obscured nature are in fact mere shades of the pastLoren Chasse
Loren Chasse considers the sonus of natural and unnatural settings, situations, and found objects a spirited material that may be transported, mutated and reintegrated under new conditions to yield hybrid apparitions of spaces, things and moments. The microphone as an extended ear composes as it moves through a space, recognizing various threshholds and sites where ambient sounds blur and begin to detach from their sources. Loren’s recorded work and performances often incorporate electronic noises—hums, whirs, sputters and drones—which emulate sounds that occur in nature. The combination of such objects as motors, clocks and strobe lights with materials such as stones, branches, gravel, sand and leaves creates an atmosphere of fantasy, something familiar yet unnameable, neither here nor there.Seth Clueth
Seth Cluett is a composer and visual artist whose work includes photography, drawing, video, sound installation, concert music, performance, and theoretical writing. His pieces are an exploration of the role of sound in everyday life. Operating at the boundary between the auditory and other senses, his work engages sound's ability to be both collectively shared and distinctly personal. Many of his pieces investigate the acoustic signature of specific locations, where sound is experienced as an activity (audio tourism), architectural property, or as geological process.
His compositions and installations are characterized by their minimal use of sine tones and drones derived from close-listenings to the urban and rural environment. His sound work often utilizes unaltered field recordings, found-sounds, and altered consumer electronics.The Conet Project "Recordings of Shortwave Numbers Stations"
The Conet Project "Recordings of Shortwave Numbers Stations" is a four-CD set of recordings of numbers stations, mysterious shortwave radio stations of uncertain origin believed to be operated by government agencies to communicate with spies "in the field". The collection was released by England's Irdial-Discs record label in 1997, based on the work of numbers station enthusiast Akin Fernandez.
The Conet Project has since become somewhat of a cult sensation and counts many musicians and filmmakers among its fans, including Wilco frontman Jeff Tweedy, Melvins collaborator David Scott Stone, Boards of Canada, The Besnard Lakes, former Faith No More vocalist Mike Patton, and director Cameron Crowe. Samples from the collection have been used in numerous films and albums, including Crowe's film Vanilla Sky and Wilco's Yankee Hotel Foxtrot album, the latter of which was an issue of legal dispute; Jeff Tweedy did not seek permission to use the Conet sample and Irdial sued for copyright infringement. The incident sparked debate about who exactly owns copyright concerning recordings of numbers station transmissions, but Tweedy ultimately decided to avoid taking the matter to court, agreeing to pay Irdial royalties and reimburse its legal fees.First Human Ferro "Guernica Macrocosmica"
In the recording of this album were used 1920 - 1970's retrosamples of popular songs by Soviet and East European musicians, including among others Vadim Kosin, Maya Kristalinskaya and Edita Pjecha.Terje Isungset
Norwegian percussionist Terje Isungset has for years used a variety of organic sound elements in creating music and instruments. He has incorporated the sound of naturally found wood, stone, metal objects, and industrial machines and processes in the creation of musical works. Utilizing ice as a source of sound has long been a dream of his, and in year 2000 a serious opportinty came along to explore this possibility. He was commisioned the create a performance piece and composition incorporating the live sound of water beneath a natural frozen waterfall at the 2000 Lillehammer Winter Festival, at minus 15°C degrees and with Palle Mikkelborg og Lena Willemark as participating musicians. (the consert was televised in Norway). This was likely the first public concert ever combining instruments of ice with traditional musical instruments. While making preparations for the Lillehammer concert, Isungset was contacted to help create Swedens contribution to the worldwide televised New Years Day Millenium Celebration . In cooperation with sculptor Bengt Carling, Isungset created a set of ice percussion instruments that were played for the whole world to see and hearJacob Kirkegaard "Eldfjäll"
This CD consists of geothermal recordings of vibrations in the ground around the area of Krisuvik, Geysir and Myvatn in Iceland. The recordings have been carried out using accelerometers, hydrophones and home-built electromagnetic receivers inserted into the earth at various places around the geysers, mapping the sonic aspects of volcanic activity at the surface of the earth.
This is ambient from the center of the earth.Jacob Kirkegaard "Labyrinthitis"
LABYRINTHITIS relies on a principle employed both in medical science and musical practice: When two frequencies at a certain ratio are played into the ear, additional vibrations in the inner ear will produce a third frequency. This frequency is generated by the ear itself: a so-called “distortion product otoacoustic emission” (DPOAE), also referred to in musicology as “Tartini tone”.
By arranging the tones from his ears in a composition and playing them to an audience, the artist evokes further distortion effects in the ears of his listeners. At first, each new tone can only be perceived "intersubjectively": inside the head of each one in the audience. Kirkegaard artificially reproduces this tone and introduces it, "objectively", into his composition. When combined with another distorting frequency, it will create another tone… until, step by step, a pattern of descending tonal structure emerges whose spiral form mirrors the composition of resonant spectra in the human cochlea.
Paradoxical as it may sound: we can listen to our own ears. The human hearing organ – still often perceived as a passive unidirectional medium – does not only receive sounds from the outside, it also generates its own sound from within itself. As a matter of fact, it can even be “played on”, just like an acoustic instrument.Alan Lamb "Original Masters - Night Passage
Night Passage is another release* culled from Alan Lamb's renowned "wire" recordings, and then some. If you're unfamiliar with Mr. lamb's previous sound excursions, actual field recordings were made of a half-mile section of abandoned telegraph wires located in Western Australia's outback.
The wires, dubbed "The Faraway Wind Organ", are sometimes buffeted by heavy gales blasting across the barren landscape, and other times gently stroked by subtler breezes. The wind action results in an incredible range of sound. The first two tracks were orignally recorded in 1984 and 1983 respectively.
In the almost-25-minute-long title track, the wires span the gamut of their repertoire... from subtle metallic pings, to resonant rocketship drones, to raucous saw-like buzzing. Occasional environmental sounds add an extra sense of place. The poles and cross beams creak under their continually straining load. Frankly, I would like to see more artwork and even more liner notes. I have my mental images though, of this gigantic, forgotten, unintentional instrument, continually howling into the desert void.
(*1995's Primal Image / Beauty being the inital release, and Night Passage Demixed (by Ryoji Ikeda, Thomas Koner, Lustmord/Brian Williams & Paul Haslinger, Bernhard Gunter))Olhon "Sinkhole"
Sinkhole’ is a musical journey to the centre of the earth. Actually it’s a journey into a depression in the land surface called the Pozzo del Merro situated somewhere east of Rome. Comprising two parts, dry and wet, the sinkhole dates back 200 million years and is made of limestone. In the dry section the walls are covered in vegetation whilst on the bottom, the wet part, lies a small lake hiding a dark abyss more than 1016 feet deep. It is the biggest sinkhole in the world. And Zairo went and explored both parts. He’s a braver man than me Gunga Din. Taking with him recording equipment he captured the sounds emanating naturally from the sinkhole using special microphones and sensing equipment and Remotely Operated Vehicles (ROV). These sounds were then treated, processed and mixed by both artists back in the studio. The resulting 10 tracks, spread over 41 minutes, will leave you, quite frankly, speechless.Akira Rabelais "Spellewauerynsherde"
On this particularly beguiling and haunting release, what were once thought lost tape loops of Icelandic opera singers are treated using Rabelias’ own home-built software are used in place of Basinski’s decayed and disintegrating tapes. The end product Allows these disembodied ghost like voices newly returned from the past to dance just on the edge of our peripheries amongst ambient swells and drones whilst at other times momentarily appearing naked and untreated in plain view but just for the briefest of moments.Set Fire to Flames
Set Fire to Flames is a post-rock band of thirteen musicians from Montreal, Canada, who have released two albums on Alien8 Recordings. Both albums were recorded "in states of little or no sleep, in varying levels of intoxication, and in physical confinement," with the result being brooding, eerie music. Their sophomore Student double album was recorded in a barn in rural Ontario; the sounds of the creaking doors and other background noise are heard in the songs. Many of their tracks are very minimalist in nature, filled with ambient noise and various other non-musical sound effects, juxtaposed or combined with instrumental music.Karlheinz Stockhausen "Helikopter-Quartett"
The composition, originally executed in 1995, recorded the members of the Arditti String Quartet playing inside four Royal Dutch Air Force Helicopters. The choppers, meanwhile, flew patterns charted in the composer's score. Both the helicopters and the string players were miked for sound, broadcasting in real time to a console on the ground where Stockhausen mixed them together.Thai Elephant Orchestra
The Thai Elephant Orchestra is a musical ensemble consisting of as many as sixteen elephants near Lampang in Northern Thailand. The elephants play music (essentially as conducted improvisations) on enormous specially designed musical instruments. The orchestra was created and is conducted by elephant conservationist Richard Lair of the Thai Elephant Conservation Center and the American composer/performer Dave SoldierXerophonics "Copying Machine Music"
Collection of musically manipulated field recordings of copying machines.Z'ev
Beginning in the early 1970s, Z'ev developed a personal technique utilizing self-developed instruments formed from industrial materials such as stainless steel, titanium, and PVC plastics. Initially these instruments were assemblages of these materials, used with a movement-based performance style that was a form of marionette, although with the performer visible. He has since come to refer to this performance mode as 'wild-style', a term originally related to graffiti. Critic John Buckley described his performances in this era:
The instruments are collections of objects ... strung together with ropes and swung at varying speeds and directions to produce a fairly astonishing range of pitches and timbres. And the moves the guy goes through to manipulate these instruments are, for grace and athleticism, strong stuff. Z'EV is also interesting for the close correlation of visual and musical aspects, since the physical vibrations of the objects you see are the same as those picked up by the ears as sound. Also, since the rhythms of the work are dictated by the performer's every and any movement, an inevitable integrity unifies the act.More here..