Musique Concrete Music

Discover 34 musique concrete releases with free Bandcamp download codes from independent artists and labels.

The Häxa Curse

This project and album is inspired by a woman who slept for 32 years, Karolina Olsson. The circumstances surrounding her three decades of slumber are mysterious and strange. Nobody knows exactly what happened. Fourteen year old Karolina was out in cold weather, playing alone, when she suffered a head wound. Four days later she had a terrible toothache. Her family attributed all this to the curse of a witch. She was sent to bed. She then slept for 32 years. During this time she was fed two glasses of milk every day while sleeping. She seemed to be decades younger than she really was. Nobody knows what really happened to Karolina Olsson when she was out playing alone. These tracks are composed in a way that means they go on forever. It's as if they were short excerpts of much larger, longer pieces. They are the strange offspring of HNW and death industrial and musique concrète. -The Sleeper of Oknö

EMERGE

exurbia

live at BKK-Galerie (abraxas), Augsburg, 10.03.16 recording, mastering, photography and design by EMERGE

KLONK I ANJA KREYSING I EMERGE

FLOW

All tracks were composed for Flow. A project by Dr Martina Cecchetto, with the scientific contribution of Dr Florian Betz and the artistic curation of Riccardo Fumagalli, in collaboration with Cities & Memory, the University of Padua (Italy), and the University of Würzburg (Germany).

RE-DRUM / EMERGE

split

A. RE-DRUM live at echokammer, Augsburg, 28.03.15 B. EMERGE Live at Eufemia, Warszawa, 14.04.15

Jeff Surak and Autodetuned

Zoology

For digital downloads and non-USA addresses order direct from the label: staalplaatlabel.bandcamp.com/album/zoology Zoology is a sonic lexicon of imaginary species captured in their natural habitats from post-industrial wastelands to deep sea hydrothermal vents and interstellar cosmic voids. In the process of recording the music for Zoology, we noticed how the pieces sounded like imaginary animals, and the sounds that they would make in different environments. Hence we titled the album Zoology, and titled each track after a nonsensical nonexistent species. released by Staalplatt (Berlin) on August 7, 2026 Recorded Winter of 2026 Jeff Surak - electronics, field recordings, trash & debris. zeromoon.com Autodetuned: contact mics, field recordings, guitars, pedals and sound objects. autodetuned.bandcamp.com Mastering: GS Mastering & Post

HUTELEVOXUN

New Time

Utilizing analog synths, banjo, keyboard, bells, found sound, collage, "New Time" blends ambient, electro-acoustic, folk, musique concrete, noise, both free jazz and smooth jazz, and drone into...something different. Music for a new, different paradigm

Sean Derrick Cooper Marquardt

LEGENDE INTERVIEW [Fremder in einer fremden Welt]

What an immeasurable joy it is to finally welcome a work by Sean Derrick Cooper Marquardt into the haunted halls of ECHØVEIL. Sean is an American performance artist, musician, and free improviser, born in Chicago and now based in Berlin. He is renowned for his astonishingly prolific body of work spanning the vast territories of experimental music in all its forms. He is perhaps best known for developing the Accidental Guitar Method—a practice in which chance, intuition, and improvisation become equal partners in the live composition and recording process. To date, Sean has released more than 700 albums, either solo or in collaboration with fellow sonic explorers, each one presenting entirely original and previously unheard material. It is one of the most fascinating, uncompromising, and constantly evolving artistic journeys I have ever encountered. "Fremder in einer fremden Welt" (A Stranger in a Strange World) unfolds across fifteen mesmerizing minutes somewhere between sound art, ambient noise, musique concrète, spoken word, and field recordings. It is the kind of piece one gladly loses oneself inside—again and again—each return revealing new luminescent subtleties, unfamiliar surreal landscapes, impossible shades of sound, and breathtaking textures that seemed absent only moments before. Every listen gently dismantles your bearings. Every listen redraws the map. And every listen leaves you just a little more beautifully lost. -Sir Kuliktavikt

existent/nonexistent

Spontaneous Combustion

From an unfathomable prison cell built at a thoroughly impossible angle awaken these spontaneous sounds... Sounds that combust in slow motion, forever, beneath an azure long since stripped of the very idea of sky. Hidden trapdoors open onto voids, anti-voids, and deeper chambers where ruin itself seems to hesitate before taking another step. Questions without mouths. Predilections without owners. Corridors leading nowhere except further inward. On Spontaneous Combustion, existent/nonexistent distills their singular sonic language into an impossible anti-world where dark ambient spectres, musique concrète vertigo, de-calibrated industrial revenants, incandescent noise-muZiK pestilence, counterfeit anti-music reduced to radioactive dust, and venomous improv-muZZicK drifting from beyond the Wall of Sleep continually collide, fuse, decompose, and quietly resurrect themselves. Listening feels less like hearing an album than wandering through a labyrinth whose architecture keeps remembering different versions of itself. Imagine the entire Nurse With Wound List simultaneously devouring and reinventing itself, as interpreted by a sound author touched by some impossible anti-celestial grace, improvising vast RIO NO WAVE symphonies of cartilage for an orchestra of patient zombies featuring Pierre Henry, Clara Rockmore, György Ligeti, Akira Yamaoka, Iannis Xenakis, Luc Ferrari, SPK, Khanate, Aphex Twin, David Vorhaus... and several musicians who have not yet been born, but whose funerals have already taken place. This is not a journey. It is a pilgrimage through the combustion chamber of an alternate reality where every sound dies before it is heard, only to return moments later wearing someone else's nervous system. As always, existent/nonexistent reminds us that the strangest music does not seek to be understood. It merely waits for us to become strange enough to understand it. -Sir Kuliktavikt

EMERGE

leere

3 track album

VHI

ערפל

The black abyss of perpetual forgetting. VHI's music pulled me under from the very first listen. A black hole. The sonic equivalent of the Garagum ýalkymy. I almost regret trying to put words around music that asks for none—music that belongs only to itself and to the darkness that shelters it. What you are holding is fifteen fragments gathered from different points across VHI's discography. They were never meant to explain one another. They simply found each other again. Buried drone. Dilapidated ambient surviving only in the hollow of forgotten days. Concrete music drifting beyond recognition. Witch-formulas uttered into an empty room. Field recordings captured somewhere that should not possess geography. Fifteen weightless pieces suspended at the crossroads of liminal worlds. -Sir Kuliktavikt

ぞすぐ Sereme Nakasu わかる

Yetopitoma メロディー

金剛峰寺でのミサにおける祈りの儀式の一環として、私たちは「イェトピトマ」の魔術を用いて、ここで皆様にお聴きいただける音声による祈りを創り出しました。これらは、現代の高野山、ひいては日本の文化において重要な要素となっています。私たちの一族は、他の宗教団体とは異なり、誰かが一族を去ったとしても憎しみを広めることはありません。これは、より良い人間となり、ほぼ清らかな魂を持つためのプロセスの一部なのです。私たちは時折、他の国や高野山の麓の村々へ布教活動に出かけます。私たちは、2匹の赤い猫が、私たちのバンドが金儲けに励む際に、繁栄と豊かさをもたらしてくれると信じています。皆様が楽しい民俗文化体験をされますようお祈り申し上げます。ぜひ高野山にある当クランへお越しください！金剛峰寺へお参りの際は、「セレーナム・ナカス」という合言葉を伝えてください。アルバムのジャケットのイラストは、コンサートでは常に右側で演奏している当バンドのメンバーの一人が描いたものです。どうぞお楽しみください。クラン・イェトピトマと私たち「ぞすぐ・セレム・ナカス」

RDKPL

LIEVOHCE

Here we are again. RDKPL returns to its throne of rust and liquefied steel. Impaled upon a rib of frost. Rear end patched through extensometric procedures. Ribs gnawed clean by galvanization. Mouth vomiting reddened bolts, viscous oil, and fragments of kinematic torsors. TETSUO-MUZIK. That languid sensation of being hammered from within by impossible machinery. Cold lights erupting behind the eyes. Screwdrivers transfigured into crystalline tears, slowly rotating through flesh. Molten fiberglass flowing through forgotten arteries. The organs become matrices. The brain is merely another deviation—plus or minus one—in the abyss of stupor. Three tracks of corroded electronics. Industrial convulsions. Chrome delirium. Misaligned engines chanting through frozen ducts. Crisp fractures. Mechanical ecstasies. Rust blooming beneath polished surfaces. Sparks nesting in cavities where memory once slept. To make love to a shear pin while Newton watches with the ecstatic eyes of a larva-saint. Hydraulic-press grimaces. Dust everywhere. Metaphysical regrets. An armored socket wrench buried beneath the tongue. I am the machine. And it twists me, exquisitely. LIEVOHCE unfolds across three pieces of cold, deafening, de-calibrated circuitry—a procession of grinding gears, luminous corrosion, and impossible mechanics dragging their iron shadows through the dreaming meat. -Sir Kuliktavikt

MAX DEVEREAUX & KAZUYA ISHIGAMI

THROUGH GLASS

Through Glass is the result of a deeply collaborative and cross-continental experiment between Japanese electroacoustic composer Kazuya Ishigami and American multidisciplinary artist Max Devereaux. Rooted in contrasting yet complementary approaches, the project unfolds as a dialogue between structured sound design and spontaneous sonic exploration. The process began with Kazuya Ishigami, who created a series of intricate sound materials, merging electroacoustic textures, noise fragments, and ambient field recordings. These materials were then sent to Max Devereaux, who layered, reinterpreted, and expanded upon them through improvisation, using field recordings, found objects, contact microphones, and modular synthesizers. Max's additions reflect his tactile and often textural approach, combining environmental sounds and lo-fi textures with gestures that evoke both intimacy and sweeping activity.

existent/nonexistent

Is the Silence...

Where do sounds go when they die? Where do they come from before they are heard? There is no answer. Only the echo of the question, dissolving. What remains is Silence. Here, it is a color, essential and devouring, threaded into the palette of an artist who has long understood its quiet dominion. It is the origin and the return, the first inhalation and the last release, the unseen matrix in which all things hover before and after their brief, fragile shimmer of being. Three tracks. Three enigmas suspended above an immeasurable abyss. No resolution, no closure, only a slow drift toward something at once terrifying and serene: the call of the void, vast, indifferent… and, against all reason, almost tender. -Sir Kuliktavikt

EMERGE

perish

1 track album

Jeff Surak

Four Criteria

Four Criteria uses Stockhausen's self-identified criteria for defining electronic music as a literal starting point, and proceeds to explore and ignore the four precepts. Jeff Surak is a sound artist, recovering curator (Sonic Circuits Festival), programmer (RhizomeDC), and label-boss (zeromoon) from Washington DC. With a body of work spanning over four decades, Surak celebrates lofi techniques, archaic technologies, and wabi-sabi aesthetics, to create non-linear sonic narratives. Note that the first rack Four Criteria (II) starts out at very low volume and moves slowly.

existent/nonexistent

Random Ballads about Entropy and Chaos

Razors are smiling in my bedroom, patient as saints of corrosion, humming lullabies through their metallic gums. The album exhales from there, from that small domestic apocalypse, and immediately the walls forget their geometry. I saw the bailiff tear out his own eyes with an Aztec cleaver, a bureaucratic ritual of exquisite futility, then vomit wheels of bi-bi-bi-bicycles across a field where Yves Montand decomposed and recomposed himself endlessly among one-eyed satanic bolts, his dogs howling approximate dimensions, units collapsing into delirium. Everything measured incorrectly, gloriously wrong. Everything counted twice, then devoured. He wore a suit of human flesh, lightly charred. The skin, not the jacket. A distinction that matters in these post-existent seasons, after the comet punched a clean, obscene hole through our dimension and our already-dead lives. What followed seeped in, uninvited and ecstatic: ungovernable elsewhere-things, fusing, rotting, stitching themselves into our spacetime like parasites with architectural ambitions, grafting onto our meat, our hopes, our memories, our matter until identity became a damp rumor. Clouds growl and laugh in the magnetized sky. Their lightning hunts. You must run. You must always run. When it finds you, it does not kill so much as simplify: a small mound of post-flesh slurry, bone-juice liquefied, perhaps a fragment of jaw that chatters chatters chatters like a broken metronome keeping time for nothing. Then the sky giggles. The sky always giggles.

RDKPL

echostrial noisoveil

With echostrial noisoveil, RDKPL descends into a fractured industrial dreamspace where sound behaves like unstable matter. Across three dense compositions, abstract glitch eruptions, corroded noise strata and musique concrète debris grind against each other in slow, deliberate tension. Percussive shapes emerge and collapse like malfunctioning machinery heard through fog, while deconstructed electronics stutter, scrape and pulse with a strange, almost ritual insistence. Nothing here seeks resolution or comfort. Instead, echostrial noisoveil unfolds as a series of sonic experiments conducted in darkness, where echoes multiply, rhythms rot, and textures reveal hidden architectures beneath their surface violence. It is harsh yet precise, oppressive yet deeply absorbing: a work that rewards attentive listening, inviting the listener to wander inside its broken mechanisms and ghostly reverberations. A stark and fascinating release, echostrial noisoveil stands as one of RDKPL’s most compelling explorations of abstract industrial noise, perfectly aligned with ECHØVEIL’s fascination for sound as shadow, residue, and altered perception. -Sir Kuliktavikt

KommandOOverdose & I,Eternal

Exquisite corpses, taken literally. Cadavers dipped in hollandaise sauce. Fingers especially crispy. You wander deeper into an ever-thickening sonic vapor. Electrical wires perform a danse macabre, coiling lovingly around your decomposing shell, moaning with pleasure. Another fall. A damp dungeon. One light only. A single electric globe glued to the ceiling. Blood seeps inside it. No exit. Just tiny holes in the walls. From one hole, an ear drops, still twitching. Then the spiders come. From all the holes. Thousands. Millions. The globe laughs and explodes in a spray of blood. Spiders cover your skin. You bleed. You laugh. They crawl into your eyes. Your eyes. Yours ; yes. YOUR EYES. This record does not want to be understood. It wants to keep falling with you. -Sir Kuliktavikt

Beck West

Indigo Barrage

A haunting transmission from an unseen world filled with sinister voices crying out as they wail away on primitive devices. Ghosts in the machine lurk around every corner on this sonic excursion. Colors run together, but time stands still...

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