◦mixes◦

The newest release from 29 Speedway, UltraBody, is a compilation record featuring the music of Jake Muir, Pent & Dylan Kerr, Nexcyia & Mu Tate, James K, Flora Yin-Wong, Ex Wiish & Dorothy Carlos, Kamran Sadeghi, Tati au Miel, James Hoff, Eric Frye, Muein and Maxwell Sterling. The record is emblematic of the artists who have performed at 29 Speedway shows in New York and Europe during the past two years, and is the third in a series released by the label.

The record was born out of a desire to investiage how the self, spirituality, and language are intertwined with the intervention of subjectivity by new technologies. With increasingly sophisticated tech, and the supposed ability to remake the world and ourselves, what differentiates our individual discretion from the will imposed upon us by software? Quoting Walter Chaw from his piece on David Cronenberg’s Videodrome, “Decades of rampant, unregulated and ill-considered technological leaps have begun to evolve, to mutate, humans at a biological level”. This haphazard acceleration towards a techno-utopic transformation of humanity has faulted, and as William Gibson put it, is leading us to live in a “half assed singularity”. In this reality, artistic processes are influenced by excessive access to computational tools and assistance, but not utterly controlled. 

This in-between state of dominion is explored in 29 Speedway: UltraBody. “Incoherences” samples the utterances of Dylan Kerr’s voice processed between Pent’s percolated glazes, muddying the gulf between vaporous ambient and reflexive sound design. The voice on James Hoff’s “A... ...Cha.... A... I feel l” was created by trying to get voice cloning technology to sing a gps data stream, the music an extrapolation from an earworm he got stuck in his head while shopping in Kyoto. On “Plogue Chain”, Eric Frye’s most speculative sci-fi observations spiral into a glazed pool of digital cacophony, while Kamran Sadeghi’s “Formula Fiction” is an experiment in (un)controlled generativity. Incorporating minimal pings from a 3D simulation scene based on gravitational interaction, cello bits evolve on “Assimilation”, a collaboration between Ex Wiish & Dorothy Carlos. 

On UltraBody, sound has no separate existence from space.

29 Speedway: UltraBody

Dorothy Carlos - Ear World

H.D. Reliquary is the first eponymous release from Ben Shirken [a.k.a. Ex Wiish], and finds him returning home to 29 Speedway. The songs sparked during sessions with close collaborators - across 11 pieces, artists such as Pavel Milyakov, MIZU, Dorothy Carlos, Kevin Eichenberger and Muein breathe personality into the record. H.D.R. coaxes beauty from a serrated, raw, yet subdued palette drawn from improvised recordings of trumpet, violin, upright bass, cello, Max/MSP and modular synthesis.

The title references the hard drive as a sacred container for relics, contemplating how digitally archived fragments of one's existence can burn eternally after death. Archives, and in this case recordings, splinter and warp. Some distort what they contain. Some vanish, and others are eternally preserved, immune to deletion. Your information on these digital drives becomes archival shrapnel, the music that survives the remnants of collaboration.

Quick to note the dangers of creating music with ecologically intensive, mass marketed, and unethically trained AI software, Shirken employed bespoke, resource-light machine listening techniques for some of the compositional process. Pieces of recordings were fed into a series of proprietary neural networks, generating MIDI information and audio that reacted to on-the-fly soloing, imaginary sessions between players and algorithms invented posthumously (in post).

Shirken will release H.D. Reliquary alongside a sound installation on April 11. He has performed in spaces such as The New Museum, Pioneer Works, Public Records and Nowadays in New York City; Dripping Music And Arts Festival in New Jersey; La Station in Paris; and Cafe Oto in London. In recent years, he has also been a foundation of the elusive free jazz group Nu Jazz. Where his prior work was geared towards dissociation, H.D. Reliquary invites us to contemplate how our tools for understanding and containing the world fundamentally alter our relationship with it.

Written, recorded, & mixed by Ben Shirken
Greg's Thesis mixed by Jason Park
Mastered by Stephan Mathieu @ Schwebung Mastering
Art & Design by Brian Mark
29 Speedway 2025
29S07

Ben Shirken - H.D. Reliquary

Corrosiv, the sophomore album from Orchestroll, reveals the duo at their most mature and vulnerable. Originally conceived as a reflection on hybridity and bastardization, the album deploys New Age and ambient compositional tropes as a launchpad, exposing their trite sanctity to the realities of corrosion. Having come of age in the 1970s and 1980s, the New Age movement perdures today as a domain of contradictions; its promise of transcendence riddled with the very commercialized dogma from which its adherents claim to flee. Healing modalities such as reiki, crystal therapy, and sound baths are simultaneously pathways to solace and sites of exploitation; their sonic counterparts — ethereal synth pads, shimmering textures, celestial drones — claim to facilitate meditation and enlightenment while devolving into empty signifiers of vitality. With Corrosiv, Orchestroll displays neither reverence nor disdain toward New Age: they exhume it instead, revealing the saccharine effervescence and commodified murk undergirding its aesthetics. The result is intoxicating — disquieting.

Born from a two-week residency at EMS Studios and expanded through a performance at MUTEK Montreal’s 25th anniversary, Corrosiv has since outgrown its original conceptual nucleus, taking on a broader scope. Its inquiry into New Age ideology’s voided rhetoric and aesthetic mysticism now informs a broader interrogation of cultural mediocrity, anti-authoritarianism, gatekeeping, music industry toxicity, and the crumbling edifice of late capitalism and techno-feudalism — all the mechanisms by which meaning is stripped from ceremony, and once-potent forms of knowledge are subsumed into the machinery of economic extraction, severed from their original essence, and transformed into hollow simulacra. Corrosiv distills these themes through a loose narrative: a soul, fixated on wellness as dictated by cosmetic economism, becomes ensnared in an endless afterlife, unable to transcend and shed its dilapidated consciousness.

Conceptualized, composed, performed, recorded, mixed, engineered and produced by Jesse Osborne-Lanthier, and Asaël Richard-Robitaille in 2023 and 2024 at Elektron Musik Studion (EMS) - Stockholm, Sweden and Landsc8pe Studio - Montréal, QC, Canada.
Artwork by Jesse Osborne-Lanthier.
Mastered by Stephan Mathieu @ Schwebung Mastering.

Sound is acrid.

Amour à Pauline et Madison.
Thank you, Ben.

Words on:
Track B2 – Jesse Osborne-Lanthier
Track C3 – Jesse Osborne-Lanthier & Asaël Richard-Robitaille
Track C4 – Heith & Jesse Osborne-Lanthier
Track D3 – Bernardino Femminielli & Jesse Osborne-Lanthier

Additional personnel:
Heith – Pipe on A2, A4 and voice on C4
VISIO – iPhone and additional Buchla e200 on B1
Jiyoung Wi – Violin and electronics on C1
Habib Bardi – Saxophone on D3
Bernardino Femminielli – Vocals on D3

Orchestroll - Corrosiv

StArInG pAsT tHe ThIcK bRaNcHeS,
dEeP iNtO tHe LaKe,
WhAt SoUnD dOeS tHe MoOn'S rEfLeCtIoN mAkE?

TAPES @ 29SPEEDWAY.BANDCAMP.COM

TAPES

Yawning Portal - Minute Sun

@xenmodel - 'Lurch' off of 29 Speedway: Channel Plus

Full compilation featuring trax by Xen Model, tofudj, Dekalb Works, AshTreJinkins, pent, K Wata, Ex Wiish, Special Guest DJ, LXV, Cajm, btw, J. Albert, Windowseeker, Opheliaxz, Axine M, Relaxer, and Ben Bondy

mastered by @ex-wiish

tap in

cassette / download

Xen Model - Lurch

@specialguest-dj - 'Knot' off of 29 Speedway: Channel Plus

Full compilation featuring trax by Xen Model, tofudj, Dekalb Works, AshTreJinkins, pent, K Wata, Ex Wiish, Special Guest DJ, LXV, Cajm, btw, J. Albert, Windowseeker, Opheliaxz, Axine M, Relaxer, and Ben Bondy 

mastered by @ex-wiish

tap in

Special Guest DJ - Knot

Color Plus [Live] @ 29 Speedway x Slagwerk 3.23.23

Meeting as solo artists billed for the same show (Brookyn 2021), Will August Park and J were compelled to get in the studio together. The unification of Will’s impressionistic solo piano compositions and J. Alberts blunted electronic music style lent itself to a holistic workflow, and in this flow they discovered their commonality in taste and musical expression. The two musicians, versatile in both acoustic instruments and electronics, bring together their distinct styles on "Flat Earth". The composition process involved free improvisation, crafting layers of lush resonance and paired back beats. The 5 track EP sometimes dances across the mind with ease of groove, while also hyper-focussing on the bold personality of instruments to create textural symphonies.

J. Albert Meets Will August Park - Uncanny Otion

Masterful DJ set by Index Records label boss @connaharaway

Recorded in Berlin at 29S x Index @ 90mil

◦Mix||03◦ Conna Haraway

“For Barney, Who Was A Bad Dog, But A Good Boy, And Very Much Loved” comes from Brooklyn-based Dekalb Works, the collaborative project of Austin Peru (Vision Fortune) & Daniel Creahan (Sweat Equity / Alien D). The record, out April 12 on 29 Speedway, summarizes a series of experimentations between live performance contexts and sample-heavy collage work. Since starting their residency on Radio alHara, Dekalb Works found themselves drawn to the act of performing, whether as a live act or DJing, and the space between these two often overly rigid modes.

“For Barney…” draws heavily on the sonic palette of American country and western music, treated through the lens of heavy studio processing and the production techniques of dub, ambient, and trip-hop. Recording hours-long live improvisations with guitar, piano, or drum machines and samplers, they pillaged these sessions as source material. Whereas previous work focused on the voice and the interaction of text, voice and music, these recordings pulled from the sounds of musicians playing together in a room. The arrangement process remains the same, chopping and manipulating small samples and momentary gestures into dense, rhythmic collages.

At A Canter

BOOSTED, out now on 29 Speedway, is a collaborative album and malevolent viral entity conjured through the combined effort of Brooklyn-based behemoths MURDERPACT and global data sorcerer TRNGS. The album is available as a digital download and in the form of a possessed flash drive, coded by artist Mark Fingerhut, spawning a tightly orchestrated and visually punishing piece of malware that arrests control of the user's desktop for the album's duration.

The .exe incorporates images of insects, cars, cosmic entities, natural anomalies and linguistic symbols are streamed to the user in rapid succession, while computer windows, error messages, notepad windows and loading bars dance across the desktop in lockstep with the thematic movements of the music.

The result is a brutal software experience whose classification lives somewhere between a music video, a game, a drug, and a visualizer. At the end, the three audio files are deposited onto the user's desktop, along with some illustraions from designer Brian Mark.

Meeting online in 2018 and sharing a few stages in 2019, the dawn of 2020 found three musicians employed at the same venue and presented with an opportunity; the venue’s brief sponsorship by Red Bull. This granted the trio a full day of recording time at NYC’s Red Bull Studios to produce music for some sort of venue-curated series.

The studio session actually happened, yielding hours of high fidelity recordings; dense electroacoustic improvisations; ancient-alien ritual beats and futuristic power jazz. BOOSTED falls somewhere between Autechre, Miles Davis' Electric Band and Boredoms, divided into three BPM’s; 140, 160, and 180.

However, weeks later a pandemic gripped the planet. The venue closed, the trio quarantined, Red Bull’s music program was shelved and its studio shuttered forever. The trio retained the recordings and immediately set out to sculpt something far greater and stranger from the sludge. In the intervening four years, audio from the session was sent back and forth across the globe, rearranged, mixed, remixed, chopped, looped, layered, broken into stems, and reassembled to create BOOSTED.

Buy Viral Entity

160MPH

DAYTONA 500 [live @ 29 Speedway, Nowadays NYC 7.18.24]

DAYTONA 500 is the b2b project of DJ DEADNAME and Eva Loveless. Sharing Southern roots and low-end sensibilities, their collaboration combines cheeky tailgate excess with precise, pit crew technicality. Expect forward thinking bass hits with edges verging on high throttle V8 textures.

◦Mix||07◦ DAYTONA 500 (DJ DEADNAME b2b Eva Loveless) - Live @ 29 Speedway, Nowadays NYC 7/18/24

The newest vinyl release from 29 Speedway, UltraBody, is a compilation record featuring the music of Jake Muir, Pent & Dylan Kerr, Nexcyia & mu tate, James K, Flora Yin-Wong, Ex Wiish & Dorothy Carlos, Kamran Sadeghi, Tati au Miel, James Hoff, Eric Frye, qwqwqwqwa & sop.io, Muein, & Maxwell Sterling. The record is emblematic of the artists who have performed at 29 Speedway shows in New York and Europe over the past two years, and is the third in a series released by the label.

The first single, ‘Sans Titre’ by Nexcyia & Mu Tate, is out now. 

The LP is available for pre-order on Rubadub, Boomkat, and Bandcamp.  

UltraBody investigates how the self, spirituality, and language are intertwined with the intervention of subjectivity by new technologies. With increasingly sophisticated tech, and the supposed ability to remake the world and ourselves, what differentiates our individual discretion from the will imposed upon us by software? Quoting Walter Chaw, “Decades of rampant, unregulated and ill-considered technological leaps have begun to evolve, to mutate, humans at a biological level”. This haphazard acceleration towards a techno-utopic transformation of humanity has faulted, and as William Gibson put it wisely, is leading us to live in a “half assed singularity”. In this reality, artistic processes are influenced by excessive access to computational tools and assistance, but not utterly controlled. 

On UltraBody, sound has no separate existence from space.

Artwork and vinyl design by Brian Mark. Mastering by Ex Wiish.

29S: UltraBody

Nexcyia & mu tate - Sans Titre

Flora Yin-Wong - Oath

Pent & Dylan Kerr - Incoherences

Celebrating the release of 29 Speedway: UltraBody
Tracklist on NTS

29 Speedway w/ Ex Wiish on NTS Radio [9.9.24]

The newest release from 29 Speedway, UltraBody, is a compilation record featuring the music of Jake Muir, Pent & Dylan Kerr, Nexcyia & mu tate, James K, Flora Yin-Wong, Ex Wiish & Dorothy Carlos, Kamran Sadeghi, Tati au Miel, James Hoff, Eric Frye, qwqwqwqwa & sop.io, Muein, & Maxwell Sterling. The record is emblematic of the artists who have performed at 29 Speedway shows in New York and Europe during the past two years, and is the third in a series released by the label.

The record investigates how the self, spirituality, and language are intertwined with the intervention of subjectivity by new technologies. With increasingly sophisticated tech, and the supposed ability to remake the world and ourselves, what differentiates our individual discretion from the will imposed upon us by software? Quoting Walter Chaw, “Decades of rampant, unregulated and ill-considered technological leaps have begun to evolve, to mutate, humans at a biological level”. This haphazard acceleration towards a techno-utopic transformation of humanity has faulted, and as William Gibson put it, is leading us to live in a “half assed singularity”. In this reality, artistic processes are influenced by excessive access to computational tools and assistance, but not utterly controlled.

This in-between state of dominion is explored on UltraBody. “Incoherences” samples the utterances of Dylan Kerr’s voice processed between Pent’s percolated glazes, muddying the gulf between vaporous ambient and reflexive sound design. The voice on James Hoff’s “A... ...Cha.... A... I feel l” was created by trying to get voice cloning technology to sing a gps data stream, the music an extrapolation from an earworm he got stuck in his head while shopping in Kyoto. On “Plogue Chain”, Eric Frye’s most speculative sci-fi observations spiral into a glazed pool of digital cacophony, while Kamran Sadeghi’s “Formula Fiction” is an experiment in (un)controlled generativity. Incorporating minimal pings from a 3D simulation scene based on gravitational interaction, cello bits evolve on “Assimilation”, a collaboration between Ex Wiish & Dorothy Carlos.

On UltraBody, sound has no separate existence from space.

James K - Sketch 4

James Hoff - A... ...Cha.... A... I Feel Like A Ghost Uh

Tati au Miel - House Of Gold

Ex Wiish & Dorothy Carlos - Assimilation

Jake Muir - Mirage

qwqwqwqwa - shadow (ft. sop.io)

What happens when dubby drum & bass meets Dischord’s post-punk colossus Black Eyes? “Break” is the new EP from NY’s Relaxer, the long running alias of Daniel Martin-McCormick (Black Eyes, Ital and co-founder of Dripping), and it signals a decisive shift in his music. 

Prompted by friends to write a drum & bass live set just as Black Eyes was reuniting, the results didn’t quite fit the d&b genre. But it felt right. Quick, nimble, with room for the ferocity of his favorite post punk and some of the spaciousness of dub. Evergreen vibes, really, but seen from a fresh perspective.
 
Honed over a period of two years, the five tracks on “Break” fuse Relaxer’s careening, technoid sounds with free jazz-tinted drum programming, snarling sound design and spacious echo trails. It’s a perfect fit for 29 Speedway’s future-facing, exploratory anti-genre approach to electronics. The tape features two remixes by the singular DJ Marcelle and mastering by Dubplates & Mastering. Daniel tells his side of the story below:

“Two years ago my friends who run the drum ‘n’ bass party Headznite asked me to write a live set for a Ukraine fundraiser they were putting on. Right at the same time, my punk band Black Eyes was having our first practices in 20 years, which meant I was re-training my body to scream at top volume and high registers and to lay into my guitar at full force. In those same months, Dripping was forming and ideas were flying for crazy, boundary-pushing lineups. I had just finished writing the meditative composition suite “In Softening Air” and was feeling the call; it was time to let it rip. 

Everything poured into that live set for Headznite, and a new style was born. Relaxer had begun as a decisively techno project, but pushing the BPMs and working in drum breaks tweaked the formula enough to cut any lingering ties with that ethos. 

Over the next two years I kept on it, writing more, recording, pushing the technique and exploring the sound. “Break” is the first time any of this work has been made public. Sometimes a  detour can hack your brain. My first dance 12” as Ital was supposed to be a one-off side project to my punk band and it ended up taking over my life. Now punk music is calling asking for the debt to be repaid. Fuck it.”


Burning Spear

Relaxer - Chasing Your Own Tale (DJ Marcelle's Even Stronger Tale Remix)

What happens when dubby drum & bass meets Dischord’s post-punk colossus Black Eyes? “Break” is the new EP from NY’s Relaxer, the long running alias of Daniel Martin-McCormick (Black Eyes, Ital and co-founder of Dripping), and it signals a decisive shift in his music.

Prompted by friends to write a drum & bass live set just as Black Eyes was reuniting, the results didn’t quite fit the d&b genre. But it felt right. Quick, nimble, with room for the ferocity of his favorite post punk and some of the spaciousness of dub. Evergreen vibes, really, but seen from a fresh perspective.

Honed over a period of two years, the five tracks on “Break” fuse Relaxer’s careening, technoid sounds with free jazz-tinted drum programming, snarling sound design and spacious echo trails. It’s a perfect fit for 29 Speedway’s future-facing, exploratory anti-genre approach to electronics. The tape features two remixes by the singular DJ Marcelle and mastering by Dubplates & Mastering. Daniel tells his side of the story below:

“Two years ago my friends who run the drum ‘n’ bass party Headznite asked me to write a live set for a Ukraine fundraiser they were putting on. Right at the same time, my punk band Black Eyes was having our first practices in 20 years, which meant I was re-training my body to scream at top volume and high registers and to lay into my guitar at full force. In those same months, Dripping was forming and ideas were flying for crazy, boundary-pushing lineups. I had just finished writing the meditative composition suite “In Softening Air” and was feeling the call; it was time to let it rip.

Everything poured into that live set for Headznite, and a new style was born. Relaxer had begun as a decisively techno project, but pushing the BPMs and working in drum breaks tweaked the formula enough to cut any lingering ties with that ethos.

Over the next two years I kept on it, writing more, recording, pushing the technique and exploring the sound. “Break” is the first time any of this work has been made public. Sometimes a detour can hack your brain. My first dance 12” as Ital was supposed to be a one-off side project to my punk band and it ended up taking over my life. Now punk music is calling asking for the debt to be repaid. Fuck it.”

Written & recorded by Daniel Martin-McCormick, 2022-2024.
Mixed by Daniel Martin-McCormick & Sol León, with assistance from Sphente Shepherd.
Mastered at Dubplates & Mastering.
Art & design by Brian Mark.
Thanks to Headznite for the prompt.

Jackals

@yolabmi

Mix recorded Live at Forestlimit, Tokyo. Yolabmi is a staple of the DIY experimental electronic scene in Tokyo, frequenting hubs like Forestlimit, spread, and spazio-rita. Their debut release on 29S, “Hydra” [October, 2023], explores tracks that feel like they’re straight out of Tsukamoto’s 80s machine-body horror films, heavy with repetition and glitch where sampling creates mechanical conversations. Yolabmi’s grasp on sound design has been central to their creative process and is a through line across their shifting sound. 

◦Tracklist◦

01 Horacio Vaggione - Gymel
02 Tujiko Noriko - Cosmic Ray
03 pent - section5, insert1
04 Kensho Nakamura - sabiiro pathos
05 chantssss - Breath
06 Ludwig Berger - like aurochs who fraternized with syntax of the riverbed
07 Twin System - Lamina - Soupire
08 flywheel - Epoch Gub
09 Aerae - Flumen
10 Davis Galvin - Orghu {362 C}
11 Genus Aix - Quicksilver Tooth
12 Ike - Gage (Mathis Ruffing Remix)
13 Space Candy - ! ¡ ! - Sun Heart - ¡ ! ¡
14 Rian Treanor - Vacuum Angle
15 JPEGMAFIA - dark and hell is hot
16 nene - YAMI
17 DJ Krush - ロムロムの滝 (feat. OMSB)
18 Stone - Beacon

◦Mix||08◦ Yolabmi - Live at Forestlimit, Tokyo

@relaxerrelaxer fresh off of his newest release, "Break", out now on 29 Speedway.

"Here's a mix of music that inspired 'Break' – heavy dubstep, LCY percussive madness, techno that gets you in its teeth + cameos by Merzbow, Black Flag, Painkiller, Dickie Landry et al. Also included are some never- or as-yet-unreleased Relaxer songs, incl. one 'Break' outtake.

"Walk With Your Friends" by Warlockz comes in towards the end. It was one of the first dnb tracks I ever got obsessed with, back in '03, planting a serious seed before I really understood anything about how electronic music was made, performed, or conceptualized.

My bandmate Hugh from Black Eyes bought it in Seattle while on tour and I taped it off him, alongside This Heat's "S.P.Q.R.", Outhud and Albert Ayler "Love Cry". It is such an all-out banger, I would listen to it over & over and imagine what it would feel like to perform this music live.

Inspired by that twenty-year-old mixtape, I tried to pack in all the textures of that time: spine tingling propulsion, sneering, psycho noise intrusions and secret hooks. Dreams come true, in their way. Enjoy."

◦Mix||09◦ Relaxer

Ear World, out February 20 on 29 Speedway, is a collection of sound collage works by experimental cellist Dorothy Carlos. Her debut album ranges from song-like to abstract, incorporating site-specific sound installation work originally premiered in both 16-channel and quadraphonic formats. Voice and cello are reconstructed through glitch techniques to take on a digital form that is flirtatious and fleeting. Carlos is an experimental cellist active in Chicago and New York. Her work utilizes extended techniques and digital manipulation, merging free improvisation and computer music. She is interested in digital techniques as an opportunity to construct imaginary realities and capture a sense of intimacy.

Solo performances have been presented internationally by Experimental Sound Studio Chicago, Big Ears Festival, default, Center for New Music and Associated Technologies (CNMAT) at UC Berkeley, Chicago Jazz String Summit, and Bemis Center. Her work has been featured in The Wire, New York Times, and The Quietus and released digitally with D.O.T. Audio Arts and American Dreams. Dorothy holds a Bachelor’s degree from NYU where she studied classical cello and anthropology and an MFA in sound from the School of the Art Institute of Chicago.

Tracks 2-4 “My Ideal is Windy” quadraphonic installation commissioned by Experimental Sound Studio and the Chicago Park District

Track 8 “Alter, alter” 16-channel installation premiered at the Chicago Laboratory for Electro-Acoustic Theater (CLEAT)

Dorothy Carlos - My Buddy (Miss You In Ear World)

@qwqwqwqwa is an artistic outlet of producer and DJ Grigorii Gribov. In his live shows he explores bassy, glitchy micro-percussive music, navigating between UK bass, techno, ambient breaks, illbient, and downtempo with a touch of early 2000s IDM.

He has released albums on labels like Grid, and Neoplasm and contributed to compilations by Comic Sans, Xpone, Neoplasm, Radio Fantasia, 29 Speedway. As a Dj and selector he made podcasts for NTS, Rinse France, Retreat, Mutant, Ola, syg.ma, Kiosk, Gimic radios.

His latest mixtape Rejecting Fragility, released on Xpone, 2024, is a recorder of emotions and experiences collected during a year of immigration to Tbilisi. Delving into new surroundings, the mixtape acts as a postcard that envisions the technogenic bustle of Tbilisi. Similar to Fashion Music for Scammers, the release takes shape of a diary entry and attempts to record the constantly fluctuating moment of emotional fragility, where the atmosphere within the magical and serene corners of the city’s surroundings switches up rapidly with its concrete coldness, and the deep wormhole that is its nightlife. 

◦Mix||10◦ qwqwqwqwa

Balm

Milk - My Ideal Is Windy

Always - My Ideal Is Windy

Lace - My Ideal Is Windy

H.D. Reliquary is the first eponymous release from Ben Shirken [a.k.a. Ex Wiish], and finds him returning home to 29 Speedway. The songs sparked during sessions with close collaborators - across 11 pieces, artists such as Pavel Milyakov, MIZU, Dorothy Carlos, Kevin Eichenberger and Muein breathe personality into the record. H.D.R. coaxes beauty from a serrated, raw, yet subdued palette drawn from improvised recordings of trumpet, violin, upright bass, cello, Max/MSP and modular synthesis. 

The title references the hard drive as a sacred container for relics, contemplating how digitally archived fragments of one's existence can burn eternally after death. Archives, and in this case recordings, splinter and warp. Some distort what they contain. Some vanish, and others are eternally preserved, immune to deletion. Your information on these digital drives becomes archival shrapnel, the music that survives the remnants of collaboration. 

Quick to note the dangers of creating music with ecologically intensive, mass marketed, and unethically trained AI software, Shirken employed bespoke, resource-light machine listening techniques for some of the compositional process. Pieces of recordings were fed into a series of proprietary neural networks, generating MIDI information and audio that reacted to on-the-fly soloing, imaginary sessions between players and algorithms invented posthumously (in post). 

Shirken will release H.D. Reliquary alongside a sound installation on April 11. He has performed in spaces such as The New Museum, Pioneer Works, Public Records and Nowadays in New York City; Dripping Music And Arts Festival in New Jersey; La Station in Paris; and Cafe Oto in London. In recent years, he has also been a foundation of the elusive free jazz group Nu Jazz. Where his prior work was geared towards dissociation, H.D. Reliquary invites us to contemplate how our tools for understanding and containing the world fundamentally alter our relationship with it. 

Written, recorded, & mixed by Ben Shirken
Greg's Thesis mixed by Jason Park
Mastered by Stephan Mathieu @ Schwebung Mastering
Art & Design by Brian Mark
29 Speedway 2025
29S07

Ben Shirken - Image/Player

Ben Shirken - Divagation w/ Pavel Milyakov & MIZU

Buy Vinyl

Residue w/ MIZU

Take It All w/ Dorothy Carlos & Muein

Scattered Cipher

Greg's Thesis w/ Kevin Eichenberger

“Corrosiv” by Orchestroll is out 05.30.25.

Preorder the 2x vinyl LP and listen to the first single ‘Velvet Myst’ featuring Heith on our Bandcamp. 

"Velvet Myst" marks the most overtly melodic offering on Corrosiv. A mirage of clarity inside a collapsing system. Rooted in a skewed sense of wellness culture, the track traces a contour from the fetish of regeneration to the abyss of self-erasure. Skincare regimes, biohacking rituals, influencer doctrines fall apart under the weight of a body made porous by microplastics and spectral trust. Through synthetic vocals that stretch and gloss over time, paired with Heith’s disembodied presence processed to near-infancy, "Velvet Myst" slips into a faded Americana shoegaze palette that lingers there—pale, fragrant, near-catatonic.

"Velvet Myst" unfolds in a glaze of petroleum heat, wellness vernacular, landscapes bleached with pessimism. Rejuvenation rituals curl into themselves, skin pulled taut across synthetic promise, the body swelling with trace chemicals and distant voices. Youth loops back unnaturally. Conviction thins; gloss settles over wreckage... An immaculate wound, lit from within.

The record features additional contributions from Heith as well as collaborations with Jiyoung Wi, Habib El Bardi, Bernardino Femminielli and VISIO and is mastered by Stephan Mathieu at Schwebung Mastering.


Pre-Order

Velvet Myst ft. Heith

Patina Shift

Astral Trepidation ft. Jiyoung Wi

Relaxus

Hypnoxia

Blistex

Spotshadowsphere

Cable Eater

Rust Halo

L’ inaperçu nous traverse ft. Bernardino Femminielli and Habib Bardi

Lesio

Sightjacker ft. VISIO

29 Speedway w/ Ex Wiish & Otto on Dublab 1.10.21

NYC based record label & performance series. Featuring forward-thinking improvisational music and live multimedia. 

www.29s.world

>:) by @exwiiiiiish 

;get in touch;
29speedway@gmail.com

29 Speedway

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