from the upcoming "born into madness" compilation

B4 Retape - Data Entry (mastered STN)

From my new album dawn, always new, often superb, inaugurates the return of the everyday.
An album about a roundabout in London.
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This is an album which begins with a London roundabout in its exploration of connections, lost rhythms and new beginnings. The pandemic has underlined that what we thought of as the every day, is actually something quite specific and special. I made this album on and off through the lockdowns of 2020-21 and now as we hopefully emerge into something else, I have found myself asking what type of every day this new dawn will bring.
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Percussion programmed by Graham Dunning
Mastered by Simon Scott at SPS Mastering
Design by Louise Mason at Sawn Off.

The Profusion Of Miniscule Life - from dawn, always new, often superb, out July 28

SSS x love horses - Amanda Rogers

releases October 8, 2021

https://threeop.bandcamp.com/music

Written and performed by William Fields
Mastering by Nil Hartman
Artwork by DEN www.instagram.com/__den.project/

Fluidity

William Fields - Fluidity (3OP002)

bandcamp

drøn- aux4432 - 12'' snippets

Artist: KENT TANKRED
Title: THERE IS NOTHING TO ATTAIN
Format: 2xCD / Digi
Artwork: Philip Marshall
Liner Notes: Johannes Bergmark
Edition of physical copies: 200

CD 1
1-1 Kökkenmödding 1 13:09
1-2 PSR-266 6:55
1-3 Maelstrom 10:00
1-4 Pulsar 16:49
1-5 Divertimento 14:02

CD2
2-1 Kökkenmödding 2 10:14
2-2 There is nothing to attain 2 15:52
2-3 Dialog 7:34
2-4 Obsession 2 14:00
2-5 Pots 14:54

*

Kent Tankred (b.1947) is one of the true hidden masters of Swedish electro-acoustic and experimental music. Tankred studied at Elektronmusikstudion in Stockholm in the early 70s and he has released a sparse catalogue of fine works, mainly for his and Leif Elggren’s Firework Edition Records as well as Ash International. In 1995 he put out the extremely strong album ”Ordinary Things” on Fylkingen Records. ”THERE IS NOTHING TO ATTAIN” is his first albums since the 2010 CDr with the same title. - iDEAL.

*

Music is not like people. Nonetheless most music tries to pretend it is human, imitating their movements, feelings, attributes, even opinions.

Kent’s music doesn’t pretend to be anything. One quickly forgets there could be a human behind it, even though it may have arisen from some profound game, a concentration on some discovery, combination,  principle.

The music is naked, or rather unclothed, inhuman, at the first encounter reminding you of everything you would prefer to avoid: leaf-blowers, neighbours drilling the wall, machinery grinding, a screwdriver stripping the thread with a careless move, electric warning signals, all on top of each other.  

A recent radio programme was discussing whether the phrase “human error” should be replaced by the less recriminatory “human contribution”. Meanwhile a submarine has sunk into an ocean chasm and the 53 aboard who might still be alive will run out of oxygen before they can be reached. A struggle between man and machine.

But here there is no struggle, the machine is likened to any other natural phenomenon. It just is, does what it does, or doesn’t, in its own time which is neither fast nor slow since it doesn’t have to be compared with anything, has no purpose, no significance, is neither good nor evil. A god like Einstein’s, indistinguishable from nature in its entirety. A galaxy does not rotate in order to be beautiful or strong. A fan does not make something flap about randomly in order to trace a certain pattern.

In the starkly dystopic early science-fiction film On the Beach (1959) a Morse signal is detected from a region where all life should have been eradicated by the atomic winter. An expedition is sent to resolve the mystery. In a completely lifeless industrial zone they find that someone, before the radiation wiped them out, had hung a coke bottle on a string from a roller blind balanced so that the random flapping of the blind caused the bottle to press the telegraph key, producing a haphazard stream of code which inevitably from time to time formed meaningful words and phrases.

I am hard put to explain what it is than can suddenly make the music so entertaining, so jocular in the midst of this objective, mundane mangling. Yet one does get reminded at some point that someone is behind all this, has discovered or molded, has chosen this; perhaps not a joke but pure serendipity.

Just as things originate so must they vanish, by one decision or another – a handbrake, a puncture, a flying catch. The process “concludes”, or purports to, as when someone suddenly wakes you from a dream which you forget immediately but retain the echo of a feeling. Or you are surprised by your parents opening the door when you’re in the middle of a game where you can’t remember whether what you’re doing is supposed to be secret or not.

And so the cauldron or the ventilation pipes spill out a bus garage, a swarm of drones, or those flying bicycles Leonardo had a mind to make.

- Johannes Bergmark.

Kent Tankred - PSR - 260 (from iDEAL209 2xCD)

Sewer Election - Dripping Star (iDEAL221 CD)

Ryo Murakami | Deist (excerpts)

"Ala Vjiior - Complexities of Subtlety (Mdrgr-021)" will be released soon in cassette format as part of our Summer Collection

website/store: mdrgr.com
IG: @mdrgr

Ala Vjiior - B1

Jung Deejay is the solo endeavor of NYC's Randy Riback. Originally focused on his first-ever solo project Jung Hardware in 2017, he changed his approach the following year to focus on more "dated" sounds akin to an obsolete MIDI studio. After two solo releases under the moniker: “Wave Idea” on Lillerne Tapes and “7 Sketches for Akai Sampler” on Beer on the Rug, JD returns with a new cassette to accomplish his ideal three-ouvres on alluring sample patterns and naive, native digital imagery.

On Java Scripts, JD spent a summer weekend in upstate NY collecting sounds from forgotten samplers, while focusing on making repetitive rhythms that maintained a balance with elements of randomness/chance. With a playful tongue in cheek approach, The title brings together the captivation for programming computer languages and a fictive old-world world-beat charm. It refers to a time in which internet cafes and "third wave" coffee shops started popping up in the early '90s, forming a cultural hub for gamers, slackers, scientists, beatniks, entrepreneurs and cyber-punks alike. Each track has been titled as if it was a script, or a little story, suspended between a fictive world of global tunes and the digital one of World Wide Web.

In no particular order, the tape is as much an ode to this quite unique social ambience as to sharply impressionist MIDI patterns and dazzling tropical sketches. All as if it was sung by an old Macintosh programmed by Laurie Anderson as an OST for an alternative, not yet heard jungle landscaped platforming game.

Along with the original music, Artetetra & Jung Deejay team up to conjure four different remixes by stem choppers superstars Brian Abelson, Gap, Piezo and Rainbow Island. Taking over the B side.

Get it now!

Jung Deejay - Teeley's Dream

Stationary Perceiver

Transcontinental all-inclusive boutique electronic and computer music label. Operated by Nil Hartman and Elliott Watson, with contributions from Steve Baxter and Andrew Bates.

William Fields - Fluidity (3OP002)

3OP

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