written and produced by @xclairx
artwork by 𝖒𝖆𝖊𝖛𝖆𝕰𝖓𝖈𝖔𝖗𝖊 x texture404
instagram.com/maeva_encore/
instagram.com/texture404/

© 2022 Clair X
℗ 2022 re.core

H​ō​r​í​on

Clair X - Silvering

Une histoire se déclinant en trois parties. Chacune exprimant les différentes phases de la transmission trans-générationelle du souvenirs des rites et pratiques de nos ancêtres. 

Le rituel ici, raconte celui d'une famille remerciant Allah pour leur avoir offert le don d'écarter le mauvais sort. Le rituel consiste au sacrifice d'une bête et à la distribution de sa viande aux personnes de la communauté.

Tandis que la première partie raconte le rituel en lui même, la seconde explore et propose une version de l'image auditive que nous pourrions faire des rituels qui nous paraissent lointain. Enfin, dans la dernière partie, cette réinterprétation du rituel vient s'insuffler dans les rythmes d'une transe moderne, où la communion avec les autres passe d'abord par l'oubli de soi.

Part 1 - Une Histoire

Taken from SBKT054: Gorgonn - Six Paths
Release date: 31st January

Artwork and layout by Akihide Monna
Mastered by Raphael Valensi

In Japanese Buddhism, it's believed that when someone dies they are ushered down one of six paths depending on the karma accumulated during their previous lives. A being might end up in the world of humans, animals, demigods, or celestials, but it's also possible to end up reborn as a pitiable hungry ghost, doomed to an existence of insatiable desire, or even worse - be sent to hell, or jigoku. Ruled over by the Japanese lord of death Emma-ō, this hell isn't quite like the Christian hell, it's closer to purgatory, and cleansing the karma can take hundreds of millions of years of excruciating torture in extreme cold or immense fire. Japanese bass alchemist Gorgonn takes these themes as the basis of his debut album "Six Paths", assembling a spiritually weighty set of futurist dubs that consider the possibility that our mortal domain might be closer to hell than we realize.

Gorgonn describes himself as a Japalien exile. He left the country of his birth almost two decades ago, and since then has been working tirelessly to formulate Jamaican dub, noise, techno, and no-wave into a sound he calls "sci-fi steppas". If you've not come across his name before, there's a good chance you've heard his reverberations. An established sound tech who's worked with The Bug, Hype Williams, Seefeel and others, he's part of G36 with Kevin Martin, Dokkebi Q with Kiki Hitomi, and a former member of Devilman with DJ Scotch Egg and Bo Ningen's Taigen Kawabe. Just last year he released the acclaimed "Disentegration Dubs" full-length alongside JK Flesh, the veteran producer who's best known for masterminding Godflesh. All this experience blesses Gorgonn's productions with remarkable sonic force, and "Six Paths" is his most crushing display yet, smelting cannonball bass and osmium beats into sharp-edged soundsystem weapons.

Look no further than opener 'Abyss' for evidence of this: psychedelic synths draw the mind away from the mortal realm, while tangled, distorted beats push us back down to earth, our faces crushed into the grit and gravel. Using tweaked sub bass and unsettling drones, Gorgonn lays out a cinematic backdrop for the album, drawing us into a world that's terrifying, viscous, and nauseatingly familiar. There's a militaristic roll to 'Without Beginning and End', a track that juxtaposes spacey halfstep thrusts with death metal distortion, footwork polyrhythms, and unearthly pads that addresses the crushing endlessness of jigoku. On 'Invisible' meanwhile, Gorgonn torches the skeletal remains of D&B, abstracting familiar rhythmic patterns into fuzzy, ritualistic cycles that sound both ancient and humming with prospective technology. But on the closing track 'Life as a Beast', it sounds as if Gorgonn has come to a conclusion, and in a flurry of acid squelches and doomy foghorn bass blasts, he seems to have accepted that being reincarnated as an animal might be the best anyone can hope for. Who knows, you might end up as a cat.

Six Paths

Gorgonn - Not Yet Surrendered

“How to tell a story about being from a place you don't come from? The lives of both my grandmothers were marked by moving to the other end of their world. And this is how I was born in Warmia. A place that has repeatedly uprooted its history. From the Prussians to Warmians, Germans, and Jews, to the forced resettlement of Ruthenians and Ukrainians in the Vistula operation and repatriation of the Kresowiaks...” – Zosia Hołubowska 

“Singing Warmia” is an attempt to deal with the lack of family archives and the inability to establish a relationship with the place of birth. 

Instead of family stories, the album's material is photos of the artist's favorite places around Olsztyn (capital city of Warmia region), which were sonified using processes designed by the artists. Zosia Hołubowska follows Saidiya Hartman's critical fabulation, that is, the transformation of history that counters the violence of historical representations and archives. Singing Warmia expresses both the pain of exile and the gloomy beauty of the abandoned landscape: the slow current of the river grazed by tree branches. 

This process concerns the landscape, or rather the soundscape inviting the voices of the spirits that inhabit it. The bends of the Łyna become the signals controlling the synthesizers. The arrangement of tree branches is translated into a melody, and the splashes of light on the waves of the river constitute a harmonic spectrum of sounds resembling the whispers and wailing of phantoms. This piece is another example of creative work with archives, following the "undoing" approach, which means deconstructing, collage reassembling, and animating the elements to reinterpret the performative and magical potential of the material. 

The album is a rework of the 5 speaker concert commissioned by Canti Spazalizzati.

written, composed, and mixed by Zosia Hołubowska @zosia-ho-ubowska
mastered by Roland Nagy 
artwork by Peter Mazur 
font: HIDE productions

Buy Album

Zosia Hołubowska – Forest of the Expelled / Las wypedzonych

Taken from SBKT055: TRANCE BAND - Entrancing
Release date: 3rd March 2023

'A Seagull's Hymn'
Electric guitar - Felix-Florian Tödtloff
Drums – Will Ballantyne
Bass – KIM KHAN
Chains & vocals – Ican Harem

In a global landscape that increasingly prioritizes individuality over collaborative expression, TRANCE is a distinctive project. Initiated by Chinese multidisciplinary artist Tianzhuo Chen, best known for his work with Asian Dope Boys, TRANCE is as artistically amorphous as its constantly evolving line-up, that fluctuates as it shimmers across borders and time-zones. In 2019, the project was demoed in Beijing as part of a solo exhibition from Chen, a 12-hour durational performance that examined the altered states of living and dying and pondered the sounds, sensations, bodies and spaces that notion might suggest. On hold for three years due to COVID-19 restrictions, TRANCE was eventually premiered in Hamburg at the Kampnagel Theatre last year where it was presented as a surreal three-day ceremony. This time around the Trance Band was made up of Berlin-based noisemaker and vocalist Dis Fig, Indonesia's Gabber Modus Operandi, musician and MC KIM KHAN, guitarist and engineer Felix-Florian Tödtloff, and Vancouver-based percussionist and producer CITY. Chen directed the show, channeling each artist's unique energy into an alliance that highlighted their independent skills while pushing towards ideas that simply couldn't have been realized discretely.

"Entrancing" is a live documentation of that incendiary Hamburg session, powered by the performative fireworks that came from having the project halted for two years before it was allowed to burst into life once more. Just as with previous iterations of TRANCE, the space was terraformed into an alien landscape that allowed the collective to enact a carnivalesque display that was tightly controlled but creatively boundless. Musical u-turns were accompanied by monumental stage overhauls that reshaped a muddy, fog-filled outdoor riverscape into an arena, or a sweaty nightclub. This theatrical impact can't be visualized as clearly on the record, but musical cues do just enough heavy lifting to provide a tantalizing contour. When the alluring electro-acoustic plucks and resonant sustained string tones of 'There's a Ghost in the Lantern' cascade into cinematic drone metal on 'Ylva's Theme', it's impossible not to be drawn into the TRANCE narrative. Sonic stage lights flicker with uncommon intensity as the nebulous group rewrite their collective personal stories into stirring, synergistic poetry.

"Something changes!" KIM KHAN calls out on 'Soft and Black', cutting through warbling synths and itchy beatbox percussion. The track builds quickly, reaching a sizzling crescendo of buzzsaw noise and acidic electronics. It's a stylistic sea change that channels the group's kinetic energy into a rock show, and CITY picks up the message on 'Trance Genesis', adding rapid-fire drums to a barrage of guitar skronk. 'Shaolin Affliction' glues Trance Band's jagged artistic edges to a vintage metal template, gradually dissolving into throaty post-hardcore, while 'My Fortress' brings the show to a powerful conclusion with Dis Fig assuming the role of grunge balladeer, bellowing into the void over cacophonous live instrumentation. Unbound by musical and artistic conventions, TRANCE peers out from the basement, the gallery and the playhouse to forge an expression that's all of this and something new entirely. It's refreshing, witty, exhilarating and most of all, completely unpredictable.

Entrancing

TRANCE BAND - A Seagull's Hymn

Through his label @high_digital, DJ and producer HANAH likes to explore a hybrid, futuristic form of bass music, reveling in sonic experiments, between beatless tracks, abstract textures and twisted industrial sounds.

Tune in for High Digital every 3th Wednesday of the month, from 21h to 22h [CET] on rinse.fr

Rinse France Podcast

High Digital avec Lux18 - 15 Mars 2023

body--

@thisiswayatt était en direct depuis @unite-centrale à Lyon dans le cadre de Concordance, festival dédié à la scène locale.

Le béguin pour Wayatt @Unité Centrale (Concordance Festival 11.06.23)

Nemerov blends boundary-pushing, visceral and sensitive electronics from some of the finest witches and alchemists of the globe. 60 minutes of metallic, tender, adventurous and soul-crushing frequencies.

Shape+ : Nemerov - 15 Décembre 2023

Andra Cob et Alice Anyway proposent une sélection de leurs dernières trouvailles et de leur vieux gris-gris sonores. Pour essayer de recoller les morceaux : des chansons paillardes du groupe Alice, les polytopes de Ilanis Xenakis, le dernier album de Oneohtrix Point Never, le stoner de Dviance (et la plane de Dtente), les galops de Judgitzu, James K….

TRACKLIST

Alvedon – Retire 
Alice – Alice 
Lavinia Meijer -  Are You Still Somewhere 
Cedric Madden - Ready, Set, Go  
Upsammy - Germ In A Population Of Buildings 
Upsammy - Overflowering 
Dviance - Need Minerals 
Comechelet - Химера 
Dviance – Monstre 
Lorenzi - Faith For Eternity 
Ianis Xenakis - La légende d’Eer 
Stargate - Down of the Cryonics 
Ianis Xenakis - La légende d’Eer 
Carmen Villain - Liminal Space 
Kazuya Nagaya - Thanatos 
Oneohtrix Point Never - A barely lil path 
Oneohtrix Point Never - Krumville 
Varboska - Red Syphon 
James K - Marketa 
James K - I can not remember 
Judgitzu - L’Or des fous 
Danse Musique Rhône-Alpes - Plumbers Choice 
Alice - Du fil à recoudre

DERNIER CHAOS w/ Andra Cob & Alice Anyway

Paysage sonore en construction, écoute attentive et minutieuse.



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Part 1 - Une Histoire

Dai Rangai