Beyond Humans & Automatisme is a duo reuniting two established electronic music projects based in Santiago/Chile and Montreal/Canada.

Beyond Humans & Automatisme - I2

Beyond Humans & Automatisme - Interpolation

Beyond Humans & Automatisme - Zeitgeist

A world, once vast and full of life, closes in on itself as its inhabitants are forced to watch 
from the false comfort of their bedside windows. Intrusive Genomes begins as a whisper 
that swells like a harmful tide, slowly unraveling into a premonition of what lies ahead for 
this greed-driven world: fear, struggle, and a slow, withering devastation that culminates 
in a final stillness - accompanied only by the ruined monuments of dead civilizations.

Intrusive Genomes

0belisc - Intrusive Genomes

After producing all kinds of experimental electronic music since 1997 it is now about bringing together forgotten ties and marking unmarked spaces. Known as Berk Offset, as a part of the Cannibal Cooking Club duo since more than two decades or as founder of the Wakkler vinyl label it is time to discover the own roots, the core of machine funk, the essence of the personal fascination of techno music and its often very simple structures and raw elements. Waves for the basement, the place where it started. 

soundcloud.com/echowolftechno 
www.facebook.com/echowolftechno 
www.instagram.com/wakkler/

Echowolf - Zustand 005

Echowolf - Zustand 003

Echowolf - Zustand 001

Simona Zambolis first album on Mille Plateaux "Ethernity" is a piece of haunting music - vibrating, pulsing and cutting through the concrete and the chaos at the same time, when you listen close enough. The album is a journey through trans-reality, not only as a melancholic drama, but also as a travel to alien worlds, hence as a necessity of an electronic intervention. "Ethernithy" is radical fictioning in a non-expressive, non-melancholic and ultrablack sense. Profound music demands blackness, not silence. When we speak of communication or mediation, the reference is always that of the mystical tradition of the via negativa; mediation and communication always imply the dissolution of sender and receiver, leaving not only the message that is the gulf or abyss, but a perception out there, which senses should be able to recognize and even love.


Written and mixed by Simona Zamboli. 
Mastered by Vladislav Isaev. 
Artwork by Simona Zamboli. 

WEB: www.simonazamboli.com 
SC: soundcloud.com/simonazambolimusic 
IG: simona_zamboli 
FB: https://www.facebook.com/ZamboliSimona

Russian Galaxy

Compossibility

A lightning bolt strikes the mountaintop

Take Me Somewhere

Noise hub

Dream But Be Careful

Bless Interlude

Zustand 022

Zustand 016

Zustand 006

22 Transonic Flow Supersonic Moves

03 Nyppy Bennu

1)The most subversive and contemporary creative gesture, witnessing the Human Presence, can be the creative control of error, the controlled deviation of the numerical series in a dimension in which the human presence contributes to curving time, to grafting a colour into a sound, a cinematographic image into an aseptic texture, a musical sequence in the background of a tree, in a slower time, purified and richer in meaning. 


2)We must occasionally remind the dust (aphar) that it was once man and immortal matter. A vibrant and pulsating presence anxieties. Uncertain whisper and accurate and imperfect “silere”. Fear of glances at the announcement and the contraction of the day. For always and again the shattered appears to us with each discolouring. Always and again we propose ourselves in the "nembi" 's molecular colours . It is felt more intense far away, where the lenses barely perceive the dense breath of other universes. It insuffles itself decisively and, by leaps and bounds, it infiltrates into our poor houses and bodies. A little sparkles out in the open and soothes in the sacred enclosure of dreams. Perhaps this is why a piercing pain resonates in the hollow organs and reverberates inadvertently. And so it is worthwhile to step aside and listen to one another on the sidelines. Let yourself be traversed by flows and be disoriented by sounds.

Author: Gianluca Iadema

Full A/V-Work: https://www.youtube.com/watch?v=4MfbQA58lRo

Morphe

“Frozen Dust” is an album unified by the theme of “destruction” and “creation.” 

Inspired by the power of nature; we’ve expressed how we humans overcome the magnificent phenomena and impacts nature has on us - while it brings us joy, it can sometimes take away our lives and pleasures, 

We’ve incorporated this rather difficult theme by telling stories of fictional characters in the album; an adventurer in the Arctic region who confronts the threat of nature and survives between life and death, or a widow who never eases the pain of losing her sailor husband by a great storm in the Age of Discovery. 

“Frozen Dust” is our manifestation of “destruction” and “creation and each sound brings you the essence of it.

releases February 24, 2020

Get it!

Teruyuki Kurihara - Down

Polish born Adam Kroll , moved to Germany in 1981. After several years of pursuing his impulse for freedom and creativity, he finally ended up in Cologne Germany where he found the inspiration and appropriate atmosphere for electronic music. 
Adam´s work in the experimental field is characterised by tranquility and 
composure, as well as a fresh leap into working with digital sound processes. His talent and virtuosity in sound programming is apparant even to the less knowledgeable listeners. He defines his own style in a myriad of abstract patterns & sound collages. He blends his musical understanding and skills as a drummer into all kinds of electronic interactions. 
The strength lies in the antagonism and contrast of, dub and ambient music, experimental aesthetics and the infatuation in arrangement-detail.

Silicon Valley

Hyperglitch is an emerging genre that is informed by glitch, idm and experimental music that came before it, but is distinct from them. It uses new techniques, explores new concepts, and has a new aesthetic. “Hyper” in this sense doesn’t mean more, or faster, or louder, it’s meant in the “hypertext” way; as in: deeper and more interconnected. Hyperglitch is the evolution of glitch. It’s what happens when a generation of artists grow up surrounded by glitch, entrenched in the digital world. Their fluency and usage/exploitation of glitch has deeper roots and is more natural and nuanced than someone born outside of this environment. 

My hope is that by helping to define the genre through this series, it will help other artists within the subgenre to find each other, and help us all develop our work and leave the past behind (or at least the parts that are holding us back). I also hope that by casting a wide net it will dissuade others from creating a formula for the genre and freezing it in time (although I’m sure some of that is inevitable). I also want to stress that Hyperglitch is new. Some of the ideas have been circulating for years, some even as far back as the early 2000’s, but their current formulation and the combinations employed by these artists are something I have never heard before (even though I have been imagining the emergence of something similar for a long time). I hope this series will illuminate the thread that I think connects these artists, and will hopefully inspire other artists to join in and create their own Hyperglitch music. 

The first album in the series is Reason by Seskamol. It is an incredibly cinematic album that intercuts dissociative ambiences with harsh, fast and hyper-detailed percussive sections. Seskamol’s understanding of rhythm and percussion seems to have moved past the need for any groove or pulse, but instead of using the pallets of electro-acoustic music, or breakcore, he mangles the two with new and more refined techniques. Similar to the raw expressions of noise music or blast beats, but reinventing them through the drum programming of breakcore with modern sound design. The result is what I imagine it would be like to wake up in a post apocalyptic wasteland, an eerie calm and then the blasts of music from an aggressive and violent time before the collapse bombarding you from a radio passing through stations, or the blasting stereo system of a renegade gang vehicle passing you. The album oscillates through feelings of desperate anger and the disabling apathy of a particularly strong depression. By passing through it with Seskamol, we know we aren’t alone. 

- Woulg ( www.woulg.com )
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seskamol - destiny - [audio.visual.music.video.] - [2020] 
4K - youtu.be/rTgDlQe1_NM 

www.seskamol.com 
soundcloud.com/seskamol/ 
youtube.com/seskamol/ 
instagram.com/seskamol/ 
vimeo.com/seskamol/ 
patreon.com/seskamol/ 

www.glitch.cool

Destiny

"Larger than the will of any individual, the totality of modern human society is simultaneously one constituted by our actions yet also a gestalt entity obeying an emergent logic of its own. Constellations of processes and events act in discordant symphony largely blind to each other, while together they constitute a distributed machine serving solely itself at the price of human abjection. Conceivable solely as an abstraction, but concrete to the very core of human objectivity, this totality is profoundly human in origin but absolutely alien to our needs. Its very shape is contingent upon the trajectory of history from which it emerged, a trajectory which is now dislodged and savagely dragged along as the totality cycles itself blindly forward in time, obeying nothing other than the immanent logic of capital. Ignorance of totality matters not to it, as those who possess knowledge of its contours are no less objects to its continual unfolding. 

The horizon of its trajectory offers a fractal vision of futures such as ecological collapse, mass refugee crises, escalating pandemics, genocide, and more. Like the shards of a kaleidoscope, these morph in and out of each other, their causes and consequences all intertwined with the horrors of this perpetual unfolding of global capitalism. To grasp this all as a human is to accept it, for there is little else one can do." (Man From Sol)

https://soundcloud.com/man-from-sol

Gestalt Logic Constellation

"The third album in the series continues our dive into hyperglitch with Weaving Ritual by Sunnk. This album was one of the main inspirations for making this series. It's deep and emotional, expressive and raw, tech-y and precise. The sound design is endlessly fascinating. I find myself pausing to re-listen to individual moments over and over again, trying to understand what exactly is going on. And somehow, even with all this technical complexity, the album comes across as natural, as if each maneuver was as effortless as a press of a key. The story of the album is patient but unafraid of being abrupt or pushing the listener away. Weaving Ritual feels like a dark spell cast in the middle of an abandoned street. A vortex that we are pulled into. Dragging us through our darkest memories kicking and screaming, pulled inside out. Blending into a fog of thick heavy smoke that collects into liquid that slides down the gutter. We wake up from the hallucinations in the final moments of the album and find ourselves running but can't remember from what." 
(text by Woulg)

album & mastering by sunnk : soundcloud.com/sunnk 
artwork: Sigil by Stuart Graham , stuartgraham.me

weaving ritual reprise

the threads of the sun in berlin

a broken hand

weaving ritual

gossamer

il a la couleur du souffre

„Dirty Pictures“ is the project of Russian Producer Lёps Dubasov. He studied music since the early 90s. Two main elements characterize his msuic until today: Experiment and imagery. The Album „Segregation“ is an extraordinary example for the new concept of Mille Plateaux, which can be described as „Ultrablack of Music“. In the gravity of Ultrablackness you can hear the immeasurableness of the real. For Lёps Dubasov nature and it hyper-objekts are a supplement for the real. 

In his album strange nonhuman sonic fluxes touch the mimicry of Chaos, they tell in an audible way about forces, that are not audible. Segregation makes the music of the earth and nature audible, which by its nature is raw, strange, intense. This confronts us with the experimentation with a nameless in-between, in which new temporalities can emerge. whose winding paths and outcomes can neither be predicted nor guaranteed. Music is no longer to be organized sound, but the diagrammatic constitution of a counterfactual space-time, which in addition enables a transformation of hearing within the possibilities offered by such a sound-music. 

Lёps Dubasovs music pays attention to time, to slowness, and to an always changing continuity at play in the transformation of sounds. This transformation is on the one hand organic and on the other hand non-human. Ecology is here the opposite of hierarchy: a web of nature and imaginable sounds, a web in which the interactions between the different objects are quasi infinite. Lёps Dubasov considers our terrestriality not as a surface, but as a field of flows and folds. a multiplicity of contrasting sounds and materials. 

Ecological non-music can register as internalized orientation with in the world and act as an externalized sound explicitly attuned to the potent affective character of the Real, as the Outside, darkness etc. Ecological non-music offers non-musical resources and opportunities to help facilitate more coherent responses to the inhuman, posthuman and transhuman possibilities.

drought

'When non-frequency-politics listens to the clock, it does not hear the uniform tic tic, tic, but it hears tic - toc - fuck the clock.'

Force Inc. / mille plateaux

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