Love the slow build up on this song. The guitar bath at the end is sublime

Found this song in like 2021-2022 or something and i just come back once in a while just to rest

Electronic X

Taken from upcoming album "Only Love From Now On", out Feb 25th on Smalltown Supersound. 
Pre-order here: 
https://carmenvillain.bandcamp.com/album/only-love-from-now-on

Produced by Carmen Villain.
Mastered by Rashad Becker.

Gestures w/ Arve Henriksen

01 Recondite - Torpid

Shortwave Memories

Formanta

Artist : Portable
Title : Ripple Effect
Album : 'My Sentient Shadow'.
Label : Circus Company 
Format : 2xLP + digital
Cat Number: CCS120
Release date single : 10.01.2022
Description : Un titre downtempo et mélancolique, construit autour d’un texte poétique, aux échos néanmoins politiques, porté une nouvelle fois par la voix grave et les chœurs éthérés de Alan Abrahams.
Pre-order link : https://lnk.to/my-sentient-shadow
Fanlink - Ripple Effect: https://bfan.link/ripple-effect
------------------------------
Artist :
FB : https://www.facebook.com/portableakabodycode/
SC : https://soundcloud.com/portable-aka-bodycode
IG : https://www.instagram.com/portableakabodycode/

Label :
FB : https://www.facebook.com/circuscompany/
SC : https://soundcloud.com/circuscompany
IG : https://www.instagram.com/circuscompany/
Linktree - Circus Company: https://linktr.ee/circuscompany

Premiere : Portable - Ripple Effect [Circus Company]

A Journey

Loops of your heart - Cries (2012)

DXXDLY- trip (ceqeo)

Imagine the picture, the story & the beautyfull planet of this film

eXoWorld (part 9)

Suzanne Ciani
Buchla Concerts 1975
FKR082LP
Finders Keepers Records

Finders Keepers invite you to witness the incredible first ever Buchla synthesiser concerts/demonstrations providing a distinctive feminine alternative to The Silver Apples Of The Moon if they had ever been presented in phonographic form. This is history in the remaking.

This spring Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we’ve come to understand it. To describe this records as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity. This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record it’s daunting to learn that this record was in fact not a record at all… It was a manifesto and a gateway to a new world, that somehow never quite opened. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation/grant application/educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. Hopefully there is still chance.

In short, Suzanne was a self-imposed twenty-year-old employee of the Buchla modular synthesiser company, San Francisco’s neck and neck contender to New York’s Moog. Buchla was run by a community of festival freaks and academic acid eaters whose roots in new age lifestyles and the reinvention of art and music replaced the business acumen enjoyed by its likeminded East Coasters. In the eyes of the consumer the creative refusal to adopt rudimentary facets like a piano keyboard controller rendered the Buchla synthesiser the more obscure stubborn sister of the synth marathon, steering these incredible units away from the mainstream into the homes and studios of free music aficionados, art house composers and die-hard revolutionaries. Championed and semi-showcased by composer Morton Subotnick on his albums The Bull and Silver Apples Of The Moon, Buchla’s versatility began to open the minds of a new generation, but the high-end design features and no-compromise modus operandi was often confused with incompatibility and, in the pulsating shadow of Moog’s marketing, the revolution would not be televised nor patronised. Suzanne Ciani, as one of the very few female composers on the frontline (and also providing the back line) did not lose faith.

These “concerts” are the epitome of rare music technology historic documents, performed by a real musician whose skills and academic education in classical composition already outweighed her male synthesiser contemporaries of twice her age. At the very start of her fragile career these recordings are nothing short of sacrificial ode to her mentor and machine, sonic pickets of the revolution and love letters to an absolutely genuine vision of and ‘alternative’ musical future. In denouncing her own precocious polymathmatic past in a bid to persuade the world to sing from a new hymn sheet, Suzanne Ciani created a bi-product of never before heard music that would render the pigeon holes “ambient” and “futuristic” utterly inadequate. Providing nothing short of an entirely different feminine take on the experimental “records” of Morton Subotnick and proving to a small, judgmental audience and jury the true versatility of one of the most radical and idiosyncratic musical instruments of the 20th century. These recordings have not been heard since then.

Suzanne Ciani - Buchla Concerts 1975 (Excerpts)

I’m very happy to announce a new collaboration with Alessandro Cortini, a master of electronic noise and synth player in Nine Inch Nails. I’m a huge fan of Alessandro’s work and I’m proud to share this music with you, something we’ve been working on for the past few months. An extremely limited white-label 7” titled Sun Draw Water is available at Mount Analog in LA, Phonica in London and through the Phantasy web shop: https://fanlink.to/DAACSDW

Buy 7"

Daniel Avery + Alessandro Cortini - Water

Music composed and produced by Caterina Barbieri between September 2015 and January 2016. Mixed at Elektronmusikstudion in
Stockholm (SE). Composed with an ER-101 Indexed Quad 
Sequencer and a Verbos Harmonic Oscillator. 
Images by Giovanni Brunetto 
Photography by Angelo Jaroszuk Bogasz 
Mastered by Giuseppe Ielasi 
First edition pressing of 500 double LPs packaged in a gatefold jacket. An edition of 200 sets on transparent blue vinyl is available for Important mailorder customers: http://importantrecords.com/imprec/imprec449
Bandcamp: https://caterinabarbieri.bandcamp.com/album/patterns-of-consciousness
"...has an imperial, exacting beauty." (The Wire)
“…few albums have hit us as hard as Caterina Barbieri’s 70-minute opus, Patterns Of Consciousness. On her debut full-length, Barbieri commands tsunami-height waves of arpeggiated analog synths." (Fact Mag)
"Patterns Of Consciousness finds Caterina Barbieri at her best, elegantly moving between melodically pleasant yet twisted sequences and comforting, reassuring sonic spaces. Every piece, while given a singular identity, is part of the bigger picture: a work of art that will push you, pull you, and then eventually leave you with your back against the wall once you get to the last track. " Alessandro Cortini (Nine Inch Nails)

Gravity that Binds

Premiered by @resident-advisor 
https://www.residentadvisor.net/tracks/893826

"I made this track from samples of a piano board I recorded in EMS Stockholm with LAIR while we were working on our project. And some microphone hiss for the beats. I have been making purely percussive tracks recently for my upcoming album, so for this track I wanted to have an emotive melodic element as well. The title refers to the difficulty it seems as a human to live as you truly want, as opposed to how you think you should." - @eomac

Eomac - Don't Fear Your Own Heart

Artist: ASUNA & Jan Jelinek
Album: Signals Bulletin
Label#: Faitiche18
 
Faitiche is delighted to announce the release of a new collaboration between the Japanese sound artist ASUNA and Jan Jelinek: the album Signals Bulletin brings together joint improvisations and compositions made over a period of three years in Berlin, Kyoto and Kanazawa. ASUNA’s meandering organ drones merge with Jelinek’s pulsating synthesizer and field recording loops to create dense superclusters that span broad harmonic arcs.

-

Watching the Japanese sound artist ASUNA playing the organ, some people might be surprised. ASUNA is no virtuoso flying over the keyboard in a rage. Instead, with the calm gestures of an office worker, he cuts strips of adhesive tape to the correct length before sticking them onto the keys of his instrument. In this way, large clusters of keys are held down, creating a dense and sustained range of frequencies, while the sound artist continually prepares further sets of keys or removes tape again. I have rarely seen a more convincing performance concept, with such a power to fascinate.

I first met ASUNA when we both gave a concert at the 21st Century Museum of Contemporary Art in Kanazawa, his home city. He performed the organ drones as described above and I immediately knew I wanted to collaborate with him. Six years and five meetings later, we completed Signals Bulletin. The album includes both joint improvisations and compositions, recorded in Berlin, Kanazawa and Kyoto.

Whether using prepared organ, Casio keyboards or mechanical plastic toys, ASUNA creates rich textures of sound that barely change over long stretches of time. It is a music without breaks. For a while, I was unsure how my loops made using modular synthesizers and live sampling fitted here – until I realized the role I had to take in this duet: I would provide the rhythmically pulsating foundation over which his dense continuums could unfold.

The result is harmonically drifting superclusters that put us into a meditation-like state. It can perhaps be compared to Automatic Writing – a mode of creative expression floating somewhere between concentration and distraction. Both the structure of our pieces and our approach to our instruments allow a similar “absence”: we let the machines play and repeat themselves – while we, in a mild form of trance, adopt the role of observers, intervening only occasionally.

It is no coincidence that ASUNA owns a collection of Doodle Art – drawings jotted down during conversations or while talking on the phone. It is said that works made like this point to the unconscious and reveal pet motifs – because a doodler always inadvertently returns to his or her favourite themes. The artwork for Signals Bulletin features pictures from the collection, in this case sheets of paper from the pads provided in stationery shops to test out pens. The special quality of such doodles is that the jumble of drawings is the work of a collective whose individual members do not know each other. Layer by layer is added, by someone different each time – until it becomes a dense cluster of lines and symbols ...
Jan Jelinek, Berlin 2018

ASUNA & Jan Jelinek: Relief, Pt.1

The Sacrificial Code

Kali Malone - Litanic Cloth Wrung (from "The Sacrificial Code" iDEAL 2xLP/3xCD)

Grafts (Expanded Reissue)

CHIAROSCURO

Alessandro Cortini is an Italian musician, producer, composer, and instrument builder. 

Cortini is one of the foremost figures of contemporary electronic music, best known for his haunting, atmospheric work. Alongside being a longstanding member of Nine Inch Nails, he is highly prolific and has released a steady stream of his own heady music on luminary labels including Mute, Hospital, and Important Records for the past decade. Throughout his shadowy rise to fame, he has collaborated with the likes of Lawrence English, Daniel Avery and Merzbow (to name a few). Balancing dark ambience with smokey, pulsing rhythms, his compositions are perfectly restrained, textured and mesmeric. 

Cortini was inducted into the Rock and Roll Hall of Fame in 2020 through his work with Nine Inch Nails, making history as the only Italian musician to have ever been honored with this recognition. 

In 2021, in collaboration with boutique synth builders Make Noise, Cortini released his own, custom-designed, semi-modular synth, “Strega” (Italian for ‘witch’). That same year, he used Strega to build his latest full length, Scuro Chiaro [Mute], which Pitchfork described as “pitched somewhere between purgatory and the planetarium ... consistently managing to thrill and surprise”. 

In addition to years of extensive worldwide touring, Cortini has also soundtracked fashion shows including Alexander McQueen, Dior, and several of Fendi’s presentations. In 2022, he exhibited a high-concept audio installation called “Nati Infiniti” for Sonar 2022 at Museu de Lisboa’s “Fábrica de Moagem.” A live version of “Nati Infiniti” is set to debut at Berlin Atonal in 2023.

Alessandro Cortini’s music has been licensed for use in television, film and documentaries, games, and commercials, including FX’s hit show The Bear, “Thank You Very Much” a documentary about Andy Kaufman, Samsung, BMW, Sony, and Netflix. Remixes have also been a part of Cortini’s identity – remixing the likes of Depeche Mode to Mogwai to Death Cab For Cutie, Yann Tiersen to Vatican Shadow, and more between and beyond.

CHIAROSCURO

Alessandro Cortini

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