“The seaside encourages and capitalises on transgression,” says Brighton-based cultural commentator Andy Medhurst. “Seaside culture is somewhere [where] the everyday rules of behaviour are put on hold. Compared to the average working week, where most people have to do set things at set times for set rewards, the seaside is a zone where all bets are off. It gives us the opportunity to write our own rules; in some cases, that can mean the usual codes of respectability cease to hold much sway.
“Seaside towns are literally and metaphorically on the edge. They give a very particular perspective. When you look back inland, nothing seems as settled as it once did – and those instabilities can be culturally productive.”

Motto of the Wheel

Teresa Winter - Motto of the Wheel [RAVE031]

live-coded pattern music, performed on the interwebs by PitchTrebler at the SuperCollider 3.14 release party 2025.07.26

in a phrase phase (live)

core is a feedback loop of the fsh-1 frequency shifter, inside the loop is c0 and mmf-1. modulated by r*s dsg. rhythm and pads itb.

something like a patch diagram: https://imgur.com/6oNm0yH

one output of the fsh-1 goes into the c0 delay (the delay is crucial in this patch, most of the sound gets produced here), the output of the delay goes into a limiter and then back in one input of the fsh-1.
another ouput of the fsh-1 goes into the mmf-1 filter in dual bandpass mode, from there the signal goes again into a limiter and into the second input of the fsh-1.
this is now the basic closed feedback loop, i listen to the mix output of the fsh-1.
by playing around with all the settings i get different tones, again, the delay is crucial here, how much feedback is determined by the limiter and general volume controls or frequency controls of all three modules... now to get a rhythmic patterns going i plugged this "bouncing ball" envelope into the second input of the filter, that is enough to only get feedback at the high portions of the envelope eg i get a rhythmic feedback pattern. variations in tone by manual control of the bandpass settings and the delay time plus occasional tweaks at the limiter section for louder or more distorted feedback. the patch is delicate, i tried to replicate it and i wasnt able to come close to these tones, but other great ones:) enjoy modular synthesis!

fsh1

Kindohm returns to Conditional with Meme Booth, a startlingly focussed collection of ideas notated in characteristic fizzy synthesis and off-kilter rhythms. Persuasively addictive dance music.

Innumerable sine waves grapple for attention atop restless kick drums right from the off, with opener 'Articulator' setting out a blueprint for the movements to come. Elsewhere, the title track cycles through endless permutations of itself, looking for the perfect configuration and finding it over and over again.

The loping mechanics of 'Friend Suggestion' give way to the optimistic mutations of 'Flexbox', its lone synth swerving through myriad timbres. Moments of respite tumble into view, with the modulated waves of 'Unfollowed Silence' allowing a breath-catch before the dismantled recapitulation of 'It Me.gif' turns up to break itself into unhealthy shapes.

Meme Booth exhibits a fresh approach to synthesis and rhythm, resting both on and off the grid as if wrestling with time itself - only to dive off of the top rope and land squarely in the centre of the dancefloor.

Meme Booth

Kindohm - Meme Booth (from CON027, 'Meme Booth')

This three-way collaboration was initiated by Sugai Ken in the early months of 2019. His idea was to compose a track in the image of the Crape Myrtle plant with each artist expressing an element of the plant with sound, Andrew Pekler: "Flower", Ben Vince: "Soil" Sugai Ken: "Water". The parts were then mixed and mastered by Ken in August 2019.

pay what you like via bandcamp https://benvince.bandcamp.com/track/crape-myrtle

Sugai Ken, Ben Vince & Andrew Pekler - Crape Myrtle

William Fields returns to Conditional with 'Shackamaxon', a colourful collection of no-messing volleys shaped by Fields' generative music system.

Released 28th January 2020 on cassette and digital, backed with remixes from Vytear, {arsonist}, Renick Bell and Kindohm.

Shackamaxon

William Fields - Ostinato Punch (from CON028, 'Shackamaxon')

The title Nth White Dot is a near-anagram of an enigmatic text message I received from an unknown number while touring this material along the west coast of the US: “Shot t Edwin.”

Releases 26th February 2020 on cassette and digital.

Nth White Dot

RM Francis - Fffffffffffff (from CON029, 'Nth White Dot')

An introspective soundscape from Berlin-based hazy purveyors Exael and Arad Acid.

'Furi' is out March 13th on Motion Ward.

Pre-order: bit.ly/2VnO2ol

@exael
@aradacid
@motion-ward

Premiere: Exael & Arad Acid - Upward Spiral [Motion Ward]

LOG ET3RNAL

LOG 7

LISTEN or BUY: https://mappa.bandcamp.com/album/sotto

VIDEO teaser / SOTTO 
youtu.be/md6kPU18r6g 

‘Sotto’ is Andrew Oda’s attempt at world building in sound. Meshing method, mind, metaphysical and mundane into massive murals, its triptych of vivid compositions seem to wield electronic sound like a magic paintbrush. Inspired by the paintings of Otto Marseus van Schrieck, Ljubomir Popović, and Nicole Duennebier, ‘Sotto’’s three parts inhabit environments bursting with explosive internal ecologies of synthesized pulsations, yawning drones, tinkling imaginary chimes, and abstract noisy rumblings that flow, ebb and breathe with the infinite complexity cognition meshing with the chaotic order of natural greenery. 

Side A’s two pieces – ’Sotto’ and ‘Spirit’ – are both only made up of synthetic sound, created via computer and other synthesizing methods. The spark came from an attempt to show the process of creation, life and the final union through sonic means, spiralling into a dense lattice of lifeforms, spirits, and objects realised in sound. “The original goal of the project was to convey the idea of this sound visualization for creatures and textures that are fluid, tangled and morphing into and around each other,” explains Oda. 

While imagination and spirit are the subjects of the first two pieces, the final piece of the triptych, ‘Enfold’, emerges into a luscious and staggeringly beautiful material world. Oda turns here to acoustic recordings made in the field, as well as pianos, bells, and flute (performed by Susannah Oda), layering the results into the trembling organic soundscape suggested by Jonáš Gruska’s cover photography. The entirety of ‘Sotto’ is a living and vivid sound world of Oda’s creation – the first in a pegged trilogy of triptychs – brimming with beauty in which to wander and bask. 


released November 2, 2020 

Music by Andrew Oda 

Side A contains only sound synthesis 
Side B contains field recordings, piano, bells, as well as flute recordings from Susannah Oda 

SOTTO was made in Indiana, California and Virginia from 2018-2020 

Cover and photos by Jonáš Gruska 
instagram.com/jonas.gruska/ 

Mastered by Adam Badí Donoval 
abdonoval.com 

Words by Tristan Bath 
tristanbath.com 

Photography by Leontína Berková 
leontinaberkova.com 

Released by mappa as MAP021 in 2020

in a phrase phase (live)

AlgoRítmica