Taken from the album 'Piano Muisc 1-7' released as LP, CD and digital.


Editions Mego is proud to welcome Powell to its roster with a bizarre and strangely emotive new LP of synthetic computer works entitled Piano Music 1-7.

Via his own Diagonal Records imprint, his work on XL Recordings and, most recently, the opening of audio/film platform A Folder [afolder.studio], Powell has firm footing in the contemporary electronic landscape. During a wry and obstinate musical life he has twisted myriad synthetic forms into shapes that explore and expand upon the districts of post-punk, techno, noise + computer music, and in the the last year alone he has released four albums of hi-def abstractions, each inspired by a formalisation of music proposed by Iannis Xenakis. 

As an extension of this intense period of work/research/play with stochastic functions [using probabilities to compose music], various processes emerged that Powell then began to apply to more traditional musical events. Where ordinarily in his work the probabilities and relationships are used to define parameters such as wave-shape, folding, FM, filter modes etc., he now began to use them to create musical formations and visual scores that could be played back using any software/MIDI instrument [one of these can be seen on the rear cover of the LP release]. While mapping out this cartography of relations, he used a basic Grand Steinway sampler as a placeholder instrument; the longer the process went on, though, the more he began to embrace the acoustic properties of the synthetic piano and make it the bedrock for this new constellation of work. 

Piano Music 1-7, subtitled ‘Music for Synthetic Piano and Assorted Electronics’, consists of seven different synthetic islands strung together into a single composition. All were composed using the aforementioned processes that allowed Powell to play a piano, even if he never learned to do so with his hands. After all, ’In writing electronic music,’ Robin Mackay once wrote, ‘you also have to direct the invention of new tools.’

At times the piano skips gleefully over shadowing synthesis, whilst at others the synthetic sheets swarm and envelope the keys. The interplay between the two create a fantastical alternate reality, a cosmic machine in which time is eroded, shrunk and expanded, like a wax upon which operations and relations are inscribed or engraved. Many of the pieces express a playfulness or optimism verging on vitalism, as bundles of piano notes dance and interpolate with a never-repeating range of electronic gestures. The feel is of a brightly coloured flower-bed in various stage of bloom. This interplay of the [artifical] acoustic and the electronic builds on the pioneering processes developed by David Behrman in works such as Leapday Night, and Piano Music 1-7 could also be posited as a modern take on Conlon Nancarrow’s investigations for player piano. Similarly, the razor-sharp sonic properties and unfolding of non-human events recall the computer works of Xenakis and the surgical precision of Mego mainstay Florian Hecker.

Recorded in late 2020, these new Powell works propose not just a bold and bright vision of electronic music but serve also as a map with which, for 35 minutes at least, we can navigate our way out of the current milieu. As the artist himself remarks in the sleeve-notes, ‘. . . What emerged from this fog or soup [for me] were ideas and processes that felt affirmative and life giving — sensations I had always hoped to convey in my music. Perhaps the optimism or positivity I felt at these musical events unfolding, these clusters and knots tumbling in different directions across time, can also be felt by you.’

Music for Synthetic Piano and Assorted Electronics

Composed and recorded by Powell, 2020
Mixed by Powell and Tobin Jones at The Park Studios, London
Mastered by Russell Haswell

Art direction by Guy Featherstone
Photography by John Cronin

Powell 'Piano Music #1' (EMEGO 301)

Living Room n°15 ~ @bleeeech

q. pls introduce yourself

> hi, I'm bleeech

q. is there a story behind the mix? how did it come together?

> definitely influenced by the symphony of cicadas I hear on my humidity soaked morning walks. a lot of jams I've been listening to recently.

q. in your opinion, what would be the ideal circumstances to enjoy
your mix?

> it's nice to listen to while sitting in the sun

q. describe a favourite object in your living room...

> my wall of plants 

q. are you working on any projects right now (music or not music)?

> I'm finishing up a full length and a few collaborative projects. and I'm always working on new paintings.

Living Room n°15 ~ bleeech

Unknown Album

dj set @cosmos 17/09/2021

Are you - like us - feeling unsettled when reaching one of these lonely, desolated places with no other purpose than connecting two others? 
Not a single soul init, or only for a short time, just when someone passes-by, as quickly as possible. Out of time - or from another -, yet here forever: The empty mall halls, the school corridors during class hours, or even the underground connections at night.
No close noise neither. Maybe just a distant humming, to remind you that life goes on, somewhere else.
These places, yes! Troubling, for sure, but so fascinating also. Because once you got into one, are you even sure you'll entirely get out? What if, just like after a deadly battle, a striking loss or a huge achievement, some part of you - even a tiny one -, just stayed stuck back there? Would you ever really reach your destination?

Through its 'Liminal Places' compilation, the Parisian label Ōtium and guests explore together the concept of gray-area, starting today with Jeune Galois' sour, nostalgic 'Symony Ochesa' anthem.

Other contributions from Xuri & John Cleworth, Morfine, JS Donny, Thirdworldlabour, Ryong, Lawrence Lek abd Okay Vivian to be unveiled soon.
https://otiumrec.bandcamp.com/album/liminal-spaces

@jeunegalois
@otiumrec

℘ཞɛɱıɛཞɛ ≈ Jeune Galois - Symony Ochesa [Ōtium]

Ambient Aura 1 is the first compilation of ambient music from or label Aeon Records. Featuring a variety of artists and styles.

Free Download

Lost in Clouds

single from "HALF BLANKED MEMORIES" 
OUT 13 08 25
made with love by Charlotte Salvatori

REMINESCENCE

Ding-ding, like pieces of ice, metallophone sounds bounce off stones in the frost and, striking, change their shape, become thick and viscous, barely transparent, flowing downward. This is how time slows down, disappearing under the veil of tape, where naive childhood melodies decelerate and stretch. Whether from overwhelming nostalgia or from the realization that none of this ever existed.

syndryang is a project by Vladimir Sychev, whose childhood was spent in the far north in Novy Urengoy. According to the beliefs of the Nenets who lived in what is now the Yamalo-Nenets Autonomous District, a person consisted of a body and two souls: breath ("ind'") and shadow ("syndryang"). Breath was the common soul of all living things, from humans to plants. The shadow, however, was half-independent: it accompanied a person, protected from other shadows and underground beings, brought dreams. The loss of shadow led to illness and madness.

self-titled '24 is an attempt to capture what slips away: the feeling of home in a place you want to leave, and longing for a time that perhaps never came. Cassette recordings and melancholic melodies, digitized and filtered through the prism of modern technology, create a double exposure effect of time. Here lives a blurred past, where genuine and imagined memories interweave into one sonic picture.

------------------------------------------------

Дзынь-дзынь, словно кусочки льда, звуки металлофона отскакивают от камней на морозе и, ударяясь, меняют свою форму, становятся густыми и тягучими, еле прозрачными, стекают вниз. Так замедляется время, исчезая под пеленой плёнки, где наивные детские мелодии замедляются и растягиваются. То ли от накатывающей ностальгии, то ли от осознания, что всего этого никогда не было.

syndryang — проект Владимира Сычёва, чьё детство прошло на крайнем севере в Новом Уренгое. Согласно представлениям ненцев, живших на территории современного Ямало-Ненецкого автономного округа, человек состоял из тела и двух душ: дыхания («инд'») и тени («синдрянг»). Дыхание — общая душа всего живого, от людей до растений. Тень же была наполовину самостоятельной: она сопровождала человека, защищала от чужих теней и подземных существ, приносила сны. Потеря тени вела к болезням и безумию.

self-titled '24 — попытка ухватить то, что ускользает: ощущение дома в месте, которое хочется покинуть, и тоску по времени, которое, возможно, никогда не наступало. Кассетные записи и меланхоличные мелодии, оцифрованные и пропущенные через призму современных технологий, создают эффект двойной экспозиции времени. Здесь живёт размытое прошлое, где подлинные и выдуманные воспоминания сплетаются в одну звуковую картину. 



Release date: 12.09.2025
Streaming: https://musicalligator.link/syndryang
Buy tape: https://faktura-ural.bandcamp.com/album/self-titled-24

Music: Vladimir Sychev
Art & Design: Julia Kashina (instagram.com/julia__kashina/)
Mastering: Daniil Kraev
______________________________________
Екатеринбург, 2025

Tape

Carla dal Forno - Heart of Hearts (Kallista, forthcoming)
Carla dal Forno - Took a Long Time (Kallista, forthcoming)
Vesu’s - Red Eyed Wood Lizard (Going Good, 2019)
Xvarr - Subliminal Bliss (Twin Womb, 2018)
Fabulous Diamonds - G.B.H. (Alter, forthcoming)
O Yuki Conjugate - Raindance (Final Image, 1987)
Partly Cloudy - Sunlight (Forecast, 1987)
Carla dal Forno - Hype Sleep (Kallista, forthcoming)
Speedbooth - Glintan (Spillage Fete, 2019)
Call Back the Giants - Strange Worlds (Kye, 2011)
Espers - Flowery Noontide (Wichita, 2003)
Index - Yesterday and Today I (Lion Productions, 2010)
Scythe - Harbour Wynd (Romantic Net, 2019)
Ponzi Scheme - Vapour Trails (Ikuisuus, 2019)

NTS Radio - September, 2019

Artist: GES
Album: Anthology of American Pop Music
Label#: faitiche22
Format: LP/DL
Release: Oct 23rd 2020

Six great pop standards remembered: five pop songs are dissected by sampler, stretched, compressed, and re-collaged. In this way, their identity is lost. What remains is a vague concreteness: flashes of déjà vu and remote echoes that evoke the original.
 
GES (Gesellschaft zur Emanzipation des Samples)
Active members:	Helmut Schmidt, Jan Jelinek
Founded: 2009
Headquarters: Federal Court of Justice, Karlsruhe, Germany

GES Glossary (excerpts):

- Acoustic Surveillance Series
A 7-inch vinyl record series curated by GES focussing on historical methods of acoustic surveillance. Each record introduces a surveillance system from the past. Starting with Uguisubari in 2017, the series will continue with the release of Oreccio di Dionysio in 2021. GES is open to further suggestions on this subject.

- Circulations
What happens to copyright claims when music from a passing car is captured in a street recording? Is it legal to use this recording freely or is it necessary to obtain licensing rights? Circulations re-enacts this recording situation: audio players are placed in public spaces, where they reproduce the desired sample material. The acoustically choreographed space is then recorded, creating a field recording in which everyday noises circulate together with seemingly incidental music.

- Emancipation of Sampling
Fuelled by its criminalization, the act of sampling existing recordings forfeited some of its artistic prestige (see Sampling). GES wishes to rehabilitate and re-emancipate the practice of sampling as a form of art in its own right. Strategy: 1. Name samples and sources explicitly. 2. Choose samples that are as popular and as recognizable as possible (Beatles, Carpenters, etc.). 3. The editing and manipulation of the sample must not compromise its recognizability (negotiable). 4. Use as many samples as possible. 5. Always name more sample sources than were actually used in the composition. 

- Field Recording
A compositional practice widely used in sound art and ethnomusicology that involves the recording of natural acoustical phenomena. Two additional requirements are usually imposed: The recording process should take place outside a studio environment, i.e. outdoors. And the person recording does not generate any of the acoustic material him/herself. GES expands this definition by introducing the concept of choreographed public space (see Circulations).

- Gambling
An acoustic event favoured by GES, already used in numerous sound collages (must take place in public). The most popular option is thimblerig, a cup and ball gambling game commonly played in the street. Compositional instruction by GES: Place an audio playback device in the proximity of a thimblerigger. Play works for orchestra (by Debussy or Mahler). Move slowly towards the gamblers with a microphone.

- Kraftwerk
The German band founded by electropop musicians Florian Schneider-Esleben and Ralf Hütter (a.k.a. Die Prozessoren) is the natural enemy of GES. Protected by computer-generated avatars, Kraftwerk operates a quote-hostile cultural hegemony. Their strategy: Install a special brand in the collective consciousness by means of a sophisticated system of quotations and references that may in turn not be quoted by anyone else. Other bands with such delusions of omnipotence: U2, Metallica.

- Sampling
Compositional practice whereby recorded music is fragmented, turned into sound collages and transferred into different contexts of meaning. Since the advent of affordable sampling technology in the 1990s, the music industry has been trying to criminalize and/or promote the practice. Both strategies are driven by the same principle: Profit.

GES: IOnlyCloseEyesToYou

‘Malvern Brume is the moniker of London based sound artist and musician Rory Salter. After two cassette releases and appearing on compilations for both Infant Tree and Low Company, Salter released his debut album Tendrils on Alter in the summer of last year alongside and a 20 minute piece for Cafe OTO’s TakuRoku label. Malvern Brume’s music is made up of a considered bric-à-brac of field recordings, playful improvised synthesis, stream of consciousness poetry and everyday object clatter; forming a dense foggy sound often made in response to specific locations and the overwhelming intensity of life in London - It’s as much a document of these real spaces as it is a retelling of the emotional reactions and experiences of inhabiting them. Salter also co-runs the label Infant Tree with artist and musician Ben Victor Waggett. 


Rory hopes you enjoy this mix of favourites, old and new which have helped him through this past winters bog - both metaphorically and one various occasions physically.


www.rorysalter.online

www.infanttree.co.uk’


https://soundcloud.com/malvern-brume

Wavering Forms 36 - Malvern Brume

Where does fantasy end and reality begin? The dichotomy of the Apollonian and Dionysian nature of man represents our greatest inner duel - the dance of chaos and order, the struggle of mind versus heart, the battle of immaculate harmony and intoxicated euphoria; a lifetime of chasing one's wildest dreams and divine muses, raised to the heavens by sheer imagination, only to be washed ashore by the unrelenting waters of Earth, crashing against the jagged rocks of existence, faced only by one's own truthful reflection staring back from the indifference of the sea. That is our ultimate, inevitable fate: the futility of our desires, the certain tragedy of living torn between two tides. 

The Birth of Tragedy is a compilation in two halves reflecting the mythological symbolism of Apollo and Dionysus, descendants of Zeus. The first half presents the Apollonian form - order, harmony, clarity. The second half is Dionysian - a state of chaotic liberation without boundaries, driven by instinct, blinded bliss and disarray. The collision between these worlds unveils the drama that we find ourselves in.

TEARS001 
Various Artists
The Birth of Tragedy
Limited edition vinyl/cassette 

https://amuletoftears.bandcamp.com/album/the-birth-of-tragedy

OUT NOW.

yolabmi - Threnody

Amulet of Tears