AWESOME!!! well done. special frequencies

He couldn’t be described as a dandy…

The second release via Another Dark Age is a solo EP from Brisbane-based project, Cured Pink.

’11 Put Aside was compiled from Andrew McLellan’s solo work as Cured Pink, and is a critical precursor to the project’s current incarnation as a four-piece band.

On ’11 Put Aside, Cured Pink channels an anxious energy reminiscent of Cromagnon’s LP for ESP Disk (1969) and shoves it onto the dancefloor.
 
The B-side was recovered from destructive recording sessions across Indonesia, deep within Cured Pink’s solo phase (2011). ‘Sydney; Malang; Brisbane; Bandung; Jogjakarta’ is a devastating journey that features the drumming of Senyawa frontman, Rully Shabara, and recorded material from Vacant Valley boss, Peter Bramley.

With only a handful of releases Cured Pink can lay claim to a specific Australian sound that references the gamut of avant-rock, dance music and power electronics. But more than this, ’11 Put Aside is a singular piece of the puzzle that makes up Brisbane’s unhinged and isolated scene.

Available for purchase (with free digital download code): 

http://anotherdarkage.bigcartel.com/product/cured-pink-11-put-aside

Cured Pink - As Enderie Nuatal

La compilation a pour but de réunir pleins d'artistes bretons (et d'ailleurs) de musique électronique contre la répression envers les Free party en Bretagne.

"Dans les rues où résonnent les accords,
Sous le poids de la répression, notre art se tord.
Les notes muselées par des lois sévères,
Nos instruments saisis, nos voix en colères.
Dans l'ombre des régimes qui oppriment,
La musique devient un cri qui s'anime.
Mais même sous la menace et la peur,
Notre passion pour elle demeure.
Contre les saisies, les interdictions,
Nous danserons, encore avec passion.
Car la musique est libre, elle est vie,
Elle triomphera malgré l'ennemi.
Paroles étouffées, notre Matériel confisqué,
Nous refusons de nous laisser dompter.
Dans chaque accord, dans chaque refrain,
Nous défendrons notre art, main dans la main."

Texte : La Mo Niak
Pochette : Agatou

Tous droits réservés aux artistes.

15- Foggy (Lorient) - Tezcatlipoca

Lo-fi Synthpop 2

'About 10ft tall with hairy green skin, yellow triangular eyes and red veins across the forehead. In place of a mouth there was what appeared to be a metallic chain or fence'. Security guard Fortunato Zanfretta was later questioned by medical experts during deep hypnosis. The 26 year old Italians astonishing ordeal began in the village of Torriglia near Genoa. He was patrolling after midnight when his car stopped mysteriously . He saw four lights and jumped from the car, gun in hand. 'Then I was hit from behind and whirled round and shone my flashlight and saw an enormous green creature'. he said later. 'That was the last thing he remembered until nearly two hours later when he was awakened by a blinding light and tremendous roar of a UFO blasting off. Leading medical hypnotist and physician Dr Mauro Moretti said afterwards 'I believe 90% of what he said was the truth. You cannot invent things under hypnosis'. It was only three days after the hypnosis session that Fortunato had his second meeting with the the unearthly visitors. He  was driving to the same village when a strange force seized his car and took him to the place he had met the spaceman before. In his second hypnosis session he said he was again taken aboard a UFO and examined by 10 great creatures with triangular eyes. Fortunato said that although they spoke no Italian or any other human language, they communicated with him by 'light signals and sounds' transmitted through a helmet placed over his head. The helmet was so tight it gave him a headache.   

Junior Fairplay - Omens Of Awareness

"Saturate"
from Saturate EP (Ascetic House

Mastered by Joshua Eustis

http://ascetic.house/
http://shop.ascetic.house/

Saturate

Din "Saturate"

This 12” is a document of modern contemporary music, containing future artifacts made by a selection of old friends and new faces. All of them deviate from what’s obvious, possessing the ability to be serene and mental at the same time. Their coming together here is a great opportunity to appreciate this kinship, while at the same time acknowledging what distinguishes them from each other in terms of sound and representation. Job Sifre, once again, slays with his addition to this compilation!

https://soundcloud.com/knekelhuis

Release date: 28th of October for digital, 24th of October for vinyl

Buy here!

PRÈMIÉRE: Job Sifre - We Are Monsters [Knekelhuis]

R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her
solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop
minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated
on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On
manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch. The songs are full of
air and light; infectious, melodic and off-the-cuff.
Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth
belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language –
divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel
guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes,
realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the
undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like
the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps
and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of
perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of
repetitive listening.
Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist
mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist
becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at
the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces
Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless,
conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go
outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be
honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting.
The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and
grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a
loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble
provides aural snakes for the listener’s ear to follow.

R. Elizabeth - SPIRITUAL TO SYMPHONY (from Every And All We Voyage On)

A Million Years

The Last Cut is The Deepest

Sweet Sins (Abul Mogard Remix)

part of the META compilation. All profits from the sales will be used to help Metaphore Collectif's own venue to reopen.

buy/support:
https://metaphoreindustrie.bandcamp.com
bit.ly/savemeta

BL00M

Philipp Otterbach's sound is a fluid stream of open endings, of beginnings too shy to take a definitive shape. His remix of Exhausted Modern's 'Pineal Gland' is ethereal and evasive: a nuanced concatenation of thoughts that haven't been thought to the end, of dreams that don't dare revealing themselves.

Philipp's is just one of the remixes in Endless Illusion's last release, a collective reinterpretation of Exhausted Modern's 'Year Of The Rat' that includes NVST, Poperttelli, Ayaz and Annechoic. 

@philipp-otterbach
@endless-illusion
@exhausted-modern

Cured Pink - As Enderie Nuatal

Another Dark Age

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