Bot1500 is a solo project of Japanese artist Shinichi Kobayashi.
His unique, warm and slightly melancholic sound is mainly created using analogue synthesizers and old samplers. 
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/temporal-cove/episodes/temporal-cove-17th-june-2024

Temporal Cove w/ Bot1500 170624

gold digger dub

Hugo Esquinca offers his debut album format release, DOCUMENTO_UNO, for Psychic Liberation stating:

“DOCUMENTO_UNO [2014-2024] is a -mis-selection of bastardized personal archival material containing actions, installations, induced DSP corruption, after-hours field recordings and direct documentation of audio equipment degradation. With the intention to dispose rather than preserve, all files utilized for the production of this CD have been permanently deleted after usage.”

Copious libations and long, long walks around metropolitan sprawl are part of the process material that cultivate the contained audio within DOCUMENTO_UNO. Esquinca posits a formal conundrum, skewing the perceptual intake of the organic and inorganic aurality in a collaged twenty-nine minutes and thirty-nine seconds of Esquinca’s auto-documentarian efforts. Something about weighted city environments, places like Mexico City or Berlin or Glasgow, and how they interrelate with weather extremities, finances, alcohol, and one's personhood are embedded in DOCUMENTO_UNO. At the end of the day, you are not at home.

Esquinca is known for large scale audio works that take on the extremity of amplification to incite situations and circumstances that become ruminations on what is impenetrable or absent* yet consequently disruptive**. For DOCUMENTO_UNO a similar through line to materiality and ephemeral outcome is observed. The pushing of a recording device to its furthest capabilities and the harmonic damages that follow through as a result. The unwavering compositional directive to keep finding the threshold of the audio space, first in capturing from life and then later from processing and arranging. This is Esquincas first album effort.

The truth is that Esquinca is exhausted by Sound and its orbiting cultural sphere. His multifaceted work as an artist, researcher, and writer continually exhibits a perspective in extremity that manifests a perspective a politer audience recoils in facing. Esquinca though is no brute, nor looking for cheap tactics to elicit canonized pearl-clutching responses to the vulgarity of our times. DOCUMENTO_UNO complexly collages confrontation in formal, mechanistic, or actionable methods to unsettle your stereo and effectively not save your world.

In many ways, this release is a family affair for Esquinca. DOCUMENTO_UNO is the result of many nights of long talks and beverage consumption with friend and collaborator Nick Klein. Additionally, a selection of the original source material has been remixed by Russell Haswell, a longtime collaborator and friend of Esquinca.


* See works done at EMPAC in Troy, New York, where an entire auditorium's multi-channel sound system was played at maximum volume after hours with no one allowed in the building, leaving only the vibratory sensation of the architecture to speak to the idea of absence for the viewer.
** See Esquincas latest work, as part of a festival dedicated to Alvin Lucier, where the artist reinterprets Luciers “Sound On Paper”. Here Esquinca trades paper for architectural glass, focusing thousands of watts of amplification onto the glass to more caustically illustrate Luciers paper observations. 
credits
releases November 30, 2024

Edition of 100 Compact Discs
Each copy has been individually numbered, stamped, marked and wrapped in 50 liter garbage bags.

Recorded and arranged by Hugo Esquinca
Mastered by Russell Haswell
Designed and assembled by Hugo Esquinca
Product Photography by Gustavo Saiegh
Artist Photography by Dominique Saiegh

DOCUMENTO_UNO

ALBUM PURCHA$E

PLIB066 - HUGO ESQUINCA - DOCUMENTO_UNO (EXCERPT)

6 May

Squared Roots

Tail Trails

Scope

Roscoe Chimes

J'ai toujours pensé que mon rapport à la musique était profondément conditionné par le fait de ne connaître aucun autre espace de vie que la ville. Étant ado et vivant dans une giga métropole mal desservie, je passais énormément de temps à marcher ou dans les transports en commun. Toutes ces heures, passées à me déplacer, je les passais aussi à écouter du son. Du coup, dans mon esprit d'ado, ce que je voyais était constamment une sorte de "clip" des sons que j'écoutais, surtout depuis que j'écoute du Burial, du Clams Casino, du Shlohmo, etc. Encore aujourd'hui, j'ai la sensation que ces morceaux capturent particulièrement bien la sensation d'être en déplacement en observant la vie en ville, la nuit. C’est à ce topique que je voudrais dédier un épisode prochain, dans lequel j’essaierai d’étudier le thème de la ville dans la musique et de la manière dont il a évolué au fil du temps.

Bref, le mix que je vous propose aujourd’hui en est une sorte d'introduction et s’inscrit dans cet esprit : il rassemble des morceaux que j’écoute, ou que je pourrais écouter, en rentrant chez moi tard le soir, après avoir dansé toute la nuit ou bu un coup avec des amis. Cette "scène de vie" m’apparaît particulièrement digne d’intérêt, car elle porte en elle une grande partie de la trace de notre existence. Elle raconte ce qui est essentiel dans notre vie : notre vie sociale, nos loisirs, notre manière de faire corps avec la société et avec la ville. En plus, je trouve que ces sons traduisent très bien ce mélange d’émotions et de sensations après une soirée.

Sinon, je tiens à remercier mon amie Mélissa, qui m’a donné cette idée en me parlant de son SoundCloud Wrapped 2024. Elle avait remarqué que ses tracks les plus écoutées étaient celles qu’elle écoutait en rentrant chez elle tard le soir. Ce qui m’a donné envie de faire une mixtape de 30 minutes pour celles et ceux qui rentrent chez eux, sous la lumière des lampadaires, accompagnés du bruit de la ville et de sa musique.

Merci pour l'écoute et j'espère que ça vous plaira.

Bises,
y.G

RUE D'INTERLUDE w/ young glory (13/12/24)

Unsure (Instrumental)

NEPTU

DEPTHS OF THE SEA

You smell that? That’s the smell of burnt rubber, cold rain, and broken promises. Welcome to the Mean Streets kid. 

You ever hear jungle breaks echoing through an empty parking garage at 3 a.m.? That’s what this is for. Mean Streets is built for late-night runs and lost causes. It's a drum and bass tribute to the golden age of the PlayStation, back when everything felt faster, dirtier, realer. Back when we were still counting polygons kid. 

Think Wipeout 2097, Ridge Racer, Need for Speed. This is the sound of busted-up jungle drum and bass straight from a memory card left in the rain.

Yeah, there's liquid DnB in here, even some future garage, the kind that creeps in when the streets are empty and the rain won’t stop and you can't get those damned memories outta your head. But don’t get it twisted kid, the heart of this record is that early-2000s jungle mayhem. The stuff that came out of blown speakers and off bootleg discs. That sound that made you drive too fast and care too little.

So here’s your induction, rookie. The Mean Streets don’t care who you are. But if you’re gonna race out here, you better have the right soundtrack. And now, you do.

This one's for fan's of low-poly dreams, 160 BPM mistakes, and the kind of nights you don't come back grom the same. If you like early jungle, Source Direct, LTJ Bukem and PS1-era Drum & Bass you're gonna like this. 

Wounded Animals

@anatolianweapons

Remastered version. Previously self-released by Anatolian Weapons (Nagual EP) on December 1st, 2015.

Purchase on Bandcamp >> https://traumgarten.bandcamp.com/track/anatolian-weapons-an-afterthought

🌐 www.traumgarten.world 🧚‍♂️

Roscoe Chimes

boxcutter

Related tracks