AFX - Luke Vibert - Spiral Staircase (AFX Remix).wav

Boy, Dove

Tedium is modernity in the waiting phase. A longed-for moment of stasis.
A compilation of 23 tracks that shows us a rather wide spectrum including diverse manifestations of modern electronics. Boredom and neurosis that hold hands and become a chameleon-like whole.

Sometimes this combination draws its essence from obscure ambient demotivating, other times steals the body of enormous noisy and granular flows.

An emblematic sound vessel capable of containing everything from the sharpest electro-acoustic resonances to the most deformed deteriorations of hip hop imagery.

released May 27, 2022

Curated by A Flooded Need and Eks.
Artwork by NMR.
Mastered by Guido Marziale at KU Studio.
FLOOD01 - A Flooded Need, 2022.

Tedium

Elves of Misty Valley

Talpah - Elves of Misty Valley

CD/Digital Preorder: https://lizardlabel.bandcamp.com/album/wav-fuzz-sensing

Lizard Label proudly presents their inaugural release: a slab of aqueous technoid excursions and hi-def electro workouts from Chicago-based producer Wav Fuzz. The head lizards first heard these tracks performed as a live set at an intimate gathering in the woods and immediately knew it needed a broader audience. With Sensing, the artist hones in on a lush strain of dance music thematically oriented around human sensory awareness, matching detailed compositions with each of the senses. The album follows previous releases on labels including Les Yeux Orange, Bed of Roses, Occult Research, and the artist's own imprint EYMS.

“Vision” kicks off Sensing with a wave-jumping journey through layered synth pads and chiming mallet leads, all girded by drum programming that bumps over sturdy kicks and clattering hi-hats. Wav Fuzz lets the central elements of each track loop listeners into a trance state while frosting the outer layers of the stereo spread with warm pads and rushes of pure texture. “Audition” — as in hearing, not trying out for the part — leans into throbbing bass bursts planted beneath a web of interlaced saw waves, while “Olfaction” heads off on a major key trip that splits the difference between a Mediterranean yacht party and a space cruiser docking against the backdrop of Saturn.

Throughout Sensing, Wav Fuzz demonstrates a fine-tuned sense of melody without lapsing out of the state of drift. Fine-grain synth patches share space with complex beat patterns and evolve together through subtle shifts in narrative — all while remaining in that club-ready sweet spot, with basslines that could only sound massive on a proper sound system. “Gustation” skirts the closest here to what could be called IDM, with thirty-second note patterns jittering behind alternating atonal and consonant synth phrases, creating a sinuous ebb and flow, equal parts tension and ecstasy.

“Somatosensation” places Wav Fuzz’s hands on the keyboard, dripping out a stream of balearic arpeggios and luxuriant chords — that is, before that bassline kicks in, underpinning the proceedings with a feeling of constant forward motion. Knowing exactly when to deploy each new element without overcrowding the mix, the artist coasts with us through a network of kicks and bleeps, filter sweeps and looped one-bar melodies. Wav Fuzz adds another sense to the traditional five: “Intuition.” The album closer starts in a state of wide open bliss, with synthetic bongos and shakers backing a steady kick snare groove, before complicating with the introduction of growling bass and intensifying synth ornamentation.

Wav Fuzz prefers to maintain a sense of anonymity around the project, which suits the liquid nature of the music. The compositions that Sensing offers reach us as finely sculpted sessions that feel like they could extend far beyond their allotted time, swirling through their varied permutations while maintaining their central groove, their core idea. As a durational medium, we listen to music and we know that it will end at some point. We find ourselves within the space of one track, already preparing ourselves for the next. We watch for the signs on the side of the road that might lead us to some new vista. Sensing balances that expectation with pockets of perfect stasis — moments we would be fine looping along with unto infinity.

Words: Max Allison

Produced by Andrew Bisenius
Mastering by Jason Letkiewicz
Artwork by Alyssa Beers

Sensing

[PREVIEW] Wav Fuzz - Sensing (lizlab001)

BS Remix 8

2 slice extra wide

Jiyoung Wi is a multi-faceted artist from Seoul, Korea currently residing in The Hague, Netherlands. Jiyoung’s work can be situated within fictional literature, improvised music, field recording, with an interest in juxtaposing or disjointing these fields of practice through her sonic and literary methodologies. Jiyoung’s debut album 𝑨𝒄𝒄𝒆𝒑𝒕 𝑨𝒍𝒍 𝑪𝒐𝒐𝒌𝒊𝒆𝒔, is a concise body of work that punctuates a beginning point to her work within the 12” LP format. The recording serves as one of the two releases concluding the three year sonic endeavor that is the ENXPL (Enmossed X Psychic Liberation) series.

Having previously released recordings on compilations for labels like Mirae Arts, Eastern Nurseries, and Psychic Liberation, here Jiyoung hones a cinematic-like structure that exemplifies the biome within her craft. While presently Jiyoung is performing the systematic dismantling of a violin in her live improvisations paired with approachable boutique synthesizers, 𝑨𝒄𝒄𝒆𝒑𝒕 𝑨𝒍𝒍 𝑪𝒐𝒐𝒌𝒊𝒆𝒔 is a pairing of the inimitable Korg MS-20 and field recordings staged or captured by Jiyoung in Seoul and Busan, South Korea.

With three scenes per side, Jiyoung walks us through different geographical and spatial intimacies. Public spaces and intimate conversations are obscured and reconstructed. Glass elevators, an unknown hotel lobby piano recital, office toilet rants, windowside night bus travels, and multiple languages interplay with staged and unstaged conversations to transmogrify themselves into a world of Jiyoung’s view. Money, sex, relationships, and cultural parameters are at once idiosyncratic as well as disorientingly familiar to the listener.

As an extension of the series coined by Jiyoung as 𝘚𝘰𝘶𝘯𝘥 𝘍𝘪𝘤𝘵𝘪𝘰𝘯, the album feels crisp, pressurized, and at times funny, at other times melancholic. As language, space, and viewing perspective shift, Jiyoung’s succinct album invites the listener to an aural world uniquely of her own viewpoint. While collecting source material relying on the outside world (conversations, elders, the closing track featuring Sungeun Lee), we have a listening experience that deeply illustrates Jiyoung’s perspective. The disjointed experience of someone maneuvering internationally to further develop a practice is encapsulated brilliantly here by Jiyoung with 𝑨𝒄𝒄𝒆𝒑𝒕 𝑨𝒍𝒍 𝑪𝒐𝒐𝒌𝒊𝒆𝒔. Alongside Makoto Oshiro’s 𝑺𝒕𝒂𝒄𝒌𝒆𝒅, it is a perfect bookend to the ENXPL series.

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Jiyoung Wi is a writer and musician based in Seoul and The Hague. She writes fiction in-between institutional and non-institutional contexts, and works with sounds in-between clubs and art museums. Her methodology involves building and breaking sonic narratives by arranging and re-contextualizing disparate sound sources ranging from field recordings to fragmented anonymous dialogue.

She approaches sound and text as invisible experiences and phenomena, and is interested in the narrative symptoms that emerge when both are juxtaposed on the same axis. In a series entitled 𝘚𝘰𝘶𝘯𝘥 𝘍𝘪𝘤𝘵𝘪𝘰𝘯, she explores these symptoms operating within and without the art space. She has been co-organizing an experimental/leftfield listening event 𝘚𝘰𝘳𝘳𝘰𝘸 𝘊𝘭𝘶𝘣 𝘚𝘦𝘰𝘶𝘭 since 2019. 

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Voices by Windy Kim, Carl G., Schang09
Piano by Sungeun Lee
Audio finalized by Glyn Maier
Design by Dominique S

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Jiyoung Wi - Walking Tumor (ENXPL22)

FROGALICIOUS aka https://soundcloud.com/simon-villaret for https://soundcloud.com/dan1dang3r

https://www.retreatradio.net/love-laugh-life

Love Laugh Life #12 w/ FROGALICIOUS - GROOVALICIOUS MIXXX (10/05/24)

Roadmaps on the palms
Braided, fold over
Where the shore meets the ebbing sea
Forever touching, forever adrift

Whispers of the history fade
Where the sea drapes waning waves
Only to retrace echoing trails
Abiding in ceaseless rims

Rooted in the fertile soil of hauntology, Amulet of Tears presents: 'Before We Melt into the Sea' - chimerical shreds of memoir.  Foraying intervals coiled in visceral resonance, which appear as abyssal, ancestral echoes of elusive moments, where the past unfolds in attendance, like a vapor that forbids to fade.  

Phantoms colliding to forge ahead for what’s to come or to drag us back into the shades of what we once were - enshadowed by imprints of past, present, and future, overlapped upon one another.

Before We Melt into the Sea

yolabmi - Styx

Met some buddies on the bus, spoke on life, realized it wasn't going to work out, so we just slept on the bench until sunrise

Ayth ('Remember This' Remix)

Scope

Roscoe Chimes

50RRY-F0R-7H3-1N73RUP710N

Bazalt - Koetago (Liðvarð Liðversion)

https://riantreanor.bandcamp.com/album/file-under-uk-metaplasm

Rian Treanor returns to Planet Mu for his second album "File Under UK Metaplasm".

In 2018, Treanor left his home of Rotherham, a working class town in the North of England not far from rave nexus Sheffield, and headed to Uganda. He'd been booked to perform at Nyege Nyege festival, a mythical event that takes place on the shores of Lake Victoria in Jinja once a year. After nearly a week of almost non-stop syncopated bass, Treanor drove to the country's capital city Kampala to produce music for a month at the Nyege Nyege's Boutique Studio - an incubator that serves as a central hub for the record label and its many harmonic ventures.

A week later, while he was performing at Hollywood, the tiny dive bar that housed the Nyege Nyege crew's first events, Treanor began to think differently about the sound he'd been developing since 2015's acclaimed "A Rational Tangle". "Everyone was still beaming after the festival, full of energy and wanting it raw and fast," he explains. Treanor had been working on tracks with Acholi fiddle player Ocen James, and absorbing sounds from the other producers at the studio like Tanzania's Jay Mitta and Sisso and Glasgow experimental duo The Modern Institute. The result was a jerky blend of hybridized footwork and singeli (Tanzania's own lightning-fast dance sound) that clocked in at a rapid 200bpm. "I played a Jlin track at the wrong speed and it was about 225bpm," he admits. "But it sounded really good so I went with it. People were going mental, it was so much fun."

Arriving home, he used this experience to inspire a new chapter in his production process. Inspired by the singeli production process, he focused on energy, building tracks and exploring urgency as the guiding method. Over the course of the year Treanor perfected these ideas, building from raw ideas and eventually focusing on engineering the physicality of the sound. And at the end of 2019 he had the opportunity to tour Japan, where he was able to work out the finishing touches performing on some of the world's best soundsystems.

This polarity - the enigmatic, sweaty energy of singeli juxtaposed with slick, high-def bass weight - sits at the centre of "File Under UK Metaplasm", Treanor's second full-length. Opening track 'Hypnic Jerks' is maybe the perfect example of this, with crinkled percussive loops cut through by machine-gun kicks and acidic wobbles. Elsewhere, 'Vacuum Angle' takes Sheffield's Warp-ed legacy and brings it crashing into the future, with rhythms collapsing into static and noise but never deconstructing or losing the flow. 'Debouncing' meanwhile folds gliding square synths into rattling dancehall kicks, joining the dots between SND, Equiknoxx, Wiley and MCZO & Duke with a neon Sharpie.

"It's using all those formulaic dance structures but just slightly mangled or messed up," he says. "I'm still focused on making functioning dance music for clubs, but I'm really interested in how far you push that before it's just like - no."

BS Remix 8

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