Axefield is back. After his introduction on the Intercept V/A with his incredible 'Slug' the Amsterdam-based producer is now back with his Intercept EP debut called 'Cocktail Culture'.

The 4 track-EP takes you through different chapters of the Axefield sound, each track with a playful and adventurous edge that's sure to surprise.

Opener 'Cricket Drum' is a southside 808 inspired tune, combined with Dutch trance synth work. It makes for an odd combination that surprisingly works well. We're safe to say that we can't wait to hear this one out in a club environment.

'Soothe The Hyperactive Mind' does exactly the opposite as the title suggest. This 150 bpm floater feels lightfooted, but surprises at every turn with its deep basslines and joyful synth stylings. 

Title track 'Cocktail Culture' takes you to a more relaxing side, cocktail in hand. The off-kilter drums are combined with vocal chops that work in a hypnotizing fashion, taking you to the track we know Axefield from: 'Slug'.

Cocktail Culture

Axefield - Cocktail Culture

B3. oma totem - ER.5

CS/DL : f-o-m.bandcamp.com/album/upstream-ensemble

@forms-of-minutiae and TBA21–Academy present "upstream ensemble", a communal happening and aqueous sound piece initiated and composed by field recordist, artist, and f–o–m co-founder Pablo Diserens (@pablodiserens)

During the 2022/23 digital residency hosted by TBA21–Academy’s Ocean-Archive.org, Pablo Diserens launched an open call inviting members of its online platform ocean comm/uni/ty (and external enthusiasts) to venture into the world and record aqueous sonic encounters. The aim of this collective liquid attuning was to gather sound recordings from various wet ecologies while stimulating listening and field recording gestures regardless of any previous experience.

Recordings from 35 contributors were woven into the long-form sound composition "upstream ensemble" which navigates between the multiplicity of the water cycle as a sounding body. The work moves upstream through oceans, rivers, pipe networks, ponds, and glaciers while investigating the continuous flow of water and the environments that surround it. Listeners encounter drifting habitats trickling with the songs of sea lions, dolphins, blue whales, humpback whales, Arctic terns, and algae photosynthesis – as well as with the invasive hums of submarines’ sonars, boats, and naval industries. With "upstream ensemble" some of the world’s aqueous fauna, flora, geologies, and technologies mingle into a synchronized motion that documents the sonic articulations of these wet zones.

In resonance with Pauline Oliveros’ Deep Listening practice and inspired by Rachel Carson’s exploration of the intertidal zone in her book "The Edge of the Sea", this project contributes to an ever-expanding list of works that propose a focus on listening as a way of engaging and existing with the planet’s waters. By stimulating shared listening and attuning practices, Pablo Diserens aims to develop a sense of interconnectedness by blurring the boundaries between species as well as environments. Experiencing aqueous biomes both individually and collectively acts as a way of rethinking our relationships with the world. Despite these being mostly solitary experiences, Pablo believes that field recording and listening are communal and environmental practices that form gateways for earthly synchronicity and world mapping in time and space. Thus listening in turn can become a political act that sparks emotional bonds with the world and its biotic communities.

˜

concept: Pablo Diserens and Fiona Middleton (TBA21–Academy)

composition and mixing: Pablo Diserens

with sound contributions by: Alëna Korolëva, Alexandros Maragkoudakis, Bence Kovács-Vajda, Christopher Dean, Cyane Findji, Damian Pace, Elise Rigot, Eliza Collin, Fiona Middleton, Francesco Previtali, Ilù Seydoux, Irene Mansoldo, Isabel Val, Jakob Köchert, Jean-Baptiste Geoffroy, Joana Moher, Katy Lewis Hood, Kosmas Phan Dinh, Kseniya Lushnikova, Leo Maassen, Ludwig Berger, Mat Eric Hart, Mathias Arrignon, Matty Yeomans, Mélia Roger, Moritz Zeisner, Nikos Sotirelis, Nina Blume, Ocean Networks Canada, Pablo Diserens, Sem Zeeman, Slavek Kwi, Surrealich, Thibault Noirot, Varoujan Cheterian.

all profit of the release will be donated to the Blue Marine Foundation.

listening with good speakers or headphones is recommended as the piece features a large range of frequencies (notably blue whales' subsonic calls).

cassette mastering by Mathieu Bonnafous

graphic design by Cecilia Murgia

cassettes pictures by Camille Blake

duration: 30’29’’ — C60
piece repeats on both sides — limited edition of 100
published by forms of minutiae & TBA21–Academy — fom09 — 2023

special thanks to all the contributors, Fiona Middleton, Markus Reymann, Michal Kucerak, Petra Linhartova, TBA21, Madelyn Byrd, Diane Barbé, Lou Croff Blake, Thom Lucero, and Mélia Roger.

cassette & digital

pablo diserens & the ocean comm/uni/ty — upstream ensemble [fom09]

CD available directly from Important Records - imprec.com 

Strange Times is a virtuosic realization of contemporary
electroacoustic soundscapes composed and performed by Stephen
Ruppenthal and Gary R. Weisberg. With masterful employment of electroacoustic techniques and tools, including the original 70's Buchla Music Easel Ruppenthal used in the Electric Weasel Ensemble, these two artist create an essential, psychedelic, electro-acoustic experience.

Strange Times is a hallucinatory journey into our epidemic-ridden
times through a collection of startling sonic landscapes. From epic
acoustic journeys into re-imagining myth to the phantasmal soundscape world of the Bardo, Strange Times is not for the innocent or delicate listener. Time turns elastic, and folds in on itself; you are approaching the event horizon of a black hole. The only way to make sense of any of it is to mentally rewind; speed up or slow down the voices in your head in random attempts to find your way through this electroacoustic aether. Strange Times explores the ability of sound to alter consciousness, creating sonic environments, mental and physical states where one can allow the experience of listening to become transformative.

Stephen Ruppenthal (Berkeley, 1949) San Francisco Bay Area new music trumpeter, electroacoustic and text-sound composer, Stephen studied electronic music and composition with composer Allen Strange, and ethnomusicology with Lou Harrison, and holds a Masters of Arts Degree in Contemporary Musicology, writing the first comprehensive treatise in English of Sound Poetry, “History of the Development and Techniques of Sound Poetry in the Twentieth Century in Western Cultures.” Stephen was a founding member, along with Don Buchla and Allen & Pat Strange, of the Electric Weasel Ensemble, and more recently, with Brian Belet and Pat Strange, of SoundProof, and is known internationally for his live electroacoustic performances, and writings on text-sound
composition. Stephen has been composing and performing electroacoustic works for Buchla instruments since 1971. Flamethrower, a 2017 CD of electroacoustic works for trumpet and flugelhorn, by Allen Strange, Brian Belet, Bruno Liberda, and Elainie Lillios, and performed by Stephen is currently available from Ravello Records. 

Gary R. Weisberg, composer-sound designer-digital audio artist was
born 1951 in Brooklyn, NY. At age 2, Gary was exposed by his mother to the music of Brahms, Khatchaturian and Rimsky-Korsakov. He also had a fascination with dinosaurs. He first picked up a musical instrument in 1972, playing free- jazz improvisation on flute and alto sax. Gary moved to San Francisco in 1976 and was involved in a loosely knit collective of jazz and experimental musicians and artists, operating a small performance space called The Blue Dolphin. He studied music, computer programming and electronics at San Francisco State University, graduating with a degree in Electronic Music Composition. He spent two years building a modular analog synthesizer, and began composing electronic music and text-sound compositions for art/ photography gallery openings. From 1986-1994, Gary maintained a MIDI project studio for the production of his own music, as well as sound and music for TV/Film/Video productions. Since 1994, Gary has been composing PC-based experimental electronic music, as well as pieces
for electronic and acoustic instruments, occasionally performing with other composers and collaborating with visual artists. He currently resides in New York's Mid-Hudson Valley.

1. Post - Apocalyptic Biscuit (Ruppenthal)

Soft Hands

2024. Atari 2600, Yamaha PS-3, Texas Instruments Speak & Spell (circuit bent), Teac 3340s, Tascam 424mkIII, Nakamichi BX-1.

EntrebV_Sw6X

Kronstadt Rebellion

Hold the press! Diesel Recordings no. 354 is here with another release and another new member for the family. Ladies and Gents, please give it up for Sonale and the freshest of funked-up two trackers you are likely to hear for a long, long time! First up is 'Earwig'. A delicious, chunky number full of broken beats, funk, squeaks, bleeps, super tight production and fantastic sound design. There is no way this is not going to get the whole place grooving! On the flip is 'Right About Now'; a slightly heavier funky stomper, with the same attention to detail, glitches and squeaks and feel-good vibes. A real breath of fresh air with these tunes that will definitely stand! FRESSSSSHHHHHH!!

Kronstadt Rebellion

Z’gok

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