Sekumpul

String Figures vi - Inouï (and free)
Watch video :  https://vimeo.com/channels/staffpicks/252069857 / https://www.youtube.com/watch?v=f9qp9ghz9ZI
Album out March 2nd via SVS records @svs-records
Pre-order album : http://bit.ly/2FdEQZa

Music:
Written, recorded, performed, and produced by Zoë Mc Pherson
Mixed by Jeremy Michel
Mastering by Rashad Becker

Video:
Direction - Alessandra Leone
Concept and music - Zoë Mc Pherson 
3D Animation - Andreas Barden
DoP - Julian Moser

Produced by Zoë Mc Pherson
Thanks to the support of Flanders, state of art.

stringfigures.xyz/
Instagram : http://bit.ly/2BCFa0o
Facebook : http://bit.ly/2BCFpbO
Soundcloud : http://bit.ly/2DULkOz
Spotify : spoti.fi/2nmtdqt
Twitter : http://bit.ly/2BCnNg7
Youtube : http://bit.ly/2DIep0q

SVS Records
svs-records.com/
Facebook : http://bit.ly/2BCHAfu
Soundcloud : http://bit.ly/2nqsepA

Part of an ongoing audiovisual album—titled 'String Figures'—by Zoë Mc Pherson, film directed by Alessandra Leone and animated by Andreas Barden.

vi. Inouï (and Free)

Before the identity of FFT (Fast Fourier Transform) was revealed in an article written by Matt Blair in August 2018, only one EP, titled "fft1" and released at the end of 2017 as the first reference of the aptly named label Uncertainty Principle, had been enough to arouse the expectation of dignitaries like Grant Wilson-Claridge or Ed Upton, better known as DMX Krew; after mastering the EP in question, the latter even acknowledged that this was the best recent artist he had encountered in a while. Comprising five pieces, "fft1" set up the meticulous materialization of an aural plan whose anamnesis drew a line between the aesthetic resources of glitch –clicks, noises, hums– and a background in the use of some of its characteristic elements, such as the bleep, in a sort of technically complex, strangely accelerated and digitally incorruptible braindance conjunction of Alva Noto, Warp's lilac maxi singles, Unique 3, Aleksi Perälä or Jodey Kendrick.

However, following the unveiling, Briton Josh Thompson, who had previously operated as Alma Construct, has worked on the project’s concept by expanding its limits in a rationally justified manner. Firstly, the "in-side" EP –released in December 2018 on Super Hexagon, the label he co-owns with J. Wiltshire– showed Gerald Donald's influence, exposed some autechrian inclination towards entropic geometry and gloomy, cold emotion, and increased the importance of melody and the tendency to treat the material through precise procedures characteristic of avant-garde sound sculptors. Secondly, the EP released four months later on The Trilogy Tapes, composed of two extensive pieces of almost ten minutes each, continues with the obsession with detail but exploring, on the one hand, rhythmic inflections, textures and colors of the timbric palette of the more complex techy dubstep, and, on the other hand, Uwe Schmidt's artificial pop, in an ambiguous and permanently changing song over its two sections. FFT shows a great ability to converse with different aesthetics of the immediate past but without drowning in the stagnant waters of doxography, clearly differentiating between previous models and a design that proposes the emergence of new terms.

Recorded at the end of May 2019, the podcast unfolds and completes with unreleased tracks the entire aesthetic offered by FFT. At first glance, the most striking thing is its wide dynamic range and rich stereo image. In attentive listening, the internal consistency of the work, determined by dialectical relationships between consecutive pieces, parts and sections, reminds that not only is there here an obsession with the sound aspect, but that there are also analogies with the theories and laws of physics underneath, such as Newton's third law –"for every action, there is an equal and opposite reaction"–. Here lies an observable chain of events constructed at different velocities and scales: molecular movements, expanding nebulae, stellar collisions, red giants disintegrated for all eternity.

We recommend playing back the recording through appropriate speakers or headphones, at full volume and in total darkness.

Photography by Geray Mena

Dialektik Podcast #02 – FFT

info: https://radio.syg.ma/episodes/tkani-perila
https://soundcloud.com/perila

PERILA

TKANI – Perila

DAF - Kebab träume
Träneninvasion – Sentimental
Cabaret Voltaire – seconds too late
John Bender – 33a1
Grauzone – film 2
malaria – kaltes klare wasser
No more – suicide kommando
Mag and the suspects – boots and guns
Guerre froide – demain berlin
Better beatles – penny lane
soft drinks- pop stars in their pyjamas
DAF – der räuber und den prinz
Metal urbain – paris maquis
Jimmy smack – hating life
Les Vampyrettes – biomutanten

JJ ulius Minimal electronic mix feb 2020

Listen to Katzele, half of Malka Tuti records, delivering his favorite records… no boundaries existing in this one.

https://lyl.live/episode/almost-exotic-23/

Avril

Almost Exotic (17.04.20) w/ Malka Tuti

Out on August 7th, 2020. Available at https://shop.tapeterecords.com/new/conrad-schnitzler-frank-bretschneider-construct.html

About the Con-Struct series
Conrad Schnitzler liked to embark on daily excursions through the sonic diversity of his synthesizers. Finding exceptional sounds with great regularity, he preserved them for use in combination with each other in subsequent live performances. He thus amassed a vast sound archive of his discoveries over time. When the m=min- imal label in Berlin reissued two Conrad Schnitzler al- bums at the outset of the 2010 decade, label honcho Jens Strüver was granted access to this audio library.
Strüver came up with the idea of con-structing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album, he decided to develop the concept into a series, with different electronic musicians invited into Schnitzler’s unique world of sound.

Bretschneider on his Con-Structions
I read the name Conrad Schnitzler for the first time in the arti- cle about Tangerine Dream in the Rowohlt Rock Lexicon from 1973 (back then, at 17 in the GDR, an indispensable guide). The first time I heard his music was only in 1980, when his wave track “Auf dem Schwarzen Kanal” was played on the ra- dio, an RCA 12“ Super Sound Single in disco remix. Then the man was gone and stayed under the radar again, in spite of his almost inflationary number of releases. Maybe his mate- rial was too obscure or his approach too radical to be noticed by the general public. It wasn‘t until 1988 that I heard from Schnitzler again, a tape on Jörg Thomasius‘ East Berlin Kröten Kassetten label. And again almost 10 years later his Plate Lunch CDs “Rot” and “00/106”. But it was all too rough and raw for me, both in terms of sound and organization, kind of mechanically and not really cool. Only after I heard Wolfgang Seidel at the NBI around 2002 with one of his tape concerts, I came slowly closer.
Schnitzler‘s early role as co-founder of two influential bands is one reason for the ongoing reception. Another is his con- sequence as an artist. “I‘m not interested in having publicity or a public feedback” he declared in an 1996 interview. It remains an open question whether one has to completely refuse to do so. But I was always fascinated by this almost extinct way of being an artist in its full independence. Just as I feel connected, as a self- taught person and as someone who prefers to look forward instead of looking back: “I don‘t want nostalgia.” After all it was Jens Strüver who inspired me to work with Conrad Schnitzer‘s material.
I had the idea of flowing music in which patterns develop, shift, dissolve and finally reorganize. A modular system seemed the most suitable to connect Schnitzler‘s world with my own by triggering and modulating his sounds via a sampling module and supplementing them with my own. Perhaps I have not always succeeded in merging both worlds congenially, sometimes they orbit, sometimes they collide, but they never stand still. As Conrad Schnitzler says in his „Context“ manifesto: “The sounds don‘t come to stay.”

Buy CD/LP

BB349 Conrad Schnitzler & Frank Bretschneider – Con-Struct (Album Preview)

Interview de @vazyjulie du @metaphorecollectif avec @ola_terreur, qui aborde ce superbe collectif à l'occasion de la sortie de la compilation ICI DANSE LE PEUBLE OUBLIÉ. 

“Depuis quelques temps l’équipe de Metaphore Collectif réfléchit à une façon de garder une trace de son histoire, de l’ancrer dans le temps. La crise sanitaire a précipité les choses lorsque, suite à une fermeture forcée, un grand appel à l’aide a été lancé pour sauver le Meta, leur lieu associatif, bastion de la fête libre à Marseille. Un appel auprès des membres de l’association, mais aussi auprès des artistes passés par la case Meta. La liste était longue, et ils ont quasiment tous répondus présents !
C’est ainsi qu’est né la compilation de 64 titres intitulée «Ici danse le peuple oublié».

Ola te parle • avec Vazy Julie (Métaphore Collectif)(20.08.20)

Eighteenth episode of our "States United" show on @n10-as, with guest @soundsofgap

States United 18: Gap

Published under a Creative Commons Attribution-ShareAlike 3.0 Unported License 
https://creativecommons.org/licenses/by-sa/3.0/legalcode

Helge Meyer - Noise Music

TR117 - Rudi Arapahoe - 'False Self Plays Music For Six Pianos II'

Inquiries: ✉ info@bureau-b.com ✉

Bureau B is a Hamburg based label which releases past and future classics unearthed from genres including (but not limited to) electronica, avant-garde, Kraut(rock) – a colourful spectrum of diverse, yet contigiuous musical genres. Applying the expertise deployed in trawling the archives, Bureau B has gone on to champion new and contemporary acts with similar musical sensibilities to their pioneering antecedents.

BB349 Conrad Schnitzler & Frank Bretschneider – Con-Struct (Album Preview)

Bureau B

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