Here I walk in my own world of mistakes
The labyrinth of under cave structures
Base coring
Merging sky with the ground
Roots on its own 
Growing in every direction possible
Multispiecies ambient lullaby 

Entering the hall full of Unknown voices 
Walking through the forgotten underground with many corridors inside
Lightless bowels
Calmness after tsunami

None of those wishes

               Plural autonomy

looking for the right tones that doesn’t exist
gaps
Bludný kořen

I am here to talk with danger
To touch what I fear the most
To learn 
to understand
To burn 
To seek 

You walk 
Through your own meat and blood
battling inner fears and doubtings
Towards dreams and wishes
Somebody said "it is forbidden to feel"
noo-flesh

Base chords are from Thom Yorke - Suspirium
impro recorded in November, 2020

Looking For the Right Tones That Doesn’t Exist

a feast

⚔ GUARDIAN SPIRITS 🫶🫶 ⚔ 💞🐾 𝓣𝓱𝓮  𝓣𝓸𝓾𝓬𝓱  𝓞𝓯  𝓨𝓸𝓾𝓻  𝓗𝓪𝓷𝓭𝓼  💞 🐾 E-DIT

https://radiopunctum.cz/shows/wenom

Tracklist:
Sand Circles - Distant Lights
Ryong + Eva Tind - Womb
Racine - Grosso
Gauspel - Black Sun
Muqata'a - Ma Wara' مَا وَراء
Osheyack - Reification
Hunt - Inalienable Lights of White Tomorrows
Ryong + Eva Tind - Sirens
Iku - In The Way They Move
Battle-ax - Lysol feat. DJ Paypal
MSYLMA & ISMAEL - The Tenets of Forgiveness
Racine - Ibiza
Body Sculptures - A Collection Of Ceramic Vases (Yves Saint Laurent Buried In The Garden Of His Marrakesh Home)
Ryong + Eva Tind - When Trees Start To Shake
Moor Mother - Tarot (feat. Yatta & Dudu Kouate)

WENOM 06/22 by NEW MAGIC MEDIA

Angel Hood Mix Series Season 2
ANTIMATTER mix by @pxssagat  @.Mystic >
Hosted by @jakubbohdal
© 2023


https://www.instagram.com/pxssagat/
https://www.instagram.com/mystic.octopus/
www.instagram.com/clubdancemacabre/

"ANTIMATTER" mix by PXS x Mystic > ‘Tremendous Sense of Malice’  [~Enough is a Myth~]

Performed by Ethan Hayden, live at the Unity Church, Buffalo, November 15, 2014

Peter Ablinger, THE REAL AS IMAGINARY for voice and noise (excerpt)

Artist: Eluvium
Title: Fugue State
Album: False Readings On
Release Date: September 2, 2016

Pre-Order: store.temporaryresidence.com/products/trr265

Cognitive dissonance is, at this point, an everyday part of modern society. The difference between belief and reality is blurrier than ever, and there is often sufficient manipulation to both so as to make the distinction intentionally unclear. The source of those manipulations can either be external, or deceptively internal.

False Readings On is the new album from renowned experimental composer, Eluvium. Its creation was originally inspired by themes of cognitive dissonance in modern society. By its conclusion it had become a mirror rather than a magnifying glass, evolving into an hour-long meditation on self-doubt, anxiety, and separation from one's self.

There is an emotional lucidity and melodic ingenuity to Eluvium's music that has made him increasingly stand out from the sea of ambient artists that his earlier albums no doubt helped inspire. Sounding like an orchestra ceaselessly performing even as it sinks beneath an ocean of distortions and tape noise – with the occasional operatic voice piercing the surface – False Readings On is assuredly the most daring, dynamic, and distinct album of his luminous career.

TRACK LISTING
1. Strangeworks
2. Fugue State
3. Drowning Tone
4. Regenerative Being
5. Washer Logistics
6. Movie Night Revisited
7. Beyond The Moon For Someone In Reverse
8. False Readings On
9. Rorschach Pavan
10. Individuation
11. Posturing Through Metaphysical Collapse

© 2016 Temporary Residence Ltd.

False Readings On

Pre-Order Album

Eluvium – Fugue State

From the very first Empty Editions release, Eli Keszler's Last Signs of Speed. Releasing November 17nth!

Eli Keszler - Last Signs of Speed
Format: 2xLP / DIGITAL
Cat.No: EE001
Cut & Mastered by Rashad Becker
Release Date: 17 November 2016

Purchase:
Vinyl: http://bit.ly/2kvaxBM
Bandcamp: http://bit.ly/2jTI75w

Empty Editions is proud to present Eli Keszler’s Last Signs of Speed as our inaugural release. This release, our first vinyl record, has represented a labor of love for both Eli and ourselves.
 
Last Signs is Eli’s first solo release since 2012’s Catching Net (PAN Records) and explores a very different side of his unique acoustic universe. One in which the macrocosmic percussive collisions of his earlier work give way to a gradual unfolding of dub-influenced rhythmic constellations. Eli has described Last Signs as his response to playing in club environments over the last few years; an attempt to negotiate a delicate balance between the materiality of his acoustic instrument and the hyper-mediated sonic ecosystem of the club sound system. Coming off like an inspired synthesis between Scientist and Xenakis, Last Signs of Speed is a truly unique work by an artist at the height of his powers.

Last Signs Of Speed

The Immense Endless Belt of Faces

Ursula Bogner: Winkel Pong
Format: 7” Vinyl/DL
Label#: faitiche15
Release date: Sept 8th 2017
 
Faitiche is delighted to announce the release of a new Ursula Bogner record (faitiche15). Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner’s tape archive (CD/LP Recordings 1969-1988, faitiche01). A second followed in 2011, compiled this time by Andrew Pekler (CD/LP Sonne = Blackbox, accompanying the book of the same name with texts, photographs and Bogner’s graphic oeuvre). For Winkel Pong the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.
 
Gundrun Gut (Malaria!, Einstürzende Neubauten), an activist and reluctant chronicler of Berlin’s underground scene since the 1980s, has worked with Lucrecia Dalt. She is also familiar with Ursula Bogner’s work. Reason enough to ask her for an interview:
 
Jan Jelinek: Gudrun, how does it feel to be constantly obliged to talk about the 1980s Berlin underground as someone who was there at the time?
 
Gudrun Gut: I’ve learned to live with it as there are clearly too few people who witnessed it first-hand. Maybe it’s even important to do these interviews as a woman – so that someone actually says that women, too, have written music history. Men tend not to mention this. But it’s true, people do always ask the same questions.
 
JJ: Did you know about Ursula Bogner in the 1980s? Did you ever meet her?
 
GG: No, I never met Ursula Bogner in person and I only discovered her in 2008 thanks to Faitiche. But that’s no surprise: firstly, I don’t know every single woman artist, and secondly, far too many women artists never see the light of day. In the male-dominated art and music market, women are not considered important – or worse still, they are not understood. Look at artists like Sonia Delaunay, Eva Hesse, Bebe Baron, Delia Derbyshire and Daphne Oram. Some of them have now been discovered – but only recently. A lot has changed in the last few years: there is a growing awareness of art and music made by women.
 
JJ: But isn’t it annoying that the conventional distribution of roles still applies? One example: in many articles, Ursula Bogner has been presented as an “electronic housewife”.
 
GG: When Ursula Bogner is referred to as an electronic housewife, then sadly that reflects the situation of many women artists at the time. Women could only pursue artistic activities in private – transcendence was reserved for men. This has still not been overcome. But today, the home has become a site of professional production for all. I’m talking about bedroom producers: it is totally normal to make art and music at home. And that makes things interesting, because “working at home” is no longer associated solely with women.
 
JJ: For Winkel Pong, Lucrecia Dalt compiled and remixed three pieces from the Bogner archive. You know Lucrecia and you’ve already worked with her. How did you meet?
 
GG: I met Lucrecia through MySpace – I think it was 2007. Back then she was still living in Medellin, Colombia. Lucrecia’s father made loop machines for her that she still uses. The Sound of Lucrecia was part of my 4 Women no Cry compilation series on Monika Enterprise, each with four producers from different countries. She’s great fun to watch as a performer because she has a unique sense of rhythm and feel for music. Above all I’m impressed by her sustained approach as an artist, someone who can and does think around corners. I’m thinking specifically of her album Ou, for which she ploughed her way through post-war German cinema, using it as a source of inspiration for a soundtrack. This is proof that she thinks like an engineer – so it makes perfect sense that she would want to explore the work of Ursula Bogner.
 
Berlin, 2017

Ursula Bogner: Atmosphärische Energie (edited by Lucrecia Dalt)

Accident du Travail. We fell in love with their album on Trilogy Tapes and after a coincidental (or not) meeting in Brussels, our 29th release and first ever live album slowly took shape. Recorded in the mythical London Cafe OTO in 2016, the outfit of Julie Normal and Olivier Demeaux explores a beautiful path of arrhythmic music, subaquatic sounds and celestial zones.

[vlek29] - Accident du Travail - live at Cafe OTO
Julie Normal_ondes Martenot + Olivier Demeaux_harmonium & machines.
Cafe OTO, Londres, 2016
enregistrement. Adam Matschulat 
mastering. Fred Alstadt 
artwork. Takahiro Kurashima
remerciements. Will Bankhead , Abby Thomas , Jean-Charles , Hugo Sanchez,  Hiro Abe
distribution. Crevette

Out September 27th.
Pre-order: https://vlekrecords.bandcamp.com/album/vlek29-accident-du-travail-live-at-cafe-oto

Accident du Travail - Ouverture All'Inglese (taken from the upcoming [vlek29]: live at Cafe OTO)

🪲~ Open to elaborate & collaborate ~

This is what you think it is.
This is hybrid, mutant account of multi–(id)entity (many organisms coexisting and learning in many different ways in plural dimensions). Decentralised system, polyphonical structures. Extremities.


Process within process, landscape undertones 
dental
trial identity version

LGA
ven c s mu a ze

🪲not biological but biodegradable BIO🪲
katarina kadijevic or identity work in progress, is Q92832 which likes to seek and look in different kind of communication mechanisms, ways, possibilities with the place, plants, animals, objects, human… 
Layers in between.

The truth is we use many names, but the core of our path is unite. We just have many faces, shapes, forms, voices, states of aggregation, and chemical reactions, inter–actions,...

Looking For the Right Tones That Doesn’t Exist

olpuas

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