this is definitely getting killed and edited

impressive, would like to hear more of this!

can't wait to get one,  I see KINK now useing as well!  Nice work

Part 2 of the "Are We Gawj?" project by ®adår is available to purchase, download and stream! Part 2 features Xephem Records veterans Dr. Doctor, Nike_Vomita, Mause, Dan J. Wilcox and Xaerarch (a.k.a Fxbip).

Available from:
Bandcamp: https://xephem.bandcamp.com/album/are-we-gawj-remixes
Bleep: https://bleep.com/release/322288-adr-are-we-gawj-remixes
Boomkat: https://boomkat.com/products/are-we-gawj-remixes
Juno: https://www.junodownload.com/.../r-adar-are.../5683607-02/

Are We Gawj? (Remixes)

®adår - Metal Petals (Nike_Vomita Remix)

A track from 2016. Recorded in one go, live without an audience as it were. Packed with home-made field recordings.

Check my other SoundCloud account for all my field recordings.
https://soundcloud.com/thijs-geritz

Proto X

Fluxity (2016)

01 Gruvsala [From DODE - Hymen redords 2015]

Carter Tutti Plays Chris & Cosey

Retrodect (2015 Version)

I wrote this in a hostel within about 25 minutes while on a solo Journey in Prague. I played it live before HUVA Netowork a few days later in Rauchenwarth, Austria <3

Lonely in Prague 2010

Yoga Nidra Meditation [music excerpt, Crash Symbols 2018]

The LepLoop
I've used a lot of synths over the years but this one is something different…&nbsp;&nbsp;it's a strange instrument. It's small, much smaller than it appears in photos: it is part synth, part drum machine, part multi-track sequencer. I'm still&nbsp;figuring it all out but initial impressions are that it's very unpredictable and slightly unstable… but in a good way. I had a few issues with it sometimes refusing to work and also it has a tendency to pick up stray&nbsp;signals from my iPhone and iPad if they are anywhere near it. But&nbsp;when it works&nbsp;it is quite rewarding to use and is capable of some amazing sounds - if mildly frustrating trying get it to do what I think it 'should' be able to do - but I will persevere. If you like wonderful experimental noises - accompanied by a simple rhythm (although I'm sure it's very capable of a lot more) then this little unit could be for you.
The LepLoop will definitely become part of my CCCL&nbsp;experimental&nbsp;arsenal and will most likely get seconded into the upcoming Throbbing Gristle experimental sets in October/November 2010.
The short sound example here was performed without a keyboard, just using the internal sequencer and some real-time tweakery. The outputs were processed with a couple of Eventide pedals for some 'tape delay' &amp; reverb.
Photo on my Flikr pages: http://www.flickr.com/photos/chris_carter_/4933901603/

UPDATE:
Apparently my LepLoop is a prototype, which accounts some of the 'issues' I had with it - the production version should run fine.


Chris Carter - CCCL LepLoop Experiment

Koova - Sometimes A Conduit (Patricia's Amalgamix)

Unused tune originally for upcoming release. You *have* to listen to it through stereo speakers or headphones because I've inverted the phase of the left channel of the pad and bassline in some areas, which means if you listen to it mono you just don't hear it in those sections.

Gak SP303

Pre-order now available from Imprec.com

Harry Bertoia's Glowing Sounds LP contains three versions of the same composition, each transferred at different tape speeds in accordance with the artist's instructions. This is the third LP to be released from Bertoia's extensive tape archive and it's the first, of many, to be released using instructions left behind by the artist himself.

Bertoia wrote the concept for this Glowing Sounds LP on a note in 1975 and slipped it into the master tape case where it sat unread for 45 years. The idea was simple, transfer the original recording at its original speed and two slower speeds. Bertoia noticed that the results, however, were profound. 

Recorded on January 20, 1975 using two large gongs, Glowing Sounds is one of the most powerfully minimal recordings yet discovered in Bertoia's collection. The artist's note left with the tape indicated that it was recorded at a speed of 15 IPS (inches per second) but slowing it down to speeds of 7.5 IPS and 3.25 IPS were quite effective for enhanced playback. Side A features the original 15 IPS recording and the 50% slower 7.5 IPS recording. Side B features a 20 minute, ultra-slow version at 3.25 IPS. 

Long, deep drones and powerful overtones define the sound of this recording. Comparison of the three speeds provides a revealing magnification of Bertoia's gongs, overtones and the artist's inventive approach to performance, composition and recording. 



Bio: 

Harry Bertoia first gained some artistic visibility in the early 1940s, then came into prominence with his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, which quickly became classics of modernist furniture. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the late 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Harry Bertoia's recently dismantled Sonambient barn collection was an attentive listener's paradise full of warm, expressive instruments that were gorgeous visually and audibly. Nothing could prepare you, even on return visits, for the overwhelming experience of entering the spacious wood and plaster interior where gongs, some of them giant, hung among the ranks of standing sculptures of various metals. Over nearly twenty years of adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. He considered this barn a full experience, sights and sounds comprising not a collection of works, but one piece unto itself. It was here, deep in the woods, that his Sonambient recording work took place.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a the artist's logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

Glowing Sounds

Harry Bertoia - Glowing Sounds (slowest) - LP -  Pre-Order

Daybreak At Tolsta Beach

Although this was the personal account of Chris Carter it now also hosts Carter Tutti and Chris & Cosey tracks.

Throbbing Gristle tracks can be found on our Industrial Records Ltd. SoundCloud https://soundcloud.com/industrial-records

Chris Carter - CCCL LepLoop Experiment

CARTER TUTTI

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