While it's possible that I have never publicly stated it, I'm sure my friends must have had to endure my claims that I don't seek to be a beatmaker (it requires an emphatically minimalist intelligence that I don't possess, or that I don't have the patience to develop), nor a producer (the oceans of technique and technology suffocate me), but a composer. These three profiles can indeed overlap, but they cement their respective identities insofar as they proceed in different ways, and insofar as they yield equally distinguishable musical materials. How such differences manifest themselves (pure aesthetics?) is beyond the scope of this text, a mere introduction, justification (excuse) and heartfelt written token of gratitude (thank you, EVEL, Alfonso and all those who read and listen!).

Listing some of my particular musical preoccupations (obsessions) might be appropriate, however: color and harmonic richness, which enables and stimulates the design of large-scale tonal plans; a holistic conception of musical form, each parameter controlled by the composer in necessary and constant dialogue with every other parameter; directionality of discourse, based on the classical dialectic of tension-release at the small scale; expressive and emotional variety, etc. If I have succeeded in arriving at such high ideals in Anachronistic Compositional Values, may your fresh ears let me know; mine, for the time being, no longer discern where they stand on these pieces.

The overall title encompasses multiple meanings; the titles of each track do not. (Has instrumental music ever meant anything?) When I published Failures, I anticipated a potential return to old compositional procedures: historically classical, intimately familiar. And so, after a number of releases pounded via Audacity, I have once again made peace with the discipline, meticulousness, attention to detail and forethought that working with sequencers requires, even when the outcome proves to be messy. I have once again dismissed external samples and human voices altogether, but nor have I fussed over insatiable searches in synthesizer and effects libraries (I never do: I remain comfortable near presets).

The implementation of any global tonal plan has fallen by the wayside, admittedly, but without detriment to relishing, once again, the expressive potential of each modulatory instant or episode. For I strive, however difficult, to never lose sight of Schubert's tonal transformations, whether catastrophic or gradual, nor of Beethoven's attempts at manipulating musical time, while we’re at it: these are conceptually to blame for how the timeline in Anachronistic Compositional Values unfolds, violently disfigured.

Anachronisms, historical errors, temporal displacement. Parachronisms? For EVEL, and for all of you, this is Elektronische Musik: classical, historically consolidated; nothing new, in fact, but always attractive to those who do not have an orchestra at their disposal and still understand the upper stages of composition as if they were orchestrating for a virtual, synthetic and, (only) at times, dehumanized ensemble.

Thank you, thank you, thank you all.

Anachronistic Compositional Values

Calling upon memories from living facts and those that couldn't be, Josephine’ Soundscapes join multireferential musical collages. Soundscapes where styles and ages merge each other in a manner that results as delicate as chaotic.

Josephine’ Soundscapes belong to a_mal_gam_a and CALMA collectives. He's also resonsable of Radio Relativa's program "Fields of Mars" focused on music experimentation.

Josephine' Soundscapes - Feudal Fest 2022

@0rangetone demo track for my new Operator preset pack for Ableton 12 Suite users :^}

https://hollywaxwing.gumroad.com/l/sphagnumstars

Pack Includes: 9 Operator Patches + 1 Collision Patch with 88, super detailed Macro knobs. The download also includes a download of this demo and a detailed Read Me with advice, best practices and screen shots of Macro recommendations for each patch! Some of the sounds include a digital piano, a harpsichord, a bass, a woodwind, a lead and a bubble/water SFX generator. Art by gfx.gpu! Thank you for your support ~ Holly 𓆝 𓆜 𓆞

Sphagnum Stars

Sphagnum Stars (Demo by OrangeTone)

@utopian_dj

It’s always a pleasure to play here; you can be completely free. I wanted to flow with the energy of the moment and decide right there what to do. Even though I had several options prepared, I went for techno. I sensed that many artists were playing half-time and all that current vibe that I love, but given the time of my set, I felt something more 4x4 was needed. Plus, if I have to get people dancing, I feel more comfortable playing techno. I enjoy slower tempos when the set is more ambient.

There were some really unforgettable moments for me, like when I played Alien Rain, one of my favorite tracks. I enjoy sets that evolve, starting with deep techno and ending up with classic minimal techno, or even trance. These days I’m fully into that, although I’ll probably get bored and switch it up soon, haha... I admire DJs who stick to one style and master it, that’s how true masters perfect their craft. But that’s not me. I enjoy risk and variation, even if sometimes the risk is playing a “normal” set.

Right now, we are promoting our next party in Granada. Along with my partners Fran Acosta and Kaizen, we created Klub Collective more than two years ago, and our next guest will be Forest Drive West. Words can’t describe the excitement we feel.

I’m also continuing with my show Espacio Ingrávido, but I do it whenever I can given the stress of my current lifestyle.

++++++++++++++++++++++++++++++++++++++

Recorded djset at Perpendicular 2024 (@espacio-perpendicular) - somewhere in the woods. When? Sunday 19:30 Where? main stage.

Perpendicular is a self managed and private festival held somewhere in the woods of central Spain.

Artwork: Javier Marimon (@javiermarimon)

Utopian @ Perpendicular 2024

headphones (ear-pods) recommended
--
avant session 41 
(2024)

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A-S 41 | ≈ 25'43''

Under the motto «We become more from what is left, deliver else than just the now, build sound stories for the then», Sediments is the new label and sonic adventure launched by Estrato Aurora and d_o_ppelgaenger, partners in the electronic duo Pajaro Dune.

Live at Perpendicular 2024 is the label's inaugural offering. Recorded May 25, 2024 by d_o_ppelgaenger at Perpendicular Festival in the woods of Cuenca, Spain, this album is both an ambient live set and a sound journey inspired in the Doppelgänger archetype from the early gothic novel.

The music of d_o_ppelgaenger challenges the boundaries between acoustic and electronic sound calling on a wide range of oft-conflicting aesthetics: from early music to soundtrack atmospheres and the latest disruptive avant-garde trends. His signature 'chiaroscuro' medley of styles and ideas relies on narrative sound design, using both classical instrumentation, electronic production, field recording and generative synthesis.

d_o_ppelgaenger || Live at Perpendicular 2024 [SD001] || all snippets

Apoyándonos en sus obras seminales y con dirección al minimal techno como grueso musical recorremos los avatares del minimalismo sonoro. 

Inevitable debate se abre cuando se intenta definir el minimalismo, y es que lo que para unos es mucho para otros es poco y es el observador, el que recibe el mensaje, el que tiene la última palabra para concluir si lo que acaba de escuchar estaba libre de elementos supérfluos. 

Programa donde se ensalza unos de los mantras de la vida, el menos es más, donde se resaltan los artistas que en la década de los 90 y los 2000 generaron un tipo de arquitectura y con él un sonido que no tardó en desfigurarse para dar pie a otro tipo de música que se adueñó del término, pero nunca de su esencia. 

Después de 14 temporadas seguimos dispuestos a ofrecer nuestra principal virtud a los micrófonos, entretetenerte a base de musicón y texto sin pelos en la lengua ni sesgo de proximidad. Durante todo este tiempo hemos notado vuestras atentas escuchas y hacemos radio a sabiendas que estamos en un teatro repleto y atento, cosa que el producto te agradece ya que nos inspira y nos carga las infinitas pilas con las que nacimos para esta misión.

Electromagnética - El Mínimal bien entendido [Inicio de la 14 temporada]

@machines-desirantes

This set was recorded at Decompress Room. Feudal Fest 2024. 

Josephine’s Soundscapes is José Salas, an audiovisual creator and promoter of alternative culture in Madrid, active for the past two decades. In the musical realm, he works as a DJ, radio host, promoter, and programmer in clubs and institutions, as well as in various radio projects and collaborations. Currently, part of his work is channeled through the independent promoter a_mal_gam_a, which he co-directs with Diskoan, developing initiatives such as Dance Cave Madrid. His scope of action expands as he participates in other cultural, collective, or personal projects, such as CALMA at Zapadores Ciudad del Arte, temple @ Espacio Perpendicular, Vanishing Point sessions, or Campos de Marte @ Radio Relativa, his podcast dedicated to experimental music.   

RA: 
https://ra.co/dj/josephine
Instagram: 
https://www.instagram.com/josephine_soundscapes

Human Lessons #092 - Josephine' Soundscapes

The work of Dhangsha, alias of Asian Dub Foundation founding member Aniruddha Das, is more of a sonic statement, compelling enough to reach number 11th on The Wire’s Releases of the Year. Its name, which means ‘destruction’ in Bengali, stands for the textual inscription of a content that conjures up and vindicates the now anachronistic idea of art as war, today received as an empty grimace. Certainly, his work has been particularly impacted by the witnessing of the live-streamed genocide happening in Gaza, Palestine for over a year, perpetrated by the forces of israeli fascism and basically applauded, funded and supported by western governments and their respective media.

The title of this podcast, "We Are Grieving But We Are Not Despondent", adds to the set of paratextual elements that complete its idiomatic features, largely present here, a sort of DIY interface between experimental noise and bass culture that traces connections between different events of Black Modernity, from black techno (a tautology that responds rather to white plunder tactics) to black noise to a mutant dub that inverts the importance of reverb to focus on compression. The effect of this last trait is as characteristic as it is paradoxical: percussion and spatialisation generate a weightless sensation that center the listener’s attention on the mid and high frequencies, abrasively accumulating uneasy hooks, alarms and feedbacks that weaponize the overhearing sounds in the western spectacle. Is it not perhaps a radical transfiguration of the liberating, spiritual hymnlike cadence of reggae/dub?

This is a specially recorded live session of his current material. Though each of his themes are defined by certain samples and sequences, the arrangements are always created through live improvisation and recorded straight to stereo, no multi-tracking. The recordings are processed afterwards with edits, fades, equalisation and mastering.

Public performance is what drives the development of the Dhangsha’s sound and compositions. He is aware of what’s going on in the world and doesn’t attempt to censor his feelings thereof.

Cover by Maria Isabel Acosta.

Dialektik Podcast #18 - Dhangsha

2 Technics SL-1200 Mk7
1 Allen & Heath Xone 96

Dialektik 14-12-24 - Rachael (Warm up Skee Mask)

Comenzamos nueva temporada publicando la sesión con la que arrancaba el proyecto Capsula. RADO, miembro del equipo del sello de electro “Noise to meet you”, nos regaló este set lleno de elegancia que cautivó al público desde el primer corte, una selección especial llena de delicadeza y que nos puso a bailar bien rápido. Un gusto haberle tenido abriendo la Capsula. 🙏🏼

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cosmic lithium

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