Interference is the first joint release from PAN and Visionist's Lost Codes, which is re-baptized here as PAN sublabel Codes. Two of Visionist's key discoveries, Mancunian hybridist Acre and Cambridge's transplant Filter Dread both cut their teeth on UK soundsystem culture and have appeared on vital outlets like Tectonic and Ramp. The pair's EP updates 8-bit grime, warehouse rave, and dark bass with hyper-modern sound design and bastard club rhythms. Rather than rely on mimicry, they contort familiar aesthetics, giving rise to the baroque, processional gloom of "Drumz 34" to "Flash Speed"'s bassbin elasticity and the modem drones of "Trashed" (for the steppers). 

https://www.p-a-n.org
https://www.facebook.com/codesrecords


Acre & Filter Dread 'Flash Speed' (Codes 01)

Terra Silvis Operire 

Step by step I crept upon a greener ground
looked around for urban sights or city lights fight the urge to search for words of hurt familiar words I heard in broken towns that had I found I wondered how the place I left behind had kept a space inside my mind

despite the time, despite that I’m not in the city anymore the door I thought was shut for sure inside my head was cracked instead I nearly turned my back but then a man was standing next me I heard a word as sure as death said with soft sincerity

you’re inside the Forest now so go and feel the forest floor these parts are for the hearts that mourn and grieve, the green for those In need the trees and everything was made specifically to be a place of peace a place pause and a place of calm as you go along you way”

fin-ally my feet were free to run and roam home that now I know a woods he shown where grass was grown and where the wind is only blown a gentle breeze between the trees 
A softer green and subtle glow 
A momentary peace I get to know when I’m in forest


You can feel the air 
Begging for you to stop dead in your tears
It whispers, but you sing 
You can feel the air 
Tearing at the skin of your ears 
Addicted to the sting 

It whispers but you sing 
As you run in forest

Cover all the lands in forest
Cover all I am in forest

In Forest

OUT NOW: https://wherethetimegoes.bandcamp.com/album/tears-voyuer

In a state of screengaze we see the frenzy of the hyperreality; the chaotic and unending flow of info which serves as the composite of the idealworld as it’s presented to us. Projections of self-styled-life, illusions of societal norm, prescribed freedom, and omnipresent prompts for consumption embody this hyperworld which once zoomed in on becomes dissociative, overwhelming, and often unstable as its reflection is held up to itself.

While in the windowgaze state, we see a muted reflection of the actual. We see in such a way that allows us to view a still and serene world onto which we can project our own idealisms; romanticising the mundane with notions of love and beauty, while flirting with senses of meaninglessness and nothingness. Through windowgazing we allow ourselves to eulogise the actual in a “is-it-really-real” way.

Tears Voyuer is the debut LP by the duo All Times Now Nothing. Tears Voyuer is presented in two formats. The physical 12” LP is comprised of two 22 minute collage pieces. The digital format is made up of 14 tracks which form the basis of the collages as heard on the record.

Tears Voyuer is available now in all formats, and can be ordered directly from the label via bandcamp.

https://wherethetimegoes.bandcamp.com/album/tears-voyuer

Tears Voyuer

10/02/2020

Buy the LP

All Times Now Nothing - Whats it Like (12" LP Tears Voyuer OUT NOW)

This release combines a series of live actions by HHY & The Macumbas, from November 2017 in a club in Barcelos to December 2019 in an oil tank in Tenerife Island, with a June 2019 open air performance featuring Adrian Sherwood on the mix in between.

HHY & The Macumbas emerged in 2008 from the cryptic SOOPA collective from Porto, a group of musicians and artists responsible for the early 00’s local experimental scene explosion. For the last decade, HHY&TM have been actively playing live with various ensemble configurations in venues, clubs and festivals all around Europe (Unsound, Primavera Sound, Supersonic, among many others) and released the albums "Throat Permission Cut" (Silo Rumor, 2014) and "Beheaded Totem" (House Of Mythology, 2018).

HHY & The Macumbas are a shifting musical entity where circular percussive mutations, brass riffs and electronics are dubbed by echoes in often sensory-overload live actions. Founded by Jonathan Saldanha, the ensemble works as a rhythm laboratory, in a constant research involving pressure, exhilaration, alterity and warped time perception.

Releases 03 JUNE, 2020

Edited and mixed by Jonathan Saldanha during Covid-19 lockdown in Kampala.
Recorded by Jos
Mastered at Declared Sound
Graphics by Laurie Pitt

Camouflage Vector: Edits From Live Actions 2017-2019

NNT024 PREVIEW: HHY & THE MACUMBAS Horror Vector

@hoshina

Hoshina Anniversary - 五七五七七 (Go Shichi Go Shichi Go)

01 - Iwa Utsi Nami
02 - Tokyo Geijutsu Sai
03 - Shinobaremu
04 - Oumagatoki
05 - Shinju
06 - Narinuredo
07 - Yomosugara
08 - Ryuushouten
09 - Tororo Soba
10 - Asagiri

Released on CD & Digitally: June 16th, 2020

https://theyouthlabel.bandcamp.com/album/hoshina-anniversary-go-shichi-go-shichi-shichi-yocd7

Hoshina Anniversary - 五七五七七 (Go Shichi Go Shichi Shichi) - YOCD7

Haron – Taxa (QUEESTE005)
https://smarturl.it/queeste005

01 Drosera
02 Benthos
03 Pantala
04 Pincertail

Haron’s Taxa EP dips into a world of fizzing electronics and draws from it four potent club mutations. 

Having explored spacious ambient on 2018’s well-received Wandelaar, the Dutch producer turns his attention towards full-body rhythms. These newly prepared compositions, the first club release on Queeste, are dappled with synthesised colour and unexpected timbral shifts, aligning the producer with global bass permutations while maintaining his own playful course.

The skittering dancefloor percussion of opening track ‘Drosera’ immediately signals this change in direction, leading effortlessly into the tightly coiled drums of ‘Benthos’ whose name is taken from the community of organisms that dwell on the seabed. In a nod to Wandelaar’s serene tones, the track ends with weightless ambience alongside snippets of human voices, a single moment of stillness on a release elsewhere defined by movement. ‘Pantala’ is pristine computerised dancehall teeming with disembodied samples and impressionistic swirls of noise before Taxa ends with ‘Pincertail’ whose bustling syncopations recall UK funky at its nimblest.

No less evocative than his beatless work, on this EP Haron has crafted his own idiosyncratic abstraction of club music, one imbued with joyful melodies and a giddy, pleasingly destabilising sensibility.

releases July 3, 2020

All tracks written and produced by Haron Aumaj
Mastered by Wouter Brandenburg
Graphic design by Fallon Does
Words by Lewis Gordon

Taxa

introducing ⤷ Haron – Taxa (QUEESTE005)

• stories written and read by Inger Wold Lund
www.ingerwoldlund.no/

• sound by Alexandra Zakharenko
http://zakharenko.es/
https://dome.pw/

An audio piece originally made to be listened to in a house in a harbor on the windy east coast of Iceland.
-----------------------
Some nights ago I dreamt I was holding eggs in my hands. Their shells were so fragile that just being next to each other could make them crack.

Inger Wold Lund – 7 stories

09112020.

Incoming CSS071 Mix and Feature from experimental artist, choreographer, and composer Colin Self. Colin is residing in New York and Berlin where he creates a wide range of music and performance pieces designed to expand consciousness, trouble binaries, and play with the boundaries of perception, reaching a broad range of communities using voices, bodies, and computers as tools to interface with biological and technological software.

This mix features acoustic and electronic sounds with focuses 
on nature and human relations, theatrical ambiance with diverse sonic textures throughout. Presenting a ritualistic, and meditative narrative that transcends listeners to a beautiful world Colin creates with many genres of music combined together. 

Read full interview here: 
https://cultivatedsound.com/071-Colin-Self

Cultivated Sound Sessions - CSS071: Colin Self [Lughnasadh Mix]

Colin Self

NTS - Body Motion w Bossman Wines 091020

https://www.retreatradio.net/continuity

Tracklist:
Liai - 8 Tresses
Echium - Multiple Frameworks
Jonny L - Underwater Communications
Hideki Umezawa & Andrew Pekler - Amami Remote Extension
TIBSLC - Aliénation Pours Forth
Perko - Grounds (ft. Lia)
Ulla Straus - I forgot to take a picture
Unknown - 鵜沼駅 空中歩道の夜, Unuma Aerial Walkway (field recording)
Nick Malkin - Sixth Street Conversation
ju ca - Essence (Flora Yin-Wong Remix)
perila - shtureez
hironori nagatsuma - Utökad kropp
mu tate - Jun
Sa Pa - Room with a view
Marta Forsberg - Love
Rhucle - Butterfly in the Water
Continuity - Untitled
Unknown - 祇王寺, Ukyo Ward, Kyoto (field recording)

Continuity #8 (08/11/20)

In "The Acquisition of Language & The Language of Acquisition", artist-poet Luzie Meyer traces the property of language to both confine and liberate, and the verbal means of expression available to us in times of digital media and algorithms. With the faculty of being able to express oneself through these forms (templates) comes the problem of false equivalence or commensurability: Unlike the spider that mechanically reproduces the same pattern again and again, The Acquisition of Language & The Language of Acquisition explores the gaps and interstices in which such tools and formats might possibly be used for different and poetic ends.

The long poem reads as a succession of “exercises” (chapters) and addresses the intricate entanglement between the individual and the universal, or the authentic and the socially constructed. Blending sound (among which are zither pieces of her friend Magda Barthofer, or composition techniques borrowed from musique concrète) with writing techniques such as cut-up, Meyer investigates the psychology of language forms and formats. As the narrator of the poem finds themself looking for a different and individualized alphabet, the use of an all-too-familiar language of therapy and self-enhancement reveals it as yet again firmly merging with the logic of neoliberal value and exchange.

The spoken word is accompanied and interrupted by musical interludes. The musique concrète compositions are created with a drum rack of original percussion sounds recorded at home, as well as with a ready-made set of sounds from Ableton. Additionally, the piece includes sounds of a lapharp (zither), played by Magdalena Barthofer, which were recorded with Ableton with an effects pedal.

Postproduction: Nadel Eins Studio Berlin

Luzie Meyer "The Acquisition of Language & The Language of Acquisition"

a hybrid between a collective and label in Brooklyn, New York, to cultivate music as sound and to introduce new music breaking genres.

submissions and bookings: cultivatedsound@gmail.com