We’ve reached book IV in Rupert Clervaux’s series of “Zibaldone” audio diaries, at which point we find him telling a different kind of story. 

“The first three all had very specific themes, while this one feels a little bit looser and doesn’t have just one thematic thrust,” he tells me, which maybe explains why listening feels a bit like annotating. I’m underlining, emphasizing, drawing arrows from here to there, highlighting symbols and noting motifs, realising, questioning, eureka-ing. An impressionistic meaning’s been encoded in and we’re lucky to be given the space to play that most poetic and boundless of all mental games: narrativization. 

There are no wrong answers, but Rupert offers some clues either way. If there’s any cipher here it’s “something like a meditation on the concept of ‘depth’––in all its connotative forms.” Think below the surface, (the) underground, yawning oceans, being ‘down in the dirt’, soil, roots, rootlessness, pulling at the dregs, collapse, profundity, stable and unstable horizons, distance, perspective, intuition, not to mention relative opposites: to be shallow, to be above, to be beyond. 

It’s got me thinking of Bresson’s “Bring things together that have as yet never been brought together and did not seem predisposed to be so.” His: “Dig deep where you are. Don't slip off elsewhere.” Rupert has realized these—two favourite goals of mine!—here. 

This is music that catches you at your own periphery, gives pause, has you offering a little “huh” to, asking “I wonder why” to. Again, it’s got me musing on another mindworm, this time from New York publisher and multi-sensory reading room Dispersed Holdings: “Feeling-making-knowing feedback loop; cartography of feeling; water as text, read to know the land beneath and around it, and body as reader.” 

Is it ok to offer up these other contexts out of context? I think so, because Zibaldone IV articulates a similarly swirly tone. Like, we’ve got Rebecca Solnit talking through Kropotkin’s “Mutual Aid” and later calling out to Michael Ruppert a ways away, and “Easy Rider” is playing in the wings. We’ve got Susan Sontag magically contextualizing Mariah Carey with poet Thylias Moss triangulating in order to sketch out (Rupert again) “something a little more interesting than wilful eclecticism or that laboured and patronising kind of pop-savvy.” 

Are we following? Whether yes or no Vanessa Bedoret follows on with a performance of a performance of Moss’s 'Water Road’: to be once or twice removed, via strange transitions, purposeful confusions, and, suddenly, seagulls. We’re on a boat with Ingeborg Bachmann—and how I wish I could actually be! But maybe thanks to this music I can as literature, films, friends, lethargy, coincidences, little mental links, eternal wormholes, lingering notions come together to imagine something better. 

Text by Natalia Panzer 
npanzer.com 

Artwork by Coline Cornélis 

Music by Rupert Clervaux 

with 
Vanessa Bedoret: voice and violin on Thylias Moss #2 
Eben Bull: trumpet and electronics on Mutual Aid and Departure from England 
Isis O’Regan; voice on Departure from England 
Nick Taylor: electronics on Chthonic ’97 
Ben Vince: saxophone and electronics on Chatsworth ’17 

Artwork by Coline Cornélis 

Warm thanks to James Marrs, as always, and Natalia Panzer 

Vanessa recreates and reads an excerpt from ‘Water Road’ by Thylias Moss. Isis reads ‘Departure from England’ by Ingeborg Bachmann (translated by Peter Filkins). This record is dedicated to both poets––with great respect and deep admiration.

Zibaldone IV of CVX

Feb 18th on @laura-lies-in

Pre-order: https://rupertclervaux.bandcamp.com/album/zibaldone-iv-of-cvx

03. Chthonic '97 (K1CVX)

https://www.nts.live/shows/ZULI/episodes/ZULI-18th-january-2022

NTS 070 [18th January 2022] Ft Nuri

Ce mois-ci c'est Thi-léa qui nous livre un mix maléfique, entre paysages sonores désolés, noise, sound design et deconstructed club. Soyez prévenus: si vous ne faites pas écouter le mix à quelqu'un dans les 7 jours Sadako sort de vos enceintes ...
Vous êtes prévenus

Carpaccio Cathédrale invite Thi-Léa ~ 09.02.2022

Dubby and hypnotic, @soreabuk puts rhythm-driven inclinations on a forward tilt for @a_m_radio.

'Perspectives' is out February 25th on Accidental Meetings.

Pre-order: bit.ly/3uIxTLC

Premiere: Soreab - Maranza Percussion Ensemble [Accidental Meetings]

LYL radio with @JessikaKhazrik and @FilterDread  : episode 9

Zoë Mc Pherson - organ background (radio special)
Zoë Mc Pherson - I expect nothing (straight) OUT ON PENDULUM RECORDINGS 15.03.2022
A/N - Disparaître
Granul - Cypher (VIP)
 Jessika Khazrik - On Spherics
في التدوير'  (UNIQUE RECORDING FOR PULSE SUR-MESURE!!!)
“I recorded for you a live 20-minute drum x voice trance from the studio. I think it suits the format. It feels continuous yet abrupt, a bit like an untimed zeitschleife. “

Filter Dread (UNIQUE RECORDING FOR PULSE SUR-MESURE!!!)
“It’s a database of loops dug out of the depths of my sampler  ( the unforgiving Octotrack ) and sequenced on my ancient 2010 laptop. Lots of jungle influenced patterns combining with Grime and dream wave styles.”

LYL radio with Jessika Khazrik and Filter Dread  : episode 9

05. Thylias Moss #2

04. Does Pop Culture Interest You?

02. Simple Food For Our Simple Taste

01. Mutual Aid

Taken from Zoë Mc Pherson (@zoemcpherson) new EP, Abyss Elixir, out March 15, 2022, via Pendulum Recordings (@pendulumrec)

Read: https://bit.ly/3H2PVe9
Pre-order: https://bit.ly/3IaLzDa

For the label's second release, Pendulum Recordings presents Abyss Elixir, a 5 track EP from Berlin based French sound artist and producer Zoë Mc Pherson.

Abyss Elixir is an EP made to self-heal and with a transformative perspective. Using warm low frequencies, Mc Pherson creates a visceral atmosphere that is personal and contemplative, yet the listener is present. At times it feels so intimate that the listener wonders if they should even be there. Are they allowed to be there? Unlike a lot of Zoë Mc Pherson’s releases, there are no collaborations here.

In the artist’s own words:

“The overall tracks are meant for heavy sound systems that are able to hit your heart, but also to be played loud in your headphones while taking time for yourself. The whole EP is an elixir, made to mend, if you are able to allow that space and process what is happening. Whatever the mood, it is full acceptance, strengthening and developing your position, observing what is around you, its history and what changes, as well as what needs to change further.”

Mc Pherson opens the EP with “I Expect Nothing (Straight), a 12 minute moody composition with powerful vocals that are at times sultry and at other times maniacal. Singing “I Expect Nothing,” Mc Pherson’s vocals can quickly turn from soulful and enchanting to hysterically laughing from one moment to the next. The track has a natural groove as the journey builds and layers upon itself. While the entirety of Abyss Elixir is a narrative, “I Expect Nothing” is a composition within itself.

Over the 5 track EP Mc Pherson leads the listener on an introspective journey using dub rhythms, noise and experimental textures, and creeping sub bass. Playful beats juxtapose between moments of darkness and intensity. The EP concludes with the track “Bound To Spill,” a powerful closer that feels like a final purge. By the end, the listener is left to process their own journey and start anew.

Cover photography by Suzy Polin

Mastered by Conor Dalton @ Glowcast Audio Mastering

Released by Pendulum Recordings

Premiere: Zoë Mc Pherson - Sub Town [Pendulum Recordings]

Playing music at the ocean, an infinite mirror curls upward towards you. Picturesque and perverse, cracked enamel castings sit in lazy but unsettled sands. Something is just right, having once stirred beneath the surface it now hovers misting at eye level. You can put your hand through it; pushing humidity around like a furry catkins flake in a tepid wind.

BAD LSD TRIPS is a collaboration between artists Domingo Castillo and doris dana. Working through the process of developing sounds during the pandemic, the duo amassed large swaths of recordings on a weekly basis from 2020 and 2021 in Miami, Florida. The debut recording of "bad LSD trips" for the ENXPL series is documentation of improvising and honing a sonic vocabulary that is rooted in the tradition of early industrial, dark ambient and tape music. The backdrop of the recorded effort is a geographical conundrum of a city worn threadbare by candied advertising, tourism, and aesthetics. BAD LSD TRIPS inverts the spectacle of their locale with psychedelic meditations searching for, and occasionally digging inside of, a place of ease.

BAD LSD TRIPS is a collaboration between artists Domingo Castillo and doris dana. Working through the process of developing sounds during the pandemic, the duo amassed large swaths of recordings on a weekly basis from 2020 and 2021 in Miami, Florida.


Limited 125 copies
Copper foil print on recycled paper
Recycled cassette shells and cases 
credits
releases March 29, 2022

Recorded by Domingo Castillo and doris dana
LAZY HIDEAWAY contains elements of Zabelle Panosian - Groung
Audio finalized by Glyn Maier
Source material for design from 'Smiley Face Om'
Design by RJM Vanderheyden

BAD LSD TRIPS

HARD COPY PURCHA$E

ENXPL12 - BAD LSD TRIPS - A1. CONSCIOUSNESS BURNOUT

One year after the release of Gryphon Rue and Merche Blasco’s North of The Future, Tigersushi presents Resounding: North of The Future, transmutations of the album by a dynamic group of sound artists summoned by Gryphon and Merche, queering the notion of the “remix” and replacing it with a far more radical entity. 

In 2020’s New York summer, Gryphon Rue and Merche Blasco gathered for sonic purges. Seeded in a deep yearning to disrupt the idle thick air of quarantine, these purges became an emotional conduit. The music charts non-idiomatic improvisations bound to deformations of time and place. Drawn and refined from these sessions, North Of The Future is an accurate and sublime summation of a profoundly mournful year – it is a blissful, yet frightening album. Merche Blasco’s scarcely governable EMS Synthi AKS (“Cintia”) tangles signals with Gryphon Rue’s custom synth (“Fritz”), threaded with siren-calls of the duo’s bowed saws and harmonium. 

Resounding: North of The Future was sparked by a remark by the writer and curator Bob Nickas, who claimed he could hear "space station disco" in the afterglow of the music. From this departure point, Gryphon and Merche invited electronic and media artists to channel the tracks with their distinct voices. The result is a wild assemblage, drifting in languorous ambiences that haunt and soothe, nourish and dissolve into, out of, and beyond crescendo.

Featuring Bergsonist, Joakim, Will Epstein (AKA High Water), Jenn Grossman, León & Sayed, Lee Gilboa, Ruth Garbus and Bryce Hackford.

Bergsonist’s mesmerizing darbuka grooves over shivering chords and ominous textures, bookending the collection with her second remix of Super Tender (punningly titled Tenderize).

https://tigersushirecords.bandcamp.com/album/resounding-north-of-the-future

Gryphon Rue & Merche Blasco - Super Tender (Bergsonist Tenderize Remix)

@hemtl 
release on @snumusic : https://snumusic.bandcamp.com/album/la-hora-azul

229 — Fatmeh

Le collectif Bienvenue au club présente ses coups de coeurs, inspirations et copaines, les musiques qui touchent ses membres et les scènes qui les relient, de la danse a la contemplation. Pour la deuxième édition de cette résidence, c'est le duo @orplusbe, confondateurices du collectif, qui prennent les platines. 
 (13.10.22)
Polygonia - König des Waldes
Polygonia - Jäger der Lüfte
Alfred Czital & Jamida - Hermannstraße 176
Alfred Czital - Windows Seat
Konsudd - Lift Clique
Lunar Convoy - k3lp
Marco Shuttle - Acrobat
Corell - The Longest CycleLaima Adelaide - Figure 
Linn Elisabet - A Granular Deconstruction Of The Mind
or+be - Crimson
Oto Moya - Thousand Souls Mountain
POL100 - Epidote
Sam KDC - Obsessed
Om Unit Meets Seekersinternational - Krnch
Konduku - Mantar Kaya
Konsudd - Mossstutter
The Untouchables - DFAM MESS
Polygonia - Gaping Void 
Beatrice - Brighton

03. Chthonic '97 (K1CVX)

Rupert Clervaux

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