please dont encourage me to buy more modules

This thing sounds great, though seems you definitely need a case with plenty depth for this one! I wonder how close the back of the module gets to the PSU even on the LC6/LC9, which have a good amount of depth

Photo by Tamanna Rumee: https://www.pexels.com/photo/sliced-of-lemon-on-white-ceramic-plate-8755260/

Bits N Bobs

Demoing the new Freak Shift module from Sketchy Labs. Not a very sophisticated or exhaustive demo, just a bit of playing around after plugging it in for the first time.

1. Rubicon 2 and Dixie waveforms into Freak Shift; Dr. Octature in LFO mode modulating sin and cos.
2. Waveforms filtered with Dr. Octature -> Freak Shift. Sin / cos modulating LFO duties by z3000ii and DPO.
3. As above but filtered post-Freak Shift.

Watch your bass and treble bins.

Freak Shift Demo

FROM MERAK THROUGH DUBHE

Caged

Replicants

IV-426

WeMe313.30 DOPPLEREFFEKT "Calabi Yau Space" C1 "Non Vanishing Harmonic Spinor"

Using the Freak Shift to add a bit of subtle whoosing to a sound, patched (if I remember correctly) between the filter and the VCA.

Solo'd section from the track "Wishful Propagation", featured on the new album PLACEHOLDER which comes out next Friday 8 October :)

The module is the Freak Shift by Doc Sketchy. Find him at Modwiggler or Youtube: https://www.youtube.com/user/docsketchy/videos

Dear music fan: don't be alarmed. I occasionally post modular synth demos on this page and this is one of those times.

Freak Shift subtle whooshing

Kristiina a resident DJ at Kaiku since it’s opening in 2013. Her affection for heavy snare drums and mystical atmospheres can be heard weekly on Radio Helsinki, where she plays weirdo synth cuts, EBM, dark(er) Italo and twisted House together with Irene Kostas. Her name has been on most people’s lips in Helsinki for quite some time now, so it was only natural that 2017 and -18 saw her break out of the local and on to the international. Early 2019 sees her billed for Panorama Bar for CTM Festival.

Kristiina Männikkö [11.10.2021]

"Lola Interpretations is a remixes collection of the latest acoustic work released by Intersezioni, Lola Percussion.

Seven artists from the Italian techno / tribal / downtempo scene have been involved, using samples obtained from the original Lola's recordings.

The result is a free recompositions compilation of the original edits, characterised by a strong connection between acoustic and electronic sounds and thought to be perfect even for the dance floor."

https://intersezioni.bandcamp.com/album/lola-interpretations
https://soundcloud.com/primordialooze
https://soundcloud.com/intrz

Special thanks to all the artists:

Primordial Ooze
Guglielmo Prati
Kakofonico
Matteo Coffetti
Nicola Mazzetti & Luca Saponaro
Stic
A-Tweed

Credits:
Label: Intersezioni
Code: INTRZD004
Mastered by Kakofonico
Sample by Lola Percussion

PREMIERE: Primordial Ooze - Interpretation 1 [Intersezioni]

Artist: KENT TANKRED
Title: THERE IS NOTHING TO ATTAIN
Format: 2xCD / Digi
Artwork: Philip Marshall
Liner Notes: Johannes Bergmark
Edition of physical copies: 200

CD 1
1-1 Kökkenmödding 1 13:09
1-2 PSR-266 6:55
1-3 Maelstrom 10:00
1-4 Pulsar 16:49
1-5 Divertimento 14:02

CD2
2-1 Kökkenmödding 2 10:14
2-2 There is nothing to attain 2 15:52
2-3 Dialog 7:34
2-4 Obsession 2 14:00
2-5 Pots 14:54

*

Kent Tankred (b.1947) is one of the true hidden masters of Swedish electro-acoustic and experimental music. Tankred studied at Elektronmusikstudion in Stockholm in the early 70s and he has released a sparse catalogue of fine works, mainly for his and Leif Elggren’s Firework Edition Records as well as Ash International. In 1995 he put out the extremely strong album ”Ordinary Things” on Fylkingen Records. ”THERE IS NOTHING TO ATTAIN” is his first albums since the 2010 CDr with the same title. - iDEAL.

*

Music is not like people. Nonetheless most music tries to pretend it is human, imitating their movements, feelings, attributes, even opinions.

Kent’s music doesn’t pretend to be anything. One quickly forgets there could be a human behind it, even though it may have arisen from some profound game, a concentration on some discovery, combination,  principle.

The music is naked, or rather unclothed, inhuman, at the first encounter reminding you of everything you would prefer to avoid: leaf-blowers, neighbours drilling the wall, machinery grinding, a screwdriver stripping the thread with a careless move, electric warning signals, all on top of each other.  

A recent radio programme was discussing whether the phrase “human error” should be replaced by the less recriminatory “human contribution”. Meanwhile a submarine has sunk into an ocean chasm and the 53 aboard who might still be alive will run out of oxygen before they can be reached. A struggle between man and machine.

But here there is no struggle, the machine is likened to any other natural phenomenon. It just is, does what it does, or doesn’t, in its own time which is neither fast nor slow since it doesn’t have to be compared with anything, has no purpose, no significance, is neither good nor evil. A god like Einstein’s, indistinguishable from nature in its entirety. A galaxy does not rotate in order to be beautiful or strong. A fan does not make something flap about randomly in order to trace a certain pattern.

In the starkly dystopic early science-fiction film On the Beach (1959) a Morse signal is detected from a region where all life should have been eradicated by the atomic winter. An expedition is sent to resolve the mystery. In a completely lifeless industrial zone they find that someone, before the radiation wiped them out, had hung a coke bottle on a string from a roller blind balanced so that the random flapping of the blind caused the bottle to press the telegraph key, producing a haphazard stream of code which inevitably from time to time formed meaningful words and phrases.

I am hard put to explain what it is than can suddenly make the music so entertaining, so jocular in the midst of this objective, mundane mangling. Yet one does get reminded at some point that someone is behind all this, has discovered or molded, has chosen this; perhaps not a joke but pure serendipity.

Just as things originate so must they vanish, by one decision or another – a handbrake, a puncture, a flying catch. The process “concludes”, or purports to, as when someone suddenly wakes you from a dream which you forget immediately but retain the echo of a feeling. Or you are surprised by your parents opening the door when you’re in the middle of a game where you can’t remember whether what you’re doing is supposed to be secret or not.

And so the cauldron or the ventilation pipes spill out a bus garage, a swarm of drones, or those flying bicycles Leonardo had a mind to make.

- Johannes Bergmark.

Kent Tankred - PSR - 260 (from iDEAL209 2xCD)

READ > https://inverted-audio.com/premiere-the-zone-metropole

The Zone's follow up foray on @altered-states-tapes forgoes the steady thud of the Basic Channel school, choosing instead to dwell in the crackling void that remains.

Prion

The Zone - Metropole [Altered States Tapes]

No Answer

Image by huggingface.co/spaces/stabilityai/stable-diffusion
Prompt was the track title.

We Michigan But Should We

Step Away From The Kerb (S-Version)

Diamonds 2 is the seventh album made by Diamorpha.

This album is highly-production based. This album is somewhat experimental. It is the second and final installment in the two-album project "Diamonds" released by Diamorpha.

More about this album:

docs.google.com/document/d/1RMkj5…/edit?usp=sharing

Please do not distribute these tracks without my own permission. These are independently produced entirely by me and all copyright belongs to Henry Guy.


Pool

Acid: Sunday October 2nd, 2016. Beats: Saturday 16th March, 2019. Mix: Sunday 26th May 2019.

Latebook Dixie 108

Well, it's a start

hello, my name is cylob, and i make electronic music

Freak Shift Demo

cylob

Recent comments

tom brews

Anoirtek

DjFireExtinguisher

「C C L X X V // EKUEKU」

Related tracks