clīno = κλίνω?

@i96y 's recording from TESTFM х @estheticjoys stage on Present Is Perfect — Moscow at @mutabormoscow

October 17, 2021

video vers.: https://youtu.be/U-vjetZ3BHI

TESTFM on Bandcamp

TESTFM х Esthetic Joys @ Present Is Perfect w/ i96y — 17/10/2021

(c) Chris Sharp 2021
(p) Chris Sharp 2021

Genlock

One Thousand Stripes Per Second

Minimal/maximal synthesizer product

Recorded 13 Feb 2021 on Uher 4000

Moth Art

Ghent-based label KRAAK has been bringing an adventurous spirit to the experimental and DIY scene for the past 20 years and counting. Genre-bending music from the outer edges of the fray!


Kraak Records w/ Cachilapa & Dylan Belgrado @ Kiosk Radio 20.09.2023

Listen to "Oooophscxds" by Global Goon taken from "Painting With Acid Volume 3" released on 20th November via Acid Waxa digitally and on limited compact cassette

Bandcamp: https://acidwaxa.bandcamp.com/album/painting-with-acid-vol-3

Global Goon returns with another fine addition to the Painting With Acid series. This 8 track offering is a lengthier and more experimental beast, which combines Goon’s irresistible oddball-acid bops with more smoked-out sonic soundscapes, making for a brilliant and bewitching listen. Painting With Acid Volume 3 is available to pre-order on limited edition cassette & download this Bandcamp Friday (5th October) both as a standalone release and also as part of a tape bundle deal, for those who missed out on his previous two sold out cassette editions.

Global Goon (aka Johnny Hawk) is a former shepherd & programmer from Liverpool. Having moved to London for a multimedia company in the 90s, he began producing music for fun and as a side hustle while rooming with Richard D James/Aphex Twin. Following some encouragement from the man himself, Hawk released his debut album ‘Goon’ on RDJ’s Rephlex imprint in 1996 with rumours that Global Goon was an alias of Aphex Twin’s, persisting even after the release of Cradle of History and Vatican Nitez. He later formed his own label J-Hok Records, before going on to release more hard-hitting acid tracks with dancefloors in his sights under the Syntheme, alias for Planet Mu and WeMe Records. The Painting With Acid series on Acid Waxa continues in the same vein, while also delving into more experimental soundscapes and downtempo ambient numbers, reminiscent of Goon’s earlier tracks for Rephlex.

Links:
Acid Waxa
@acidwaxa
https://acidwaxa.bandcamp.com
www.instagram.com/acidwaxa
Global Goon
www.youtube.com/@johnnyhawk
www.instagram.com/globalgoon

Painting With Acid Volume 3

bandcamp

[Premiere] Global Goon - Oooophscxds (Acid Waxa)

sketch series

1 

Rad trad dad / chopped / Uher 4200 / scissors / tape / Oto Machines BIM

Rad Trad Dad (Tape Loop Cut Ups 8.10.23)

Audible: Dan Hayhurst
Visible: Reuben Sutherland
Mastering: Andreas Lubich [LUPO]

Psyché Tropes / LTR Records 2024

Sculpture’s new album Max Ax is the product of constant recombination of wildcard sonic and visual elements into new forms in performance. Catching a live AV set by the duo is to enter a maximal portal into their visionary aesthetic, as Sutherland's kaleidoscopic visual turntablism and Hayhurst's analogue/digital hybrid of electronic pop and experimental splatter combine in free associations and unstable reactions.

Max Ax is the capture of one possible frame in this ongoing sequence, but it is also Sculpture’s most direct and focused transmission yet.

Sculpture’s music may be compulsively metamorphic but a consistent intent and stylistic confidence connects these eleven compositions. Hayhurst’s signature junk pop gnarl is present, a chewed tape melodic sensibility holding the assembly together while surfing chaos. Tape loop psychedelia, overdriven techno, cassette deck melancholia and disintegrating chamber pop combine with a moire of varispeed electronics and percussion.

The resulting first thought best thought dynamism is sometimes ferocious, sometimes joyous, trashy ecstatic or strange, but always singular.

Sutherland's artwork playfully references recurrent motifs in the duo's work. The opaque corporate/ scientific department with its maze of abandoned zones visualises environment as pattern, threatening containment while inviting exploration. The visual language of product design and commercial exploitation is subverted in absurdist combinations of the organic and synthetic, banal and fantastic, geometric and cartoonish. Cryptic devices for calculation, summoning or nonsense are simultaneously futuristic and medieval. The facility has been compromised in some unknown event and strange code has broken through.

Max Ax marks a first collaboration between LTR Records and Psyché Tropes. Available on deluxe double gatefold 10” zoetrope disc and download. The album is available direct from LTR Records and Psyché Tropes, as well as from select record stores, online and via all streaming services.

Double 10" Zoetrope

Max Ax

https://linktr.ee/SculptureAV

From the album Max Ax, released 02.08.24 by Psyche Tropes and LTR Records. LTROPES610.

Chromophoria

Buy/Stream

Sculpture - Chromophoria [Xylitol Remix]

Marble Maze

21 12 14 xmas throwie 3

Science is beautiful...
however...
"Many issues damage the relationship of science to the media and the use of science and scientific arguments by politicians. As a very broad generalisation, many politicians seek certainties and facts whilst scientists typically offer probabilities and caveats. However, politicians' ability to be heard in the mass media frequently distorts the scientific understanding by the public"
Hydrogen cars for the future!

Scienceness

Tracks on "Avril" are Richard D. James material probably from end 90's and early 2000's. Tracks are close to "Drukqs" and "2 Remixes By AFX".

This is a 23 parts series compiling chronologically the extra material that Richard D. James put online on various pages.
Source: user18081971 soundcloud, user48736353001 soundcloud, Aphex Twin soundcloud, Aphex Twin warp page and more...

Aphex Twin Unreleased #R "Avril"

Tracks on "Tuning" are Richard D. James most recent unreleased material available, probably from mid 2010's to now.

This is the last of a 23 parts series compiling chronologically the extra material that Richard D. James put online on various pages.
Source: user18081971 soundcloud, user48736353001 soundcloud, Aphex Twin soundcloud, Aphex Twin warp page and more...

W - Tuning2

Aphex Twin Unreleased #W "Tuning"

Pandemonium

Musician etc. Noisy half of audiovisual duo Sculpture

I am those of whom are habituating the giving frontways
    anticlinally between those of whom are able to lean 
    the strongly overstretching ladders of their regulatable lives 
    hereditarily towards those fashionable curved clients
    of whom are going to spread the climes 
    
    that their sprouting manners further offtakes 
    from where
    any regionally landing staircase are bothways bond too indebted
    by inclining out what the naturally determinable grassiness universally owns

    its originally growing qualities 

    from rebounding its epiclinally waving worlds
    discursively redefinable towards the characteristically overtwisting clinic facades
    of those capricious and humorously deformed faces 
    of whose receptively disfiguring curlinesses are apparently awaking
    rebelliously 

    havable whereabout the hilly shapes travails
    that heedily devouring dispositions of these attendant consumers 
    of who is only weaving the darkly swallowing gulfs 
    of their bodily looms

    overwillingly devisable in-between those stringily alert watchtowers
    of which green humid columns are drawn climatically forward
    devicefully by the slippery wet slopes of those disciplined abusers 

    of that which lively learns
    to take advantage of what limit is left lately behind
 
    between the sidely detained moles of those who are falling massively overweight
    occasionally debitable from the mountainously edged roofs 
    of these sharp dropsy buildings 
    of those obliquely blooming possessors 
    of which dank earthling steps splits 
    the askew cross-paths 
    of their loftily dripping cords
    anticlimactically retransplantable overdue 
    the twiggy crumbling corpusses 
    of those snaky pinnacles whose steeply acclivous bowls 

    of which intestinally gifted stomachs where disorderedly blown an abdominal outfit 
    of which gustily grinding gutters was swelled gluttonously too overhigh 
    from fattest low

    of which seabeds hangs greedily elevated within the deep raising limps
    of those tally gnashing hillocks
    of which (milky) lard plots of meadow grounds are seen pliantly 
    when it leniently crashes its hungrily levelled off toothinesses displayable together
    to conflatable patch the deviously redeploying pieces
    of its corpulent tripes
    delicately edible upon these sausagey lyrebirds of whose stringily brought cliffs blindly strangles
    the clearest light to the muddiest and gravelliest soils 
    of which small wheaten baseboards are brilliantly blended
    explicitly apportionable within a bright roaring rapture 
   
    of which delightly shining tortoiseshells
    of any of those so-called beasts
    of whose alluringly goaded distinctions may be carried off accountable as chicken feed
    to calmly dim the thirstiest fires 
    of these tasty bakers
    of whose oily black-pudding beam corners burns lightly dry from stimulatingly lifting 
    the fleshy hornpipes
    of their terrestrially gnawing ligatures 
    gradually detractable from the softest undisciplined opaqueness
    of which coolest mires are easily obscured and seized disparagingly from desingularization 
    to desingularization among those tallowy yarnwindles
    of which dishevelledly veined decorations are sparklingly gulping through 
    the uncuttable nakedness
    of which sweaty bare impossibilities must boil
    its frostiest laziness merely up or down
    purely unadulterable but unsteadily through the destitutely overcladded olive trees 
    of those bleared-eyed minglers 
    of which dissimilarly decreeing submarines 

    are unclearly overmixing
    the murkiest and lucidest anomality fiercely beyond 
    the sunnily but shadily revealing denouncements 
    of which glassily veiled smoke signals
    are otherly summoned a mortally informing and efforming mesh again 
    upon that nebulously smouldering burial-places over yon
    where the unflatteringly mounded bowels are fumingly laking
    the feebly leaking wine cuppiness 
    seepingly through those ultraobscure but ultraportable funeral-goers
    of which irregularly overdeclared meddlements 
    are weakly change any foggily weeping midsummers and midwinters
    
    of which promiscuously illuminating but endarking surroundings are successively alternating     
    any periodical roadway yearly further 
    superdeformable from the multitudinously trickling billows 
    of those semitransparent sailers 
    whose vaingloriously shaped looking-glass are distinctly magnifying 
    a grand numerosity
    ritely resourcefully fromwards the very overcrowd slots
    of which semivacant thoroughpasses ceremonially contains the untrustworthy naughtiness 
    of which unhealable nullity are devastatingly renowned
    a deadly famous no
    delusively renamable by those instinctually extolled kickboxers 
    of whose wordily big datasheets are antinomically delating
    the playfully distending vicissitudes
    of these traditionally denumerating curveballs of whom are barterable bending backwards
    to treely rebind
    its trickily gambling entertainments
    evidently oppressible within the experientially observing indications 

    of which damp points are kept solemnly in-service
    by initially exchanging the discerning circuits 
    of each others fare-reaching besideness
    of which vaporous punctualities are slaving 
    wherearound whoever guards the showily pricking ambiance
    of whose circumlocuitously honourable lifetimes are both reciprocally nearing its march-wards
    obituarily discoverable one after one 
    to-come religiously pairable withgo the eternally retranslating heredities
    of whom initially walks their stingily noticeable steamrollers nighabouts 

    what is going to be whethersoever is bonding every beginning or end 
    sempiternally answerable atween what's not all even or empty 
    when either 

    bandages symbolically between-steps the absurdly dissimilar awryness 
    of somewhere when no ones unwholesomeness is necessarily beshared 
    with its several decompounding parts all looking like the same windowfronts
    of which ballistically seceding brows of themselves seeks
    to equally alienate 
    the somewhat open parabolas of whose bodily makings are almightily piercing
    its atomically adulterating surface-to-surface missiles
    allergically overthrowable 

    fromwards those wash-and-wear workers     
    whose blow-organs are hitting it off diabolically together 
    to perplexly rebuild 
    the communal mislikeness
    of their irksomely ballading antennas
    aliasable through one anothers measurable advicelines 
    of whomever accidentally continues to meet missionarily halfways
    synallagmatically through the orgasmically mainstreaming travesties
    of which antediluvially 

    cross-dressing organicities are permeable undulating 
    its clothy neighbourliness
    enduringly establishable throughway 
    these clinimetrically dancing bosks
    of those viny burrowers 
    of which bushily honorable bulkiness are biocombinatorially fistfighting forthward 

    the next beburying levels 
    of which humpy farmyards ones companionable dependabilities are perennially balancing
 
    the particularly traversing resemblances
    of those oaky wayfaring peasants 
    of whose provincially diversified paganism are experimentally re-encountering 
    but reinducible enclosing 

    the seemingly contradicting qualities
    of whom else are appropriating what else are suburbanly describing
    the devil's proof
    of one's farthest co-owned offsides 

    withsay what counterly plates
    the constitution of how-to sort what syndically regenerates another parable symbiostasis
    of which otherly transcribing and readdicting volleyballs are futuristically retiring
    every previously emplanting effortposts
    of its scratchily wedge-writing forestations
    upstandingly seducible against
    the semiautobiographically deserializing stagedoors 
    of those woodlanders who are serially hatching
    the grammatically crossbarring and bolting dissertations 

    of their germ-ridden chainsaws 
    restitutively reprovable but disprovable through
    the debatably interweaving alphabets
    of which throughly dissecting letterboxes these ox headhouses are forensically carving
    intertwiningly with the pervasively inserting and exerting web-pages 
    of their athletically word-wheeling propagations    
    twiningly assertable through 
    the highest and lowest braided sonoporations
    of which rhetorically resounding passageways are the haughtily first and (restily) last ferry swan 
    to voguishly waddle
    its foremostly 

    and tiredly ringfencing shackles
    bone-shakingly protrusible back and forth
    to pace what
    
    primitively hastes and languorously pauses
    what beforely angers and faintly stops 
    what anxiously fronts and 

    ceases reconfigurable after

    the cutting and thrusting (coilability) 
    of whose angsty doughiness are absently rearing and pertinently toing and froing 
    its existentially retrodisplacing ontologies
    expandingly deferrable but essentially deformable
    into the misshapenly distracted and contoured faces
    of those bullish chiefs

    of whose flatulently offshooting sprigs are fluxionally bowling

    the book-bosomed chapters 
    of their capitally snorting balloon heads
    of which artily drawing blendshapes are advantageously bulging 
    the anciently lapping knapsacks
    of its leathery antedependent apoforms
    literally redescribe but rediscountable at the 

    epistolarily redelineating but readily mistranslating forums
    of which coarsely clothed public squares are commonplacely misrepresenting
    its raggy and skinnily semiclad remarketability 
    commissively trafficable within 
    the four-dimensionally cross-trading merchandises
    of those beechy interest-bearing transvestites

Moth Art

Dan Hayhurst

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