Made by us for you — here's what we're listening to this month.

L'OEUVRE STORE PLAYLIST EPISODE 09 — 04.01.20

L'OEUVRE STORE PLAYLIST: EPISODE 9 - ONE YEAR ANNIVERSARY - 04.01.20

Polina Khatsenka aka mʊdʌki is a Czechia-based sound artist, dj, event organiser and music producer from Minsk, Belarus. She has devoted her work to sound exploration since 2015. Her music production is arising from subconsciousness with an accent to authentic sound sources, author‘s recordings with usage of basic/primitive hardware, including DIY synths, all based on digital setup. Each type of performances of hers are amplified by improvisational methods with space for randomness left in order to make each show bear peculiar energy and provide the listener an intensive feeling of living the moment.

mix @mudaki
artwork @ancestralvision

𝕥𝕣𝕒𝕔𝕜𝕝𝕚𝕤𝕥

Justyna Stasiowska - plate 1 vicissitudes of silhouetting
Simon Whetham - Pitchback side one
David Toop & Avsluta - The Gleam of Candied Ginger
Daphne X - Transactions in Time
Dataphase - 7 FBFX+lights 1
Jan Burian - Prázdný zvon
Misty Picture - Startup
YOY - XEFA
Sturmherta - lootK2_11.4
Lotus Wash -  Standard Model
ℌEXOℜℭℑSMOS -  𝖒𝖆𝖍𝖙𝖑𝖆𝖈𝖙𝖑𝖎-𝖔𝖓-𝖈𝖊

follow Phonon

UNIZONE: MƱDΛKI [s04e07]

To Mirka 

Nuclear decay occurs when the nucleus of an atom is unstable and spontaneously emits energy in the form of radiation. The result is that the nucleus changes into the nucleus of one or more other elements. These daughter nuclei have a lower mass and are more stable (lower in energy) than the parent nucleus. 

“Ábris Gryllus is a cross-disciplinary media artist and musician based in Budapest. He is well-known for several projects, collaborations and performative works with choreographers, sculptors, dancers and other musicians. As a tireless artist always open to new possibilities, Gryllus has worked on dance pieces, educational workshops and installations; he is one-half of the beat-oriented group FOR., and not least of all, he produces immersive electronic music under his own name. His solo materials include the frantic vocal-based ‘Canon’ (The Death of Rave) and two releases on Farbwechsel (‘Post_’, ‘A.D.’) that feature a rather focused, slowly forming approach to composition. 

‘Nucleus of the Decay’ shares the fundamental, carefully sculpting method that is prominent on the aforementioned Farbwechsel releases. This two-track EP is a conceptual piece that reflects on life-changing events, biological or chemical processes and the overall bipolarity that is encoded into the course of a lifetime. Both pieces of the album embody the duality of a living, organic texture and its transience: at times, it can be graceful and splendid, at other times it can be distressing and overwhelming. 

‘Parent I (with Thea Soti)’ is a gradually building opening track, starting with only a handful of audio channels of scratches, hisses and a high-pitched tone. In a smooth and subtle manner, the vocals of Soti then fade into the dense fabric of sounds that unfold, engaging in a plethora of expressions, supported by a bass progression resembling a chorale-like structure. ‘Parent II’ is centered around an instrumental piece, a string-like leitmotif surrounded by whispers and echoes that are bright and piercing, as well as light and cumbersome at the same time. 

‘Nucleus of the Decay’ offers a sonic world that admits the struggle and joy of reflecting on one’s presence, and sees the captivating yet eerie nature of the inevitable future. Working with both purely synthesized sounds and real-life voices, Gryllus’ first solo EP at EXILES invites us to a place that is warm and harsh all at once, dragging us into a swirling torrent of ethereal whitewater.” 

—Nemerov 

“(...) Ábris Gryllus, known for his performative works with choreographers, sculptors, and dancers, creates music of decay and resignation. Nucleus of the Decay is shorter than its 2020 predecessor AD, but similar in structure, with microsounds appearing against a backdrop of hauntological passages. The album is reminiscent of the work of Philip Jeck or The Caretaker, where he builds an ambient, spatial story among noises and loops reminiscent of post-classical synth layers. It is melancholic, sad, and alluring but also lyrical and seductive.” 

—Jakub Knera (The Quietus)

music by Ábris Gryllus* @abrisgryllus
digital mastering by Roland Nagy
vinyl mastering by Stefan Betke (pole) 
artwork by Renáta Szabó

scapemastering.com 
www.instagram.com/rnszab

*featuring
Thea Soti – Vocals (Parent I)

Buy Digital / Vinyl

Ábris Gryllus – Parent I (with Thea Soti)

Taken from SBKT055: TRANCE BAND - Entrancing
Release date: 3rd March 2023

'My Fortress'
Electric guitar - Felix-Florian Tödtloff
Drums – Will Ballantyne
Bass – KIM KHAN
Vocals – Dis Fig


In a global landscape that increasingly prioritizes individuality over collaborative expression, TRANCE is a distinctive project. Initiated by Chinese multidisciplinary artist Tianzhuo Chen, best known for his work with Asian Dope Boys, TRANCE is as artistically amorphous as its constantly evolving line-up, that fluctuates as it shimmers across borders and time-zones. In 2019, the project was demoed in Beijing as part of a solo exhibition from Chen, a 12-hour durational performance that examined the altered states of living and dying and pondered the sounds, sensations, bodies and spaces that notion might suggest. On hold for three years due to COVID-19 restrictions, TRANCE was eventually premiered in Hamburg at the Kampnagel Theatre last year where it was presented as a surreal three-day ceremony. This time around the Trance Band was made up of Berlin-based noisemaker and vocalist Dis Fig, Indonesia's Gabber Modus Operandi, musician and MC KIM KHAN, guitarist and engineer Felix-Florian Tödtloff, and Vancouver-based percussionist and producer CITY. Chen directed the show, channeling each artist's unique energy into an alliance that highlighted their independent skills while pushing towards ideas that simply couldn't have been realized discretely.

"Entrancing" is a live documentation of that incendiary Hamburg session, powered by the performative fireworks that came from having the project halted for two years before it was allowed to burst into life once more. Just as with previous iterations of TRANCE, the space was terraformed into an alien landscape that allowed the collective to enact a carnivalesque display that was tightly controlled but creatively boundless. Musical u-turns were accompanied by monumental stage overhauls that reshaped a muddy, fog-filled outdoor riverscape into an arena, or a sweaty nightclub. This theatrical impact can't be visualized as clearly on the record, but musical cues do just enough heavy lifting to provide a tantalizing contour. When the alluring electro-acoustic plucks and resonant sustained string tones of 'There's a Ghost in the Lantern' cascade into cinematic drone metal on 'Ylva's Theme', it's impossible not to be drawn into the TRANCE narrative. Sonic stage lights flicker with uncommon intensity as the nebulous group rewrite their collective personal stories into stirring, synergistic poetry.

"Something changes!" KIM KHAN calls out on 'Soft and Black', cutting through warbling synths and itchy beatbox percussion. The track builds quickly, reaching a sizzling crescendo of buzzsaw noise and acidic electronics. It's a stylistic sea change that channels the group's kinetic energy into a rock show, and CITY picks up the message on 'Trance Genesis', adding rapid-fire drums to a barrage of guitar skronk. 'Shaolin Affliction' glues Trance Band's jagged artistic edges to a vintage metal template, gradually dissolving into throaty post-hardcore, while 'My Fortress' brings the show to a powerful conclusion with Dis Fig assuming the role of grunge balladeer, bellowing into the void over cacophonous live instrumentation. Unbound by musical and artistic conventions, TRANCE peers out from the basement, the gallery and the playhouse to forge an expression that's all of this and something new entirely. It's refreshing, witty, exhilarating and most of all, completely unpredictable.

Entrancing

TRANCE BAND - My Fortress

tous les samples proviennent du synthetiseur granulaire fabriqué par CFolle  https://soundcloud.com/cfolle

Crepitementeuse

Forty eight episode of our "States United" show on @n10-as, with guest @tundraaaa

States United 48: tundra

A Decadent Overture: "A Loppy Lesson" Emerges to Evoke the Unspeakable

Prepare to plunge into the abyss of the senses as DECISIONS ushers forth "A Loppy Lesson," an unfettered odyssey born from the twisted genius of Loppy B. A seductive successor to the duo’s initial Lament, this auditory indulgence blooms forth as the sinister full-length offspring of their musings, beckoning connoisseurs of the unconventional to teeter on the precipice of the forbidden and drink deep from the chalice of crooked club gear.

From the arcane crucible of Soft Centre 2022, where Loppy B did take stage to craft a musical tale of sublime enchantment, the wretched seeds of "A Loppy Lesson" were sown. Each track emerges from the obsidian mists of this encounter—a transcendent rite that blurred the lines between reality and debauched fantasy.

“The dank, the foetid, the animistic”—Loppy B's artistic ethos unfurls like a fragile secret. Forsaking the anemic gloss of festival anthems, they bask instead in the squalid muck and primordial thrum deep in the bowels of the dance. Here, sonic sprites are born from overdriven sub frequencies that cavort with tricksterish volition, instigating an aural pandemonium that sluices through the listener's very soul.

But ah, the titular "Loppy Lesson," a revelation bestowed upon the duo during a dancefloor reverie at the cusp of dawn. A truth unveiled—a visceral testament to the paradoxical beauty that emerges from the putrid and the sublime, the repulsive and the resplendent—a revelation that courses through the album's fair eddies and foul gyres.

And what visual feast accompanies this decadent audial offering? The veil between the tangible and the ephemeral shivers, as photographic fragments of digital conception entwine with the elegance of hand-cut lino prints. An ocular riddle forged by Loppy B’s very own hands, a mirror reflecting the album's descent into oneiric depths.

As twilight stretches its sinuous fingers and the stars illuminate the paths of deviants and seekers, "A Loppy Lesson" emerges—a sonic grimoire waiting to be unsealed. Surrender yourself to its forbidden harmonies, and let the arcane currents of Loppy B's creation unravel the boundaries of sonic ecstasy.

Loppy B - Ulittlefreak

https://www.retreatradio.net/sleep-deprived

Very special Sleep Deprived episode with guest MICHAELBRAILEY (https://soundcloud.com/michaelbrailey)
Presenting two movie related pieces, one by MICHAELBRAILEY & one by Comastasis (https://soundcloud.com/comastasis):

Ursine Vulpine - Do You Realize? (COMASTASIS' Michael Bay Transformers The Last Knight Trailer Extended Extended Extended Extended Extended Remix) (19min)
short interlude (~1min)
MICHAELBRAILEY, this is the way the world ends (60min, detailed description below)

-
this is the way the world ends
TRACKLIST:
Richard Kelly - Southland Tales (2006)

DESCRIPTION:
Nuclear explosions in the distance, or is that the sea, or the weather? Or gunfire?

MICHAELBRAILEY presents a shrine to 'Southland Tales', the critically-panned sophomore epic from Donnie Darko-director Richard Kelly. The voices of Hollywood 00s stars Dwayne 'The Rock' Johnson, Justin Timberlake, Sarah Michelle Gellar and Seann William Scott can be heard prophesying on the state of things in a world where porn is on TV, Iraq war veterans have amnesia, guns can bend around corners and quantum teleportation is top news. Leaning heavily on the film's Moby-led soundtrack this unusual mix scans, etches and chips away at the film's runtime to unearth what meaning or emotion lies beneath its strangely salacious surface.

Commissioned by Don't Look Back Records.
-

Sleep Deprived #10 w/ MICHAELBRAILEY & Comastasis (26/09/23)

For their first show, Toverberg are presenting to us tracks of their surroundings and their influences.

Toverberg (04/10/23)

Finding Sounds Episode 18

https://www.wrir.org/show/finding-sounds/

PR Tour diary pt 3: Home of Mozart

deskulling selection:
eolet, gassenengel - Voices 
Key to the Embedded - Contact - Mausoleum Of Sinners 
tsss tapes - Giovanni LamiGiovanni di Domenico, Retrogress (soundcloud excerpts cut)
tsss tapes - Chiara BacciNicola Lancerotti, Settembre (soundcloud excerpts cut)
Phill Niblock - Pan Fried Part 5
MusicRepublic - Georgia polyphonic 
South African - Slow Foot King Brothers - Phantsi Ndaze Betha
MusicRepublic - Turkish whirling dervish music ney flute solo by Hayri Tümer
MISTIICA - I'm Praying For Your Body
cash, viznode - a small walk down the valley
Mesmer - Terrain Vague, arbitrary19 - 01 _ Intro
0comeups - glory
Flora Yin Wong - All My Dreams Are Nightmares
deskulling - true star (demo)
Good Grief - Dangerwank
Salmon Universe - shape time divide
salt_server - DEAN BLUNT CHILDREN BOOTLEG 207bpm
John Object, sv1 - LIVE2 (sv1 Remix)
John Object, S280F - Kiss (S280F Remix)
Treglia - Untitled - 01 Untitled 
Only Now - Fate Ends
pearl lump - pygmy sized door 
Whaler - Zrada
s.nianio, IIkutan - Kites
LEEGEEBEE - 2018 - 01 - 23 18h30m50
Enquinconce - Moral
103110 - th1ng
Blackhaine, Iceboy Violet, Blood Orange - Prayer
aka layer, stella fortuna - shared feelings

18: Prison Religion tour diary 3: Home of Mozart (Salzburg) [deskulling]

[surf042]

@samsuo
linktr.ee/samsuo
www.instagram.com/33ddmimi/

🏄🏾‍♀️🏄🏾‍♀️🏄🏾‍♀️🏄🏾‍♀️🏄🏾‍♀️🏄🏾‍♀️🏄🏾‍♀️🏄🏾‍♀️🏄🏾‍♀️🏄🏾‍♀️
ⒶⒶⒶⒶⒶⒶⒶⒶⒶⒶⒶⒶⒶⒶ

picture by Samsuo
artwork by @usofusofusofusof

Samsuo ~ It's Not Hate, It's Love

Bandcamp

Angel Shaving (2: LASER)

Avbvrn - Truncated

Suddenly

New Jade

feat. Laurel Halo, Kuljit Bhamra, Jonny Lam, Verity Susman, Untold

Beatrice Dillon - Workaround
Format: LP / DL
Cat.No: PAN 106
Release Date: 07 February 2020
Purchase: bit.ly/33ISoYr

‘Workaround’ is the lucidly playful and ambitious solo debut album by rhythmobsessive musician and DJ, Beatrice Dillon for PAN. It combines her love of UK club music’s syncopated suss and Afro- Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity.

Recorded over 2017-2019 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo. Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14 bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play.

‘Workaround’ evolves Dillon’s notions in a coolly unfolding manner that speaks directly to the album’s literary and visual inspirations, ranging from James P. Carse’s book ‘Finite And Infinite Games’ to the abstract drawings of Tomma Abts or Jorinde Voigt as well as painter Bridget Riley’s essays on grids and colour. Operating inside this rooted but mutable theoretical wireframe, Dillon’s ideas come to life as interrelated, efficient patterns in a self-sufficient system.

With a naturally fractal-not-fractional logic, Dillon’s rhythms unfold between unresolved 5/4 tresillo patterns, complex tabla strokes and spark-jumping tics in a fluid, tactile dance of dynamic contrasts between strong/light, sudden/restrained, and bound/free made in reference to the notational instructions of choreographer Rudolf Laban. Working in and around the beat and philosophy, the album’s freehand physics contract and expand between the lissom rolls of Bhamra’s tabla in the first, to a harmonious balance of hard drum angles and swooping FM synth cadence featuring additional synth and vocal from Laurel Halo in ‘Workaround Two’, while the extruded strings of Lucy Railton create a sublime tension at the album’s palatecleansing denouement, triggering a scintillating run of technoid pieces that riff on the kind of swung physics found in Artwork’s seminal ‘Basic G’, or Rian Treanor’s disruptive flux with a singularly tight yet loose motion and infectious joy.

Crucially, the album sees Dillon focus on dub music’s pliable emptiness, rather than the moody dematerialisation of reverb and echo. The substance of her music is rematerialised in supple, concise emotional curves and soberly freed to enact its ideas in balletic plies, rugged parries and sweeping, capoeira-like floor action. Applying deeply canny insight drawn from her years of practice as sound designer, musician and hugely knowledgable/intuitive DJ, ‘Workaround’ can be heard as Dillon’s ingenious solution or key to unlocking to perceptions of stiffness, darkness or grid-locked rigidity in electronic music. And as such it speaks to an ideal of rhythm-based and experimental music ranging from the hypnotic senegalese mbalax of Mark Ernestus’ Ndagga Rhythm Force, through SND and, more currently, the hard drum torque of DJ Plead; to adroitly exert the sensation of weightlessness and freedom in the dance and personal headspace.

The album is mixed by James Rand and mastered by Rashad Becker at Dubplates & Mastering. Artwork by Thomas Ruff, layout by Johannes Schnatmann & Bill Kouligas.

Workaround

Beatrice Dillon - Workaround Two (PAN 106)

Jeepers Creepers

Music to move people. Run by @airmax97 since 2015.

Please don't DM here. Email: info at decisionsrecords dot net

Avbvrn - Truncated

DECISIONS

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