Name: Eliane Radigue, “Kyema, Intermediate States” (1992) by Dharma/Arte in Tilliander meets Lee Scratch Perry #2
Duration: 1 h 1 min 23 s
Description: Fonte/source: UbuWeb (http://www.ubu.com/sound/radigue.html)

Tilliander meets Lee Scratch Perry #2

"This mix was recorded in 2020 on the casual seasonal works on XAWWI beloved place of local musicians and music-loving community of Kyiv."

ARCHIVE: XAWWI SEASONAL WORKS MIX 2020 by kosh˙ ͜ʟ˙

LJUDVERKET 31.01

Linus Hillborg, a Swedish composer and musician based in Stockholm operating in numerous fields, ranging from electronic musics and interactive installations to post-punk and noise groups. In 2021 he released his solo-debut Magelungsverket, derived from the installation Orphan Works (2019) which he built with an obsolete video game engine. He has previously put out music under the moniker Atonet, co-runs the imprint Moloton and is set to release new organ and violin music through XKatedral in 2022.
“This mix is a healthy slab of early electronics, soundscape music, punk, video game soundtracks and new stuff from me and friends.”

Linus Hillborg [Reste à la fin, les cendres  Curated by Mari] [31.01.2022]

Ivan Pavlov aka COH pubblica su Noton il suo disco WYGG, un album che gioca su tessuti ritmici e l'interazione tra elettronica e rumore. La traccia "Gear Chill Spell" traccia un equilibrio tra melodie ricercate e suoni minimali.
Artwork by Carsten Nicolai
Buy Link https://noton.info/product/n_002/

WYGG [While Your Guitar Gently]

CoH-Gear Chill Spell-Noton [PREMIERE]

@MishaSultan

Aired on the Patience/Impatience show on September 6, 2022, preceding the release of Translucence on Patience on September 9, 2022.

Q+A

Please introduce yourself.
- My name is Misha. I’m musician and sound engineer. Originally I’m from Siberia, but for the last five years I lived in Saint Petersburg. Now I’m in a long journey.

Can you describe your relationship to music throughout your life?
- I remember my passion for music since childhood. My brother and I started jamming together when we were 12-13 years old. Since then I haven’t stopped playing or composing music. I played in a few bands and participated in lots of collaborations over the last 20 years. In Novosibirsk and Saint Petersburg we jammed and recorded improv sessions. So all of this influenced my music.

How does where you’re from influence the way you make and listen to music?
- I don’t know how place actually influences music in the age of globalization but the main thing is that in Siberia there weren’t too many musical strong communities. So we were in some kind of vacuum really far from cultural centers. That’s why we tried to experiment with forms and styles all the time instead of trying to fit in to some community.

In light of what has happened in the last 6 months, how do you feel about your home country and where do you see your future?
- Unfortunately the awful war is still going and people are still dying everyday from bombs. I understood that something wrong was happening with my country more than 10 years ago when p*tin decided to reign forever. The last few years were worse and worse and we went into inland exile. But nobody can predict such horror.
My feelings changed in last half a year from anger and horror to sadness and acceptance.
I really don’t know what will happen in the near future but I’m not very optimistic about my home and world in general.

How did you approach your Patience release, and how did that differ from your usual approach to making music?
- It was a challenge for me. Usually I don’t make really long compositions, so I wanted to make it like a trip so that everything changes smoothly.  

Do you have a favorite longform piece of music?
- First piece from Music for Airports comes to mind :)

What was the idea behind this mix, and what would you suggest as the ideal listening environment?
- The idea was to show new music from my close music friends and music from friendly labels that inspires me. Most people listen to music like a background I guess. So the ideal listening environment is when you're walking or jogging I think.

TRACKLIST
1. Tarotplane - Supermarket Tropicals
2. S A D - Netoa Vi
3. Пурпурный Дядя - Mustang
4. O. G. JIGG - Jesus Is My Jam
5. Md. After Hussain & PAQ - You Fed Me Poison And Called It Honey (Modhu Hoi Hoi Bish Khawaila)
6. Mårble - Boss Latinos
7. Herandu - Untitled 
8. Cole Pulice - Sleep Helix
9. Misha Sultan - Untitled 
10. Foresteppe - Pestrota
11. Amkarahoi - Cookoovo
12. Jaaba - Fall of Babylon

Misha Sultan Mix for The Lot Radio - September 6, 2022

Fonte/source: UbuWeb (http://www.ubu.com/sound/radigue.html)

Eliane Radigue, “Kyema, Intermediate States” (1992)

@x-y-r

Fresh mix for our series was recorded by Vladimir Karpov aka X. Y. R.

In early June, the artist presented the album "Memory Tapes" on Fuselab, and last year he was featured on the Not Not Fun label with the LP "Aquarealm".

ethereal mix 062: X. Y. R.

"Contemporary Insomnia" by @kashual-plastik

Tracklist: 

Virginia Astley - From Gardens where we feel secure
Jonnine- Arch Window
William Henry Meung - Hmmm
Laure Boer - Lapin
Rocketship - We took the high road
Primitive Structures - Witching Hour
SPK - In the Dying Moments
Fetus Productions - Desert Lands
Thieving Dreamer - Untitled
The Haters - The Vomit Poem
Jean Gilbert - Weltkrieg
Crude Fact - Corpse on the Catwalk
Corum - Hecate`s Swaying Garden
David Lannan - Morning

Kashual Plastik: 
Archive of various multimedia recordings for future discovery, dedicated to the subcultural underground.

Dreams for Ylla Part 2. K.P.M (Kashual Plastik Mix)

I've had this mixtape for almost a year now. Did not find the right time to share it, buuuut... *** 

It's undoubtedly the most exhilarating and fastest mix I've ever put together. When I listen to it, I can't help but envision a wild rave deep in the heart of the Amazon rainforest.

The energy and vibe are simply electrifying, hope you could feel it tooo!


Art: Akvilė Klimavičiūtė

I'm fine too

Kjell Alinge läser upp Mats Almegårds recension av Andreas Tillianders ”No Schaffel” ("Från Jävla kritiker")

Kjell Alinge - Mats Almegårds recension av Andreas Tillianders ”No Schaffel”

Sarah Davachi (CA) @sarahdavachi
Thursday June 2, 2016 - Musée d'art contemporain de Montréal (MAC)
Mastered by @Pheek

WHO: Vancouver, now Montréal-based musician, composer and musicologist Sarah Davachi
STYLE: Minimal electronic and electroacoustic compositions, synthesized ambient sonics of a bygone era, extended drones and harmonic textures
LATEST WORK: Barons Court (2015), Qualities Of Bodies Permanent (2015), neustadt/altstadt EP (2015), Σ = 4 (2015)
LABELS: Students of Decay @studentsofdecay, Constellation Tatsu @constellationtatsu, Cassauna
MORE: Holds an MFA in electronic music and recording media from Mills College in Oakland, California and works for the National Music Centre in Calgary as an interpreter, researcher and archivist of their collection of acoustic and electronic keyboard instruments

Making her MUTEK debut last festival, Vancouver now Montréal-based composer and synthesist Sarah Davachi, turned in a gorgeous sweep of richly emotional electronic harmonics and textures. This is the live recording of her delicate and elegiac set.

Full bio: http://www.mutek.org/fr/fm/podcasts/muteklive/735-muteklive112-sarah-davachi


MUTEKLIVE112 - Sarah Davachi

Dasha is a resident of Рабица and a part of Moscow musical underground. She recorded a spontaneous mix of heartfelt and lively sounds in the sunny day of the first snow in Moscow. Esoteric, ritual vibrations with passion.

@user-21357096

Krossfingers Podcast 167 - Dasha Mamba

The Red Fern Road

Shell

Sometimes when playing organ preludes and postludes in church, I improvise on rap songs. Sometimes I start with something else (say, for example, motives based on my own interpretations of "redemption" or "jubilation" or "cupcakes") but the journey ends up, somewhere along the way, in the loopy-oriented terrain a rap song or vice versa. 

Most people listening out in the pews more often than not have no idea what sources I quote at the time (depending on who's out there, of course), but the most intriguing part of the exercise is that people of all stripes seem to like the pieces, and have said to be "moved" by them in ways unconventional and far away from a song written for, say, a club. 

There is little material intervallic and harmonic difference between a song played on the organ and a song played through a DAW after all; meaning is ultimately ascribed through timbre and context. This fact testifies to the power of a delicately placed recontextualization and is proof of an "everyday sacred"  contained in even the most deceivingly simplistic 4/4 riffs and 12-bar bass lines.  

A 2013 Gate Production. 
Composed and Performed by Kara-Lis Coverdale in Montreal, Quebec. 

Kara-Lis Coverdale - Puttukas(organ postlude)

Gost Zvuk debutant and Johns' Kingdom member @djkassir conjures hazy dream-states in his embrace of the strange and melancholic.

Read more: https://ifonlyuk.com/concept-in-practice-dj-kassirs-souvenir-for-criticism-2-mix/

Eliane Radigue, “Kyema, Intermediate States” (1992)

Dharma/Arte

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