If you liked it, a like or follow would mean a lot. Oh, and a repost would be amazing too.

Static Ore

Orelyn

Poisson D’Avril - Yukihiro Takahashi
Good Time - Yukihiro Takahashi
Underwater Boy - Virna Lindt
John I Love You (Sinead O’Connor Cover, Demonstration iPhone recording) - Morgan Ritter
Garden of Love (Reprise) - Peter Dasent
When I’m With You - Sparks
Jewel (12” Mix) - Cranes
Wild Horses - Prefab Sprout
Whiff - Ted Greenwald
You Make Me Cray - Quay Dash
Fall in Love (Your Funeral) - Erykah Badu
I’m So Into You - SWV
Never Had a Love Like This Before - Barbara Mitchell
Let Love Flow On - Sonya Spence

Whatever You Do, Do It Gently

My hour from a fun show with Stroom/Kontakt good guy @deroovictor

Just ask for ID's :))

Live @ The Word Radio [Brussels 15/02/19]

Gaia Tones #001 
YIN: LYCHEES 
YANG: WONKADONK
©2019 
Recorded and mixed by Gaia Tones.
https://gaiatones.bandcamp.com/album/001

#001 - Lychees / Wonkadonk (clips)

This week's Rubber Tijd is served to you fresh with a side weirdness by Derozan. Based in Nieuwegijn (the Netherlands), Derozan is interested in exploring global dance music. In his own words:

"This two hour mix will guide you thru the rough edges of global dance music. Why two hours? Because then there is space to listen to the smaller details like a transition going left and right that is maybe intended or just a human mistake? Tiny soundFX with beeps and bops and tempo switching for the adventurous type. Rhythmic noise patterns combined with traditional percussion instrumentals for a better understanding of the term global dance music. And then we have the vocal part where society is being addressed for the current state we as people are going thru right now..."

Enjoy and stay flexible! 
XR

RUBBER TIJD with Derozan

Taken from "Autobahn Zwei" Triple cassette out on 05/05/2020

A two hour Post-Apocalyptic Driving Music homage to Kraftwerk by genius synthesist Novo Line, in ode to Düsseldorf’s finest but also late ‘80s pulpy sci-fi soundtracks and cinematic rave scenes, massive recommendation if you're into Leyland Kirby, Laurie Spiegel, James Ferraro, 0PN, NYZ, Skanfrom, Depeche Mode...

Cult visionary synthesist Nat Fowler aka Novo Line enacts 2 hours of Post-Apocalyptic driving music in an extraordinary homage to Kraftwerk, late ‘80s/‘90s sci-fi, and cinematic rave. Spread over 3 tapes and accompanied by excerpts of an imagined graphic novel, it’s a real gesamtkunstwerk of pulpy, savant genius that highlights Novo Line among synth music’s most singular voices.

Outlining an absurdist story set 25 years in a future where oxygen is a commodity like oil, ‘Autobahn Zwei’ is a total and heavily functioning artwork ideal for the last few years of humanity’s guiltless consumption on the road. Over 12 tracks written between 2017-2019 and each averaging 10 minutes in length, Novo Line experiments with new midi-methologies to combine the sort of slow, electrifying EBM/new beat rhythms of his ‘Movements’ and ‘Dyads’ LPs with the cinematic scope of ‘To Qatsi And Die In LA’ (2019) in a riveting electronic saga that surely marks up as his magnum opus.

Across ‘Autobahn Zwei’ the sleek, futurist promise of Kraftwerk’s seminal 1974 ode to the road is craftily, anachronistically adapted to purpose with a riveting sense of narrative and a rolling, physical traction that Novo Line steers from the club into his own lane. Fine tuned with influence ranging from Maxploitation flicks to the fantasy art of Jean Giraud’s Moebius, the 1989 B-movie ‘How to Get Ahead In Advertising’ and that “rave” scene in Matrix, as well as his circle of pals in Berlin, Novo Line harnesses his era-consistent Atari computers and FM synths to motor forward with a thrilling, inexorable velcoity and masterfully expressive grasp of his machines’ tone.

Synching vintage circuitry into combustibly dirty, whirring, cranky designs that sound like Tesla’s haven’t caught-on in 2045, the album’s pulpy saga about a ruling corporatocracy BrazilCorp and its monopoly on artificial rainforest-produced oxygen is played out along a schism of real, imagined and synthesised worlds. From panoramic intro replete with viscerally smeared lense flare distortion, to the samples of the iconic *rump/H*llary debate from 2016 riddled into ’Never Going Back’ - where Trump’s tweets are voiced by synthetic birdcalls - and thru the adrenalised arps of ‘Rave Scene’ and the lip-bitingly dissonant tunings of ‘Sewers’, Novo Line surely induces the most inexplicable and oddest psycho-physiological reactions associated with probing new works of sci-fi genius. 

With ‘Autobahn Zwei’ Novo Line draws a profound sense of originality from well-worn tropes with a style and effect that should be massively prized by any and all fans of proper electronic music. It’s a genuinely prism-pushing and seriously rewarding album for the journey.

Buy!

Novo Line - The EuroTunnel Escape [E055]

/ recorded by omni causa between apr20/_/november20

bandcamp

omni causa - aux4425 - 12'' snippets

featured artists: https://radio.syg.ma/episodes/unline-frequencies-earshot-ix
https://unline.bandcamp.com
https://soundcloud.com/dmitriborn

Unline

Unline Frequencies – Earshot IX

on the feet of a wind is a wild assemblage of carbonated synthetic music from Powell and a sister record to ‘flash across the intervals’ and ‘multiply the sides’ — two albums already released in 2020. The record is released via a folder, a new music and film platform created by Powell, Michael Amstad and Marte Eknæs that bundles up music, film, image, text and other forms of madness into folders that are shared/expanded online.

➜ afolder.studio

The release is accompanied by a ‘Hi-sensitive’ film directed by Amstad and Eknæs entitled ‘flares, currents’. The film contains a recombined live version of ‘rise, world unfold’, the musical series that concludes this album. 

➜ watch film


a folder is a collection of disorienting works of experimental film, ambiguous texts, and other assorted media set to the most brazenly strange and formlessly mesmerising musical structures of Powell’s career. It’s also a work of artistic assemblage — without fixed notions of time. Tarkovsky once described his filmmaking as “sculpting in time,” and a folder exists in a similar kind of “zone;” it is a project continuously added to, subtracted from, abstracted, and injected into the glut of cyberspace like a slow moving pathogen that refuses to be defined or categorised. Shunning titles in favour of oblique category markers, films like aƒ34 present a mosaic of images of biological forms and sublime landscapes set to super-synthetic, carbonated compositions. All of this signals an artist liberated from the confines of the narrow branding signifiers an electronic musician can find themselves in. While it is aware of its place in cyberspace, this project also connects to something primordial and awesome. “Xenakis talked about creating universes with sound,” says Powell, “and we are all free to create our own worlds in life, art — whatever. This is what happened to me in a way: I have been in this world for three years or something, and I don’t really want to leave. The folder is a refuge.’

powell ™️ acid always equal to the base → aƒ20

MEGA METAL w/ Ikpathua (Cong Burn/MM) - September 2020

Live recording @ the Future Intel headquarters in The Hague. Streaming live on Youtube, Facebook and futureintelradio.com every Thursday and Friday — from 20:00 till 23:00.

powell ™️ acid always equal to the base → aƒ20

DIAGONAL