Dialektik Podcast

A patchwork of archival dubs from both Angel and Peter, assembled to sonically terraform four fantasy environments, each of which was developed in tandem with a track on Angel Rocket's debut EP 'AM003'. This podcast represents a detailed insight into the lore of Angel Rocket's music, with a narrator relating the experiences of a government-endorsed tour party round all four regions.

Day 1: Westernmost Horticultural Dome

Monsoon season in the Westernmost province. Sheets of water lash the panels of smoked glass which form the overhead dome. Knotted baobab buttresses curl round sharp corners all through the district, their expedited growth testament to unforgiving weather.

As the party is ushered through the dome, the panels start to sing with the wind - the tour guide is quietly concerned about the integrity of the glasshouse. This unease has lent their gait a strange and hurried character, and they slap the waxed saucers of parasitic plants aside, beckoning their followers down rambling arteries in the undergrowth. Each cuff sends flocks of canopy-dwelling birds soaring for the rafters, filling the dome with a panoramic warbling. The air is dense with the musk of damp pomelo bark - an strange fume begins to seep.

Day 2: Oyster Perpetual Saltwater Mollusc farm 

The O.P.S.M.F facility straddles the two concave faces of the Northernmost drop off. Terraces of pastel green saltwater tanks cut blinking channels in the silty topsoil. Ostrea Perpetuus, the species of Oyster the facility was built to accommodate, is known throughout all four provinces for its spindly, elongated pearls. Pearl veneers are a pillar of the region’s economy and glisten in the mouths of government officials during televised dispatches.

The guide ushers the party along rubberised gangways in the humid facility, and in the tanks lining the clay vault, divers twist and plummet. The facility’s employees are trained from birth in deepflote antechambers to prevent seagrass gnarcosis. The guide’s snaking trail gives the party an insight into every aspect of the subaqueous harvest, from the cultivation of seagrass tankbeds to the arsenal of mollusc wrenches and deepflote apparatus at each diver’s disposal. A stray pearl catches the glow of the flourescent strips lining the gangway and is deftly whisked up into the sleeve of an opportunistic party member.

Day 3: Tunnelrunners Circuit

We follow the party’s descent down a wheezing escalator to the Eastern Settlement’s subterranean drag strip, the Tunnelrunners’ circuit. This sepulchral, community-built channel pulses beneath the rambling streets above, spanning the seventeenth-through-nineteenth districts. The subway walls are lined with soot-caked emerald tiles, and dim saucers on serpentine scaffolds light the descent. The escalator finally gives way to a standing-pit; already teeming with denizens. The walls and ceilings of the vault are hewn from charred mecha scrap and discarded xandroid spares. Strobing LED eyes survey the jostling denizens from the rafters, and an evaluator stands on a slender parapet delivering a nasal spiel through a sawnoff megaphone. 

Karts squeal round the bend leaving sour plumes in their wake; bending the air in the cavern, and giving the impression that the walls are rippling. The gnoxious aroma of moist creosote permeates the nostrils of the party, who are also handed cones of a mildly opiated purple incense by gangly vendolas. These sales nomads sashay through the crowd, combing for newcomers. The party will pay on the way out. In dark corners, denizens copulate enthusiastically against kart tyres, doubtless stirred by the cacophonous tunnelrunners and handiness of budget intoxicants.

*Day 4 in the comments section.

https://accidentalmeetings.bandcamp.com/album/am003

All music composed by Angel Rocket
Words by Angel Rocket
Narrated by James Braddell
Photography by Geray Mena

Dialektik Podcast #14 - Angel Rocket

German artist Lorica (fka Avbvrn), with previous releases in labels such as DECISIONS, early reflex, Display or Jerome, offers here what he calls a production mix, a recording made up of “children” or “ghosts” of tracks that have been completed and that, in a moment where he is slowly sharing tracks from his archive, might find their way out into the world at some point in the future.

At first glance, what attracts attention is the prospecting in less percussive terrains to delve into other more focused on certain ambient, dark ambient traditions. Indeed, the main idea behind the mix is inspired by how the physicality of sound manifests itself in “a physical space, what it does to environments and how it can draw us out of our present location and into new surroundings”. 

However, the most striking thing is the way these surroundings are built. In this respect, it would be appropriate to recall Gilles Deleuze’s research on the work of painter Francis Bacon. In “The Logic of Sensation”, Deleuze writes about ‘The Round Area, the Ring’, an operative field characterised by a space that surrounds an encrusted Figure, but which nonetheless “do not consign the Figure to immobility but, on the contrary, render sensible a kind of progression, an exploration of the Figure within the place, or upon itself”. 

In the mix, there are two main ways to unfold this concept. Firstly, the Figure can predominate with respect to others, changing due to the influence of the environment, affecting it in turn. Secondly, the figures are juxtaposed in such a way that they shape a weird, broken Figure made up of things that maybe should not be there. The great source of sounds used makes figures from different eras resonate, atavistic echoes degraded by the effect of the passage of time, or history, and in this sense it is hauntological. Listening to the mix, one has the sensation of going through haunted environments through which The Caretaker, Global Communication, burialesque forms, classical figures, Isolationism and nature sounds parade dim.

Photography by Geray Mena

Dialektik Podcast #15 - Lorica

Ahead of his Raretraxxx 3-hour vinyl set held at our next event featuring Lena Willikens, we reupload this Cristian G. Martí’s mix recorded on a now lost cassette. Originally titled “Selftrax?”, one could say it weaves a plethora of records from several genres, from downtempo and ambient house to 80’s electro, funk, avant-funk, dub, trip hop, house, acid house or bleep, but its main characteristic is the exhibition of Martí’s main traits, which make him undoubtedly one of the best DJs we have ever seen, one of those few real DJ's DJ. It is as if he traverses almost the entire musical spectrum looking for records to build narratives in and in-between genres, giving more importance to the music material, always offering a peculiar and fine selection —like gems shining among piles of records— and a truly special, unique way of mixing.

Cover by TIAR9009.

Dialektik Podcast #16 - Cristian G. Martí

Paul Hammock started making music inspired by techno, electro and the IDM of the nineties, with Plaid and the early work of Aphex Twin as his main references. In 2008 he published his first full EP through Alphabet Set, where he stayed, after publishing a full LP, until 2014, the year in which an organically developed journey through record labels like Seagrave, Lunar Disko, AC Records, Computer Controlled, Furthur Electronix, Analogical Force, Touched Electronix, Fundamental Records or Nebulae began. In the titles disseminated by these labels, Cignol has been offering a particular style in which the notorious classical rhythmic patterns –notably those of electro, but with sporadic appearances of others circumscribed to breakbeat or acid house– of equally classic drum machines are marked by a profuse use of the TB-303 and a wide range of melodic designs that, far from falling into the potential monotony of the loop, are subject to accumulation processes and formal reworking.

This podcast, the first in Dialektik's series, is defined by the exposition of what has been developed during most of his career. What can be expected? A live set consisting of a succession of pieces, either released or unreleased, which feature melodies that oscillate between different forms and moods –from melancholy to smugness, from the enigmatic to the urgent–, ubiquitous acid lines of a meticulous and sinuous sensuality, a backdrop of floating pads and mechanical basslines, all within an electro framework while still occasionally offering archetypal acid house pills. The convergence of all these elements forms a sonic identity which is stamped by a nostalgic look at the future, imagined by the musical past that defined Hammock's early days.

Photography by Geray Mena

Dialektik Podcast #01 – Cignol

Before the identity of FFT (Fast Fourier Transform) was revealed in an article written by Matt Blair in August 2018, only one EP, titled "fft1" and released at the end of 2017 as the first reference of the aptly named label Uncertainty Principle, had been enough to arouse the expectation of dignitaries like Grant Wilson-Claridge or Ed Upton, better known as DMX Krew; after mastering the EP in question, the latter even acknowledged that this was the best recent artist he had encountered in a while. Comprising five pieces, "fft1" set up the meticulous materialization of an aural plan whose anamnesis drew a line between the aesthetic resources of glitch –clicks, noises, hums– and a background in the use of some of its characteristic elements, such as the bleep, in a sort of technically complex, strangely accelerated and digitally incorruptible braindance conjunction of Alva Noto, Warp's lilac maxi singles, Unique 3, Aleksi Perälä or Jodey Kendrick.

However, following the unveiling, Briton Josh Thompson, who had previously operated as Alma Construct, has worked on the project’s concept by expanding its limits in a rationally justified manner. Firstly, the "in-side" EP –released in December 2018 on Super Hexagon, the label he co-owns with J. Wiltshire– showed Gerald Donald's influence, exposed some autechrian inclination towards entropic geometry and gloomy, cold emotion, and increased the importance of melody and the tendency to treat the material through precise procedures characteristic of avant-garde sound sculptors. Secondly, the EP released four months later on The Trilogy Tapes, composed of two extensive pieces of almost ten minutes each, continues with the obsession with detail but exploring, on the one hand, rhythmic inflections, textures and colors of the timbric palette of the more complex techy dubstep, and, on the other hand, Uwe Schmidt's artificial pop, in an ambiguous and permanently changing song over its two sections. FFT shows a great ability to converse with different aesthetics of the immediate past but without drowning in the stagnant waters of doxography, clearly differentiating between previous models and a design that proposes the emergence of new terms.

Recorded at the end of May 2019, the podcast unfolds and completes with unreleased tracks the entire aesthetic offered by FFT. At first glance, the most striking thing is its wide dynamic range and rich stereo image. In attentive listening, the internal consistency of the work, determined by dialectical relationships between consecutive pieces, parts and sections, reminds that not only is there here an obsession with the sound aspect, but that there are also analogies with the theories and laws of physics underneath, such as Newton's third law –"for every action, there is an equal and opposite reaction"–. Here lies an observable chain of events constructed at different velocities and scales: molecular movements, expanding nebulae, stellar collisions, red giants disintegrated for all eternity.

We recommend playing back the recording through appropriate speakers or headphones, at full volume and in total darkness.

Photography by Geray Mena

Dialektik Podcast #02 – FFT

Multidisciplinary artist @xxxiiinnn and lil alien girl @aya_yco have sent us this I mean... you fucking idiot!

"FAST MUSIC SLOW SLOW MUSIC FAST
> 135 bpm = 90
< 135 bpm = 180
one take, no edits, first go, embrace the clang"

Photography by Geray Mena: "Haters will say it's CGI"

Dialektik Podcast #03 – AYA b2b xin

"Carne and myself have created a platform over the past few months where we can release tunes we make and invite others to do the same. I thought this podcast was a nice opportunity to further generate a bit of conceptual backstory to the universe we’re imagining. 

The basic idea was taking influence from video game audio, especially games like Play Dead studio’s Limbo, where Martin Stig Andersen created the music and the sound design to work perfectly with one another even manipulating both of these components to inform the game narrative. 

I tried to take the listener on a journey following the character you can hear walking about. The character travels through different 'futuristic' spaces made from subtly tweaked field recordings to extend beyond reality a tiny bit. There’s one point I tried to simulate the character briefly visiting a club somewhere. Hopefully it pairs off well with the musical content too. 

Failed Units/Voices:

Gemma Whitaker 
Thomas Romana
Shanice Geel
Toria Rees 
Shay Maguire 
Ben Ruane
Daniel Ruane"

Daniel Ruane, October 24, 2019

Photography by Geray Mena: "Not CGI I swear"

Dialektik Podcast #04 – Daniel Ruane

Subject of the hauntospatial caught Private Sam Pearce… Or was it the other way around?

"do you believe in ghosts,

firstly, you’re asking a ghost whether he believes in ghosts,
a ghost is a memory of something which has never been present,
long live the ghosts"

tracklist:
himera - airsensor
inner - closa
relle - con medias
skip found teli - 2 lamp luminaire
tesella - nancy’s pantry
id - id
kavari - glass comb (refreshing water mix)
smog - abschluss scan
clouds - another day
xyn cabal - nowei
aquarian - obsidian (randomer remix)
machinedrum - alarma
slugabed - id
xin - myopia
N1L - neural uberization (GYUR version)
nazar - london assault
contagious - contagious (zöe mc pherson remix)
aïsha devi - i'm not always where my body is (varg2™ remix)
himera & jel the digital dream girl - whisper (id + id remix)
viscount - reverse engineering
dane law - all i won't name again (ft. ghost dance)

Photography by Geray Mena: "Not CGI, as usual"

Dialektik Podcast #05 – Klahrk

Gooooose – Along The Synthetic River III + II

After the success of the Top 40 track Along the Synthetic River ll, the artist affiliated with Shanghai's pioneering imprint SVBKVLT Han Han, better known as Gooooose, drops the third part, an hour of improvisation in his studio that continues with previous ideas (structural density, GRIDLESS applications, the "humanization" of computer music, Chinese tradition and organology) in the line of futuristic noise and the denial of breakcore's inherent, frenetic ultra-digitality. Maybe we can call it Chinoise.

Along The Synthetic River II is also added as a tribute to lovely moments.

Photography by Geray Mena

Dialektik Podcast #06 – Gooooose

UK producer of TT (fka Tobago Tracks) and co-founder of Cherche Encore @hmurdoch drops a mix with a bunch of unreleased tracks that could be described, following a marxist-rephlexian formula, as abstract, non-genre(der), cutting-edge, political, tender, kitsch, danceable-non-danceable, ironic, grotesque, fresh, challenging, liminal, digital, post-modern, dynamic, enjoyable, tasty, naive, internet native, decommodified, expansive, global, exotic and many more.

Tracklist:
Yearling - Laced &&& Dragged
daniel ruane & emma lee biotic sophie fuckup (hmurd blend)
Fausto Mercier - Firmest Fine
Ro Stambuk - Catéter
hmurd - Beighton Champ 
hmurd - unreleased 
hmurd - unreleased
Club Winston - Another
The Master Musicians of Dyffryn Moor - The one about Tory MPs posing in food banks
hmurd - unreleased
The Master Musicians of Dyffryn Moor - A hex on those who seek to destroy the NHS
Braz_OS - Thanks, but I'm the Captain
Imaabs & Lechuga Zafiro - Sofoca
Pobvio, Lila Tirando a Violeta, El Plvybxy & Rattlesnakke - Mata Tool
riian_mii (hmurd blend)
hmurd - unreleased
Rouble - Mikey Finger (Live)
hmurd - Low Grade Plastics
Daniel Ruane - IV(CF_BD)
eye measure - ochen
Gooooose - Arp Kicks
The Modern Institute - 200 Edit
Kindohm - It Me
FLOOR BABA - Wigglecore (galen tipton Remix)
hmurd - unreleased

"Proudly mixed in VirtualDJ"

Photography by Geray Mena

Dialektik Podcast #07 – hmurd

It goes without saying that we are really proud to share this podcast of @SHALT, an artist whose work we think has not received the recognition it deserves, perhaps due to the absence of a self-advertisement mentality. Favorite scion of Los Angeles' label and always inspiring blog Astral Plane, he here offers a mix that deepens into the more club-oriented sound design on which he has been increasingly working since the birth of that first exciting larva called "ʃælt" (September 1, 2017). In his own words, "it is kind of like being dragged through the undercurrents of 'Ochre Flood", the three-track EP edited ten days ago that culminates, at least virtually, his recent ambitions. 

Photography by Geray Mena

Dialektik Podcast #08 – SHALT

@eco-futurism-corp is the precursor of what was called Eco Grime, not so much a genre as a dynamic umbrella term that brings together a growing saga of species whose unfailing characteristic is the combination of natural-tropical sounds (captured by field recordings or generated by computer) and digital sounds within forms and structures typical of grime, Jersey/Baltimore club, R&B, footwork, IDM, ambient, drone or musique concrète, among others. In the extramusical field, its syncretic and open character, fruit of the expansive delocalization derived from the global networks of the Internet, has allowed the construction of a concept defined in its starting point, but changing in its edges, by means of the intersection of ideas from diverse sources, disciplines and themes: solarpunk, futurism, architecture, artificial intelligence, CGI, degrowth, post/transhumanism, geo/biopolitics, biodiversity, (bio)economy, postdadafuturism, the Venus Project by J. Fresco and Roxanne Meadows, Blade Runner or a merged identification of Predator and Alien as symbols, respectively, of "king of the jungle" and technological future represented by the spacecraft —luckily, there seems to be no trace of Unabomber-type activism. 

Although ethereal and diffuse in its political goals, if any —perhaps this is where its charm comes from—, Eco Futurism Corporation utopianly imagines a future that displays a combined reconciliation of the ideas of the Nature/Culture myth without shredding it. When, together with other labels with similar ambitions —other "Eco Teams" from the "Eco World"—, it has produced stories typical of cyberpunk, dystopia and post-apocalypse, it has done so in order to substantiate and superimpose an optimistic scenario. Precisely, in these dark times, full of uncertainty, we find an example: the counterpart of the COVID-19 disaster is a massive reduction of gas emissions; we are talking about the environmental catastrophe, one of the two springs or fractures pointed out by Mark Fisher in "Capitalist Realism: Is There No Alternative?" as a revelation of Reality repressed by the hyper-realistic structural fantasy imposed by neoliberalism.

After a 1.5-year hiatus and nearing its fifth anniversary, Eco Futurism Corporation returned last month with an album by HERBARIUM, and two days ago launched the compilation "ВЕЧНАЯ ВЕСНААААА (ETERNAL SPRING)". In this context, Andrea IV, Eco Futurism Corporation and Bio Future Laboratory's CEO, delivers a mix whose selection includes an 80% of unreleased stuff from the label and sub-label, and which can serve as a preview of near futures.

Tracklist: 
ecology141 - intro
BLADEBLANC - Swamp Fuss [EFC unreleased]
MARTYYNA - Raindrop counting
T5UMUT5UMU - Tropical Biodiversity [EFC unreleased]
i61 - WYS 2019 (HERBARIUM REMIX)
Ecdysis - Clonae [BFL unreleased]
c / a - S O F T W A R E ~ S E R E N A DE (cut) [BFL unreleased]
Francesco - Adaptability [EFC unreleased]
silént phil - dxp'fo98676 [EFC unreleased]
Francesco - Ressources (cut) [EFC unreleased]
Huffy Fibryyx - son moi [BFL unreleased]
silént phil - XCOM [BFL unreleased]
Comechelet - Quake [BFL unreleased]
Vcu1A - Donnie Darko [BFL unreleased]
ava* - who do you love more [BFL unreleased] x рай не сегодня - космос нас ждёт
metra.vestlud - Filter [EFC unreleased]

Photography by Geray Mena

Dialektik Podcast #09 – Eco Futurism Corporation

JEROME is a Pennsylvania-based experimental label and platform founded in 2016 by Matt Lutz as away to push music with ideas that weren't based in genre or popularity, looking to shake its boundaries through audio and visual projects. Started out as a simple mixfile series, focusing its efforts on lesser known talents and allowing them to be heard, it developed into a label and has done releases with such artists as Worli, Morten HD, BLEID, Lensk, Avbvrn and more. JEROME is also a Rinse France radio show.

Photography by Geray Mena

Dialektik Podcast #10 – JEROME

John Object's music has been described as “pop musique concrète”. Within, the strange juxtapositions and the cacophonous and mutant digital textures erect grotesque structures, as if the natural and artificial materials of the collage connoted “the noise and jumbled signals, the unimaginable informational garbage, of the new media society” (F. Jameson). But amidst the dyspeptic case of nausea, vomiting and panting produced by the massive bombardment of data, mysterious, kitsch or naïve melodic passages and hooks erupt, clearly revealing a fascination towards pop. The tense fracture of the two spheres of John Object's music has to do with the sense of musicality insofar as it, as Peter Sloterdijk points out in relation to the field of acoustic anthropology, “assumes that the adult ear can occasionally take a holiday from the trivial work of hearing and be lured away from everyday noise [...] [where predominates] the inescapable chatter of our fellow human beings which the media amplify maximum”. The fragments of the nursing’s cry report the impact of the transformation brought about by the quantum leap to the confrontation from immersion in the fetal world, the memory of a developmental phase where the subject was “into a mode of conflict-free encirclement”. Perhaps it could be said that we are talking about an artist inserted in a kind of updated pulp modernism (see G. Meier, “Reassembling the Pulp Doppelgänger”).

The present mix illuminates aspects of Object's conceptual universe through two main dissociable but inseparable themes. The first is that of internet effects, which, together with mobile telecommunications technology, has “altered the texture of everyday experience beyond all recognition” (M. Fisher). Apart from the phenomena of archivism and the obsession with accumulation in the total flow –explained by means of collage techniques and whose limit is that of sound materials torn from their context to become floating signifiers–, the most striking is that of streaming, its technical repercussions made evident by fluctuations in sound quality in the simulation of the concert. When it seems to work as a substitute for rave/club culture, streaming is the most ruthless element of the Fisher dictum and has decisive operational ontological consequences; bilocation then multiplies to a paroxysm in the form of a simulacrum that conceals “the fact that the real is no longer real” (J. Baudrillard), whose ghost is the myth of an era now retromaniacally taken up again in the form of “Grim and boring beats, endlessly pounding to an audience who felt they were part of an experience but who lacked cohesion and energy” (L. Kirby). Could not only time but also space be out of joint?

The second theme deals with loss and moves based on reference points, pieces held for relatively long periods around which synchronizations, overlaps, duplications and prefigurations occur. After the introduction, the section ranging from “The Game Is Over” to “Cosmia” is dominated by the psychological nostalgia of the 90s and 00s. Then begins a “retraction inward” process that, after “This Country” and “Home”, is confirmed with the beyond-the-grave vocal tessitura of “Sweet Thing”. From this point onwards, a heartbreaking, negative synthesis of the dialectic between community and atomization, artistic advancement and cultural sclerosis is produced. It is as if after the concert, during the subway ride home, the subject, off-centered by the overwhelming bureaucratization, traced on his iPod the cultural artifacts of a trajectory now lost. Memory gives way to hauntological history. The biographical element contains hints of utopia and has political reach: the ubiquitous commodification of culture after the deactivation of soft power, the fragmentation of public space, the vague but caustic political and economic references as parodies of themselves in the face of catastrophe

All tracks have been remixed/edited in some way.

Photography by Geray Mena

Dialektik Podcast #11 – John Object

Electronic technology permeates almost every contemporary music production. Its present ubiquity blurs the superficially consensual distinction between those musics that are usually described as “electronic” and those that are usually left out of the supposed category. By taking his recently inaugurated netlabel ETAT as an appropriate platform for aesthetic reinvention, Stefan Juster –better known as @JungAnTagen– invites us to reflect on the original conception of the diffuse but persistent (perhaps obsolete) term: “electronic” as an annulment of the previous instrumental tradition and as a simultaneous reversion towards the foundation of the sinusoidal oscillation in the path of aesthetic openness; “electronic” as the fragmentation of a theoretical or imagined or mythical musical syntax, replaced, as far as ETAT is concerned –“dissociative, psychoacoustic, computer music”–, by the pareidolic illusion, the moiré effect and other perceptual events-games; in short, “electronic”, beyond the intervention in music of electronic media geared towards sound synthesis and manipulation, as the ultimate split, estrangement, dehumanization, machinic strangeness, though still, of course, the direct result of human ingenuity and intentionality.

The proposals of those who make up the tracklist of the present catalogue –Eric Frye, RM Francis, Marcin Pietruszewski and Juster himself as Jung An Tagen– are not, however, limited to mere terminological revisionism. The gaze turned towards seminal “electronics” –a revolutionary maximization of control over compositional material in line with serial praxis– is complemented here, instead, with randomness, noisy chaos and inquiries into the discipline of machine learning, trial and error redirected towards those domains that may exceed the limits of human cognitive abilities. Ultimately, surrendering compositional control in favor of a new machine autonomy –synthetic intelligence that designs, executes, reviews and refines responses according to incoming stimuli– finds here its musical manifestation as a dialogue between obsessive repetition and sequential motivic mutations; furthermore, it recovers the perhaps lost notion of “experimentation” in strict Cageian sense, not as an “alternative” or deviation from aesthetic orthodoxy, but as the design and implementation of compositional systems that offer (relatively) unpredictable results.

Through Juster, who is backed up by more than a decade of discographic activity under multiple and diverse pseudonyms, ETAT may land on what Herbert Eimert identified as the excision, via electronic synthesis, of the “psychographic domain” in music. Setting aside any hint of expressionist gestures, one is left with form and “abstract” sound, auditory disorientation, emotional alienation: “dissociative, psychoacoustic, computer music”, or experiments in Elektronische Musik hailing from the Vienna of the 21st century.

Tracklist:
Eric Frye - 19 trad (folding slip) (Blind Denoising by Self-Supervision)
Eric Frye - Glass Hall Extended (Automatic Junk Heuristic)
Eric Frye - Automatic Junk Heuristic (Automatic Junk Heuristic)
Eric Frye - 17percentbatteryjazzsolo ($ pwgen 20 - Pulsar.scramble)
Eric Frye - Smoke Bath (Automatic Junk Heuristic)
RM Francis - Eff Eff Eff Eff Eff Eff Eff Eff Eff Eff Eff Eff Eff (Nth White Dot)
RM Francis - 24oth minutes of...-ICE (CODE889)
RM Francis - “whe”.- - - 0.03778-89 (CODE889)
Jung An Tagen - Thimblerigger (Emergent Properties)
Jung An Tagen - Emergent Properties (Emergent Properties)
Marcin Pietruszewski - pulsarAutomata
Marcin Pietruszewski - sieveSequence(000110100110) ($ pwgen 20 - Pulsar.scramble)

Photography by Geray Mena
Set design by Lúa Oliver

Dialektik Podcast #12 – Jung An Tagen

It is a great honor to release this podcast by Alexey Devyanin, a workaholic artist whose production spans almost two decades of different pseudonyms disseminated by a plethora of labels such as Dream Catalogue, Infinite Machine, Leisure System or Opal Tapes, among many others. He here explores the wide-ranging sounds that can be heard through his probably most well-known alias, Pixelord, by means of a hybrid DJ set: a sequence of sonic missiles derived from several hardcore continuum nodes, braindance, bass music, techno, post-dubstep, trap or pop nostalgia. Designed in the post-internet era through the pioneering Russian imprint-community that Devyanin co-manages, Hyperboloid Records, Pixelord refers to an entity that addresses the utopian and dystopian, redemptive and apocalyptic essence of the cyborg, the similarities and conflicts between its protean and dionysian nature and the norm and balance of Henri Lefebvre's cybernanthrope, and the gap between the present futuristic impulse and its reflection in the literature of past genre.

Photography by Geray Mena
Set design by Lúa Oliver

Dialektik Podcast #13 – Pixelord

Non-profit cultural association focused on the programming of club nights and live performances. 

It is the true message in the bottle.

Upcoming:
—24.05.2024: Estratos del tiempo w/ Felisha Ledesma live
—21.06.2024: Estratos del tiempo w/ Nikolaienko live
—13.07.2024: Dialektik No. 15

Past:
—18.04.2024: Estratos del tiempo w/ NikNak 'Ireti' live
—05.04.2024: CCL
—23.02.2024: Lena Willikens, Cristian G. Martí
—20.10.2023: Objekt
—23.06.2023: Lee Gamble
—21.04.2023: Jon K 
—17.02.2023: John T. Gast, Piezo
—16.12.2022: YOUTH w/ Significant Other, FUMU live, DJ Lyster
—28.10.2022: Jerome Hill
—21.10.2022: Emma dj, Toma Kami
—01.04.2022: Objekt
—19.11.2021: object blue
—17.01.2020: Dis Fig, RUI HO live
—22.11.2019: FFT live, J. Wiltshire
—14.09.2019: Air Max '97, AYA (fka LOFT)
—23.03.2019: Furthur Electronix w/ Junq live, Cignol live, Anil

Dialektik

Pinned to spotlight

Popular tracks