Anthracite

Untitled (September Sky)

Lava Love

Banha da Cobra -  Machango (from Lava Love, CREP110, 2025)

About Starlight
Julius Smack engages in a dialogue with a fictional AI assistant to create an album using the prompt, “Make an album that tells the story about the origins of Julius Smack.” Starlight emerges as the imagined response, envisioning a world where beauty and violence intertwine, and memories and dreams are excavated to craft stories.

In a near-future Earth, where artists are among the planet’s last inhabitants, a symbiotic relationship has formed between humans and AI—each relying on the other for nourishment and healing. At the sight of a shooting star, artists mine their memories and dreams with generative AI to produce art, which sustains them but generates toxins that must be expelled upon the next shooting star by creating more art.

To compose Starlight, Julius Smack drew inspiration from all facets of life, with the album’s “dataset” serving as a kind of diary. It weaves together old demos, bookmarked TikTok clips of AI-generated content (such as a deepfake of Biden and Trump singing in Mandarin alongside Kamala Harris’ laughter), 2000s dance music, and ‘90s cyberpunk anime, including Ghost in the Shell and Neon Genesis Evangelion. Everyday experiences also became part of the dataset: learning Yaqui in online classes with fellow diasporic Yaquis, riding the train, walking the dog, and dreaming. These disparate threads coalesce to question AI’s role in creative and labor economies, forming a counterfactual narrative where everything—and nothing—is art.

In 2025, Julius Smack will perform iterations of Starlight across the US, Europe, and Asia. Blending dance, music, theater, and video, the shows center around a painted toilet that acts as an intermediary between ingestion and expulsion.

About Julius Smack
Julius Smack is the musical alias of Peter Hernandez, a Los Angeles-based musician, performer, and director of Practical Records. His work explores intuitive and imaginative landscapes, envisioning new modes of perception and existence. Drawing inspiration from vogue, postmodern dance, Japanese environmental music, and contemporary dance music, he synthesizes these influences into a singular artistic vision rooted in queer and indigenous heritage. With releases on labels such as Leaving Records, Noumenal Loom, Practical Records, and now Constellation Tatsu, Julius Smack’s music resonates across diverse audiences. He has performed at prestigious venues including MOCA Geffen and The Getty Museum in Los Angeles, Stavanger Kunsthall in Norway, and Aunt Charlie’s Lounge in San Francisco.

Credits
Written, produced, and mixed by Julius Smack between Los Angeles and New York, 2024. Additional vocals on “Waiting For The Daylight” and “Green River Water” by Josephine Shetty. AI assistant vocal performance by Anna Luisa Petrisko on “Waiting For The Daylight” and “Starlight”. Mastered by Salz Mastering. Artwork by Danny Espinoza. Layout by Peter Hernandez.

Julius Smack - Green River Water

framea arc - clay council / never there / rules of participation / tarp room

"Offrande insensée de la vie
Nous rappelle à l'éphémère joyau de l'émoi
Rendue je suis
A toi mon destin
Fais-moi danser entre tes mains" (Shantala Pèpe)

Image: Roxane Métayer https://www.roxanemetayer.com/

Playlist:
00:00 Half Asleep - Interlude 1 (invisible as music)
01:10 Nina Skywōkeur & Lloyde - Medusa
05:43 S280F - owls sing for the birth of Lilith (F168)
07:37 Giraffe - Drought
12:28 Shantala Pèpe - Entre tes mains
13:52 Klimperei - De branche en branche
15:53 Roxane Métayer - Première image
17:38 Yasmine Laassal - Rêve 11/04/23
18:54 Monika Bugajny & Gareth Davis - On The Edge Of Shadows I (Edit)
19:55 Christophe Petchanatz - musique pour le demi-sommeil 1.5
24:19 Refurinn Kitsune - Je t'aime à la folie (Madame Patate Cover)
27:10 Giraffe - Pressure
29:31 Roberto Musci - Water Music
31:20 Khôra - Echemythia
35:52 Klimperei - Lola Petit Chagrin
37:30 Khôra - Golden Femur
42:37 Antonin De Bemels - Au temps pour moi
48:53 Mariane Mendels Flandre - Trouble # 9
50:26 Roberto Musci - Back Railway To
54:01 Klimperei - La rencontre
57:36 Half Asleep - Ah! Whence is this- What is this severance-
59:15 Olivier Taskin - Comme ça

Mélancolie douce XXX

1st Nov 2025.  Ian&Kenny

A͇l͇b͇u͇m͇ ͇i͇n͇f͇o͇
QBRNTHSS (pronounced “quebrantahuesos”, meaning “bearded vulture” in Spanish) is the alias that Ramon Casamajó, musician based in Barcelona, uses for his solo works focused on experimental electronics. As QBRNTHSS has released thr split LP “Harry Dean Stanton” (Call It Anything Records 2019), and the album "The Magic Words are Squeamish Ossifrage" (via the Sheffield label Interworld Media), and has performed live internationally. In his new album “Disorder” he follows the experimental stylistic line of wild textures and broken rhythms of his previous works, but introducing a twist to more synthetic, glitch and even rave sounds at times. He also incorporates the trumpet as a sound source in some tracks, a feature he has been using in his live shows for a while.
credits
released July 17, 2025

𝕮𝖗𝖊𝖉𝖎𝖙𝖘
Composed, produced and recorded by Ramon Casamajó (trumpet, effects pedals, tidal cycles, supercollider, ardour).
Mixed and mastered by Pablo Miranda at La Isla.
Artwork and design by Pau Magrané.

Released by Empty6Pack (E6P8.6) and Rotten / Trash (trash25).

contact: rcasamajo@callitanything.org
booking/management: empty6pack.tapes@gmail.com

+ 𝖨𝗇𝖿𝗈
callitanything.org
rottentrash.bandcamp.com
linktr.ee/empty6pack.cassettes

www.instagram.com/rcasamajo/
www.instagram.com/rotten.fresh/
www.instagram.com/empty6pack.cassettes/

Bandcamp

Overwhelmed

if you enjoyed this song then give it a like and follow me!!! It supports me and motivates me to post more of my songs!
listen on spotify:
open.spotify.com/artist/5pUhNfROqnPIMIb1nVqBsU
support me on bandcamp:
https://cyanmusic5.bandcamp.com/

just a bad nightmare - slowed version

Taken from:

Jay Glass Dubs - Plegnic [E039] 
Out on vinyl and digital on Ecstatic Recordings
07/09/2018

Jay Glass Dubs sublimates Athenian distress and ennui into plasmic dub ether on ‘Plegnic’, his lushly evolved 1st collection of new material for Ecstatic, following from their acclaimed, 2LP ‘Dubs’ [2017] set of his earliest, hard-to-find tape releases. 

Deconstructing and rebuilding Jamaican dub with musique concrete production methods and a lingering air of inspiration from new age and Laïko, or Greek popular music, on ‘Plegnic’ Jay Glass Dubs fascinatingly evolves his sound with richer melodic and harmonic arrangements in a concerted effort to bridge and expand the nostalgic, esoteric and dancefloor dimensions of his unique sound world.

The key to the record lies in its title, ‘Plegnic’; an extinct word meaning “to strike like a hammer”, as well as its palpable sense of nostalgia. In this archaic context, JGD uses vintage machines and obsolete samples into junction with vocals from Yorgia Karidi - sound artist and coincidentally former beau of his childhood neighbour, and Andreas Kassapis one of his oldest friends, who provides the cover art - to conjure a strikingly new, mutated take on classic and well-trodden styles; metaphorically and anachronistically renewing their purpose while connoting his newfound dancefloor drive in the process.

Recording took place at his mother’s house in the Athens suburbs, with Fugazi’s ‘Steady Diet of Nothing’ on repeat. It was here that he dug out an old Juno, a Yamaha RX5 drum computer, and some “…crappier equipment” that provides the structural scaffold to his array of nostalgic, melancholic Laïka samples, which could be considered the ghost in the shell or the diffused soul of this superb five part crop.

On the A-side he sets out to spook with the desiccated, teetering steppers motion of ‘Temple Dub’ featuring heavily processed vox by Yorgia Karidi, but the heady nostalgia takes over with a sublime tactility in the vaulted chorales and endless reverb tails of ‘Umbro Dub’, and again in the aching sehnsucht of ‘Mouthless Dub’, where traces of Laïka’s bouzouki melodies most beautifully glimmer thru. 

However, the B-side is far more upfront and up-for-it, firstly putting his weight behind the cranky skank of ‘Dry Dub’ with its hexagonal drums and acidic bass squirm, then in the super squashed swagger of ‘Fearless Dub’, a near 10 minutes long pinnacle of his dancefloor output to date.

Ultimately Jay Glass Dubs’ music is riddled with the kind of nostalgia that can make an unfamiliar piece of music feel like an intense déjà entendu, like you’ve heard it before in a dream or some altered state. That’s a rare and precious thing.

BUY!

JAY GLASS DUBS - TEMPLE DUB [E039]

Vegetal Negatives is a game of sonic mutations, mimicry, inversions, and association inspired by a text called "On pataphotograms", by the French writer René Daumal – a quasi-metaphysical essay that toys with breaking the conceived separateness of natural forms through poetic imagination. 

The four electroacoustic compositions on the album combine and arrange field recordings, electronic feedback, Buchla and ARP synthesizers, bowl gong and harmonium, textures of detailed acoustic sound, and sustained tones with gentle microtonal beating into a precise musical narrative. She juxtaposes recordings of rooms and empty vessels, natural and artificial climates, spontaneous and staged events. Ahti draws upon Annea Lockwood's ideas about associative movements between sounds based on shared characteristics and sonic energy. Her approach to field recordings is neither diaristic, documentaristic, nor purely acousmatic, but rather it starts out from somewhere in between these notions: the sounds hover between abstraction and the deeply familiar, moving into a realm of poetic metaphor where they are set in relation to each other, fleetingly mirroring or shadow-dancing. Acoustic environments mutate into synthetically derived shadow forms. 

The opening track, "Coastal Inversion”, moves from a seemingly familiar seascape into an ocean of wavelike synthetic staccato patterns, turning itself inside-out on the shore, before diving back into a sea of resonance. ”Rooftop gardens” arranges a series of largely unprocessed field recordings into a dream-logic sequence of upward movement towards the clouds. On the other side, ”Symbiogenesis” brews a slow evolution of wet, airy and earthy sounds and resonant friction. The closing track, ”Chora”, imagines a meditative space of breath: filter resonance posing as organ pipes against a backdrop of breezy industrial hoovers merges halfway with a harmonium improvisation that foregrounds the frictions of the wooden instrument itself, just before filtering out into resonant harmony. 

Releases March 29, 2019 via Hallow Ground 

Marja Ahti: composition, production, field recording, Buchla 200 and ARP 2600 
Recorded at EMS, Stockholm, WORM, Rotterdam, and on locations in Greece, Alaska, Finland and Sweden. 
Mastered by Giuseppe Ielasi 
Designed by Ruth Stofer

Vegetal Negatives

Coastal Inversion

Our aim is to deconstruct, distort and re-assemble the lore of (un)popular music. 

Discrepant: inconsistent; conflicting; at variance [from Latin discrepāns, from discrepāre to differ in sound, from dis-1 + crepāre to be noisy]
Visit us at www.discrepant.net  for more music, releases, video and general discrepancies...

Banha da Cobra - Machango (from Lava Love, CREP110, 2025)

Discrepant

Related tracks