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Palto Flats w/ Hank Jackson @ The Lot Radio 04 - 07 - 2021

New York-based multidisciplinary duo @georgiasounds with a kaleidoscopic blend of oddball music new and old.

Read more: ifonlyuk.com/if-only-podcast-87-georgia

If-Only Podcast #87: Georgia

NYC based Jung DJ compiles Podcast No. 138.

"..a closing chapter of sorts for where my head was at when I’d made Loci Flux – having sifted through feelings of nostalgia, self-reflection, and isolation and coming out on the other side.“

@jungdeejay

Baka Gaijin Podcast 138 by Jung DJ

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https://www.nts.live/shows/bergsonist/episodes/bergsonist-9th-october-2021

Bergsonist w/ DJ Healthy  091021

RELEASE DATE:  FRIDAY OCT 22
https://dreamtone.bandcamp.com/album/chaotic-era

On Chaotic Era, Dickow's first release with Dreamtone, the artist zeroes in on a strain of glitched & scorched production that applies subtle decisions of textural disfiguration and effects processing to central synth figures that lurch and churn along their own chopped rhythmic grids. As Dickow builds tracks over foundations that might resemble a corroded sample airing out a melancholy quasi-melody, or backdrops of throbbing bass accented with speckles of static, he patiently tinkers with the timbre and level of intensity of each element in the mix. The result is a branch of ambient music that steps just over the threshold of narcosis into the realm of steady narrative development, complicated with the upheavals of a wall of distortion here, a sudden dollop of abstract electronic putty there - all struck through with microscopic details in tonal shaping and generatively interacting arrhythmic loop architectures.

Chaotic Era arrives in tandem with a surreal short graphic work by Lando. The artist runs a publishing collective called Decadence alongside fellow comic artist Stathis Tsemberlidis, who together have published 11 anthologies of short science-fiction comics featuring their own work, as well as other contributors - including a number of Lando's individual zines. Lando has also been featured in a larger collection of older / out of print work published by UK publisher Breakdown Press. His stories explore themes including ecology, geopolitics and deep time, while experimenting with the format of the printed zine to escape conventional expectations.

[PREVIEW] Strategy - Hellbound And Nitrous (DT003)

@lucyecstasy invited @wronghole 

first hour from Lucy X - 100% mix of records from friends :)

deep blend of love for : Uon, Etnik senetik, Ambien baby, Experiences LTD, Mu Tate, ExAel, Dtiffany, Nap, La Fe, Pillow queen, XpQ?, Perila & Ulla, Log, Dugong…

Thank you 4 the gorgeous music <3 Keep rocking!

UON - SOLARIS
ETNIK SENTETIK - THE OMEN
AMBIEN BABY - MARI POSA
MU TATE - ULTRA
EXAEL - UNTITLED
D.TIFFANY - LOW 
EXAEL - ROTOR
LA FE - INNA
ETNIK SENTETIK - REQUEM
PILLOW QUEEN - SALVATION
GHOSTRIDE THE DRIFT - A1
LOG - LOG 2
EXAEL - BONEHEADED
DUGONG - LOIRE
AMBIEN BABY - AMOR PROPIO
UON - SOLARIS

*********************

second hour with BPM master, lady freestyler and forever loved at the @CLIMAX headquaters,  miss YONI (@wronghole) <3

CLIMAX On Refuge Worldwide 008 - Lucy X & YONI

Dilly Joints w/ Akimat (5/11/21)

Aired on @internetpublicradio On Tuesday November 15th
Mold Collective is Louise Croff Blake (@dj_bricks), Magdalena Jadwiga Härtelova (@mjhartelova), Diane Barbé (@dianeisadorabarbe), and Madelyn Byrd (@slowfoam)

▣ What is the inspiration and vision behind Mold Collective?

MOLD grew from our mutual needs to talk about art - our own and others' - in the context of our dysphoria with late capitalism.  As earth-lovers, we share a deep motivation to leave things a little better than we found them.  We seek to address the intuition that something is greatly amiss in our reality, while, at the same time, we cultivate a sense of wonder at our planet, our communities, and the complex relationships between ancient and future knowledges.  

If it sounds esoteric, then that's because we're just that type of people.  In each of us is a dynamic range between practical reasoning and amorphous dreamworlds.  We've realized that in harnessing this range together, we find the tools we need to process this very messy paradigm we share as contemporary arts practitioners. 

▣ Can you share a little bit about what you’ve included in this mix and your process?

We tried to pick tracks and sound bits by people that we believe already work towards, which also means inhabit, utopia. These utopias are far from ideal places and that is the point, because as we know, utopia is nowhere, it is a destination that will never be reached. Maybe it is what will be left when Earth will be eaten by the Sun one day...

The songs we chose use poetry, mood, and nostalgic reference to capture the bittersweetness of our utopia.  We also make a point to center BIPOC, queer&trans, and women artists.  Needless to say, our utopia is post-heteropatriarchal, anti-capitalist, and anti-colonial.

As we pooled our music together, we noticed common threads of dissonance as well as resonance; we each found songs to help express the fear and grief surrounding our idealisms.

▣ Can you share some of your individual and collective utopian dreams?

Unsurprisingly, MOLD's shared vision of utopia is tinged with anxiety.  Rather than focus on an escapist fantasy land, we all realize that this idea of 'paradise' will still contain darkness.  Our utopia just isn't flat.  This three-dimensionality is in part due to our understanding that utopia cannot be achieved alone; and in the collective forging process, compromise is necessary.  Conflict is something to neither fear nor avoid.  The difficulty and the dedicated work behind building a better future is part of its beauty and richness.  Eden is boring; MOLD's utopia is complex and lush, where the false barrier between 'human' and 'nature' is dissolved.  We collaborate as a part of a global ecosystem, marrying the weirdness of digital futurism with a return to biophilia. 

Today, we dream of the end of the nation-state, of not having to worry about how to pay our health insurance, of a friend who wants to be a mom feeling like she can do it without the fear of being disregarded and stretched too thin, we dream of the return of Native land, of a world without millionaires (let alone billionaires), of forests, and of public toilets being free.


Tracklist:
Ana Roxanne - Rainy Day On The Cosmic Shore
Diane Barbé - Utopia 
Li Yilei - Wei 
Seefeel - As One 
Chas Smith - Beatrix 
rRoxymore - Home Is Where the Music is
Oneohtrix Point Never - Tales From the Trash Stratum
Zbynek Vostrak - scales of light
DJ Sprinkles - Lost Area (June)
Evil Medved - Recording_74
Sarah Davachi - Sybil 
ssabae - Grillons Fm Sonate 
Nala Sinephro - Space 8 
Joanne Christensen, Arlene Dunlap, Richard Dunlap, Garry Eister, Daniel Lentz - Slow Motion Mirror 
Fuga Ronto - Journey Unknown
Rosicrucian - Knives ov Resistance
Healion - I’ll See It When I Believe It
Spivak - Make It Make Sense
Cibo Matto - Sugar Water 
Golden Ivy - Klappen
Harold Budd - To Begin Then Not Now 
Leanne Betasamosake Simpson - Under Your Always Light (Howie Beck, Jason Collett Remix)

Our Tomorrow w/ Mold Collective (Berlin)

Title:
Earth

1: "Earth", 05:02 (00:00)
2: "Parting", 06:22, (05:02)
3: "Trees", 05:28, (11:24)
4, "Insects", 1:35, (16:52)
5, "Visitor", 04:23, (18:27)
End (22.50)

Dates:
01-Nov-2025 (inception), 01-Nov-2025 (finalised), 04-Nov-2025 (released)

Artists:
Music composed, performed, produced by Norman Freund
Artwork by Norman Freund
Music Video by Norman Freund

BandCamp Purchase:
https://normanfreund.bandcamp.com/album/earth

Description:
After recording "Granie Demo3 - Lyra Dreams The Halloween Edition" (Ref. [1]), I had to have a wind down session just jamming out, or was it going more hyper -- you be the judge.

Tracks 1, 2, 3 and 4 were recorded DAWless on the Granie, feeding it the Soma Lyra 8. Granie is my granular synthesiser Ref. [2].

Track 1 used a definite tuning library, whereas for tracks 2, 3 and 4, it was all modified and improvised. The tuning is listed below, negative frequencies meant play backwards, these were the grain play-back frequencies, which may differ to the human perceived frequency.

Grain Bank 1 frequencies [Hz]:
1: -1.635
2: 0.265
3: 0.985
4: 1.465
5: 2.165
6: 2.865
7: 4.165
8: 12.465

Grain Bank 2 frequencies [Hz]:
1:14.
2: 3.
3: 13.
4: 20.
5: 25.
6: 32
7: 28.
8: -2.4

Grain Bank 3 frequencies [Hz]:
1: 3
2: 14
3: 17
4: 22
5: 23
6: 25
7: 41
8: 47

Grain Bank 4 frequencies [Hz]:
1: 117
2: 122
3: 125
4: 129
5: 131
6: 136
7: 141
8: 40

The tuning was determined one grain bank at a time, all by ear, ensuring each new bank's ith note worked well with the next bank's ith note.

For track 5, I was curious what the tuning of track 1 would sound like with a fixed discrete tuning instrument, so took the raw track 1 tuning and put it into Ableton Live, an exact replica of tuning but with no granular synthesis human perceived tuning corrections. Some selective octave reduction was also used, this tuning is shown below:

ID, Bank, Local, FreqRatio, Cents
0, 0, 0, 1.000, 0c
1, 0, 1, 0.162, -3150c
2, 0, 2, 0.602, -877c
3, 0, 3, 0.896, -190c
4, 0, 4, 1.324, 486c
5, 0, 5, 1.752, 971c
6, 0, 6, 2.547, 1619c
7, 0, 7, 7.624, 3517c
8, 1, 0, 1.070, 118c
9, 1, 1, 0.229, -2549c
10, 1, 2, 0.994, -11c
11, 1, 3, 1.529, 735c
12, 1, 4, 1.911, 1121c
13, 1, 5, 2.446, 1549c
14, 1, 6, 2.141, 1318c
15, 1, 7, 0.183, -2936c
16, 2, 0, 1.835, 1051c
17, 2, 1, 8.563, 3718c
18, 2, 2, 10.398, 4054c
19, 2, 3, 13.456, 4500c
20, 2, 4, 14.067, 4577c
21, 2, 5, 15.291, 4721c
22, 2, 6, 25.076, 5578c
23, 2, 7, 28.746, 5814c
24, 3, 0, 1.118, 193c
25, 3, 1, 1.166, 266c
26, 3, 2, 1.195, 308c
27, 3, 3, 1.233, 362c
28, 3, 4, 1.252, 389c
29, 3, 5, 1.300, 454c
30, 3, 6, 1.347, 516c
31, 3, 7, 0.382, -1665c

I used a bell instrument, ok, this is weird, the tuning, not the instrument, but it worked, 8 notes for each of the Granie banks, strung together into 32 notes and just stuck with only using those 32 notes. I realised I needed a timing track, so picked a drum set and set the Push2 midi controller into 1/16th repeat note mode and improvised some drums into a 21 bar section. Improvised on the Bells track into 18 bars. Put the percussion and bells into looped playback and improvised on the Lyra 8 -- one take, improvised tuning oh ya.

This was all done in the session view of Live, then bounced into the arrangement view ready to play back and do the mastering by putting in volume swells for interest.

You can hear the whole album on my YouTube channel at:
https://youtu.be/Dd1BKzmb1hU

References:
[1]	Granie Demo3 - Lyra Dreams The Halloween Edition, Link: https://youtu.be/5HTL0VaQpvI
[2]	Granie, Granular synthesiser by Norman Freund, purchase at: https://normanfreund.gumroad.com/l/granie


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DJ CRUD