https://blankmindlabel.bandcamp.com/album/lost-paradise-blissed-out-breakbeat-hardcore-1991-94

A1 Sleepwalker - Age of Aquarius (L.D remix)
A2 Hedgehog Affair - Parameters
B1 DJ Mayhem - Inesse
B2 Luxury - Twirl
C1 The Invisible Man - The Flute Tune
C2 Escape - Escape (The Optical Mix)
D1 Skanna - This Way 
D2 Xray Xperiments - Techcore

Compiled by Sam Purcell and Tammo Hesselink
Design: Sam Purcell
Mastering: Beau Thomas at Ten Eight Seven
Press release: Fergus Clark

Lost Paradise: Blissed Out Breakbeat Hardcore 1991-94

Lost Paradise: Blissed Out Breakbeat Hardcore 1991-94 (clips) (BLNK022)

quite good

Cleanroom beats

http://www.instagram.com/_____gank

Gank @ The Lot Radio 03-01-2024

Stone - Sozzy

Six years after the release of the “A Parade, In The Place I Sit, The Floating World (& All Its Pleasures)” EP on anno Records, Brian Leeds, aka Huerco S., returns to the Loidis project with his debut album “One Day” on Incienso.

"Wait & See" is taken from the debut Loidis album 'One Day' 

Written and produced by Brian Leeds
Mastered by Anne Taegert 
Artwork by Josh Abramovici 
Distributed worldwide by Wordandsound
https://wordandsound.net

ORDER: Vinyl 2x12"/Digital:
https://inciensorecs.bandcamp.com/album/one-day
Out August 2nd, 2024
INC-027

Loidis
@huercos
https://www.instagram.com/west_mineral/?hl=en
@west_mineral

Incienso 
www.inciensorecs.bandcamp.com 
www.instagram.com/inciensorecs 
www.incienso.nyc

Loidis - Wait & See [INC-027]

Actress' highlight reel needs little exposition. Darren J. Cunningham has been a prominent yet inscrutable figure in electronic music since the late 2000s, typically flickering to life from the margins before receding into the shadows. Beloved albums like R.I.P., Karma & Desire and Splazsh may switch up the template, but the Actress hallmarks of haze, murk and showstopping beauty remain.

As you'll see in the interview below, he's a man of few words—that's in character for him. What's characteristic, too, is a taste for surprises. Ahead of the release of tenth studio album Statik on esteemed Norwegian label Smalltown Supersound next month, here's the "Дарен Дж. Каннінгем RA Mix"—a tapestry of 100 percent original and exclusive Actress music you won't find anywhere else. Flowing between pensive, rugged and stargazing moods across an album's worth of unaired tracks, Actress' first time stepping up on the RA Podcast was clearly worth the wait.

@actress1

Read more at https://ra.co/podcast/938

RA podcast

RA.938 Actress

Dublin's Wah Wah Wino crew jump on for a regular session of oddball selections... 
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/wah-wah-wino/episodes/wah-wah-wino-21st-february-2025

Wah Wah Wino w/ Morgan Buckley 210225

Clifton Hill Community Music Centre 
Lecture by David Chesworth. Respondent: Kelly Fliender

The Clifton Hill Community Music Centre (CHCMC) was a lively place from 1976 to 1984, where artists from two distinct generations created, performed and debated. In this lecture, David Chesworth (coordinator between 1978-82) examines the CHCMC as one of the first places in Australia where the boundaries of performance, music-making, filmmaking and installation-making were dissolved. 

Further information: acca.melbourne/series/defining-moments/
Recorded at ACCA on Monday 5 August 2019
Thank you to our partners:
Abercrombie & Kent Presenting Partner; Centre for Visual Art (CoVA) Research Partner; Event Partners Melbourne Gin Company, Capi and City of Melbourne; Media Partners Art Guide Australia, The Saturday Paper, 3RRR FM

Defining Moments: Clifton Hill Community Music Centre by David Chesworth

Popism, National Gallery of Victoria, Melbourne, 1982
Lecture by Judy Annear

The exhibition POPISM was held at the National Gallery of Victoria in 1982. At 24 years old, recent honours graduate and founder and editor of Art & Text magazine, Paul Taylor was invited to curate an exhibition of contemporary Australian art. The NGV was usually described as ‘the bunker’ with apparently little connection to the local art scene or experimental practice. POPISM came like a bolt from the blue, hard on the heels of the first five issues of Art &Text.

This lecture will discuss the exhibition and the artists (Howard Arkley, David Chesworth, Ian Cox, Juan Davila, Richard Dunn, Paul Fletcher, Maria Kozic, Robert Rooney, Jane Stevenson, The Society for Other Photography, Imants Tillers, Peter Tyndall, Jenny Watson, and Tsk Tsk Tsk), provide some background and context to the ideas and practices, and the evolution of Taylor’s thinking and working. I will trace this through Taylor’s published writings, the various reactions to his activities, and the recollections and interpretations of his peers – then and now.

Further information: acca.melbourne/series/defining-moments-
popism/

Copyright ACCA and Judy Annear
Produced by Gatherer Media

Thank you to our partners:
Presenting Partner Abercrombie & Kent; Research Partner Centre for Visual Art (CoVA); Event Partners Melbourne Gin Company, Capi and City of Melbourne; Media Partners Art Guide Australia, The Saturday Paper, 3RRR FM

Image: POPISM 1982, exhibition catalogue, National Gallery of Victoria, Melbourne

Defining Moments: Popism by Judy Annear

A lecture by artist Peter Cripps on the exhibition 'Recession art and other strategies' 1985 at the IMA Brisbane, followed by a response from Channon Goodwin. Part of ACCA's Lecture Series 'Defining Moments: Australian Exhibition Histories 1968–1999'. 

Listen to the follow up conversation between Peter Cripps and Channon Goodwin (Director of Bus Projects, founding Convener of the All Conference network) on the ACCA Podcast here: https://soundcloud.com/acca_melbourne/defining-moments-peter-cripps-channon-goodwin-permanent-recession-art-labour-circumstance

Further information: acca.melbourne/series/defining-moments-
popism/

ABOUT THE LECTURE:
In response to the social, political and cultural contexts of the 1970s and 80s, Peter Cripps curated the exhibition Recession Art, at the Institute of Modern Art (IMA), Brisbane in 1987. According to Cripps, ‘Recession art refers to art which is made under the pressure of little money and an insignificant market. It tends to be small, easy to produce, store and dispose of. It included the development of new strategies for the sale of works; the possibility of replacing parts as they sell with replicas. It is an art based on the limited means of production, speed of production and small size of constituent units, which, since they can form larger works, do not restrict the artist in the scale of his work. It is an art based on intellect rather than on formal qualities.’
In his lecture, Cripps reviews this exhibition, interrogating its legacy, as well as exploring perceived synergies between historical and contemporary independent art practice. Additionally, he assesses the role and impact of this type of artist thinking and practice on the contemporary context.

ABOUT THE SPEAKERS:
Peter Cripps is an artist and a former Director of the Institute of Modern Art (IMA), Brisbane (1984–86). As an artist has exhibited widely in Australia and internationally since the 1970s, with recent major individual survey exhibitions including 'Peter Cripps: Endless Space' at the IMA, Brisbane in 2012, and 'Peter Cripps: Towards an Elegant Solution' ACCA, Melbourne in 2010. Between 1973 and 1988, Cripps worked as a curator and various other roles within a number of major Australian museums, galleries and alternative art spaces, as well as in a freelance capacity.
 
Channon Goodwin is an artist and arts-worker based in Melbourne. Goodwin is the Director of Bus Projects, founding Convener of the All Conference network, and makes films and podcasts for Fellow Worker.
 
Thank you to our partners:
Presenting Partner Abercrombie & Kent; Research Partner Centre for Visual Art (CoVA); Event Partners Melbourne Gin Company, Capi and City of Melbourne; Media Partners Art Guide Australia, The Saturday Paper, 3RRR FM
Produced by Gatherer Media.

quite good

dj sandfly

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