from the Arkm Foam lp, "The Foam Doesn't Fall Far From The Shore"
http://hotreleases.bandcamp.com/album/the-foam-doesnt-fall-far-from-the-shore

Arkm Foam - Summer Sumac

Atte Elias Kantonen is a sound laborer and thing enthusiast from Helsinki, Finland 

Tracklist // Треклист:

Lucy Duncombe - THE 3RD REMOVE FROM THE REAL
Atte Elias Kantonen - Sheet Musikc
Ludwig Wandungen - Spiritual Decay
ivan skoryna - love poem
Forces - Hyperobject Folk
Dominic Jasmin - Ça va bien
Nick Storring - Dome
alexi baris - POST RETURN
Jacob Sachs-Mishalanie - flintstone chime
RM Francis - Glob Ops
Eilien - U
ГИПНОША - Interlude Record
HERBARIUM - Dendrarium Simulation
Yoichi Ichikawa - Epicurus’ Garden
hecker - Blung
hecker - glung.01

@attekantonen
https://atteeliaskantonen.bandcamp.com/
https://attekantonen.cargo.site/

038 – Atte Elias Kantonen – ❝warped vibrissa mix❞

Another gem from the ESA archives: 

Tracks left behind by the November 2000 Leonids shower, as detected by ESA scientists.

Each time a meteor crosses the atmosphere, it leaves behind a short trail of ionised particles. This trail reflects high-frequency radio signals from stations around the world for just a few seconds. The motion of the meteor trail due to the upper atmosphere winds changes the frequency of the reflected signal (Doppler effect). You 'hear' the trail as it is blown around by the winds before it is eventually dispersed.

You are invited to use, re-use or remix this sonification. When doing so, please credit 'ESA - European Space Agency, CC BY-SA 3.0 IGO' and stick to the licence:

This work is licenced under the Creative Commons Attribution-ShareAlike 3.0 IGO (CC BY-SA 3.0 IGO) licence. The user is allowed to reproduce, distribute, adapt, translate and publicly perform this publication, without explicit permission, provided that the content is accompanied by an acknowledgement that the source is credited as 'ESA - European Space Agency’, a direct link to the licence text is provided and that it is clearly indicated if changes were made to the original content. Adaptation/translation/derivatives must be distributed under the same licence terms as this publication. The user must not give any suggestion that ESA necessarily endorses the modifications that you have made.

No warranties are given. The license may not give you all of the permissions necessary for your intended use. For example, other rights such as publicity, privacy, or moral rights may limit how you use the material.

Any of the above conditions can be waived if you get permission from ESA. To view a copy of this license, please visit http://creativecommons.org/licenses/by-sa/3.0/igo/

Source: http://www.esa.int/Our_Activities/Space_Science/Sounds_from_space 

Wailing Leonids

Simulation of a Bat Engulfed in Acid (excerpt)

Formed in Copenhagen, February 2018, using a modified Ciat-Lonbarde Esoterica Spike Ring.

Order your tape over at http://touchshop.org/product_info.php?products_id=862 [SOLD OUT]


"Typically in my work I deal with fixed concepts and defined parameters. With “Entrop” the concept was to not deal with such notions and instead to embrace chaos. I built a noisy little synth – a Ciat-Lonbarde Esoterica Spike Ring – which I modified with further feedback loops to intensify its unpredictable nature. The drum track is not programmed – instead the drum computer follows the pulses of the synth. The recordings on this tape are edited and layered from several sessions. I find it to be one of my most musical works – less rational, almost purely instinctive.” - Zeno van den Broek, Berlin, 22.vi.2018

Entrop

ENTROP - Untitled IV

W I I I

From a split release with Michael Masaru Flora on Nada.
https://nadarecs.bandcamp.com/album/mu-wmsq

Mu/Wmsq

Winter Makes Skulls Quick

Purchase/Stream

Winter Makes Skulls Quick III

ESA’s Cluster mission has recorded the magnetic waves generated in the magnetic foreshock above Earth – the first region of our planet’s magnetic environment that solar wind particles encounter – during calm space weather conditions. This audio file contains a 'sonification' of the data, where sounds were obtained by transforming the frequencies of these magnetic waves into audible signals.

Read the full story on ESA's website: http://www.esa.int/Science_Exploration/Space_Science/Earth_s_magnetic_song_recorded_for_the_first_time_during_a_solar_storm

Credit: ESA/Cluster; M. Archer, Queen Mary University of London – CC BY-SA 3.0 IGO

Earth’s magnetic 'song' during calm space weather conditions

from the "Alone In The Dark" compilation 
https://hotreleases.bandcamp.com/album/alone-in-the-dark

Glochids - Rust Pipe

Mix including compositions by Herbert Eimart, Florian Hecker, Karlheinz Stockhausen, Luc Ferrari, Farmers Manual and Jean-Claude Risset


"The Musical Model. Pierre Boulez was the first to develop a set of simple oppositions and complex differences, as well as reciprocal nonsymmetrical correlations, between smooth and striated space. He created these concepts and words in the field of music, defining them on several levels precisely in order to account for the abstract distinction at the same time as the concrete mixes. In the simplest terms, Boulez says that in a smooth space-time one occupies without counting, whereas in a striated space-time one counts in order to occupy. He makes palpable or perceptible the difference between nonmetric and metric multiplicities, directional and dimensional spaces. He renders them sonorous or musical. Undoubtedly, his personal work is composed of these relations, created or recreated musically. At a second level, it can be said that space is susceptible to two kinds of breaks: one is defined by a standard, whereas the other is irregular and undetermined, and can be made wherever one wishes to place it. At yet another level, it can be said that frequencies can be distributed either in the intervals between breaks, or statistically without breaks. In the first case, the principle behind the distribution of breaks and intervals is called a "module"; it may be constant and fixed (a straight striated space), or regularly or irregularly variable (curved striated spaces, termed focalized if the variation of the module is regular, nonfocalized if it is irregular). When there is no module, the distribution of frequencies is without break: it is "statistical," however small the segment of space may be; it still has two aspects, however, depending on whether the distribution is equal (nondirected smooth space), or more or less rare or dense (directed smooth space). Can we say that in the kind of smooth space that is without break or module there is no interval? Or, on the contrary, has everything become interval, intermezzo? The smooth is a nomos, whereas the striated always has a logos, the octave, for example. Boulez is concerned with the communication between the two kinds of space, their alternations and superpositions: how "a strongly directed smooth space tends to meld with a striated space," how "a striated space in which the statistical distribution of the pitches used is in fact equal tends to meld with a smooth space";5 how the octave can be replaced by "non-octave-forming scales" that reproduce themselves through a principle of spiraling; how "texture" can be crafted in such a way as to lose fixed and homogeneous values, becoming a support for slips in tempo, displacements of intervals, and son art transformations comparable to the transformations of op art. Returning to the simple opposition, the striated is that which intertwines fixed and variable elements, produces an order and succession of distinct forms, and organizes horizontal melodic lines and vertical harmonic planes. The smooth is the continuous variation, continuous development of form; it is the fusion of harmony and melody in favor of the production of properly rhythmic values, the pure act of the drawing of a diagonal across the vertical and the horizontal." -Gilles Deleuze & Félix Guattari

APOD0019 E.S. "Edition Erich Schmid" Episode One

synthetic sonic images of blikjandabol

Typified by a relentless pursuit of enervating and enlightening novel sound-forms, Unguent represents over a decade of independent research, recording, and performance of experimental synthesis by Lance Howard Simmons. Current work focuses on the detail, flexibility, and precision of the digital synthesis medium.

Simulation of a Bat Engulfed in Acid (excerpt)

Unguent

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