Episøde Eight from our monthly radiø spam channel on Resonance Extra FM extra.resonance.fm/series/aa-plus-…-operator-radio (JULY 6, 2021)

Tracklist
Drone Operatør - Intrø
Moe & Mette Rasmussen - Live in Japan DØ Edit
DNA - Little Ants
Drone Operatør - 55 Bølt Slacker
Drone Operatør - Rømplestelkchen
Drone Operatør - Wednesday Rehearsal
Moe & Mette Rasmussen - Tolerancia Picante DØ Edit
hg grrid - Hyperlink Drone Operatør REMIX
Pat Thomas - Elephant
Otomo Yoshihide - TR045
Treasure Hunt - Cowboy Caviar
Drone Operatør - Intermezzø
Vincent Eoppolo - Seeking Clarity
TRIOSK - Lazyboat
Chicago Underground Duo - It’s Alright
——GUEST SECTION———SDW TRIO——
SDW Trio - Intro
SDW Trio - free composer
SDW Trio - 0000000004
SDW Trio - 0000000001
SDW Trio & Flux Wildly - Liveset
——GUEST SECTION———SDW TRIO——
Drone Operatør - impro session at Lorimer Station, Brooklyn 2017
Subway Field Recording
Drone Operatør - Waterloo Mass Effect
——GUEST SECTION———aircode——
aircode - snapping fingers
aircode - impro 1
aircode - ?? Demo
aircode - E jazz demo
aircode - walking demo
aircode - summer demo
aircode - guitar demo
aircode - Point Zero OST
aircode - dnb demo
aircode - break demo
aircode - meditation demo
——GUEST SECTION———aircode——
SUCIDEBOYS - ALL MY LIFE I’VE WANTED A CHEVY…
Bendik Giske - Sesiones con Martin Delgado
Drone Operatør - D Tone Extended Soft Cut

DRONE OPERATØR RADIO #8 — feat. SDW Trio & Aircode

Bålsam - Ammonites

On the long-awaited Exaptations, Toronto-based composer Nick Storring presents two highly textural, side-long pieces. On “Field Lines”, originally composed for Yvonne NG Peck Wan‘s dance piece, Magnetic Fields, a certain fragmented, uncertain openness is conveyed: a series of brief, dreamlike clearings are vignetted by pregnant silences or various levels of waking or sleeping states. Storring plays with a variety of tonal instruments that swell and tumble along while being nipped at by expressive percussion. Organic clusters develop within event-based sequences, stretching attention across multiple timbres and rhythms. On “Yield Criteria”, shifting drones move about like independent layers of ice on a lake in the dead of winter, slowing crumbling, sliding, and cracking in perfect harmony. Storring has written for dance and other interdisciplinary settings, and here he brings the delicate resourcefulness of a skilled accompanist, as well as a narrative sense that belatedly, profoundly blossoms.

---

Field Lines:

Composed and recorded October 2013 - May 2014 for Yvonne Ng's dance piece, Magnetic Fields, which premiered in May 2014.

Nick Storring / various percussion and found objects, vibraphone, glockenspiel, balafon, chimes, hand bells, toy pianos, thumb pianos, voice/whistling, electric (NS Designs NXT4) and acoustic cellos, electric bass, electric mandola, violin, hammered dulcimer, Hohner Pianet T, Yamaha CP60M, Hohner Clavinet D6, flutes, harpsicle, strumstick, guitalele, steel pan, harmonica, melodica, pitch pipes, hulosi

Special thanks to Yvonne, Marie-Josée Chartier, Mairead Filgate, Luke Garwood, Christopher Willes. Thank you to Germaine Liu for the use of her vibraphone, and John Farah for the use of his Pianet.

Yield Criteria:

Composed and recorded February - June 2014.

Nick Storring / NS Designs NXT4 electric cello, electric bass, electric mandola, thunder tubes, Yamaha CP60M, toy piano, harmonica, duck call, voice, hand bells, glockenspiel

Elements were used in Eva Kolcze's film, All That Is Solid. Thank you to Eva, Spencer Barclay, Jason Doell, Brandon Valdivia, and Bryan Bray.

Processing and manipulation performed on the above sound sources (and the sound of a blank, chemically-treated 16mm film sound-strip) using combinations of the following: transducer speakers on various resonant chambers, instruments and surfaces; talkbox; spring reverb; recordable cassette walkman; various speakers; (contact) microphones.

Special thanks to Nicole Cultraro for her violin and kalimba, her support and inspiration, and patience with my process. Thanks also to Andrew Zukerman.

Gratitude also to all who listened and offered feedback.

Artwork and layout by E. Lindorff-Ellery
Printed by John Fitzgerald at Fitzgerald Letterpress, New Orleans

NTR042 - Nick Storring - Exaptations "Field Lines"

for Dino

We’ve reached book IV in Rupert Clervaux’s series of “Zibaldone” audio diaries, at which point we find him telling a different kind of story. 

“The first three all had very specific themes, while this one feels a little bit looser and doesn’t have just one thematic thrust,” he tells me, which maybe explains why listening feels a bit like annotating. I’m underlining, emphasizing, drawing arrows from here to there, highlighting symbols and noting motifs, realising, questioning, eureka-ing. An impressionistic meaning’s been encoded in and we’re lucky to be given the space to play that most poetic and boundless of all mental games: narrativization. 

There are no wrong answers, but Rupert offers some clues either way. If there’s any cipher here it’s “something like a meditation on the concept of ‘depth’––in all its connotative forms.” Think below the surface, (the) underground, yawning oceans, being ‘down in the dirt’, soil, roots, rootlessness, pulling at the dregs, collapse, profundity, stable and unstable horizons, distance, perspective, intuition, not to mention relative opposites: to be shallow, to be above, to be beyond. 

It’s got me thinking of Bresson’s “Bring things together that have as yet never been brought together and did not seem predisposed to be so.” His: “Dig deep where you are. Don't slip off elsewhere.” Rupert has realized these—two favourite goals of mine!—here. 

This is music that catches you at your own periphery, gives pause, has you offering a little “huh” to, asking “I wonder why” to. Again, it’s got me musing on another mindworm, this time from New York publisher and multi-sensory reading room Dispersed Holdings: “Feeling-making-knowing feedback loop; cartography of feeling; water as text, read to know the land beneath and around it, and body as reader.” 

Is it ok to offer up these other contexts out of context? I think so, because Zibaldone IV articulates a similarly swirly tone. Like, we’ve got Rebecca Solnit talking through Kropotkin’s “Mutual Aid” and later calling out to Michael Ruppert a ways away, and “Easy Rider” is playing in the wings. We’ve got Susan Sontag magically contextualizing Mariah Carey with poet Thylias Moss triangulating in order to sketch out (Rupert again) “something a little more interesting than wilful eclecticism or that laboured and patronising kind of pop-savvy.” 

Are we following? Whether yes or no Vanessa Bedoret follows on with a performance of a performance of Moss’s 'Water Road’: to be once or twice removed, via strange transitions, purposeful confusions, and, suddenly, seagulls. We’re on a boat with Ingeborg Bachmann—and how I wish I could actually be! But maybe thanks to this music I can as literature, films, friends, lethargy, coincidences, little mental links, eternal wormholes, lingering notions come together to imagine something better. 

Text by Natalia Panzer 
npanzer.com 

Artwork by Coline Cornélis 

Music by Rupert Clervaux 

with 
Vanessa Bedoret: voice and violin on Thylias Moss #2 
Eben Bull: trumpet and electronics on Mutual Aid and Departure from England 
Isis O’Regan; voice on Departure from England 
Nick Taylor: electronics on Chthonic ’97 
Ben Vince: saxophone and electronics on Chatsworth ’17 

Artwork by Coline Cornélis 

Warm thanks to James Marrs, as always, and Natalia Panzer 

Vanessa recreates and reads an excerpt from ‘Water Road’ by Thylias Moss. Isis reads ‘Departure from England’ by Ingeborg Bachmann (translated by Peter Filkins). This record is dedicated to both poets––with great respect and deep admiration.

05. Thylias Moss #2

Anderson Chimutu is a first generation Malawian American who resides in the city of South Bend, Indiana. Growing up near Chicago and Detroit, Chimutu was exposed to many legends of the regional music scene. This influenced him to get involved with various instrumental bands and djing. Now he focuses on solo productions, which integrate the use of granular sound processors and drum machines. This new approach, coupled with the desire to represent his African heritage, has given birth to Fumbata Phiri. His first offering as Fumbata Phiri came in the form of 2020's "Decoherence", released on the Hungarian label Exiles. He followed that up with "Equipoise", released on UK label Hard Return, "Actuation" on released on Eternal Search in 2021, and now in 2022, "Liminal Space" releasing on Chicago label, Reserve Matinee ran by Michael Stumpf (FAITHFUL) and John Daniel (Forest Management). Chimutu wants to challenge the narrative surrounding African influenced music, and does so by creating what comes naturally to him. Putting forth an extension toward the future, while being cognizant of the history that has brought him to this point.

Justin Tripp and Brian Close as GEORGIA (OOH Sounds) - Story Scene 0:00
Evil Medvéd - (0_0) 4:56
Noémi Büchi - Battering Times 6:38
Joane Skyler - wink 9:37
Hiro Kone - Malady of Duration 11:27
William Fields - riveru 15:57
NZFE - FENZ_pict_test4 20:24
Fumbata Phiri - Pios Plurality 23:57
Daphne X - I can see right through me 34:24
FRKTL — Locations For An Immaterial Essence 36:28
Klpflrtr - Random 44:35
Alley Catss - chew 46:21
Yokai Kai - phonktech 48:40
Justin Tripp and Brian Close as GEORGIA (OOH Sounds) - Story Scene - Zipf's Code 50:52
ISSHU - Under the Pink Sky 54:40
Blood Room - Sun Pulse 58:23

https://soundcloud.com/fumbataphiri

♥ 32 - Fumbata Phiri - Absolute Elsewhere

traumgarten presents this month’s guest mix by DJ, producer and songrwriter from Amsterdam Yb3L.

🌐 "Outsiders" is our daily show hosted by global independent record labels
📡 Connect with the Outsiders, every day, at 10 am or 10 pm CET
🔗 kioskradio.com

Outsiders: traumgarten w/ Yb3L @ Kiosk Radio 29.05.2022

CAN U FEEL

Step into the heart of Koh Samui’s hidden wildness with the sounds of Gorovich fantastic track  - Intro.
“Swamp Dance” is a fusion between nature’s raw soundscape and the hypnotic pulse of psychedelic music.

Recorded near our Airbnb, deep inside a living, breathing swamp, the track blends:
🌴 Ambient lifesounds — insects, water ripples, distant birds
🌫️ Moist tropical atmosphere captured on-site
🔊 Gorovich’s iconic “Intro” energy layered with fresh groove
💠 Psychedelic rhythms designed to move both body and mind

This mix is a tribute to the jungle, to spontaneous creation, and to the magic that happens when environment becomes instrument.

Put on your headphones, close your eyes, and join the Swamp Dance.

swamp dance

Asphalt

TR112 - Xisco Rojo - Axial Tilt [excerpt]

FREE¸JÅZZ¸Kı̶̧̘̣̳͕̼̫̜̮̬̯ͅLLAH¸BEEZ™ 
conceptual kleptomaniac post digital free jazz outfi† spams the net with experimen†al and free førm quasi-jazz since about 3.2222 years
hello & booking: droneoperatorjazz (a†) gmail.com