Making Chase

RADDFm Sessions - Miami French House

Timothy Morton
Nature Isn't Real

in the frame of Nature, a public program in the middle of nature on the modern transformation of nature into Nature.
organised by Aleppo in the frame of Parckdesign, Brussels, September 2016

What ecological awareness forces us to notice is that “Nature” is an anthropocentrically-scaled concept that, to say the least, doesn’t work anymore. “Nature” is how we have been talking to ourselves about what is in fact the case, which he calls the symbiotic real. 
There is a sharp difference between the real and “reality,” or our sense of realness. Our human, agricultural and neoliberal (and so on) reality is now violently impeding less coercive relationships with nonhuman beings. Less coercive relations with nonhumans would also give rise to less coercive ones between humans. In order to bring these about, one key tactic is to drop completely the concept of "Nature".

Timothy Morton is the Rita Shea Guffey Chair in English at Rice University. He is the author ofNothing: Three Inquiries in Buddhism and Critical Theory, Hyperobjects: Philosophy and Ecology after the End of the World, Realist Magic: Objects, Ontology, Causality, The Ecological Thought, Ecology without Nature. He blogs regularly at ecologywithoutnature.blogspot.com.



Timothy Morton, Nature Isn't Real

WET made for performance at first WET readings which took place at Budka in Tbilisi on 14.06

Sasha Zakharenko – WET

Taken from:
Serpente - Parada Lp & Download [Ecstatic Recordings, 28/06/19] 

Lisbon-based Bruno Silva enacts pure voodoo with extended, restless LinnDrum workouts that take Prince’s distinctive LM-1 signatures as a starting point for loose-limbed tribal jams that flow with the colour of the Brazilian carnival and the rhythmic psychedelia of hardcore jungle.

The title ‘Parada’ cannily nods both to Prince’s ‘Parade’ album and the percussion of carnival parades, speaking to a plurality of polyrhythms in a tradition of fusion music that seeks to meld myriad forms of communal, ritualistic and ecstatic music - not a million miles from the bare carnival funk of ‘Parade’s’ ’New Position’.

In six parts ranging from extended runs of drumkit-falling-down-stairs to nimble junglist mutations and rapid, darting concisions, Serpente spells out a heavily intoxicating and intuitive sort of rhythmic psychedelia that lives up to a broad palette of influences ranging from Haitian voodoo ceremonies and central African drum circles, through to the Sun Ra Arkestra and Alan Silva’s Celestial Communion Orchestra, via Keith Hudson’s dub transcendence, and the rude modernism of UK rave and virulent styles currently coming from Lisbon ghettos on the Príncipe label.

In attempting to untie and unite these worldly references, an asymmetric percussive friction and hypnotically unresolved tension naturally emerges from Serpente’s flux of machine made patterns. It’s there in the restlessly gnashing, swingeing brilliance of ‘Nivel de Chama’ and the exceptional mix of detuned Linn drums and reticulated jungle breaks in ‘Trama’, while the B-side probes this idea in three subtly agitated, but more space-out ’Símbolo’ parts, and finally with a sublime tension between his twitchy percussive saccades and celestial synth pads in ‘Nivel de Cinza.’

‘Parada’ is pure body music in a minimalist/maximalist way that acknowledges both physical and spiritual needs, and requires a dancing or thinking body in order to properly unlock its purple magick.

BUY!

Serpente - Nível de Chama [ELP044]

READ THE ARTICLE: https://www.paynomindtous.it/sutarti-joshua-sabin-subtext/
@subtext-recordings
@joshuasabin

Edinburgh-based composer and sound designer Joshua Sabin is an experimental artist which has been working since the mid-2010 with extensive sample and field recordings manipulation. He released his debut record, called Terminus Drift, for the now Berlin-based label Subtext Recordings in February 2017. 

Sutarti is the latest Joshua Sabin's work which will be officially made available tomorrow, July the 5th in vinyl and digital formats. While his debut album explored humans' relationship with the environment, space, and ubiquitous digital technologies, Sutarti draws influence from the psychoacoustic features and the compositional structures existing within early Lithuanian folk music. In this record, Sabin taps into the exterminated field recordings archive of the Lithuanian Academy of Music and Theatre Ethnomusicology massively editing, distorting, pitching, filtering, and manipulating them to better exploit the emotional impact of the human voice on the listener's conscious (and unconscious) self.

We are very happy to present you the third episode in the overall 40-minutes-long Sutarti record, split into six separate movements. Sutarti: III takes on with more than 6 minutes of archival voices radical recontextualizations, which, at the same time, manifest from Joshua Sabin's very personal, interesting and inspiring artistic research, and also try to directly reflect and recontextualize the universal, ancestral potency of the Voice as humans' primary means to express themselves.

Sutarti 

Joshua Sabin - 'Sutarti: III' [PAYNOMINDTOUS premiere / Subtext Recordings]

Out now >>https://theyouthlabel.bandcamp.com/album/georgia-one-mind-yocd5

@georgiasounds

- one mind all mind the youth mind love mind growing mind one mind dirty mind deep root dirt mind below ground above time one mind only mind blessed mind swaying mind growing vine one mind rhythm mind one mind all mind wind meets earth mind fire meets water mind water meets the fire mind one mind love mind the earth meets the fire mind the fire eats the water mind one mind steady mind heavy power no mind the  ready active pulse mind some mind highlow mind flipper mind mult mind cata mind youth mind true mind cue mind beyond mind pre mind one mind pre mind post mind beyond mind -

01 - Fifthda - 02.15
02 - Window 6 - 06.55
03 - Extra Tack - 06.22
04 - New Force - 06.23
05 - Baiala Ghalic - 03.31
06 - Window 5 - 05.35
07 - City Floral - 06.21
08 - Easy Film Prolific Key - 04.55
09 - Laca Ja - 03.46
10 - Down Glaze - 06.34
11 - Smart Stance - 04.49
12 - Day To - 06.51
13 - Vision Zero - 06.34
14 - Anmonothe Lounge Track - 05.32
15 - NY MBL - 03.38

GEORGIA - One Mind - YOCD5

Taken from Primitive World - The Revolt of Aphrodite LP/Download [ELP048] - out 20/03/2020

• Crafty sci-fi minimalism and rude broken beats from Ecstatic co-owner Sam Willis (Primitive World)
• In/directly inspired by the “bawdy, acerbic”, forgotten ‘60s sci-fi novels of Lawrence Durrell
• Cut at D&M, Berlin. Cover painting by Daniel John Willis, Photo by Sam Willis, design by Alessio Natalizia
 
Ecstatic co-owner Sam Willis turns cues from forgotten English sci-fi author Lawrence Durell into bouts of taut, fractious, and probing funk on his sophomore LP, ‘The Revolt of Aphrodite’

Following a similar process that was applied to the visual cues of overlooked British constructivist Marlow Moss in his 2018 debut album ‘White On White’, and recent lysergic rescoring of Kubrick’s ‘Full Metal Jacket’ (INCLUDE LINK HERE TO THE FMJ RELEASE ON THE SITE PERHAPS?) Sam Willis aka Primitive World employs a strategy of in/direct references to Durrell’s seminal ’60s sci-fi diptych ‘The Revolt of Aphrodite’ - comprising the novels ’Tunc’ and ‘Nunquam’ - in an absorbing reimagining of its scenes, rendered in a mix of glitching electronic shrapnel, craftily disrupted UK club rhythms, and stuttering gremlin vocaloids. 

The original books’ themes of “Nietzchean psycho-sexual satire”, and their acerbic, bawdy, densely allusive text, serve to push Primitive World toward more complex drum programming/editing and a finer spectrum of timbres in order to best transpose the stories into music. Set against a backdrop of the May 1968 general strike in Paris, the books address notions of multiplicity and contingency, and a preoccupation with structure and “cause and effect” that Primitive World reflects in the music’s mazy narration and his poetic embrace of literary/musical license. 

Where modern electronic music too often arrives at the same aesthetic conclusions inspired by iconic work from William Gibson or Asimov, then Durrell’s influence provides something very refreshing to the playful and absorbingly otherworldly nature of ‘The Revolt of Aphrodite’. Using the same palette as found on his ‘White On White LP’ - PPG Wave, Kurzweil K250, Emulator 4 and Lexicon 224 - Primitive World’s familiarity with the set-up leads to a finer manipulation of form throughout the album. Oscillating between the Alva Noto-esque minimalism of ‘All This Vulgar Data’, and the cubist UKFunky rhythms in ‘Iolanthe Dances’ or Dego-like broken beats in ‘Skins Plastered With White Lead’, to end up in the curdled electronic sensuality on ’The Foetus Of a Love Song’, Primitive World’s 2nd album offers deftly imaginative and playful solutions to the homogeneity of modern electronic music’s all-too-often blinkered dreams.

Primitive World - Ioanthe Dances [ELP048]

sarah davachi : perfumes i
linda perhacs : hey, who really cares
dj lostboi : l.t.b.
lyra pramuk : witness
okkyung lee : the crow flew after yi sang
jenny vhal : bonus material
maggi payne : shimmer
ellen fullman : swingen
sheila chandra : la sagesse (women, i’m calling you)
vashti bunyan : glow worms
ctm & jura : journal
alice coltrane : krishna krishna
lucy railton - for j.r.
klein : enough is enough
laurie spiegel : finding voice
esther lamneck & roberto fabbriciani : winds of the heart 1
cosey fanni tutti : ritual awakening
françoise hardy : suzanne
joni mitchell - california

@julienracine

Noods Radio I: Racine

Eighteenth episode of our "States United" show on @n10-as, with guest @soundsofgap

States United 18: Gap

info: https://radio.syg.ma/episodes/inexact-10-laura-not
https://soundcloud.com/lauranot

Primitive World - Ioanthe Dances [ELP048]

ECSTATIC

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