Ma version de soma par Contrefaçon pour le concours de remix !
On croise les doigts !


Contrefaçon : soma remix

Bandcamp

Pino - The Thrill Is In Hunting

purchase lp: www.secondeditions.org
release date March 01 2019

005 - Karl Fousek - Chapter 3 (from In The Forest)

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]

vase - Slew

Mixtape para #LaOtraMusica de @AireLibre

Playlist:

Suminagashi - Highway 
Khotin - WEM Lagoon Jump 
Braulio Lam - 55Mm
Steve Hauschildt - Ecce Reverie
Lucrecia Dalt - Disuelta 
Bendik Giske - High 
Anadol - Ya Evde Korksan
Elysia Crampton - Secret Ravine 
Microhm - Presente y Pasado
Nicolás Jaar - Agosto 
Laurel Halo - Hyphae 
KMRU - Peel

Mixtape: Navegantes Nocturnos

Art Cover - Nika Milano
Producción - Simon Called Peter
Mezcla y Master - Dj Fucci

Melted Sun

Tune in to Blue Yogurt Mini podcast episode II, this time they invited FaltyDL. 

Tracklist: 
Swallow Tail - Benedicte forthcoming Blueberry
Describe - FaltyDL
HK WALK - FatyDL unreleased
Lymph - XGLARE
ajsfvhvffd - Brrd
Cash Poor - Sunken Foal
Focus Group - FaltyDL

Blue Yogurt Mini Podcast Guest FaltyDL [Monthly Show]

I (archive + time)
all the sounds are either recorded on the 21st september 2020 or from the archive made or recorded on the 21st september between 2007 and 2019. the arbitrary number of a date serves as an archival organisation and becomes here a structrural method that opposes and modifies the intuitive memory.

II (recordings and ghosts, the dead silence)
the sounds are recorded on a walk between bethaniendamm and urbanhafen alongside the former luisenstaetischer kanal. all the recordings of that walk are either a.) traces of em-signals or b.) resonating objects (hit or bowed) found along the way (so that the listener can follow the traces of the objects during the walk).
the recording itself happened during a monday night around 3 am. in the dead silence of the night. walking around with an em-detector and hitting on things like hunting or summoning ghosts: the sounds stand out against small noises of sleeping swans, startled residents or coincidental droping seeds from trees. so listening in this regard becomes more than listening to the sound itself. the decay of each sound is looking into the nothingness of silence.
the metaphor dead-silence refers to the non-availabilty (unverfügbarkeit) of the dead that slip away into nothingness. only memories hold a connection to the gone, to the past that otherwise would be nothing, silence. a decaying sound in the dead silence of the night thus becomes a sort of bridge, channel, vehicle to the dead (silence).
while for husserl the melody is an example of the process of retention, where we are able to recollect a certain amount of signals even without activly memorizing them, the musical structure at play in this piece works with layering parallels of single events that in confrontation become a (more or less) organized structure (dub and overdubbing).

III (luisenstädtischer kanal)
the luisenstädtischer kanal (1852) connected the spree and the landwehrkanal. mainly used for the construction of the densly populated area luisenstadt, it was filled with earth from the construction of the u8 to be reebuild as a public park in 1926 (as reconstructed today). after the second worldwar it was filled further with trümmer (debris) of the bombings and became 1961 part of the mauer, the border between east and west-berlin, the so called todesstreifen (death-strip).

0920_21 dead silence of the night

Designing for Intelligence: Ramon Amaro, Rana Dasgupta and Yuk Hui discuss the politics and philosophy of AI.

This conversation appears in Atlas of Anomalous AI ed. by Ben Vickers & K Allado-McDowell
https://ignota.org/products/atlas-of-anomalous-ai

Atlas of Anomalous AI is a compelling and surprising map of our complex relationship to intelligence, from ancient to emerging systems of knowledge. A wildly associative constellation of ideas, stories, artworks and historical materials, the Atlas draws on art historian Aby Warburg’s Mnemosyne Atlas — an image map of the “afterlife of antiquity” — to approach the defining concepts of AI from an imaginative, artistic and revitalising perspective.

Contributions from writers, philosophers and curators including: Blaise Agüera y Arcas, Ramon Amaro, Noelani Arista, Jorge Luis Borges, Benjamin H. Bratton, Federico Campagna, Arthur C. Clarke, Rana Dasgupta, Eknath Easwaran, GPT-2, GPT-3, Yuk Hui, Nora N. Khan, Suzanne Kite, Jason Edward Lewis, Catherine Malabou, Hans Ulrich Obrist, Matteo Pasquinelli, Archer Pechawis, Noah Raford, Nisha Ramayya, Beth Singler and Hito Steyerl.

Artworks by: Anni Albers, Pablo Amaringo, Refik Anadol, William Blake, Ian Cheng, Ithell Colquhoun, DeepDream, Federico Díaz, Susan Hiller, Hildegard of Bingen, Pierre Huyghe, C. G. Jung, Hilma af Klint, Emma Kunz, Paul Laffoley, Lucy Siyao Liu, Branko Petrović and Nikola Bojić, Santiago Ramón y Cajal, Casey Reas, Jenna Sutela and Suzanne Treister.

Primitive World - Ioanthe Dances [ELP048]

ECSTATIC