Hi. You could at least delete the URL editionsmego.com from your profile, as it is now some guitar-related BS.  best i6n

Extract from 13th dogtape by Tzii.
"Divagation Sociale" was conceived as two storytelling pieces of 20minutes // 2 distinct pieces that you can perceive as audio short movies, cut in sequences // A side is a dive into opïoidic nights filled with clumsy seduction and endless drifts through cheulou lounge vibes // B side is a trip through street and squatt culture , starting in Barbès, going to Anti-Mariani protests and police repression of a free party (true field recordings I did in early 00’s and used for the first time here) to some rare samples of the real Hakim Bey explaining the T.A.Z. concept (Temporary Autonomous Zone for those who are not familiar to it) // all of it recorded in september 2023 at the Studio of the White Worm 
---
artwork : BVVVS

DOGTAPE VOL.13 : Divagation Sociale

Tzii : La séduction (DOGTAPE VOL.13)

@violentquandonaime

helen island - last liasse
Vinyl/Streaming/Digital
- 21.02.24 -

Ghastly and hallucinatory – Last Liasse is a sign of the times, alternative pop record by Helen Island. Within this debut album, the artist captures the saccharine gaze of digital escapism through characteristic filtered high notes, cut-up genres, and processed vocals. Providing a comprehensive overview of Helen Island’s self-distributed initiatives, with the ethos of the Parisian Simple Music Experience collective, the twelve tracks set a solid musical score that resonates with the age to come.

helen island - alice dj

Track from "c–recup" EP
d-towards.bandcamp.com/album/c-recup

Released in a clam shell case
Limited edition of 7 copies
Duration: 29:35

Mastering - Alexandr Pustynsky (@ajokki)

—

34-R 
evol acid [TX]
34
24
h layer

24 (from "c–recup" EP)

‘fast delivery’

artwork- nyc based artist ash galka. 

"I was so drawn to this particular drawing, the intricacies and shading of this work really is something. Listening to the back story makes you cherish it even more. 

I found their artwork through a talented artist/producer which I’m excited to later announce on the series. 

Inspiration was also taken from my recent walks up towards Canada Coombe, so nice to see the place fall into the colours of spring. 

I hope you enjoy.

Got some really good names lined up too, stay tuned.
fast"

fast delivery - plnt01

https://soundcloud.com/disckadi for https://soundcloud.com/amdience

https://www.retreatradio.net/lost-in-transition

Lost In Transition #13 w/ Discka (10/04/24)

@geierausstahl

Archetype - The Ick
Vinyl/Streaming/Digital
- 27.03.24 -

The Ick — a sense of sanity amidst the storm of information. This album by Archetype is an abstract scream for something quite fragile — a polarizing society, disruptive isolation, and the fading collective experience. Utilizing dramatic vocals, industrial trip-hop, and post-punk-leaning electronics, Archetype marks the new moniker by the ever-versatile Viennese Rotterdammer, Leonard Prochazka. Following his manifold of concept-driven, instinctive musical output, Archetype's "The Ick" releases in 2024, following "Strapazen und Genesung" as Geier Aus Stahl on Knekelhuis in 2022.

Archetype - I See Numbers

Shadows Lifted from Invisible Hands
by James Hoff

Shadows Lifted from Invisible Hands is an autobiographical record, comprised of four songs that Hoff refers to as ambient media. Each track is composed from sources drawn from his own involuntary aural landscape, specifically musical earworms and tinnitus frequencies.

Neither sound nor a daydream, the earworm (or stuck song) emblematizes music as a commercial form—immediate, ubiquitous, and persistent. Likewise, tinnitus is inaudible and unscrupulous, manifesting across a spectrum of frequencies at will. The cognitive swirling of these phenomena provides an ambivalent, internal soundtrack that scores a person’s movement through the world.

Those suffering from tinnitus or those who have grown accustomed to the “Tinnitus Effect” in movies will likely recognize the buzzing pitches on the record, but will likely not recognize the songs. Distorted and distilled, Shadows Lifted from Invisible Hands features altered versions of four commercial pop songs: Blondie’s “Heart of Glass,” David Bowie’s “Space Oddity,” Madonna’s “Into the Groove,” and Lou Reed’s “Perfect Day.”

Having been haunted by these songs on and off for years, Hoff tweaks the tracks, transposing and recomposing them for orchestral instrumentation. Speaking back to these involuntary echoes, these tracks go to great lengths to obfuscate their sources; to be sure not to simply re-introduce each earworm, as though they were samples. Otherwise, what’s the point? No one needs another stream.

Besides, earworms are not music, although we perceive them as such. They are non-cochlear and exist as an affective force that is neither subjective nor objective, which is to say they are an invasive—and alien—phenomenon. Like tinnitus, they are aggravated by economic, social, and environmental forces as well as emotional states, mental health, and aging. Hoff doesn’t underplay his own struggles with mental health in discussing the record—noting a long history of depression and its acuteness over the last few years, which serve as the backdrop to the composition of this record.

Scratch any pop song hard enough and you’ll find sadness underneath it. Subdermal, the songs on this record evoke a type of ephemeral weariness and despair. By recasting the original songs through their shadowy doubles, Hoff provides a window into the dark core of pop music. At the center of which lies capitalism’s desperate attempt to replicate itself through a cheap high built on echoing refrains. Just below the surface the listener finds a hangover of shadows dancing through the mind.

—

James Hoff is an artist living and working in New York. He has exhibited and performed internationally. He co-founded Primary Information in 2006 to publish historical and contemporary artists’ books.

JAMES HOFF 'Everything You Want Less Time' (SP151)

»grain« is the third Innode release following on from »Gridshifter« in 2013 and »syn« in 2021.

A new methodology to make the album is applied yet again from the trio of Bernhard Breuer, Steven Hess and Stefan Németh. The approach is more an anti approach where the trio let the process of creation itself steer the development of the recording, without any prior conceptual agenda.

Irregular rhythmic patterns often served as the initial springboard for each piece with Breuer creating a loop either by playing drums or with the aid of a modelling percussion synthesizer. The results often bypass existing formulaic grids. The outfit embraced these anti-precision steps building shapes around the tarnished templates.

The process of building upon the core structures laid forth alters throughout. In the case of »Splitter« you can hear an example of Bernhard´s core loops dominating a skeletal audio sphere. The title of the track »Impactopium« reflects the process of its construction being a conglomeration of individual titles meshed into a whole. The audio is a non-linear compendium of several fragments of individual elements. A conscious method of exploring a more decentralised architecture saw three disparate elements layered randomly on top of each other with some synths added as a sonic seasoning at the later stages.

Elsewhere sonic elements are restructured in unusual ways. One member's contribution is completely stripped away, quiet sounds captured with contact mics are highly amplified, the last track introduces twisted themes of the first track.

The title »grain« refers to the roughness resulting from these explorations. It also takes note of the term grain as used in analogue photography or in the case of audio as a distorted signal, or »noise.« All of these elements, normally eschewed, are here embraced as a thematic thread to instigate the exploratory proceedings.

This is a playbox of inventiveness, a hall of mirrors and an endless search for unusual tactics and fresh results.

Tackling the initial loop tracks from a wide variety of strategic approaches Innode has concocted a strangely cohesive work. From sparse source material to heavy overdubs of overdubs »grain« is a uplifting collection of works from this relentlessly curious and exploratory Austrian outfit. Humans make the work but the random embracing of unexpected processes means the gentleman of the outfit is not fully ruling what becomes of these works.

grain

Splitter

Innode 'Splitter' (EMEGO311)

Original Production Piece April 2024

OL - Live In The Hall Reverb - Drone Operatør Remix

Stdcout – Too Much

Independent record company based in Vienna.
For Spectrum Spools go here: https://soundcloud.com/spectrumspools

Innode 'Splitter' (EMEGO311)

Editions Mego

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