Le guide de conversations périphériques en 26 leçons et 28 minutes est une méthode d’apprentissage: Un abécédaire
sonore et vocale en 26 lettres et 26 leçons pour écouter le bruit des autres. Cette méthode vocale, musicale et didactique vous permet d’explorer ce qui se trouve entre nos paroles et d’appréhender les mélodies périphériques de nos échanges.

Guide - De - Conversations - Peripheriques

guest mix for mobbs' nts show 04.05.17
http://www.nts.live/shows/mobbs

Peter Ablinger - Deus Cantando (God Singing)
Anne Gillis - untitled
Nzumbe - Serpientes y Escaleras
Vindicatrix x New Noveta - L'Horloge
Flora Yin-Wong - Dispel (Michael Speers edit)
Angelo Harmsworth - Fever II
FIFA World Cup 2014 Final Emotions
Harley Gaber - The Winds Rise In The North Pt.1
Jacques Beloeil - The Bath of Stars
Walter Marchetti - Per la sette dell'orecchio
Lugh - untitled
Acolytes - mxe666
Meshuggah - Bleed
Xao - Kepteflikqua
Michael Speers - broken+glass.jpg_format=1500w
Bazer - No Escape
HVAD - Angst
Moro - Arrepientanse
Moor Mother - KBGK
Maria W Horn - Unit IV
Olan Monk - Tomb
Kevin Drumm - Hitting the Pavement
M.E.S.H. - The Black Pill
Flora Yin-Wong - Lugere

NTS Mix for Mobbs

Bad Tracking are a duo from Bristol, the latest project to emerge out of the industrious DIY hustle affiliated with Studio Tape Echo, rwdfwd and an array of associated labels run by Alex Digard and Daniel Davies aka Ossia. The second release on Digard’s own Mechanical Reproductions imprint after the sub-bass crossfire and detonative drum workouts of Via Maris, this release comes as a strong distillation of a boisterous live show that allegedly features all manner of lewd actions, including, thankfully, some obligatory full frontal for the pervs.

On ‘XP-3’ however there are shades of unexpected sublimation forming a signature balanced between hedonism and introspection. There’s plenty of heavy manners in the brute soundsystem discord that dominates proceedings – all crude, chattering percussion and industrial dub treatments – but the climactic and memorable element comes in the form of a purified ambient glow that suggests a clean break of euphoria as much as losing your mind with your head in the bass bin. If Shackleton’s ‘Soundboy Punishments’ were to have met the ‘Endless Summer’ of Fennesz, perhaps it would have sounded something like this.

PREMIERE: Bad Tracking - XP-3 [Mechanical Reproductions]

2nd track of Juvenile tape (Cold Milk 2017)

Outback

Pirate Sessions

Viridian_b4

Electro Techno Acid Genes 1

Excerpt from upcoming album 'Vernalis', due out in 2019 on Eiderdown Records. Recorded March 2018 in Jute Box Studios, Bristol. Music performed by Aonghus Reidy, recording engineered by Chris Hollis.

Prevernal - Excerpt

Michael Speers - xtr'ctn (LP)*OUT NOW*

Format: Digital/Vinyl
Cat.No: CANVAS005
Release Date: 13th of September 2019

;
synthetic listening environments :: created with material extracted from field recordings and processed/arranged using software, alongside electronic signals from no-input feedback + test equipment.

most of the source material was generated at my place of work[as a technician]—whilst testing large amounts of audio equipment—capturing electronics’ internal behaviours + using very high levels of amplification on various small capsule microphones, connected to wireless transmitters placed in resonant vessels/spaces and materials of interest
;

Northern Irish, London based musician Michael Speers composes and performs music as a temporal and worldly extension of himself and the tools at his disposition. As a percussionist by training, Michael extends his contact and interplay with resonant objects through instrumentalised amplification and feedback, employing signal processing to articulate the almost tangible constitution of sonic material as structural, nearly cellular, microscopic entities. Following his integral presence in C.A.N.V.A.S. performance events since their inception and his recent participation in the Cipher compilation, xtr’ctn is released in September 2019 as a debut solo LP for both the artist and the label.

Dehumanised black metal screams, attributed to seagulls - specifically “recorded in Ramsgate, 06.2017”. It’s the inhuman that concerns us here, or our complex relationship with non-human entities and abstractions. Extracting is a process. By integrating recorded and found sound phenomena, treated as profane and material entities, Michael meticulously arranges sound objects into composition, upholding a fidelity to their emergent properties. Most of these objects become seemingly un-referential, although occasionally you arrive at a near-recognisable sound source or environment, disrupting the invitation towards a total loss of a sense of self.

This is fictional music - it is of and for a world that doesn’t exist. Although presenting sound with sincerity and integrity, without allusion to linear narrative, Michael's materialistic approach is transcended by the sensitivity of his composition. In a sense, it comes after both feeling and expression, as the subdued emotion of a person attempting to reach beyond their own affective limitations. It reaches out without ever really touching anything. Yet for all it’s clinical reduction, there are moments of unhindered emotion which strike harder for their arrival from such a seemingly nonhuman place.

“xtr’ctn” fails in reaching a point of immanent abstraction - a flatline horizon. It arrives instead at the outer brim of a sensory dam, where organic glitches from the extremities of our perception have spread - like sonic cataracts - intercepting the flow of our auditory awareness. In its state of fiction, “xtr’ctn” acts as a flag for the C.A.N.V.A.S. community, pitched as a marker of our enacted existence, weathered though unliving. To follow this signal to its depth is to accept the unknown - you only follow, knowing no alternative.

Mastering by Ali Najafi
Artwork and product design by AALTAR

@michaelspeers

www.c-a-n-v-a-s.com

Buy DL/LP

Michael Speers - tombeau

* Announcing CANVAS005 *

Michael Speers - xtr'ctn (LP)

Format: Digital/Vinyl
Cat.No: CANVAS005
Release Date: 13th of September 2019

;
synthetic listening environments :: created with material extracted from field recordings and processed/arranged using software, alongside electronic signals from no-input feedback + test equipment.

most of the source material was generated at my place of work[as a technician]—whilst testing large amounts of audio equipment—capturing electronics’ internal behaviours + using very high levels of amplification on various small capsule microphones, connected to wireless transmitters placed in resonant vessels/spaces and materials of interest
;

Northern Irish, London based musician Michael Speers composes and performs music as a temporal and worldly extension of himself and the tools at his disposition. As a percussionist by training, Michael extends his contact and interplay with resonant objects through instrumentalised amplification and feedback, employing signal processing to articulate the almost tangible constitution of sonic material as structural, nearly cellular, microscopic entities. Following his integral presence in C.A.N.V.A.S. performance events since their inception and his recent participation in the Cipher compilation, xtr’ctn is released in September 2019 as a debut solo LP for both the artist and the label.

Dehumanised black metal screams, attributed to seagulls - specifically “recorded in Ramsgate, 06.2017”. It’s the inhuman that concerns us here, or our complex relationship with non-human entities and abstractions. Extracting is a process. By integrating recorded and found sound phenomena, treated as profane and material entities, Michael meticulously arranges sound objects into composition, upholding a fidelity to their emergent properties. Most of these objects become seemingly un-referential, although occasionally you arrive at a near-recognisable sound source or environment, disrupting the invitation towards a total loss of a sense of self.

This is fictional music - it is of and for a world that doesn’t exist. Although presenting sound with sincerity and integrity, without allusion to linear narrative, Michael's materialistic approach is transcended by the sensitivity of his composition. In a sense, it comes after both feeling and expression, as the subdued emotion of a person attempting to reach beyond their own affective limitations. It reaches out without ever really touching anything. Yet for all it’s clinical reduction, there are moments of unhindered emotion which strike harder for their arrival from such a seemingly nonhuman place.

“xtr’ctn” fails in reaching a point of immanent abstraction - a flatline horizon. It arrives instead at the outer brim of a sensory dam, where organic glitches from the extremities of our perception have spread - like sonic cataracts - intercepting the flow of our auditory awareness. In its state of fiction, “xtr’ctn” acts as a flag for the C.A.N.V.A.S. community, pitched as a marker of our enacted existence, weathered though unliving. To follow this signal to its depth is to accept the unknown - you only follow, knowing no alternative.

Mastering by Ali Najafi
Artwork and product design by AALTAR

@michaelspeers

www.c-a-n-v-a-s.com

Michael Speers - sul. locus

EP/64-53 with Aonghus Reidy (Synth), Dan Johnson (Drums) & Dali (Vocals+Fx) 
Supporting Bonnacon of doom at The Lanes (Bristol) 08/11/19

Raw material recorded Live by Lorenzo Cecchi 
Picture by Simon Holliday

EP64-53

Experimental live subtle wild improvisation with variable geometry, including a lot of friends

EP64-53

EP/64

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