betty hammerschlag - dawn

I cut this track out from bigger piece i made. i think its good enough to have focus on this part. enjoy :)

terrible clarity

layer by layer

@aradacid
@z05

Artwork by Tamari Japaridze


breath

i invited Lilic and Mori because I've been following , loving and getting inspired by their tender crazy quirky emotional personal dramatic and sometimes a (little tiny) bit extreme music for years now and tbhh it's kinda crazy that they wanted to collab with me😭🕯️🕯️🕯️🕯️🕯️🕯️🕯️🕯️🕯️🕯️🩶

【 Julek ploski 】

BING CROSBY - Do You Hear What I Hear?

KENDRICK LAMAR - Michael Jordan (Feat. Schoolboy Q) [Overly Dedicated]

COMPUTER DOCTOR—No

TANCLA - Zoe039s Lullaby

JUSTIN BIEBER - Boyfriend (Official Audio)

XAVIER CUGAT AND HIS ORCHESTRA - Perfidia



【 Mori Mori 】

GALINA USTVOLSKAYA - Twelve Preludes For Piano XII

MIDAIRCONDO - Could You Please Stop

IN HEAVEN EVERYTHING IS FINE - slow-brain

RYONG - Art of Like

JUAN HIDALGO - Rrose SeÌ lavy (Solo)

PRIN€ESS - In the Morning

POMME - bratty

ELLI - Thorn (Demo)

LASZLO HORVATH - Hell



【 Lilic 】

RAINFIELD + 508BOY - epic fail [pilotkid]

JJ - CELEBRIS x Gang Gang Dance - Vaccum

MARK KOZELEK - You Ain’t Got A Hold On Me

G1 - I want it bad

CHINA POET - mad riches

HUMBLE HATIAN - REMEMBER 

DJ FARRAN - THE KILL

GIVE UP RADIO w/julek ploski, Mori Mori, Lilic

MK Velsorf, Aase Nielsen - Prelude
Ruben Machtelinckx, Hilmar Jensson, Joachim Badenhorst, Nathan Wouters - Peterson
Ani Zakareishvili - At First
Loke Rahbek & Frederik Valentin - Happiness
Four Tet - Parks
Ellen Arkbro, Johan Graden - Temple
Psn15 - Delta 1
The Roots feat. Erykah Badu - You Got Me
TSVI, Loraine James - Trust
Psn15 - First Part
DJ Rashad - Rollin’
Rustgevende Regenbood - Strand stilte mediteren X Hihats In Trees, Lander Gyselinck - Sandaalwoud
rec - how you doing what you want
Daniel Majer - C Pop
Bawo - Stay Close
Anja Ngozi - Sunnyside (Reprise)
rest symbol - 6
AL-90, Monokle - ПЭ№32
Daniel Majer - Contact
Wedding String Quartet, Sisqó - Thong Song
Daniel Majer - I Dreamed a Beating Heart

OB0555 — Virginia Waters

Label + event series run by otis, Slagwerk operates as a platform primarily focussing on contemporary experimental music and digital art. Besides organizing events, they present themselves as a music label. Their aesthetic ranges from metamodern internetculture to endeavours into spiritual ambiences contaminated with strikingly metallic club environments.

Slagwerk w/ DJ Corpmane @ Kiosk Radio 02.08.2025

From 'Hyperacusis', out August 29th on Transatlantic.

THE BUY: https://transatlanticrecords.bandcamp.com/album/hyperacusis

@transatlanticrecords

If you didn't know, now, you, specifically, you, you know. You've integrated this thing within the fabric of your being, it's in you now, irrevocably and epigenetically. It's among all of us now. It's always been known. What you know: you've listened to 'Hope You're Fine' by LOVE US, forthcoming on Transatlantic and premiered by Madjestic Kasual. You've liked, reposted, shared relentlessly and repeatedly. You know this. If at some point you didn't, you don't not know this anymore. You know this, it's known.

the buy

LOVE US - Hope You’re Fine [MK PREMIERE]

reflects and hides

l*** nad j** song

In Hell we trust

THROUGH GLASS
by MAX DEVEREAUX & KAZUYA ISHIGAMI

released July 15, 2025

Digital Album  $2 USD  or more
edition of 25 Cassette  $6 USD or more 

1.FRIED GRASSHOPPERS 03:53
2.GALVANIZED STEEL TUB 03:10
3.PARTICULATES 04:33
4.SHED FESTIVAL 05:03
5.RIVER OF RAZORS 02:17
6.CORRUPT WIND-UP 04:48
7.THROUGH GLASS 05:54
8.THE LOWEST CHAMBER 05:29
9.WORKING TO RETURN 06:09

Side A : 1-5
Side B : 6-9


Through Glass is the result of a deeply collaborative and cross-continental experiment between Japanese electroacoustic composer Kazuya Ishigami and American multidisciplinary artist Max Devereaux. Rooted in contrasting yet complementary approaches, the project unfolds as a dialogue between structured sound design and spontaneous sonic exploration.

The process began with Kazuya Ishigami, who created a series of intricate sound materials, merging electroacoustic textures, noise fragments, and ambient field recordings. These materials were then sent to Max Devereaux, who layered, reinterpreted, and expanded upon them through improvisation, using field recordings, found objects, contact microphones, and modular synthesizers. Max's additions reflect his tactile and often textural approach, combining environmental sounds and lo-fi textures with gestures that evoke both intimacy and sweeping activity.

The recordings passed once more into Ishigami's hands, where he carefully deconstructed and reassembled the sound elements into finished compositions. His final edits shaped the album into a cohesive whole, blending raw improvisation with composed electroacoustic precision. He also oversaw the mastering process.

The album’s title was chosen by Devereaux, reflecting a feeling he has carried for much of his life as an artist, especially one working within the avant-garde. To him, creating art often feels like living behind glass: present but removed, able to observe and reflect the world with clarity, yet never fully immersed in it. This invisible barrier separates the artist from society, allowing vision without contact, insight without belonging. The music on the album, with its delicate, translucent textures and fleeting glimpses of human presence, seemed to embody this sensation perfectly, like watching life unfold just beyond reach.


breath

expired

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