This Mixtape is a compilation of tracks produced by the participates of the 'Take it from the bird - creating music inspired by the Superb Lyrebird' workshop I lead for Unthinking / Unlearning - an online laboratory and residency, a part of the Year of Germany in Russia 2020/21 and collaboration between Klammklang label, Sound Studies and Sonic Arts (M.A.) at the Universität der Künste Berlin and Sound Art and Sound Studies (M.A.) at HSE Art and Design School, Moscow.

‘The Superb Lyrebird’ is an Australian Native bird, which is capable of mimicking natural and synthetic sounds from its natural environment — Participants created their own music sampling biorhythms and timbres from an animal sound open-access archive.

Track list:
Alexandra Kopelyan - In a Bittern Voice
Isa sO.any - Myai
Alexey Berezhnoy - Flat ES Ecosystem
Anton Anishchanka - Bear Habitat
Ira Afanaseva - Dogs in the yard
Lera Elagina - Kozhuhovo Birds
Masha Alexandrova - Fin 
Ystalost Dimecres - Untitled.

Take it from the bird - creating music inspired by the Superb lyrebird U/U workshop mix tape

Ecstatic is thrilled to announce Foreign Body, the latest release from Barcelona-based Dania Shihab, who crafts dreamlike transmissions into the evocative concept of the 'foreign body' in the context of forced migration and cultural loss. 

A tapestry of sounds and emotions, this work is a product of Dania's exploration of her experiences as an Iraqi-born individual who grew up in Tasmania, Australia, an island where her native culture was completely absent. The profound sense of longing for a homeland that has never truly been experienced reverberates throughout, with each track poignantly capturing the complexities of feeling like a stranger in one's own body and society. 

Inspired by her work as an emergency doctor, the artist delves into the idea of removing foreign bodies, and sees forced migrants as 'foreign bodies' within their adopted societies. This release serves as a window into the emotional displacement of forced migrants and the struggle for cultural identity. 

Foreign Body was written and recorded at home in Barcelona, using a 4-track tape recorder, vocal looping techniques, modular synthesis, and collaged samples of Iraqi musicians and poets from the post-Gulf War era into an amorphous cloud of magnetic drones and soft hypnogogic vocal textures to entrance the listener. 

An emotive and evocative release, Foreign Body weaves together sounds and stories to explore a universal human experience. It is a testament to the sublime power of music to communicate emotion.

Dania - Foreign Body

Synth and drummy post-punk by two annoying people—not my quote—from, I don't know, Berlin? Yes, this bedroom project shows high aspirations of conceptual nihilism in a rudimentary collage way. The album title is a doozy—stoner humor. First you hear a helicopter, then a drumbeat, and a great use of spatial placement. The lyrics are about something too political and philosophical to expound upon here, but worth a listen.

High For No Reason

Stream album

Klapper - "All Areas Of Life" (2024)

C O L O R C O M P 0 1 6
https://colorsquadrecords.bandcamp.com/album/c-o-l-o-r-s-q-u-a-d-0-1-6

01 - Samplequence - Micrologue 2
02 - pinkfire - plaxisf
03 - predawka - aprilj tango
04 - Jaquarius - La Caneda21615
05 - Clavicul - joyspell
06 - Godbath - Helld Peter Edition
07 - Human Behind Pluto - Heat Death
08 - ±v​McÇ - 🜏🜒🜓🜒🜏[of0]
09 - Neuronal Grip - Space Eklypsidum
10 - Tunnel One - The Makari Conglomerate
11 - hecks - boymode theme
12 - utopia cloak - coloursamba
13 - ir_ - You're Always With Me
14 - iceleaps - surrender rmx
15 - Boat Hemp - Coagula
16 - The Simian - Shoebox Faces
17 - gherat - Black Center Line
18 - Jeremy Caudle - めぐすり
19 - tsev - karidaklas
20 - James the Seventh Sun - Belly
21 - Tom Sine - Black CD Tune
22 - lord timothy dexter - floating in space
23 - pertwillaby - Adaptation #2 - Enjoindre (Allégorie relative à la venimosité de l'herbe)
24 - ®adår - Disturb The Bird
25 - Greystar - Into The Vortex 6.23
26 - Fergus McQueenie - Evil Spirits
27 - latchwork - C-45
28 - Plynth - Mandy Acid
29 - Nike Vomita - model_ZBass
30 - louis serieusement x rave industries - membrane funk
31 - ambicumber - Farfalla Ti Do
32 - green - this is a pine trip
33 - ≤'µ∫O ƒlO√∑∫ - mx_s27
34 - entrave - trBmEl
35 - Playlist - Olmc K
36 - motorwrists - enidun viii
37 - 6° - 430m
38 - GOONSLUG - Why Do Windows Have So Much To Say
39 - Adrian Ljussing - Wholer
40 - Veelargo - ANT PARADE
41 - A Spectator - Acronymid
42 - Pippy - Generative Vocal Design
43 - Confreg - Kombucha
44 - fuwap - I'd Care Much More If You Did Too
45 - JFM - Next Life
46 - Goodnight Mountain Flowers - Window Is Broken
47 - 1coldboy - 7723 ULTM (colorsquad exclusive) edit
48 - Spoutnik - Little Robot

C O L O R S Q U A D 0 1 6

bandcamp

Little Robot

Falling In Slow Motion

https://123456789666.bandcamp.com/track/drug-i-should-try-it-live-version

123456789 - DRUG I SHOULD TRY IT (Lorient, 2021)

Buy: https://scapeone.bandcamp.com/album/the-shadow-of-glass
Stream: https://share.amuse.io/nXeHfkDDpSmH

After The Rain

loud

20241214 Liliblue Mix08 (Art Punk, Downbeat, Experimental, Industrial)

9’56''

Introductory note

‘in my maze’ is an independent sound composition based on a walk-in 3D installation that I developed in Second Life in 2024. It was inspired by my many years of work with the Avatar Orchestra Metaverse. To me, Second Life is not a game, but rather an artistic medium — a walk-in chat room complete with spatial stereo sound and 3D video. As a composer, builder and performer, I utilise its immersive capabilities in ways that transcend the concepts of commercial metaverses.

Avatars traverse my semi-transparent sound labyrinth, activating location-based sound objects and generating sound sequences that emerge from the situation. Their paths are an expression of their individual freedom to create sound in digital space. As with simultaneous chats, streams and background processes, time becomes fragmented and runs in parallel. Sonic coherence emerges through movement and interaction. 

Transformed swallow calls (natural sound), glockenspiel notes (human musical instrument) and modulated sine tones (digital world) intertwine to form a new tonal topology. Above a fundamental tone of 200 Hz, I construct pure minor thirds (6:5) that do not form octaves, producing audible beats. This is accompanied by my whispered text, 'Ancestralities' – a multilingual, poetic, fragmentary exploration of origin, inherited patterns, and emotional ambivalence towards one's own ancestry. 

By encoding interactive spatial structures as multi-layered sound forms, my maze subverts conventional listening experiences and deliberately sets transgressive impulses in motion. Rather than presenting 'internet music' as an aesthetic of permanent streaming, the composition offers an acoustic cartography of a metaverse in which the perception of time, identity and space can be experienced in sensual, fragmented and ambivalent ways. 

I 'play' my original Second Life installation as though it were an interactive instrument. Its spatial arrangement forms the tonal basis of an original fixed media composition. The labyrinth structure is translated into a rhizomatic network architecture comprising branching paths and an open form with no linear dramaturgy. Like the labyrinth itself, the text fragments reflect inner and genealogical turmoil.

A performance video by the Avatar Orchestra Metaverse documents the audiovisual context of my 3D installation in Second Life (https://youtu.be/4CRTNbabxw4?si=m6OJsFsW7oPFxEeA&t=1255, from 20:08). All the sounds you hear were played in real time by the avatars in Second Life during the performance. This is not a recording or post-production soundtrack.

in my maze (2025)

Mikron – Embers, taken from their LP Severance.

Severance

Mikron - Embers

Felicity Mangan is an Australian sound artist and composer based in Berlin, Germany.  In different situations such as solo performances and collaborative projects, Felicity samples and plays her field recordings and found sounds to create quasi-bioacoustic music.

Felicity has released several solo publications, one on Longform Editions titled Stereo’frog’ic, a play on the word stereophonic –  presenting a sound piece, crafted from found recordings of frogs, insects and other ‘vocal’ animals wavering about in a stereo field. As well as Creepy Crawly (Mappa Editions) and Bell Metal Reeds (One Instrument). More recently Wet on Wet (Klangklamm/Warm Winters Ltd.), Train Tracks Recorded and Editing by Felicity Mangan (Possible Motive) and a single Körner Park (Care of Editions). As well as a former duo project release with Stine Janvin Native Instrument - Camo (Shelter Press). Felicity has presented projects in many different settings including Technosphärenklänge CTM/HKW, Sonic Act Academy and Sound design for 100 Climate Conversation for the Power House Museum, Sydney, Australia.