"An EP of Occult beat music I made to stay sane.
I love you."
- Lvers

Produced and mixed by LVERS

SC : soundcloud.com/lvers
IG : www.instagram.com/l.ver.s

Artwork : T. Strochnis
www.instagram.com/te_strochnis

Mastering : Declared Sound (Dominic Clare)
www.instagram.com/d.glare/

Duplication : Phil Tremble (Nantes)

BANDCAMP

4 LIMBIC GATE - COMA MOB

🔥🔥🔥
🔥🔥🔥
[PIRANHA SIBERIA DUB] proudly presents its 86th release — Mountain Altai VA: Kurkure Waterfall. Dub Techno Star Collection, Vol. 8

Kurkure — a waterfall born of stone and wind. Its name, in the Altai language, means “roaring” — and indeed, this is not water that simply falls, but erupts from the cliffs as a living force. From a height of thirty meters, it crashes down with a sound that fills the entire valley — a sound you can feel in your chest. Its roar is the breath of the earth itself, its heartbeat pulsing in rhythm with the element. Kurkure is where water becomes music, and sound becomes water. Here, nature creates its own dub — the rhythm of stones, the bass of mountains, the echo of wind, and the pulse of Altai. This is a waterfall where water does not merely fall — it opens a gateway. For centuries, shamans have entered dreams here: in the thunder of water, they heard the voices of spirits; in the spray, they saw visions of other worlds.

Vol. 8 of Mountain Altai VA is dedicated to this sacred place — the point where the energy of water transforms into pure sound. Nine tracks cascade like waterfalls, where every note is a drop in motion, and every bassline — a collision of element and stone.

::: Monophaze (@sid85) — “At Entrance With Stones”
The finale. At the entrance of the gorge lie stones polished by centuries. “At Entrance With Stones” is both farewell and beginning — a crossing between earth and water, sound and stillness. Music that stands on the threshold of eternity.

Mountain Altai VA: Kurkure Waterfall is the eighth chapter of our Altai chronicle — where sound takes the shape of flow, and motion becomes meditation. Kurkure is one of the most powerful and mystical places in Altai. Its voice can be heard for miles, yet up close, within the roar, you can hear something else — a rhythm that beats like the pulse of life itself. In that sound lives energy, balance, and infinite motion. This part of the collection, created in celebration of the third anniversary of [PIRANHA SIBERIA DUB], is dedicated to water — living, free, untamed.
Here, dub techno becomes a current — transparent, fluid, unpredictable. It is music that flows, breathes, and purifies. It is Altai — in its purest sound.

Yours in sound and spirit,
The [PIRANHA SIBERIA DUB] Crew.



:::
Mountain Altai VA: Kurkure Waterfall. Dub Techno Star Collection, Vol. 8
1. Brickman - Северный Грув @brickman
2. Farzan Badie - Silent Hours @farzan-badie
3. Baigø - Daruma @baigo
4. Angel Lebailly - Harmony in Dub @lebaillyangel
5. EmmaSoul - Cascade @sphelele-emmasoul
6. Sonic Buckwit - Kamnyŋ Tӱsӱ @sonicbuckwit
7. Rick Fox - Self Service Point 11 @dj_rick_fox
8. Spigl - 03032024 @spigl
9. Monophaze - At Entrance With Stones @sid85
:::
Label: [PIRANHA SIBERIA DUB] – [PSD086VOLUME8]
Format: Digital
Country: Russia
Release date: 26.11.2025
Genre: Electronic
Style: Dub Techno, Deep Techno, Techno


🎬🎬🎬🎬🎬🎬
Proton: https://go.protonradio.com/r/rlELHaKtYhyj4
Bandcamp: https://piranhasiberiadub.bandcamp.com/album/mountain-altai-va-kurkure-waterfall-dub-techno-star-collection-vol-8
Beatport: https://www.beatport.com/release/mountain-altai-va-kurkure-waterfall-dub-techno-star-collection-vol-8/5561490

Mountain Altai VA: Kurkure Waterfall. Dub Techno Star Collection, Vol. 8 [PSD086VOLUME8]

🎹Get your copy🎹

Monophaze - At Entrance With Stones (Original Mix)

Mandala Pressure

wenn es kracht, dann kann noch bisschen 😂✌️ danke für likes und anhören und mir ne Millionen auf PayPal zu schicken.. ihr kennt das, die üblichen dankestexte 😝💯

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M4RC3L [G.o.R] - Lachend in den Limiter

``Kan Jij Goed Overweg Met Een Mooie Single Vrouw Uit Local Area?``



― Naughty Date

Local Area

From the upcoming Album "Vegetal Negatives"
Release Date 29 March 2019
Hallowground.com
HG1901
Vinyl / Digital

”Let us unfold the animal outward: the bronchia will become a thick foliage, keeping its respiratory function, but in reverse, naturally (CO2 absorption), reversed also concerning color, from the tint of calves’ lungs to its complementary cabbage green. The digestive system will become roots, maintaining its role of drawing in nourishment from the outside environment. […] for each animal form there exists a corresponding vegetal form. The man who would find his vegetal negative and unite with it would restore the integrity of the cosmos.”

Vegetal Negatives is a game of sonic mutations, mimicry, inversions, and association inspired by a text called "On pataphotograms", by the French writer René Daumal – a quasi-metaphysical essay that toys with breaking the conceived separateness of natural forms through poetic imagination.

Marja Ahti (b. 1981) is a Swedish-born artist living and working in Turku, Finland. She has been an active part of the Finnish experimental music scene for more than ten years. Now arriving at her debut LP under her own name, Ahti explores a new formal language and sonic palette that ventures far from the path of her earlier work.

The four electroacoustic compositions on the album combine and arrange field recordings, electronic feedback, Buchla and ARP synthesizers, bowl gong and harmonium, textures of detailed acoustic sound, and sustained tones with gentle microtonal beating into a precise musical narrative. She juxtaposes recordings of rooms and empty vessels, natural and artificial climates, spontaneous and staged events. Ahti draws upon Annea Lockwood's ideas about associative movements between sounds based on shared characteristics and sonic energy. Her approach to field recordings is neither diaristic, documentaristic, nor purely acousmatic, but rather it starts out from somewhere in between these notions: the sounds hover between abstraction and the deeply familiar, moving into a realm of poetic metaphor where they are set in relation to each other, fleetingly mirroring or shadow-dancing. Acoustic environments mutate into synthetically derived shadow forms.

The opening track, "Coastal Inversion”, moves from a seemingly familiar seascape into an ocean of wavelike synthetic staccato patterns, turning itself inside-out on the shore, before diving back into a sea of resonance. ”Rooftop gardens” arranges a series of largely unprocessed field recordings into a dream-logic sequence of upward movement towards the clouds. On the other side, ”Symbiogenesis” brews a slow evolution of wet, airy and earthy sounds and resonant friction. The closing track, ”Chora”, imagines a meditative space of breath: filter resonance posing as organ pipes against a backdrop of breezy industrial hoovers merges halfway with a harmonium improvisation that foregrounds the frictions of the wooden instrument itself, just before filtering out into resonant harmony.

Tracklist:
A1) Coastal Inversion (12:14)		B1) Symbiogenesis (07:22)
A2) Rooftop Gardens (05:44)		B2) Chora (10:47)

Credits:
Marja Ahti: composition, production, field recording, Buchla 200 and ARP 2600
Recorded at EMS, Stockholm, WORM, Rotterdam, and on locations in Greece, Alaska, Finland and Sweden.
Mastered by Giuseppe Ielasi
Designed by Ruth Stofer

Vegetal Negatives

BUY VINYL/DL

MARJA AHTI - Symbiogenesis (HG1901)

Selections from 100 Models of Hegikan Roku is the second in an ongoing series of archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows last year’s Selected Early Keyboard Works and anticipates Blank Forms’ publication of Poësy Matters and Other Matters, a two-volume collection of Hennix’s writing.

Upon her return to Sweden from New York in 1971, Hennix sought to form a large ensemble inspired by her encounters with La Monte Young and recordings by the Theatre of Eternal Music. She enlisted her brother Peter Hennix, Hans Isgren, and a dozen Swedish jazz musicians she had previously worked with, naming the group and its pieces of music after the time and days of the week according to the Angus Maclise calendar (e.g. “The Pointed Time Bus”). Frustrated with the jazz musicians’ inability to comprehend and play the intervals of just intonation, she pared the group down to the trio of herself, her brother, and Isgren and christened the live-electronic ensemble The Deontic Miracle. 

In 1976 The Deontic Miracle performed Hennix’s original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer’s Lattice at the Moderna Museet in Stockholm. With Hennix on amplified Renaissance oboe, live electronics, and sine wave generators, her brother on amplified Renaissance oboe, and Isgren on amplified sarangi, the recordings presented here of the group’s first and only public concert see them channeling late period John Coltrane and the sopranino and soprano saxophone playing of La Monte Young and Terry Jennings in the Theatre of Eternal Music. With titles taken from Japanese Gagaku, “Music of Auspicious Clouds” and “Waves of the Blue Sea” are expansive drone improvisations, breathing with the pulsating lull of cicadas’ organic sonic latticework. Now accessible for the first time, these recordings by what Hennix has called “the most rejected band ever formed in Sweden” continue to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.

Catherine Christer Hennix (b. 1948) started her creative career playing drums with her older brother Peter growing up in Sweden where she saw jazz luminaries such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform at the Golden Circle. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she helped develop early synthesizer and tape music. After traveling to New York In 1968, she met Fluxus artists Dick Higgins and Alison Knowles and developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath, and she would later study intensively under him. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage. She currently resides in Berlin, Germany, where she is active as a composer and writer.

The Deontic Miracle: Music Of Auspicious Clouds (excerpt)

Ifs = Krzysztof Freeze Ostrowski & Fischerle

Source: https://fasrat.bandcamp.com/album/fasrat-compilation-3

Ifs - Candyflipper

Slippery (demo)

Taken from 'It's Worse', out on Cafe OTO's digital label Takuroku

TR083 - Shakeeb Abu Hamdan & Sholto Dobie - 'Slows O'er'

The Horse  {w/ Hannah Endrulat}(for RadioWORM/Radia ~ May 27, 2019)

Ifs - Candyflipper

fischerle

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