Sacrifice to Isis is taken from my cassette release called Suite for Radio and Turntable. Application limitations turn these two reproducers of instruments into instruments themselves.

My use of the turntable is limited to hand-spinning LPs on its platter. Further, these LPs must be spun in reverse.

My use of the radio is limited to only brief bursts of transmissions of chance radio shows, usually less than 1-second long.

Together, these two devices, modified either in design (belt removed from turntable) or usage (radio bursts), compliment each other, the turntable providing extended legato passages while the radio becomes a percussion-substitute, its explosions of sound more accent than anything.

Of the ten songs on Suite, Sacrifice to Isis is quite short (2:20 as opposed to Illumination of Rome, 18:50). But it demo's the transformed instruments pretty well.

Sacrifice To Isis

ELEPHANT PUJA

An exploration into the anatomy of the botfly

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AUTOMATA NON GRATA | Pana Radio 28/02/2024 | Copenhagen

Hailing from Copenhagen, Third Foundation Invites artist TNNL to the second episode of the Shitennō-ji Podcast Series.

Featuring labels Zodiac Music, Solumn, Third Foundation, Kurnugû and artists: Aikanã, Ahmad, Bereneces, Bonin, Draven, Dreadmaul, Empty Rituals, Homemade Weapons, Ikiryō, Ital, Itti, Kiri (RIP), LoHim, Shinbu, Riddle and unreleased tracks by TNNL himself and his collaborations.

Respect goes out to TNNL and all the artists featured in this incredible 1 hour mix.

Enjoy!

TNNL:
@TNNL
https://www.instagram.com/tnnl_lnnt/
https://linktr.ee/tnnl

Shitennō-ji 02 - Third Foundation Invites TNNL

Patch Playground V.02

angel shaped snakes

MNMT Recordings : Hewan Aman — Kune Festival 2025

“KUNE was one of my favorite festival experiences this summer. It was an absolute honor to be invited, especially for a set surrounded by fellow story tellers and music selectors I deeply admire. Wild and generous location, giving so much space to move at your own rhythm. I felt connected to the beautiful community that gathers there and held by the presence of the sea, which was like a constant anchor.

The curation stood out. Long sets, excellent sound, beautifully designed stages, and this subtle intensity I keep finding in Denmark. I learned about Yndelov ~ a kind of quiet code that encourages not thinking you’re better than anyone, even when doing something exceptional. I found that spirit present in the way the festival was curated and lived ~ generous, grounded, and without ego.

My set took place between 3 and 6am, in the belly of the Vessel stage, a concrete bunker. The sun rose halfway through ~ I didn’t see it directly, but witnessing it light up people’s faces as they danced was equally moving. Squeezed in between Peachlyfe's dreamy vibe, and Lund & Ronde goblin psy ride I really couldn't be happier.

Big love and thanks to the KUNE family. Really happy to be sharing the recording.”

Hewan Aman is a DJ, sound explorer and artist whose sets move between deep bass, atmospheric layers and emotionally-charged rhythms. Drawing from dub, trance, breaks and experimental club music, she plays with contrasts ~ shadow and light, softness and impact ~ creating space for both introspection and collective release.

Captured live from the concrete belly of the Vessel stage, this set chronicles Hewan Aman’s masterful three-hour navigation from the depths of night into the first light of dawn at Kune Festival. The journey begins in shadow, moving through darker, psychedelic territories, with the mix evolving as the sun begins to rise, skillfully evolving and giving way to an ascendant wave of deeper, euphoric, trancey luminosity.

Follow:
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https://www.instagram.com/hewan.aman/


MNMT Recordings: Hewan Aman — Kune Festival 2025

Sound Theater Archives: Silence the Tongues of Prophecy

If you have the Gravikords, Whirlies and Pyrophones CD/book set, introduced by Tom Waits and nicely produced by Ellipsis Arts, you've already heard the shortened version of this song. This  post is of the original, longer version of Silence the Tongues of Prophecy.

Always fascinated by synthetic speech, as soon as the tech became available (early 1980's) I began building human voice synthesizers. In this recording I use an instrument built around the vintage SP0256-AL2 IC. 

The instrument, in fact, uses two SP0256-AL2s to create a stereo human voice synthesizer. Originally named the "R.A.P." (pre-dates popular rap music and stood for Readily Available Phonemes), I've since re-named it after discovering its circuit-bent personality: the Subliminal Chant Generator.

In the text sheet accompanying the IC I noticed a statement something like, "The SP0256-AL2 needs the control of an external microprocessor to concatenate allophones into words." Immediately I thought, "nah." 

After all, address lines are only voltage levels. I wanted to build a machine with which I could activate allophones manually, by pressing keys on a keyboard, a modern version of the classic 1940's Bell Labs Voder talking machine. 

I did that, and with the addition of the final bending of the circuit (allowing bits to float) the vast realm of subliminal chant appeared.

Here, however, the Subliminal Chant Generator operates in its more overt personality, delivering allophones with clear certainty. The subliminal aspect of the voice synthesis is not presented in this recording but will be in an upcoming post of songs from "Voice of America," a cassette album from my old Sound Theater catalog.

Joining the  Subliminal Chant Generator in this post is one of my first incantors (I'd not yet written about the design, at the time of the recording they couldn't be heard elsewhere). 

That's all you need to know to understand what you'll hear. If you'd like to know more about the instrument, check-out my Facebook post of Dec. 2, 2015 for an up-dated excerpt from my EMI article, "The Subliminal Chant Generator."

Sound Theater Archives: Silence the Tongues of Prophecy

An lectroacoustic composition where I explore the concepts of energy and sound interference, amplified and recorded through special devices. I focus on the sound of "data transmission", describing the environment and objects in the modern prevailing interface.

The piece examines the sounds of "data transmission" through  hyperrealistic recordings of electromagnetic waves in space and amplification of frequencies we use daily through internet and telephone communications. 

"Hertzian rooms*1", is a microscopically focused process and recombination of resonant stretched recordings, intuitively scripted and surrealistically approached,as a reflected  interface of self and technology, sound and data communication.

Hertzian rooms*1

Studied Sound Engineering at Ionian University. Experimenting with any kind of sound as a source in order to produce hybrid soundscapes. Messing with electronics, modular synthesizers & lo-fi synths as well 🌶️🌶️🌶️

Patch Playground V.02

Flyin Ant

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