release on 16 April 2021 : https://bit.ly/3sprFeO
@lilvica

Fibre-Fusion is Vica Pacheco's second full-length album, following Symplegmata, released on the Belgian label KRAAK in 2020. It continues her work on mutation and the energies that are released from new forms of life. Mexican artist, now based in Brussels, Vica Pacheco combines archaic and technological elements to create a mythology of invisible spheres.

Vica Pacheco - Oruga

I come to say goodbye x Cardigan (Slowed + Extended)

A I W A - Some Time Maybe

[LLM004]

A1 ... Exo | official video: http://bit.ly/llm004_yt
A2 .. Plus
A3 .. Errors
A4 .. Klint
A5 .. Torn
B1 ... Neoneon
B2 .. Airless / Portals
B3 .. Snake
B4 .. Sensor

Produced by Phil Struck. Mastered by Manes at SALZ. Artwork by Phil Struck. Design by Alex Ketzer. Video by Irwin Barbé and Louise Ernandez. Distributed by Noorden.

© 2017 LL.M. | noorden.org/llm

Klint

[LLM004] Phil Struck - Klint

AGF Producktion: agfproducktion.com

instrumental version for spoken word/ rap artist Dalib:
https://agf-poemproducer.bandcamp.com/album/syntax-mirror

Syntax Mirror

DSCHUNGEL (instrumental)

excerpt from Frnk Hurrican's Pymp World LP

Frank Hurricane excerpt

R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her
solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop
minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated
on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On
manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch. The songs are full of
air and light; infectious, melodic and off-the-cuff.
Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth
belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language –
divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel
guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes,
realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the
undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like
the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps
and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of
perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of
repetitive listening.
Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist
mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist
becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at
the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces
Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless,
conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go
outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be
honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting.
The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and
grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a
loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble
provides aural snakes for the listener’s ear to follow.

R. Elizabeth - SPIRITUAL TO SYMPHONY (from Every And All We Voyage On)

http://www.folkloretapes.co.uk/product/ethereal-transects-the-lore-of-celestial-objects

Ethereal Transects - The Lore of Celestial Objects

Greg Fox - From The Cessation Of What

From Contact.
Learn more here: https://smarturl.it/rvngnl59

https://www.igetrvng.com

Contact

From the Cessation of What

Greg Fox - From The Cessation Of What

I (archive + time)
all the sounds are either recorded on the 21st september 2020 or from the archive made or recorded on the 21st september between 2007 and 2019. the arbitrary number of a date serves as an archival organisation and becomes here a structrural method that opposes and modifies the intuitive memory.

II (recordings and ghosts, the dead silence)
the sounds are recorded on a walk between bethaniendamm and urbanhafen alongside the former luisenstaetischer kanal. all the recordings of that walk are either a.) traces of em-signals or b.) resonating objects (hit or bowed) found along the way (so that the listener can follow the traces of the objects during the walk).
the recording itself happened during a monday night around 3 am. in the dead silence of the night. walking around with an em-detector and hitting on things like hunting or summoning ghosts: the sounds stand out against small noises of sleeping swans, startled residents or coincidental droping seeds from trees. so listening in this regard becomes more than listening to the sound itself. the decay of each sound is looking into the nothingness of silence.
the metaphor dead-silence refers to the non-availabilty (unverfügbarkeit) of the dead that slip away into nothingness. only memories hold a connection to the gone, to the past that otherwise would be nothing, silence. a decaying sound in the dead silence of the night thus becomes a sort of bridge, channel, vehicle to the dead (silence).
while for husserl the melody is an example of the process of retention, where we are able to recollect a certain amount of signals even without activly memorizing them, the musical structure at play in this piece works with layering parallels of single events that in confrontation become a (more or less) organized structure (dub and overdubbing).

III (luisenstädtischer kanal)
the luisenstädtischer kanal (1852) connected the spree and the landwehrkanal. mainly used for the construction of the densly populated area luisenstadt, it was filled with earth from the construction of the u8 to be reebuild as a public park in 1926 (as reconstructed today). after the second worldwar it was filled further with trümmer (debris) of the bombings and became 1961 part of the mauer, the border between east and west-berlin, the so called todesstreifen (death-strip).

0920_21 dead silence of the night

info: https://radio.syg.ma/episodes/unline-frequencies-earshot-xi
https://unline.bandcamp.com

Unline

Unline Frequencies – Earshot XI

Folklore Tapes is an open-ended research project exploring the vernacular arcana of Great Britain and beyond; traversing the myths, mysteries, magic and strange phenomena of the old counties via abstracted musical reinterpretation and experimental visuals. The driving principle of the project is to bring the nation’s folk record to life, to rekindle interest in the treasure trove of traditional culture by finding new forms for its expression. 