Name: Kleingeld ╚═ Future Intel ═╗ 18 01 2024 by Future Intel
Duration: 1 h 21 s
Description: Live recording @ the Future Intel headquarters in The Hague. Streaming live on Youtube and futureintelradio.com.

Elena Colombi helps to keep Mondays weird - expect a diverse range of up-and-at-'em records: from techno to post-punk, through EBM, industrial and -wave...

https://www.nts.live/shows/elena-colombi/episodes/elena-colombi-hannah-pezzack-27th-june-2023

Elena Colombi w/ Hannah Pezzack 270623

Live recording @ the Future Intel headquarters in The Hague. Streaming live on Youtube and futureintelradio.com.

Kleingeld ╚═ Future Intel ═╗ 18 01 2024

Broadcasted live at Radio Tempo Não Pára (19.01.2024)

Artist: @hannah-pezzack

Hannah Pezzack @ Radio TNP 19.01.2024

Phase Group  (28/1/24)

Dawn moods for the early birds, courtesy of Sleepier & Impey aka Spirit Blue.  
https://www.nts.live/shows/early-bird-show-spirit-blue/episodes/early-bird-show-spirit-blue-31st-january-2024

The Early Bird Show w/ Spirit Blue & Fauzia 310124

Noriko Sekiguchi, aka POiSON GiRL FRiEND, joins me as a guest playing an hour-long mix of foundational music that influenced her musical career.


Digging Deep w/ POiSON GiRL FRiEND (01/02/24)

Building on a traditional relationship of radio and experimental sonic art, the class Akustische Kunst, conducted by Phillip Schulze @ Klang und Realität produced a show that reflects their connection to the human voice within the intersections of art and science.
All pieces by the artists involved:

    David Hanraths
    Fjodor Gladilin
    Hendrik Klatte
    Ioannis Theocharis
    EZB (Thomas Meckel, Josephine Stamer)
    Leila Zaman Ahmadi
    Phillip Schulze
    Shuoxin Tan

With text by:

    Clarence Barlow
    Roland Barthes
    John Cage
    Adriana Cavarero
    Gilles Deleuze und Felix Guattari
    Descript
    Mladen Dolar
    Felix Ensslin
    Brigitte Felderer
    Bijan Jalali
    Friedrich Kittler
    Brandon LaBelle
    Mara Mills
    Norie Neumark
    Wikipedia

Dramaturgy and Production: Fjodor Gladilin, David Hanraths, Hendrik Klatte, Josephine Stamer

In cooperation with the Robert Schumann Hochschule Düsseldorf.
Akustische Kunst. A seminar conducted by Phillip Schulze in the master's program Klang & Realität at the Institut für Musik und Medien.

https://klang-und-realitaet.rsh-duesseldorf.de/
https://www.rsh-duesseldorf.de/en/institutes/institute-for-music-and-media/
https://www.rsh-duesseldorf.de/

The Plural Of Voices w/ Akustische Kunst

"Raga Vibrations" is a monthly selection of Indian music curated by Greg Davis. 
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/raga-vibrations/episodes/raga-vibrations-16th-march-2024

Raga Vibrations 160324

Boris Rogowski – The Darkness of Future Past
(out on piano and coffee records on November 7, 2025)

Jonas Burgwinkel—drums
Viktorija Kukule—vocals
Roland Muenchow—flute
Boris Rogowski—keyboards, (bass) guitar, percussion, programming, vocals
David Schuette—cello
Isabelle Seemann—vocals

Press info:
Somehow, Boris Rogowski’s The Darkness of Future Past manages to go from Renaissance and Baroque influences and minimalist piano pieces via Ambient all the way to arena-sized pop music. It has no right to work, but it works perfectly. I don’t know how.
If I had only one word to describe its general mood, I would call it haunting. And the album itself is haunted, too, by the ghosts of the past, of classical composers (Orlando DiLasso, Eric Satie and Alfred Schnittke explicitly, many others lurk in the shadows) and more recent musical specters. It’s called The Darkness of Future Past, and yes, that’s a Twin Peaks reference… but let’s not make too much of it, there are no real connections (I think!) except for a general love of mystery, darkness and beauty.

In contrast to Rogowski’s 2023 album The Waste Land that was largely defined by a good amount of classical rigor, consistent chamber instrumentation and a complete lack of vocals, The Darkness of Future Past is almost loose: We have long, winding instrumental pieces that straddle Ambient (The Past, Like a Strange Bird), Minimalism (The Bloom and the Flutter) and Jazz noir (the title piece). They are humming with sounds and melodies that always seem in a state of either synthesis or decay, giving way to one another or sticking around in the form of eerie echo loops that build up a dreamlike musical structure always on the verge
of collapsing into itself.
Those long-form soundscapes, some of which feature ominous spoken Journal Entries, alternate with solo piano pieces that sound like at least three different instruments—but were, in fact, all recorded with an old upright built in 1906 by some regal German manufacture. The audaciously titled Gymnopedie No. 4 wears its influence on its sleeve—and delivers on its promise: Rogowski’s love, respect and understanding of the original works of Eric Satie shine through in every note. Similarly, the other piano pieces, from the tiptoeing Sleeping Dogs to the dreamy, improvisational One Lonely Autoresponder Message, feel a bit like memory palaces—reminiscent of music that has always been around, but at the same time very much their own beasts.
And then, of course, we have the songs: Nothing Wrong is strikingly beautiful, its sparse musical arrangement serving as the perfect bed for Rogowski’s falsetto and the ghostly choir backing it. breatheINbreatheOUT is downright scary, like a field recording of some strange initiation rite: The words ‘breathe in, breathe out, it’s all right/mankind is no longer your kind’ are delivered in a moody croon that seems to channel the later Scott Walker.
And then, just when you think you have finally figured out how this album works, it leaves you with Them!, a monolithic sound colossus that begins as a shoegaze-y electro pop song and develops over 6 minutes into an arena-sized hymn with an otherworldly female voice lamenting ‘What a lonely world’ over and over. Rogowski did much of the work on The Darkness of Future Past in a desert cabin near Joshua Tree—maybe he passed Coachella on his way back; that, at least, would be a good explanation of the sound of Them!

There is a very clear and distinct consciousness of the past, and there are projections into the future that are as nebulous as they are frightening. The Darkness of Future Past has the power to conjure up mysteries, to shed just the right amount of light on them and keep us intrigued—without ever giving them up or serving us easy explanations. The beauty of the music itself remains a secret, one that Boris Rogowski as its composer seems hell-bent on protecting. After all, no-one needs to know who killed Laura Palmer.

Journal Entry #2—The Bloom and the Flutter : DiLasso, Schnittke, Goats, Ghosts

Toprak Oldum

CELESTIAL NORTH Viking Battle Music Epic Nordic Music Game & Film Instrumental Soundtrack Music No ON III 13 by Ali OKUR

CELESTIAL NORTH Viking Battle Music Epic Nordic Music Game & Film Instrumental Soundtrack Music No ON III 13

╚═ Future Intel ═╗
Future casts from the present — your weekly music and art intel — Streaming live on futureintelradio.com & Youtube every Thursday and Friday night.

Kleingeld ╚═ Future Intel ═╗ 18 01 2024

Future Intel

Related tracks