For Erika’s second album “Anevite Void”, she explores her live process as it permeates everything she does, including documenting the process of life in the elaborate sci fi mythology she created. 

@erikadotnet began performing live in Ectomorph in 1997 when she was gifted a TR-606 by BMG and asked to join the group. This grew to her building her own studio, performing solo as Erika, collaborating with people like Jay Ahern and Noncompliant, and performing as a member of Circle of Live. Her depth of thought and clarity of vision has led to her mentoring people on live performance through the In Bloom platform, where she has made a large impact on many up and coming musicians. 

“Anevite Void”, Erika’s new album, finds her organically writing songs for her live shows, allowing them to take shape through performance, and later recording them in the studio, making this the first album she has entirely written and produced on her own. Mixed by long time collaborator BMG, she finds this record as the launching point for a new process for her.

Conceptually, this album was inspired by “the irregular life cycles created by three suns circling over a planetary organism that presents two major biomes: rocky crystalline desert, and deep layered forest, each of which exists above and/or below ground, depending on what phase the suns are in.” From this realm the album took shape. She also chronicled this concept in drawings but found this painting by Detroit puckish punk legend Nai Sammon perfectly visually explained the concept, and chose it for the cover. She describes “each track is about an organic process that occurs: acts of survival of the biomes, or what happens between them and the multitude of other beings that they host.”

Erika is currently splitting her time between being based in Berlin and Detroit, is part of the triumvirate that runs Interdimensional Transmissions (BMG, Erika and Amber) that are releasing this record and produce legendary events such as No Way Back, Samhain and Return to the Source. She performs live and DJs and collaborates and oozes sonic truth in its many forms. Visit the “Anevite Void” in early 2023.

LP version:

A1 Emergency Shutdown
A2 Opal Haze
A3 Dirt Breather

B1 Obsidian Sunset
B2 Star Line Down

C1 Anion
C2 Crystal Circuits

D1 Desert Red
D2 Tomorrow's Fires
D3 Wandering Mountain

Digital:
1. Emergency Shutdown
2. Opal Haze
3. Obsidian Sunset
4. Star Line Down
5. Anion
6. Desert Red
7. Crystal Circuits
8. Tomorrow's Fires
9. Dirt Breather
10. Wandering Mountain

Anevite Void

Erika - Anevite Void (Preview Clips) [IT 50]

Taken from the album "Illusion + Memory" released on 28/04/2023.

Order: https://alterstock.org/product/illusion-memory/

Finlay Shakespeare - Theresa (ALT70)

Elektron MachineDrum sequencing Moog System 55 via MIDI->CV.
Reverb provided from EMS VCS3, gated in Ableton Live.
Full track coming soon.

KreggeTest

Written and recorded in my bedroom. Post-production and mix by Finlay Shakespeare at B17, Bristol.

Marrow

02-27-16

New Flesh

Heaven

Harmless Chaos

Watch Me Burn

as a central point of reference of grischa lichtenberger‘s »la demeure/il y a péril en la demeure« complex, raster-noton releases a limited edition of three 12“ vinyl EPs that are accompanied by a handmade, signed and individualized screen print.

the three EPs were set up as an experiment. each of the records is guided by a word that could be described as a phantasmagoria, a delusion of the 20th century – like a metaphor that is concerned not only with its immediate meaning, but with an implication more emotional, more irrational, telling something about the mindset of the not so distant past.

these keywords already existed before the production on the tracks began and thus played the role of an indirect orientation or playground for association. nevertheless, the EPs are not conceptualized, but rather a collection of habits and strategies in relation to the titles.

common to all EPs of the triptych is the question of a connection between intimacy and the public sphere. aesthetically, the music presented on the EPs ranges from distressing and unaligned dancefloor-oriented tracks to tribal and politically charged drones to unsettling noise ballads. on »spielraum«, for example, hypnotizing music box melodies are combined with claustrophobic breakbeats. »allgegenwart«, on the other hand, presents mechanical rhythms and sawing pads, topped with high-pitched warning sounds. last but not least, the final EP »strahlung« features self-forgetful, gloomy and melancholy tracks backed by melodies that remind of a barrel organ turned upside down.

please note: this special edition is limited to 500 copies and was printed, stamped and signed by the artist himself. print and paint application variations are intended.

for more on the ideas behind the series in grischa lichtenberger‘s own words, see: http://www.grischa-lichtenberger.com/spielraum_allgegenwart_strahlung/

Spielraum

grischa lichtenberger »001_0315_13_dest« taken from »spielraum | allgegenwart | strahlung«

Honey

This is a data sonification piece of the installation of the same name at the Tate Modern by the artist Olafur Eliasson. When I first saw the work, I was entranced by it and watched it for about half an hour. It's a piece made up of opposites: yellow and purple circles at opposite sides of the room turning to black and white straight lines meeting at the same point. 

http://www.tate.org.uk/art/artworks/eliasson-yellow-versus-purple-t11806

The piece is structured around my first experience of seeing the artwork: entering the room; being absorbed by the rotating and changing shapes; and then eventually snapping out of it. It was my first weekend living in London, I'd been alone and hadn't spoken for more than a day.

The central tone is an octave of the frequency of yellow light, stays still, getting brighter and darker, representing the shadow on the wall. The panning tones represent the purple reflection orbiting the room, being two sine tones, octaves of the frequencies of blue and red (summing to make purple). These become noisier as the reflection turns to a white line and meets the yellow shadow, now a black line. 

All of this occurs with changing frequency, as I timed the orbit of the artwork and found it ranged between 20 and 35 seconds.

The samples used are recordings of people in the room with Yellow Versus Purple. The opening includes the first loop, with the second loop in the ending.

KreggeTest

Future Image

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