Elena Rykova: electric guitar, electronics
Etienne Nillesen: extended snare drum

7 fish in a desert is the first piece in our album, which is going to be released very soon. Stay tuned!

More info on the artists:
https://etiennenillesen.com/​ 
https://www.elenarykova.rocks/

Elena Rykova & Etienne Nillesen - 7 Fish In A Desert

"La vita delle conchiglie" (for 2 performers and amplified ensemble) is the first piece of a cycle that deals with the world hidden inside the shells. The piece, as well as the whole cycle is somehow connected and inspired by a Francis Ponge's poem.
"La vita delle conchiglie" (The life of the shells) was premiered by the Ensemble Phace conducted by Nacho De Paz in the Wiener Konzerthaus on February 2021.

Lorenzo Troiani_La vita delle conchiglie_2020

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Red Eyes

Kafka, Postmortem is based on Kafka’s story titled “The Judgment.” At the end of the story, the protagonist committed suicide after his father condemned him to death by drowning (“And therefore take note: I sentence you now to death by drowning!”). The absurdity!⁠⁠ Who would drown themselves right after hearing such a literal condemnation? The story is strange without even adding elements of magical realism or surrealism; Kafka simply creates the story in a realistic manner, but with characters acting strangely, distant from how human usually acts. In the spirit of this strangeness, I asked Redian Pragina Jali to create a Javanese translation of the story’s ending. By working with a Javanese translation of this unusual text, I intend to turn the language into a strange unto itself. I sang this text with a style in between sulukan, Debussy’s Pelleas & Melisande, and kargyraa: recitative after recitative, and at several moments, accompanied by a syntactical breakdown into harsh noise (kargyraa+rebab overpressure+electronic distortion). While writing the vocal part, I was inspired by the idea of asemic writing⁠—a kind of writing in that represents grammatical breakdown⁠—and by Kristeva’s notion of the semiotic/the symbolic⁠—the semiotic refers to rhythm and tone, and the symbolic refers to grammar and syntax⁠—, where noise would function as the breaking point of the symbolic to the semiotic. I attempt to push forward the experiments that we did with our previous piece; here, we utilized four new gendèrs, which in total would form a 36-tone tuning system (two of the gendèr do not have octave repetition). The electronic materials are sourced from field recordings as well as from Denis Smalley’s Base Metals—I intend this to be an homage to the first piece that gave me a deep understanding of the power behind bell’s timbre.

Text
English: 
His father said pityingly, in an offhand manner: “I suppose you wanted to say that sooner. But now it doesn’t matter.” And in a louder voice: “So now you know what else there was in the world besides yourself, till now you’ve known only about yourself! An innocent child, yes, that you were, truly, but still more truly have you been a devilish human being!—And therefore take note: I sentence you now to death by drowning!”
...
He swung himself over, like the distinguished gymnast he had once been in his youth, to his parents’ pride. With weakening grip he was still holding on when he spied between the railings a motor bus coming which would easily cover the noise of his fall, called in a low voice: “Dear parents, I have always loved you, all the same,” and let himself drop.

Javanese: 
Bapakke kandha karo memělas, swarane ngěmu rasa pasrah, “Tak kira yen kowe bakale ngandhani luwih cěpět. Ning, arěpa saiki ya ora dadi pěrkara.” Swarane sangsaya bantěr: “Dadi saiki kowe ngěrti apa maneh ing donya iki kajaba mung dhapurmu dhewe, tekan sěprene mung ngěrti pěrkara dhapurmu tok! Kowe bocah sing lugu, ya, pancen běněr kuwi sipatmu sing biyěn, nanging luwih běněr yen kowe saiki pancene bocah kěparat! Saiki gatekna, kowe tak ukum pati, tak blěběgke urip-uripan!” 
...
Georg gěgeyongan kaya dene atlit, mempěr kayata sing tahu dilakoni Georg nom-nomane biyen, kabeh mau dilakoni kanggo nuwuhake rasa mongkog wong tuwane. Gěgěmane sangsaya suwe sangsaya suda dayane, ing wěktu kuwi uga dheweke nyawang bus sing arěp liwat, swarane kaprungu guměděr, swarane bisa dadi srana anyamarake tibaning si Georg. Dheweke kandha nganggo swarane sing gěrok, “Pake, Bune, aku tětěp trěsna karo Panjěněngan kabeh. Salawase!”, Georg banjur nglalu nibakake dhiri. 


Composer: Dion Nataraja

Performer:
Sandikala Ensemble
Yustiawan Paradigma Umar (gendèr)
Suseno Setyo Wibowo (gendèr)
Roni Driyastoto (rebab)
Mustika Garis Sejati (rebab)
Michael Wimberly (percussion)
Dion Nataraja (voice and electronics)

Translator (to Javanese): Redian Pragina Jali

Producer: Yustiawan Paradigma Umar

Mixing & mastering: Luke Taylor

Kafka, Postmortem

@jetteloona

Cobweaver feat. Seed  - ii + ii-i Tightened
Lcie2 - JUST FOR ME
poppin tags lcb bootleg
Escha - Hahahahahaha Fuck Off
BOUNCED ft Baby Keem
DJH - Descents
MIND LIMP (Dynoro & Gigi DAgostino X Ssaliva X DJ Lilocox & DJ Maboku)
Shay x 7038634357 - My Angel Courtois (Basile3s Union)
DJ Haydn - Candy
Amselysen - Discrepancies (for Kellyanne)
sunriseangel - STAY RAGE
svengali - xxcodeinecrazyxx
BThorough - Mellow Bars [Oblig Rinse FM Rip]
Stan X Jersey Club X NY Drill Angelzz
DJ G2G - SAD GIRLZ LUV X-FILES
blastah - batimento in luv (Art Of Noise x Dj BeBefOx)
Asian Doll - Rock (feat 2rare & DSturdy)
ojosfinos - Apretaito x Ozuna x Boza (160bpm ojosfinos edit)
CALABRIAN DUALITY (SLIPKNOT x DRUNKENMUNKY)
Grizzy - Look Like You x Tokyo Drift (RGGD Mashup)
DJ TRAVELLA  JAIJIU_NAFFTERO BOOTLEG (240bpm) FREE DL
MATT OX - WOP
Hikeii x TBJB - Bluff Caller
just wanna rock by lil uzi vert - sped up
Ikram Bouloum - Ineia (oxhy remix) ALL PROCEEDS TO MEDICAL AID FOR PALESTINIANS
MYEN - DRAPE
Celyn June - Perndfgich001
thaiboy digital - Im Fresh
Milkfish - CAN YOU FAST MY FURIOUS
chief keef _ WAR (orca flip)
PREMIERE _ CRRDR - YANGEl BaE
DJ Taj & yvngsolo - Bikini Bottom (Jersey Club)
ROGUE IDIOT IN POLAND (oli xl x lil uzi)
B:Thorough x Pop Smoke - Welcome To The Freaky Party
DYNORO & GIGI D'AGOSTINO - IN MY MIND
dreamy darko - save a soul ft. lunchbox
B:Thorough - Elements 
DDM - is this smiles_loaf eyes
How To Save One Life (The Fray X Malibu X Evian Christ)

PTMIX

Skyward

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Jette Loona Hermanis - Skyward

En este programa escuchamos a Anohni con Irene Blanco, Belenish Moreno-Gil, Luis Amalia y Manuel Bonillo y hablamos sobre vibrato y variaciones vocales en relación al concepto de lo trans*. Nos acercamos al sonido de Anohni para desvelar cómo el vibrato en su trabajo adquiere una elocuencia que va más allá del efecto estilístico o incluso emocional y afectivo que genera. ¿Cómo se reelaboran las relaciones voz-sonido/cuerpo-imagen al introducir elementos como el vibrato o el aire en los contextos en los que Anohni los aplica? También abordamos las contradicciones y fricciones que se producen en el diálogo entre cuerpos y voces cuando en las propuestas compositivas o performativas entran en juego más personas y determinados recursos escénicos ¿Qué nuevos caminos se abren para la reflexión sobre la voz en lo escénico y más allá de ésto?

Queering the Voice #6. Escuchamos a Anohni

Marina Herlop - Nekkuja
Label: PAN
Cat.No.: PAN 141
Release Date: 27 October 2023
Purchase: pan.lnk.to/Nekkuja

While she was waiting for her last album 'Pripyat' to be released, Catalan composer and producer Marina Herlop was restless. She was concerned about her (by then) uncertain music career, and felt emotionally unmoored. "Some days I used to sit on the balcony of my flat to catch some sun,” she explains, "I would close my eyes and start visualizing myself as a gardener, pulling out purple weeds from the soil, every bad memory or emotion I wanted to expulse being one of the plants." As the days dragged on, the fantasy deepened, and Herlop discovered that parts of the garden was withering; the energy she had been putting into the non-musical side of her life had seeped into her creative pasture and poisoned it. She knew what she needed to do to overcome the blight: plant some seeds and tend to her art to help it blossom and bloom once again.

'Nekkuja' is a place for Herlop's warmest, sweetest sentiments to rise to the surface and crack through the topsoil. She describes the record as a way for her to seek and affirm inner light, and it's undoubtedly her brightest, poppiest statement to date. The forward-thinking, experimental touches that nourished 'Pripyat' are still present, but blessed with a level of positivity that's rare to find in a scene so entranced by darkness and melancholy. Skittering fragments of ornate acoustic instrumentation provide a serene welcome to 'Busa', punctuated by precise electronic processes that shuttle the sound towards abstraction and fantasy. Herlop's voice grows over the tangle of sounds from a childish giggle into a layered, matted mantra, sounding passionate, hopeful and full of energy. The vitality spills over into 'Cosset', where she wraps powerful motifs around ricocheting beats and dramatic piano rolls.

Herlop's garden opens up dramatically on 'Karada' when bucolic field recordings crack like sunlight over harp plucks and willowy vocals. Her voice seems to bend around the whooshing streams and chittering of birds as if she's singing to the manicured land itself - a utopian paradise that Herlop employs as a metaphor for the creative process. In contrast to the view that an artist is an isolated genius or an idol to be worshipped, Herlop believes that the garden helps us see the process as closer to devotion or perseverance. A gardener brings order to the wild chaos of the outdoors, collaborating with nature to arrange something vibrant and enduring. Blending familiar sounds with fanciful concepts, Herlop traces an imaginary garden, imploring us to wander and wonder. And by the album's billowing final track 'Babel', it's flowered into a flush of pruned vocal phrases and delicately groomed orchestral rushes, painted in orange, green, blue and red.

Composed, produced and recorded by Marina Herlop
Vocals by Marina Herlop
Mixed and mastered by Joker
Artwork by Mati Klarewin

Marina Herlop - Babel (PAN 141)

Concordances (2023) is a piece by Gerard Erruz for piano, percussion and electronics.

Piano: Maria Iaiza
Percussion: Reed Puleo
Electronics: Gerard Erruz

Performed on December 2023 in the concert "Ways of being moved" at the Universität für Musik und darstellende Kunst Graz (KUG).

Thanks for making it possible,
Bailong Dai
Siebe Thijs
Claudia Cañamero Ballestar
Çağdaş Onaran
Beatriz Herrera Corado

Concordances I [live] (2023) for piano, percussion and electronics

The sound on this release has been examined and produced throughout March and April 2019 in Frankfurt am Main during a music-residency initiated and hosted by "Künstlerhaus Mousonturm" and MMODEMM.

Written and Produced by Asuna Arashi

Asuna - Cloud River Seen From The Window

The product of the local music scene where loyalties have led to a paradoxical situation. Even after sabotage ensued, I was there when you needed me. You assumed art was a competition, only in search of an image. However, if you continue down this path, your breath will not be longer than the duration of this work, which is not as short as you think.

Terinspirasi dari ekosistem musik di daerahku. Loyalitas dan totalitas yg telah dilakukan, sangat paradoks dengan situasi kini. Dia/mereka selalu ada ketika memerlukan kurcaci sepertiku. Bahkan sabotase pun terjadi. Mengasumsikan seni sebagai ajang kompetisi untuk mencari pencitraan belaka. Tapi, teruslah seperti itu, nafasmu tidak akan lebih panjang dari durasi karya yang tak sependek jalan pikiranmu.

Composer: Yan Priya Kumara Janardhana (Janu)
Musicians: I Putu Purwwangsa Nagara (Wawan), I Kadek Agus Pusaka Adi Putra, I Gede Putu Gita Kumara Putra, I Wayan Yudi Artha
Instruments: 4x Kantilan Semar Pegulingan

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Tak Sependek Pikiranmu - Yan Priya Kumara Janardhana (Janu)

This piece is part of a larger project (http://hebrides-suite.co.uk) that attempts to both explore and communicate something about history and memory related to the Outer Hebrides of Scotland, through sound.It uses a mixture of monologues, field recordings and interviews collected during a number of trips to the Outer Hebridesas well as material from existing oral history archives.
The voices and recordings in 'Tweed' were recorded over a number of visits to the Outer Hebrides, remote islands off the North west coast of Scotland. The first voice, of weaver Catherine Campbell, was recorded in her weaving shed and shop in Plocrapool, on the east coast of Harris.She is proud of her independent status as a weaver who “doesn't work for the mill” but works for herself. The next voice heard was recorded in a weaving shed near Callinish on Lewis in 1998 as the weaver tried to show me and my friend how to us the Hattersley loom. Threaded inare various atmospheres, voices and mechanical sounds from mill at Shawbost, Lewis recorded in 2006 just as it was about to be sold. As well as the various machines for the washing, drying, dying and spinning of the yarn the weavers are heard explaining some of the physical elements of weaving many of which form spatial templates for the treatment of the recorded material in the composition.

A paper about this work can be accessed at ww.shimajournal.org/issues/v5n1/h.%20Lane%20Shima%20v5n1%20114-127.pdf


Concordances I [live] (2023) for piano, percussion and electronics

Gerard Erruz

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