http://glisteningexamples.bandcamp.com

First track from Robert Beatty's debut album on Glistening Examples, available on CD, LP, and digital download.

Artist: Robert Beatty
Title: Soundtracks for Takeshi Murata
Label: Glistening Examples
Catalog Number: GLEX-1302
Format: LP/CD/Digital
Release Date: November 11, 2013

http://glisteningexamples.bandcamp.com

Tracklisting:
1. Cone Eater
2. Untitled (Silver)
3. Escape Spirit Videoslime
4. Untitled (Pink Dot)

CD and Digital Only
5. Untitled

GLISTENING EXAMPLES is proud to announce “Soundtracks for Takeshi Murata” (GLEX-1302), the debut LP/CD of Kentucky-based electronic musician Robert Beatty under his given name. Beatty has long been a presence in the experimental underground as a member of Hair Police and more recently performing and recording solo under his Three Legged Race moniker. He is also well known for his visual art, which encompasses installation, drawing, video, and album artwork design for countless artists including Oneohtrix Point Never, Real Estate, Vybz Kartel, and Peaking Lights.

“Soundtracks for Takeshi Murata” collects Beatty's compositions for digital video glitch pioneer Takeshi Murata, produced between 2004-2007. Beatty's collaborative relationship with Murata has spawned some of his strongest work to date, and Glistening Examples is honored to present this music to the public for the the first time outside of screenings, museums, and galleries. Beatty has performed alongside Murata's work in New York, Chicago, Pittsburgh, and Beijing, where he performed several shows, including at the Ullens Center for Contemporary Art during the 2008 exhibition, "Stray Alchemists."

The formative elements of the recent Three Legged Race full length "Persuasive Barrier" (Spectrum Spools, 2013) are apparent in the rubbery pulsations of "Escape Spirit Videoslime" and the ghostly buzzing harmonics of "Untitled (Silver)". Moving between hypnotic minimalism, dense processed atmospheres, and spacious drones, often in the same track, these pieces are the perfect corollary to Murata's fractured and viscous visuals. While the video and audio are linked in the same fluid time space, the soundtracks are presented now as stand-alone works, powerful compositions drawn from the same underlying chaos apparent in Murata's ever-shifting psychedelic environments.  This is exciting electronic music that invites the listener to imagine their own videoscapes with or without having viewed Murata's work.

“Soundtracks for Takeshi Murata” is published in an LP edition as well as CD format, with new artwork from Murata, design by Beatty, and digital mastering by Jason Lescalleet at Glistening Labs USA.  The LP includes a download code and an 11"x17" poster.  The CD includes a bonus track not found on the LP.

This record is released with support from Institute 193, Lexington, KY.   www.institute193.org

http://glisteningexamples.bandcamp.com

Robert Beatty - Soundtracks for Takeshi Murata "Cone Eater"

Un événement

From the record by Maja S. K. Ratkje with the same title released on Rune Grammofon 2002. 

Voice

¡ we will woo ! last 4 tracks album released by El Cuarto Elastico in January 2017   
>>-> - - - - - <3 - - - - - >>> 
https://elcuartoelasticomusica.bandcamp.com/album/cayuco

c a y u c o

02_como aire

AUDIO VISIT TAPE CARD 
Tokyo Sept 2017 C-12 
Praat5383

Xilo Obachia Que Tentenna

https://ultraeczema.bandcamp.com/album/dark-arc

Dan Melchior & Sigtryggur Berg Sigmarsson (Dark Arc A Side)

Trompe-l'oreille

Progressive Looping

J'amène la foudre à moi
l'eau de Cologne coule
sous les bras
Karl mets mon nez dans le trou du mur
son visage pur


brasser le chat
dos de pelles
truies et dentelles
s'associent


pluie pâtes
metal câpre
pi rare
cave graal
mie rouille


c'est nous c'est nous c'est nous
je suis grand dans le fond du nous
c'est nous c'est moi c'est nous
on est grands dans le fond du nous
c'est moi c'est nous
je suis grand dans le fond du nous
c'est clair c'est moi c'est nous
on est beaux dans le ventre du nous
c'est nous nous
on est tous dans le fond du nous

l'internet a cassé
karl répare mal

"à table!"
fais le chien
dans la verrière
sous la guirlande de Saint-Tulle


car tout le monde le sait
qu'on sauve les nids
au centre commercial

commercial 
drap housse
pince crabe drap housse
ha la bobotte à Karl
elle s'essuie sur les draps housse
ha la bobotte à karl
elle aime distribuer des coups
ha la bobotte à karl
elle s'essuie sur les draps housses
ha la bobotte à karl
distribuer des coups
S'asseoir sur les draps housses

***

Percussions - Johan Mazé

Èlg - Karl est en Dedans - from "Dans le Salon du Nous" LP - 2021 - Vlek

It makes less sense to say that Maths Balance Volumes formed in 2002 than to say that, since that year, they have been collapsing into something, again and again. Just as the three members fell together with no plan or allegiance to any style or genre, each track falls together as the broken pieces of songs and sounds meet to make a temporary and frightening whole. Things make their way into a Maths Balance Volumes song when they don’t or won’t work anymore, when they have escaped their owner, or hidden away where nobody is supposed to find them. When things fall together—when the wooden creaks and radio hisses gather for a minute alongside bass lines and melancholy voice—there is a beauty that sounds like it was made by nobody and for nobody.

The city of Mankato, Minnesota has been the steady gathering point for the band since its beginnings. Mankato had always provided an ominous backdrop: built on stolen Dakota land, the city was the site of the largest mass execution in US history, when 38 Dakota prisoners were hanged on in 1862 in a straightforward act of genocide. But in their music of the past twelve years, Maths Balance Volumes has made music in and of a hometown overshadowed and unsettled by its history, music for a world in which things have never been okay. Traditional American folk genres seep in at times, but never as the incarnation of a living popular culture—only as ghosts or unliving effigies.

A Year Closer tells us already in its title what its theme is: approaching death, time ticking away and getting closer with each track of the record. We are told in the first song that our protective mask isn’t working, warned by the storm clouds and a ticking bedroom clock in “Dark Skies.” We hear fears of death approaching in the sad words exchanged by lovers who see they will run out of time, or already have, as in “We Had Time” or the romantic lament of “When I Drink.” In “Work Last Monday,” all of life passes with cold automatism in an “office apartment,” as a narrator broods over early onset dementia, remembers the details of rituals for respecting the dead, and thinks of how a hole is opening up in reality itself. The singer of “Over the Hill” isn’t apparently afraid of growing older and becoming a “man,” but only leaks a few disjointed details of his plans for disappearing, collapsing, turning into a tree, and finding a home. “Angel of Mercy” tries to resurrect the Christian promise of a life after death, anxiously asking if anyone is up there waiting for us after the oblivion of this world. 

But these are just the moments when A Year Closer speaks in words clear and audible enough to be understood. The giddy, agitated voice of “The Price” speaks only to itself in a private language, hidden away in a tin can somewhere. Musically, A Year Closer is a series of pieces that make symphonies out of separate processes of decay and disappearance: unidentified cracking and creaking objects, broken equipment, and lost melodies that seem to have escaped other songs and wandered into the room looking for a place to hide. These are the moments that the listener of Maths Balance Volumes always knows are coming, waits for, and settles in temporarily for a moment of repose. Maybe this is the meaning of A Year Closer: while waiting for the worst, things come together, a “we” with no name but with a rhythm, a tenuous but definite harmony to share as the clock ticks. Even if, when the lights are turned on, it turns out nobody was there. - Paul Buchholz

Taken from PP48 A Year Closer LP coming soon

Robert Beatty - Soundtracks for Takeshi Murata "Cone Eater"

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