Bamboo Shows 063 - Ethnic dub w/ Mårble
Infos, Links & Podcast Series: www.bambooshows.com/marble-bs063

@m-rble

Today we introduce Russian instrumentist and producer Anton Glebov aka Mårble, counting numerous releases on Hair Del. Records, Echotourist, Not Not Fun or Natural Selections. Almost a decade of psychedelic music between ethnic percussions, free jazz, tribal dub and spiritual fourth-world, to be discovered in his Bamboo Shows contribution.

BS063 - Mårble

@pablodiserens is an artist, field recordist, composer, filmmaker and photographer based in Berlin (Germany) who engages with various topo- and phonographies with a wide range of visual and sonic recording techniques. 

✱ What is the inspiration and vision behind your music as Pablo Diserens?
My work is sparked by the world’s biomes and the non-human manifestations they shelter. With attentive and deep listening at the forefront of my practice, I navigate through environments mainly all ears and collect sounds through a plethora of recording techniques. I work with and share these sonic encounters with the aim of shifting people’s perspective and relationship with their surroundings and their neighbouring bio— and geologies. In other words, my work is an attempt at questioning and rethinking our place and caring for the globe’s habitats and communities.

✱What are some of your utopian dreams & musings?
My ideal utopia is one where interspecies kinship, caring and understanding are honoured. One where language isn’t only thought of as articulated speech, but instead understood as the numerous forms of communication, expression, and knowledge sharing that exist in the world’s ecologies. One where we listen to what moss, mollusks, insects, ice, and stones have to say. One where we pay attention. One where this language is punctuated and vitalized by possible hums.

✱ Can you share a little bit about what you’ve included in this mix?
In response to the dreamed utopia mentioned above, I’ve intertwined various animal, plant, and geological sonic manifestations with dronesque and electroacoustic gestures. Human speech makes a few appearances but either in honour of the stones or as purely deconstructed acoustic matter. It is animals, plants, and water that talk the most in this mix.

✱ Any forthcoming happenings for you in 2022 you'd like to share?
There are some exciting projects coming up this year. Some of them involve releases of electroacoustic pieces on A.V.A. and my label forms of minutiae, warm collaborations with loved ones, and if everything goes well the finalisation of my first short film since 2016.

Our Tomorrow w/ Pablo Diserens (Berlin)

(all music by grischa lichtenberger, except all vocals by artists as stated below, machine-isolated)

00:00 0120_19_kt ns [vs.] john j. niles - brother's revenge
03:05 0420_10 lisafem porn glt [vs.] perfume genius - moonbend
05:11 0919_03_ gran dr loop [vs.] perfume genius - moonbend
08:47 0621_04_re 0820_18_re 0717_26 [vs.] jeff buckley - mojo pin
11:20 1008_18_lv 2 ss1 [vs.] cat power - crossbone style
14:44 0122_16 git re 1015_25 [vs.] elliot smith - twilight
17:54 0820_19_re 0916_23_re 0916_02 lv1b [vs.] the van pelt - you are
22:02 0921_05_feedback 2_0921_13 [vs.] fiona apple at lago
26:13 0220_16_spnt 1d ostranenie parasite [vs.] 0222_windows screenreader
30:03 0621_17_vcv recsd dub 2 [vs.] bob marley - war
35:14 0921_13 lv 1 0220_28 ostr [vs.] aldous harding - horizon

"The Disaster is the time when one can no longer - by desire, ruse or violence - risk the life which one seeks, through this risk, to prolong. It is the time when the negative falls silent and when in place of men comes the infinite calm which does not embody itself or make itself intelligible." M. Blanchot, The Writing of Disaster

https://youtu.be/SL4ydI_zU2E

0322_hauntological mixtape (zeitenwende/turning of times vs. the time is out of joint)

100% of the sales of this is going to the Red Cross Ukraine! 

"I am gravely concerned for the safety of communities in Ukraine. Our message to the parties to the conflict is clear: uphold International Humanitarian Law, protect civilians and essential services". Peter Maurer, President, ICRC. 

It is dismaying that after enduring eight years of conflict, people now face more violence, pain, loss and turmoil. Fear, freezing temperatures and an uncertain future are what families in Ukraine are facing. 

How your donation will help people in Ukraine and the surrounding countries: 

As the security situation allows, the ICRC is responding to urgent humanitarian needs and must be able to continue their life saving work. ICRC water engineers and doctors aim to help more than 3 million people access clean water and improve the living conditions of more than 66,000 whose homes have been damaged by heavy fighting. 

The International Committee of the Red Cross - together with its partners in the Red Cross and Red Crescent Movement – remains active in Ukraine, saving and protecting the lives of victims of armed conflict and violence. Our neutral and impartial humanitarian action supports the most vulnerable people: humanitarian needs are enormous, but together we can address them. Your donation will make a huge difference to families in need right now. 

The world is turning to even more shit thanks to fucked up politics and fights over land. Of course we are focued on what is going on in Ukraine at the moment. 

Cover design by Philip Marshall. Mastered by Jack Callahan.

https://idealrecordings.bandcamp.com/album/no-war

Nick Klein - PFEFFERSPRAY

https://www.nts.live/shows/fergus-clark/episodes/fergus-clark-4th-april-2022

Fergus Clark 040422

ΚΕΜΑΛ "Love And Anarchy Part One" mix for Movement Radio

For the last episode of this season Broshuda welcomes his good friend Nick Klein to the show: The prolific interdisciplinary artist behind the Psychic Liberations label supplied a 30 minute piece of processed and manipulated The Magnetic Fields tracks for the second part of the show.

more on www.lyl.live

intrinsic Speculations w/ Broshuda and Nick Klein (07/07/22)

ØFFSHØRE - Celestial Drift (Lizplay Records)

Icaros of the Desert Sky is a ceremonial trance journey by Leeuwenstein, inspired by the ancient Shipibo healing tradition, desert mysticism, and feminine voices that guide the soul into dissolution and rebirth.
Each track is a living icaro, woven from hypnotic basslines, tribal percussion, sacred chants, and subtle Arabic influences. The music carries you into a sacred space where geometry becomes sound, where water flows into fire, and where the boundaries of the self dissolve into infinite vibration.
This album is meant for deep journeys, ceremonies with plant medicine, and trance states of inner exploration. Close your eyes, surrender to the rhythm, and let the tapestry of sound carry you beyond time.

River of Serpents

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

0322_hauntological mixtape (zeitenwende/turning of times vs. the time is out of joint)

grischenka