smh thought my headphones were attacking me for a moment

Mantle

Worst of All Time EP

Worst of All Time

Ani Klang - Continu

Talked to you on the phone the other day—WhatsApp voice call—and I noticed the dissecting and unsettling silence fading in between each spoken word, like someone holding the breath or stopping time. Or a tap closed between each filling of a glass. It was a clean, cleansed, silence—one purified by the dullness of calculation, of automation, of regulation and optimisation.
I remember the feeling of talking with friends via landline connection—it felt like a direct channel opened up between our ears and tongues, an airiness of circulation. I could hear the other person breathing and the slight static noise of electricity hardwiring us. Now I don't hear the other person's breath anymore—the algorithmic sound detection for controlling the threshold of the microphone transmission seems to not register breath as a signal deemed necessary for communication.

Artwork by Robin Brass, Mastering by Amar Halilovic

Luxxuryproblems – Wounded Prototype

SLIKBACK - 06 - RAGE

https://soundcloud.com/freretuck
more @ https://mitaminelab.org

ML462: frere tuck

HELM - Chemical Flowers
Format: LP / CD / Digital
Cat.No: PAN 99
Release Date: 17 May 2019
Purchase: bit.ly/2Uxqs9z / bit.ly/2UpJ0bA

Luke Younger returns to PAN with an eight-track album of his most direct work to date. Composed alone at NO studio in the Essex countryside, to start an album with a piece called ‘Capital Crisis (New City Loop)’ seems an intentional misnomer. Long, sustained periods in the rural studio setting see Younger working with an array of fragmented, disassociated sound sources to build upon 2015’s Olympic Mess. It shares a similarly inclined vision of the urban environment, but here Chemical Flowers makes reference to paradoxical notions of authenticity and creative practice by way of questioning the structures around us. Collages are assembled and dismantled, temporal and spatial boundaries fluctuate and movement is an overarching theme.

Surrealist drowned world atmospheres sculpted far enough away from the source of inspiration leave plenty of room for ambiguity. The nocturnal nature of the recording process is self-evident, and pieces like ‘Leave Them All Behind’ tap into a deep psychedelic undercurrent. Confused narratives, emotions and aleatory hallucinations ebb and flow throughout. ‘I Knew You Would Respond’ evokes murky soundtrack terrain with eerie repetitive strings and ambient respite, disrupted periodically by brief bursts of granular noise. It’s one of the records most unnerving moments, possibly as it’s one of the most recognisably human.

The album navigates dense passages with recurring signifiers. Hollow percussion, modulating delay and curious field recordings come and go, maintaining a perpetual state of flux where nothing stays the same for long. The drowned world theatricals return on the swamp-like ‘Lizard in Fear’ whilst string rhythms creep in on the penultimate track to incite momentary electroacoustic harmony. Floating synthesis slowly washes over and the title track unfolds - five minutes of reverb-laced portamento, visions of decay and Editions EG influenced
world-building. Movement is key.

Chemical Flowers features string parts arranged and recorded by JG Thirlwell (Foetus / Manorexia / Xordox). Additional cello played by Lucinda Chua and saxophone by Karl D’Silva. The album is mastered by Rashad Becker, featuring artwork by Johannes Schnatmann & Bill Kouligas.

http://p-a-n.org

Chemical Flowers 

HELM - Lizard in Fear (PAN 99)

Cassette disponible sur Indian Redhead Records et le Syndicat des Scorpions.

Enregistrements au 4 pistes cassette & mixage: Morgane et Florian Adrien
Mastering: Rémi Richarme
Cover: Mona Chancogne

Chant de Mona sur Sedum Pereaki 
Chant + synthé de Léa sur T.E.X.T.O
Chant de Weltschmerz sur Computer nr3 (france gall cover)

A5 - uptown top ranking (althea & donna cover)

Panel with Lisa Blanning, Matt Colquhoun, Steven Warwick; moderated by Terence Sharpe

Thursday 30 January 2020
 CTM 2020 – Liminal 
Kunstquartier Bethanien, Berlin

The late Mark Fisher’s work, like all philosopher’s work, oscillated through different stages throughout his life. Starting in cultural-studies, to philosophy under the CCRU, to cold rationalism to anti-capitalist critique, Fisher's work was a project of constantly trying to come to terms with a world that begged belief, as is the case with the evolution of any intellectual worth their salt. There was throughout all of this a constant undercurrent indebted to psychoanalysis.

For Fisher the idea of world-building came with responsibility, something his work takes into great consideration with very sincere care. As he described in his later writings, the socio-political disease of our time is that of pervasive stasis in a rapidly accelerated culture. If we take the liminal as that which can occupy either side of a boundary, that which acknowledges complexity, then we see an opportunity perhaps to the deadlock of binaries presented by the worst trapping of the contemporary right and left.

This panel takes as its kernel the concept of Egress, a word used by Fisher to describe the exiting of the current cultural malaise through analysing the politics of teleology and collectivism. Liminality itself must be critiqued with the urgent need for determinacy in mind. Perhaps a solution to the pitfalls of liminality is that of determinacy, that cultural production must operate within a strong pedagogical model if it is to make its way out of its liminality. Fisher postulated that what was required for real transgression was a reprisal of the spirit of a world that could be free, to go beyond the beyond the pleasure principle.

Presented with transmediale.

CTM 2020: On k-punk—Egress and the Fisher Function

Dilian - Excuse

https://carpetgrouprecordings.bandcamp.com/album/mutant-reactions

Innsyter - Os Boca Branca

9h00

Club explorations from the East African and Congolese Electronic Underground and beyond.

SLIKBACK - 06 - RAGE

HAKUNA KULALA

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