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Quinoline Yellow’s eclectic mix weaves 55 timeless records from the last three decades into a vivid, genre-spanning journey. https://secretthirteen.org/stm-078-quinoline-yellow/ @uchelfa

Secret Thirteen Mix

💀 ᴛʀᴀᴄᴋʟɪꜱᴛ

STM 078 - Quinoline Yellow

stutter melancholy (redux) [C O L O R S Q U A D 0 1 7]

From "Dubio", releasing on march 24th: https://kettel.bandcamp.com/album/dubio

Arpa Ingrata

»La Traversée« (»The Crossing«) is Matthias Puech’s second album for Hallow Ground and follows up on 2023’s »Mt. Hadamard National Park.« Profoundly inspired by re-reading »The Odyssey,« the French composer, instrument designer, and scholar used a Eurorack modular synthesizer to create four pieces that are by far the most intuitive and emotionally charged in his ever-expanding catalogue. Puech’s masterful command of sound comes to the forefront with even more urgency on this record. A wandering meditation on the human condition, »La Traversée« is an album that is constantly in motion—complex electronic music at its most gripping and evocative.

The foundation for »La Traversée« was laid when Puech prepared a live set for a tour organised in collaboration with Hallow Ground in support of »Mt. Hadamard National Park.« Before writing the first three pieces—»Ennosigaios,« »Polyphármakos,« »Nekuia«—the 18½-minute-long »Ithâké« was composed in near-total isolation in the South of France at the end of 2023. Puech performed the material live several times before taking a step black from it for a while. He revisited the pieces when preparing them for a release. »I was struck by how the technical process and the intention behind the music had completely vanished from my memory,« he says.

What remained intact, however, was Puech’s association of the material with one of the most influential texts of Western literature. Reading a graphic novel adaptation of »The Odyssey« with his two four-year-olds, he noticed the effect that it had on them and himself. »Its themes of longing, fear of and attraction to the unknown, unresolved quests, and the struggle for control felt topical,« he says. »I was completely taken. Every story ever told seemed contained in this ancient tale; every story I have ever tried to tell as a composer seemed inscribed in this framework.« This also extended to formal motifs such as the repetition of incidents, narrative developments, or dramatic effects that also mark »La Traversée.«

Puech says that he perceived Homer’s writing as musical, »like an old Delta blues or a Renaissance counterpoint,« which inspired his writing process. »With a couple of knobs on my Eurorack system, I could control the unfolding of a story,« he notes. »This made me pass through different emotional states and led to moments in which everything made sudden sense—when you as an artist get a glimpse at something essential, can touch upon something universal.« This shines through »La Traversée,« a wildly imaginative album that is deeply personal while also telling a story far more wide-reaching than that of its creator.

Composed, recorded and mixed by Matthias Puech
Mastered by Giuseppe Ielasi
Cover: excerpt from J. M. W. Turner, Snow Storm: Steam-Boat off a Harbour’s Mouth (1842)
Drawing by Matthias Puech

La Traversée

Ennosigaios

Unintentional Healing Loop

info + tracklist: https://radio.syg.ma/episodes/guests-208-siuxsun-somewhere-between-lost-and-found
https://www.emelinedescreaux.com

GUESTS

GUESTS 208 – Siuxsun: Somewhere Between Lost and Found

Elaenia

Precursor

“Not nostalgia, but memory.

Do the warped boleros on water-damaged tape sound the same in Saigon as they do in Havana? Is it the trait of memory or the Romance of dancing cheek to cheek that is the real undercurrent of boleros, or is it the sleeping warmth of memory being invented by the synesthesia of a true listener?

I believe these are some of the questions raised and cryptically answered by doris dana’s 𝒏𝒐𝒔𝒕𝒂𝒍𝒈𝒊𝒂 mixtape. Mónica Mesa, the Colombian sound artist who now works out of North Carolina, conjures up imagery so vibrant and familiar that to say it is “cinematic” would not do justice to the narrative the music produces. Through field recordings, indistinct chatter, and the bolero music itself, Mesa invents a new form of the genre, much like the permutation of boleros in Vietnam, which are slower in tempo.

Mesa recalls the sounds of their parents and grandparents and how she associates the ever-present musical style throughout their life. In this hour-long mixtape, we share in her imperfections to recall memory as we slog through the haze of what is remembered, what we are fed in culture as memory, and how we interact with others to clarify recollection. Where nostalgia seeks to implant memory in your mind and heart for the purpose of selling you a past that glosses over imperfection, true memory is foggy, left-handed, and rubbed dark with eraser marks of corrections made and made again.

A depiction of one’s own recollection is often brightened and polished for consumption, but this mixtape truly shows the cracks in our foundations. Not unlike a Frank O’Hara poem, in which trying to remember which day or month it is enters the lines of the poetry, or how in Calvino’s 𝑰𝒏𝒗𝒊𝒔𝒊𝒃𝒍𝒆 𝑪𝒊𝒕𝒊𝒆𝒔, Marco Polo begins recalling billboards and discarded refrigerators in his tale of the Orient to Kublai Khan, showing that the narrator is faulty in further presenting memories of another’s memories. This complexity draws you in, and you are rewarded with a sonic envisioning that many have attempted but few have achieved so deftly as doris dana.”

- David Coccagna, September 2025

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doris dana is the sound project of Colombian-born artist Mónica Mesa, exploring the emotional tonalities of liminal spaces through field recordings, slow-moving drones, whispered vocals, and sparse, reverb-soaked electro-acoustic instruments. Named after Gabriela Mistral’s editor and confidante, doris dana gestures toward the study of quiet forms of intimacy and memory in sound.

Their latest album, 𝒓𝒆𝒗𝒆𝒓𝒊𝒆𝒔 (Somewhere Press, 2024), offers a meditative, immersive listening experience. Mesa is also one half of the duo bad lsd trips, whose self-titled album and most recent release, 𝒖𝒍𝒕𝒓𝒂𝒇𝒆𝒔𝒕 (enmossed, 2025), expand on similarly experimental sonic territories.

In addition, she hosts No era sólida on Radio TNP—an hour-long mix series delving into the most introspective edges of sound, featuring experimental, cinematic, and free-form compositions that invite deep emotional engagement. 

recorded by Mónica Mesa
audio finalized by Glyn Maier 

lado b [Preview Clip] (ENMX-xe)

BufoBufo @bufobufo-1  debuts on Analogical Force with five tracks that expand his hallucinatory sound. ‘Ranidae’ finds the UK-based producer exploring and combining his influences, meshing elements of jungle, braindance, acid, downtempo and electro into new forms. 
On the A-side, ’Ranidae’ itself flips from atmospheric chords, splintered drums and 808 booms into brooding 303 melodies, evil Reese bass and Amen choppage, a merge of bittersweet synths and breakbeat manipulation. ‘Isopod’ is a dark downtempo dispatch of hip-hop beats, reversed loops and eerie spoken samples, with a bassline that plumbs the depths and an acid sequence that will get lodged in your brain. 

On the other side, ‘Magpie Inkcap’ starts proceedings, where the glitched-out breaks and otherworldly synths dissolve into a 303 line that twists and dives like a sea snake. ‘Asperitas’ mixes tough, FX-driven beats with a buzzing analogue loop and spiralling acid, while on closer ‘Drifting World’, tumbling, spliced breakbeats meet an emotive chord sequence, before a huge bass enters the fray and delicate bell tones dance over the abyss. Refining his sound and uncovering new directions, ‘Ranidae’ is BufoBufo at his best.
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PREORDER 12" PURPLE VINYL + DIGITAL: https://shorturl.at/Sils4
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A1   RANIDAE                                   06:03
A2   ISOPOD                                    04:25
B1   MAGPIE INKCAP                             04:16
B2   ASPERITAS                                 04:21
B3   DRIFTING WORLD                            04:22
—
C+P Analogical Force 2025. All rights reserved. 
Written and produced by Ben Murphy, UK
Mastering by Carlos Koschitzky at Koschitzky Studio, Gijón
Design by Geometric Love, UK
Distributed by Clone, Rotterdam 
—
www.analogicalforce.com

Preorder Now

[AF065] BUFOBUFO 'RANIDAE EP' [2025]

One of my very first music compositions - sequenced, sampled and played back in glorious 8-bit audio on a 1987 Acorn Archimedes. Originally released on the 27th September 1991 by BrokenARM Music aka D.A.Wilson / Hideaway Studio.

It was made on a beta test copy of !Tracker by Fabrice Mercier on an Acorn Archimedes A-310 computer. !Tracker was essentially an Amiga Soundtracker clone but, unusually, it supported up to 8-channels with soft panning unlike its 4-channel hard-panned counterpart. It is one of the earlier 8-channel Soundtracker music modules to be released on a home computer (Oktalyzer was released in 1989 on the Amiga). The module comprises mostly of 8-bit samples from the infamous ST-01 sample library originally bundled with Karsten Obarski's Ultimate Soundtracker in 1987 on the Amiga. Released in 1987 the Archimedes was the first commercial computer to feature the 32-bit ARM RISC processor and featured 8-audio channels each with stereo panning in hardware.

Nomen Luni (Early 8-Channel Computer Music Module)

D.A.Wilson is an Electronic Engineer, Sound Designer & Vintage Synth Specialist with a particular interest in combining vintage tube, classic analog and modern digital technologies working as a synth engineer looking after a very considerable amount of vintage studio equipment for Will Gregory (Goldfrapp / Moog Ensemble) and a number of other internationally celebrated electronic musicians and producers.  Having undertaken several major restorations and produced custom electronic designs for a number of major artists including Jean-Michel Jarre, Dani is also known for fully restoring two out of the world's four remaining 1979 Crumar GDS and partially restoring 1938 Novachord 346 (the only known operational Novachord in the UK) to playable order along with developing and producing the new Elfin family of 8-bit polysynths and the popular MIDI Front Panel Animator (FPA), Filter Defeat Module (FDM) and XD-280 Drive Emulator upgrades for the AKAI S612 sampler.

Demos of the S612 Upgrades in Action: 

https://soundcloud.com/hideaway-studio/sets/hideaway-studios-s612-front


Hideaway Studio Kontakt Sound libraries may be purchased directly from: 
https://www.lootaudio.com/category/kontakt-instruments/hideaway-studios
 

..and a nice introduction by Cory Pelizzari to the Hideaway Studio Kontakt Libraries:
https://www.youtube.com/watch?v=k-C7a3ChC9U&feature=emb_title


For more on releases from Hideaway Studio for Kontakt please visit the blog at:  www.hideawaystudio.net