Name: HLM38 - EMPTY QUARTER by HLM38 in Ryokuin_2024
Duration: 4 min 28 s
Description: An Anti Dub excursion from the Ep "Stranger Than Dub" https://nottebrigante.bandcamp.com/album/nb01t-hlm38-uvb76-the-idealist-lo-kindre-stranger-than-dub-ep

Ryokuin_2024

"While making this album I was inspired by the scientific themes and topics expressed by both 1970s magazine "Radical Software" and 1980s magazine "OMNI" for their influence on the video synthesis and broadcasting culture of our present day. Radical Software arrived in 1969 at a time of major social upheaval. The Viet Nam war was raging and the loss of Martin Luther King exacerbated feelings that a war on race war seemed inevitable. The Nixon presidency amplified feelings of despair but compelled many to imagine alternatives to the soulless, murderous culture in they were existing in. The urge to create new cultural structures, developed revolutionary video hardware that would play a pivotal role in accelerating the social change people desired. Authors of the magazine understood that change would only occur by increasing the level of social pressure. Through their reading of Buckminster Fuller, Gregory Bateson and Marshall McLuhan, they realized what needed to be changed was not the machines, but the instructions used to operate them. The social implications proved radical hardware was fine but what was critically needed was "Radical Software". The magazine became a form of social activism. It would be a forum, a video craft how-to-magazine, a rudimentary marketing and distribution system for the burgeoning community, and a journal of philosophical speculation and political opinion for all who shared their vision. The cover of the album is created by CINEMA.AV using LZX video synthesizers."

Purchase Album: https://reservematinee.bandcamp.com/album/liminal-space

Produced by Anderson Chimutu aka Fumbata Phiri
Mastered by Michael Stumpf
Artwork by CINEMA.AV
Released by Reserve Matinee from Chicago IL, US
Release Date : January 17th. 2022
Format - Cassette and Digital

Fumbata Phiri (South Bend, US)
@fumbataphiri
www.facebook.com/fumbataphiri

Reserve Matinee
@reservematinee
https://reservematinee.bandcamp.com/

Support the label

Premiere - Fumbata Phiri - Liminal Space (Reserve Matinee)

An Anti Dub excursion from the Ep "Stranger Than Dub" https://nottebrigante.bandcamp.com/album/nb01t-hlm38-uvb76-the-idealist-lo-kindre-stranger-than-dub-ep

HLM38 - EMPTY QUARTER

Perennial Fantas

Ferro Mortem / SCUM F.C - Mr. Clean

tracklist:
Zaumne - Lucid 
Varg & Vanity Productions - The Gates Of Hermès
belmont girl - perthro
Jonnnah - Utomachine
Zero Crossing Point - Our Ascension
GiGi FM - Allium Christophii
Patrick Tomala - Beam
Torus - Lose Control 
Jake Muir - like sweet thoughts in a dream
Florian T M Zeisig - Matrix Perseids
nomorewillroam - Allowing Yourself To Wonder Will Make You Happier Than Knowing
oxhy - and we love anew (for zach and john)
Quit Life - Quiet Light
chantssss - Breath 
t0ni - 1111-11
kalyma - sushi 2025 
romance - a kiss is just a kiss 
innerinnerlife - if life was soft
Innesti & Jacob Newman - Vanishing
Pavel Milyakov - moon chant (feat. Martyna Basta)
TRYCE - Raingel (feat. Sadness)
Balas De Agua - Flamma

b2b ambient whispers w/ @serenitysoundseeker
recorded at radio luz (wrocław) for luz air radio show

https://www.youtube.com/watch?v=k14g0ewp_gw&t=948s

multiple light sources | serenitysoundseeker & kalyma

Nina Garcia : guitare électrique
Arnaud Rivière : électrophone réparé et table de mixage préparée

Mastering : James Plotkin
Visuel et Design : Hélène Marian 
Enregistrement et mixage : Étienne Foyer 
Éditions Gravats, 2025

------------------------------------------

Autoreverse brings together Arnaud Rivière (prepared turntable - we should say damaged or destroyed), a kingpin of the French noise underground as a programmer at Instants Chavirés and Sonic Protest, team player with Otomo Yoshihide, Erik M, and a hundred others, ; and Nina Garcia (guitar & feedback), recently recruited by Stephen O'Malley's Ideologic Organ label after giving the whole of the Paris region a taste for noise guitar solos with her Mariachi project ("Guitar, pedal. That's all’, as his Discogs puts it. What he doesn't say is that it's EVERYTHING - a world, a cosmos in itself) – culminating in a self-titled album and instant classic (Mariachi, No Lagos, 2018), and various collaborations (Maria Bertel, Mamiedaragon). 

Their music, already been featured in two live cassettes, stems from assiduous concert practice. Autotunes is something like the duo's core in fission. They throw themselves into improvisation with little patience for detours : the position is clean-cut hardcore – less over-the-top clatter and more about finding the cutting edge, with an insistence on fine-tuning the limits of the instruments, attacking the raw and the gritty with maximum precision: the result is an irradiating flow of rare metals and certified toxins.

In one of the record's many climaxes, bleeps extruded from who knows where battle with the strumming of white-hot guitar strings. But there's a whole host of distinct techniques and sonorities at work here: seamless attacks, amplified scrap metal, just-caught feedbacks, provoked chances, melodies that invite themselves in but don't stay for dinner, rhythmic sketches and glimpsed zones of beauty, built-up and cracked materials, expected and unexpected counterpoints. The intensities vary from start to finish: howling, eruptive bursts of harsh noise microswitchs, shapeless feedback whining and growling, but also more meditative harmonics and resonances.

This is reinforced by the didactic and generous structure of the record, which first methodically exposes the takes played in the studio through ‘horizontal’ sequencing (A1), before repeating the same material ‘vertically’ in a meticulous work of hollowing out and elisions. Autotunes manifests a distinctive ability to maintain an astonishing dynamic in the depths of the post-industrial cavern left by Throbbing Gristle (‘Slug Bait’ period), Maurizio Bianchi and all. 

With Autoreverse, it's no longer time to marvel at our various abilities and tactics, but to tighten the mesh. In the way it coolly reviews the possibilities, in its peaceful radicalism, in its attitude of less noise, more impact, this record helps us to conceive what a comrade called once ‘an ethic of our violence’.

Autoreverse - A1. HI-SPEED DUB indicator

TRACKS IN THE MUD – Retreat Radio's first-ever compilation of original music drops on April 20, 2025! Available as a double CD, on a wrench-shaped USB, digitally, and across multiple streaming platforms. Listen to the first 4 tracks and pre-order: retreatradio.bandcamp.com/album/tracks-in-the-mud

Tracklist:
SAATANS KVINNA - I have a lot to say (intro)
HOS - Jorn
Prins Emanuel & Rivet - Umarel
Klofink - Triple Tundric Vision
Goaty - Drear
Thomas Bush - Loneliness Remembers
DJ Sandylion - Look Out!
Moonilena - Solarna
Sofftronic - Metallic Dub
Oklo Gabon - The Theoretical
Jonte Prippz - Nomore
Digge Shim - Dawn 2 Dusk
East Moon - Soloflight (Ecover Version)
Miranda Magdalena - Polly Pocket (Rivet Scrub)
CYSP - Farever
tala drum corps - conc
Aircode - Came Back
Oblinof - KK2 Corp
Rumina - Rezillik
Ceqi - Fog Juice
tZimtZum - Re-Koil
towLie - taLk to me
Five o'clock Traffic - double refusal
2Lanes - Tadpole Prime

The online radio station Retreat Radio has acted as a unifying force on the underground scene in Malmö for close to a decade and now offers its first compilation of original music from its vast community.

A community grown exponentially like a virus, with Retreat Radio as the source of infection, comprised of artists in various stages of despair revelling in hazy ambient, angular industrial rhythms and post-dub influences. Now bringing you 24 tracks of frog-induced head music made for a sad generation that wanted to be club kids but had no club to go to.

Many - if not all - of the names behind this mammoth of a compilation are Retreat residents with current or past monthly shows on the programme. Many of whom have walked the stark lit street at the outskirts of town at night to climb a spiral staircase above a carwash to play their shows.

Loosely centered around the interpretation of dub as a genre, the compilation hand-picks a curation of tracks which nonetheless point to a coherent vision: that of dub as a vital cornerstone in the development of new music reflecting on an urban post-capitalist environment.

releases April 20, 2025

Mastered by: Martin Blomberg & Jonatan Bergsman
Artwork by: Oda Haugerud
Design by: FETIDGRUPPE©
Words by: Simon Eliasson

TRACKS IN THE MUD

premiere: Moonilena - Solarna

The Clock Smells

encrypted voicemail w/ Syila Park & Giugno - 01/05/2025

The Crazy Race Of Lone Sloane w/The Hazard

Sleepybutterfly - In God's Hands

🌧️ Neon Rain – 80s Retro Synthwave Glow

Neon Rain brings the shimmering pulse of 80s synth nostalgia back to life — neon-lit streets, chrome reflections, and atmospheric midnight drives. 🌃💜
This album blends warm analog pads, vintage drum machines, and cinematic retro leads to create a dreamy synthwave escape that feels both melancholic and timeless.

Perfect for night drives, study sessions, or slipping into that classic retro-futuristic vibe. Let the rain fall in neon colours. ✨🌧️

Signal In The Dark

ambient beat 0904

Tape loops are a closed path, a cyclic river, a ring around a far planet. They’re similar to our memory, continuously reenacting an artefact that belongs to a precise point in time, brought back in a process of recall where that artifact slightly and slowly becomes imprecise and shifted. An unrested repetition carved into an old pavement, in a city where every generation leaves a new mark, a new incision and maintains an endless process of birth and deterioration. Sonus Ruinae’s synthesizers sounds are gently laid on that closed path, put in a locked repetition and engaged into that eternal dance.
While growing up with computer music influences, ranging from glitch to the new century Roman electronic scene, Marta De Pascalis developed her musician skills under the spell of the Italian sound labs sphere, from Gruppo di Improvvisazione to Battiato and other masters that influenced the global movement of sound designers. Her earliest Live performances already showed a special character of improvisation and structure, reduced slowly to become essence, made of synthesis and magnetic tape. Her album Sonus Ruinae is a canvas of harmonics and a sublime place where things are whole, where your first listen is engraved just like that ancient city’s pavement, and Marta endlessly writes beauty on top of it, layer after layer.

All music by Marta De Pascalis
Recorded at WORM Sound Studios in Rotterdam, artist's studio and Big Snuff Studio in Berlin, between 2019 and 2020. Mastered by Giuseppe Ielasi. Artwork by Lorenzo Mazon Studio.
All rights reserved to the respective owners.
doser039LP 
© + ℗ Morphine Records 2020.

Marta De Pascalis - Sonus Ruinae Part 1

‘Feeling’ is taken from Leila’s uber-classic debut album ‘Like Weather’, originally released on Aphex Twin and Grant Wilson-Claridge's Rephlex label in 1998 and -  for our money - one of the most quietly influential records of the late 20th century. Newly remastered by Rashad Becker and available for the first time ever on any digital platform, 'Feeling’ is impossibly contemporary, landing somewhere between the asymmetric soul of Mica Levi/Tirzah and the squashed, fluorescent pop of Yves Tumor. The re-mastered reissue of Like Weather will be available Nov 20th on Vinyl, CD and Download formats.

Like Weather

Leila - Feeling (Rashad Becker Remaster)

Paralaxe Editions is based in Barcelona, and Ylia (a.k.a. Susana Hernández) has long been one of the city's most well-regarded musicians. A classically trained pianist who came of age DJing breakbeat raves in Andalucia, she easily maneuvers between disparate scenes and styles; she's as comfortable dropping electro and techno records as she is performing alongside experimental flamenco artist Niño de Elche (she's a member of his touring band).

Following her appearances on labels such as Lapsus and Hivern Discs, Dulce Rendición is Ylia's first full-length effort, a cinematic collection of meditative and richly melodic tracks that largely grew out of her intimate live sets. Weaving together analog synths, field recordings and fragments of her own voice, much of the music was directly inspired by her dreams—and more specifically, the seemingly impossible sights and sounds that populated them. Working to recreate their lingering silhouettes in the light of day, Ylia oscillated between moments of deep introspection and playful fantasy as she settled into the hazy space between sleep and consciousness.

Music by Ylia.
Mastered by Rupert Clervaux.
Artwork by Oficina de Disseny.
Printing by L'automatica, Barcelona.
Words by Shawn Reynaldo.

HLM38 - EMPTY QUARTER

HLM38

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