Taken fron the forthcoming album Chance Of Rain - Due out on Hyperdub on 28/10/2013 on CD, LP and Digital 

Laurel Halo: Ainnome (Taken From Chance Of Rain LP 28/10/2013)

We’ve reached book IV in Rupert Clervaux’s series of “Zibaldone” audio diaries, at which point we find him telling a different kind of story. 

“The first three all had very specific themes, while this one feels a little bit looser and doesn’t have just one thematic thrust,” he tells me, which maybe explains why listening feels a bit like annotating. I’m underlining, emphasizing, drawing arrows from here to there, highlighting symbols and noting motifs, realising, questioning, eureka-ing. An impressionistic meaning’s been encoded in and we’re lucky to be given the space to play that most poetic and boundless of all mental games: narrativization. 

There are no wrong answers, but Rupert offers some clues either way. If there’s any cipher here it’s “something like a meditation on the concept of ‘depth’––in all its connotative forms.” Think below the surface, (the) underground, yawning oceans, being ‘down in the dirt’, soil, roots, rootlessness, pulling at the dregs, collapse, profundity, stable and unstable horizons, distance, perspective, intuition, not to mention relative opposites: to be shallow, to be above, to be beyond. 

It’s got me thinking of Bresson’s “Bring things together that have as yet never been brought together and did not seem predisposed to be so.” His: “Dig deep where you are. Don't slip off elsewhere.” Rupert has realized these—two favourite goals of mine!—here. 

This is music that catches you at your own periphery, gives pause, has you offering a little “huh” to, asking “I wonder why” to. Again, it’s got me musing on another mindworm, this time from New York publisher and multi-sensory reading room Dispersed Holdings: “Feeling-making-knowing feedback loop; cartography of feeling; water as text, read to know the land beneath and around it, and body as reader.” 

Is it ok to offer up these other contexts out of context? I think so, because Zibaldone IV articulates a similarly swirly tone. Like, we’ve got Rebecca Solnit talking through Kropotkin’s “Mutual Aid” and later calling out to Michael Ruppert a ways away, and “Easy Rider” is playing in the wings. We’ve got Susan Sontag magically contextualizing Mariah Carey with poet Thylias Moss triangulating in order to sketch out (Rupert again) “something a little more interesting than wilful eclecticism or that laboured and patronising kind of pop-savvy.” 

Are we following? Whether yes or no Vanessa Bedoret follows on with a performance of a performance of Moss’s 'Water Road’: to be once or twice removed, via strange transitions, purposeful confusions, and, suddenly, seagulls. We’re on a boat with Ingeborg Bachmann—and how I wish I could actually be! But maybe thanks to this music I can as literature, films, friends, lethargy, coincidences, little mental links, eternal wormholes, lingering notions come together to imagine something better. 

Text by Natalia Panzer 
npanzer.com 

Artwork by Coline Cornélis 

Music by Rupert Clervaux 

with 
Vanessa Bedoret: voice and violin on Thylias Moss #2 
Eben Bull: trumpet and electronics on Mutual Aid and Departure from England 
Isis O’Regan; voice on Departure from England 
Nick Taylor: electronics on Chthonic ’97 
Ben Vince: saxophone and electronics on Chatsworth ’17 

Artwork by Coline Cornélis 

Warm thanks to James Marrs, as always, and Natalia Panzer 

Vanessa recreates and reads an excerpt from ‘Water Road’ by Thylias Moss. Isis reads ‘Departure from England’ by Ingeborg Bachmann (translated by Peter Filkins). This record is dedicated to both poets––with great respect and deep admiration.

02. Simple Food For Our Simple Taste

https://soundcloud.com/gutted-angel

presales

Physical
https://www.one-eye-witness.com/release/1646731655/Baby-Blue-End-Of-Sleep

Digital
https://planeteuphorique.bandcamp.com/album/end-of-sleep

Constructed in the initial chaos of the pandemic, Baby Blue’s dystopian debut LP “End Of Sleep” finds solace in the unearthly home of Planet Euphorique. 7 offerings from the Canadian artiste dive deep into a heightened reflective state; an amalgamation of memories stitched together via looped dissonance and destruction. A contrast of lightness and dark constantly working against each other and at times in harmony; a familiar connection that can be found in complex electronic music and mental states alike. Strap in and be guided through a wormhole of cyber analog journeys, thematic explorations and catastrophic calls to celestial beings.

Ethereal echoes of LSG break in the opening of the record, fleeting cries nodding to ancestry; yet A Rainy Trip To Netherworld Sequence embraces the storm. Knee jerk kick distortions disrupt the angelic hypnosis; reality rolling through the clouds. The sequential energy continues through A2 and A3, driving and rolling viciously with heavy contorted noise infiltrating the low end whilst flickers of melodious song sail unbothered, thriving amongst the destruction. The Spring Is Coming feels like a seasonal change, a melting and defrosting; thawed harmony shining through; textural and flowing with movement, a perfect bridge.
An arguably more delicate chaos emerges on the B side, elongated pads stream endlessly whilst drums cultivate and expand into sudden frisson. Fragile voices begin to gate and sweep in Equal Parts Damaged, lingering and ringing through ear drums whilst glued in rhythmic unison to induce a state of floating, a game of elevated push and pull. Syncopated howls of distortion leads the closing track, Violet summarizing the brilliantly confronting conversations pulsating through the record.

PE016 urges you to join the otherworldly personal journey and sufferings of Baby Blue, a moment to connect with her meditative dreams and struggles; sonic synergy expanding to anyone with the invitation to surrender. 

releases April 15, 2022
Format: 12”
Distributed by One Eye Witness
Photography by Maria Katarina
Design by Daniel Leyva
Words by Katie Campbell

Baby Blue "End Of Sleep"

Deep City Soul

ASCENSION

01 INSIDE THE FLUX OF THE MIND
02 YAH CUNT
03 AUTO SHADE
04 REMOVALS
05 REVOLTER

ASCENSION EP released August 7, 2015 in .MP3 format on Halcyon Veil / NON Records.

ARTWORK BY SUGAR MIST

MASTERED BY ARCA

ANGEL-HO - Auto Shade

🤖 Take Away Jazz Records 🤖  is my label where I drop tracks that have been rejected by other labels or just for pure musical banter.
Soon physical...................... 💅 
Support and play

#takeawayjazzrecords

Buy  ☜

UK funky fast forward to Berlin Sunday

From a list of songs that didn't make my album 'Detail'
https://lorainejames.bandcamp.com/album/not-so-detail

Not So: Detail

Late one October night, a freak accident occurred in Tony’s lab. One slip, a nasty fall, and violent mutation or two later, the man known as @txny-g was no more. In a chemical haze of Jack, ACID TONY was born!

@sorry-records is happy to announce the release of Bushwick based producer Tony G’s ACID TONY EP, a frenzy-inducing collection of cuts for the spookiest of dance floors.

Mastered with love by @mvaughanmusic (@supertuffrecords), the EP kicks off with “Tony’s Acid” on the A side, eleven and a half minutes of club fury built around Mr. Oizo reminiscent synths and a warped sample of label mates and Miami Bass queens @basside-1. Anchoring the EP, “Jaya’s Acid” is a breakneck tour through a Haunted House of Jack, combining bits of soulful RnB vocals with crackling synth oscillations akin to Legowelt. Landing smoother than its takeoff, the EP dismounts with a lush deep house remix by Brooklyn’s great @malikhendricks fresh off his knockout 2018 12”s for @bumpin-somethin-records and @moneycatrecs.

Laurel Halo: Ainnome (Taken From Chance Of Rain LP 28/10/2013)

Hyperdub Records