HK_Calm-&-Steady_tracks_277

GRID 32

Les Bannis vocals by Antonella Porcelluzzi

CHORUM NOCTE PAPILIONES

dancing night butterflies, a old song i just found I made some years ago.
(C)2022 Juhax

CHORUM NOCTE PAPILIONES

Remix of "Jigsaw", a new release by F-Act & Allan McLoud.

Spotify: https://open.spotify.com/album/7qL1973jkk0FighOeJUXzD?si=EbExgmqETxeX_mCX_LvVuA

Jigsaw

Buy on Beatport

F-Act & Allan McLoud - Jigsaw (Levitone Remix) [LuPS Records]

Flares

Comvert - Unconsiousness (Methsen's Dark Ambient Trance Remix)

MUMBO JUMBO

Low Jack - Riddims du Lieu-dit (BZH001)

A1 Free Eternally
A2 Partei
A3 They Rule
A4 Brass
B1 Raid Leader
B2 Robert
B3 Light
B4 One Pop

http://bit.ly/2pb2NKe

Riddims du Lieu-dit

Buy at Bandcamp

Low Jack - Robert

The Equiknoxx Hour feat. Low Jack and Time Cow
NTS Radio, November 1st 2018
@equiknoxxmusic @nts_live @editions-gravats

Tracklist:
Lemonick & Krizzli - Nammi
Lastrack Vs. Jonquera - Riddim 1
Shainny - Prendido (Prod. King Doudou)
SHYQA - Hiding (Galtier Remix)
DJ Nervoso - KUIA
M.I.A. - Galang (Cavemen Remix Instrumental)
Ballaz Production - This is Dancehall
Dinamarca - A.M.A.B. feat. Gnucci (Al T4riq Remix)
Suku - Broad Back
Low Jack - Ebbing Sounds SF Live Recording
SHYQA - Hiding (Defensa Remix)
Too Lava - S.O.S
Dinamarca - Zorna
Tomasa del Real - Sirena
DJ Nervoso - AREIA
The Modern Institute - Arabic Eight
Too Lava - Head Shave Riddim
STILL - Shikorina (Slickback Remix)
STILL - SoundBoy Test Feat I Jahbar (Duppy Gun Project Remix)
Popcaan - Hustle (feat. Pusha T)
Endgame - Forsaken ft. Organ Tapes & Yayoyanoh
Caspa Productions - Iron Claw Riddim (Instrumental)
STILL - Rough Rider (Low Jack Remix)
Jamez Manuel - Intro a Lo Loco

The Equiknoxx Show Episode 17

NTS RADIO

The Equiknoxx Hour - Guest mix by Low Jack - NTS Radio

Clara! - Meiga de Acero (BZH005)

01 Acero
02 Meiga

@clara-uno @low-jack

Meiga de Acero

Clara! - Meiga

Almost completely unknown in the west, Masahiro Sugaya has been composing and producing music since the 1980s in an exceptionally wide range of fields and practices. From arrangements for musical acts like the acoustic guitar duo Gontiti to acousmatic diffusion at spaces like Paris’s Groupe de Recherches Musicales (GRM), Sugaya's reach is almost exhaustive in its breadth, but it was in the 80s bubble-era kankyō ongaku scene that he first found his musical voice. Horizon, Volume 1 presents a window into these works, culled from Sugaya’s early scores for experimental Tokyo theatre group Pappa Tarahumura. 

As a teenager, Sugaya would visit the avant garde hub of record/book shop Art Vivant run by Satoshi Ashikawa of Sound Process, guided by Ashikawa’s recommendations into the worlds of experimental composition, jazz and ethnographic music. It was there he also met musician Yoshio Ojima—the two would become close friends and contemporaries, working within a circle of Tokyo musicians that also included Midori Takada, Hiroshi Yoshimura and Satsuki Shibano. Ojima, an early adopter of new musical technology, would introduce Sugaya to the possibilities of composing with computers, synthesizers and samplers, which would become a trademark in Sugaya's early works. Surprisingly, the sound sources on Horizon are entirely digital, showcasing Sugaya’s ability to organically recreate complex musicianship approaches via keyboard using hyper-realistic samples. Much like Ojima and Yoshimura’s work, the results eschew electronic music’s usual coldness for something more warm and inviting, the feeling of a human in deep conversation with technology.

Flourishing within the boom of experimental theatre subsidized by corporations during the bubble economy, Pappa Tarahumura forged a unique dream-like style that merged performance art, modern dance and fantastical installation-like stage sets. Sugaya fashioned multiple soundtracks for their productions in collaboration with director Hiroshi Koike, the first two of which, The Pocket Of Fever (熱の風景) and Music From Alejo (アレッホ - 風を讃えるために), he self-released in 1987 on cassette, handing them out at Tarahumara performances. The third, The Long Living Things (Zoo Of The Sea) (海の動物園) followed in 1988 as a CD on Yukio Kojima’s ALM records. Aside from his brief inclusion on Light in the Attic’s Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990 (compiled by Empire of Signs’ Spencer Doran), Horizon presents this work outside of Japan for the first time.

Available exclusively via Light in the Attic: https://lita.fanlink.to/Sugaya

International Press Contact: Gamall / Backspin Promotions - g@backspinpromo.com

Horizon Vol. 1

Masahiro Sugaya - "Future Green" (Horizon, Vol. 1)

https://soundcloud.com/m-e-s-h - Hart... Aber Fair!

M.E.S.H. - Undine
M.E.S.H. - Antechamber
M.E.S.H. - Dzonot
M.E.S.H. - 10 Alarm
M.E.S.H. - Rüstung
M.E.S.H. - Verletzte
M.E.S.H. - Complicit

Cover by M.E.S.H.

M.E.S.H. - Hart... Aber Fair! (JANUS008)

22-29-35-56 - Low Jack

7" Red Label, self released. Limited Edition of 200 copies. 

A - Virgin Traf 22 
B - Grass 29

Low Jack - Grass 29

feat. Laurel Halo, Kuljit Bhamra, Jonny Lam, Verity Susman, Untold

Beatrice Dillon - Workaround
Format: LP / DL
Cat.No: PAN 106
Release Date: 07 February 2020
Purchase: bit.ly/33ISoYr

‘Workaround’ is the lucidly playful and ambitious solo debut album by rhythmobsessive musician and DJ, Beatrice Dillon for PAN. It combines her love of UK club music’s syncopated suss and Afro- Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity.

Recorded over 2017-2019 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo. Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14 bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play.

‘Workaround’ evolves Dillon’s notions in a coolly unfolding manner that speaks directly to the album’s literary and visual inspirations, ranging from James P. Carse’s book ‘Finite And Infinite Games’ to the abstract drawings of Tomma Abts or Jorinde Voigt as well as painter Bridget Riley’s essays on grids and colour. Operating inside this rooted but mutable theoretical wireframe, Dillon’s ideas come to life as interrelated, efficient patterns in a self-sufficient system.

With a naturally fractal-not-fractional logic, Dillon’s rhythms unfold between unresolved 5/4 tresillo patterns, complex tabla strokes and spark-jumping tics in a fluid, tactile dance of dynamic contrasts between strong/light, sudden/restrained, and bound/free made in reference to the notational instructions of choreographer Rudolf Laban. Working in and around the beat and philosophy, the album’s freehand physics contract and expand between the lissom rolls of Bhamra’s tabla in the first, to a harmonious balance of hard drum angles and swooping FM synth cadence featuring additional synth and vocal from Laurel Halo in ‘Workaround Two’, while the extruded strings of Lucy Railton create a sublime tension at the album’s palatecleansing denouement, triggering a scintillating run of technoid pieces that riff on the kind of swung physics found in Artwork’s seminal ‘Basic G’, or Rian Treanor’s disruptive flux with a singularly tight yet loose motion and infectious joy.

Crucially, the album sees Dillon focus on dub music’s pliable emptiness, rather than the moody dematerialisation of reverb and echo. The substance of her music is rematerialised in supple, concise emotional curves and soberly freed to enact its ideas in balletic plies, rugged parries and sweeping, capoeira-like floor action. Applying deeply canny insight drawn from her years of practice as sound designer, musician and hugely knowledgable/intuitive DJ, ‘Workaround’ can be heard as Dillon’s ingenious solution or key to unlocking to perceptions of stiffness, darkness or grid-locked rigidity in electronic music. And as such it speaks to an ideal of rhythm-based and experimental music ranging from the hypnotic senegalese mbalax of Mark Ernestus’ Ndagga Rhythm Force, through SND and, more currently, the hard drum torque of DJ Plead; to adroitly exert the sensation of weightlessness and freedom in the dance and personal headspace.

The album is mixed by James Rand and mastered by Rashad Becker at Dubplates & Mastering. Artwork by Thomas Ruff, layout by Johannes Schnatmann & Bill Kouligas.

Workaround

Beatrice Dillon - Workaround Two (PAN 106)

°°°vidio is better: https://youtu.be/8h3yWoOzugk
This is a part one of the debut double-album Afratafreeh Ka Aghaz. This is sui generis electronic sound. listen fully as you may be surprised. This is Ohda 1. a more "accessible" track, *on the windowsill* represents optimism in these uncertain times. it is *always* uncertain times.

Afratafreeh ka aghaz
افرا تفریح کا آغاز
 Ohda 1

on the windowsill

Ifsh/It Do is about self-sampling, contrasts, asymmetry and cycles. MPC, OP-1, tapes, loops, field recordings, any and all resonant objects.

Genocide, June 2025:
Israel is only the executioner, every nation which has armed that country in the past year is an accessory to that genocide, an accomplice, a facilitator.  We cannot talk about war crimes because when you target unarmed civilians, mostly women and children, we are talking about a massacre, like terrorists do, not a war. The people who orchestrated that massacre, in the US, the most duplicitous, followed by those of the UK, Germany, France, and probably a few lesser ones should be tried for crimes against humanity just as well as Netanyahu and his cabinet, because it has been going on for two years, generously reported by media of all kinds, so the enablers knew exactly how the arms were to be used, as a tool for revenge, domination, and humiliation of the Palestinian people.  The conflict has ceased to be about the defense of anything for months.

The parties responsible have made a mockery of decency, morals, fairness, proportion, or justice, not to mention empathy.  Of what little there was, these concepts will be a lot longer to come back than they were to be struck down.  

Is it 1984 already?!?!
 ...

I have not been able to recover access to my other account [https://soundcloud.com/ha-kekong] for a couple of years.  I have tried a few times to get back into it but SoundCloud doesn't trust me.  Same phone number, same email addresses, and they still claim that they can't verify my identity.  I created that account about three years ago as a substitute to my regular account which SoundCloud temporarily closed.  They closed it as part of some upgrade procedure in their system, the result of a bug that affected many accounts, about two years ago.  Since SC did not inform its users I didn't know if that was permanent or not, so I created that other account which I can't access.  Don't be mad if I have not replied to your message in the past two years, that's because I never got them ; ) ... You can always reach me here though.
...

This one here (957729823) is for regular folks.

I love you, both.

...

You can't see it because of the angle with which I took the shot, aiming down, but beyond those blocks is the sea.  To the left is the Mediterranean, to the right is the Atlantic Ocean.  No it's not Gibraltar, but a little bit further West. ... Actually I checked recently and it is further North more than West, I thought I was facing South when in fact I probably was facing the Atlantic ocean, which is why I suppose the waves were of a decent size where we were.
...

My face and the bike are a courtesy of Joël Vaudreuil
[https://vimeo.com/user8897093]  ... Merci Joe!
I then went ahead and butchered his work with a borrowed helmet.
... Sorry Joe. =(
...

I'm trying to promote what I think is good music, so if you want to help out a bit I'd rather you [like] or [repost] my *playlists* rather than my field recordings, if you don't mind, unless you are a die hard fan of those things. Thank you ; )

I speak French, so if you send me a private message, and that you are a francophone, please write in French, thank you.  ... I mean, you don't absolutely have to, but I would prefer it. 

All my field recordings (except for when I record a person) are public, freely downloadable by anyone who is able to click on the button.  I encourage anyone interested to use them in any way whatsoever, on purpose or accidentally. No need for permissions or credits or any other kind  of administrative maneuvers.
...

Anarchists give me hope.

I'm a big fan of EFF.  Love ya EFF.  (no connection with the above line)
... and of course Richard Stallman and Linux and all the others.  Bless yous.

Now don't be lazy, go find out what it is this "EFF" that I'm talking about.  I'll give you a hint: it has to do with computers.

You have a nice day now.  Hugs & Kisses.

GRID 32

Ifsh/ It Do

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