Not killing myself yet..but looking for more

still after all... you are loved and missed. I think of you daily. 

Shelter Press is happy to announce the release of Perceptual Geography, Thomas Ankersmit’s latest record. The music was created as a loosely structured piece for live performance in 2018-2019, commissioned by CTM in Berlin and Sonic Acts in Amsterdam, and premiered there on the GRM Acousmonium. The music is inspired by - and dedicated to - the pioneering research of American composer and installation artist Maryanne Amacher (1938-2009), and created entirely on the Serge Modular analog synthesizer.

Ankersmit and Amacher first met in New York in 2000, and kept in touch over the following years. Her concerts and installations left a deep impression on him. Amacher, being close to the Tcherepnin family, also first introduced Ankersmit to the Serge synthesizer, developed by Serge Tcherepnin in the 1970s.

In the piece, Ankersmit explores different “modes” of listening: not just which sounds are heard and when, but also how and where sounds are experienced (in the room, in the body, inside the head, far away, nearby). So-called otoacoustic emissions (sounds emanating from inside the head, generated by the ears themselves) play a prominent role. When turned up loud, the material moves beyond the loudspeakers and starts to trigger additional tones inside the listener’s head; tones that are not present in the recorded music. Cupping the ears with the hands and slight movements of the head also help to bring these tones to life. Maryanne Amacher was the first artist to systematically explore the musical use of these phenomena, often referring to them as “ear tones”.

The title is a reference to Amacher’s essay “Psychoacoustic Phenomena in Musical Composition: Some Features of a Perceptual Geography”, and despite the all-electronic instrumentation, a dramatic sense of landscape and environment often emerges. There are sparks of fire, howling wind, distant thunder, a swarm of bats disappearing into the distance. Ghostly, floating tones are contrasted with highly dynamic sounds darting around the listener, and large, heavy waves rolling in slowly. “Ear tone” stimuli weave in and out of these textures, emerging from them. Once or twice, the music seems to completely freeze in time, but a slight movement of the listener’s head reveals changes.

For each live performance, Ankersmit tunes his instrument to the resonant characteristics of the performance space, so that the sounds activate the structure, traveling through the architecture and setting it in motion.

The record is accompanied by an extensive conversation between Ankersmit and Serge Tcherepnin, creator of the Serge Modular and friend and collaborator of Amacher.

This is a digital-only release (CD and download) because the “ear tone” material can’t be adequately transferred to vinyl.

Please play loud and use speakers, not headphones. 
credits
releases March 19, 2021

Music: Thomas Ankersmit
Mastering: Kassian Troyer
Design: Bartolomé Sanson
Interview editing: Michelle Arrouas

THOMAS ANKERSMIT 'Perceptual Geography' (EXCERPT) (SP130)

In his book 𝑇ℎ𝑒 𝑊𝑒𝑖𝑟𝑑 𝑎𝑛𝑑 𝑡ℎ𝑒 𝐸𝑒𝑟𝑖𝑒, Mark Fisher wrote about the two notions: While the weird is something present where it doesn’t belong—something from outside found on the inside—the eerie has to do specifically with outside space. Something is eerie when there are unanswered questions about agency: Who or what is responsible for the abandonment of this zone? Who or what is crying out in the distance?

Katharina Schmidt’s 𝑇𝑒𝑛𝑛𝑖𝑠 𝐶𝑜𝑢𝑟𝑡𝑠 𝑖𝑛 𝑡ℎ𝑒 𝐻𝑎𝑙𝑓 𝐿𝑖𝑔ℎ𝑡, a single, longform track stretching to a near half hour, deftly captures this spatial sense of the eerie. The evolving drone is like coming upon a ruin, circling it, and being drawn inside. There are no surprises, no sudden horrors, just the strange pull of oscillating waveforms that paint a bleak yet soothing landscape.

In certain kinds of listeners, empty, abandoned spaces produce a pleasurable dejection. Maybe this is because spaces where human life is evacuated represent the end result of capital. (It seems to have withered away, but is in fact off to find another shell for its home.) What we’re left with is something new to inhabit, a new infrastructure for freedom. The subtle changes in Schmidt’s recording have less to do with melody and rhythm, more to do with accumulating color and texture of space. And so the half hour can feel like five minutes, or an eternity—time and scale exist differently here.

---

After years of playing drums and piano in various bands, Katharina Schmidt's solo work is influenced by indie, experimental, and improvised music. Exploring interests in storytelling, sonic topographies, and generative techniques, her music uses electronics, field recordings, and self-built interfaces alongside acoustic instruments. From sonifications to lullabies, her work is poised between formal experimentation and narratives cued by literature and pop culture, and can be heard in installations, film music, and radiophonic pieces, as well as releases on labels such as Flag Day Recordings, Slaapwel Records, and Focused Silence.

Katharina holds a master’s degree in Sound Studies from the Berlin University of the Arts and hosts resident shows at Cashmere Radio and SVS Radio.

katharina-schmidt.net
katharinaschmidt.bandcamp.com  

artwork by Stefan Lingg
audio finalized by Glyn Maier

all proceeds to The Homeless Period Project (Greenville, SC, US) - www.homelessperiodproject.org

Tennis Courts in the Half Light

Katharina Schmidt - Tennis Courts In The Half Light [Excerpt] (ENMD03)

For whom the bells toll: Notte Brigante is back in the longplayer spheres, unearthing for mother earth nine tracks by French producer, musician and PMR label runner ASSID, that spellbind under the entitlement “Connaissance des Lois Cosmiques“. An utterly surprising, dark-ish fever dance of many styles, synth-ages, tribal zones, and cosmic flashes! Ingredients, that ASSID sucked up from his many musical adventures. As Trackmark he is active since 1998 and self-released four longplayers that glitch abstract through the electronic galaxies. He is also part of the Strasbourg, France based band The John Merricks, living the psychedelic dream in unity with lo-fi swing, dub, electronic, Acid rock and all that noise. When he feels like going fully electric, he joins his buddy Doudouboy and invents as Electric Muezzin abstract dub, that thrills all delays and echoes of creation. With “Connaissance des Lois Cosmiques “, the man from the Drôme department in the Auvergne-Rhône-Alpes region of France distributes an amalgamation of all his different artistic avenues. You get dubbed. You get cosmic. You get waved into a darkness, that is illuminated by psychedelic drifts, but at the end it’s just a trip!

Hand screen printed cover in two different colors, surprise.

Out around March 15th, 2022, edition of 300 copies. Buy Vinyl & Digital: https://nottebrigante.bandcamp.com/album/nb007-assid-connaissance-des-lois-cosmiques-lp?from=fanpub_fnb

Distribution: www.crevetterecords.be
Mastering: Seb Normal
Artwork : https://homemade-mixture.tumblr.com/
Text: Michael Leuffen

Réalisé en co-prod avec P.M.R label: https://pmrlabel.bandcamp.com/

Crypto Eso

NB007 - ASSID - Connaissance des Lois Cosmiques LP

Deluded way in woodlands
Thousands of oaks - grow hushed
Dangling
Fog gobbles stubborn barricades
Empty caves rumble through gaps

Breathing flesh
Burnt banyan

Remember again, who's dreaming?
Who served the night with closed eyes?

Where the waters seethe, traced the echoes running along the ridge. Grown into mounds - speck of dust, above and beneath, bent in their tensile way.

'Perspective' resembles graying daze for the tense lows, that holds subdued gentleness. Belfast based musician - Verge has brought his exalted grandeur to aural fluency in the vein of gauzy, filmy rumbles.

Perspective

Verge - Standing Water

Marylou [Morphine Raum x Mutant Radio] [20.02.2023]

Student Terminal 161

Oil Thief - White Car

MARIA W HORN, Epistasis, LP

Release date - Oct 25th 2019 
Catalogue nr. - HG1904
Format - Vinyl/digital

https://hallowground.bandcamp.com

Tracklist:
A1) Interlocked Cycles I 	(10:45)
A2) Epistasis 			(09:31)
B1) Konvektion 			(13:16)
B2) Interlocked Cycles II 	(09:46)

Credits:
All music composed, recorded and mixed by Maria W Horn
Linnea Hällqvist - violin
Knapp Brita Pettersson - violin
Maria Jonsson - viola
Natalia Goldmann - cello
Johanna Niederbacher - cello
Mats Erlandsson - electric guitar
David Granström - electric guitar
Johannes Landgren - organ 
Fredrik Lundqvist - organ

Mastering by Lawrence English
Design by Ruth Stofer

Promotion by Dense Promotion, ed@dense.de 
Distribution by Cargo Records and a-Musik
Released by Hallow Ground

///
Following the success of her 2018 solo debut album »Kontrapoetik,« the Swedish composer Maria W Horn returns with »Epistasis,« her most ambitious record to date. The title track, »Konvektion« and the two parts of »Interlocked Cycles« see the XKatedral co-founder explore radical approaches to composition that combine avantgarde methods with electronic means. While »Kontrapoetik« highlighted Horn’s strength as a conceptual and political artist, »Epistasis« is to be understood as an advanced statement by a forward-thinking composer who throughout four pieces channels her influences, ranging from black metal to minimal music, through state-of-the-art technology. 
Originally composed as an audiovisual piece for synchronised multichannel sound and lights and premiered in 2018 at the Royal College of Music in Stockholm, »Interlocked Cycles« is a series of pieces exploring a gradual increase in tempo and density using various instruments. It was written to be performed by a computer-controlled upright Disklavier piano while the electronic part was generated within the Supercollider framework using phase modulation synthesis. Navigating between acoustic and electronic sounds, the two parts of »Interlocked Cycles« create a frame for the album by respectively serving as an introduction and coda to Horn’s musical exploration of the notions of authenticity and artificiality.
The nine and a half minute long title track was composed for an eight-voice double string quartet and draws on evolving progressions in F minor that were inspired by the sound and harmonic structures of early nineties doom and black metal music. During the performance of »Epistasis,« which was commissioned by Konstmusiksystrar and premiered by Malvakvartetten at Konserthuset in Stockholm 2018, four parts are played by the string quartet and four parts are played back electronically. Using various amplification techniques, the spectral characteristics of the string instruments are enhanced and distorted and were later on complemented by feedbacking electric guitar overdubs while mixing the piece. The result are densely layered drones that are most unsettling when they are the quietest and reveal their anthemic qualities in their most forceful moments.
The structure of »Konvektion« however takes its cues from a very different field of the musical world. The composition progresses in a way that was inspired by Arvo Pärt’s »Tintinnabuli« technique, where step-by-step diatonic movement interplays with triads to form a complex harmonic function that is still rooted in tonality. Based around four-note chords articulated as dyads and performed by two organists on the same instrument, the duration of each dyad is measured by the individual breaths of the two performers while pitches are predetermined in the score of the piece. The alternating breathing cycles of the performers slowly move the piece forward at a glacial pace. Simultaneously, an electronic part composed of interference tones creating high and low frequency beating patterns gradually unfolds, making »Konvektion« an exercise in minimalism that combines the subtle gravity of Phill Niblock’s work with the visceral theatrality of Anna von Hausswolff’s organ pieces.

-

Epistasis

MARIA W HORN - Epistasis (HG1904)

Desertshores (Memorial Mix) is an exclusive remix of the track from 'Desertshores  / The Final Report' double album release. The track is a gathering of the voices of thirty five of Sleazy's friends and acquaintances. The lyrics are simply "Meet me On The Desertshore". A full list of contributors is here > http://127.0.0.1:53932/industrialrecords/industrialrecords/xtg-desertshores.html

Promo Videos:
https://vimeo.com/49072037 
https://vimeo.com/49072036
Released on Industrial Records 26th November 2012.

Desertshore

Desertshores (Memorial Mix)

Buy Album Here

CE-22

Giugno "A Love Like Mine Is Hard To Find"

February 2020

Giugno - This World

A series of guest mixes, streaming here and featured on Dublin Digital Radio every month.
Tracklist available at: www.eotrax.com/mix-series-7-zoemcpherson

Mix number seven is from Zoë Mc Pherson, a cutting edge journey through contemporary electronic styles.

Zoë Mc Pherson is a producer, sound designer, live performer and DJ based in Berlin, whose new album States of Fugue is “Adventurous, freestyling Designer-Electronics in cut-up style”

As well as creating music for movement & sound enthusiasts, Mc Pherson is a multimedia artist interested in bridging the worlds of sound and visual art. In 2018, she released album/art project, String Figures, created with visual artist and director Alessandra Leone.

Both started new platform/label, SFX in 2020, focused on developing & releasing objects & experiences across various mediums, including an ongoing project called Xquisite Force, an AV collaborative thread involving amongst others : Forces, Ainissa V, ZULI, Sam Wiehl, Aylu, Petra Hermanova, Hulubalang, Constant Fernandez, Kaltès, Iamnatural, Patrick Defasten, Aho Ssan, Flore and many more yet to be revealed.

Performance highlights include Mutabor Moscow, De School Amsterdam, Krake festival Berlin, ZVUK Almaty, Schiev Beursschouwburg Brussels, Meakusma festival Eupen, Concrete Paris, Nottingham contemporary ; “Best experimental video” at Berlin music video awards, a “Vimeo Staff pick” ; screenings at the Australian Center for moving image, Melbourne ; an award for best 2019 electronic artist at Belgian ‘Octaves de la musique’.

Instagram: www.instagram.com/zoemcphers/
Bandcamp: www.sfx-space.bandcamp.com/
Soundcloud: @zoemcpherson

Tracklist:
Dasha Rush - 100 Hearts
Speaker Music - Black Secret Technology is a Traumatically Manufactured and Exported Good Necessitated by 300 Years of Unaccounted for White Supremacist Savagery in the Founding of the United States
Jasmine Infiniti - GHETTRO
Rhyw - It Was All Happening
object blue x TSVI - Thought experiment (upcoming on Nervous Horizon)
z0it - Shoe Study 4
Duval Timothy - Like feat. Vegyn
Duckett - High Ceilings And No Relationship
Zoë Mc Pherson - Alva (upcoming on LAVALAVA Records)
Forest Drive West - Void Control
SUBURBASS - Dirty Deedz
Flore - Peninsula (upcoming on SFX)
Inertya - New Dawn
Aho Ssan - Xquisite 0001.08.02 (upcoming on SFX)
Ciarra Black - Vessel (upcoming on Pendulum recordings)
DJ Python - Junos
Black Snake Whip - Sucker
Gillie Mc Pherson - We Go Ooh, We Go Aah (unreleased)

Eotrax Mix Project

EOTRAX MIX SERIES: #07 Zoë Mc Pherson

Industrial Records Ltd. was founded in Hackney, East London in 1977 by Throbbing Gristle, initially to manufacture and distribute their own releases. They later expanded to release a wide and varied catalogue of material by many other artists and musicians. 
Currently Industrial Records is ONLY releasing material by Throbbing Gristle, X-TG and Carter Tutti Void.

* PLEASE NOTE
We do not accept demos or answer messages sent via Soundcloud. If you need to contact Industrial Records please do so via our website, manager or agent.

Desertshores (Memorial Mix)

Industrial Records (1977-2018)

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