Hexfarm is 

Phil Bywater - Saxophones/Flutes
Dane Renshaw - Drums
Mat Ward - Bass Guitar/Vox

The first new track from Hexfarm - who  have managed to jam once a year in 2022 then 2023 for the first time in many many many years. 2 of us now live in Australia with our Japanese residing Drummer flying in once a year for some fun. This was recorded remotely and hot mixed in my home studio - rough garage sounds : ) Lots of improv stuff on tape to see the light of day too in the vault

Momma Don't Like You No More - Hexfarm

2024-12-07

Echoes

2024-12-24

Flickering Candle Flame

More on the 678th weekly Disquiet Junto project, Commonplace Playlist — The Assignment: Create a sonic diary of the past year with a dozen (or more) super-brief segments — at https://disquiet.com/0678/

My review consists of 12 parts, one for each month:
01 Track from Jamuary, named split in two halves 
02 Field recording from the local carnival.
03 Track Karbid / Schpokau, inspired by a documentary about a factory in the GDR.
04 Disquiet 0643
05 Field recording from a mountain village.
06 Disquiet 0651
07 Field recording form another mountain village.
08 Disquiet 0658
09 Disquiet 0661
10 Field recording from the seaside.
11 Track Something Slow For November
12 Disquiet 0677

Disquiet0678 - Rückblick

5 seconds from each month in 2024. mostly taken from unedited tascam recordings; april and june are field recordings, all others are mostly jams with my smaller eurorack palette case

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More on the 678th weekly Disquiet Junto project, Commonplace Playlist — The Assignment: Create a sonic diary of the past year with a dozen (or more) super-brief segments — at https://disquiet.com/0678/

disquiet0678 - 2024 (60sec)

performed and written for Mikołaj Rytowski for the ATTACCA Festival 2024; premiered on June 1 at Druckereihalle im Ackermannshof, Basel, Switzerland

recording: Robin Michel
mixed by Isaac Roth Blumfield

The electronics for this work were recorded in part at the SWR Experimentalstudio in Freiburg, Germany with assistance from sound engineers Thomas Hummel and Luis Miehlich

link to binaural version (for listening with headphones): https://soundcloud.com/isaacrothblumfield/strange-symmetry-for-percussion-and-ambisonic-live-electronics-2024-binaural-version-use-headphones

strange symmetry | for percussion and ambisonic live electronics (2024) – stereo version

The lawry shuff_03

Lyrics

Look at us,
Very all or nothing
That choice is a good or a bad thing
From silence to full absorption
The happiest made from saddened
Be wary now,
Can you trust these lights
They’re always on 
And they’re mostly bright

Misunderstood
Intense in passion for good
Since the zinc spark
Thor has been my blood
The mind has God power now.
Hammer not hood
Fun times
The crushing bolts are charged,
Enemies of wood!

It’s for the trees
And we’re hugging
For the birds to find perch
For the Fishes soul
More balanced H2O

I've heard some spiritual people parrot that only humans have soul because we can reason the world properly. I don't believe that. I believe all life, trees, birds, fish, algae... all have soul and are all part of the one energy we all experience. So I sing that in this one!

I suppose you could argue that with the extra connections made by human consciousness when reasoning the universe portray us as superior... However in a system that is appreciated properly as whole the other life needs to be respected within that system. So if anything we become custodians for the health of that life when we now know we can influence all beings environments so intensely.

I can't imagine only humans get a zinc spark at conception... I'd imagine science shows all life has a similar energetic spark at the beginning activating that physical beings' energy in the physical realm...

I like to imagine it all as one whole system. One big giant web of mycelium connected like neurons in the brain or stars in a galaxy or galaxies around the voids .. When we get enough randomness we seem to get similar patterns and the same synergy of perfection. Intention is key for us I believe and being truly aware of that should allow us as individuals within the species to ascend to the unknown levels. How possible that is and at what depth in the physical realm tbc... 

Detached thought and intentions which spell out the projection but zero attachment to the result... making them pure are possibly a source of manifestation control in the real world. Intentional placebo maybe... 🧘

All or Nothing

Fredo’s Boat Ride

Trance 3 (Nonsense)

Feedback Madness
Track 1, "From This", 01:04, Soma Lyra 8 + Soma COSMOS + PulDeFilt
Track 2, "Feedback Madness", 02:15, PulDeFilt
Track 3, "Wander", 02:41, Soma Lyra 8 + Soma COSMOS
Track 4, "Uncover", 03:21, Soma Enner + Soma Lyra 8 + Soma COSMOS + PulDeFilt
Track 5, "Leaving", 02:00, PulDeFilt + Soma Lyra 8 + Soma COSMOS


Dates:
26-Oct-2025 (inception), 30-Oct-2025 (finalised), 30-Oct-2025 (released)

Artists:
Music composed, performed, produced by Norman Freund
Artwork by Norman Freund

BandCamp Purchase:
https://normanfreund.bandcamp.com/album/feedback-madness

Description:

Following up an idea on feed back loops, looper cross amplitude modulation with my software based digital modular synthesiser, PulDeFilt; plus analogue synthesisers: Soma Enner, Soma Lyra 8 and Soma COSMOS.


Track 1, "From This", 01:04, Soma Lyra 8 + Soma COSMOS + PulDeFilt:
**************
Records a short Soma Lyra 8 performance, two motifs introduced and recorded into Loops 1 and 2, ready to use in Track 2.


Track 2, "Feedback Madness", 02:15, PulDeFilt:
**************
*(1). This is where is all began. Having recorded two short 11 and 12 second samples from the Soma Lyra 8 from track 1 into loops 1 and 2, it was time to experiment with loops 1 and 2 amplitude modulating (AM) each other.

I wanted to explore the possibilities of dynamic assignment of multiple looper outputs to cross amplitude modulate each other. So I decided to start simple and just cross link only two looper outputs.

The audio signals from looper 1 and looper 2 where then multiplied together, i.e. amplitude modulation. Now to add some spice, after amplitude modulation, this was fed into a delay+feedback+gain block and added back to the looper 1 AM input. This delay was necessary as a technical matter but then later proved to be a useful timbral tool by playing the delay times according to a prescribed discrete set of delay times (as assigned to 8 midi note pads, along with the feed back gain assigned to a rotary encoder of the midi instrument again played by the performer. The discrete delay time tuning was determined by ear, old school style, play one delay time, write that down, play the next delay time that sounded right, write it down and continue, then assign to the tuning library.

Since the original audio from the Lyra 8 was feed into the Soma COSMOS for reverb, no reverb VST was necessary in the digital modular synthesiser, PulDeFilt.


Track 3, "Wander", 02:41, Soma Lyra 8 + Soma COSMOS
**************
A purely Soma Lyra 8 performance.


Track 4, "Uncover", 03:21, Soma Enner + Soma Lyra 8 + Soma COSMOS + PulDeFilt
**************
Here the Soma Lyra 8 played a dual role, firstly as the delay+distortion for the Soma Enner performance and secondly, the Lyra 8 played in it's own right. This was then feed into the Soma COSMOS to layer in and out various motifs and play the Blur and Drift dials. PulDeFilt was used here purely as a mixing console and to layer up performances.


Track 5, "Leaving", 02:00, PulDeFilt + Soma Lyra 8 + Soma COSMOS
**************
After all the hyper activity, a calming finale. PulDeFilt was used to play a pulse oscillator drone through a single delay+feedback block then off to a band pass filter, adjusting the centre frequency dynamically during the performance. This provided the backing for the Soma Lyra 8 performance. The Lyra 8 audio was passed through to the COSMOS for a touch of reverb.

Uncover

Dark ambient soundscapes for you pleasure

DARK AMBIENT - IN ANOTHER LIFE

contact: isaac.blumfield@gmail.com

Isaac Roth Blumfield is a composer from Saint Paul, Minnesota, currently based in Cambridge, Massachusetts. He writes experimental music for acoustic and electronic instruments which explores resonance, materiality, and memory through expanded sonic approaches towards instruments and objects. His music looks for the strange spaces between subjective and unconscious experience, exploring uncanny places between beauty, pain, and strangeness.
His music has been influenced through  through work with performers such as ensemble sonic space basel alumni, Schallfeld Ensemble, violinists Austin Wulliman and Chris Otto, line upon line percussion trio, Ensemble Modern, Barcelona Modern Ensemble, guitarist Francesco Palmieri and Jamie Monck, and Quartetto Maurice at programs such as the Bludenzer Tage zeitgemäßer Musik, the Banff Centre for Creativity, Yellow Barn Young Artists Program, New Music on the Point, Valencia International Performance Academy, Ticino Musica Festival and Freie Universität Berlin im Sommer.  
His music has been broadcast on Swiss Public Radio and supported by the Ernst von Siemens Music Foundation, Fondation Nicati - De Luze, and the Hirschmann Stiftung. He graduated with his Bachelor's degree in composition at New England Conservatory in Boston and a Master's degree in composition at the Hochschule für Musik FHNW in Basel, Switzerland and is currently pursuing post graduate studies at the Universität für Musik und Darstellende Kunst in Vienna. His primary teachers have included Stratis Minakakis, Timothy McCormack, Caspar Johannes Walter, Svetlana Maras, and Clara Iannotta. He is currently a PhD candidate at Harvard University, studying with Chaya Czernowin and Hans Tutschku.