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https://www.nts.live/shows/ikura-imprint/episodes/ikr-imprint-22nd-december-2021

Ikr. Imprint 221121

• poems written and read by Nat Marcus
https://www.instagram.com/nymphnet/
https://www.instagram.com/tabloidpress/
https://tabloidpress.net/

• sound by Alexandra Zakharenko
http://zakharenko.es/

Poems By Nat

Pelican Company
'Lowlife/Hi-Tech/Occult'

'Let me introduce you to a local legend, Johan Antoni. He has been running the influential synth and music store Jam in Stockholm since the late nineties. Together with Henrik Johansson aka Smyglyssna they call themselves ”Pelican Company”. 

Their first release ”Lowlife/Hi-Tech/Occult” is a distillation of every synth that has passed through Johan's hands, like a microcosmos of genres that weave in to each other and begins to tell a story that will be bigger than the sum of its parts.'

Peder Mannerfelt

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Cat #: PMPC001
Label: Peder Mannerfelt Produktion
Format: Digital

Release date: May 3rd

PMPC001 - Pelican Company - Lowlife - Hi-Tech - Occult

For The Past

empirical delusion

Fyzz 
album available on bandcamp 5/1/2020
mastered by glyn maier

Fyzz

Dreamcycles - Future Lights and Archetypes

https://sitequeeste.bandcamp.com/album/future-lights-and-archetypes
Available 1 May 2020 exclusively on Bandcamp. Available 29 May 2020 on all digital platforms.

Dreamcycles, the moniker of Irish-Canadian artist Jennifer Moore, emerges from the ashen present to deliver her conceptual debut mini-album Future Lights and Archetypes. Operating at the node between technological reality and speculative fiction, Moore transforms ethereal bedroom pop and monolithic electronics into uncanny soundscapes to explore what she describes as the “landscape of a future global economy.”

Moore’s imagination conjures a new order of global governance which uses data to assess the competencies, characteristics, and productivity capacity of its citizens. Predictive analytics are used to shuttle humans around the globe in a tightly choreographed dance of space, labour and capital. Spanning a perspective both personal and systemic, the Dublin-based producer guides the listener through her sober invention, anchoring its alienating events around simple longings for home.

Across six tracks, present-day sonics are repurposed to create warped atmospherics. “If I wanted to see the world, I’d have to imagine it,” says a disembodied voice on opening track ‘Memory (Temporary Access)’. Pitter-patter footsteps, playing children, and whirring device noises swirl around the words: harsh, familiar, and ultimately unsettling. ‘Fonn Abhaile’ follows—its vaporous synths matched by breathy vocals—but ‘Abrasive Routes’ reveals the haunting potential of Moore’s psychoacoustic constructions. News report snippets detailing the Dublin financial district jostle with screeching high-definition cars. “It’s become the most extraordinary contrast to everything else here,” recites a roving correspondent, cataloguing inequalities suffused into the electronic artist’s home.

As the mini-album progresses, the emotional intensity rises. ‘Memory Laneways’ pairs an elegiac refrain with industrial kicks before ‘Playing with the Concrete’ offers a moment of brightness. “You look good when you’re smiling,” sings Moore over a distant sinogrime melody, followed by her closing, and most affecting track, ‘Final Goodbye.’ Meditations on belonging are swept along by circular, trance-like synths whose closing destination is bittersweet: euphoria tempered by the artist’s sombre backdrop.

Moore describes Future Lights and Archetypes as a “post-extraction artefact.” Through its diary entries, radio clippings, and fragmented songs, the mini-album resembles an object hewn from a fully-realised world, like an Ursula K. Le Guin novel refracted through machine learning. Keen listeners might also detect a flicker of Grouper’s place-based musings or even the crumbling electronics of Actress. But this release melds intimacy with pulsating stimuli, Moore’s gaze oriented firmly towards the human cost of an omniscient technological future.

Future Lights & Archetypes

Dreamcycles - Memory Laneways

Album ‘the spectre always leave the same way it entered’ by ϙue (@optovolokonniy) is a tribute to other-dimensional aspects of our existence. An attempt to look behind the flickering veil, a break-up music for blackmetal couples, a journey of the soul. The spiritualist seance will begin on May 14: 10 original avant-garde stories plus 3 remixes from @ArthurKriulyn, @Monotronique and @Lostlojic are waiting for you. Also will be available on limited edition of cassettes. mystictrax.bandcamp.com @mystictrax
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"...It may feel empty and confusing, but there is a rhythm within you. If you are mindful enough, you will find it. I know you can. And there will also be real peace and beauty in destruction..."

Bandcamp

there is even a rhythm in being empty

Sibling

Proraso

KMRU and Aho Ssan collaborate on a cosmic collision of lacerating sound design and conscious-expanding synth.

All proceeds from the music and painting are donated to Hackney Migrant Centre, a local organisation that provides support to asylum seekers, refugees and migrants in London by offering advice on immigration, welfare, housing and health: hackneymigrantcentre.org.uk

'WFH003' is out December 18th on Hot Desk.

Pre-order: bit.ly/3nyhiDO

@ahossan
@kamarujoseph
@hot-desk

Premiere: Aho Ssan & KMRU - Ruined Abstractions [Hot Desk]

Weird Erotic Tension

An online community featuring sensual podcasts: spoken word, poetry, ASMR, field recordings, and explorations of sonic sexuality.

SUB_MISSION_S welcome°

Poems By Nat

WET

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