Name: Midnight Sons (track 3 from Basslines 2X7") by Jake Meginsky
Duration: 4 min 27 s
Description: "Percussionist and electronic producer Jake Meginsky offers four obsessive tracks of pulses and bass loops. Subtle variations takes light under a complex structure costantly moving the concepts of tempo and rhythm" Second Sleep

Awesome electronic experimentations going on here

report

from the album Charles Cohen - "Brother I Prove You Wrong" out on Morphine Records 2015 - doser026LP

Composer, improviser, and Buchla Music Easel master Charles Cohen returns to Morphine with a suite of new material. In keeping with the timbre spectrum of his semi-modular system, Brother I Prove You Wrong is built around pointillist analog tones—Cohen's cosmic "beeps and boops"—that swarm and scatter in mesmeric patterns across four sides. Moving through surrealistic textural overlays and industrial miasma, the album's nine tracks reveal a more introspective and personal side of the artist, following from a retrospective LP trilogy released via Morphine in 2013. Those assembled works, dating back to the late '70s, quickly became essential listening and brought Cohen—at the time largely unknown outside Philadelphia's experimental circuit—to critical renown. 

Brother I Prove You Wrong was recorded in Berlin in September 2014 using the Buchla Music Easel, with production help and support from Rabih Beaini. Mastered by Neel and curated and designed by TankBoys; cover art by Nathalie du Pasquier.

Charles Cohen - The Boy and the Snake Dance

ulla - table

Encantada

Serge 606

Ursula Bogner: Winkel Pong
Format: 7” Vinyl/DL
Label#: faitiche15
Release date: Sept 8th 2017
 
Faitiche is delighted to announce the release of a new Ursula Bogner record (faitiche15). Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner’s tape archive (CD/LP Recordings 1969-1988, faitiche01). A second followed in 2011, compiled this time by Andrew Pekler (CD/LP Sonne = Blackbox, accompanying the book of the same name with texts, photographs and Bogner’s graphic oeuvre). For Winkel Pong the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.
 
Gundrun Gut (Malaria!, Einstürzende Neubauten), an activist and reluctant chronicler of Berlin’s underground scene since the 1980s, has worked with Lucrecia Dalt. She is also familiar with Ursula Bogner’s work. Reason enough to ask her for an interview:
 
Jan Jelinek: Gudrun, how does it feel to be constantly obliged to talk about the 1980s Berlin underground as someone who was there at the time?
 
Gudrun Gut: I’ve learned to live with it as there are clearly too few people who witnessed it first-hand. Maybe it’s even important to do these interviews as a woman – so that someone actually says that women, too, have written music history. Men tend not to mention this. But it’s true, people do always ask the same questions.
 
JJ: Did you know about Ursula Bogner in the 1980s? Did you ever meet her?
 
GG: No, I never met Ursula Bogner in person and I only discovered her in 2008 thanks to Faitiche. But that’s no surprise: firstly, I don’t know every single woman artist, and secondly, far too many women artists never see the light of day. In the male-dominated art and music market, women are not considered important – or worse still, they are not understood. Look at artists like Sonia Delaunay, Eva Hesse, Bebe Baron, Delia Derbyshire and Daphne Oram. Some of them have now been discovered – but only recently. A lot has changed in the last few years: there is a growing awareness of art and music made by women.
 
JJ: But isn’t it annoying that the conventional distribution of roles still applies? One example: in many articles, Ursula Bogner has been presented as an “electronic housewife”.
 
GG: When Ursula Bogner is referred to as an electronic housewife, then sadly that reflects the situation of many women artists at the time. Women could only pursue artistic activities in private – transcendence was reserved for men. This has still not been overcome. But today, the home has become a site of professional production for all. I’m talking about bedroom producers: it is totally normal to make art and music at home. And that makes things interesting, because “working at home” is no longer associated solely with women.
 
JJ: For Winkel Pong, Lucrecia Dalt compiled and remixed three pieces from the Bogner archive. You know Lucrecia and you’ve already worked with her. How did you meet?
 
GG: I met Lucrecia through MySpace – I think it was 2007. Back then she was still living in Medellin, Colombia. Lucrecia’s father made loop machines for her that she still uses. The Sound of Lucrecia was part of my 4 Women no Cry compilation series on Monika Enterprise, each with four producers from different countries. She’s great fun to watch as a performer because she has a unique sense of rhythm and feel for music. Above all I’m impressed by her sustained approach as an artist, someone who can and does think around corners. I’m thinking specifically of her album Ou, for which she ploughed her way through post-war German cinema, using it as a source of inspiration for a soundtrack. This is proof that she thinks like an engineer – so it makes perfect sense that she would want to explore the work of Ursula Bogner.
 
Berlin, 2017

Ursula Bogner: Atmosphärische Energie (edited by Lucrecia Dalt)

CHAM-PANG
Tant pis 81-82

www.tnzr.org/tnzr055

A1. Bella V
A2. Oriental intrigue
A3. Ziggurat
A4. It may be acid rain, my love
B1. Tant pis pour les heures de sommeil
B2. Presqu'heureuse
B3. Come se dice

————————————————————

Best known as an electronic duo, Cham-pang became a fixture of the Montreal new wave scene in 1981 with the release of a two-song EP on YUL Records (“Tantum Ergo” b/w “Ne mourrez pas”). The session featured Men without Hats’ Allan McCarthy on electronics and Yvel Champagne on vocals, although the group also depended on contributions from Mario Spezza of Rational Youth and Pyer Desrochers. A multidisciplinary artist with a singular voice and an arresting presence, Champagne then joined force with experimentalist Bernard Gagnon whose works at the time ranged from free improvisation to electroacoustic music. He recruited former bandmate Angel Calvo, of new wave outfits Vex and Rational Youth, as well as Robert M. Lepage, whom he knew from his early years with the Experimental Music Workshop. Long-time Cham-pang collaborator Pierre-Laurier Lamarche and Daniel Lajoie completed the group, helping give it a new direction both sonically and performance-wise.

This LP contains material composed ahead of a defining concert at the Cégep du Vieux-Montréal’s Tritorium in April of 1982.

Chroniques (Reviews)

** Sortie officielle (official release date) 25-10-17 **

"Bella V" (Cham-pang : Tant Pis 81-82)

"Percussionist and electronic producer Jake Meginsky offers four obsessive tracks of pulses and bass loops. Subtle variations takes light under a complex structure costantly moving the concepts of tempo and rhythm" Second Sleep

Basslines

Midnight Sons (track 3 from Basslines  2X7")

Andrea Taeggi—Zimní Král (12" vinyl LP)

The music on this record was made using a vast array of rare analog machines Andrea had the chance to work on at the Willem-Twee synthesis studio in Holland (built with the iconic Studio di Fonologia RAI as a blueprint). Most of the percussive sounds come from an Analog Computer, which has been rarely used only as a music instrument (its main purpose was flight simulation). In fact, during the Cold War times it was also used as measurement tool by civil engineers and even by the army. 
To my knowledge, very few artists have given a new context to the such device, which I have found absolutely unique-sounding and gave me enough inspiration to compose a whole new album focused on it. 

At present, no one has ever officially released music recorded at the Willem-Twee synthesis studio.

The music on this record further explores cyclical, minimal and hypnotic concoctions – a particular  investigation focused on unusual rhythms that Andrea had already started on his well-received ‘Mama Matrix Most Mysterious’, released on Type in 2015. Think walls of subfrequencies, snappy rollercoasters of the mind, labyrinths in hyperspace & snakes eating their own tails.

Zimní Král means “Winter King” in Czech and was the epithet given to Frederick V Elector Palatine (king of Bohemia), the last of a legacy to actively support alchemy as a means of studying reality, the self and their inter-reflections.

All music by Andrea Taeggi
https://andreataeggi.wordpress.com

Mastered and cut by Rashad Becker at D&M Berlin

Forthcoming on SM-LL Sept 1st, 2018
http://www.sm-ll.com

Dinergy (SM-LL, Sept 1st)

Taken from Futuro (Music for the Waldorf Project) released on 2LP and download 01/02/19.

• Not Waving’s engrossing, highly original soundtrack to Sean Rogg’s world-renowned art/theatre project
• Ambient tonal works and abstractions written between 2013-2018
• Mastered and cut at D&M, Berlin.
• Limited edition vinyl with full colour insert featuring photographs by Lee Arucci
• RIYL Laurie Spiegel, Steve Roach, Brian Eno, Shuttle 358

’Futuro’ is Not Waving’s sublime synth/ambient soundtrack to one of the world’s most intense art/theatre experiences: Sean Rogg’s radical immersive artwork ‘The Waldorf Project’ - fusing choreography, spatial design, music and performance into a cohesive experience.

Drawn from more than 20 hours of material made for the project between 2013-2018, ‘Futuro’ finds Alessio Natalizia exploring a style of tonal and spatial minimalism that works as a fine palette cleanser from much of what you’ve heard from him in the past. 

While not a new solo album, per se, the long form, Eno-like results of ‘Futuro’ demonstrate the full wingspan of Not Waving’s obsessive knowledge and emotive feel for electronic composition, making it in some senses one of the more substantial and unusual releases in his catalogue to date.

BUY!

Not Waving - Emotion 1.4 Decontamination [ELP040]

Taken from the upcoming album Both Lines Will Be Blue, out July 12th on Smalltown Supersound. Produced by Carmen Villain. Flute performed by Johanna Scheie Orellana. Mastered by Matt Colton.

Observable Future

OM 52 GATES AND VARIATIONS LP OUT NOW

Open Mouth
openmouthrecords.blogspot.com

US distro
www.forcedexposure.com/Catalog/megin…OM.052LP.html

Seven Psychotropic Sinewave Palindromes  
order here: 
https://nnatapes.bandcamp.com/album/nna088-jake-meginsky-seven-psychotropic-sinewave-palindromes
https://boomkat.com/products/seven-psychotropic-sinewave-palindromes



jmeginsky-at-gmail.com
https://www.facebook.com/jake.meginsky



https://twitter.com/jakemessmeg

Midnight Sons (track 3 from Basslines 2X7")

Jake Meginsky

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