Pulsar

RippingApartTheFabricOfSocietyWithShortTermDopamineDrivenFeedbackLoopsButInACoolWaySoThatsFine

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First song of the upcoming album "The Paris Tapes" out on April 21st 2018!
Previously unreleased album, recorded in Paris in the 80s!

Robert Goerl - The Paris Tapes - Part 2

In celebration of @cavern-of-anti-matter's new album Hormone Lemonade on Duophonic, we have uploaded Tim Gane's Flashing Noise mix that he made especially for Bleep. Originally available only as a limited handstamped CDR with their record void beats/invocation trex, it is now here in all its digital glory. 

Check out their new record here >>>
http://link.bleep.com/Cavern-Of-Anti-Matter-Mix

Utilising heavily the sounds of modular synths and home-built drum machines, Hormone Lemonade still keeps the loose, improvised sound familiar to fans of their first two albums, with minimal guitar melodies and live drum kit helping to build hypnotic layers of texture. An album that promises to be full of "experiments, improvisations, and refinements" and with Cavern at the controls, surely to be one of the year's best.

Bleep Mix #20 - Tim Gane ‎(Flashing Noise Mix)

Victrola  - A Game Of Despair (1983)

R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her
solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop
minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated
on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On
manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch. The songs are full of
air and light; infectious, melodic and off-the-cuff.
Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth
belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language –
divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel
guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes,
realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the
undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like
the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps
and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of
perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of
repetitive listening.
Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist
mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist
becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at
the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces
Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless,
conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go
outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be
honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting.
The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and
grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a
loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble
provides aural snakes for the listener’s ear to follow.

R. Elizabeth - SPIRITUAL TO SYMPHONY (from Every And All We Voyage On)

German producer Obalski administers pain relief with a downtempo capsule of pure clarity and relaxation.

'Chill Pill' is out August 23rd on Public Possession.

Pre-order: bit.ly/2ZZ2Mtf

@obalski
@publicpossession

Chill Pill

Premiere: Obalski - Britney [Public Possession]

A Million Years

Mooring the 'Train Of Thought' at Hamburger Hafen, Latvia's R_R_ delivers aquatic ambience, buoyant electronics and tidal rhythms on the Growing Bin. Hold this shell(ac) to your ears and you’ll hear the sea…
As we hasten towards the inevitable Waterworld of the next century, Latvian composer, sound artist and lecturer Reinis Semēvics charts our safe passage to dry land with his debut album 'Train Of Thought'. Inspired by the rhythmic movement of water and how its rippled reflections bend our perception, Reinis sculpts an immersive sound collage - a precise mixture of field recordings and self-made sounds which swell and swirl as we bathe in their beauty. 
Bookended by the Baltic's roar at the Bay of Rīga, 'Train Of Thought' drifts from the harbour to the open sea, conveying the restful calm and frenetic power of a body of water throughout. Misty pads and delicate piano conjure lapping waves and blue skies, bubbling sequences ripple up from the deep and cascading melodies fall around hypnotic rhythms, each distinct droplet offering a different feeling and mood. One moment flows into the next, nine rivers pouring into a single ocean of sonic bliss.  
The alias R_R_ is a tribute to his grandfather, the composer Ģederts Ramans, whose influence helped set Reinis' sonic journey in motion. We're very happy he's decided to stop off in the Growing Bin, and we're sure you will be too.
Patrick Ryder

Buy Buy Buy

R_R_  - Entering (shortened clip)

Cnidae is a Latin word for specific cells present among jellyfish, sea anemones, corals etc. It is these cells that separate cnidarians from other animals. Cnidarians are built in a very simple way, lacking skeleton animals. They seem to be innocent and beautiful, but there is also a sense of mystery, weirdness and wobbliness in them. They use cnidae, explosive cells, to capture prey and as a defence from predators. They do so by the use of toxins contained within the cnidae. If you have ever been stung by a jellyfish or felt the electric tingle from the tentacles of a sea anemone, you have been touched by cnidae.

cnidae is the sixth album released on the Ransom Note Records offshoot Bytes. jik is Paula, 21, and Bartek, 23, students based in Warsaw, Poland. cnidae is their debut album. Paula’s raw sketches formed the basis for almost all of the tracks. They were made in Ableton Intro, proof that constraints can be beneficial and also a reminder that great music doesn’t have to be created on sophisticated gear.

The album is made up of two extended ambient/drone pieces, embedded alongside several shorter, abstract electronic compositions. You are hearing 'arp', which falls into the latter category. Its beauty lies in its simplicity. The reflective, moving track is reminiscent of early AI-era Warp Records, with its lush pads and twinkling melody.

Victrola - A Game Of Despair (1983)

Jorgemixed