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My track 'Astray' is a part of the stunning move for freedom - the compilation dedicated to events in Myanmar. It aims to support struggling people in their protest, therefore it is filled with striving for liberation and the spirit of fighting injustice. A truly explosive and powerful compilation! But my track is not about struggle.
 It reflects confusion, slowing down and turning inward in attempts to find the own place in the actual processes,  and distortion of thinking in attempts to pave a new route on an already irrelevant map. 
 Hope you will find it actual.
Also! You can take part in supporting Myanmar people by buying this album. I should say, it's really rich. Just look at the tracklist. What names it included! 
Proud to be part of it.
https://makenoisemyanmar.bandcamp.com/album/make-noise-myanmar-2

Astray

The titular track from Lathe, available now from Shimmering Moods Records on tape, CD, and digital.
https://shimmeringmoodsrecords.bandcamp.com/album/lathe

Lathe

TR130 - Julia Reidy - How to spot a rip [excerpt]

Long overdue, we've finally got back to the task of editing up more tracks pulled from our four improvisations using sounds kindly provided by @anmoku, recorded early this year. This one was taken from the fourth jam in the series, recorded 28/01/21 and unusually for us, is relatively calm and peaceful.

Castle In the Air

monomonoi - 50weUf

@music_is1 @hviledag

It began as an art project. Inspiration was taken from the sounds of her adventures, in the city, forest and by the seaside. Random elements gave the track structure. We then had the pleasure to invite three artists, each with their own unique sound. Now, the journey of listening is yours.

Purchase: https://music-is-zeze-wakamatsu.bandcamp.com/

Releases September 22, 2022

Artwork by Sébastien Mercier & Maison Sagan. Mastered by Amandra.

Links:
www.instagram.com/music_is_records/
https://www.instagram.com/hviledag/

Support the label

B1. Hviledag

Small experiment from multiple loooong delays. And some Sidrax organ noises.

Fata Morgana

Marco Lucchi : synthesizers and tape
Rocco Saviano : electric guitar

novembre 2022

Marco Lucchi & Rocco Saviano - Equinozio d'autunno

nos brisures, nos failles, nos fêlures,nos gouffres intérieurs..
ambiphonie, écoute au casque recommandée
bonne écoute !

Brisures

Original Version :
https://soundcloud.com/lambmother/lambmother-elettrore

Lambmother - Elettrore (Senglar Newborn Version)

Untitled (punctuations)

Live Today,

A Slowdrifting Cloud [V.A. out now on Etang Brulant]

World has slowed down. 
Hidden beneath a skin of fear.

All Silver was created during the first days of the Corona shutdown.
Made with passion and modular synths.

Sound and artwork by Thomas Breuer

All Silver

All Silver (extended)

all silver (extended)

Track from:
Simon Whetham "Forced to Repeat Myself" CD

“When performing with a limited set of resources, through choices in materials to work with and the constraints of being nomadic, there can be a tendency to repeat actions and scenes that 'work', even when improvising and having to respond to each new situation in a unique way.”

One characteristic aspect of the touring experience that is not discussed often enough is the dilemma of repetition. Not repetition as a mechanism of the work itself, but as a tedious consequence of being obligated to perform night after night in quick succession. Generating a completely unique performance for each stop, even with the assistance of improvisation,  is a laborious undertaking that consumes too much time and sanity, while adhering to a rigid set of rules leaves one open to both burnout and diminishing returns. Is there a way to split the difference so that both performer and audience are always engaged to the highest standard?

“I set these constraints on myself. The need to produce something (at least a little) different in each event of a tour was fierce, especially when traveling with other musicians.”

Explicitly within the title itself of his latest CD, Forced To Repeat Myself, UK sound artist and composer Simon Whetham tackles these questions with both a sly wit and sincere inquisitiveness. The tracks, all collected from recordings documenting a 2018 tour, utilize analogous source material and means of execution.  Whetham paid particular attention to the contour and character of each venue when deciding how to best put the pieces together, offering a customization that subverts pure deja vu for a sharp observance of the unfamiliar.

“In each situation objects and materials unique to the space were incorporated into the performance setup and structure, generating sounds or resonating with them. And yet I could hear similar scenes, movements, even spaces. This repetition determined the dynamic of the composition, working with it and against it.”

By the very nature of their disseminating sparseness, the tracks of Forced To Repeat Myself demand from the listener an attentiveness fixed on nuance and variation. The amplified cracks and static of ethereal currents and anonymous electronics infer the works of others who’ve made it their mission to attune our attention toward sounds outside our natural perception, including Christina Kubisch’s electrical walks, Toshimaru Nakamura’s no-input mixer excursions, and Jason Zeh’s experiments with blank tapes and the mechanizations of his cassette players. Whetham’s shaping of the album’s source material to highlight certain exclusivities of each live performance emphasizes how the inherent dynamics of time and chance guide his self-imposed constraints into pathbreaking spectrums. 

“The title references a phrase many of us will have heard in our formative years, ’Why do you force me to repeat myself?’ I have no answer to this question. I never forced anyone to do anything. But with this work, I did.”

One inherent paradox of Forced To Repeat Myself is that each listen naturally manifests a distinct, individual experience. The way sounds are received and processed in one instance to the next each forget their own entryway into transcribing meaning from this abstraction. And Whetham is keenly aware of this as the sounds of Forced To Repeat Myself find consistent, unique ways to perpetuate themselves, ensuring any repetition to be delicately understated.

Forced to Repeat Myself

Forced to repeat Myself

Simon Whetham "08-11"

Zwiéspalt

Finnish composer, producer, writer and visual artist, focused mainly to algorithmic processes, computer-assisted composition, and various other methods based on cybernetics, chaotic dynamics and stochastic systems, among others. Most programs written by author, various languages. 

Studied musicology at University of Helsinki, computing at OU, Milton Keynes, private studies in composition. Musical genres, from avant-garde/postminimal chamber music to minimal techno, wonky/noskool, IDM, electronica, ambient, experimental. 

monomonoi - 50weUf

Jukka-Pekka Kervinen

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