After

almost gone

Audio documentation for Late July with Lynn and friends, featuring performances by Celes, Kenji, Natalia Panzer, Bug Bus Piano and wish. The event was held at Kaje in Brooklyn, NY on July 31, 2022.

**
Late July was facilitated by Eyrie Alzate, Holiday Lim, and Luke Herrigel.

***
Bug Bus Piano (New York)
carriswheel.com
bugbuspiano.bandcamp.com

Celes (New York)
celes11235.bandcamp.com
soundcloud.com/celes11235

Kenji (Tokyo)
supernalsofttouch.bandcamp.com
soundcloud.com/user-943047036

Natalia Panzer (Kraków)
ft. Marie López and J. Gordon Faylor (New York)
npanzer.com

wish (New York)
soundcloud.com/wish17

Kaje
kaje.world

Lynn
lynn.earth
@lynnnnnnnnnnnnnnnnn1

Late July

'Nadia'

'Nadia' (Late July) - Natalia Panzer ft. Marie López and J. Gordon Faylor

Composition derived from personal data of Southbank attendees  for PAN's 5th anniversary showcase. Live Recording. London, Feb 2014. 

Surveilling the Audience @ Southbank

Composed and mixed by Or or 
Compilation mastered by Bademjan (@bademjan)

Based on "Sample pack from my nightmares" by Lulu (@wormworld), released on 31 oct. 2021.

A&R : Gracchus Nortug (@gracchusnortug) & Luca Fonty (@mysterymysterymystery)
Master : Bademjan (@bademjan)

Artwork : 

Pumpkin sculpture : Tad McCarthy Budzynski
Picture : Rhubarcode  (@rhubarcode), Tad McCarthy Budzynski, Elisabeth Laulié-Sur & Shela McCarthy
Edit : Rhubarcode  (@rhubarcode)

Compilation of my nightmares

Bandcamp

Or Or - Le Pieu Ou Le Bémont

written and produced by @xclairx & @weeleap
artwork by 𝖒𝖆𝖊𝖛𝖆𝕰𝖓𝖈𝖔𝖗𝖊 x texture404
instagram.com/maeva_encore/
instagram.com/texture404/

© 2022 Clair X
℗ 2022 re.core

Clair X - Frozen Land (feat. LEAP)

paul lepetit - i need morning

Alone In Yourself

Sam Wolk "Trop-plein" excerpt from new cdr on Salon available at http://saloncdr.blogspot.com/

New stereo improvisations by Sam Wolk. Max/MSP, Acoustic objects and feedback, SP-404, Saxophone (Max Lesser), Voice (Charmaine Lee)

The trio of improvisations which follow are variations on a single idea.  Running a Max/MSP patch and interacting with it is a method of transducing energy from one form to another.  Electrical energy drawn from the grid is ultimately transformed into acoustic energy emerging from speakers along with the accompanying, over-flowing waste energy [entropic release].  The ephemeral, unstructured heat released in the process of generating structured acoustic energy [the composition] takes multiple forms: the discarded acoustic energy of computer keys pressed while manipulating the patch, the kinetic energy of hard drives whirring as data is read from disk into the patch, the thermal energy of CPUs radiating out and the acoustic energy of fans loudly attempting to reroute those heat flows.  In this trio of variations the central theme is feedback.  These ephemeral energy fluxes associated with keys, fans, disks, and CPUs are subjected to recycling [feedback] as the energy they produce is transduced by a contact microphone and the computer's internal microphone back into electrical audio flows which serve as the input to the Max patch itself.  As such, manipulating the audio at the human-computer interface generates the very energy flows which are transduced into the audio to be manipulated in the first place... The computer processes its own unstructured flows of waste energy back into structured audio [the output of the patch].  The machine is not treated as an abstract, universal computational device whose digital nature renders its physical existence irrelevant.  Instead, as it harvests its own unstructured heat and processes it into structured audio, its physical identity is embraced for what it is: a concrete, individual, material machine imbricated in a larger system of energy flows. 

Recorded at the Harvard University Studio for Electro-acoustic Composition, 2016. 

Special thanks to Jeff Witscher. 

Play loud.

Sam Wolk "Trop-plein"

@genotcentre

GRAFFITO by CORPORATION (Keru Not Ever & Racine) is a volatile point cloud forged from a peculiar alloy, a paradoxical blueprint inviting multiple readings. Various perspective lines can be tracked but it never becomes explicit what space, what landscape, which geometry is being sketched, where these lines of inquiry precisely converge. The sound approach is diagonal, smeared, aerosolized - but as the diffusive movement advances the quantitative turns qualitative and moments of pure texture turn ornate, verticalized again - the phase transition is complete. During this state of emergence, iridescent precipitations, multi scale order and newly formed domains ossify, only to venture into the fracture zone again, to crumble into dust, to roll along the path of entropy. Yet time linearity has no business here and many crossroads are offered, insinuations to loop back, to overlay, to spin the arrow of time like a top - resulting in an entangled sound agglomerate that is transient in contradictory senses: with both a fleeting, elusive aspect as well as the intermittent sharp time differential. 

xxxxxxxxTHINKING THE THINKING OF GRAFFITOxxxxxxxxx

"(Music slowly fading out…) What to do when one gets asked to write a description? It is in this question that the space of the circular drawing of Graffito appears. Music accompanies, but always traces and presents itself as a metaphor; the words, the sentences are tragically peripheral, to the point where they, not knowing where to place themselves, constantly miss the show. It’s impossible to get out of it, the metaphor waits for us, stalking us and asking for its clarification indefinitely, like a demon on our shoulder or a virus in our stomach: what did you have to say? "Express yourself!" It would be tempting to say anything about it, but it would be unbreathable, the request will always be made, against our desire, from its periphery, in front of its law. 
So Graffito is a gift to our inability to say anything. It is there, its gaze passing each day, more and more alien to us, multiplying itself, weaving itself, becoming what we would never have believed it, like a child becoming ineluctably stronger than his hosts, his parents. But the gift remains, the murmur never ceases: infinite-generosity. We read cards and here’s what was written: "smog powder blindness endless sun of a land like no other". Cards force you to shut up: gratitude-à-la-John Cage. "Isn’t it that the description will be the projection of what we would like to project? Naturally, the answer is simple, are you moron? — I guess, but at least I feel the warm wind melt around my hand and my shaved skull, like in a car ride (where the smell is a fine balance of honey and tar), and I can not tell if this feeling is close to The Metaphor, its reality or to a polyphonic laughter I’ll never ever seize. It’s better now, isn’t it?" (…The lulling music is still playing from the terrace, immaturely.)"

https://genot.bandcamp.com/album/graffito

Graffito

Corporation - Fold (GEN037)

Críoch

Lachrin - IV XVIII XII I I

'Scènes' with Racine on @hkcrlive

'Graffito' LP by Corporation on @genotcentre : https://genot.bandcamp.com/album/graffito

'The Wind Of ?' LP on @infinite-machine : https://infinitemachine.bandcamp.com/album/im071-keru-not-ever-the-wind-of


contact: programme-rose[at]hotmail.com

Corporation - Fold (GEN037)

Keru Not Ever

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