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lam 170522 - calm aplomb

Enigmatic musician David Wesley Sutton, better known under his LXV alias, joins Warm Winters Ltd. with a pair of process-oriented pieces. Both revolve around very short samples played through various different devices, which allowed Sutton to reconfigure them in a live “playing” kind of environment. Rather than endlessly repetitious, these loops are like amorphous forms, constantly shifting, evolving, always drawing your attention to a different moment within their short duration. The title “things that may not be connected” is in part a reference to these subtle changes in loops, as well as a reference to an ongoing interest of Sutton’s in high levels of pattern recognition in people. LXV continues to forge his own path, with work so understated and unassuming it’s impossible to look away.

things that may not be connected

LXV – things that may not be connected II

ADAM BADÍ DONOVAL - Grandma's Tape
MANJA RISTIĆ - Muhe
CUCINA POVERA & BEN VINCE - ∞
MARTYNA BASTA - Unknown Reel Tape
PIOTR KUREK - Chordists
RG - Impulsion
SOFIE BIRCH & ANTONINA NOWACKA - Sudany
SSABÆ - l'archipel fractal
IRIS - Resurec
ATS - Dip
ROMA VJAZEMSKI - Untitled (Forthcoming)
BRYOZONE - Ghosts of Tribe (Forthcoming)
EYOT TAPES - Jungle Tapes (Forthcoming)
REZO GLONTI - Good Road (Forthcoming)
LUCRECIA DALT - No tiempo
ELYSIAN SPRING - Glass Flowers

Muscut Show at LYL 15.12.22

Bryozone — Eye Of Delirious 
@gannabryzhata

“Eye Of Delirious” is a long-awaited debut Muscut's release of Chillera’s band bass player Ganna Bryzhata — an Odesa-based sound artist. An ambient LP is a smoothy-flow sub-nautical journey with the songs of Black sea sirens glowing under the moon.

Format: C40, cassette / Digital
Edition: 100, hand-numbered
File under: ambient, dub, experimental

Face A:
Smoothy Flow 
Sub Nautica 
Sequence One 
Glowing Sirens 
Ghost Tribe

Face B:
Ambiency 
Liminal Tribe
Eye Of Delirious 
Fateful Torment 
Ground Floor

Mastering by Gennadiy Boychenko 
Artwork by Volodymyr Pavlov 
Graphic design by (DN) daynight.info 
Neu Medieval and Heymland typefaces by KTF 
Riso print by Hands on Press 
Muscut, 2023

Eye Of Delirious

Order

Bryozone - Smoothy Flow (Muscut 27), March 2023

Kedr Livanskiy traverses the Dimension Door with a host of dungeon synth, ambient folk, and some unreleased music from her Kosaya Gora project with Flaty. 

https://www.nts.live/shows/dimension-door/episodes/dimension-door-2nd-february-2023

Dimension Door: Kedr Livanskiy 020223

Pareidolia Cat Dub

NERD002

everything is still flexible

We are very pleased to present you the second installment of our V/A compilation.
The path to this release was very long and difficult, but from now we can move forward to dropping upcoming scheduled nerd stuff.

Arseni Bagdasarov; Idea/Curating and Mixing/Concept
Nikolay Bogancev; Concept Formulation
Kura Brodskaya; Art & Label Identity
Tsotne Tabatadze aka Verbindung; Mastering
Sima Haustova: Support
Hilde Wollenstein; Fundraising receiver transmitter a lot of help & support

the best nerds around <3

artist's links;

soundcloud.com/kutyma
soundcloud.com/ssiyaniya
soundcloud.com/user-397305103
soundcloud.com/maug-elements
soundcloud.com/nerdsyndicate
soundcloud.com/lilmooooon
soundcloud.com/vtgnikeee
soundcloud.com/qwqwqwqwa
soundcloud.com/keroz_one
soundcloud.com/ladooniani
soundcloud.com/dx2ov
soundcloud.com/free-version

soundcloud.com/sablemik
soundcloud.com/ceny4

განსაკუთრებული მადლობა ჩვენს ოსტატს

soundcloud.com/verbindung2
verbindung.bandcamp.com

flexible compilation pt. 2

KURS radio — некоммерческое онлайн-радио с еженедельным вещанием и комьюнити, базирующееся в Москве, внутри Kultura Record Store. 

SUPPORT US: https://boosty.to/kurs_radio/donate

Архив эфиров: https://on.soundcloud.com/NS1UFvCms5yVxHuf8
Предложить шоу: https://forms.gle/NZoTpVkEFHSZ38v6A
Сотрудничество: hello.kurs@gmail.com

Social
TG: https://t.me/kurs_radio
IG: https://www.instagram.com/kurs.radio

Tape To Tape w/ intrlud @ KURS radio 16.10.24

микс записан с кассет из личной коллекции Каси во время её выступления на нашей вечеринке, которая проводилась в мото-кафе "Энтузиаст" при поддержке радио шоу "MiMiKA"

кася в саду камней

The closing mix from the Cliff Stage of 'The Stoned Climbers Camp,' where a local representative of the species Laetiporus Sulphureus mesmerizes a group of campers — bitten by a Dance Buddhist Zombie — with acid jazz lullabies seamlessly morphing into voodoo dance grooves.

Follow The Stoned Climbers Camp: https://www.instagram.com/stonedclimberscamp/

Stay tuned @ www.20ftradio.net

HANT

The Stoned Climbers Camp w/ Native Outsider b2b Onshaivan @ 20ft Radio - 21/09/2024

mix for ROVR
https://www.rovr.live/curator/natasha-ganelina

ACID MENTAL SENTIMENTAL #2 Guitar Songs

Humming with Reshat and his spiritual advisor on how to get the healing sounds of purple skies, between slow-burning instrumentals, new-age rock psychedelics, and cosmic blues relics.

Stay tuned @ www.20ftradio.net

HANT

The Stoned Climbers Camp w/ Reshat @ 20ft Radio - 21/09/2024

KURS radio — некоммерческое онлайн-радио с еженедельным вещанием и комьюнити, базирующееся в Москве, внутри Kultura Record Store.

SUPPORT US: boosty.to/kurs_radio/donate

Архив эфиров: on.soundcloud.com/NS1UFvCms5yVxHuf8
Предложить шоу: forms.gle/NZoTpVkEFHSZ38v6A
Сотрудничество: hello.kurs@gmail.com

Social
TG: t.me/kurs_radio
IG: www.instagram.com/kurs.radio

vechernyk w/ Kedr Livanskiy & Prasdov @ KURS radio 29.01.25

Bryozone @ Detali 08.03.25

im so edited

Wanderwelle (Live) @tresorberlin 22.12.17

We're very pleased to share the recording of our 2.5 hour live set we played in the legendary Tresor, Berlin. It was an amazing experience as it was the first time we performed in a club. 

https://tresorberlin.com/event/tresor-invites-surgeon-dasha-rush-and-dj-pete/

Wanderwelle (Live) @Tresor 22.12.17

Для отечественной электроники Михаил Чекалин является не только важнейшим персонажем, повлиявшим на становление и развитие сцены, но и своего рода фигурой символической. На Западе его музыкой восхищались многие — от журналистов и критиков всех сортов до Фрэнка Заппы и Карлхайнца Штокхаузена. В родной же Москве имя Чекалина было долгое время изъято из официальной культурной повестки — его обвиняли в пропаганде чужой «прозападной» эстетики, вплоть до конца 1980-х не давали издавать свои произведения и блокировали выезд за границу. Что впрочем не помешало ему записать десятки новаторских, опередивших свое время электронных композиций и внести большой вклад в развитие неофициального советского искусства в целом — например, создавая звуковое оформление для знаменитых выставок «Двадцати московских художников» на Малой Грузинской или устраивая первые аудио-визуальные перформансы на специально сконструированном «световом органе». 

Впрочем, как и все большие художники, сам Михаил Чекалин предпочитает фокусироваться не на личных достижениях, а на творчестве. «У меня нет биографии — есть только дискография», — эта цитата автора может стать здесь своеобразной точкой входа в представленную компиляцию. Это архивный сборник работ, записанных в период с 1979 по 1987 года — полижанровые эксперименты Чекалина в радиусе от «пространственной музыки» (по сути, предтечи эмбиента) до более современных синтезаторных и пост-симфонических композиций.
_____________________________________

For Russian electronic music, Mikhail Chekalin is not only a major character, who has affected the scene's establishment and development, but also a kind of symbolic figure. His music has been praised by many in the West - from journalists and critics of all kinds to Frank Zappa and Karlheinz Stockhausen, while in Moscow Chekalin's name was excluded from the official cultural agenda for a long time: he was accused of propaganda of foreign 'pro-Western' aesthetics and up until the end of the 80's wasn't allowed to release his works or travel abroad. This, however, didn't interfere with him recording dozens of innovative electronic compositions and contributing greatly to the development of unofficial Soviet art in general - for example, providing sound design for the famous exhibitions of 'Twenty Moscow Artists' on Malaya Gruzinskaya or arranging the first audiovisual performances on a specially constructed 'light organ'.

However, just like all great artists, Mikhail himself prefers to focus not on personal achievements, but on creativity. 'I don't have a biography - only a discography' - this quote of the author may become an entry point of sorts into the compilation presented. This archival collection of works recorded within the period from 1978 to 1987 are Chekalin's multigenre experiments ranging from spatial music (in essence, ambient's precursor) to more contemporary synthesizer and post-symphonic compositions.

GAR001: Mikhail Chekalin – "Ecstatic Lullaby"

Side 1
А1 – A Vocalise in Rapid (4:21)
А2 – The Destructive Dream Dance (4:10)
А3 – Sympho-Break’84 (6:26)
A4 – As If It Was Not From Here (3:50)

Side 2
B1 – Ecstatic Lullaby (5:28)
B2 – Theme in 40sec (0:40)
B3 – Jazz Rock Vocalise (4:18)
B4 – A Passing Melody (1:02)
B5 – Sentimental Intermezzo (2:41)
B6 – Music 3 With Continuation (5:15)

Side 3
С1 – A Piece in Jazz-Rock Mode (4:16)
С2 – Song Without Words (4:37)
С3 – Torn Page (5:12)
С4 – Dream Dance (4:18) 

Side 4
D1 – Naive Song (3:02)
D2 – Slavdom Psychedelic March (2:37)
D3 – Vocalise in Blues (3:55)
D5 – Farewell to the Music in the Style of Rock (5:10)

music — M. Chekalin
photo – M. Chekalin
text – S. Sharifullin
english translation – E. Nemtsov
compilation – I. Zaynetdinov, E. Fadeev, A. Ryazanov
art direction – P. Milyakov
executive producer — I. Zaynetdinov

2 x 12" LP, full colour sleeve, 180 grams
© «ГОСТ ЗВУК», Moscow, Russia, 2018

ГАР001: Михаил Чекалин «Экзальтированная Колыбельная 1979 – 1987»

Музыка для выращивания помидоров и огурцов

Valentina Goncharova - Recordings 1987-1991, Vol. 1
Cat. number: Shukai 03
Format: 2LP, Limited to 300
Pre-order: https://shukai.bandcamp.com/album/recordings-1987-1991-vol-1

Tracklist:
A1 Symphony Of Wind
A2 Insight
A3 Zen Garden
B1 Passageway To Eternity
B2 Maitreya
B3 Higher Frequencies
C1 Metamorphoses
C2 Contemplation
D1 Vigor
D2 Dynamics

Liner notes:
Historically informed violin player, prize-winning street musician, new age experimentalist, chamber ensemble performer and conservatoire deviant. The career of Valentina Goncharova (b. Kyiv 1953) shares parallels with those associated with the broader new music movement of the 20th century and the dissemination of home recording technologies. Valentina’s was a youth spent immersed in the world of classical music study under soviet rule, first in Kyiv and later in Leningrad (now St. Petersburg) from the age of 16. With the supervision of professors M. Vayman and B. Gutnikov she learned concert violin and developed alternate playing styles alongside skilled pianists. A student of the Leningrad conservatoire during the years 1969 through to 1983, her repertoire included music for violin and later expanded to contemporary music composition. The improvisatory nature of free jazz and then-budding experimental rock circles also intrigued Valentina during this period in Leningrad. Departing from the rules of the conservatoire, she briefly performed in underground rock clubs alongside future members of the industrial group Pop-Mechanika (Popular Mechanics). This perpetual state of flux is central to the variety found within ‘Recordings Vol. 1’, though as opposed to any degree of uncertainty Valentina’s practice is one in flux by way of earnest curiosity.
						
Pushing further into an exploration of solo electro-acoustic sounds, she took to home taping on a modified Olimp reel to reel recorder. Intrigued by the manipulability of dubbing and the fresh sounds of DIY effects chains, Goncharova developed pickups alongside her husband Igor Zubkov. Her infatuation with the music of Stockhausen, Xenakis, Ganelin Trio and Pierre Boulez channels through considerations of space and erratic sound design, the three movements of ‘Metamorphoses’ embodying this textural approach to musique concrete. The compositional skills developed in Leningrad unfold in the romantic gestures of ‘Higher Frequencies’, whilst manipulated cello combines with synthesise keys across ‘Passageway To Eternity’. The slow, pulsating drone soundscapes recall the likes of Robert Rutman’s US Steel Cello Ensemble or even deep listening pioneer Pauline Oliveros.
						
The juxtaposition of written notation and improvisatory flare is central to Goncharova’s sound world. This period of home recording documents a confluence of minimalism, free form and flirtations with new age tropes (inc. bell chimes and cavernous vocal mantras). Experimenting with unusual performance techniques, such as shouting into amplified cello strings, Valentina’s home studio functioned as a place to foster full artistic and creative freedom away from any academic strictures.

Credits:			
Composed and arranged by Valentina Goncharova Recorded in Tallinn and London during 1987—1991
						
Mastered by @producedbyflaty
Compiled by Sasha Tsapenko, Dmytro Prutkin and Dmytro Nikolaienko 
Liner notes by Fergus Clark (@fergus_clark)
						
Master tapes courtesy by Valentina Goncharova
Photos by Igor Glazistov
Special thanks to Ats Luik and Martin Jõela

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