another pass with better gain staging.

a quick recording with the lyra and a driving beat i came about mostly by accident, but which i've always tried to do on purpose.

Breathing Exercise

TR138 - Maya Dunietz - Mamutaz Marker 14

Mona -- “Assata Shakur : Leftovers- what is left” 
I constructed my selection while reading and listening to music at the same time, trying to connect to my inner emotions. I finally chose a direction, quite experimental, sometimes more uplifting with beats and hope, in my all time favorite music for years, which could trigger me at some point, but still make me feel alive.

♥♥♥
Based on the book, a collection of feminist poems: "I carry explosives, they are called words" – Grise, Mona, NVST and Yova from Statement collective, each interpreted a poem of their choice in one set.  
Accompanied by drawings by Yova, each set begins with a reading of the chosen poem and illustrates different aspects of feminism, human condition and activism.
♥♥♥

MONA NO FOMO  GESSNERALLEE

linktr.ee/Twisted_Band
We are Twisted,an alt post punk band from Greece and this is our first album

Chaos

4-Dance queen

BreakIn10Instrumental

The spike organ or nail chello (sic) is thought to originate from an early middle Europe monastic sect, the Iscariotians. They may have used the instrument to accompany their lengthy rituals contemplating the pain of the crucifixion.  

The Iscariotians are said to have been wiped out by returning crusaders at the behest of emperor Leopold III. Other commentators have suggested that the whole story may have been a constructed  alibi for the defeated crusaders plunder and desecration of the brewery of ..Santa Quaffa...


A possible surviving 'chello' object, made from of lignum vitae and iron, resides in the Musée des Beaux-Arts de Rouen. Its interpretation is not without controversy with some critics asserting the object is nothing more than a kind of agricultural implement, though this does not explain its cruciform shape and carved decoration.

In 1972 the scholar . Roland de Févin was granted permission to investigate the Rouen Chello, explore its sound making capabilities and make recordings. his theory was that the instrument was to be played by a rosined bow.  Unfortunately de Févin's playing and handling resulted in two of the nails fracturing and so the investigation was terminated after only one day. The single recording de Févin made was never released but it was played to audiences on an European lecture tour he conducted shortly before his death in 1974. 

It has been subsequently alleged that de Févin's  investigation  coincided with the great fire at  Nantes cathedral. This lead to several occultist conspiracy theories, most notably retold in the pulp fiction novel Blood Nail-(Brownie Dane,1975) much of the plot was lifted for the Italian soft core film Sistero Orgasma (1977) where the action was switched away from a monastery to a scantily clad convent.(citation needed) 

On the film soundtrack, the sounds of the Chello were replicated by experimental electronic synthesiser the achoirorium- itself the  subject of intrigue- as its extremely high operating voltages caused the death of its creator  Luigi soon after the recording session.


This recording was made in 1980 by UK avant geographer Forster Iberix who attended several of de Févin's lectures.  He set about building a replica device and making reconstructions of the Iscariotarian mass based on a column of scribbled numbers  which appear reverso  in one of Leonardo da Vinci's codex's (Coded notebooks). The recording was released on an untitled flexi disk issued by cult French label sordide sentimental -who now deny any knowledge of its existence. It does not appear on their official discography.  Improbably- Haringey local studies library, London, has a copy in their archive. The library does not provide any method of playback for the flexidisc and items from the archive cannot be withdrawn -so some subterfuge was involved in me getting this track taped. Whilst the disk was in my possession an inexplicable number of minor disasters befell me -so I can assure you I hurriedly returned it.

disquiet0385
More on this 385th weekly Disquiet Junto project — Audubonus Instrumentum / The Assignment: Imagine a fake instrument, and make music with it — at:
https://disquiet.com/0385/
More on the Disquiet Junto at:
https://disquiet.com/junto/
Thanks to Paul Harrington for the Latin assistance.
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
https://llllllll.co/t/disquiet-junto-project-0385-audubonus-instrumentum/

The Nail Chello (disquiet0385)

From the forthcoming '37 Minute Workout Vol.2' DIAG055.

THE PRESENT INTERWEAVES WITH THE PAST: 
NOTES ON RUSSELL HASWELL’S 37 MINUTE WORKOUT VOL. 2

A less frenzied sister act to the original, Russell Haswell’s 37 Minute Workout Vol. 2 explores yet new ground for the artist. Opener ‘The Wild Horses of the Revolution Have Arrived Without a Knight’ bubbles and froths in a wide-open space that’s immediately at odds with the mostly dense and combustible torrents in volume one. The Quietus acutely observed of his 2018 mini-LP, Respondent, that rhythm feels like liberation rather than confinement for Haswell, and here we swim in a seething assemblage of rhythmic objects that ceaselessly curve, warp and reemerge around stretching/contracting moments of silence — and our minds. If Xenakis had written ‘Nomos Alpha’ for drum machine rather than single cello it might have sounded something like this. 

Haswell often jokes that the first volume was the first time a record took less time to make than the actual duration of the recording, and this second volume continues the approach: 37 minutes of realtime improvisation that progressively degrade the non-categorisable, outside-time structures he creates. The sense is that the machines have been running since 2014, and Haswell has chosen to hit record again, segmenting a slice, not just of the music, but of the forces at play in his life. The title of ‘Painful Memories From the Past Need to Be Acknowledged’ suggests such an intervention of the present into the past, while the piece itself affirms as a sparkling mosaic of synthetic interpolation. 

There is beautiful compositional intelligence at work despite the immediacy of the process, an intelligence ruled and mediated by machines serving other machines, which are, in turn, governed by the artist. Technique here is not simply improvisation/randomisation: it is years of immersion, work, love, vision — all consolidated into an intensely personal process, the physical means that brings these musical objects into existence. The record assumes the feeling of a luminous flow or emission of photons caught in varying degrees of density and disorder.

The artist, on submitting the final recordings, wanted it known that he’d recently visited CERN, The European Organisation for Nuclear Research, in Geneva; he also had dinner with Ted Nelson, whose theories of interwingularity and transclusion seem apt. Embedded within Haswell’s own hyper-text/hyper-audio formations are an array of sonic influences, from Xenakian stochastics to strobing flashbacks of Mills bringing down the legendary Eclipse back in the artist’s ho
metown of Coventry [‘Cov!’]; but there is also the sense that, embedded here, are the effects of new paths forged outside music — the uprooting of home and studio from London to Glasgow, or simply the malignant political and social forces that swirl around us, dragging us all, kicking and screaming, over the cliff of 2019. 

As Plato said in Timaeus, the movement of sounds, even when not conforming to representational standards [something Haswell has always sought to resist], “procure a common pleasure for those who do not know how to reason; and for those who do know, a reasoned joy through the imitation of the divine harmony which they realise in perishable movements.” The structures here stoically assembled — and disassembled — by Haswell leave openings through which the most complex and mysterious factors of the intelligence may penetrate.

37 Minute Workout Vol.2

DIAG055 Russell Haswell 'The Wild Horses Of The Revolution Have Arrived Without A Knight'

Cody Chiasson's Album

Warning

This thrilling authentic Fali music from Northern Cameroon, featuring call-reponse vocals, eerie polyphonic whistles and horns, drums, harps and flutes, published in 1962, is available for Flac and MP3 download on my blog:
https://music-republic-world-traditional.blogspot.com/2020/10/cameroon-cameroun-musique-fali-nord.html

Musique Fali – Nord Cameroun – Ocora SOR 9

Fali music from Northern Cameroom - Funeral song

Grabado durante una noche de verano de 2019, en el "Salon des Fumateurs", para las noches de Radio Relativa. Zombies & Vinyls son @feetofeeto, @dr_md y @amdemiguel, acompañados esta vez por @maxrosemin.

Zombies & Vinyls w/ Max

An Abstract Place

All Music I self release will always be free download either here or my bandcamp page

Warning

LectrO cOd_E

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