Lyrics kellene a kecskes reszt csak erteni velem. :)

blanche the vidiot - Tóth Kinga

12 h 
hangjáték, retro szemüveg
A hangjáték előzetese egy önmagam (Tóth Kinga) által irányított regressziós elvonulási folyamat volt, mely során 12 órát töltöttem különböző állapotokban ébrenlét és alvás között, ezen állapotokat írással és hangfelvétellel rögzítettem teljes sötétségben és „más állapotokban”. Így a folyamat végén számomra sem volt világos, mely felvételek sikerültek, és hogy mik hangzottak el. Belső utazásom során megtalálom a legutolsó szobát, végigjárva az életem különböző hasonló állapotú szakaszait (műtétek, altatások, főként kórházi kábításban lévő állapotok és ébrenlétek, emlékezések), majd megérkezem az eddig magát fel nem fedő utolsó szobába, ahol már senki és semmi más nem vár, csak önmagam.

http://www.kingatoth.com/
https://project-blanche.com/

12 h (Alaprajzaink)

https://devilsbreath.bandcamp.com/album/extremity-of-human-suffering

Released by Raumklang Music

Written & Produced by Devil’s Breath & Palazzo’s Monstrosity Coil
Mastered by Anatoly Grinberg
Cover and Artwork by Cultura Obscura

Release date:
14 February 2022

Extremity of Human Suffering

Aphonia (Devil's Breath + Palazzo's Monstrosity Coil)

Evelicsedu

Az első country szintvév ASMR 1080p funny moments

Szintvév

Bien Terry Pa

from Ombrophilia, released in 2009 on either/OAR and re-issued on vinyl by Aposiopèse. Also available in digital format at bandcamp http://tomokosauvage.bandcamp.com/

Making of a Rainbow

20ms

TofuDreg Live 2024.03.15 TEREM

Improvisation with heavily processed sax and an FM network on the hydrasynth sitting at the edge of exploding feedback

Songbirds Cry By The Substation At Midnight

Ursula Bogner: Winkel Pong
Format: 7” Vinyl/DL
Label#: faitiche15
Release date: Sept 8th 2017
 
Faitiche is delighted to announce the release of a new Ursula Bogner record (faitiche15). Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner’s tape archive (CD/LP Recordings 1969-1988, faitiche01). A second followed in 2011, compiled this time by Andrew Pekler (CD/LP Sonne = Blackbox, accompanying the book of the same name with texts, photographs and Bogner’s graphic oeuvre). For Winkel Pong the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.
 
Gundrun Gut (Malaria!, Einstürzende Neubauten), an activist and reluctant chronicler of Berlin’s underground scene since the 1980s, has worked with Lucrecia Dalt. She is also familiar with Ursula Bogner’s work. Reason enough to ask her for an interview:
 
Jan Jelinek: Gudrun, how does it feel to be constantly obliged to talk about the 1980s Berlin underground as someone who was there at the time?
 
Gudrun Gut: I’ve learned to live with it as there are clearly too few people who witnessed it first-hand. Maybe it’s even important to do these interviews as a woman – so that someone actually says that women, too, have written music history. Men tend not to mention this. But it’s true, people do always ask the same questions.
 
JJ: Did you know about Ursula Bogner in the 1980s? Did you ever meet her?
 
GG: No, I never met Ursula Bogner in person and I only discovered her in 2008 thanks to Faitiche. But that’s no surprise: firstly, I don’t know every single woman artist, and secondly, far too many women artists never see the light of day. In the male-dominated art and music market, women are not considered important – or worse still, they are not understood. Look at artists like Sonia Delaunay, Eva Hesse, Bebe Baron, Delia Derbyshire and Daphne Oram. Some of them have now been discovered – but only recently. A lot has changed in the last few years: there is a growing awareness of art and music made by women.
 
JJ: But isn’t it annoying that the conventional distribution of roles still applies? One example: in many articles, Ursula Bogner has been presented as an “electronic housewife”.
 
GG: When Ursula Bogner is referred to as an electronic housewife, then sadly that reflects the situation of many women artists at the time. Women could only pursue artistic activities in private – transcendence was reserved for men. This has still not been overcome. But today, the home has become a site of professional production for all. I’m talking about bedroom producers: it is totally normal to make art and music at home. And that makes things interesting, because “working at home” is no longer associated solely with women.
 
JJ: For Winkel Pong, Lucrecia Dalt compiled and remixed three pieces from the Bogner archive. You know Lucrecia and you’ve already worked with her. How did you meet?
 
GG: I met Lucrecia through MySpace – I think it was 2007. Back then she was still living in Medellin, Colombia. Lucrecia’s father made loop machines for her that she still uses. The Sound of Lucrecia was part of my 4 Women no Cry compilation series on Monika Enterprise, each with four producers from different countries. She’s great fun to watch as a performer because she has a unique sense of rhythm and feel for music. Above all I’m impressed by her sustained approach as an artist, someone who can and does think around corners. I’m thinking specifically of her album Ou, for which she ploughed her way through post-war German cinema, using it as a source of inspiration for a soundtrack. This is proof that she thinks like an engineer – so it makes perfect sense that she would want to explore the work of Ursula Bogner.
 
Berlin, 2017

pikAchu

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