February 2021

Ferris nxt SpaceFunkEclecMix - part 4

deriva

THANK U EVERYBODY THAT HELPED WITH THIS PROJECT AND ALL MY SUPPORTERS I LOVE U - BLACK KRAY AKA LIL RARI

GOTH LUV

LET DA BLOCK CRY [ FREE UNCLE JUICEMAN] PROD BY JAYYEAH

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

Ursula Bogner: Atmosphärische Energie (edited by Lucrecia Dalt)

Lucrecia Dalt - Tar

Learn more: https://smarturl.it/rvngnl47

Taken from Anticlines.

©2018 RVNG Intl. / https://igetrvng.com

Anticlines

Lucrecia Dalt - Tar

Stine Janvin — Fake Synthetic Music
Format: Digital (vinyl out November)
Cat.No. PAN 84
Release Date: 12 October 2018 
Buy digital: https://bit.ly/2OjxCLs / https://bit.ly/2Cb1guQ

Vocalist, performer and sound artist Stine Janvin works with the extensive flexibility of her instrument of the voice, and the ways in which it can be disconnected from its natural, human connotations. Created for variable spaces from theatres, to clubs and galleries, the backbone of Janvin’s projects focus on the physical aspects of sound, and potential dualities of the natural versus artificial, organic/synthetic, and minimal/dramatic. 

Fake Synthetic Music is Stine Janvin’s latest live performance for voice, echo, lights and spatial distribution. The concept was created to present a full-body physical and ambient experience with the frequency range of her voice. Inspired by past and present producers of architectural electronic music, Janvin presents a new take on 'deconstructed rave' by exploring both sonic and optical illusions, otoacoustic emissions and minimal melodic sequences in reference to pop, techno and trance. 

The release introduces a recorded version of her ‘fake synthetic material’, and through her ongoing live performances, she continues to work between the music and art scenes, developing further her methodology of imitation and resonance through audio visual concepts. 

The tracks on Fake Synthetic Music reflect the concept of sonic illusions and Janvin's use of the voice as a sound source. “…I wanted to explore how I could vocalise in a way that would combine architectural sound with dance floor sequences.” she says. Each track is based on a different take on these ideas, some being pure studio production, using only her vocal archive of sustained notes, chopped up into innumerable pieces of different lengths, and re-attached. Tracks, such as ‘Like Right Now’ and ‘Like Last Night’ are examples of live material converted to a recorded format, keeping the simplicity of the direct voice signal through a digital delay effect with no post-production processing.

The album is mastered by Rashad Becker, featuring photography by Camille Blake and artwork by Bill Kouligas.

@stinejanvin
http://p-a-n.org

Fake Synthetic Music

Stine Janvin - LIPS (PAN 84)

Learn more: http://smarturl.it/rvngnl47-2

©2018 RVNG Intl. // www.igetrvng.com

Lucrecia Dalt - Tar (Jan Jelinek Remix)

Tripeo - D1 Ego Versus Eco

Tripeo - C3 Fridays For Future

Electroacoustic composer Bryce Hackford incorporates jazz and Middle Eastern tonalities into his hallucinatory vision. 

'Safe (Exits)' is out April 9th on Spring Theory.

Pre-order: bit.ly/3912mGc

Safe (Exits)

Premiere: Bryce Hackford - Zajal [Spring Theory]

This Is For You

Daedelus Announces New Album:
self-titledmag.com/daedelus-new-album-what-wands-wont-break/

What Wands Won't Break

Daedelus - Sunflower Stems

AVAILABLE ON ALL PLATFORMS!
SPOTIFY: https://open.spotify.com/track/0vBZEmFzfP2ZddT3Dv2amZ

LYRICS:
"let me take a sip"
"i can't wait til all the hyperpop niggas start doing heroin 
their music is gonna be so good"

fuck everybody in the world
if i could do this shit again i think i would become a girl
with small tits big ass and hips 
and i could suck the tip off of your dick
yeah i don't even need to hurl

pick a pussy to fuck bitch nigga
and i'm too fucked up off of this liquor 
bet you can't afford a pot to piss in i figure
ex girl hit me up she missing my figure

"i was just thinking about it and i miss you so much"

bitch what the fuck?
after we broke up you wouldn't even say wassup
guess getting you some money make bitches miss sucking ya nuts
my libido 
is very very high off the acid but no amino
i think that we should murder the rapists and all the pedos
you should ridiculous like when childish gambino
said migos was the new beatles

you want it call
i sold that college student molly but that's just a tylenol
shut the fuck up
like this the library nigga mic popping wassup
all you niggas faggot getting fucked in yo butt

but you know what i mean tho
my dick look like a double stuffed oreo burrito 

fuck everybody in the world
if i could do this shit again i think i would become a girl
with thick lips kiss flaccid dick
a bitch yeah i harden those
i could suck a brand new golf ball thru a garden hose

"damn this nigga is gay as fuck"
"hold on i gotta eat some chips"

lil nigga this is crunch time
used to cut the nerdy asian children in the lunch line
they ain't do shit
and if she hit me one more time might have to punt that bitch
that gender equality hitting hoe let's run that shit

you addicted to getting bars
addicted to spitting em
i just drop em, you copping em,
you could overdose
man you should prolly fucking stop it get some sober bros
niggas drowning hope that cup of poison overflows

"my next album is going to be called _ _ _ _ _"

FUCK ALL OF YOU <3 (PROD. TRIPLESIXDELETE)

HOW TO ROB A BANK (FT. CHRIST DILLINGER) (PROD. SOLSA)

BACK IN LONG BEACH (FT. CXRPSE/BRUHMANEGOD) (PROD. SOLSA)

lyrics: 
THE KIDS ARE ALL RETARDED
WHAT DO WE DO?
THEY KEEP BEATING UP EACHOTHER
THERE AINT NOTHING TO DO
YA DONT WANNA GET IT STARTED 
THEY AINT FUCKING WIT CHU
BECAUSE THE KIDS ARE ALL RETARDED 
WHAT DO WE DO?

WE DO DRUGS
WE PUTTING PACKS IN A LUNG
BURN NUGS 
I DONT WANNA GET A JOB 
NO FUN
I DONT WANNA GET NO MONEY
WANNA BE LIKE EVERYBODY 
I WON

THE KIDS ARE ALL RETARDED
WHAT DO WE DO?
THEY DONT WANNA FUCKING STUDY
WANNA GO TO A SCHOOL
THEY’RE JUST CHILLING WITH THEIR BUDDIES
BY THE SIDE OF THE POOL
BECAUSE THE KIDS ARE ALL RETARDED 
WHAT DO WE DO?

WE SHOULD KILL EVERYBODY 
THAT BEEN ACTING A FOOL
AND THEN BURY THEM IN GUCCI
SO THAT ALL OF EM COOL
IM GOING TO A PARTY
CUZ I HEARD THAT IT RULES
THE KIDS ARE ALL RETARDED
WHAT DO WE DO?

THE KIDS ARE ALL RETARDED
EVERY DAY
THAT LIGHT FROM THE TELEPHONE IS
MELTING YOUR BRAIN
GO THE FUCK OUTSIDE
THEY GOT NOTHING TO PLAY
BECAUSE THE KIDS ARE ALL RETARDED
AND GOT NOTHING TO SAY

Acartonado

Lucrecia Dalt