Untitled playlist

From the new album - 'Sound Postcards from the Centre of the Periphery' by Manja Ristić and Mark Vernon.

We made this 13-track journey around the sounds and sonic histories of the island of Korčula. In addition to our own field recordings, we were given access to the audio archives of the local radio station, including recordings of folk customs, traditional songs, dances and music...

This album unites two specific sensibilities that for many years have been embedded in the domain of sound and radio arts. Although they arose from very different environments, their work explores similar issues around preserving personal sonic histories. By stirring up nostalgia and collective memory, both artists often refer to the importance of individual experiences in the poetic "body" of micro-communities.

The artistic practice of both creators has been deeply immersed in the sonic strata of space and the imaginary narratives that emerge from it. A dedication to the culture of memory, the sounding of lost voices and an unorthodox approach to re-composing the soundscape, conveniently unites these two experimenters in a collaboration that arises from research into one particularly inspiring locality – the island of Korčula.

In addition to their own field recordings the artists were given access to the audio archives of the local radio station, including sounds of local folk customs, traditional songs, festivities and music. The strong anthropological emphasis in this collection of works is intended to encourage a deeper consideration of the coexistence of people and the environment in a historically dense climate. The appropriation of the hidden narratives of a small town on the fringes of the European Union opens up new fields of reflection on identity that looks back at the "center of the periphery", pointing to the importance of "small" spaces in the creation of European heritage.

‘Sound postcards from the center of the periphery’ will be stored permanently in the audio archives of Radio Korčula. Who knows, maybe someone will dig them out in 50 years and say: "...there you go! This will make your head ring!"

Special thanks to Radio Korčula, Gordana Šuperak and Ivan Sardelic Šore. To Pere from the Marasa printing house and to all the fellow citizens of Korčula who found themselves on this album intentionally or accidentally.

Manja Ristić & Mark Vernon - Šaka soli

We invited our friend Fog Puma to play records with us at the wonderful RIAA Bar in Hamburg.
@andiotto: start - 01:18:30
@djfogpuma: 01:18:30 - 04:00:00
@heiko-h-gogolin: 04:01:30 - 05:14:00
altogether: 05:14:00 - end

photo credit: @lorrrb

Pingipung @ RIAA Bar: Andi Otto, Fog Puma, Heiko Gogolin (04.03.23)

https://motion-gallery.net/projects/toruyamanaka_conatala

toru yamanaka & teiji furuhashi - Empty Quest (庭園の黄昏)

To earmark Aulic Veil's latest EP release on Failed Units, 'Rescue & Research Pt. 5: Aulic Veil', we are pleased to host a special mix with all own productions. The EP marks a specific transitional period in the musical journey of Aulic Veil.

Aulic Veil - STEPPE
Aulic Veil - SOLETAKEN
Aulic Veil - COUCHED LANCE DAMAGE
Aulic Veil - Thyrsus
Aulic Veil - ?
Aulic Veil - Bjorn Andresen
Aulic Veil - A-V_001.2
Aulic Veil - ?
Aulic Veil - A-V_004.2
Aulic Veil - A-V_006
Aulic Veil - A-V_007
Aulic Veil - A-V_009
Aulic Veil - Melusine
Aulic Veil - Sneerer
Aulic Veil - A-V_008
Aulic Veil - porphyry grotto dub ii

Hailing from the mountains of the United States interior highlands, 24 year old producer Aulic Veil makes dark and heavy-hitting club music indebted equally to mid-00s UK bass weight, underground Midwestern techno, computer music morphology, and Symbolist art. Utilizing a variety of synthesis techniques, stochastic compositions, and custom software instruments, they blur the line between chaos and order and weave multilayered tapestries of sound from the unpredictable beauty that emerges. Expect warped acousmatic sound design interspersed between fierce hooks and high esotericism; no dancefloor left unshaken...

https://soundcloud.com/aulicveil
https://soundcloud.com/failed-units

https://failedunits.bandcamp.com/album/rescue-research-pt-5-aulic-veil

New EP

zenevloed 128: Aulic Veil

Sphaîra

Brutal Threshold

Water ripples all around, and echoing sounds stretch out into a shady sub aquatic habitat. Its dark corners slowly burst into view as cresting noises reveal fresh caverns teeming with liquid life. This is Sueños Acuáticos, the latest sonic exploration from Lamina, a musical project by French artist, Clarice Calvo-Pinsolle. Built from years of carefully gathered field recordings, the album constructs immersive, detailed soundscapes where watery environments, caves, and forests intertwine with digital manipulations.

Rooted in the myth of the ‘Lamina’, a creature from Basque folklore, the project blends this oral tradition with technology to build a geological myth. The Lamina’s world—a nocturnal ecosystem of water and stone—serves as the foundation for the album’s sound design. Lamina reshapes these natural recordings into something new: stretching, pitching, and layering them to build intricate sound environments that feel simultaneously organic and synthetic. “I transform these sounds much like I would sculpt in ceramics,” explains Calvo-Pinsolle, “by adding, removing material, and imagining landscapes.

Drawing from hydrofeminist and posthuman ideas, particularly those in Astrida Neimanis’ Bodies of Water, the album treats sound like water—shifting, flowing, connecting, and buoying life. Tracks flow into one another without clear boundaries, much like the natural currents they represent. The result is a continuous listening experience, inviting deep focus on texture above melody.

Lamina is exploring the potential of the field recording as a compositional tool. Natural sounds, like trickling water or wind through trees, are processed out of recognition—or cliché. A sense of weightless immersion takes hold as Lamins’a music unfolds, and listeners float freely and choose their own adventure in the Lamina’s home. Less a set of songs than its own evolving environment, Sueños Acuáticos (‘Aquatic Dreams’ in English) is a meticulously constructed work in which we can freely float.

All tracks composed, recorded and mixed by Clarice Calvo-Pinsolle in Brussels in 2024
With the voice of Hochiwah on Aqualines

www.claricecalvopinsolle.com
lalamina.bandcamp.com
www.instagram.com/laminalalamina/

Mastered by Adam Badí Donoval
abdonoval.com

Artwork and design by Fen ToucheMoulin
www.instagram.com/touche_moulin/

Words by Tristan Bath
Photography by Michaela Cagáňová

Released by mappa as MAP054 in 2024
licence
mappa.bandcamp.com  
credits
released November 4, 2024

Lamina - Dissolution

YancityGurl - Shynet Ghost Macrotouch
Digital / Charity Release
28.03.25

"This release narrates fluently, but quite broadly. Its ellipsis symbolizes the permanent and arrhythmic pulse of time, in which anxiety and uncertainty have become the main criteria dividing any agency.

"A" is the initiating moment, immersion. Here, poetic postcards of the environment sparkle, inside which a ball of noise confidently swells, gradually pursuing and displacing a concise model of behavior, eventually turning everything into chaos.

"Topology" is a bundle of sounds and memories, where each slot becomes a marker of change, whether it's stumbling modular samples, a piano recorded in browser tabs, or a full—fledged story with a holistic structure that fades before it even begins.

"Walls", a final title composed of R&B diva vocals, a doomed reese bass part and infernal pads, sums up the mood, defining itself as a kind of symbol of the illusion of stability in this ragged chain."

All funds from this release are donated to https://livyj-bereh.org/

Livyj Bereh restores roofs for families and individuals who have had their homes decimated in the brutal war in Ukraine. 

“Their use of modest black corrugated metal roofs produces an architectural act of collective care and resistance across the country, as powerful as any civic monument and documented with the unflinching eye of the greatest war art.”

– Jury chair Tom Emerson RA and Stephanie Macdonald RA, 6a architects

Since May 2022, they have restored over 380 roofs across the Charkiv, Černihiv, and Kyiv regions at a cost of around €2000 per roof.

Alongside this hands-on restoration work, Livyj Bereh raises awareness globally through exhibitions, documenting the cultural and architectural heritage threatened by the conflict.

YancityGurl - A

øjeRum - Tactic

The focus here is on music that could've only been articulated by a monophonic texture in order to convey its compositional principles specific to the texture as a fundamental systematic criterion. In other words, the music does not use monophony as merely a 'piece' of that which can be found elsewhere within one's oeuvre systemically articulated polyphonically, homophonically, or heterophonically.

It's not an accident that most monophonic music included here is primarily for the electronic or vocal medium (what we now call monophony was initially called cantus, cf. Haug (2015)). Much contemporary electronic music is richly multi-timbral and polyphonic, but initially was not, due to technical limitations (Warner 2017). I suspect or conjecture or whatever that the motivations for the electronic medium to 'develop' beyond monophonic output were primarily ideological, i.e. musicological, and indicative of a myopic perceptual bias via the concurrent 'listening culture' (Lissa, Tanska, Tarska 1965). What if the output 'restrictions' of Mathews' MUSIC I or Moog's Model IIIc were maintained in the ensuing development of real-time software or more sophisticated SMT analog circuit topologies? What implications would that've had for compositional developments? Historical definitions of monophony throughout the literature are consistently coupled with references to primitive cultures and most post-medieval monophonic music is relegated to various 'studies', 'etudes', 'examples', 'student recital pieces', and so on (Randel 2003). Furthermore, monophonic music is commonly used as data for MIR research, for it meets the local optimum of feature parsability or whatever. I also suspect, much more speculatively, that monophony being basically synonymous with the so-called primitive, preliminary, or simple is indicative of a cognitivist bias that auditory streams are initially perceived as single and integrated and subsequently 'build up' in perceptual complexity as segregable and multistable, constructing a sufficient auditory scene (Deike et al. 2012). 

Ainu, Hokkaido Island (Yoshi Shikato), Yukar
Cathy Berberian, Stripsody
John Cage, Solo For Voice 67
Sean Colum, 1-channel dynamic stochastic synthesis composite for Love Und Romance Vindictive New Town Shoplifting So Tough Instant Hit FM
EVOL, Persisting Pinkness (Excerpt)
Pietro Grossi, Monodia (Excerpt)
Russell Haswell, Kinetic Scotch Tape (Excerpt)
Hecker, IV
Tom Johnson, Music With Mistakes (Excerpt)
Lola Kiepja, Shamanic Chant No. 3 (Excerpt)
Luciano Maggiore, Drenched Thatched Roof (Excerpt)
Greta Monach, Fonergon 07-1 (Excerpt)
Tom Mudd, Pile Up Part 1
One Hand Clapping, Relatively Healthy
J.K. Randall, Quartersines
James Tenney, Seegersong #2 (Excerpt)
Iannis Xenakis, Mikka

Deike, S., et al. (2012). The build-up of auditory stream segregation: a different perspective. Frontiers in psychology, 3, 461.
Haug, A. (2015). Reconstructing Western “Monophonic” Music. In Writing the History of" Ottoman Music" (pp. 231-240). Ergon-Verlag.
Lippus, Urve. (1995). Linear Musical Thinking. A Theory of Musical Thinking and the Runic Song Tradition of Baltic-Finnish Peoples. Studia musicologica Universitatis Helsingiensis VII, Helsinki: University of Helsinki.
Lissa, Z., Tanska, E., & Tarska, E. (1965). On the evolution of musical perception. The Journal of Aesthetics and Art Criticism, 24(2), 273-286.
Randel, D. M. (Ed.). (2003). The Harvard dictionary of music. Harvard University Press.
Warner, D. (2017). Live Wires: A history of electronic music. Reaktion Books.
Wiśniewski, P. (2018). Liturgical Monody as a Subject of Musicological Research–an Attempt at a Synthesis. Seminare. Poszukiwania naukowe, 39(4), 207-220.

MONOPHONIC MIX OF EXCERPTS FROM MONOPHONIC COMPOSITIONS (Compiled by Kieran Daly, April 2025)

Ronce - Əverything(?) Not Yet (Mai 2025)

well , heart to heart and
mind to mind !

we are !!!! the ones :) who will 
TRAVEL THROUGH TIME 💞

we are!!!!!!!!

/ john maus

quantum leap

 Live recorded at ГОСТ ЗВУК x ГЭС-2 event in ГЭС-2 on 03.05.2025

Sanctum Error: Angel.exe

Music composed for 'Descaler', a dance performance choreographed by Rafael Reynoso in collaboration with Nicholas Grubbs during his September 2017 residency at Otion Front Studio

Descaler I, II, & III

excerpt from live et JARDIN C

From the forthcoming release 'Volume 3: Dance Of The Weeping Babe'

Subscribe to the Wolf Eyes mailing list at wolfeyes.net to find out more

Nate Young - Human Pond

For bookings: meagreresource@hotmail.com

Mark Vernon is a Glasgow based sound artist who works with found tapes and acousmatic presence. His work explores themes of magnetic memory, audio archaeology, voyeurism and nostalgia. His solo music projects have been published through labels including Kye, Glistening Examples, Flaming Pines, Misanthropic Agenda, Entr’acte and Canti Magnetici. He co-runs and curates Glasgow art radio station, Radiophrenia and has produced programmes for stations internationally.

Manja Ristić & Mark Vernon - Šaka soli

Mark Vernon

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