In the Wake of Consequence

Setting circles

This is my cover of the Black Sabbath song Solitude from Masters Of Reality. 

Credits:
Recorded by Marissa Nadler 
Vocals, electric guitars, synthesizers by Marissa Nadler
Percussion by Parker Kindred. 
Mixed by Mike Fiore, 2015

Special thanks to Mike Fiore, Parker Kindred, and Brad Truax. 
Photo by Marissa Nadler

Merch

Solitude

Fluorescence

From 

Händer som Vårdar - "Interiors" CS

Posh Isolation 166

Händer som Vårdar - Morning Room (With 1 sleeping person)

Taken from "The Spiral" LP, out March 25th on Posh Isolation

Puce Mary - 'Night Is A Trap II'

Sand Circles - "Motor City" (Abdulla Rashim Remix)

Sthlm Drone Society I is the beginning of a new XKatedral tape series featuring generative music originally presented inside the Mimer mining facility in Norberg, Sweden by the collective Sthlm Drone Society. This first edition is a split release by Mats Erlandsson and Maria W Horn utilising bowed piano strings, metal plates, phase modulated sine waves and field recordings of the reverberating mine itself.

Edition of 100
C60 XK07
2016

Minutiae

This music was written for, and performed by the Micro Modular Quartet.

Limited Narrative Template

Dedicated to promote young and evolving artists, raster-noton is curating the unun series which name refers to the chemical elements 111-119. »Unalloyed, Unlicensed, All Night!« is Jesse Osborne-Lanthier’s first release on raster-noton, and the ninth and final release of this series.

Jesse Osborne-Lanthier is a Berlin / Montreal based, Canadian electronic music producer and multidisciplinary artist. His erratic research process incorporates the urgency of dance music and conceptual electronics by disassembling their grammar and acting through it. Refusing to follow the etiquette of a particular musical genre, he explores many creative practices in order to generate clashes of mood, expectation and technique.

»Unalloyed, Unlicensed, All Night!« was recorded by Osborne-Lanthier a mere two hours before a live set in Paris. Its specific purpose was to generate a response from the audience, to stimulate their bodies through sound. The toolbox for this task was stocked with automatic call-and-response music tropes drawn from EDM, big-room house, trance, and online production tutorials. Between the producer’s idiosyncratic by-the-numbers process and the rushed nature of the composition, the final product is rendered unpredictable; each signifier transforms into a distorted ghost of itself. This allows for unexpected responses to manifest on the dance floor as well as in the listener’s space of existence.

’Unalloyed, Unlicensed, All Night!’

jesse osborne-lanthier »blackwell dynonetics« taken from »unalloyed, unlicensed, all night!«

www.matserlandsson.com
mats@matserlandsson.com