great melo...and beat...typically Backhome...and Matthys Style....

ELECTRO PROGRESSIVE

PYE CORNER AUDIO/NOT WAVING Intercepts split LP

Release date: 28.07.14

'Protect The Revolution' taken from 'Intercepts', a split album between Pye Corner Audio and Not Waving. 

Taking inspiration from the world of espionage, most specifically spy rings, both artists provide four tracks each, creating a thrilling musical call and response between these kindred producers.

Some of the world’s greatest espionage stories involve Spy Rings. From the Rosenbergs to the Cambridge Five and the Duquesne case, these are stories that haunt the annals of the covert world and remain shrouded in mystery and fascination to this day.

Clandestine spirits permeate these eight tracks of dreamlike industrial techno, impressionist synth burbles, fragmented post-modern ambient and cosmic sci-fi adventure.

PCA tracks composed by Martin Jenkins. 
Recorded and produced  by The Head Technician at Black Mill with assistance from Martin Jenkins.

NW tracks written, produced and recorded by Alessio Natalizia in London 2013-2014. 

PYE CORNER AUDIO (20:50)
1 Perfect Secrecy Forever 05:30
2 Twisted Wire Pair 05:33
3 Shared Secret Key 04:19
4 One Time Pad 05:28

NOT WAVING (20:02)
1 Protect The Revolution 08:26 
2 Two-Way Mirror 02:58
3 Enemies Of The People 04:28 
4 Like Shooting A Fish In A Barrel 04:10 

BUY SPECIAL EDITION!

Not Waving - Protect The Revolution

This is an excerpt from 20min length song "LOOP for A.M. SHOW WINDOW3". People who buy A.M. works will get this full length CD during "A.M.SHOW WINDOW" exhibition at PULP Osaka, 4th June ~ 8th 2014 and at KATA Tokyo from 1st July ~ 5th 2014. edition 300.

"LOOP for A.M. SHOW WINDOW3"からの抜粋です。オリジナルは20分の作品です。2014.6月4日〜8日の期間にPULP Osaka, 2014.7月1日〜８日にKATA Tokyoで開催される "A.M.SHOW WINDOW"にてA.M.作品をご購入いただいた方にCDをプレゼント。限定300枚。是非遊びにいらしてください。

http://pulpspace.org/post/85200763364
http://www.kata-gallery.net/events/am3/

mastered by Yoshinori Sunahara

LOOP for A.M. SHOW WINDOW3 _ excerpt

unfinished, only track i didid on the matriarch.
vocal sound is actually a Onde Magnétique om1 cassette recording being spazzed with control voltages from the Cirklon  ***

matriarch test 3+Om1 Cass+909 edit1 F6 omc+1

today's sound started as an experiment in using the make noise wogglebug as a sample rate reducer... a trick of the module, which generally isn't known for doing that... where you can sample an incoming single based on the rate of a 2nd signal going in.

in this case i plugged the qubit nebulae into the wogglebug and sampled it with a waveform from the e350 oscillator. the pitch of the oscillator effectively becomes the same rate of the incoming sound, in this case, the nebulae.

the nebulae is in freeze mode and the make noise rene sequencer is sequencing the start/scan point of the frozen sample.

the whole thing goes into an intellijel korgasmatron filter to filter out some, but not all, of the harsher sample-rate-reduction effect. the signal is also being fed into a serge resonant EQ and a make noise erbe verb.

i play a bit with the pitch of the e350 to make those sweeping and bending sounds, which is basically turning the sample rate of the nebulae sample down and up.

the patch started as a simple experiment to try this use of the wogglebug out but i ended up being able to work out a nice looping sound by the end.

thank you to the excellent tutorial on this process by collin russell music on youtube, which is where i learned to do it:

https://www.youtube.com/watch?v=Pws9rY9kUhw

July 22, 2014 (deep travel (wogglebug as sample reducer)

index N°9 on STADE2
description : sport is depressing

MR OIZO /  FRANCE7

Morris Cowan & Duncan Edward Jones - Thermal (Vaghe Stelle Remix)

Morris Cowan - Dabsonsorbet

Margot  "Randomizzami Sto"

Omsk

1985 edit

with RV8, the osaka-based producer and musician AOKI takamasa continues his long- term project that focuses on the modulation of rhythms and grooves. it began with his first ep ‚rhythm variations‘ in 2009, released as part three of the unun-series. besides his collaboration with raster-noton, he released records on several labels like commmons, progressive form and op.disc, produced remixes for well-known musicians like ryuichi sakamoto or yoshihiro hanno and played performances at, for example, elektra/montreal and club transmediale/ berlin, all in all making him a renowned producer in japan and beyond.

starting with a firework of bleeps and bops, already the very first minutes of his new record reveal aoki‘s preference for vibrating beats and likewise his playful approach to music, generating a sound that is aiming at the dance floor.

like the first ones, almost all tracks of the record are characterized by a constant modulation of chords and lines that sometimes appears somehow hyperactive, but nevertheless results in a natural flow that perfectly reflects AOKI‘s laid-back attitude combined with his will to produce danceable and funky music.

the fluent arrangement is only interrupted by the third track which forms a caesura by being more reduced and slower. in contrast to this, the following tracks present a faster tempo and an increased intensity; and whereas the first tracks reflect downbeat and r‘n‘b influences due to their broken beats and chunky sound, the later songs are characterized by a more sleek and technoid style, incorporating dribbling basses, clappy sounding snares and modulated voice snippets.

although all of the musical components are constantly broken down, modulated, and rearranged, the overall sound of the record is dense and compact, featuring a groove made up of numerous elements that are complexly intertwined. the eight tracks of the record fit seamlessly together and create a composition that nearly functions like a dj set.

the album was mastered by yoshinori sunahara. needless to say that RV8 will be released as cd and lp.

1985 edit

Matthys

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