Meet ____________ (beetle specie, when I'm back in linux)

[UNDER CONSTRUCTION]

Calm and Steady tracks series no. 439

created on 2024/04/14

Picture CREDIT (none yet, there's no picture so far ; )

hk_calm-steady_tracks_439

"Town Path" was originally created back on September 7, 2022, over a year prior to its release. Nothing about this song was particularly difficult to create; it could have easily been released much earlier.

For a very long time, the working title was simply "Town", and the idea of changing it to "Town Path" was first considered on March 23. I only changed the project title on the release date.

Musically, "Town Path" is very minimalist, which is a deliberate break from the dense production I usually gravitate towards.

Sinny: programming, processing, voices, castanets

Town Path

Taken from @colorsquadrecords compilation 15 released 12/30/23
https://colorsquadrecords.bandcamp.com/album/c-o-l-o-r-s-q-u-a-d-0-1-5 'Good Grief' recorded live by JFM using a sampler 2023.

'Good Grief'

@amkarahoi

Uncle Reed In The Purple Mine is the debut record by a new duo, Amkarahoi.

Uncle Reed In The Purple Mine conjures ghosts of 90s chill out tents, aqueous ambient, exploratory turn of the century IDM and echoes of jammy dub. Amkarahoi is named for a remote region of Eastern Siberia an intimidating car and boat journey from the nearest city - several songs are named after rivers - and the record was borne from a largely improvised show in Saint Petersburg, later overdubbed and mixed down in the studio. The combination of heady, melancholic synthscapes, unexpected samples and the loose, spontaneous nature of it’s genesis make for a unique, compelling proposition.

Kirenga alternately swells and submerges ravey pads and shifting kicks, coming up midway for air before plunging again, and Cutima peppers the stereo field with foreboding stabs, collapsing drums and faintly nightmarish ambience before emerging from the darkness with gently plucked erhu. Handa’s simple four note piano loop and cuckoo vocal sample lament blooms into an engulfing E rush, before Mogoul threatens serotonin syndrome with it’s loved up lead and stuttering morning after nostalgia. Chininga ekes out a gentle groove over which is laid a hazy, head nodding shimmer, and on Djegda they finally submit and throw down a speedy breakbeat for some more classically vintage fire twirling shapes. 

Amkarahoi is Nikita Chepurnoi and Sergey Dmitriev. Chepurnoi has released records as Minereed on his own Echotourist imprint, and as part of The Patience and Copacabana on Hair Del. Dmitriev has made music as Purple Uncle for Echotourist, Hair Del and Nazlo. They’re currently based in Armenia (Dmitriev) and Europe (Chepurnoi).

Uncle Reed In The Purple Mine was written, produced and mixed by Nikita Chepurnoy & Sergey Dmitriev. Mastered by Rashad Becker. Art by Susumu Mukai.

RIYL - Vladislav Delay, The Orb, GAS, Global Communication, Biosphere, Seefeel.

LP/Digital March 1, 2024.

Uncle Reed In The Purple Mine

Amkarahoi - Uncle Reed In The Purple Mine (IMPTNC08) - Previews

CD available directly from Important Records - imprec.com 

Strange Times is a virtuosic realization of contemporary
electroacoustic soundscapes composed and performed by Stephen
Ruppenthal and Gary R. Weisberg. With masterful employment of electroacoustic techniques and tools, including the original 70's Buchla Music Easel Ruppenthal used in the Electric Weasel Ensemble, these two artist create an essential, psychedelic, electro-acoustic experience.

Strange Times is a hallucinatory journey into our epidemic-ridden
times through a collection of startling sonic landscapes. From epic
acoustic journeys into re-imagining myth to the phantasmal soundscape world of the Bardo, Strange Times is not for the innocent or delicate listener. Time turns elastic, and folds in on itself; you are approaching the event horizon of a black hole. The only way to make sense of any of it is to mentally rewind; speed up or slow down the voices in your head in random attempts to find your way through this electroacoustic aether. Strange Times explores the ability of sound to alter consciousness, creating sonic environments, mental and physical states where one can allow the experience of listening to become transformative.

Stephen Ruppenthal (Berkeley, 1949) San Francisco Bay Area new music trumpeter, electroacoustic and text-sound composer, Stephen studied electronic music and composition with composer Allen Strange, and ethnomusicology with Lou Harrison, and holds a Masters of Arts Degree in Contemporary Musicology, writing the first comprehensive treatise in English of Sound Poetry, “History of the Development and Techniques of Sound Poetry in the Twentieth Century in Western Cultures.” Stephen was a founding member, along with Don Buchla and Allen & Pat Strange, of the Electric Weasel Ensemble, and more recently, with Brian Belet and Pat Strange, of SoundProof, and is known internationally for his live electroacoustic performances, and writings on text-sound
composition. Stephen has been composing and performing electroacoustic works for Buchla instruments since 1971. Flamethrower, a 2017 CD of electroacoustic works for trumpet and flugelhorn, by Allen Strange, Brian Belet, Bruno Liberda, and Elainie Lillios, and performed by Stephen is currently available from Ravello Records. 

Gary R. Weisberg, composer-sound designer-digital audio artist was
born 1951 in Brooklyn, NY. At age 2, Gary was exposed by his mother to the music of Brahms, Khatchaturian and Rimsky-Korsakov. He also had a fascination with dinosaurs. He first picked up a musical instrument in 1972, playing free- jazz improvisation on flute and alto sax. Gary moved to San Francisco in 1976 and was involved in a loosely knit collective of jazz and experimental musicians and artists, operating a small performance space called The Blue Dolphin. He studied music, computer programming and electronics at San Francisco State University, graduating with a degree in Electronic Music Composition. He spent two years building a modular analog synthesizer, and began composing electronic music and text-sound compositions for art/ photography gallery openings. From 1986-1994, Gary maintained a MIDI project studio for the production of his own music, as well as sound and music for TV/Film/Video productions. Since 1994, Gary has been composing PC-based experimental electronic music, as well as pieces
for electronic and acoustic instruments, occasionally performing with other composers and collaborating with visual artists. He currently resides in New York's Mid-Hudson Valley.

1. Post - Apocalyptic Biscuit (Ruppenthal)

Download: https://chlk1.bandcamp.com/album/szrot

Nowa porcja złomiarskich melodii i rytmów od samozwańczego króla estetyki glitch-bitch. Nic nowego, sporo pożyczonego i wcześniej usłyszanego. Do jednorazowego odsłuchu. Plus okładka wygenerowana przez AI. //
A new batch of junk melodies and rhythms from the self-proclaimed king of glitch-bitch aesthetics. Nothing new, a lot borrowed and heard before. For one-time listening. Plus an AI-generated cover.

Kontener

Int_ren

Martina del Fuego - After Hours EP disponible en:

https://melodykrafter.bandcamp.com/album/after-hours-ep



Martina del Fuego - 2001

CD/Digital Preorder: https://lizardlabel.bandcamp.com/album/slug-beat

Appearing out of a chef’s kiss of delirium, Sug’s “Slug Beat” comes as the 2nd release on Chicago’s newly minted arbiters of the weird — LIZARD LABEL! Following their first release of Wav Fuzz’s “Sensing,” they return with another slab of Prairie State psychedelia & explorations into further unknowns. Placing it in tandem with “Sensing,” the music of “Slug Beat” was written to soundtrack an annual meeting of the minds & spirit deep in the wide open expanses of the middle west, manifesting as an artifact of exhilaration & freedom — evoking ripples of summer heat, the tickle of grass against skin, the maneuverability of a calming wind, & ultimately the arcane delight of walls of sound heard loud as hell with other freaks.

Enthralling and unique, “Slug Beat” manifests a vast metaphysical canvas for our wandering minds, indulging the mystic ability of machines to transform loneliness into something shareable and real — to paint a portrait of the possible, transporting oneself beyond their surroundings & doing away with linearity, choosing instead to bask in each moment no matter how beautiful or horrifying.

Sug set out to craft “Slug Beat” as if he was conducting a one-man rave band ensemble, melting down a spectrum of influences into something poignant and direct, yet irreverent & indeterminate — connecting the dots between sampladelic relic freakouts, fusion jazz multi-part suites, and the marrow of the human spirit. The aim here isn’t to create “tracks” so much as to build and collapse worlds, an anemone ecosystem sustained through atomic friction and magnetic polarities folding unto itself.

The engulfing chasm of the cathartic opener “(This One’s for the Lovers) In the House” greets us with effulgent layers and omnidirectional dynamism before we’re awash in cascading breaks, swells of dissonance, and minor key flourishes in an interlocking tango of agony & ecstacy. Maneuvering through further peaks and valleys, we’re greeted with the celestial cooldown of “Pleasure Center” — through its sunkissed strums of guitar and desert vagabond disposition, one can’t help but feel a communion with the Earth beneath our feet and the water hiding behind the needles of cacti, red clay and solar glow paving the road ahead.

Fresh as morning dew comes the titular “Slug Beat”, another lover’s anthem on cruise control, an evocative mist floating above shrouded bramble, all photosynthetic mechanics moving within primordial bass rumbles — threatening to wholly consume all in its path, until it begins reminding us to relax, have some fun, and let the Pineal gland do some stretching.

Harmoniously obtuse cadences course through the DNA of all of Slug Beat’s rhythmatic movements, layered with guitar strums on the deserted outskirts of the mind & morphed into ballads for being stoned alone — all transmitted to the listener through a hazy memory collage playback reel ensnared between action, reaction, & dissolvable mechanics.

Tugging at the proverbial heartstrings, “Sensory Leakage” packs up its belongings & turns to face the coming wind — staying present amidst looming apocalypse & leading into the buoyant Chicago-style jack of “Devil Dust,” all midwest-inflected levity and the enrapturing cadence of chimes, simultaneously welcoming and warning us to the winds of change. Teetering on the edge of whimsy & dread, “Truth or Consequences” concludes on a deviously ambiguous note — the fate of our protagonist uncertain, the sound of binary opposition somewhere between the emotional ends of electronic discord and lovewave synth warble oscillations. Truly, the void is staring back, but oneness and even a possibility of redemption and acceptance are but an arms length away. 

Produced by Michael Sugarman
Mastering by Jason Letkiewicz
Artwork & Design by Alyssa Beers
Words by Shayna C.

[PREVIEW] Sug - Slug Beat (lizlab002)

Collaboration with Grete Astover

"The progression of the snail is unhurried, measured, like the moon or like the unfolding of eternity."

Sound journal over a year from 2023 - 2024. Each track was produced within a day, capturing an idea in the moment and bringing it to life with little necessity of perfection. An exercise done once each month, letting this album unfold slowly, inspired by life and the passing of time.

Spell of Stones

Mantra

aes dana - foreword
aes dana - somewhen
the black dog - busbar connection
vanessa bedoret - eyes
vladislav delay - musta planeetta
cio d'or - off
chewlie - submerge into
yui onodera - too ne I
hania rani - zero hour
kmru - fontaki
k. leimer - object removed
vanessa bedoret - ballad
slowfoam - playfully rendered
martinou - absortion
stelios vassiloudis - end transmission
radioactive man - goodnight morton
thom yorke - suspirium finale
katatonic silentio - les chemins de l'inconnu
earth trax - closer now
cell - linear white
queniv - hervonden
yui onodera - too ne II
donato dozzy, tin man - test 3
hannes kretzer - euphoria
human is alive - warm days
li yilei - chu
heavenchord - 05
saebius - lurk in the water
sonmi451 - probe
piezo - xxx^_^x

märz

Sunset Your Mindset

Reasons 04: Part I

Modulation

I Want To Believe Part 2 (Red Richards)

Buy on bandcamp

Red Richards & Maximilian Beck - I Want To Believe Part 2 (Red Richards)

So you had a rough night....?

oooweee

Get the F*** outta bed!

Rough Night

2025/12/12:
Anybody else prevented from accessing SC servers via VPN?  All of them are blocked for me.  This is the first time it happens to me in six or seven years of almost daily SoundCloud activity.  I use a VPN in SC because when I don't I get horrible delays that show up in many different ways.  The only explanation I have found is that somehow their security/identification system has flagged my IP address and introduced all kinds of speed bumps.  It makes the experience very unpleasant, irritating.

2025/12/06:
Why was Jonathan Bellot's account
[https://soundcloud.com/jonathanbellot] deleted?
...

You can't see it because of the angle with which I took the shot, aiming down, but beyond those blocks is the sea.  To the left is the Mediterranean, to the right is the Atlantic Ocean.  No it's not Gibraltar, but a little bit further West. ... Actually I checked recently and it is further North more than West, I thought I was facing South when in fact I probably was facing the Atlantic ocean, which is why I suppose the waves were of a decent size where we were.
...
My face and the bike are a courtesy of Joël Vaudreuil
[https://vimeo.com/user8897093]  ... Merci Joe!
I then went ahead and butchered his work with a borrowed helmet.
Sorry Joe. =(
...
sometime in 2025:
I have not been able to recover access to my other account [https://soundcloud.com/ha-kekong] for a couple of years.  Don't be mad if I have not replied to your message in the past two years, that's because I never got them ; ) ... You can always reach me here though.
...

I'm trying to promote what I think is good music, so if you want to help out a bit I'd rather you [like] or [repost] my *playlists* rather than my field recordings, if you don't mind, unless you are a die hard fan of those things. Thank you ; )

I speak French, so if you send me a private message, and that you are a francophone, please write in French, thank you.  ... I mean, you don't absolutely have to, but I would prefer it. 

All my field recordings (except for when I record a person) are public, freely downloadable by anyone who is able to click on the button.  I encourage anyone interested to use them in any way whatsoever, on purpose or accidentally. No need for permissions or credits or any other kind  of administrative maneuvers.
...

Anarchists give me hope.

I'm a big fan of EFF.  Love ya EFF.  (no connection with the above line)
... and of course Richard Stallman and Linux and all the others.  Bless yous.

Now don't be lazy, go find out what it is this "EFF" that I'm talking about.  I'll give you a hint: it has to do with computers.

You have a nice day now.  Hugs & Kisses.

Martina del Fuego - 2001

melodykrafter

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