Name: metasplice-B1-buoyant slight by Metasplice in N>L
Duration: 7 min 20 s
Description: Track off of the Topographical Interference EP on Morphine.

good grief this is some serious business! I need this on vinyl!

criminally underrated af, I remember when I heard it 1st time.. still the same vibe, sick

Psychic Liberation presents “Friendly CSA Compilations Parts 1 & 2”. A compilation in two parts consisting of artists orbiting the PL canon from around the world in an effort to raise funds for Roots Unbound Friendly CSA.

Roots Unbound (RU) is an abolitionist grassroots organization based in Brooklyn offering nature-based programming centered around food justice, therapeutic horticulture and ecological disinvestment to people in the NYC area with a focus on supporting and uplifting people impacted by the carceral system.

Friendly CSA is a cooperative, agricultural initiative that was mobilized to respond to the food apartheid within New York jails and prisons. Roots Unbound sends care packages of harvested produce that are
chosen by incarcerated folks via a newsletter sent out every month, by growing and collaborating with local New York City land stewards. This CSA is provided at no cost to the recipients, funds raised for this CSA will be used towards packaging, postage, printed materials for newsletters, and a P.O. box.

To find out more information and donate further :
rootsunbound.org

opencollective.com/rootsunbound/donate

releases May 7, 2021

Mastering : Glyn Maier
Image :Nick Klein
Layout : RJM Vanderheyden

Friendly CSA Compilation Part 2

BUY/DONATE

COLLIN STRANGE - Caught In The Snare

Alwin Nikolais
Choreosonic Music Of The New Dance Theatre Of Alwin Nikolais
10CACK
Choreosonics was the name of the music for the choreography of Alwin Nikolais - a unique theatre exposition that was described in the late 50s as “the new theatre of shape, motion, light and sound.” In 1953 Nikolais attracted people interested in new art to his dance concerts at the Henry Street Playhouse in New York City. In these concerts dancers became colourful motivating sources for sculptural shapes; moving in changing atmospheres of light and sound their relationship carefully integrated into a new kind of audiovisual abstract theatre art. The sounds created for this were not conceived from traditional music points of view but were designed to share and support the total visual dynamics.

Such a creation was possible because of Nikolais’ background as a musician as well as choreographer. At sixteen he was playing piano and organ for the then disappearing silent films, improvising and coordinating music four to six hours daily to the dramatic content of the movie. With this profession obsolete, he turned his skill into accompaniment for dance. Through this his interests led to his study of percussion accompaniment and exploration of new sounds. These ideas were stimulated by the kind of dance accompaniment introduced by the famous German dancer, Mary Wigman. This, in turn, induced Nikolais to study dance and ultimately to switch his career from musician to dancer and choreographer.

Nikolais was soon heralded as one of the leading figures in modern concert dance, he is credited with bringing about revolutionary ideas opening up new vistas for dance and theatre. Nikolais' activities were centered at the Henry Street Playhouse in New York. His work was created there with his assistant Murray Louis; sound engineer David S. Berlin; artist George Constant and members of his Playhouse Dance Company. All of whom had a hand in the final productions. Performances with names like Prism, Cantos and Totem were met with positive critical view for their multidisciplinary achieve- ments. While his collaboration with Harry Partch on The Bewitched established his name alongside another true maverick of American sound design and forward-thinking composition.

Some of Nikolais' dancers were also trained as percussionists who improvised on a curious assortment of sound producing instruments and objects while other dancers worked through the choreography. David Berlin, who assembled and constructed the sound recording equipment, would operate from the sound booth from a window overlooking the stage. Nikolais would direct the experiments and improvising.

Within any performance there would be numerous tests of the original sound and their possible electronic conditioning, including many playbacks of short phrases tested to the dancers’ motion. When the sound phrase proved satisfactory the next cut was started. Sounds were cut down, enlarged, replaced and then the whole piece would be linked together and given final editing much the same as a filming process. Nikolais generally tried to avoid any identification of the sound sources, thus inviting the ear to perceive the sound itself divorced from its initial derivation. This, however, was by no means a final criterion, the ultimate one being the value of the sound to the theatre idea at hand whatever its source or manner of conditioning was. The objects used to pro- duce these sounds were without limit except for practical material size. Within the collection many percussion instruments were used: drums of all kinds, rattles, bells, gongs, cymbals, wooden blocks, etc. Also whistles, tubes, pipes, pieces of wood, alu- minum, steel and tin containers were utilised alongs-ide glasses, elastic bands, coils of wire, etc. The back of an upright piano in addition to a grand piano were also often at hand. The human voice would be used freely, hand clapping, foot stomping and any sound producing device whatsoever that might served a purpose.

Lythic - Alwin Nikolais

LUTTO LENTO VENGO

Pre-order the Psychic 9-5 Club LP in The Ghostly Store:
http://www.theghostlystore.com/products/htrk-psychic-9-5-club

HTRK - Give It Up

Track off of the Topographical Interference EP on Morphine.

metasplice-B1-buoyant slight

04  MICHELEGANZA

releases October 15, 2020
mastering :: Giuseppe Ielasi
artwork and design :: Bill Nace

all proceeds to Junglekeepers (Madre de Dios, Peru ++ Oakland, US) :: www.junglekeepers.com

"Field recording, that cherished technique of electroacoustic artists, gets fresh conceptual treatment with “Eaves Drop” by Horaflora, one of the aliases used by Raub Roy (Oakland, CA). Using a Sennheiser AMBEO binaural headset, he collected a year’s worth of public and private footage, then collaged it with sparse, yet pointed, instrumentation. Straddling diarist and voyeur, Roy evokes and lingers upon questions about field recording in the context of surveillance capitalism—and the purposes of music made in its purview.

There’s kids’ playground babble. The artist striking a piano key on his porch, as a train sounds in the distance. Like rummaging through the NSA’s trash, these sounds are irrelevant to governments or corporations (for now), but fruitful for more generous listeners. The crow caws, the dog barks, the door creaks. And then a firecracker explodes, and you throw off your headphones as it seemed a real firecracker actually exploded just above your right temple.

The realistic yet aestheticized arrangement of sounds in space is where the dynamism of this album lies. There’s a moment of beautiful clarity when we hear a woman singing along to Jazmine Sullivan’s “Bust Your Windows.” Her voice, going along with the song that’s playing in her own headset, cuts through all the noise, making a poignant threat. But then she’s drowned out by some bureaucrat’s intercom as the album flows onward, each cataloged and collaged sound seamlessly shifting into the next arrangement.

Lines between composition and chance blur; the tapping on a snare, the languid strumming of strings could be read as a musician’s self-surveillance. The fact that these are recordings from the Bay Area, where he lives, is not coincidental. Such methods are at the heart of big tech’s empire, and though “Eavesdrop” is not explicitly confrontational regarding such concerns, the album does tap the sense that we, as privacy erodes and mutates, are becoming voyeurs of our own lives."

Eaves Drop

Horaflora - Scrubby Foreland [Excerpt] (ENM06)

02 - Loss

IDA Radio: Changeless w/ Exploited Body & APEAK - 21st October 2020

Tracklist:

APEAK

Kamil Dossar - Wing Attachment 
LEYA - First Way (Drew McDowall Remix)
Whitearmor - Karma
Romance Relic - Pegasus (Angels Of Storm)
Shlohmo - Nice & Shiny 
SALEM - Red River 
Emma DJ - Fuzmec
Llimbs - Mass 
Lithe - Nos (Fault Tolerance Remix)
DÆMON - Pigeons & Doves
Ishaq - Shutdown Spitface
Parietal Eye & Cantil - Final Destination (No Destination Remix)
Verset Zero - Cineres

Exploited Body

Verge - Denial
E-Saggila - Mantis Print
Robin Stewart - TPP-CS-DAT
Llimbs - Vessel
SITOI - Kylpy
Catartsis - Les mers intimes
Death Qualia - Kore Abduction
6SISS - Hydro Electric
Olēka - Urbicide
Clouds - Can’t Anticipate
Meer - Talashat Azzhur Al Banda’e Fi Naysan
bonebrokk - Howl
Hire Issiki - Socialnetics
Liza Aikin - Hospital Bed (Swarm Intelligence Remix)
Code Walk - Bent One Six
Abyss X - Attraction In Doubt (Gabber Eleganza Remix)
Kat Nzingha - Antinomianism
Vanity Productions - But All Spiked
Florian TM Zeising - Aspire (exael Remix)
Lugh - El Rocio

@exploitedbody
@apeak

IDA Radio: Changeless w/ Exploited Body & APEAK - 21st October 2020

https://www.mixcloud.com/thileale/
https://soundcloud.com/thi-l-a-le
.
https://www.instagram.com/penal_thi/?hl=fr

THI-LEA Cheesburger after running

"A Mosquito Montage

Beware of that mosquito 
or 
let it bite and enter a SssssSSSsSssssSSSSSssSsssSSSSssssSsSssSSsState of mind." 

Φ

https://soundcloud.com/paulebhart
https://www.facebook.com/paul.ebhart
https://www.instagram.com/ebhardy/
https://parken.bandcamp.com/-i

SI002 - PAUL EBHART live

dr33mphaz3r.net

2.2 Intel Core ~
Wire-hooked on electro-thanatoid tick-drift ~ ~

*tick* Vaults of Erowid_ *tick tick* LSD: Dream Emulator
_...Earthcore 1999____
*tick* 331/3 Goa_xplosion c. 16’.
{[[time unspooling]]} }} } } }}}}
All nodes lead to certain A-death..__
THE ULTIMATE FATALITY.

time flips over: collide with it and you travel backwards…
¿¿¿

e̷̜͈̘̯͊͐̒̏͛͝n̶̡̹̻̫̄̀̈́t̷̠̊͒͛̋̇͛̏͊̋ẻ̵̢̘̦̬͉̩̲̯̓͜ͅr̶͚̹̩̃̇̑͗̓͑̊̊̔͜͠ͅ ̸̺̮͋͋̌͆̐͊͝t̷̘͇͈́̋̀͋͒̿̑̈͊̚h̵̢̳͍̮̜͈̜͋̽ẹ̸̮͎̳̘̹̼̮̅̊͐̕͜ ̶̥͚̟͉̜̝̖̲̈́͂̃̎̏̅̀d̵̡͚̱͓͇̺̦̘̐͌̂̒͐̀͘͜r̴̡̨̝̻̣͖͚̿3̶̺͕̰̩̰̠̥͉̹̭̎́͊͋̕3̷͈̙̎̀̾̽͐͒͘͝m̸̰͖̖͛̆͊͛̄̊̂͒͠͠ͅp̶̧̤̬̖̲̭̹͎͌̽̾̓h̴͈̺̭̆̈́̒͛̓̓̍͂a̷̞̠̜̥̗͌̈́̉̄͑̓͌̔z̵̨̛͙̬͓̬̼̗̀̀̽̀͗̓̕3̴̩͇̖̮̩̙͊͐͒͊͑͜͜r̶̨͙̝͈̬̯̜̺̣̄͑͐

“Trance has always been a terraforming project.”
Gated wavelengths, metabolising body-groove gestalt, entheogenic beat-hip-gnosis.
Neurotic rush of vortical tick-blips.
Trance sounds out the dr33m state in nu_time.

𝕚𝕟 𝕃𝕚𝕗𝕖, 𝕥𝕙𝕖 𝕊𝕖𝕟𝕤𝕦𝕠𝕦𝕤 𝔻𝕣𝟛𝟛𝕞
𝕚𝕟 𝕃𝕚𝕞𝕓𝕠, 𝕥𝕙𝕖 𝕊𝕚𝕝𝕖𝕟𝕥 𝔻𝕣𝟛𝟛𝕞
𝕚𝕟 𝕃𝕦𝕟𝕒𝕔𝕪, 𝕥𝕙𝕖 𝕊𝕒𝕧𝕒𝕘𝕖 𝔻𝕣𝟛𝟛𝕞
𝕚𝕟 𝕃𝕒𝕦𝕘𝕙𝕥𝕖𝕣, 𝕥𝕙𝕖 𝕊𝕡𝕚𝕣𝕚𝕥𝕦𝕒𝕝 𝔻𝕣𝟛𝟛𝕞
𝕚𝕟 𝕃𝕖𝕚𝕤𝕦𝕣𝕖, 𝕥𝕙𝕖 𝕊𝕠𝕟𝕠𝕣𝕠𝕦𝕤 𝔻𝕣𝟛𝟛𝕞
𝕚𝕟 𝕃𝕚𝕟𝕜𝕚𝕟𝕘, 𝕥𝕙𝕖 𝕊𝕒𝕡𝕚𝕖𝕟𝕥 𝔻𝕣𝟛𝟛𝕞

....Something is about to occur and we know exactly wh3n.

[[[Recorded live for SOFT CENTRE at A Weekend With, 2018]]]

synergetix [live] 🌙 dr33mphaz3r

☼ EB25 - digital and Limited Edition tape
☼ @zhe-pechorin

After a long wait, Etang Brulant is absolutely stunned and delighted to bring you serbian musician Zhe Pechorin and her new solo release, « Boundary Lessons ». After several appearances on Various Artists these past months (Amek, Minor Adjustments...), a 20 minutes live jam released on Ōtium and a cassette on Holy Geometry two years ago, « Boundary Lessons » seems to crystallize the mental universe and her thoughts network in a touching and highly personal way.

Using deep pads and pristine synths drowned in an ethereal reverberation without ever slipping into a cacophony of lost or forgotten frequencies, the melodic composition of Zhe Pechorin demonstrates a calm and peaceful state of mind, yet torn apart by an overwhelming melancholy, sometimes subtly pulled out of its torpor by noisy addings and the discrete trespassing of damaged leads. Through the listening of the whole album and the meaning of titles, one can feel a strong sense of loss ; almost a mourning process or a heavy nostalghia, adhesive to the skin and the mind and dangerously craving for recognition. Homesickness of an unknown time, of an unknown land, of an unknown past - or a real and more painful impression of regret, one can choose the shape of its interpretation. 

-------------------

Composed, produced and mixed by Zhe Pechorin
Mastered by Catartsis

"one day
we'll no longer
long for
home"

dedicated to my only one - to Nikolina

Boundary Lessons

Zhe Pechorin - Bounday Lessons (+ SOLD OUT > REPRESS IN APRIL)

New Year, New Residency on @internetpublicradio with one of my favorite artist on Earth recently <3 @networkerror

Be ready for 2 hours of deep digging with a subtle balance of hard and soft vibes !!!

ISABELLA TRACKLIST :

Florian T M Zeisig- Been listening a lot
Karabasan Drane- Charmer
Ismael - I was so
Tygapaw - So it go
Love Dove Jay - Sonic Man
Ewa Justka - Slippery Slide
Slikback - FAZA
UFO95 X Anetha - On-Oflline
Exael - Aspire (remix)
El Alfa - Guaremate de por Vida
Jake Turpin - The Fear
Glyn Maier - An Indefinite Lattice
2lanes - External Reflection
Florian T M Zeisig - Straining to Hear
Sara Haras - Bliss
Isabella - Impresia (forthcoming on Mama Told Ya compilation)

metasplice-B1-buoyant slight

Metasplice

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