ice cave 1 25 bpm keys take 1 12124

A2 from "On The Lands Of Mercy" CS. 
Pre-order at https://male-activity.bandcamp.com/album/on-the-lands-of-mercy
Release : March 22, 2018 on Male Activity

Appropriate Savagery -  Poisoned By Disgust And Boredom [Male Activity]

INFO => self-titledmag.com/2018/05/11/ne247-meyers-negative-artist-mix/

NE247: Meyers - 'Negative Artist' Mix

Face [Glimpse] (with Oren Ambarchi & James Rushford)

60: J. Campbell - "Heirloom" c50

BUY HERE: https://summerisle.bigcartel.com

J. Campbell - Traces Of Evening Cologne

purchase lp: www.secondeditions.org
release date March 01 2019

005 - Karl Fousek - Chapter 3 (from In The Forest)

Selections from 100 Models of Hegikan Roku is the second in an ongoing series of archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows last year’s Selected Early Keyboard Works and anticipates Blank Forms’ publication of Poësy Matters and Other Matters, a two-volume collection of Hennix’s writing.

Upon her return to Sweden from New York in 1971, Hennix sought to form a large ensemble inspired by her encounters with La Monte Young and recordings by the Theatre of Eternal Music. She enlisted her brother Peter Hennix, Hans Isgren, and a dozen Swedish jazz musicians she had previously worked with, naming the group and its pieces of music after the time and days of the week according to the Angus Maclise calendar (e.g. “The Pointed Time Bus”). Frustrated with the jazz musicians’ inability to comprehend and play the intervals of just intonation, she pared the group down to the trio of herself, her brother, and Isgren and christened the live-electronic ensemble The Deontic Miracle. 

In 1976 The Deontic Miracle performed Hennix’s original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer’s Lattice at the Moderna Museet in Stockholm. With Hennix on amplified Renaissance oboe, live electronics, and sine wave generators, her brother on amplified Renaissance oboe, and Isgren on amplified sarangi, the recordings presented here of the group’s first and only public concert see them channeling late period John Coltrane and the sopranino and soprano saxophone playing of La Monte Young and Terry Jennings in the Theatre of Eternal Music. With titles taken from Japanese Gagaku, “Music of Auspicious Clouds” and “Waves of the Blue Sea” are expansive drone improvisations, breathing with the pulsating lull of cicadas’ organic sonic latticework. Now accessible for the first time, these recordings by what Hennix has called “the most rejected band ever formed in Sweden” continue to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.

Catherine Christer Hennix (b. 1948) started her creative career playing drums with her older brother Peter growing up in Sweden where she saw jazz luminaries such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform at the Golden Circle. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she helped develop early synthesizer and tape music. After traveling to New York In 1968, she met Fluxus artists Dick Higgins and Alison Knowles and developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath, and she would later study intensively under him. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage. She currently resides in Berlin, Germany, where she is active as a composer and writer.

The Deontic Miracle: Music Of Auspicious Clouds (excerpt)

Mark Vernon "The Consensus Is To Delete"

MAR051 Mark Vernon "An Annotated Phonography of Chance" LP

order:
https://misanthropicagenda.bigcartel.com/product/mark-vernon-an-annotated-phonography-of-chance

www.misanthropicagenda.com

https://youtu.be/cT23W3UFPHk

An Annotated Phonography of Chance

Mark Vernon "The Consensus Is To Delete"

Full Set Download * Support me * name your price–  http://aloisyang.bandcamp.com/track/x-ola-yin-plays-panning-time-space-live-at-torhaus-wehlen
 
Xïola Yin is the opposite yet not contradict side of Aloïs Yang.
This project focuses on deconstruction of existing works and recordings, random access and blending memories. Exploring the unstable and unpredictable outcomes of digital environment, through bespoke software instrument and live improvisation.
Performance video: youtu.be/2IPBNBOXwkY

Xïola Yin– Two Birds, One Man, In Between Spaces (Live at Torhaus Wehlen Excerpt)

@salllvage (Rowan Savage) is a proud Kombumerri First Nations man living on Gadigal Land ('Sydney,' 'Australia'). He is a producer, DJ and dancer working at the intersection of queer club culture and connection with Country. He uses field recordings from Kombumerri Country ('Gold Coast') to make experimental electronic music. His DJ sets fuse underground influences from across the globe with a strong First Nations sensibility. He is influenced by Indigenous Futurisms, and by an ongoing engagement with vogue and ballroom culture. His art aims to inhabit and bridge the tensions between abstraction and emotion, the wild bush and the dancefloor, the personal and the social, authenticity and reconstruction.

What was a crucial sound experience in your life?
The moment I heard Lechuga Zafiro create a beat from water; the moment I read David Toop describe noise itself as a haunting; and most of all, the moment I understood that sound could be a path back to Culture.

Links:
soundcloud.com/salllvage
www.instagram.com/salllvage/

Field recordings throughout were recorded on Kombumerri Country ('Gold Coast,' 'Australia') 2019-2020

Dialogue:
Bedevil (Tracey Moffatt, 1993)
David Toop (interview)
Lake Mungo (Joel Anderson, 2008)
Space is the Place (Sun Ra, 1974)
Safe (Todd Haynes, 1995)

Tracklist:
Severed Heads - Skippy Roo Kangaroo
Graeme Revell - Nature Morte (Still Life)
Brian Eno - Shadow
amby downs - gaarra-y gaarra-li (doing a painting)
The Walker Brothers - The Electrician
Áine O'Dwyer - We Plough the Fields and Scatter
Lankum - What Will We Do When We Have No Money (Lighght Bitcoin Blockchain Blend)
salllvage - vapour on the estuary
Virginia Astley - When the Fields Were On Fire
Four Tet - Unspoken (promo version)
Kraftwerk - Tanzmusik
Thames Estuary Birds
Euglossine - Eco Fascist Dethroned
Phil Struck - Im Knick
Pendant - IBX-BZC
Lila Tirando a Violeta - Karanga Ngeru
Waak Waak Djungi - Gonawarra
salllvage - Guanaba
salllvage - SALT WATER BLOOD
Syntonic Research Inc. - The Psychologically Ultimate Seashore

MNEMOSYNE #012 - SALLLVAGE

Houston, Texas based experimental noise and sound art label, created in 1998 by Gerritt Wittmer.

Mark Vernon "The Consensus Is To Delete"

Misanthropic Agenda