Drums on this mix are rocking, really nice work with the electronics, awesome mix works on this jam, tight vibe I feel on this one!

from here it goes straight to the soul. Saw you in Cisternerne at Strøm festival, and this part was absolutely (dark) magic. Loved it.

from the "Wave Iridescence" CS (SILK137)
100% Silk / 2022

IRIDESCE:
https://parcvancouver.bandcamp.com/album/wave-iridescence
https://midheaven.com/item/wave-iridescence-by-parc

PARC - ENTROPIC (SILK137)

Love Inc.   Germany
(aka Wolfgang Voigt, Gas, Mike Ink)
Label:Force Inc. Music Works
Released:1995
Music By [Musik] - Mike Ink
http://www.technique.co.jp/items.html?range=all&q=Mike+Ink

LOVE INC. - Life's a Gas

One year on from their debut, Rainer Veil explore deep, brittle rave variants on their 2nd EP for Modern Love. The five tracks of 'New Brutalism' are a product of their Northern environment, making pointed reference to the kind of deep-rooted rave heritage documented in Mark Leckey's 'Fiorucci Made Me Hardcore' soundtrack through a prism of angular, vulnerable club music. Conceptually, It adopts a similar perspective on British nightlife to Burial or Lee Gamble, surveying the 'floor as if during an out-of-body experience or through closed eyes from a corner of the club at 5am. Opening track, 'UK Will Not Survive' captures that sensation beautifully with its tape-saturated layers of wistful vocal, woody 2-step and daubs of Reese bass, whilst 'Three Day Jag' isolates that curious blend of hedonism and introspection innate to early UK 'ardcore, albeit without the narco-sweats. Closing number 'Run Out' doffs a cap to grey building sites and strobe-lit clubs alike, channelling diffuse field recordings and half-heard breakbeats with a bleary-eyed, tired and emotional quality.

Run Out

HELM — Olympic Mess (PAN 63) 2xLP/CD/DL
Release Date: 15th June 2015
http://p-a-n.org

HELM - Olympic Mess (PAN 63)

Track for EXO compilation, record out on Ekster.(http://www.eksterlabel.com/EKS007-EXO)

Trooper

From : Gabriel Saloman ‘Movement Building Vol.3’ (SP085)
→ http://shelter-press.org/gabriel-saloman-movement-building-vol-3/

Shelter Press has made good on its promise to deliver the third and final volume of its series featuring Gabriel Saloman, released both on vinyl and collected with Movement Building Vol. I (2014) and Vol. II (2015) as a double CD. For fans of Saloman’s post-Yellow Swans work – an already dense catalog of darkly cinematic compositions mostly conceived as accompaniment to some of Vancouver’s edgier contemporary dance companies, Movement Building Vol. III is not only a much anticipated conclusion to this trilogy, it is the most fully realized album in years. Where as Movement Building Vol. I & II acted primarily as documentation of time-based artworks, Movement Building Vol. III offers a more coherent and narratively rich album that will appeal to admirers of Soldier’s Requiem (Miasmah, 2013).

Listeners will recognize the emotive bowed strings, militant percussion and searing guitar eruptions that evoked memory and trauma in that previous album. Joining this pallet are other familiar Saloman sounds: shoegaze washes of distorted guitar, minimalist piano attacks, melancholic appregiated melodies, and a patina of harsh noise. Added to this is a more 21st Century approach to drums and bass, perhaps an effect of his collaborations with producer Michael Red in their dub-ambient project Chambers.

Saloman’s music has never sat comfortably in any genre, sharing with a select cohort of other artists (Stephen O’Malley, Lawrence English, Grouper, Kreng, Tim Hecker, among others) an ambiguous position between “modern classical”, “electronic music”, and the more outer limits of metal. Movement Building Vol. III doesn’t clarify as much as it expands Saloman’s oeuvre further into an idiosyncratic musical no-man’s land that fails to be faithful to any popular musical trend – contemporary, retro or futurist.

Movement Building Vol. III’s themes are taken from the dance it was composed for, 2015’s What Belongs To You, created by longtime collaborator Vanessa Goodman (Adhere, Soldier’s Requiem). That work sent its dancers through a physical journey exploring the needs of the body, for shelter, for love and for self-actualization, roughly aligned to Abraham Maslow’s “hierarchy of needs”. The resulting album seems to achingly soundtrack the struggle for survival, not simply for bare life but for something greater and more transcendent that would make survival have meaning. It holds dread and hope in equal parts, never quite giving away the end of the story. Though this record was recorded two years ago Movement Building Vol. III could be the perfect album for our current era of civilizational near-collapse, whether at the hands of maniacal politicians, the slow burn of the Anthropocene or the constant enclosure of the corporate driven, social media enabled surveillance state.

Movement Building Vol. III arrives both as a stand alone vinyl release, and as part of a collection of all three volumes packaged in one double CD. The collection of these works allows one to see clearly Saloman’s techniques and approaches to a relatively limited number of instruments – guitar, percussion, occasional piano and tape. Movement Building Vol. I is presented as one continuous piece, moving through an extended set of drone and loping drum play before climaxing in the kind of glorious guitar chording most often associated with My Bloody Valentine, GSYBE or Mono. Movement Building Vol. II explores various combinations of drum and drone, ASMR inducing high end clatter and the now infamous take on Miles Davis’ classic My Funny Valentine. 

Movement Building Vol. III is not only the final installment in Shelter Press’ series but also represents the culmination of a prolific period of creation that began with 2012’s Adhere.

Movement Building Vol. 3

GABRIEL SALOMAN 'What Belongs To Love' (SP085 / SHELTER PRESS)

B1 on 'Envelope' , Ekster 2018

order: https://eksterlabel.bandcamp.com/album/envelope

Heraldic Snippets

Black Sabbath - Planet Caravan 
Wilhelm - Mercurial 
Kevin Carey - Try_Again
Randomer - Percussion Workout 2 
Da Poet - Fly Over Palestine
EPROM - Samurai

MERCURIAL

Taken from the upcoming album Both Lines Will Be Blue, out July 12th on Smalltown Supersound. Produced by Carmen Villain. Flute performed by Johanna Scheie Orellana. Mastered by Matt Colton.

Observable Future

@Nikolaienko Meets Arthur Mine: Nostalgia Por Mesozóica
Format: 7", limited to 100
Release date: March 6th 2020


After four years of silence that have elapsed since the release of “Ode To The Sea” LP back in 2016, Muscut is bringing out Nikolaienko’s next collaboration, a duo with Arthur Mine, a Kyiv-based keyboard maestro and an ex-member of the ‘Blacklazer’ band. 

“Nostalgia Por Mesozóica” is an exploration of "experimental exotica" consisted of synthesized tropical attributes — an artificial landscape isolated behind the glass frame. Reminiscent of recording techniques and sonorities ubiquitous in the 60’s and 70’s, it could conceivably have been intended as a soundtrack for the Mesozoic Era exhibition at your favorite Natural History museum.


Face A
A1 Troglodytes

Face B
B1 The Ancient Musical Complex Of Mammoth Bones
B2 Muzak For Mesozoic Showreel


Limited to 1OO copies.
Includes hand-numbered and stamped postcard.

Arthur Mine: Arp Odyssey (track A), Venta synth-organ (track B2)
Nikolaienko: modular synth percussion, tape manipulations, processing, effects.

Composed by Nikolaienko and Arthur Mine and recorded at Labyrint Of Echoes Studio in Kyiv during 2017—2019.

Mastering by Flaty (@producedbyflaty)
Photos by Dmytro Nikolaienko
Muscut 16, 2020

Run Out

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