wow i love this track, is there a download/purchase link you could share with me? <3

invisible Robots

Artist: BITCHIN BAJAS
Album: Transporteur

Cat #: HITD 024
LP – 600 copies on black vinyl
CS – 100 copies
Release date: 4th May 2015

Cooper Crain, Daniel Quinlivan et Rob Frye : orgue électrique, synthétiseurs analogique, synthétiseur modulaire, basse électrique, flûte, clarinette basse et percussions

Artwork by Nick Ciontea
Mastering by Rashad Becker

Label, orders: www.handsinthedarkrecords.com

BITCHIN BAJAS - Marimba

Found a bunch of old tracks I produced from 2004-2008. 

7 of the 9 tracks have never been shared with any friends. 
I performed "Broken Hands" as a closing track at some Hiphop show back in 2009. Other than that, Noone has heard this shyte but me. 

Most of them have a softer, less silly feel to most of the stuff I was making at the time. I wanted to separate these and put them online for the (literally) few friends I know who may enjoy them. It's not truly "IDM" or hiphop or whatever.. It's just the shit that I made at the time. None of it is mastered and that's kind of the point of the old I.R music. It was just low budget songs thrown together with a crappy mic. I like listening to this little collection because I can see the potential I had at the time and I can also see where I could have made improvements on the production/structure of songs etc.

I have tons of 2008-2010 I.R stuff when I was starting to make "Dubstep" (hah) but that shit will never surface. I will be uploading some of the old "silly" songs in the coming weeks. I think i'd like to just throw as much as I can find online and just put it all behind me. 

Though, listening to the old silly stuff inspires me to create a new I.R album. I am more experienced and think I can produce a good mix of the old silly shit mixed with a modern sound. 

I'd like to thank my old friend Benjamin Pena aka "Producer Snafu" for the artwork. A lot of tracks that came out in the 2004-2008 era were because of him. He always hooked me up with programs and showed me how to use things like Adobe Audition to chop up samples etc. In a big way it makes sense for him to have created the art for this. (He also compared me to Daniel Johnston. Which is an amazing compliment.)

I send many thank yous his way and encourage everyone to check out his music at Soundcloud.com/ProducerSnafu 


*OH! Also... the little melody that is looping during track 1 "Secret Admirer" is not produced by me. I was drinking alone one night in 2004 chatting with my friends on Myspace in the middle of the night. I was listening to some Buck 65 album and this melody drops in the middle of some track. I recorded it right away, looped it and turned the microphone on. The words you hear weren't written and were done in one take. I just hit record and started singing the first words that came to my head. All the other "Im'ma monkey" stuff were added after the fact. Low budget, but that's the point. 

Love you.  

Invisible Robots - The Help Line

Invisible Robots - Why you ruin my souffle ?

Invisible Robots - Secret Admirer

(Morning) music, even for meditation or yoga

Shimmering Dawn

melancholy bossa

Human Sausage / Skye Burial / Inner C

BEATRICE DILLON - Drum programming, electronics, synthesizer, bass guitar, field recordings

RUPERT CLERVAUX - Vibraphone, drums, percussion, field recordings, additional drum programming


A Different River Once - Beatrice Dillon & Rupert Clervaux

2nd track on 'Intact' (Jj funhouse, 2016)
http://www.jjfunhouse.com/catalogue/jj010

Data

Alessandro Cortini, live instrumental set at Death By Audio, NYC, December 11 2011. Performed on a Buchla Music Easel.

Alessandro Cortini - live at Death By Audio, december 2011

Ursula Bogner: Winkel Pong
Format: 7” Vinyl/DL
Label#: faitiche15
Release date: Sept 8th 2017
 
Faitiche is delighted to announce the release of a new Ursula Bogner record (faitiche15). Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner’s tape archive (CD/LP Recordings 1969-1988, faitiche01). A second followed in 2011, compiled this time by Andrew Pekler (CD/LP Sonne = Blackbox, accompanying the book of the same name with texts, photographs and Bogner’s graphic oeuvre). For Winkel Pong the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.
 
Gundrun Gut (Malaria!, Einstürzende Neubauten), an activist and reluctant chronicler of Berlin’s underground scene since the 1980s, has worked with Lucrecia Dalt. She is also familiar with Ursula Bogner’s work. Reason enough to ask her for an interview:
 
Jan Jelinek: Gudrun, how does it feel to be constantly obliged to talk about the 1980s Berlin underground as someone who was there at the time?
 
Gudrun Gut: I’ve learned to live with it as there are clearly too few people who witnessed it first-hand. Maybe it’s even important to do these interviews as a woman – so that someone actually says that women, too, have written music history. Men tend not to mention this. But it’s true, people do always ask the same questions.
 
JJ: Did you know about Ursula Bogner in the 1980s? Did you ever meet her?
 
GG: No, I never met Ursula Bogner in person and I only discovered her in 2008 thanks to Faitiche. But that’s no surprise: firstly, I don’t know every single woman artist, and secondly, far too many women artists never see the light of day. In the male-dominated art and music market, women are not considered important – or worse still, they are not understood. Look at artists like Sonia Delaunay, Eva Hesse, Bebe Baron, Delia Derbyshire and Daphne Oram. Some of them have now been discovered – but only recently. A lot has changed in the last few years: there is a growing awareness of art and music made by women.
 
JJ: But isn’t it annoying that the conventional distribution of roles still applies? One example: in many articles, Ursula Bogner has been presented as an “electronic housewife”.
 
GG: When Ursula Bogner is referred to as an electronic housewife, then sadly that reflects the situation of many women artists at the time. Women could only pursue artistic activities in private – transcendence was reserved for men. This has still not been overcome. But today, the home has become a site of professional production for all. I’m talking about bedroom producers: it is totally normal to make art and music at home. And that makes things interesting, because “working at home” is no longer associated solely with women.
 
JJ: For Winkel Pong, Lucrecia Dalt compiled and remixed three pieces from the Bogner archive. You know Lucrecia and you’ve already worked with her. How did you meet?
 
GG: I met Lucrecia through MySpace – I think it was 2007. Back then she was still living in Medellin, Colombia. Lucrecia’s father made loop machines for her that she still uses. The Sound of Lucrecia was part of my 4 Women no Cry compilation series on Monika Enterprise, each with four producers from different countries. She’s great fun to watch as a performer because she has a unique sense of rhythm and feel for music. Above all I’m impressed by her sustained approach as an artist, someone who can and does think around corners. I’m thinking specifically of her album Ou, for which she ploughed her way through post-war German cinema, using it as a source of inspiration for a soundtrack. This is proof that she thinks like an engineer – so it makes perfect sense that she would want to explore the work of Ursula Bogner.
 
Berlin, 2017

Ursula Bogner: Atmosphärische Energie (edited by Lucrecia Dalt)

TOMAGA "Memory In Vivo Exposure" (12"/DL).
HITD 037
Release date: 8th December 2017

All tracks composed, perfomed & recorded by TOMAGA
Mastering by Mike Grinser @ D&M, Berlin
Original cover photograph by David Child

Label, orders: www.handsinthedarkrecords.com

TOMAGA - Memory In Vivo Exposure (Parts 1 & 2)

Folklore of Plants Vol.II - Venefic Garden

Moon Wheel — རྡོ་རྗེ་རྣལ་འབྱོར་མ་

Taken from Futuro (Music for the Waldorf Project) released on 2LP and download 01/02/19.

• Not Waving’s engrossing, highly original soundtrack to Sean Rogg’s world-renowned art/theatre project
• Ambient tonal works and abstractions written between 2013-2018
• Mastered and cut at D&M, Berlin.
• Limited edition vinyl with full colour insert featuring photographs by Lee Arucci
• RIYL Laurie Spiegel, Steve Roach, Brian Eno, Shuttle 358

’Futuro’ is Not Waving’s sublime synth/ambient soundtrack to one of the world’s most intense art/theatre experiences: Sean Rogg’s radical immersive artwork ‘The Waldorf Project’ - fusing choreography, spatial design, music and performance into a cohesive experience.

Drawn from more than 20 hours of material made for the project between 2013-2018, ‘Futuro’ finds Alessio Natalizia exploring a style of tonal and spatial minimalism that works as a fine palette cleanser from much of what you’ve heard from him in the past. 

While not a new solo album, per se, the long form, Eno-like results of ‘Futuro’ demonstrate the full wingspan of Not Waving’s obsessive knowledge and emotive feel for electronic composition, making it in some senses one of the more substantial and unusual releases in his catalogue to date.

BUY!

Not Waving - Emotion 1.4 Decontamination [ELP040]

Recorded at Freudentaumel im Salon der Lieblingsbucht surrounded by many, many, many beloved faces. Wtf! Felt like in a zoo. Obrigaaado!

Bambule in der Bucht

ᴅɪꜱᴄᴏɢʀᴀᴘʜʏ
&#128192; Dewi Ratih (Indonesia 2023)
&#128192; Sketches from Babahan (Indonesia 2023)
&#128192; Khorlo (Berlin 2021)
&#128192; Phyal (Berlin 2020)
&#128192; A Blissful Amnesia (Berlin 2021)
&#128192; Okänt Land — Where To Now (London 2015)
&#128192;  Moon Wheel — Not Not Fun (Los Angeles 2013)
&#128192; Black #3 — Nous (Berlin 2016)
&#128192;  For S.M.J — Wool Recordings (Paris 2013)
&#128192; Conglomerate 2 — Minicromusic (Warsaw 2017)
&#128192;  Firmament — Habitat Tapes (Melbourne 2015)
&#128192;  Split w/ Ill Winds — Noisekölln Tapes (Berlin 2012)

&#128221; hello @ moonwheel.org

ꜱᴇʟᴇᴄᴛᴇᴅ ᴘᴇʀꜰᴏʀᴍᴀɴᴄᴇꜱ
&#x1F1F8;&#x1F1EA; Intonal, Malmö, Sweden, 28/4/17
&#x1f1e7;&#x1f1f7; Teatro São Pedro, Porto Alegre, Brazil, 6/10/16
&#x1F1FA;&#x1F1F8; New York City, Palisades, 5/3/16
&#x1F1FA;&#x1F1F8; Washington D.C, Broken Dreams Club, 27/2/16
&#x1F1EB;&#x1F1EE; Kaiku, Helsinki, 29/1/16
&#x1F1E8;&#x1F1E6; Bethlehem, Chaudetime, Montréal, 27/11/15
✔ Total Control, West Germany, Berlin 20/11/15
&#x1F1F8;&#x1F1EA; Norbergfestival, Sweden, 31/7/15
&#x1F1EC;&#x1F1F7; Βαζακι, Chaniá, Crete, 21/6/15
&#127970; Panorama Bar, CTM Festival, Berlin, 29/1/15
✔ F.T.K., Neue West, Berlin, 8/1/15
✔ about:blank, Oscillate #1, Berlin, 27/11/14
✔ Institut für Zukunft, Leipzig, 31/10/14
&#x1F1F3;&#x1F1F1; Todays Art, Den Haag, 27/9/14
✔ Atonal, Berlin, 23/8/14
✔ BCR #2, ACUD, Berlin, 12/7/14
&#127970; Berghain, Not Equal, 16/5/14
&#x1F1EC;&#x1F1E7; Corsica Studios, London, 27/2/14
✔ Boiler Room, Berlin, 27/11/13
&#x1F1F5;&#x1F1F1; Brutaż, Warsaw, 18/10/13
&#127970; Berghain, Polymorphism #8, Berlin, 4/10/13
✔ Gegen, KitKat Club, Berlin, 3/4/13
✔ RAUM, Berlin, 17/12/11
&#x1f1e6;&#x1f1fa; Jah Jah's, Melbourne, 21/1/11

Moon Wheel — རྡོ་རྗེ་རྣལ་འབྱོར་མ་

🌓

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