soundtrack for georgian doc (Lena Tsibizova/Piper Spray)

Hoover

"Beyond Good & Evil" is the first music I ever wrote since the start of the war. I released this song thru ninaprotocol. My credit cards have been shut down, but I can work with Cryptocurrency. If you want to help anonimly and safely thats link for you: https://www.ninaprotocol.com/62E2hTC7JM6jZNzQNb6uuc97Dh5fNeaiRS4DecGS8Ett

All purchases will go to humanitarian aid in Ukraine. 

It is impossible to think about art while your friends are surviving, fleeing war or staying behind bars. Anyway. My musical language is superior to my English. Throughout my life, I have been a bit an international artist and that is why I must continue to say that what is happening now is a crime against humanity. All my Russian friends believe the same thing. I respect everybody who helps fix this crap in any way. I give a hug to anyone who opposes this criminal war.

Original artwork by https://instagram.com/_dawsh. She's great at tattoos, too. If you need a tattoo, catch her in Tbilisi.

Beyond Good & Evil

Radio Fantasia – VA – Don’t stop talking about Palestine.

Listen to full version, buy and support people of Gaza https://radiofantasia.bandcamp.com/album/don-t-stop-talking-about-palestine

As we near the end of 2023, we feel exhaustion from wars, exiles, ecological catastrophes, censorships, unstable economic situations we find ourselves and our dissolving bodies. In all that the only thing that keeps us hopers is seeing you guys act, listening to all the strong supportive voices, talking about things that can be dangerous to speak up about, as we see numerous examples of censorship for standing up for your beliefs. 

This compilation brings together 18 musicians to continue the conversation about Palestine, calling for a ceasefire and an end to the occupation, and donating their tracks to support the people in Gaza.

All donations raised from this compilation will be sent to Medical Aid for Palestinians (MAP), an organization prioritizing the health of Palestinians living under occupation and as refugees. They provide immediate medical aid to those in need and work to develop local capacity and skills for the long-term development of the Palestinian healthcare system.

Let's not allow the darkness to consume us. Let's continue to raise our voices, support each other, and take action. 
—
We want to thank all the artists and design team for such a work and spreading their sonic acts, words and thoughts.

The link to the compilation will be pinned in the highlights and in the profile bio.
—
TRACKLIST:
Dirar Kalash – موطني (صولو جيتار)
Eldar Tagi – Aporia
Bios Contrast – Speed Nut M6
Shams – Seeds
Progenol – Mumbojumbogeno
guixine – Peace Is A Luxury
Cinna Peyghamy – Bazar
Yyed – Untitled
Misha Kurilov – 1% of Fragile Piece
Simina Oprescu – Green Hermeticism (binaural)
aeea3e - x_x imax3d
Gascia Ouzounian – Diffracting Sterephonica and Spatial Sound 
Yökkö – its happening
aerodrome - all eyes
santebela – pretend
Wehrk – Untitled
AGF – gazaaaAAAAAAAAAAA(m)
usof – ver o mar
Varoujan – Constellation of Sadness
—
released December 21, 2023 
Artwork by Alena Koleso
All tracks mastered by Wehrk
Curated by Radio Fantasia team: Misha Kurilov and Marianna Kruchinski

Don’t stop talking about Palestine.

21.12.2023

Various Artists – Don’t stop talking about Palestine (Preview)

"How To Swallow A Sword"

4. HOW TO SWALLOW A SWORD

Composed and recorded in Bandung, October 2017
Mixed in Montreal and Milan May 2018.
comes with a photo-zine, available on Haunter Records bandcamp.

https://heith.bandcamp.com/merch/sangkakala-malaikat

Sangkakala Malaikat

Heith - Tree Stand

Anne Imhof - Faust
Format: 2xLP / CD / Digital
Cat.No: PAN 98
Release Date: 13 September 2019
Purchase: bit.ly/2NCegzC / bit.ly/2zo1bRY

Deriving from the acclaimed performance and exhibition—staged by Anne Imhof at the 57th International Art Exhibition of La Biennale di Venezia and awarded the Golden Lion for Best National Participation— the album Faust is part documentation and part elaboration, the sonic capture and extrapolation of the gestures, intensities, and durations of the live event.
Serving as the dramatic backbone of a several-hour long performance seen by thousands over the course of the Biennial, the soundtrack was a product of the collective and its individuals, animating and organising the performers while immersing the audience in the potent images of power and paradise. The music for Faust was written in a band-like process by Imhof and her close collaborators Billy Bultheel, Eliza Douglas, and Franziska Aigner during the months leading up to its premiere at the opening of the German Pavilion in Venice. From the chaos of the performative, the album is constructed out of live recordings and original arrangements, teasing out the most potent strands and weaving them into a new composition of brutal feeling and baroque intricacy, each track a testament to the energy that brought it into being.

Faust is anchored around three pieces—Medusa’s Song, O.W.E.N., and Queen Song—written and sung by performers Eliza Douglas and Franziska Aigner, whose sonorous and elegiac voices imbue the work as a whole with their crushing depths and dolorous moods. Between these urgent vocal interventions march and twist the winding fugues and electronic abstractions of Billy Bultheel, who has dismantled and reassembled the sonic landscapes of the pavilion, crafting new arrangements that couple the forcefulness of the physical encounter with the artifice of the studio. Throughout the album and culminating in its closing act—the brutal chorus of Douglas’ Faust’s Last Song, a pulsing canon of looped and layered voice pierced by black metal screams—the record admits the listener into the inner space of Imhof’s dramatic vision of power, complicity, and vulnerability.

Shifting hypnotically between times and spaces, between cries and calls, between polyphonic antiquity and polyrhythmic complexity, Faust is the record of a lost event and the promise of a new creation. The release of Faust illustrates the centrality of music to Imhof’s artistic practice. Her musical collaborations with Bultheel began in 2013, and this generative constellation expanded to include the contributions of Douglas and Aigner, together scoring Imhof’s Angst (2016) and recently her performance trilogy Sex (2019).

The album comes with an expansive booklet of photography by Nadine Fraczkowski, another long-standing collaborator of Imhof and a prolific photographer, whose images of the performance and portraits of its cast offer intimate views of the work far beyond documentation.

It was mixed by Nanni Johansson at Hansa Studios and Ville Haimala, mastered by Rashad Becker at Dubplates & Mastering, and designed by Zak Group featuring artwork conceived by Imhof together with Douglas and Fraczkowski. Co-published with German Pavilion 2017 and Galerie Buchholz, Berlin / Cologne / New York.

http://p-a-n.org

Faust 

Billy Bultheel - Opening March (PAN 98)

die Reihe is the moniker of NYC based composer and sound engineer Jack Callahan. Taken from the journal edited by Herbert Eimert and Karlheinz Stockhausen, die Reihe makes work that often examines and abstracts a single musical element, from the functioning of a vocoder to the harmony of house music. With this project he has toured the both the U.S. and Europe multiple times, been invited to numerous festivals and has released music with labels such as anòmia, Ascetic House, NNA Tapes, and Salon. In 2013 he founded Bánh Mì Verlag, an imprint dedicated to contemporary experimental music and culture. 
tour dates:

w/Jeff Witscher

Nov 2nd: Santa Cruz @ Wind River
Nov 3rd: SF @ Pro Arts Gallery
Nov 4th: LA @ Los Angeles Contemporary Archive
Nov 6th: Vancouver @ Deep Blue
Nov 7th: Seattle @ Gallery 1413 Nov 9th: Portland @ S1

Die Reihe 106 Kerri Chandler Chords (Outside The Club Mix) Excerpt-OUT NOVEMBER 1st

Home With You

Morita Vargas '8', released as HH03 LP by Hidden Harmony Recordings (Estonia)

Morita Vargas – composer, producer, voices

Mastering - Diego Crisalida
Vinyl mastering, lathe cutting - Matt Colton (Metropolis Labs, London)

Recorded in Buenos Aires, Argentina (Recording period 2014-2018)

Long Play purchase:  moritavargas.bandcamp.com
12" 180-gram vinyl record, 33 RPM, black vinyl. Edition of 1000 hand-numbered copies coming in die-cut outer sleeve, color print inner sleeve and protected by additional poly-liner sleeves.

I Feel Lost

Morita Vargas is an Argentine producer and singer. She explores fantasy soundscapes in languageless lyrics. Morita’s experimentation starts from melodies close to ambient, folk and dream pop where she generates a dreamlike atmosphere using her voice as the main instrument.

I Feel Lost

Morita Vargas

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