I like how cold it sounds and at the same time feels quite latin rhythmically

Bravo Tounky | Root Radio 09/03/2021

Val Clipp ╚═ Future Intel ═╗ 03 - 18 - 2021

To celebrate a year of lockdown lunacy, in this special anniversary show we invite survivors from the very first PlaguePod to come back and tell us what their COVID highlights have been. Reza Negarestani, Miguel Prado, Shaun Lewin, Amy Ireland, and Xenogothic are among the guests. DJK Huysmans is in the house to provide Hariboid sounds. Plus snack testing, Chaney's Czech-in, and the Inexplicable Scots from Beyond.

Support the cause
https://ko-fi.com/readthiswtf

Get your PlaguePod T-Shirt at https://www.urbanomic.com/product/plaguepod-t-shirt/

PlaguePod Live (New Variant), Year 2 Day 1

produced by: @ha_ha_ha_ha_ha
label: @embalming-lately
release date: September 4, 2019
pre-order: https://embalminglately.bandcamp.com/album/kite

Kite - 211424

A Field of Social Tension, taken from the forthcoming album Unabled Form by Li Yilei. Pre-order now at https://www.ltrrecords.com/buy/unabled-form-lp

Unabled Form

A Field of Social Tension

Li Yilei - A Field of Social Tension

Saccadic Rhythm

16 July 2020

TR082 - Michael Speers - 'Voice'

korg ms20; SQ1; Volga beat ; Casio mt 800: Roland cube 30 ; boss rrv 10 : tascam m08;  prodipe tt 1

balade pour tout le monde

UVL is proud to release two new side-long compositions from Max Eilbacher. Edition of 150 three color risograph print.

Digital Sketch For Strings
One morning I had an idea for a string composition. The tonal colors of the strings would be constantly morphing between shifting intonations. A rising and falling spectrum of many different sonorities would construct a throbbing, living whole. The gestural and perceptive qualities of the stringed accumulation would exist somewhere between glacial and in constant motion. I ended up using saw waves instead of string samples or acoustic instruments, as I found the harmonics of a saw wave helped achieve what I was hearing in my head that morning.

Spectral Masking Room Construction
A work exploring onset partials on audio perception and spectral masking. I started with a woodblock sample. For me, the woodblock's harsh yet beautiful striking sound is complex. The short burst acts as an extremely salient and trepidatious sonic cue. After listening for hours to a single strike and performing in-depth spectral analysis, I began to hear and comprehend the strike’s intricate material composite as extending beyond its short temporal life. The burst started to exist as an impulse response. With each strike, information about the space in which the woodblock’s material existed for the recording was communicated. The room in which the wood was struck was just as much a part of the sonic material being heard as the wooden material colliding with one another. Synthesizing the woodblock sound from scratch turned into a minute study of individual partial’s attack and decay times. I used the results of spectral analysis and composed around the initial short strike. The pitches comprising the fundamentals and overtones in the sample were extracted in various clusters and used to create a few different digital synths. The timing structure of the sampled and synthesized strikes are controlled by a simple counting transform. By doing so I set conceptual throughlines for the variants of struck sounds. The many variations of partials being highlighted or sent to the audio background serve to imitate “fake” spaces in which these sounds exist and convey subtle architectural information to the listener.

- Max Elibacher, 2020

Saccadic Rhythm

nervous operator

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