I flip It idly in the air

Marie Davidson - L'Espoir Est Mon Sentiment Le Plus Noir

“A Kindness” is a short ambient suite tracing the residue of memory, soft gestures, and quiet absurdities. From the scent of wet earth to a lullaby lost mid-sentence, it leaves you in a stillness that lingers.

Petrichor

Inis Mor

Dark Night Passing - Bbm playing Dm

Fahren mit Leo

Live recording // album release show may 14, 2017 @ Badehaus Berlin 
All songs mixed at Black Verb Rec. Berlin by PL.

live split tape w/ Bleib Modern released by Black Verb Rec. Berlin:
--> www.blackverbrecords.bandcamp.com/merch

DYN - Love Of Mine ( Live @ Badehaus Berlin )

Swing on the string of my hair
Pull me out of my safe space
Slide on the blade from my neck
Jump into the fire of my pain
We can never be filled with love
Sun sets us apart

We can never be filled

San Diego‘s Secret Fun Club has been the longstanding musical outlet for drummer and engineer Sal Gallegos (Some Girls, Three One G) and bassist John Rieder. An ongoing collaboration that formerly included guitarist Nathan Joyner (Hot Nerds, Some Girls, All Leather), the band has been making odd, challenging, and relentlessly heavy music on its own terms since 2000.
A duo of bass and drums since 2007, Sal and John began writing, demoing, and performing brutal new arrangements for two solid years, finally recording what would become the Three One G LP Skull With Antlers during the first half of 2009. With drums that call to mind Bonham (if he had preferred meth to booze) playing sides of beef and bass tones that alternate between motorcycle rumble and insectoid modulation and filtering, the band has mastered doomy, frenetic noise with occasional forays into quiet minimalism and copy-and-paste sound sculpture. W.T. Nelson (Geronimo, Bastard Noise) has collaborated with his brood of Trogotronic outboard gear to contribute painful frequencies across the range of human hearing. The newest album enlists his assistance again, along with equally brutal noisemakers Justin Pearson (Dead Cross, The Locust, Retox, Planet B), Sam Lopez and Esteban Flores.

Secret Fun Club sees itself fundamentally as a live band: 700 tube watts pushing apocalyptic bass wave-forms through sixteen ten-inch speakers—paired with some of the loudest, most punishing drumming imaginable. The band’s sets are indulgences in volume and repetition, abrupt turns and uncomfortable silences.
 
Art design by Noelle Mason.
Sculpture: Extra Curricular Object #1 [2017]
 
Secret Fun Club’s latest release, the wild-eyed brainchild of Sal Gallegos and John Rieder, once again show that these two have mastered the art of auditory experimentation.  Fluctuating between moments of scientific static worthy of alien airwaves on “Billy Joel Osteen,” to seemingly straightforward jazz punctuated by soothing vibraphone and just-slightly-off time signatures that feel like a calm descent into madness on “Ted Nugent Was Goth in High School," Secret Fun Club proves repeatedly that their creativity is vast and unrestricted by any one musical direction. Throbbing wails and air raid siren assaults accompanied by punishing, repetitive rhythms give way to supremely sinister howls and collaborative noise from the likes of W.T. Nelson, Justin Pearson, Sam Lopez, and Esteban Flores on the eleven and a half minute track, Black Metal to English Dictionary.”
Which brings us to the tracklist.
Never taking themselves too seriously, the duo has a penchant for titling their songs with pun-filled monikers like “Pat Minotaur”, “Scott Baiowülf” and “Pariah Carey”-- amusing juxtapositions of classic history/literature and tabloid-prone celebrities that would leave you rolling your eyes were the jokes to come from your dad, but smirking in the context of its use for doomy, sludgy, experimental metal such as this. And in a way, the meeting of highbrow and lowbrow in Secret Fun Club’s tracklisting seems like the perfect metaphor for the band’s music: impressively composed pieces highly calculated in musical structure, and yet simultaneously confrontational, gritty, and unrefined in tone.
 
101 LP:
Digital  Version:
1.     Mastodon Rickles
2.     Scott Baiowulf
3.     Sabre Drama
4.     Black Metal To English Dictionary
5.     Pariah Carey
6.     Pinche Harmonix
7.     Upright Brigade
8.     Orchestral Maneuvers In The Dark Throne
9.     Billy Joel Osteen
10. Ted Nugent Was Goth In High School
11. Pat Minotaur

Vinyl Version:
Side A
1.     Mastodon Rickles
2.     Scott Baiowulf
3.     Black Metal To English Dictionary

Side B
1.     Pariah Carey
2.     Pinche Harmonix
3.     Orchestral Maneuvers In The Dark Throne
4.     Ted Nugent Was Goth In High School
5.     Pat Minotaur

SECRET FUN CLUB "Black Metal to English Dictionary"

Artist: Automelodi
Song: Les Métros disparus
Album: Mirages au futur verre-brisé
Label: Holodeck
Bandcamp: https://automelodi.bandcamp.com/
Soundcloud: https://soundcloud.com/automelodi
Spotify: https://open.spotify.com/artist/3GqUVPQmaNutfxWfakfEvx
Facebook: @automelodimusic
Instagram: @automelodi
Label Website: https://holodeckrecords.com/
Label Bandcamp: https://holodeckrecords.bandcamp.com/
Label Soundcloud: https://soundcloud.com/holodeck-records
Label Facebook: @holodeckrecords
Label Instagram: @holodeckrecords
Label Twitter: @holodeckrecords

Xavier Paradis: vocals, electronics, percussion
Dillon Steele: guitar
Featuring Liz Wendelbo: vocals

LYRICS:
Dans les ruines enchantées
Désenchantiers
Démobilisé dans
Un chaos d’après-guerre
Les mensonges sont si neufs
Qu’ils peuvent nous faire
Danser sur nos galères,
Nos erreurs de transfert

Dans les stations vaincues

Te souviens-tu?

Les métros disparus
Ne repassent plus
Les virages défendus ne 
Négocient plus

Au lendemain passaient
Dans les rues pâmées de vapeur…

Un ballet de fontaines
T’éclaboussait
Jusques aux souterraines
Suite à les voir courir
Les danseurs, de la rame
Ultimes sourires
Puis, rideaux de métal
Le music-hall fugace
S’invite chez le souffleur
Te souviens-tu?

(Aux voyageurs
Des voies sans échangeurs
Les préposés
Aux stations condamnées)

Brilliantly combining the art of sound design with unforgettable songwriting, Montréal-based synth-pop duo Automelodi is back with their third full-length Mirages au futur verre-brisé out May 3, 2019. As an established and respected staple of the international community of underground hardware enthusiasts, Automelodi is led by the inspiring studio engineering and magnetic persona of singer/producer Xavier Paradis. Showcasing his master ability to design infectious rhythms, rich bass lines, and brooding hooks, Automelodi expertly crafts a listlessly romantic aesthetic embodied by Paradis’ dynamic voice and eloquent French lyrics. Automelodi’s focus on color and arrangement converges taste and technique, making Mirages au futur verre-brisé deeply engaging for both party-goers and analog synth connoisseurs alike.

Mirages au futur verre-brisé

Les Métros Disparus

Automelodi - Mirages au futur verre - brisé - 02 Les Métros disparus

Sauna - Waiting

From the Crystalline Stricture album 'Technique' on TONN Recordings.

Available from TONN Recordings Bandcamp.

Vocals by Crystalline Stricture and M. McIntyre. 

Image © Mary McIntyre.

Technique

Traum

Traum - Crystalline Stricture

Vie pétée

CHEN YI - THE 1978-1983 / LP
WVINYL 024 / Late Night Rec.
90%WASSER REC

side one
01 STAND UP – 1981
02 HAIL – 1982
03 COMMUNE #17.3.1979
04 RUG – 1982
05 WARGAME – 1983
06 CHENSESSION #6.4.1978
07. TAPE – 1979/80
08 HONEY MONKEY – 1980

side two
01 ROUNDER – 1981/82
02 HONEY MONEY – 1982
03 THE – 1979
04 CHENSESSION #20.5.1979
05 RAPE – 1981/82
06 POTATOHEADS #21.3.1980

Limited reissue of this obscure industrial-no wave record released in 2006. Due to reaction of people about "Rug", which fastly became an anthem for curious minds and unconventional dj's, both Robert Schalinski and Saulk from Mélodies Souterraines thought the rest of album should get more interest. 12 years later, we're happy to announce this reprint, which keeps original artwork and label design. Simon, The Exchange worked on remastering each tracks from original tapes. LIMITED TO 150.

The CHEN YI Commune (1978-1984)
The Chen Yi Commune was founded in 1978 by about 20 women & men from London & the surrounding area. The building of the commune, an old school in Chelmsford, was located on vast premises & was encircled by a wall. The aim of the commune was to create a closed subsystem, a kind of subsociety and to narrow down its contact to the outside world only on very few specific actions. Life in the commune was lead hermetically closed. All circuits, the food, culture and communication circuits had to be self-contained.
The influence of the outside world on the inner life of the commune & vice versa, was controlled. Actions aimed at the outside world were directed towards specific persons.
Due to the hermetically closed life within the commune during the first years, there were almost never problems with the local population. Not until 1982, after some members had intensified their public communication, it came to a brief, open conflict at the end of which stood the breakup of the commune and the destruction of the house in 1984.

About these recordings:
Most documents on this release were recorded in the Chen Yi commune with a Studer A80 MkIV2“ 16 track with Dolby SR.
These early tapes were never completed or mastered by Chen Yi. Partly they include unfinished session recordings or notes. That’s why a heavy post processing was necessary, sometimes even reconstruction. For years I was looking for the right equipment to listen to and mix the approximately 30 tapes. There were approximately 55 audio cassettes on top of that, with uncut recordings from the commune, from the so called „rounds“, the sessions and so forth. My father left me a tumultous accumulation of recordings, creasy & stuck together tapes that were for some curious reason been recorded using the most expensive studio technology you could get back then. However, none of the musicians had learn how to use it.
The Chen Yi commune never was interested in producing records, some of the members even refused any form of release whatsoever. In 1981 one member (Chen 8) released a tape edition called „Hanging“. The title referred to the first 3 english witches who were hanged in Chelmsford, where the commune house was located.
This cassette was sent to various record companies. John Peel saw a potential in Chen Yi which led to a recording contract in 1982/83 with CBS. About 7 tracks were produced for the first Chen Yi LP „The Rape“ in 1982. Basic lines were recorded at the Chen Yi studio in Chelmsford. For 2 tracks the end production was completed at the Trident Studios, London. More couldn’t be finalised, because CBS suddenly pulled out of the contract. This left unfinished tapes of an LP & an EP (3 tracks for a planned Peel Session, 1983), on which partly only drum computer & synthesizer can be heard as a basic pattern.
Chen 26

Chen Yi - RUG / 1982 (WVINYL 024)

every man for himself

Sttella - Kanjecherche

http://neuromodulation.limitedrun.com/

neuromodulating@gmail.com



Marie Davidson - L'Espoir Est Mon Sentiment Le Plus Noir

NEUROMODULATION

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autowav

dialectical integrities

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