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The Sounds Of Pseudoscience (5 Anniversary Cassette Edition)

Yko - Cyrus Preview (Akō 01)

Asa-Chang & Junray - Hana ("Jun Ray Song Chang", 2002)

ambiq - full 11 tracks Album available on 14.02.2014 / arjunamusic.com
Max Loderbauer: buchla200e analog synthesizer
Claudio Puntin: clarinets, mini mallets, electronics
Samuel Rohrer: drums, kaoss pad, electronics
Creative management by Clamus 

Erdkern Snippet

Wolves In My Trash Can

GRAPHICAL RECORDINGS and Muscut have teamed up to co-publish Nikolaienko's "The Sounds of Pseudoscience" (12", LP). Nikolaienko's upcoming full length is a playful and intriguing archive of sounds influenced by the works of electronic music pioneers and experimenters. The album acts as a tribute to early-electronics' golden era, playing out as a requiem, pondering the theme of nostalgia through warm analogue, space-aged sounds. For the artist, it’s an odd and ironically funny sound document, which he hopes declares some other way that electronic music can be today. Watch for it this June.

Catalogue: Muscut 3 / GRAPHICAL 003
Format: 12", LP
Edition: limited, 300
Release date: June 2015

Mastered by Giuseppe Ielasi

Tracklist:
A1 Curious Casus
A2 Under The Integral
A3 Saturday On Saturn
A4 Weird Signal
A5 Solo For A
B1 Wir Bauen Eine Neue Welt
B2 Matter Meets Antimatter
B3 Time Safari
B4 Physics At Half-Past Nine
B5 Gusev Effect

The Sounds Of Pseudoscience Organised By Nikolaienko (12", 2015) Excerpts

Curious Casus

"Planet of the Storms" (1962), the alien lady's song (pseudo soundtrack). From the album "The Sounds of Pseudoscience"
Vocalese – Anna Makarchuk
2015

Solo For A

Saturday On Saturn

Weird Signal

Available for download from the Touch shop: www.touchshop.org//product_info.php?products_id=694

Over 12 months, the Greater London Authority granted me unrestricted access to The Millennium Mills, a vast and decaying derelict mill site in London's docklands. The mills were decommissioned over 30 years ago and have since been left to decay and decompose, while all around it has been the focus of extensive urban regeneration.

The project focuses on taking a series of field recordings within the mills, then using these recordings in post-composition. Traditional air mics were used, alongside experimental techniques and equipment such as contact mics, geophones and hydrophones. This allowed harmonics, patterns, textures and resonances in the building and structural foundations to be revealed that wouldn’t ordinarily be heard by the ear.

In addition to the field recordings, large PA rigs were installed in various locations throughout the mills and vocal harmonies from two collaborators were extensively recorded for later processing. Pure sine tones were also played back within the vast halls and in the process of recording both, a focus was made on using the natural reverb/echos/harmonics of the building. This allowed me to use the spaces and silos as ‘instruments’ which could be played and tuned live, in harmony with the vocals and sine tones.

The sound pieces are accompanied by a 17 page booklet of text and photographs, which explores the context and approach in detail.

A recent interview with was published on The Quietus, which discusses the project and provides an insight into my process:

thequietus.com/articles/19044-aino-tytti-interview