Wow! First time I hear this Pano. Beautiful!

Scorpion Metal is a new crew based in Rennes (FR) organizing alternative club nights. Starting this LYL residency with their first podcast, Scorpion Me(n)tal aka Rinemax and BZMC, the two founding members, offer you an hour of scorpion sting symptoms.

- DEAN HURLEY - Concrete Feather B2
- Scor???pion - Transport-ral-v3.flac
- poooiiiiiisooooooon ivvvvvyy
- KATATONIC SILENTIO - Viscerale
- TRISICLOPOX - Mind Flay
- CROWW - Prosthetic 4
- NETWORK GLASS - whscr19
- JUKKA PEKKA KERVINEN - not about
- SYNALEGG - Juggernaut
- skaep niwt
- Men???tal - spliXt-2lyrs.koa

Scorpion Metal /w Scorpion Me(n)tal (22.10.2022)

Comission by Warsaw Autumn - Kwartludium Ensemble 
Dagna Sadkowska - violin
Piotr Nowicki - piano

recorded by Musicon.pl

Vydykh for violin, piano and electronics

Psyched to announce the debut of Los Angeles producer Nick Malkin [ @postgeography ] on OOH-sounds with 'At The Libra Hotel' [OOH-035]

Tucked in the heart of Koreatown lies The Libra Hotel—the titular architecture of Nick Malkin’s new album and site of his musical and psychogeographic exploration. LA-based, @nts_radio resident artist delivers a multifaceted meditation on the construction of memory and the transient nature of our fractured subjectivities.

The album + an extra limited edition of hand-cut 7" vinyl (with selected tracks) are now available for order - ooh-sounds.bandcamp.com/album/nick-ma…e-libra-hotel 👁‍🗨

At The Libra Hotel

Approximate Location

Nick Malkin - Approximate Location

Maths Balance Volumes follow up their acclaimed 2020 release A Year Closer with a further and sturdier bucket of songs scraped from the dust of being. Haunted, fragile and beautiful, this is music that explores the ghostly zones of its own creation. The loneliness and vulnerability that unfolds with the opening cut Stay lays the way for exploration of sound and song as simple melodic guitar and organ whilst the subsequent and subsequent Janet’s Song weaves these elements alongside the sound pebbles entering a water. 

This is evocative music made thoroughly by humans with the most basic of tools. Unafraid to step away from their screens Maths Balance Volumes stroll with breezy resistance to the current thread of platform regurgitation. 

Tonight flips the song on its side as a barnstorming melange of concrete hustle made from shakers, animals, humans and beelzebub knows what. Egyptian Wedding sounds like Still House Plants if they operated off the depths of a rotating well. Forming a round is a dusty scratchy heartbreaker that encapsulates the hybrid Smithsonian Folkways label approach that only MBV do. 

There is something enormously human about Maths Balance Volumes take on underground experimental music, one far more so than the human pitched music made in the mainstream today. In the 20th Century it was the other way around. What has happened ? I will let you contemplate that. But for me, in this case explicitly this press scribe is chuffed at the consequence of this reversal. Very happy indeed. 

Released June 30, 2023

Maths Balance Volumes - Stay

"Un lien se fait et dans un bruit de papier déchiré le sol se dérobe sous les pieds. Je suis envahi par des odeurs d’il y a 4 ou 5 ans, tous les grincements de la ville deviennent une mélodie bizarre et belle."

MOANS & GRUNTS, l'émission bimestrielle de Raphaël Massart, à écouter en replay sur LYL!

MOANS & GRUNTS w/ Raphaël Massart (11/04/23)

english below

J'emprunte ce titre "Immemorial Echoes" au livre du philosophe Bernard Baas "L'écho de l'immémorial" paru en 2016 aux éditions Hermann. 

J'ai réalisé Immemorial Echoes suite à une commande de @Radiophrenia Glasgow. Cette composition contient des enregistrements que j'ai fait à Aït Saïd dit Mayache, un petit village de Kabylie au nord de l’Algérie, en avril 2023 et des sonorités issues de synthèse avec mes machines. 

La composition musicale se présente comme l’espace de rencontre entre d’une part, le présent vivant qui m’entoure : ces voix que l’on entend sont celles de ma grand-mère Wardia et de son amie Aljia mais aussi d’un groupe de chanteuses traditionnelles appelées Medehates – chanteuses de louanges - invoquant la pluie en cette saison de printemps caniculaire, on entend aussi un passage d’instrumentation traditionnelle jouée par un groupe de percussionniste et de flûtiste, les Idebalen. D’autre part, les intensités vocales que je porte en moi, à même mon corps et qui s’expriment dans l’interaction avec mes machines. Ces deux pratiques à savoir l’enregistrement de terrain et l’improvisation électroacoustique se rejoignent et fusionnent dans une troisième pratique qu’est le montage compositionnel. Cette pièce est une tentative d’un dépassement des dualismes entre des écoutes morphologiques ou représentationnelles, elle prône une écoute fabulatrice et qui aurait à voir avec l’évocation d’un immémorial. Par-là, l’écoute devient une pratique existentielle accompagnée par une activité créatrice. Cette éthique de l’existence forme un matrimoine sonore, c’est la somme des éléments intérieurs et extérieurs qui résonnent ou expriment un silence amplifié, transmis à même le corps et dont l’une des expressions possibles est le cri. Dans cette écoute, signifiant et signifié, abstrait et concret, forme et matière se mettent en mouvement et s’inter-déterminent.
-
I borrow this title "Immemorial Echoes" from philosopher Bernard Baas's book "L'écho de l'immémorial" published in 2016 by Hermann.

What I call my sound matrimony is the sum of the inner and the outer elements that I hear and listen to when improvising with my machine and recording phonographies. It’s a magma of noises, concrete sounds, voices, languages, poetry, riddles, screams and, sometimes creepy stories. The composition came to me as the place where I could share the ghosts in me and the vivifiant present around me, going through a montage of phonographies and a deconstruction of the dualism in between which is a morphological listenning and a representational listenning.

This piece was commissioned by @Radiophrenia. Most of the speech and human voices arise from wonderful women, some of whom are my grandmother Wardia and her friend Haljia, but also a group of women called “Medahates” whose singing voices can be heard invoking the rain with traditional prayers because of this horrible spring canicule. All these voices were recorded by myself in April 2023 in Mayache, a little Mediterranean village in the countryside of Tigzirt in the wilaya of Tizi-Ouzou in the north of this very special and plural country – both beautiful and tragic – that I was born in: Algeria. The composition was made in my studio at Pantin, France.

https://radiophrenia.scot/artist/commissions/sara-lehad/

Immemorial Echoes - Radiophrenia Production Commission 2023

Sad*Crab Radio w/ Verschrin - 21/10/2023

Kim Myhr & Lasse Marhaug - 31.5.17 [excerpt]

from KR115:  PHILL NIBLOCK / ANNA CLEMENTI / THOMAS STERN - Zound Delta 2. LP / CD out on april 12th 2024

Zound Delta 2

PHILL NIBLOCK / ANNA CLEMENTI / THOMAS STERN - Zound Delta 2 (version)

Recorded in Max 8

Trying out resonator bank stuff :)

think fast

Full track available from electrocd.com
https://electrocd.com/en/album/5984/Nikos_Stavropoulos/Micro-lieux

Video: https://www.youtube.com/watch?v=ypWkeSrZOt8

Percussion Alexander Pepelasis

Granicus is the archaic name of a small river in northwestern Asia Minor, which was the site of Alexander  the Great’s first major military challenge. The name is also used for one of Mars’ great valleys. The rhythms of antiquity, through tradition, inspire here the coming together of different worlds in space and time. The work was commissioned by and is dedicated to Alexander Pepelasis.

Granicus, for Percussion and Tape (Excerpt)

Composer, Academic at Leeds Beckett University. MA Sonic Arts Lead Tutor. Music available from Empreintes Digitales. https://electrocd.com/en/album/5984/Nikos_Stavropoulos/Micro-lieux

Granicus, for Percussion and Tape (Excerpt)

Nikos Stavropoulos

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