The noise travelled through the empty rooms, one by one rattling the walls with might and power before faintly disappearing onwards into the next. It was a sequential system and as the music echoed and bounced between each space a crowd of wanderers desperately followed trying to keep up and stay within earshot of the magnificent sounds. There was wild drums, racing percussion, a rising tonality and warwhoops which chattered and rattled between the lofty walls. 

Plein Soleil blurs the lines between experimental dub, polyrhythms and beyond on a new mini album for Zèbres, the Lyon based experimental imprint. This release comes highly recommended, sounds built for home listening as much as they'll echo and thunder on a big system.

PREMIERE: Plein Soleil - José [Zèbres]

Project 15_150

Frío

from the "Aesthetics of Inequality Triangles" CS (NNF397)
Not Not Fun / 2022

MULTI-ORDER:
https://multi-surface.bandcamp.com/album/aesthetics-of-inequality-triangles
https://www.midheaven.com/item/multi-surface/aesthetics-of-inequality-triangles

Multi-Surface "Points ＆ Lines"

ssabæ – azurescens

KASSEL JAEGER 'Shift In Dreams' (SP144)

From the album 'Shift In Dreams', out on Feb. 24, 2023 on Shelter Press
Order: https://kasseljaeger.bandcamp.com/album/shifted-in-dreams

Music composed and performed by François J. Bonnet
Artwork by Eléonore Huisse
Mastering by Giuseppe Ielasi

Shifted In Dreams

KASSEL JAEGER 'Shifted In Dreams' (SP144)

Fram

released september 1 2023 by baadm.org

mastered by Christophe Albertijn
album design by Mathieu Serruys & Joris Verdoodt
‘Continuity’ is released in 2023 as an edition of 300 copies with download code

The Neon God

Andrew Pekler - Encounter

Blue Temple

'Rounded' from 'Wound Without A Tear' by Kazumichi Grime

https://daisart.bandcamp.com/album/wound-without-a-tear

"Wound Without A Tear is a compilation of “Australian” Ambient and Experimental Music; an area so often overlooked and misunderstood because it does not easily fall into historical context. However, the fifteen years (1993-2008) the collection cites–a period of early 90s post-rave ethereality defined by pleasure-centred spaces (chill-out rooms) and the personal computer’s emergence as a popular tool for file-sharing and secondary-living in the 00s–is befitting of closer examination.

The recordings were sourced from artists, labels, corrupted disk drives, CD-Rs, the WWW and archives of Melbourne’s 3RRR community radio station.

During the 1990s, as new technologies emerged and mass digital culture flourished, artists explored the emergent possibilities of the Internet with a utopian fervour, viewing the web and its plethora of images and information as a site of boundless potential. In the 2000s, file sharing connected people around the world directly to one another, and this incorporation of online experience into material objects, meant there was an increasingly porous border between the online and offline worlds–if there remained a border, at all."

Multi-Surface "Points ＆ Lines"

NOT NOT FUN

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