“The seaside encourages and capitalises on transgression,” says Brighton-based cultural commentator Andy Medhurst. “Seaside culture is somewhere [where] the everyday rules of behaviour are put on hold. Compared to the average working week, where most people have to do set things at set times for set rewards, the seaside is a zone where all bets are off. It gives us the opportunity to write our own rules; in some cases, that can mean the usual codes of respectability cease to hold much sway.
“Seaside towns are literally and metaphorically on the edge. They give a very particular perspective. When you look back inland, nothing seems as settled as it once did – and those instabilities can be culturally productive.”

Motto of the Wheel

Teresa Winter - Motto of the Wheel [RAVE031]

Coco Papi

Deep Water

Buy on bandcamp

Red Richards & Sean Graham - Deep Water

Echoes of the Void is a personal project born from the urge to explore a different dimension of sound.
It sits somewhere between ambient, dub techno and cinematic textures — where music stops being linear and turns into atmosphere.

Each piece unfolds like a scene: minimal layers repeating and dissolving, resonances stretching into silence, tension that feels as present as the notes themselves. Between the analog and the digital, the brutalist and the ethereal, a universe emerges that shifts constantly — sometimes evoking the earth, sometimes the depths of the ocean, sometimes the vastness of space.

Echoes of the Void doesn’t try to provide answers. It offers a place to inhabit — an invitation to lose yourself in the echo, and discover within it a different way of listening.

03_Long NIGHT CREATIONS

Origin of Erosion (feat. soho rezanejad & nils gröndahl)

vaz - luxury problems (quiltland remix)

KONRAD SPRENGER - Stack Music

Format: LP / Digital 
Cat. No: PAN 78 
Release Date: 2 June 2017

p-a-n.org

purchase: bit.ly/2rdmu6S

Released by:
PAN
Release date:
1 July 2017

Having felt restrained by the limits of traditional instruments and the techniques tied to them, composer, music producer and artist, Konrad Sprenger (b. Joerg Hiller), spent years developing various algorithms and custom instruments to realize his work. His recent focus has been on rhythmic patterns based on the Euclidean algorithm, using a computer-controlled multi-channel electric guitar.

The unique system can create complex rhythmical patterns whilst tuning the strings during performance - sounding at once like an electronic instrument, a drum computer, a guitar, a harpsichord, even at times as a full orchestra. Hiller has long collaborated and performed with minimalist Arnold Dreyblatt, and musician/instrument builder Ellen Fullman amongst others, and first built primitive acoustic mechanical instruments, gradually developing a more complex, digitally-controlled system. “My guitar gives me the possibility to discover almost every aspect of the sound produced by the excitation of the string – as if scientifically under a magnifying glass.” He says. “I can control such parameters as the speed and time, length of the attack, the intensity, the pitch (allowing the use of different tuning systems), and the location of each string in space by the use of 6 speakers.”

Early on, Hiller realized that the harmonically complex sound of strings are impossible to reproduce digitally, and therefore became interested in the development of mechanical instruments, visiting European collections of Pianolas, Orchestrions in Belgium and Holland. Within his live performances and on this new recording, his music is influenced by the insistent rhythms from Minimalism, Krautrock and Techno, and their shared focus on transcendence through a propulsive, full-spectrum sound.

Informed by early American folk music and its descendants (John Fahey et al), his new album Stack Music presents a selection of recordings over the years from residencies and live performances, such as ’Opening’, an early live performance of the digital guitar system recorded in New York and composed at Phill Niblock’s Intermedia Foundation Loft, whilst ’Rondo’ consists of recordings of the guitar played by a motor with shoelace exciters, horns, and piano harp. In ‘Largo’, he utilises the software Melodyne to generate midi notes from a original guitar system recording.

The release is mastered by Rashad Becker at D&M, featuring artwork by Bill Kouligas.

Konrad Sprenger - Opening (PAN 78)

Ausschuss - Headfirst

Bebe Yama is a ghost writer / artist currently living in Los Angeles.

"Winter 2017 I was in a car accident somewhere in Virginia. My godfather was driving pilled up trying to make it down to Florida in one night. On the greyhound home I felt the conditioning of fashion and technology fall away like a sweat of black oil, it left me nearly gone. What remained was Lily Saint James. She’s the function that ran uncorrupted in the face of death, abuse, fear and loneliness. I let her write these songs from the heart of our gothic country."

All songs written and produced by Bebe Yama
Lead Guitar: Marshall Stacks

Special thanks:

Emil Bognar-Nasdor
Will DiMaggio
Angela Zingale & Family
Amber Nicole Bradford
Shanti
Pat Rapacz
Natalie Williams
Hair by Tanya of Beverly Hills

https://bebeyama.bandcamp.com/merch/limited-edition-usb-set
All profits will be donated to the Native American Resources Fund.

El Diablo Benevolente

ТЕОРИЯ ЗАВИСИМОСТИ
https://podat.bandcamp.com/album/-

Я вооружил свое существование,
чтобы создать возможность
для нас обоих
влюбиться снова.

Мне не за что извиняться,
но я буду.
Буду тихим.
И послушным.
Ты должен уважать мою униформу.
Ты будешь уважать мою униформу.
Не говори ни слова.

ТЕОРИЯ ЗАВИСИМОСТИ

УВАЖЕНИЕ К ФОРМЕ

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Coco Papi

Coco Haram