“textural digital sound design for mental distress and time / spatial obfuscation 

micro bounced buoyancy 

stream of consciousness fluids”

released March 25, 2021 

Mastering by Shy aka Special Guest DJ 
Album cover rendering by 3D bergsonist 
Individual track artwork by pent

hyper compulsive

@sharpveins

https://boomkat.com/products/lips-the-same-color

Out Now

Sharp Veins - Lips The Same Color - YOCD9 - YOUTH

READ > https://inverted-audio.com/premiere-eilien-blue-skies/

As Prague's Genot Centre turns 6 years old they prepare to release their 45th release, 'Digital Lovers', an album of wondrous ambient-adjacent music from Finnish musician Eilien.

Digital Lovers

Blue Skies

Eilien - Blue Skies [Genot Centre]

Gritty ambient track from @groundtactics 'Supernatural'. Taken off the first release from new label @efja.

More: https://ins-rt.net/audio/ground-tactics-supernatural

Article

Premiere: Ground Tactics - Supernatural

In June 2021, an unmarked package arrived at the Psychic Liberation headquarters. The small box, which had no return address, contained three items: a thumb drive, a printed message from a notes app, and a small satchel of what seemed to be carambola seeds. The note reads: “We were raised in the ashes of time. This is a philosophy of live. Made while sailing the seas of chaos on our humble houseboat, a place you’ll come to know. But do not seek us out. We are gone.”


Unwilling to risk a computer virus, or humor what was maybe a prank, the thumb drive sat on a shelf for a number of weeks. Eventually, label head Nick Klein decided to take it to the Royal Library of the Netherlands and open its contents on a computer there, just in case.


The thumb drive was titled jd swift. It’s unclear whether this is the artist’s name, the title of the album, or both. The recording opens with an alien spaghetti western: a chopped voice and wobbly single note, signaling that this is a strange place. The percussion is directionless at first, but warbled samples, including the nostalgic clink of getting a coin in Donkey Kong, give way to mutant structure.


Distorted twinkles, dubby hats, and big paranoid kicks occasionally swirl into lo-fi hurricanes, but mostly this music resides in the calm but weirdly charged eye of the storm.


Though little can be assumed about the context of these sonic creations, they seem to be the result of extended jams. The toolbox includes broken arpeggiations and fuzzed bells, air horns and watery pannings. This is twisted globalism, a nexus of serenity and catastrophe, a series of unrecognizable landscapes that read like field recordings though they are intentional creations. The inscrutability of their delivery captures perfectly the sense that artists are no longer individuals or collectives—they are circuits of larger machinery.


Meandering between sounds, these sui generis recordings don’t quite fit the categories of contemporary electronic music. Junk ambient, marginal acid… it’s a struggle to appropriately describe the sounds. Part of this difficulty comes from the artist’s (or artists’) purposefully self-effacing strategy, a circumventing of the systems that edify and circulate art based on identity, practice, and vision. Indeed, this is one of the reasons PL was strangely attracted to these recordings in the first place.


All eight of the individual pieces that make up jd swift are untitled, but are labelled with the time at which they start in the recording. The first track is titled 0:00. Does this hint at new beginnings, or a stance against time itself? If you find yourself on a coast, keep an eye out for a houseboat. Its occupants may know the answer. 
credits
releases October 7, 2021

Mastered by Glyn Maier

Graphic Design and Art by Germán Enrique Caceres Cueto

Psychic Liberation, in operation since 2018, is an experimental music label started in Brooklyn, New York, currently based in Berlin, Germany.

DISTRIBUTED IN THE UNITED STATES BY FANTASTIQUE LLC.

JD SWIFT

PURCHA$E

JD SWIFT -  0:00 (PLIB011)

In the Basement of 83 Men

get it here ☜

Man At The Bus Stop

Drakx by @god69, from the INDEX:Vol.3 compilation.

Mastered by @ikezwanikken
Artwork by @amos-turner

INDEX:Vol.3

GOD69 - Drakx

Workshop at NOGENT care home Paris 2020 (excerpts)

Andria - Summoning, Loading

Flop Hattrick

Terminal 11 - Eyes Pressed Against The Glass
BOP024

Released March 5th 2021 
Black 12" / Limited Transparent Yellow & Black Splatter 12" + Digital
opaltapes.com

“From 2000 I used Modplug Tracker (now OpenMPT) to sequence and as my sole DAW… You can see the numbered patterns, all the note information, and all the number based commands but there's really no way to have a macro view of what you're doing and no visualization”. - M. Castaneda / Terminal 11

Terminal 11 is Michael Castaneda (Phoenix, AZ, USA). Over 20 years his output through labels like Cock Rock Disco, Phthalo and Hymen tattooed his place along the strange arm of North American producers whose vision for rhythmic complexity, timbral nuance and machine controlled chaos saw the genre of breakcore develop and modify.

‘Eyes Pressed Against The Glass’ is Terminal 11’s new statement of intent. One in which the process of production has changed up for the first time in many years. Dropping habits, breaking cycles and learning new approaches to processing audio, artistic intent and emotion.

“For someone who tends to fixate and hyperfocus on microscopic details to a fault, this was a perfect environment for a large portion of my life. Around 2019 I started to feel like it was starting to suffocate me. Over a span of years, life transformations outside of music allowed for the gradual dismantling of rigid rules, toxic emotions, unhealthy work habits, and dissociation. These four things were what fueled most of my artistic output. I was left in a gray area where I understood where I had been and where I was, but not where I was going or what I wanted to do”. - M. Castaneda / Terminal 11

Noticeably the shift from tracker to modular synth, hardware sequencers / samplers and composition with Ableton Live has brought a new fluidity to Terminal 11’s sound. Opening track ‘Until It Couldn’t Recognize A Face’ expands and contracts lung like as it sucks hot-stepping drum patterns out of a background of amorphous gas like harmonics. Each bar revealing new aspects of a cavernous space. It’s acidic introduction eventually self-dissolving into an envelope severed counterpoint. ‘Full Circle’s 3D acid lines draw forth prepared piano interiors, tuned metal and imploding histrionics before a blanket pull to massage room ambience. Intelligent the music may be but I dare you to dance to it.

“The image of an eye pressed against a glass is one that reflects the feeling of spending most of your life with a magnifying glass jammed against your cornea. The irony of the whole situation is that after freeing myself from the micro view fixations I just learned how to reapply them in the macro environment. You can change but you still live with the echoes of who you've been”. - M. Castaneda / Terminal 11

B-side opener ‘Breathing Room’ is perhaps the track most closely aligned to the earlier Terminal 11 output. A more colourful, ebullient track adorned with flickering micro-samples and all shades of counting machine flair. ‘Spirals’ is a masterpiece of wet mouthed sampling. A dystopic soundscape or rasping, glottal ugliness strapped down tight to a undulant bass of gross weight. ‘Tea’ closes the record as the least claustrophobic of all six of the pieces here. A tonic and digestive agent comprising lithe and light cymbal play atop elegant tectonics. Breakcore it is not. Terminal 11’s music has developed into a complex futurism negating the boorish, OTT behaviour of previous incarnations and maturing to a music of natural energy, thermic, kinetic and sonic.

Terminal 11 - Eyes Pressed Against The Glass (Excerpts)

Opal Tapes

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