ambient/left-field

http://www.myspace.com/aethenor
http://www.mothlite.org/
http://www.discogs.com/artist/%C3%86thenor

Æthenor - Vyomagami Plume

Das Synthetische Mischegewebe 'Frequency Conquistadors' LP, 2009 (PAN 6)
All sounds by Guido Hübner.
http://p-a-n.org/shop/

Das Synthetische Mischgewebe — Frequency Conquistadors I (PAN 6)

Taken from the album 'GRM Works' released as LP / Download
Recorded in 1967

Beatriz Ferreyra 'Medisances' (REGRM 015)

Taken from 'Tundra Remixed' - Out Now
iTunes - http://smarturl.it/TundraRemixed
bandcamp - https://bit.ly/1DPtNmp
bleep - https://bit.ly/1MnJnH1
boomkat - https://bit.ly/1TAdjFJ


https://twitter.com/lakker
https://www.facebook.com/lakkermusic
https://twitter.com/kyokakyoka

Lakker - Three Songs (Kyoka Remix)

NICOLAI STEPHAN, ASMUS TIETCHENS, STEFAN FUNCK, GREGORY BÜTTNER

'Heizung Raum 318' CD, (54:24 min), limited edition: 300 copies, cardboard sleeve,
2007 / 1000füssler 008

The four musicians have been meeting weekly in room 318 for years, but only now did they create music using the acoustics of the room. To be more precise, using one element in the room: the heating. The heating has two problems: first, it doesn‘t heat. Second, it whistles. Problem one is unnerving, especially during the winter. Problem two can be used aesthetically: by turning the radiator knobs, not only can the pitch of the whistling be varied, by using several radiators a multitude of sounds and noises can be created. To add to that, the three radiators used influence one another so that the musicians can provoke aimed acoustic situations. The three radiators were played simultaneously and recorded using a room microphone to create the material for the seven tracks. The unedited version can be heard on track eight.

Tracklist:
Stefan Funck: version paris-dakar / 6‘26
Stefan Funck: version hare / 6‘37
Gregory Büttner: heiz / 14‘23
Asmus Tietchens: keine Wärme / 10‘04
Nicolai Stephan: ziehung / 5‘07
Stefan Funck: version vier häuser / 6‘20
Stefan Funck: version almöhi / 0‘22
sourcematerial / ausgangsmaterial / 5‘05


www.1000fussler.com

Heizung Raum 318 preview mix

Valerio Tricoli — Clonic Earth
Format: 2xLP / DIGITAL
Cat.No: PAN 71
Release Date: 24th June 2016
http://p-a-n.org/

The experimental Italian composer returns to PAN with a new LP, titled 'Clonic Earth'. His ongoing output for the label has long-presented his electroacoustic sound compositions where since the mid-'00s, he has utilized analogue live sampling and real-time editing of field and studio recordings by means of manipulation of 1/4 inch tape.

Asides from being a founding member of the Italian avant-rock group 3/4HadBeenEliminated, he has worked extensively with various musicians, choreographers and multimedia artists including Thomas Ankersmit, Antoine Chessex, Werner Dafeldecker, Anthony Pateras, and Robert Piotrowicz.
 
His studio compositions, documented on few records, often explore themes of the internal - represented both by the psychological and the physical - and of the occult, which with the use of spoken text makes them often deeply existential works, self-investigations of the psychological, emotional and irrational horror within.

The new record, 'Clonic Earth' is a perturbing, compelling and eventually mind-expanding work, marked by compositional strategies of exploded narratives, psychological insight and oracular literary references, where questions about the boundaries of spatial perception in the decoding processes of acousmatic music are overturned into existential, metaphysical questions. 

Tricoli's allegorical and philosophical universe takes the form of an unhinged mind's landscape swarming with estranged sound objects, and sometimes reminiscent, in the complexity of details and surrealistic effects, of Hieronymus Bosch’s larger paintings. Compared to his previous works, the content of 'Clonic Earth' explores more synthesized and heavily processed sounds, especially vocals, often appearing in the form of a religious, electrified chanting. 

The record is described by its author as a natural consequence of the internal collapse depicted in his previous record, 'Miseri Lares': "As if all the debris left inside my loudspeakers have been ignited to expand into the ether, to find a justification at the principle of Chaos, or Cosmos alike." 

This movement is expressed by references to the theme of fire as original matter in the Chaldean Oracles which, together with the later work of Philip K. Dick, are the main sources for the vocal/text elements of the composition. Fire, intended as the convulsive principle of existence, but also an ontologically terminal element - hence a representation of the infinite decay and a mean of communication with the otherworldly - serves the author a metaphor for the acousmatic listening experience itself: a borderline perception of sounds eternally fixed in their spasmodic disappearance, which could eventually drag us into a different layer of reality, drastically changing, subverting, or expanding the space in which they are diffused. A ritual, somehow, which may link the listener and the perceptive space that he inhabits with whatever lies beyond the loudspeakers, beyond the vibrating surface of the world.

Valerio Tricoli — I. The Hallowed Receiver (PAN 71)

YVES TUMOR — Serpent Music
Format: LP / Digital
Cat.No: PAN 73
Release Date: 23 September 2016

http://p-a-n.org/

The enigmatic Tennessee-raised, Turin-based Yves Tumor presents a poignant new album, recorded between Miami, Leipzig, Los Angeles and Berlin over the past three years. 

Evolved from a diverse and prolific creative history under an expansive plethora of covert aliases via various forward-thinking labels, 'Yves Tumor' emerges as his most personal and matured incarnation to date.

With involvement across various artistic outlets expanding to fashion such as a visceral live performance for LA's Hood By Air earlier this year, the global artist has built a distinctly bold personal aesthetic both musically and visually as a performer.

Painstakingly written from pieces developed upon since 2013, the new record, titled 'Serpent Music', was initially composed as a soul record - based around delicate and emotive songwriting in various forms. It was a highly difficult project to undertake on both a creative and personal level, weaving thematic links through paranoia, social anxiety, and missing loved ones. "The songs come from a much more emotional and very vulnerable place... They're very close to me and I've been cautious of how I would eventually present them to the world." he explains. 

The album spans sonically diverse and richly-textured pieces, formed from live, organic instruments, samples and various field recordings. Dreamlike lo-fi psychedelia sits alongside broken electronic experimentations, ambient compositions between abrasive noise offer insight into a haunting otherworld. From melodic choral vocals and soaring synths, to screeching guitar riffs, dramatic spoken word samples and live drumming, 'Serpent Music' evidently moves through a strange and intriguing personal journey.

The album is mastered and cut by Rashad Becker at D&M, featuring photography by Daniel Sannwald.