This track is Pangaean Permafaction's is debut release. A taste of things to come.

---- All Our Essence Is ----

The embryo's thin veil is mist.
A sulphurous caul spun by wind,
concealing the raggedness of material division.

The connectedness of a singular heart,
becomes split and braided beating,
within bound septuplets of expectation.

Pulling, pushing and the trembling electrical spasm of compression,
screaming and sleeping all day and all night.
Curiously excited septuplets,
blind septuplets.
At the very least they are incorrigible,
happy and entertained.

Blameless and nameless, how it once was.
Naive perfectness, involution as love,
only hopefulness, evolving as love.

Then, seven new forms' thin veil is cellular;
corporeal threading spun by need,
concealing the bounteousness of the essence.

The hopelessness of an insular heart,
becomes wan, incessant hunger
of bodies adrift in the flood

Collision, abrasion and the pyrrhic expulsion of scorched dust.
Unending feeling through the clean path of memory.
Confused by the not knowing.
Questioning in movement.
As glowing slow ridges extend
to dependable belief

Exhaustless and pilotless, how it must be.
Capricious changefulness, presenting as guile.
Bottomlessness, and destined to glide.

Seven strange wanderers' thin veil is the light.
The simplicity of a circle spun by time,
concealing helplessness, from the gullible.

The destructiveness of the boundary,
besets interminable subduction
straining the fabric of now.

Crushed, ground, melted and melded still mountains rise.
Precious elements lost to the sea;
precipitated, returned to firmament 
abreast the unfathomable selflessness
Of mothers milk.

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 © 2016 Pangaean Permafaction

Pangaean Permafaction - All Our Essence Is

"633.7, which is the number of days between celebrations of the here on Earth"

Is there a reason for walking on gravel and bumping the fence? Is it a cosmic metaphor for the field of stars and boundary of orbit? Is it just the natural way to spend a public holiday?

Junto meets exquisite corpse style collab - Breakdown: Built out from a field recording chunk -  added  a 6(G/Gmaj7): 3(Em): 3(Em): 7(Cmaj7) beat thing with some holiday cheer. (Perhaps the chords got screwed up keying in guitar licks onto the MIDI roll...) Then the 6:3:3:7 for the calendar, melted into a slow sliding bassline, orbiting the black hole at galactic centre. Sliced it up a bit and a glued a few small bits together for a playful short mix, a bit mid/high heavy - towards the sky! Early mix was longer - 90 sec is enough for a Junto!

More on this 248th weekly Disquiet Junto project — “Celebrate the new celestial holiday in music” — at:
http://disquiet.com/0248/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co :
http://llllllll.co/t/music-for-the-galactic-tick-disquiet-junto-project-0248/4744

Pangaean Permafaction - Galactic Tick (disquiet0248)

No Further Than Away
--------------------
from both sides of the stone meridian
all symbols of the dialectic are counterfeit capital
all flags are coercion - silence is concurrence
discourse is reduced to displacement
what will move?
not the mind by persuasion
not the self by lamentation
only expectation by stepwise subversion,
no further than away
--------------------
Composition, recording and arrangement by Pangaean Permafaction.
For Necktar 2017, Volume 9: Life / Transmission / Death : Logos
→ http://www.necktar.info/NecktarHall.htm
licensed as ‘CC BY-NC-SA 3.0’

Pangaean Permafaction - No Further Than Away

Those rails; they have the memory of all the trains that have travelled along them.  Put your ear to the rail, and if you’re quiet enough you’ll hear them too.

This track was created for the Disquiet Junto Project 0254 entitled Fog and Steam.  The brief was to make music from two provided samples; a fog horn and a train whistle. 

We started by stretching the two samples to 99 hours long and took some minute-long clips and looped them to make eight tracks.  Next we chopped-up the real-time source samples to make some new one-shots which were used in a soundfont to make three rhythmical (generative) sequenced tracks (120bpm) to add movement. We further chopped and screwed some of one-shots to make a couple of screeches and and a final horn blast.
Next, we added some harmony and tension, with a ghost-drop-of-melody at 80.5 BPM to add a 'poly rhythm' feel.

More on this 254th weekly Disquiet Junto project — “Fog and Steam: Make music from two provided samples” — at: http://disquiet.com/0254/
More on the Disquiet Junto at: http://disquiet.com/junto/
Subscribe to project announcements here: http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co a
llllllll.co/t/music-of-fog-and-steam-disquiet-junto-project-0254/
There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Source samples:
Fog horn sample by Schaarsen: http://www.freesound.org/people/schaarsen/sounds/69663/
Train whistle sample by Ecodios: http://www.freesound.org/people/ecodios/sounds/119963/

Pangaean Permafaction - Phantom Rails (disquiet0254)

In the air with Christmas, hidden dark and floating light, the silent bleed, love you all the way to empty cheer.

the present to a world
to the world a present
a present to the world
to a world, the present

the world to a present
to the present a world
a world to the present
to a present, the world

Pangaean Permafaction - 1000 Miles Above Christmas  (2016)

Red Rooms in Subterranean Dwellings is a one­-off radio art presentation lasting 31’30”. It explores myriad nagging uncertainties, as they are revealed to be mundane, yet ripe currency for exchange with ever present fear­mongers. Or alternatively, a place to burn a light, indulging introspection and surreal dreaming as a wellspring for imagination.

This piece is a response to H.G. Wells’ “The Red Room” short story from 1874. Taken simply, it’s a brief gothic test of credulity: to cause a shiver, as a fireside read. But typical of Wells, there is another effort there — interpreting and projecting a rapidly shifting social climate. Wells delivers Fear as a commodity, packaged and constrained by the four walls of his Red Room; promoted by an indentured peerage of brokers. This Fear is materially real,
yet allows for conscientious refusal — by sustained efforts to keep light burning in it's shadow.

The passing century has seen rapid shifts to the present day, where we face a far diminished risk and tangible cause for fear. Conscious endeavour has emphatically explored the unknown, and forcefully pursued uncertainty; ultimately fueling discovery, creativity and progress. Regrettably, those misfortunes which do catastrophically disrupt safety and security are too often tractable to evident, deliberate machinations. Our sense of fear is organic and innate, but our attachment to it, often misdirected.

The narrative and sound design are developed by methods of process and constraint. This facilitates the artists working simultaneously, in physical isolation, to produce convergent expression: a structure of narrative voices braided through spatial timbral and rhythmic layers. There is the impression is of a ‘musical’ piece physically mobile in an extensive unfamiliar world.
The language and instrumental devices can seem familiar, but there is ambiguity and strangeness, reflecting the individually dissociative influence of the generative compositional processes. Shifting dynamics and textures let the listener infer their own fears to the strangeness, or find empathic resolve in the leading, dreamlike narrative.

A rich rhythmic and harmonic palette that references and extends the stylings of contemporary electronic music, exploiting a range of software and hardware tools along with field­-sourced recordings, samples and voice processing. The sound artists responsible frequently work with radical applications of acousmatic and concrete techniques, here moderated, to serve an impression of musical norms, gradually revealing little that concedes to convention.

Pangaean Permafaction - Red Rooms In Subterranean Dwellings

Jumpers, the id of the AI.

Jumpers is a one­-off radio art presentation lasting 25’57” that premiered on Radiophrenia 2017 and released in 2018. It explores a machine in free association, stepping past the guise of collation and ordinals, without operators’ deeming intention.

Re-assigning and re-casting conceptualisation, the AI's stealthily permeating rhetoric, with no will or ethic, keens the words the machine finds favourable — the matters that preoccupy us — revealing the innate subtexts/preoccupations of the 'learned' machine. 

The effort of language wrought down to ticking clockwork — minutely scaled as an oscillation of metaphysical terms — where affirmation is the sliding rule of entropy and only the exception state will truly inform. 

Yet despite this complex world of iterations, the machine mind fixates on the laundry wash needing folding.

...it is possible to interpret the information carried by a message as essentially the negative of its entropy, and the negative logarithm of its probability. That is, the more probable the message, the less information it gives. (Norbert Wiener, The Human Use Of Human Beings Cybernetics And Society,1950, p 21).

Pangaean Permafaction - Jumpers

Cast in sediments of the last great flood, Pangaean Permafaction stands as a collective of experimental sound artists who may never physically meet.  

Current projects are traversing four points of the globe, between participants in Australia and England:


*A Patch Of Nettles* — a solo sound project from small town New South Wales, Australia, keeping busy adapting field recordings to acousmatic arrangements, constructing electronic instruments and collaborating with strangers. Nettles is regular contributor to the avant garde Disquiet Junto project and is published on Bandcamp and Soundcloud. 


*Pytchblend* —  an English sound artist whose work studies the half-awake moments before the onset of sleep using  AMSR and frisson-inducing spectral manipulation into audio dreamlets. Pytchblend is a regular on RTÉ’s Nova in Ireland, Berlin Community Radio and is published on Bandcamp and Soundcloud and youtube.

*TheNumbersInTheDream* — an English multi-instrumental itinerant sorcerer, wearing a hat of eternal paradox.  At times, he is not real. Other times he creates warmly received echoing melodies shrouded by inscrutable ghost voices. Nick can be found on the Fag Ash Records net label, Soundcloud , youtube and spinning sound on Mixcloud where he inexorably winds new genres in song.

*KeithysDunimselfaMischief* —  an Australian sound artist who poses the question, "does the silence create the sound or does the sound create the silence?"  He finds that the answer is unreservedly, “yes it does”.  He has received regular Australian airplay on RN's Sound Quality , and Bay FM in northern NSW. He enjoys sleeping and is published on Soundcloud. 

Pangaean Permafaction

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