Pé - As Honor Was On Its Last Leg (CSAM)

Rasmus Östling - Stray Dogs on the Beach (#3)

Filho do Dono

Filho do Dono (side B)

Ondness - Filho Do Dono (B)

SC#2 Side B1 Fumitake Tamura (Bun) - Winter Tree

Venutian Formula

Guatamala Voice

Post-Internet

Malon goes to Heaven

Golden Living Room - Post-Internet - 15 Malon goes to Heaven

UMFANG - Four Way Split # 2 - 05 Aaaaaaa

A1 Mukqs - 「蕩れ」[Mirror]

Available here - - -
https://phinery.bandcamp.com/album/r-e-m-i-x-e-d

YlangYlang - Mindgloss Headfuck (Felicia Atkinson Remix)

American avant-electronic musician and essayist Bret Schneider holds no institutional allegiance to one artistic medium. His background encompasses a wide range of work experiences and reveals a man who is connected to the world around him in complex, alienated ways. His thoughts on music and philosophy are intertwined into a billowing exposition. But when exploring the dark recesses of his more aural works, there is an inherent flexibility. Phasing percussive elements and frayed droning lines all lead to a perpetually shifting feeling for an aural uncanny. As fractured as his music can be, there is a dim spark of rumination that threads through his synthetic machinations.

On his latest release, “Xilinx,” Schneider taps into a primordial electronic noise—the kind that rests just on your periphery, unwinding itself to reveal myriad sordid circuits and disjointed projections. These tracks maintain a wired mania, expressing an unsettling undercurrent of ragged repetition and warbling drones. There’s an unexpected elasticity to Schneider’s cabled rhythms, and they often shift across several temporal lines before turning inward, struggling to illuminate an intimate dissonance or imagine a multi-chambered core. Displaying a raw and unusually concise knowledge of how these sounds might fit together, “Xilinx” is part zoetrope, part post-industrial dreamscape. It is an inquiry into the idea of internal movement, a contorted experiment in musical patterning, and an experiment in self-replication.

Xilinx

Bret Schneider - VaVE1

Tracklist:

Suso Saiz -Anti-stress For Babies And Families
KIRA KIRA - Together Is A Place
Wave Temples - Spring Ritual
Sofie Birch - Driving Toward The Deaths Mycelium (excerpt)
Ulla Straus - House
Yialmelic Frequencies - Angel Garden (excerpt)
Oliviaway - Crystal Clear Water
Emanual - Quad
Shanti Celeste - Sun Notification 
Pacific Coliseum - Wave Catalyst (Low Tide)

Soothing Sub Tropical Ambient Beach Mixtape For YlangYlang

From the album v/a - LANDSCAPE FORMATION

CD + digital 
https://phinery.bandcamp.com/album/landscape-formations

"Recordings for the track was made with a modular synthesizer and an upright piano at the local church. I have explored phase-shifting modulation of several filter channels in the modular to create the feeling of movement drifting in and out. The pianoloop is also phase-shifting together with the same pianoloop stretched out to be 10 min. in total – creating unlimited variations.

I played and recorded the piano in Sankt Johannes Kirke in Nørrebro, Copenhagen. The high ceilings, the absence of people and a lively acoustic made the interaction with the piano more intimate."

- Martin Kozak

v/a - LANDSCAPE FORMATIONS

Martin Kozak - Hverfa

From the album v/a - LANDSCAPE FORMATION

CD + digital 
phinery.bandcamp.com/album/landscape-formations

"A collection of small and interrelated compositions based upon sounds derived from erased cassette tapes. The compositions investigate into the concept of emptiness, as they depart from a process of deleting existing material on various tapes only in order to retrieve the leftover sounds again in a new form. Worn out tape machines have been used to filter, gain, and re-record sounds, and the internal functions of the tape machines such as fast forward and rewind are used as sonic effects. The noises of the tapes take on different structures, forming rhythms, overtones, and revealing small sounds of birds and far-away music."

- Sandra Boss

v/A - LANDSCAPE FORMATIONS

Sandra Boss - TOM - Music For Empty Tapes (vers. 2019)

@ https://soundcloud.com/karlfousek

Established as a key voice in modern synthesizer music, Karl Fousek’s focus lies on the sense of movement inherent in his modular. And it is indeed ‘movement’, along with its close cousin ‘time’, that seems to inform the pure experimentalism with sound generated on Another Use For Time. Fousek’s tones flurry back and forth across and inside each other, with the Canadian composer oscillating between the macro and micro gestures of his instrument to create a sonic sculpture in constant motion. Fousek himself describes it as an album made in transition: “It's kind of a reflection of my past work and taste and techniques, while also trying to move forward.” 

Unusually for Fousek, these three pieces were recorded at separate times, straddling a period of transition as the artist left Montreal to move back west to Vancouver. 

The album’s opening 18-minute exploration, ‘What Was Once Or Twice’, was recorded in Seattle, and is split into two movements. The first sees Fousek introduce a variety of whooshes, bleeps, and frozen tones, and the second sends them spiralling out of control, and receding back into the outer reaches of his setup, short circuiting and colliding into mind bending new forms that seem to fold space-time. The entire piece is built around a custom software delay network that “reacts automatically and changes itself based on the incoming signal”. 

The brief interlude at the centre of the record – ‘Circling’ – dates further back to 2016 and deploys those embryonic delay techniques Fousek would later develop, while the second two-parter dates to Montreal in 2018. Constructed from noisier jams, “Time For Another User” is dense with ideas; an attempt to make a “classic” electroacoustic composition devoid of narrative and structure. Algorithms and spontaneity are deployed to encourage maximum disruption, making it a sonic smorgasbord that rewards close listens. Every modest, Fousek views it differently. “Hopefully,” he says, “it just floats by.” 

credits
releases May 1, 2020 

What Was Once Or Twice recorded 2019 at The Chapel, Seattle. Circling recorded 2016, Montreal. 

Time For Another User recorded 2017-18, Montreal; Philippe Vandal contributed additional synthesizer. 

All tracks compiled, edited and mixed 2020 at Deep Blue, Vancouver. 

Mastered by Josh Stevenson at Otic Sound. 

Artwork by Maurizio Vicerè from the HOLOGRAMS series. 
www.akavice.com

Another Use For Time

_ph002 Karl Fousek - What Was Once Or Twice Part 1

Artist notes: 

'Adara' is a word used by those living in the mountains and describes the natural phenomenon where the fog comes almost out of nowhere and starts sitting above the mountaintops, and as it comes lower it engulfs the villages and the people. I have very vivid memories of this 'Adara' while i was spending my vacation time as a kid in my grandmother's village, in the mountains of central Greece. And to this day, every time this 'Adara' arrives i feel amazed by it. I wanted to describe - with sounds - this phenomenon from my subjective point of view as i was experiencing it. Slowly evolving, with otherworldly quiet around, with an essence of fear and unpredictability , anticipation for it to end, and then the return to the previous 'normal' situation. 

Not being able to see or navigate around but knowing that this is only impermanent.
Recorded January-April 2020 by Savvas Metaxas. 
Mastered by Spyros Emmanouilidis. 
Art by Jacob Grønbech Jensen grnbch.se

_ph005 Savvas Metaxas - Archetype

Is that you? Is a sound piece in three parts, examining a person's journey of losing itself in the process of change. The soundscape is created solely from a handful of recordings of Julie’s voice, asking herself among other questions “is that you?”. Throughout the work the voice is distorted and disintegrated, processed to such a point, that the human identity is lost. Only occasionally the voice reveals itself, but gradually becomes more mechanical and unfamiliar. 

Is that you? Is originally created for 20 sculptural speakers, installed for the audience to walk, sit, stand and lay between. The Installation was exhibited both as a self-running soundinstallation and performed as a live concert, spatialized to create sonic movements throughout the space.

Written, performed, recorded, mixed and mastered by Julie Østengaard, 2018 / 2020

Artwork by Studio Elements 
studioelements.dk 

& Jenny Sundby 
jennysundby.com

_ph004 Julie Østengaard - Is That You (pt. 1)

_ph003 Padna - votive 01 Mv01

“Rare Volume” is a new work created by Filipino-American multimedia artist Christian Michael Filardo, in a flurry of creative catharsis. Processing trauma reinvigorated by a global pandemic, Filardo reached tape loops of field recordings – some new, some getting on to five years old, all from an ‘old world’ however – along with snippets from minimalist piano recordings and other compositions from famous composers. 

Created entirely outside of digital space, Filardo processed the tape loops spontaneously into something new, turning recordings from New Mexico and Virginia into an intimate reflection on longing – “the end of relationships, and the forging of new ones.” Piano notes, society’s hum, and external rustlings gather and congeal into a work similar to Filardo’s photography in its longing eye on to the world. None of this digital release was constructed digitally. Only bounced to computer, then mastered by Angelo Harmsworth.

released June 19, 2020 

Sounds + photography by Christian Michael Filardo 

Mastered by Angelo Harmsworth

Christian Michael Filardo - Volume 1

Brin - Alone Jazz On Safari

Glia - omotuo

_ph011 Jordan Christoff - Плаващ

_ph012 Cait Foran - '-2'

_ph013 Aloïs Yang - Sonic Animism - Post Emergence Studies 1

' .. son-ambient sculptures or creeping gas leaks, seeping out of speakers and into the atmosphere. '

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