Sentinel

The sequence starts with a cable connection to the clock output from the Steady State Fate Ultra Random module. This clock output was sent to an intellijel hub mult. From here the clock was sent to first to a 4ms RCD/QCD, Delptronics Trigger Man, and to the MakeNoise Rene. First output gates from 4ms RCD 4 divide output to the trigger input on the Braids module top row, running in "WLIN" mode. The second multi-output was sent to a 4ms QCD output green channel 4, set at a division trigger time of 16. This would trigger single notes on the "Elements" module, that begins at 1:42. The playback mode is running in "Secret Easter Egg Mode" :-) The selected note sequence from the QCV output from Rene. The final output from Elements was sent to the Eventide "Pitch" pedal using the "Crystalizer" algorithm.

Clouds - was processing recorded chunks from the drum percussion, kick used from the top row "Peaks" 808 kick drum synthesis model. Then a snare was created from the "grey" noise output from the SSF Quantum rainbow running through the right side of Streams to make a snare drum, which was running in envelope mode with shape position to the left, short decay. Then a third voice uses the blue noise output from the SSF quantum rainbow for hi-hats. Amplitude triggered/controlled by a HexVCA. The drum sequence was programmed from the Delptronics Triggerman, using all 8 patterns stringed together running in pattern play mode but being CV controlled by the S&H # 1 output from the SSF Ultra Random. Output for all voices was grouped and multiplied into two separate mixers. First three channels of the Intellijel Mutamix, which was then sent to output channel B. From there the summed mix was sent into the "left" side input of Clouds. Then triggered in time with the sequence by an 8th division trigger from the 4ms RCD. The freeze input in Clouds was triggered in time 7th divisions from the 4ms RCD, so that the chunks would process and record then playback in spurts of timed randomness. The mode was set in the pitch-shifter/time stretcher configuration, where the grains were spliced so that created interesting granular pitching repeats and percussive glitch effects, as the rhythmic beats played through. Focused ranges were selected for the "Density/Pitchshifter" and "Timestetcher/Texture" controls. These were being controlled by the S&H #2 output from the SSF Ultra Random. The 1/volt pitch input was controlled by the toggle A/B output from the SSF ultra random. The clean drum outputs were also sent to channels 5, 6, and 7 on the Blue Lantern "Mix 'Em Up" module.

Streams left side processing from the MakeNoise Mysteron output, which was being triggered by the 5th division output, for the metallic ripple delay like sounds, with the mutation knob set to counter-clockwise, low bit mode.
The "Shelves" module was processing the acid-like filter parts that get un-muted at 12 seconds. The sound source running into "Shelves" was the "Braids" module bottom row, running in "CSAW" mode. CV controlled by the CV output from the MakeNoise Rene sent to another intellijel hub mult. From here each CV output was sent to the "Frequency" inputs pink, green, and white jacks on "Shelves". The "Tides" high tide output modulation the CV controlling the top frequency input on "Shelves" Each filter knob was set so the incoming "CSAW" input was being processed like a formant filter effect.

Smooth Sub OSC bassline coming from the MakeNoise STO. This was being CV controlled by an intellijel ￼µScale (B) output. Playing back 8 notes while being triggered from the 2nd division trigger on the 4ms RCD. Triangle wave output from an Intellijel Dixie (synced) to the sequence controlling the input (1V/Oct). Second STO at 55 seconds, alternating high note triggers from the 1 channel output from the 4ms QCD 6th division output. The second STO output was sent to a MakeNoise Optomix for short quick plucks.

Clouds & Streams

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Premiere: Thys & Two Fingers - Puma Rhythm

Stone Giants - Metropole - Mud Kisser's Po Valley Heatwave Version

HOLE IN THE GROUND (Original Motion Picture Soundtrack)
CAT NUMBER: NO 12
RELEASE DATE - 8th September 2023

The Hole In The Ground (Original Motion Picture Soundtrack) is bursting with rich treats from the imagination of Amon Tobin. 
A film in audio/visual excerpts, each track has its own short selected from the visual explorations of Tobin’s alter ego Shy1 and musically we are teased with beguiling and frightening hints at what the story of this place we see might be. 
It’s a collection of music and imagery playing with themes and deliberately incomplete narratives,  inviting us to wonder; where is this place? What is the story of these characters?
The viewer is left enough space for their own imagination to begin to fill in the gaps.
It’s an enjoyably menacing process. 
The perpetual undulation between hope and fear coursing through each and every minute of the EP’s 6 tracks.

Opening with the ominous, glittering Hole in the Ground with plaintive cries from the edges of the universe, Ghost of a Star brings a disturbing and delicate urgency through sound and visuals where we appear to be presented with the sculptural, modular construction of a Black Hole. A portent of what is to come or a playful game the Gods play to amuse themselves?

If we could intercept the conversations the machines are having then Wolves in the Yard is how they may sound. It builds and builds leaving us with an inkling that perhaps something that is not our friend is coming close.

Larkspur reveals a beautiful, biomechanical temple and its acolytes. But did they arrive with the vessels featured in the earlier Hole in the Ground film or do they worship them? Again the questions… What is this place? Who are these people?

Self Collider tantalises with elements of light, in sound and vision. A different climate suggests there is more than one tribe in this evolving world and there amongst the triumvirate of dancers is a character already familiar to Nomark devotees, Figueroa. 
Celebration, ritual or necessity? The billowing choreography of Self Collider’s dancers is filled with an intense  grace and a fierce determination etched onto the faces that we can see. As their dance comes to an end there is an enigmatic serenity in their eyes. 
There’s something curiously optimistic and grand about Pale Tundra that keeps you guessing. A mighty rock looms large in an otherwise flat and ice encrusted landscape, as our view sweeps across this unnatural wonder your eyes are drawn by details you may not have noticed at first. Beneath the horse like rock paintings, are there really petrified faces trapped in the lines and shadows of the cliffs or is it just a pareidolic response?

Hole In The Ground (Original Motion Picture Soundtrack) is a glimpse into the developing work of film score and story. 

Tracklist:
Hole In The Ground
Ghost Of A Star
Wolves In The Yard
Larkspur
Self Collider
Pale Tundra

Ghost Of A Star

http://www.mixmag.net/music/exclusive/prem-djrum

Have a ganders of Djrum in The Lab LDN last year. It was fun, real fun.

The London selector treated us to an hour of delicious jungle riddims, upping the office lairy levels and setting off our Friday night just right.

More exclusive music

Premiere: Djrum 'Plantain'

The Last Human

b** i dont kare @sur6ery #3k

ꌗꀤꈤꁅꀎ꒒ꍏꋪꀤ꓄ꌩ ꒒ꂦꂦꉣꌗ
Electronic piece for stereo audio file

Year — 2025
Duration — 09'10''
Première — tbd

ꌗꀤꈤꁅꀎ꒒ꍏꋪꀤ꓄ꌩ ꒒ꂦꂦꉣꌗ

Do You Know Squarepusher

https://www.youtube.com/watch?v=tPPuwFg2SvU
http://smarturl.it/RichardDevineRevsic
http://smarturl.it/RDSortLave
http://planetmu.bleepstores.com/release/1079…ine-sortlave
http://richarddevine.bandcamp.com/album/sort-lave

After a break of 6 years, Atlanta based electronic musician, producer and sound designer Richard Devine returns with a new album ‘Sort\Lave’ on Venetian Snares‘ Timesig imprint. Recorded between 2016 and 2017 using Richard’s custom built Eurorack modular system and two Nord G2 Modular units, Sort\Lave features 12 tracks of intricate electronica that ranges from abrasive percussive experiments such as ‘Revsic‘ to ‘Astra’s dazzling juxtaposition of sounds and onto the radiant ambience of the album’s closer ‘Takara‘.

Talking about the album’s genesis Devine explains “I’ve been using modular synthesizers since I was 17, but have never written complete tracks using these newer systems. This was my first experiment to see if it would be possible and I probably spent about 5 years building up the systems that I used on this album.”

“I wanted the record to sound very different to my previous works which had been more cold, digital, clinical even, and had all been made using computers. The aim here was the complete opposite, to create something that felt very organic, detailed, spacious, big and warm and just as importantly, a record that you could put on and play all the way through that flowed in a seamless way.”

This new approach was to prove fruitful and enabled Devine to create music in an entirely new way. “I really wanted to break free from timeline-based music creation and do things with my hands on the fly,” he explains. “So the tracks are more like captured snapshot performances where I could experiment and play around with the idea of probability-based sequencing for every patch, string multiple sequencers together that would feed other sequencers to come up with interesting rhythms and melodies. It was really fun coming up with new sounds this way too, I felt like I created several I haven't heard before with this album. Some of the tracks on the album were complete accidents and evolved from something that happened spontaneously. In the end I feel this is one of the best records I have released to date, so I’m very excited to share it with the world.”

Making his debut in 1995, Devine’s releases for labels including Schematic, Warp Records and Detroit Underground have established him as one of the leading figures within the electronica community. In addition to his musical productions, Devine has enjoyed a lengthy and successful career in sound design, developing patches for many of the world’s leading music technology businesses and working with companies such as Google and Nike.

Richard Devine - Revsic (TIMESIG009)

Planet Mu Records