Anders4

singles, edits, remixes, repost

Ambient / Bass

tracks

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)

080822003 MDLR Soundbox

Video for track https://www.youtube.com/watch?v=uKLDxIXsAXU&t=133s
far distance beckons
– hazy blue peaks loom over
calm sea horizons

Raymond Cobley is an experimental composer and regular participant in our Haiku challenge. Now retired, Raymond aims to explore the possibilities afforded by open-source software, which he uses exclusively for creating and editing both sounds & images. All his works are published ​under a Creative Commons licence, and free for anybody to download or remix.

Hazy blue -(naviarhaiku477)Video for this track- https://www.youtube.com/watch?v=uKLDxIXsAXU&t=133s

G-Memento Mori

DCR - DAVE LOMBARDO/DRUM SOLO - DCOMPOSED

Book of Ezekiel Return of the Gods in Dub ' Virtual Jam Sessions Freestyle World Erich Von Daniken and Freek Banning ' Freek Banning Tom Waits Kandee and Mistress Dub Petite Girl seduce to 'Rough Dub Ganji' (B-side)

Moving In My  Alien Brain Dub

wath here

Book of Ezekiel Return of the Gods in Dub

Out March 3 worldwide on Awesome Tapes From Africa LP/CD/Digital/Tape https://atakak.bandcamp.com

OUT NOW

Ata Kak — Bome Nnwom

Nozinja (Shangaan Electro, Warp Records) teams up with Tessela (R&S Records) for a split 12" release to be released by Bleep on February 9th.

Pre-order now: http://link.bleep.com/nozinja-tessela-wa-chacha

Wa Chacha (Tessela Version)

I pull at the drawer and it resists me for a moment, the way things do when they've settled into themselves over time. There is that particular sound—wood sliding against wood—and then suddenly it gives way, revealing its contents with a quiet rattle. Morning light streams over each object; items that have rested in darkness since the last time I visited, their colors now vivid and startling. It is as if the drawer itself has been safeguarding small treasures meant only for me.


Mastering by Inner Most

Album artwork by Salka Rosinkranz
https://www.salkarosinkranz.com/

@serpuline @preciousmoment @powerdynamics @wardizemoth @land_scap3 @rotabega @still-life-doves @montanhadeluz @user-492249249 @yyyafffeee @dj_spur @elfani8 @philgeraldi

（ミ￣ー￣ミ）
https://freesound.org/people/inner_most_garden/packs/43520/

Drawerful

secret getii 

Gather

secret getii 🍃 squeak (slug heaven)

we are excited to present a debut compilation album by soak music label, an international community focused on contemporary sound as a means of emotional liberation & self-inquiry

the outcome is 24 tracks by beloved artists, featuring various kinds of music, ranging from lamebient & downtempo to quirky sound-design, raw sonic intimacy & processed emo. Whatever that is, it’s something we are proud to share, aiming at fostering a sense of unity, artistic freedom & love 💗

all proceeds will be donated to Dara Charity in Kazakhstan.
credits
released January 24, 2025

@powerdynamics

Mastered by yeyo
Artwork by Arsenii Iy
Curated by a b & marat koshkin

secret getii - pretty world extinction

I.

𝘣𝘢𝘥 𝘭𝘴𝘥 𝘵𝘳𝘪𝘱𝘴 is the collaborative duo of makers doris dana and domingo castillo flores. Respectively the two have fostered practices that have sprawled out through various approaches and, whether in the lanes of the musical or the contemporary arts, the phenomenology of the social and inclusive prevails. On 𝘶𝘭𝘵𝘳𝘢𝘧𝘦𝘴𝘵, this motif continues through the psychedelia of its eight time-defying recordings, welcoming the listener into an open temporal architecture of the stereo field as a signifier of environment. It is worth noting that the group began collaborating in Miami, Florida with longer form improvisations recorded to a stereo cassette deck. In these recordings, the paved geographical sprawl and oceanic view permeated the approach to amassing long swaths of sound material. Listening back on that work at the time of this writing, each track feels as though one is walking into an active space, arriving to an event already in full swing and finding your place inside of it. On 𝘶𝘭𝘵𝘳𝘢𝘧𝘦𝘴𝘵 (this album) something different occurs. The space and events are built around you as you move through the record.

.... [please see https://enmossed.bandcamp.com/album/ultrafest for full description]

- Nick Klein, February 10, 2025

all songs recorded and arranged between Miami and New York by doris dana and domingo castillo flores in 2023
audio finalized by Glyn Maier
artwork by Dominique Saiegh
short story by Natalia Zuluaga
design by Joe Bastardo
silkscreening by Mark Rice
all proceeds to Palestine Children's Relief Fund

ultrafest

bad lsd trips - aventura sonidera (ENMB-17)

bad lsd trips - ultrafest (ENMB-17)
Excerpts below from the extended album description by Nick Klein, written February 10, 2025.

I. 

𝘣𝘢𝘥 𝘭𝘴𝘥 𝘵𝘳𝘪𝘱𝘴 is the collaborative duo of makers doris dana and domingo castillo flores. Respectively the two have fostered practices that have sprawled out through various approaches and, whether in the lanes of the musical or the contemporary arts, the phenomenology of the social and inclusive prevails. On 𝘶𝘭𝘵𝘳𝘢𝘧𝘦𝘴𝘵, this motif continues through the psychedelia of its eight time-defying recordings, welcoming the listener into an open temporal architecture of the stereo field as a signifier of environment. It is worth noting that the group began collaborating in Miami, Florida with longer form improvisations recorded to a stereo cassette deck. In these recordings, the paved geographical sprawl and oceanic view permeated the approach to amassing long swaths of sound material. Listening back on that work at the time of this writing, each track feels as though one is walking into an active space, arriving to an event already in full swing and finding your place inside of it. On 𝘶𝘭𝘵𝘳𝘢𝘧𝘦𝘴𝘵 (this album) something different occurs. The space and events are built around you as you move through the record.

IV.

𝘶𝘭𝘵𝘳𝘢𝘧𝘦𝘴𝘵 mirrors the balance of the temporal interiority and exteriority of the previously referenced chemical compounds when applied to the body for recreational psychedelic experiences. The jubilation of the slack jawed festival attendee, the gallop of the horse upon the earthen ground, the stagnation of humidity on the body, the sprawl of unkempt concrete through Florida cities, the aroma of bleach in a bar bathroom. On this album, the band illustrates the territories when you almost have your grounding; the moment when you are on the pivot between the real and the intoxicated, or even the really intoxicated. These spaces are the softening and hardening of light on your eyes, they are the gripping of a porcelain sink between moments staring in the bathroom mirror.

In an era where so much tremendous creative energy is put into a softer, safer space through ambient music to respond (negligently) or (worse?) take shelter from the hellish global condition of late capitalism; 𝘣𝘢𝘥 𝘭𝘴𝘥 𝘵𝘳𝘪𝘱𝘴 takes your hand into the murkier moments of reflection awarded to the listener in the genre. The resolution is not carved out for you, and what truly sits suspended in the ambiance of the now is an unfiltered view of where the world has come to through centuries of civilization. It’s a brutal landscape with an ill-determined end result. Where other practitioners of the sonic gesture of ambient are sheltering within a glistening plasticene blanket of clicks and rustlings with low pass filters of melancholic chord structures, this album burrows itself comfortably in the formless chaos of true psychedelia and reminds me 𝘵𝘩𝘢𝘵 is truly what our unfortunate ambiance is today. The album reflects joy and terror, and it longs and leans towards finding something in the midst of sonic exploration. Passivity nullified, ambient beyond indulgence and evasion.

releases February 25, 2025

all songs recorded and arranged between Miami and New York by doris dana and domingo castillo flores in 2023
audio finalized by Glyn Maier for PLEN Audio
artwork by Dominique Saiegh
short story by Natalia Zuluaga
design by Joe Bastardo
silkscreening by Mark Rice

https://soundcloud.com/enmossed
https://soundcloud.com/dorisdana
https://soundcloud.com/nick-klein


Digi still available

Premiere: bad lsd trips - steaming mescaline (extended mix) [enmossed]

New York City / Berlin — Appendix.files presents xochicuicatl, a 5-track collection of raw ambient excavations and subversive emotional fragments from secret getii. Recorded in NYC in the spring of 2023, the EP wanders through dream-smeared cityscapes and back again, channeling the hazy comedown of overstimulation into abstract, cathartic form.

Buy: https://appendixfiles.bandcamp.com/album/appx-17-xochicuicatl

Artist @powerdynamics
Label: @appendixfiles

PREMIERE: secret getii - the longest party [appendix.files]

Joe McPhee: B-flat and E-flat alto clarinet, Roland MC202 Micro Composer synthesizer
 
Bryan Eubanks: Open-circuit electronics (sinetones)
 
 
 
What constitutes an unidentified sighting, the rarely heard ‘alien’ clarinet playing of Joe McPhee and the ineffable electronics of Bryan Eubanks? Penultimate Press is extremely proud to produce My Undocumented Alien Clarinet: a strange sensual addition to the ever inquisitive McPhee canon. My Undocumented Alien Clarinet is a beguiling document of a performance held at Alternative Books, Kingston, NY, Sunday, August 6, 2006 under the auspices of the Pauline Oliveros Foundation’s New Vanguard Series. My Undocumented Alien Clarinet captures a unique intimate improvisation exploring the outer reaches of the form. 
 
Joe McPhee, (b.1939 USA) is a multi-instrumentalist, composer, improviser, conceptualist and theoretician. He has collaborated with Pauline Oliveros, Graham Lambkin, Peter Brotzmann, Evan Parker, Raymond Boni among many others. With a career spanning nearly 50 years and over 100 recordings, he continues to tour internationally, forge new connections and reach for music’s outer limits.
 
.. His magical take on avant-garde sax remains one of the wonders of the scene. He still has one of the most beautiful tones on the planet, even when he’s reaching for jazz’s outer limits." - Time Out NY
 
Bryan Eubanks (b. 1977, USA) is a musician composing electronic and acoustic works for small ensembles, solo instruments, and custom generative software; improvising in collaboration; and working with acoustic holography, a stereophonic recording and diffusion technique.
 
Artwork by Jerry Starpoli
Liner notes by Joe McPhee 
In memory of Jerry Starpoli 
 
http://www.penultimatepress.com

Joe McPhee and Bryan Eubanks - My Undocumented Alien Clarinet (excerpt)

Taken from 'Never Sleep #1'

Three clean-cut anthems for the studio debut of Gabber Eleganza, an anticipated new form for the archival and performative project created by Alberto Guerrini in 2011. Now updating the contemporary folklore with his analog grit. Try not to get your attention diverted once again. And keep calm under pressure. First volume of the Never Sleep series. Limited edition vinyl. Includes DL card. A limited run of 50 copies will be decorated by a fantascope print on the b-side.

All tracks written & produced by Alberto Guerrini
Cat. No. P!?030 – All rights reserved
℗ & © Presto!? 2018

Gabber Eleganza — Never Sleep (P!?030)

B 3. I Am Dreaming

My Old So & So

Physical: geographic-north.com/cassette/coyotes/
Digital: geographicnorth.bandcamp.com/album/coyotes
Catalog #: GN49
Cassette, limited to 100

Félicia Atkinson is a composer, sculptor, painter, poet, and publisher from Rennes, France. Atkinson has led a fruitfully fantastic run of eerily blissful, serenely euphoric sounds. Whether under her own name or via her defunct recording pseudonym Je Suis Le Petit Chevalier, Atkinson has released work on Umor Rex, Digitalis Limited, Aguirre, and Shelter Press, an imprint co-run with Bartolomé Sanson.

‘Coyotes’ is an EP inspired by Atkinson’s last voyage to New Mexico in February 2017, when she visited and took in the geographic landscapes from Taos to Ghost Ranch. The same vistas also inspired much of Agnes Martin’s and Georgia O’Keefe’s painting, as well as Jerome Rothenberg’s poetry and translation’s works.

Atkinson describes a ‘Coyotes’ as a “Carnet de Voyage,” a tape you could directly play in your car while traveling somewhere, a kind of imaginary map to a sentimental journey. A spontaneous gesture, close to the notion of gift or offering. Or, simply, a postcard to a friend.” But it’s also a praise to the conservation of national and state parks and its human and non-human souls, menaced as we know now by drilling and violent economic speculations.

Here, coyotes act as a kind of metaphor of ambiguity and doubt, a state of mind that Atkinson find interesting to transcribe musically; the ambiguity furthered by Atkinson as a literal “foreigner” in New Mexico. She conveys a sense of visiting these native sacred lands and wondering what you are doing there.

Musically, ‘Coyotes’ is composed of two long tracks, “Abiqiu” and “Lighter Than Aluminium.” Each track features an effervescent froth of piano, midi sounds evokes marimbas, Fender Rhodes, bells, sub-basses, and spoken word poetry written by the musician to display a melancholic landscape made of transparent but deep layers of pale colors and blurry lines.

Félicia Atkinson - "Lighter Than Aluminium"

K.zip - De Profundis

Evitceles / Spite Cathedral Split

Shadow Double

rosa-au.bandcamp.com/album/rosa-tape-01

@opal-tapes, @breezydbr

Rosa Tape 01 - Basic House & DBR (Excerpt)

Label ran by @nick-klein
contact: psychicliberation@gmail.com

For the physical and digital purchasing of PSYCHIC LIBERATION/PRIMITIVE LANGUAGES :

www.psychicliberation.bandcamp.com

JD SWIFT - 0:00 (PLIB011)

PL/PSYCHIC LIBERATION/PAIN LIBERATION