Demonstrations

“Through their generic and transient qualities – workstations devoid of personal effects, relations with colleagues as fleeting as those with passengers on a commuter journey – many workplaces now resemble non-places, either literally, as in the case of a hotel, corporate coffee chain or out-of-town supermarket, or symbolically, in the form of temporary assignments for faceless employers (dis)located in anonymous buildings, where the worker-commuter then follows the same global timetables, navigates the same software applications and experiences the same sense of placelessness, the feeling of being mere data in the mainframe”

So writes Ivor Southwood in his analysis of precarious labour, ‘Non-Stop Inertia’ (2011). In the last decade, the proliferation of corporate non-places has been accompanied by the spread of cyberspace-time, or Itime, a distributed or unpunctuated temporality. It’s no coincidence that, as this unmarked time increasingly came to dominate cultural and psychic space, Derrida’s concept hauntology (re)emerged as the name for a paradoxical zeitgeist. In ‘Specters of Marx’, Derrida argued that the hauntological was characterised by “a time out of joint”, and this broken time has been expressed in cultural objects that return to a wounded or distorted version of the past in flight from a waning sense of the present. Sometimes accused of nostalgia, the most powerful examples of hauntological culture actually show that nostalgia is no longer possible. In conditions where pastiche has become normalised, the question has to be: nostalgia compared to what? James Bridle has recently argued that “the opposite of hauntology … [is] to demand the radically new”, but hauntology in fact operates as a kind of thwarted preservation of such demands in conditions where - for the moment at least - they cannot be met. Whereas cyberspace-time tends towards the generation of cultural moments that are as interchangeable as transnational franchise outlets, hauntology involves the staining of particular places with time - albeit a time that is out of joint.

Audio (excerpts) from the Colloquium for Unpopular Culture & NYU's Asian/Pacific/American Studies Program event: There Are Non-Times As Well As Non-Places: Reflections On Hauntology, a talk by Mark Fisher. Wednesday 4th of May 2011, 6:30pm, Room 471, 20 Cooper Square, New York, NY 10003.

Mark Fisher - There Are Non-Times As Well As Non-Places: Reflections On Hauntology — Q&A

Time Points is the common project of two French composers, Arnaud Denzler (member of AT and of the collective “La Claque”) and Michaël Laidet (αίών). This duo met during the formative years of their musical journeys and, after a decade of regular collaborations, is now pleased to present their first collaborative EP Temps Long. This seminal release is made of four tracks composed in a discontinued fashion alongside two remixes from closely orbiting artists: Karim Kahar and Zwei Kreise.
The composition process of Temps Long was a six-year endeavour. The collaborations were at times far in-between, so this was the necessary time period for them to be able to bring this EP to its final form; bearing in mind that the four original tracks are the result of multiple iterations. Each trial, tribulation and new interpretation contributed to the depth of the experience and to the variety of the sonic landscapes set forth during this EP’s duration.
Both Arnaud and Michaël wanted to stress the collaborative aspect of Temps Long. They not only involved Karim Kahar further in the project than his initial mixing role, but also asked Zwei Kreise for another interpretation of the experience. Karim’s ideal overview of the ensemble allowed him to offer a brilliant reassembling as he had been intimately involved with the production of the duo’s sound. His precision work is more akin to a deconstruction of the visions presented by Time Points, rather than to a synthesis of the aforementioned work. Zwei Kreise on the other hand wished to pay homage to the legendary late Finnish visionary Mika Vainio in his “10 a.m.” remix. The resulting spectral panorama was obtained by drawing inspiration from how Vainio reconfigured a track from Popol Vuh from the OST of Cobra Verde.

Temps Long (QR009)

PREMIERE : Time Points - 10 a.m.

soundcloud.com/timepoints
instagram.com/timepointsmusic

5th episode of the Memories Paradise show w/ the french duo Time Points. rekorded live @ Montezuma Café in Paris. 1hr exploring ambient + IDM :)

Memories Paradise 004 w/ Time Points

Get the tracklist: https://blrrm.tv/3BsWaZf

Paris-based @decemberxxx delivers wicked grins and post-punk bile for Hard Dance 163.

Hard Dance 163: December

For Good (Death Chants II CD Edition Bonus Track)

HypnagogIA - Neural live for Radio Insomnia

PRESSURE SAW WELCOMES DJ CAMP DE FEU WITH SPECIAL 1HOUR SET 

#PRESSURESAW #PRESSURESAWMIX #PRESSURESPECIAL 

2024

DJ CAMP DE FEU - HEARTY RUMBLES MIX

What We – XOX

PREMIERE COMME DES LARMES – CDL

PREMIERE CDL || Sayaka Botanic - Prologue |Quanta Records| 2025

Artist » Sayaka Botanic - @sayaka_botanic 

Ep Name »  Nonexistent Landscape [QR011]  

Label » Quanta Records - https://soundcloud.com/quanta-records

Paris, France

Format: TAPE  + DIGITAL ALBUM

Release date: October 15, 2025

💲BUY HERE💲>>> https://quantarecords.bandcamp.com/album/nonexistent-landscape-qr011

Digital download includes a PDF version of the zine.

Non-places, as defined by anthropologist Marc Augé, are impersonal spaces human being can’t truly inhabit: airports, supermarkets or open-plan offices — places limited to transit and consumption, replicated worldwide and characteristic of late stage capitalism. Marketing has equipped these spaces with a soundtrack of similar properties, conditioning human ears to hear without listening, blending muzak, jingles, news channels, and chill playlists into a seamless auditory background.
Rather than presenting an idealised vision of nature — which is, incidentally, often represented within non-places — Nonexistent Landscape offers a counterpoint: an imaginary landscape in which the sense of strangeness stems not from indeterminacy or interchangeability, but from an eerie quality (as defined by Mark Fisher in The Weird and the Eerie: "Why is there something here when there should be nothing? Why is there nothing here when there should be something?").
Sayaka Botanic has brought together her sonic and visual experiments to set them in dialogue. On "Prologue", fragments of her voice can be heard, but much like in her portraits, she never fully reveals herself - something is missing from a human existence, yet there is too much substance for a spectral presence. On "The Path", the sound of the violin gradually mutates: instruments, electronics, and magnetic tape are the core elements of her music, but identifying the origin of a sound is as elusive as deciphering the source of one of her photographs. Nonexistent Landscape invites us to detach from reality and move toward an outside that may not seem welcoming, but is nonetheless inhabitable. 

Music & Visual by Sayaka Botanic
Mastered by Anders Peterson at GS Mastering & Post
© ℗ 2025 Quanta Records, all rights reserved 

Follow us:

• https://linktr.ee/commedeslarmes

Art/Designer CDL by Rennst

• https://soundcloud.com/RENNST
• https://www.instagram.com/_rennst_

#premiere
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#sayakabotanic
#minimalsynth
#electro
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#tape
#80s
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#techno
#ebm
#newbeat
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#avantegarden
#musiqueconcrete
#synth

Nonexistent Landscape [QR011]

PREMIERE CDL || Sayaka Botanic - Prologue |Quanta Records| 2025

💲BUY TAPE 💲

full broadcast

http://m50.net/playlists/2025.10.10.html

@zweikreise...
00. PYX – Logo [Direct-X 2]
01. Ryu Umemoto – Luster (Opening) [Rall III: Kakusei-hen]
02. Hiroyuki Yanada – Sky Wing [Last Bible III]
03. Toshiya Yamanaka – Space Fight [Star Cruiser]
04. Akira Takemoto & Hiroaki Yoshida – Stormy Blade ~ Assault [Wolf Fang: Kuhga 2001]
05. Daisuke Takahashi – Stage 4 [Metal Force]
06. Garage Land – Track 4 [Kuro no Dansho: The Literary Fragment]
07. Yoshinori Kawamoto – Hell's Watchdog (Chapter 6) [Phelios]
08. Mieko Ishikawa – Castle (Battle) [Popful Mail]
09. Yasuhisa Watanabe – AREA 26-10 [Metal Black]
10. Shinji Hosoe – Dungeon 6 [Eye of the Beholder]
11. [Unknown Composer] – Track 1 [Escalation ~ Aoi Hoyo]
12. Tsukasa Masuko – Beginning [Giten Megami Tensei: Tokyo Mokushiroku]
13. Tamayo Kawamoto – QUARTZ [Rayforce]
14. Toshiko Tasaki - Amami Float [Devil Summoner: Soul Hackers]
15. Takahiro Yonemura – Embraced [Briganty ~The roots of darkness~]
16. Taro¯ Tokiwa & Kenichi Ito¯ - Escape from Egbird [Guardian Recall ~Shugo Ju Shokan~]
17. Hitoshi Sakimoto – Seaside [Bad Omen]
18. Naoto Ishikawa – Dream [Power Slave]
19. Nobuhito Koise & Shinobu Ogawa – Bubbles [Death Bringer]
20. Yo Oyama – Euress [Digan no Maseki]
21. Manabu Kunieda – Dream of the Moon [Dokyusei 2]
22. Takeshi Abo – Phantasmagoria [Never7: the end of infinity]
23. Ryota Kozuka – Self [Shin Megami Tensei IV]
24. Izuho Yoshitani – Premonition [Kurayami]
25. Motoi Sakuraba – Sol Sanctum [Golden Sun]
26. Percival Pembroke – Emperor of the Fading Suns [Arpeggiatorworld] 

@m50... (1h) 
Jun Ishikawa : Float Island : Kirby's Dream Land OST
Cahl Sel : Leaf : Traces : Reflective
Ghostwerk : Mental Wealth : Love Traxx Vol 1 Pierre LX : Nha Cretcheu
Oneohtrix Point Never : Love In The Time Of Lexapro : Love In The Time Of Lexapro : WARP
Jun Ishikawa : Boss Theme : Kirby's Dream Land OST
Ghostwerk : Elizabeth's Loop II : Love Traxx Vol 1
Cahl Sel : Regeneration : Traces : Reflective
yalk DX : Plug Bea : Pure Weight Vol 2
Pulse Emitter : Tide Pool 2 : Tide Pools : Hausu Mountain
Oneohtrix Point Never : CC : Ambients
Cahl Sel : Left Eye : Traces : Reflective
yalk DX : Nuro : Pure Weight Vol 2
Archeress : Purgatorology : Trip World (2008-2025)
Pulse Emitter : Wandering : Tide Pools : Hausu Mountain
Valence : This Eccentric Orbit : Music For Transneptunian Space : Pitchcadet
Jun Ishikawa : Title Theme : Kirby's Dream Land OST
Novel 23 : L'ombre Nel Cuore : Squadron : Merck
Neil Tolliday : IV (Full Meditation - Part 1) : Mallumo
Nadia Struiwigh : hLOw : Birds Of Paradise : Dekmantel
Jun Ishikawa : Game Over : Kirby's Dream Land OST
Valence : Transientone : Kollection (Unreleased Pitchcadet Tracks 96-99) : Pitchcadet
Syndrone : Ifni : Squadron : Merck
Ghostwerk x Ilkae : Slevk (Recurring) : Keeping Score : Eerik Inpuj Sound
Braiden : Lagrangian Point : Radiance : Off Out
Oneohtrix Point Never : Boring Angel : Ambients
Cahl Sel : Clear : Traces : Reflective
yalk DX : JM1 : Pure Weight Vol 2
Cahl Sel : Livin : Traces : Reflective
Valence : Charon : Music For Transneptunian Space : Pitchcadet
Pulse Emitter : Tide Pool 1 : Tide Pools : Hausu Mountain
Jun Ishikawa : Victory Dance : Kirby's Dream Land OST
Pulse Emitter : Fronds : Tide Pools : Hausu Mountain
Lexaunculpt : Metroid
Jun Ishikawa : Ending Theme : Kirby's Dream Land OST
Ghostwerk x Ilkae : New Worlds : Keeping Score : Eerik Inpuj Sound
Jun Ishikawa : Mt DeDeDe : Kirby's Dream Land OST
Proswell : Resources - Charm : Airship Music (Volume I)
yalk DX : Beta's Dream : Pure Weight Vol 2
Tim Koch : Besoit : Volume : DeFocus
Gique : Arcade Rats : Recovered Data : Device
Cahl Sel : Rhizoma : Traces : Reflective
DataThief : Interupt (Version Zero) : Kingpin
Tim Koch : Track 3 : Volume : DeFocus
[uncredited] : Lovely Angel : Katamari Damacy OVGST : Mondo

broadcast on @sphere_radio, @datafruits, wax n' cats

Zwei Kreise + m50 @ etc 2025.10.10

@johnrobinbold
www.johnrobinbold.com

Earlier this year, John-Robin Bold released his eponymous debut album on the legendary and recently reactivated label Mille Plateaux. He now introduces us to his Demonstrations: four pieces that share a common compositional process exponentiating the discrepancies between sacred and pop music from four different perspectives. Both of these unique forms of music encompass their own excesses and subtleties into smooth lines in radical contrast with each other. Demonstrations presents a finely tuned focus on profoundly different yet eerily similar aesthetics.

The first stepping-stone of this work was the development of a unique compositional system during the summer of 2015. John-Robin Bold applied a reverb effect to a sacred polyphonic piece of the Renaissance. The process was then re-applied to the resulting recording and repeated over and over again. It created derivatives that were progressively drifting further and further away from the original sound that John-Robin Bold used to compose « I ». These derivatives were then selected, cut and pasted together to form a collage of perspectives; not unlike the methods used in cinema to mold a wider picture. This modus operandi was then expanded upon as it was either progressively refined or deconstructed with each piece over the course of five years.

The main advantage here is that such an operation generates a great range of outcomes when used on multiple different variables. John-Robin Bold has also processed various pieces from our contemporary hedonistic consumerist pop culture following this method. As a result, the artist showcases the non-intuitive similarities of two distinct eras with their own zeitgeists. The two aesthetics embody the respective belief systems of their time, with one aspiring to comprehend eternity while the other is focused on experiencing the present moment. Precisely for this reason however, Bold attempts to distill a universalism within these two sources that goes beyond critiquing their function for clerical or capitalist power.

The use of samples as signifiers enables the artist to adopt a specific historical frame, deliberately lodged amidst the development of western culture. However this framework does not follow any traditional bourgeois views of musical history: “I want my music to convey a sense of elevation, something with a universal potential. However, this seems impossible because today anything is subjected to a relativism of taste. I neither believe that universality in music can occur by returning to some kind of ancient ‘roots’, nor by orientating towards technological progress. Therefore, my music tries to set the scene for its own appearance, to write its own history.”
Demonstrations carries the visions and dreams of what can be created from such a novel vantage point.

Pre-order on Bandcamp

John-Robin Bold - III

A cut from John-Robin's eery yet enveloping new album, 'Demonstrations'.

Article

Premiere: John-Robin Bold - I

Record label based in Paris and dedicated to the different forms of expression electronic music has to offer.

Logo by Frederick McSwain 

Contact and booking: quanta.records@outlook.com

Catalogue :
QR011 : Sayaka Botanic - Nonexistent Landscape - Cassette & zine
QR010: Dino Spiluttini - Death Chants II (Expanded Edition) - CD
QR009: Time Points - Temps Long - CD
QR008: John-Robin Bold - Demonstrations - CD
QR007: NO3sis - Hypnagogia - Cassette
QR006: OACEM - Mixed Bacteria Soup - Cassette
QR005: Dirk P. Haubrich - Robinson Out Of Context - 12''
QR004: Zwei Kreise - Panorama Island - Cassette
QR003: αίών - Correspondances - LP
QR002: Infinite Fields - Volna - 12''
QR001: Infinite Fields - Fraction of Time - 12''
Particules series:
QRP002: ＧＡＭＥＳＨＡＲＫ™ - SHARK 4 お歯黒 - Cassette
QRP001: Alma Alta - s/t - Cassette

𝐁𝐞𝐭𝐰𝐞𝐞𝐧 𝐚𝐫𝐭𝐢𝐬𝐭𝐢𝐜 𝐭𝐫𝐚𝐝𝐢𝐭𝐢𝐨𝐧 𝐚𝐧𝐝 𝐨𝐧𝐥𝐢𝐧𝐞 𝐫𝐞𝐚𝐥𝐢𝐭𝐲
This profile contains both music and website-specific internet art from my series 'SoundCloud Gazing' which (mis)uses features of SoundCloud to explore how the platform influences listening habits.

- Booking: contact@johnrobinbold.com

Bold/Cowling with @andycowling
albums:
@achim-szepanski
@quanta-records
@mappaeditions

John-Robin Bold - III

Quanta Records

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