PHOSPHENISM: The phenic system consists of: • The phosphene, which corresponds to the sense of sight. • Tinnitus, which is the internal equivalent of the sense of hearing. • The gustatofen, a source of the sense of taste. • Olfactofene, a sense of smell. • Pneumophen, respiratory phenomena. • Osteophene, linked to the vibration of the bone and tendinous structure. • The statophene or gyrophenes, phenyl of the sense of balance. • Myofen, phenome of muscle activity. • Tactofen, which corresponds to the sense of touch. • The subjective perception of time

Playlist and other information available at: https://www.freeformfreakout.com/fffoxy-podcast-200-penultimate-press-henning-christiansen-archive-feature/

**This episode includes an interview with Mark Harwood of Penultimate Press and Thorbjørn Reuter Christiansen of the Henning Christiansen Archive.**

FFFoxy Podcast #200: Penultimate Press & Henning Christiansen Archive feature

Playlist and other information available at: https://www.freeformfreakout.com/fffoxy-podcast-202-horn-of-plenty-feature/

**This episode includes an interview with Nick Hamilton of the London-based label, Horn of Plenty**

FFFoxy Podcast #202: Horn of Plenty feature

Valerio Tricoli — Clonic Earth
Format: 2xLP / DIGITAL
Cat.No: PAN 71
Release Date: 24th June 2016
http://p-a-n.org/

The experimental Italian composer returns to PAN with a new LP, titled 'Clonic Earth'. His ongoing output for the label has long-presented his electroacoustic sound compositions where since the mid-'00s, he has utilized analogue live sampling and real-time editing of field and studio recordings by means of manipulation of 1/4 inch tape.

Asides from being a founding member of the Italian avant-rock group 3/4HadBeenEliminated, he has worked extensively with various musicians, choreographers and multimedia artists including Thomas Ankersmit, Antoine Chessex, Werner Dafeldecker, Anthony Pateras, and Robert Piotrowicz.
 
His studio compositions, documented on few records, often explore themes of the internal - represented both by the psychological and the physical - and of the occult, which with the use of spoken text makes them often deeply existential works, self-investigations of the psychological, emotional and irrational horror within.

The new record, 'Clonic Earth' is a perturbing, compelling and eventually mind-expanding work, marked by compositional strategies of exploded narratives, psychological insight and oracular literary references, where questions about the boundaries of spatial perception in the decoding processes of acousmatic music are overturned into existential, metaphysical questions. 

Tricoli's allegorical and philosophical universe takes the form of an unhinged mind's landscape swarming with estranged sound objects, and sometimes reminiscent, in the complexity of details and surrealistic effects, of Hieronymus Bosch’s larger paintings. Compared to his previous works, the content of 'Clonic Earth' explores more synthesized and heavily processed sounds, especially vocals, often appearing in the form of a religious, electrified chanting. 

The record is described by its author as a natural consequence of the internal collapse depicted in his previous record, 'Miseri Lares': "As if all the debris left inside my loudspeakers have been ignited to expand into the ether, to find a justification at the principle of Chaos, or Cosmos alike." 

This movement is expressed by references to the theme of fire as original matter in the Chaldean Oracles which, together with the later work of Philip K. Dick, are the main sources for the vocal/text elements of the composition. Fire, intended as the convulsive principle of existence, but also an ontologically terminal element - hence a representation of the infinite decay and a mean of communication with the otherworldly - serves the author a metaphor for the acousmatic listening experience itself: a borderline perception of sounds eternally fixed in their spasmodic disappearance, which could eventually drag us into a different layer of reality, drastically changing, subverting, or expanding the space in which they are diffused. A ritual, somehow, which may link the listener and the perceptive space that he inhabits with whatever lies beyond the loudspeakers, beyond the vibrating surface of the world.

Valerio Tricoli — I. The Hallowed Receiver (PAN 71)

Wersja instrumentalna z próby / Instrumental version, from rehearsal, 2016

Księżyc - Kołysanka szekspirowska  / Shakespeare's Lullaby [from rehearsal]

Angel's Egg - Whip

Dogon Lock - Pulp/Lore

https://cassandramiller.wordpress.com/2009/08/30/large-house/

(photo by Susanna Majuri used here without permission)

When I called this piece “A Large House” it was a title I thought up in a hurry, for no specific reason, and it just seemed to fit. In retrospect, it fits because this piece more than any other made me feel like an architect. I was writing something that was a large space, open, but perhaps with huge pillars holding it up. The piece is stationary, it doesn’t move, it’s grounded in one place, and maybe it even resonates like something with a lofty ceiling. As for any other connection between this piece and a large house, you are welcome to make it as you like.

A Large House

Large House (full) - Janacek Philharmonic, Peter Rundell cond., premiere (2009)

Taken from the Penultimate Press LP Disfigured with Abbreviations (PP36)

Debut recording from two troubadours of oppositional creep. Inspired by Philip K. Dick and the useless machines that haunt us all, Disfigured with Abbreviations is a roundtable exquisite corpse which crawls through a miraculous environment, at once sensual and sinister.

How is it that the perpetual promise of a future lands us in a deeper quagmire?

How do two gentlemen with scruffy vocabularies fall into a sonic landscape of such haunted beauty?

Following their debut live performance on the rooftop of a bakery in Northcote, Victoria in January 2018 Harwood and Hopkins soon set about making a recording. Initially structured with individual recordings placed on each other regardless of content and positioning.  These works soon evolved into a rich labyrinth of found sound, field recordings, electronics and voice with all elements mapping out a landscape heroic in it’s embracing of utter failure.

Artwork by MP Hopkins and Mark Harwood. Comes with a printed inner disco sleeve housed in a charming reverse board sleeve. Limited edition of 250 copies.

MP Hopkins and Mark Harwood - Disfigured with Abbreviations (excerpt)

Penultimate Press

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