I Hate Work 

Greedy And Pathetic (feat. Sam Mickens & Mick Barr)

Nihon - japanese live album by Method Of Defiance 

Method Of Defiance - Black Rain

Tragically, this was Bob Belden’s last recording. 
....
	Listening to this darkly dystopian concept album made me wonder, “What would Miles Davis have done had he lived long enough to create the soundtrack to Matrix”?
	To help Belden realize his futuristic 2001: A Space Odyssey-inspired vision for Machine Language, he enlisted vocalist Kurt Elling as narrator for this cyberpunk opera. “My own memory of any conversations regarding the piece is that there was minimal discussion before making the voice over,” said Elling, who had previously appeared on Belden’s 1996 project, Shades of Blue. “The only real direction I received was to ‘sound like a sad, well-spoken computer.’ I did the actual recording by myself at a studio in St Louis, with Belden occasionally commenting via ISDN. I did a cold read once down, without music, and expected Bob to make whatever edits and adjustments he wanted.  I was in and out of the studio in an hour.” 
	Belden’s text for Elling reads like an excerpt from Philip K. Dick’s 1968 novel “Do Androids Dream of Electric Sheep?,” which later became the literary source for the 1982 Ridley Scott movie Blade Runner. And the darkly foreboding music, performed by Pete Claggett on muted trumpet, Roberto Verastegui on electric keyboard, Matt Young on drums, Belden on soprano sax and Laswell on electric bass guitar, takes part of its inspiration from Miles Davis’ 32-minute ambient requiem for the recently-deceased Duke Ellington, “He Loved Him Madly” (from 1974’s Get Up With It). 
	The narrative arc of this cyberpunk opera begins with narrator Elling intoning over a droning ambient musical backdrop (in his finest Rod Serling-esque voice) about the difference between the irrational force of ‘human machines’ and the perfection of ‘pure machines‘. This exegesis leads to the instrumental “Machine Language,” which is fueled by Laswell’s bubbling Mu-Tron inflected basslines and Young’s hyper-interactive drumming. Elling advances the narrative on “Eternality,” in which the human machines try to exert a supremacy over pure machines, and music grooves along on “Consistent Imperfection,” which has Claggett’s muted trumpet sailing in half-time over Laswell and Young’s bubbling undercurrent and Verastegui’s spiky Nord comping and cascading arpeggiating. They return to hyper-drive on “Genesis Code,” spurred on by Young’s intense drum ‘n’ bass beats in tandem with Laswell’s pulsating low-end lines. Claggett wails with ferocious abandon on this aggressive jam and is followed in kind by Belden’s unbridled blowing on soprano sax. 
	Elling returns to narrate over the mellow keyboard work of Verastegui on “Evolved Virtual Entity,” describing how the pure machines begin to dominate the human machines “in ways that only fantasy had described,” leading to the loping and spacey jam “Disappearannihilation.” 
	While “The Evolution of the Machine” sounds like an outtake from Miles’ Bitches Brew, the throbbing, frantic tempo on the drum ‘n’ bass number “Dark Matter” is definitely of the here and now, providing both Claggett and Belden with some of their most impassioned solos of the set. The melodic powers of Laswell’s fretless electric bass are in full effect on the mournful rubato number “Technomelancholia.” And robotic narrator Elling returns to sum up Belden’s existential thesis on the closing track, “A Machine’s Dream”:

Can a machine dream?
What would a machine’s dream be?
Can a machine dream like a child?
Can a machine have an imagination?
Or does a machine dream of conformity, of accomodation, of servitude?

	Will a machine’s dream be inspired by a human model?
Or can a machine create and develop a unique dream into a reality?
Or would the machine’s dream be to create a new human machine,
a virtual existence gestated and nurtured by the pure machines?
                                                                                                                                 -- Bill Milkowski

Animation - Genesis Code

I've been feeling so dead, inside of me
But I got a life so I gotta try to survive
No more feelings no more emotions inside of me
But I'm still thirsty for some breath
I like you, you like me
Guess you were just to spiritual like in a ritual for me

Now I don't know what to do
I keep on falling, falling through

'Cause I'm hearing many voices, something ringing in my ear
Telling me
'Cause I'm running out of time, and my mind so misaligned.
Blinding me

I've been sinking so deep inside of my head
But I'm still awake
So I've gotta fight to get out, and I gotta get over my doubts
And find my way, and find my way
I like you
You like me
Guess you were just to spiritual like in a ritual for me
For me

Now I don't know what to do
I keep on falling falling through

I can't stop
Can't rewind
Every thought is wearing thin
If I break, will I still find
Anyway to pull me in
Every step
I'm slipping more
Every word just starts to fade
Tell me what I'm fighting for
I need something to fight for

'Cause I'm hearing many, voices something ringing in my ear
Telling me
'Cause I'm running out of time, and my mind so misaligned
Blinding me
'Cause I'm hearing many, voices something ringing in my ear
Telling me
'Cause I'm running out of time, and my mind so misaligned
Blinding me

insideofme

Invisible Strings

Purple Yellow (from 'Invisible Strings')

This is a 9 minute preview of my new record "How We Fall", to be released on RareNoise Records May 2018. Featuring Eivind Aarset and Tim Harries.

J. Peter Schwalm "How We Fall" Preview 2018

January 2019 : 

- JAMIE SAFT, STEVE SWALLOW, BOBBY PREVITE - YOU DON'T KNOW THE LIFE

February 2019 : 

- DAVE LIEBMAN, ADAM RUDOLPH, HAMID DRAKE - CHI
- MARILYN MAZUR'S SHAMANIA

March 2019: 

- CHAT NOIR  - HYPERURANION (w. Nils Petter Molvaer)
- SEAN NOONAN PAVEES DANCE - Tan Man's Hat (Malcolm Mooney / Jamaladeen Tacuma / Alexis Marcelo / Ava Mendoza / Sean Noonan)

April 2019 

RED KITE (Torstein Lofthus / Trond Frønes  / Bernt (André?) Moen / Even Helte Hermansen)
Record Store Day : Surprise

May 2019

- MERZBOW, GUSTAFSSON, PANDI - New CUTS 
- JAMIE SAFT QUARTET (WITH D.LIEBMAN, B.JONES, HAMID DRAKE)

September 2019:

NEW SONAR W. DAVID TORN 

October 2019:

-  JÜ (Titles TBC) 
- Lorenzo Feliciati, Michele Rabbia - Antikithera (Cuong Vu, Rita Marcotulli, Andy Sheppard, Alessandro Gwis)

November 2019:

- LED BIB with Sharon Fortnam 
- MERZBOW, HAINO, PANDI

You Don't Know The Life

1. Ode To a Green Frisbee - (from J.Saft, S. Swallow, B. Previte "You Don't Know The Life')

'Hiding in Plain Sight'
The fifth studio album from WorldService Project to be released on 25th September 2020 on RareNoiseRecords.

All music and text written by Dave Morecroft

Dave Morecroft - keys/vocals
Ben Powling - sax
Arthur O'Hara - bass/vocals
Luke Reddin-Williams - drums/percussion
+ 
Kieran McLeod - trombone (tracks 2, 6, 8, 9)

Produced by Liran Donin
Mixed by Moshik Kop and Liran Donin
Recorded at Greenmount Studios, Leeds

The Kipper And The Pork Pie

RareNoise’s mission is to detect and amplify contemporary trends in progressive music, by highlighting their relation to the history of the art-form, while choosing not to be bound by pre-conceptions of genre. It seeks to become a guiding light for all those enamoured by exciting, adventurous and progressive sounds.

Animation - Genesis Code

RareNoiseRecords

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