https://bedouinrecords.bandcamp.com/album/tiers
https://ryomurakami.bandcamp.com/album/tiers

Ryo Murakami Tiers(excerpts) Bedouin Records – BDNLP013

featured artists: https://radio.syg.ma/episodes/unline-frequencies-earshot-xll
https://unline.bandcamp.com

Unline

Unline Frequencies – Earshot XII

0.9999...//READ THAT SEQUENCE LIKE A MANTRA.

After their successful collaboration on <3, Atom™ and X1N are back, this time presenting the 4 track EP »0.9«. It contains both the opening and closing tracks of <3 as well as their corresponding mutations. While »0.9 (almost a unit)« was remixed by Esplendor Geométrico, »Almost a unit (0.9)« got reworked by Peter van Hoesen. »Both renditions contribute amplified iterations of inherent attributes of <3« as X1N eloquently states. On a side note it may be mentioned that in mathematics, the expression »0.999..« is considered being identical to 1. Meditating over that very fact may tell you a lot about our current reality. 

#hardcodepop 
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PROXIMITY IS DESTINY
DREAMS AS SEARCH ENGINES
X < Y < Z
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IN THE VAST SURFACE OF ALL MATHEMATICAL EQUATIONS ONE CAN SENSE EVENTS WHICH SEEM TO COME FROM OTHER DIMENSIONS - RIPPLES AND PATTERNS. THE ZERO POINT NINE INFINITE NUMBER LINE NEVER REACHES ONE, YET IS ONE, NONETHELESS. (X1N)
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»I TALK IN ALPHA NUMERALS«
(X1N)
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### denotes »end«. no more messages to follow.

Atom™ »0.9 (Almost a Unit) [Esplendor Geométrico Remix]« taken from »0.9«

First hour : December 

Second hour : Lostsoundbytes

Brussels based producer Lostsoundbytes and Vastechoses head, develops an haptic music. This podcast is dedicated to his productions. A « collage » between unreleased stuff, unfinished material, sound matter research, sound experimentations, lives extract.

Rinse France Podcast

RINSE FRANCE - December Radioshow #56 w. Lostsoundbytes

For this @DarkScienceElectro premiere, we check out a track from @appliedresearch compilation called 'What We Do Is Secret'. 

This compilation has a serious lineup of sleeper hits ranging from cosmic melodic melancholic, extraterrestrial funk, to cavernous repetitions straight from the mothership… The sound is dark with chromed-out overtones, tailored to take the listener on nightly escapades in a dark neon-lit digital dystopia. Sweat it out to dark esoteric grooves.

Clips: https://soundcloud.com/appliedresearch/what-we-do-is-secret-previews-out-june-11
Buy: https://appliedresearch.bandcamp.com/album/what-we-do-is-secret

-WHAT WE DO IS SECRET-

Buy Here

PREMIERE: Mercurymen - Galaxian (Applied Research)

READ > https://inverted-audio.com/premiere-laughing-ears-breakaway

On ‘Losing Track’ EP, Shanghai resident @laughingears demonstrates clear reverence for the loosely defined UK bass music that emerged following the formative years of dubstep. However, this is not to say that the track is formulaic. ‘Breakaway’ is certainly going to keep both dancers and DJs guessing.

Losing Track EP

Laughing Ears - Breakaway [Hemlock Recordings]

KabelSalaD

abyss

Down Like Dominoes originally released under my old alias 'Jon2Bon' but remastered.

Down Like Dominoes (Remastered)

PREMIERE COMME DES LARMES – CDL

PREMIERE CDL \\ Fatal Kama - True - Name Talker [Rare Night Beatnik] (2021)

Artist » Fatal Kama - https://soundcloud.com/fatal-kama
Ep Name » Nation on Abomination
Label » Rare Night Beatnik - https://soundcloud.com/rarenightbeatnik

Format: CASSETE + Digital Album 
Release date: January 19, 2021 

BUY HERE: https://rarenightbeatnik.bandcamp.com/album/lost-affair-fatal-kama-nation-on-abomination

NATION ON ABOMINATION

And the twisted blow, I am now walking in darkness.
I think of the dead and suffering nations.
What a pain
your own sword in your skin

violence,
drunkenness,
hypocrisy,
meanness,
abomination.

Youtube: https://youtu.be/SwGyeybu7xQ

SUBSCRIBE on YouTube new channel CDL PREMIERE TRACKS

»»» www.youtube.com/channel/UCWqxig3tAym4XV_iuaKvvIQ

Follow US:
https://linktr.ee/commedeslarmes

Nation on Abomination

PREMIERE CDL \\ Fatal Kama - True - Name Talker [Rare Night Beatnik] (2021)

Youtube

Acclaimed UK electronic musician Kevin Richard Martin (The Bug, King Midas Sound) releases a stunningly powerful rescore of Andrei Tarkovsky’s seminal 1972 movie Solaris on Phantom Limb.

In May 2020, British musician Kevin Martin was invited by the Vooruit arts centre in Gent, Belgium to compose a new score for a film of his choice. Having been long inspired by pioneering Soviet filmmaker Andrei Tarkovsky, Martin tells us that his 1972 masterpiece Solaris was the “natural choice”. The film is an unattested giant, not only of science fiction and Soviet film, but also in the annals cinematic history. And its original score, composed by regular Tarkovsky collaborator and early Soviet electronic musician Eduard Artemyev, is a magnificent work of haunting majesty, a key element to the film’s brilliance. Martin’s challenge was great: “it was with a certain amount of trepidation I stepped into such large footprints,” he writes.

The results - an all new score entitled Return to Solaris - are breathtaking. The film is intense, psychologically devastating and bleakly compelling. Interweaving themes of love, horror, sorrow, nostalgia, memory and dystopia, Martin’s score expertly mirrors this expansive breadth of psychic weight, from existential dread to heartbreaking poignancy, with immense emotional gravity. Drawn to its “narrative struggle between organic, pastoral memories of a lost past, and the harsh, dystopian realities of a futuristic hell,” Martin employs atonal noise, simmering waves of distorted synthesis, undulating drones and otherworldly, astronomic sound-design to crushing effect. Subtly submerged recurring motifs - reflections of individual characters - rise and fall amidst the fog, occasionally illuminating the doom like motes of starlight, before settling back into the density of space.

Album opener “Theme for Kris'' begins with a shimmering, alien tone, mimicking a disembodied, metallic choralsong that creeps and snakes about an unsettling frequency range. Ghosts aboard a deserted space station. The hissing, technological dystopia of subsequent track “Solaris'' sends evaporating torrents of steam through bulging, clanging, echoing chords, while later on the record, “In Love With A Ghost” revisits these same passages of seething doom, but now refocused into billowing, droning clouds of noise.

Determined that his score should retain the eerie, dreamlike mood of the film and authenticity to its era and origin, Kevin mined his analogue lab for suitable instruments and recording equipment, favouring antiquated, hands-on hardware over computer-based production techniques. With Voorhuit’s help, he acquired an original Pulsar 23 drum machine, created by cult Russian synth builders SOMA Laboratory. Appropriately, much of his rescore is centred around its spectral, strung-out sounds.

The project represents many firsts for Kevin: his first commissioned soundtrack; his first composition to picture; his first work in his new Belgian home after a move from Berlin; his first live performance to film screening. On completion, he performed Return to Solaris to picture over sold out two nights in October 2020, in the beautiful Voorhuit concert theatre of Gent, Belgium. And, with huge personal significance, this was his first public performance of the Covid era. He performed to a socially distanced crowd, many of whom unaware of his existing profile, “which made the rapturous reception and incredible feedback to the performance all the more memorable,” he writes.

Tarkovsky’s Solaris won the Grand Prix Spécial du Jury at the 1972 Cannes Film Festival and was screened for an incredible fifteen years uninterrupted in the Soviet Union. It is placed highly in “greatest movies of all time” lists published by Empire and the BBC, among others. Steven Soderburgh directed a Hollywood remake in 2002, starring George Clooney, and scored by Cliff Martinez.

In Love With A Ghost

official soundcloud page of raster - artistic platform.