The sequence starts with a cable connection to the clock output from the Steady State Fate Ultra Random module. This clock output was sent to an intellijel hub mult. From here the clock was sent to first to a 4ms RCD/QCD, Delptronics Trigger Man, and to the MakeNoise Rene. First output gates from 4ms RCD 4 divide output to the trigger input on the Braids module top row, running in "WLIN" mode. The second multi-output was sent to a 4ms QCD output green channel 4, set at a division trigger time of 16. This would trigger single notes on the "Elements" module, that begins at 1:42. The playback mode is running in "Secret Easter Egg Mode" :-) The selected note sequence from the QCV output from Rene. The final output from Elements was sent to the Eventide "Pitch" pedal using the "Crystalizer" algorithm.

Clouds - was processing recorded chunks from the drum percussion, kick used from the top row "Peaks" 808 kick drum synthesis model. Then a snare was created from the "grey" noise output from the SSF Quantum rainbow running through the right side of Streams to make a snare drum, which was running in envelope mode with shape position to the left, short decay. Then a third voice uses the blue noise output from the SSF quantum rainbow for hi-hats. Amplitude triggered/controlled by a HexVCA. The drum sequence was programmed from the Delptronics Triggerman, using all 8 patterns stringed together running in pattern play mode but being CV controlled by the S&H # 1 output from the SSF Ultra Random. Output for all voices was grouped and multiplied into two separate mixers. First three channels of the Intellijel Mutamix, which was then sent to output channel B. From there the summed mix was sent into the "left" side input of Clouds. Then triggered in time with the sequence by an 8th division trigger from the 4ms RCD. The freeze input in Clouds was triggered in time 7th divisions from the 4ms RCD, so that the chunks would process and record then playback in spurts of timed randomness. The mode was set in the pitch-shifter/time stretcher configuration, where the grains were spliced so that created interesting granular pitching repeats and percussive glitch effects, as the rhythmic beats played through. Focused ranges were selected for the "Density/Pitchshifter" and "Timestetcher/Texture" controls. These were being controlled by the S&H #2 output from the SSF Ultra Random. The 1/volt pitch input was controlled by the toggle A/B output from the SSF ultra random. The clean drum outputs were also sent to channels 5, 6, and 7 on the Blue Lantern "Mix 'Em Up" module.

Streams left side processing from the MakeNoise Mysteron output, which was being triggered by the 5th division output, for the metallic ripple delay like sounds, with the mutation knob set to counter-clockwise, low bit mode.
The "Shelves" module was processing the acid-like filter parts that get un-muted at 12 seconds. The sound source running into "Shelves" was the "Braids" module bottom row, running in "CSAW" mode. CV controlled by the CV output from the MakeNoise Rene sent to another intellijel hub mult. From here each CV output was sent to the "Frequency" inputs pink, green, and white jacks on "Shelves". The "Tides" high tide output modulation the CV controlling the top frequency input on "Shelves" Each filter knob was set so the incoming "CSAW" input was being processed like a formant filter effect.

Smooth Sub OSC bassline coming from the MakeNoise STO. This was being CV controlled by an intellijel ￼µScale (B) output. Playing back 8 notes while being triggered from the 2nd division trigger on the 4ms RCD. Triangle wave output from an Intellijel Dixie (synced) to the sequence controlling the input (1V/Oct). Second STO at 55 seconds, alternating high note triggers from the 1 channel output from the 4ms QCD 6th division output. The second STO output was sent to a MakeNoise Optomix for short quick plucks.

Clouds & Streams

Voicheck presents "Atlatl" EP, an exploration of pre-historic themes through organic sounds, experimental sound design and intricate grooves. This six-track collection showcases Voicheck's adeptness at crafting immersive sonic landscapes that transport the listener to a by-gone era. From the ethereal atmospheres of "Pebbles" to the pulsating rhythms of "Worship the Python," each track invites listeners on a journey through soundscapes both familiar and uncharted.

Find On All Platforms:
https://www.submithub.com/link/voicheck-atlatl-1

credits
releases March 8, 2024

Miru Krenger, a.k.a. @Voicheck
Production, mixing and composition (all tracks)

https://soundcloud.com/yotahh - Mixing Support & Creative Input (all tracks)
Julieta Colette - Flute on ‘Worship The Python'
Sandy Finlayson – Mastering
El Pacaya - Artwork

Outtallectuals Ltd:
Recording & publishing rights (all tracks)
Label Links: fanlink.to/Outtallectuals
License Songs: info@outtallectuals.com
https://soundcloud.com/outtallectuals

Atlatl

Voicheck - Breaking Stones [Outtallectuals]

W&P: @herbalistekmusic
Master: @qqantt
A&R, artwork: @emiliagrima

Zingiber Mioga

W&P: @herbalistekmusic
Mastering: @qqantt
A&R, artwork: @emiliagrima

Patterns Beneath the Eyelids

SERA023: Satellite Era presents “Aetherial Pulses EP” - a futuristic sound collage by Mhamed Mansouri, best known as @disektor.

Wrapping up our most active year at the Satellite Era HQ finds us taking a glimpse into what is to come. With 2025 looking to be even busier, we call upon an old friend to guide us into the unknown by setting a strong sonic precedent, while still paying homage to the formative style of our vast audio museum.

Over two years since his label debut on our acclaimed Distant Arrays series, we welcome back Moroccan based producer, sound designer, programmer, and visual artist. He first landed on our radar as a standout in SoundCloud’s experimental niche back in early 2020, the same year as our imprint’s conception. Complementing his production are interactive live performances that utilize creative coding, which generate varied results with each passthrough and are repurposed back into his workstation - a feedback loop tested for success. Founder of Geometric Corruption, the collective works in tandem with us and our friends at glitch.cool to tend to the international community, bringing together experimental electronic enthusiasts from around the world. Rather than conforming to a set approach, he builds on the high-fidelity hyperglitch subculture with a twist of his own - songs that feel more musical and intricate overall. This attribute has ultimately led him to his next offering to the consumers of computer music.

“Aetherial Pulses EP” finds Disektor teetering between digitized realms & the natural world, taking the form of a sonic poem that exhibits glitched maximalism & melodic tones alike. The project still delivers stuttering drum patterns meant to engulf the listener, but also paints the rest of the stereo with a coating of lush ambiance. The project begins with “Reflections,” a mellow entry with a grueling bassline that progresses into a preview of the complexity ahead. The title track serves its purpose as a clear summary of the EP, while heightening the energy with vocal chops that feel almost psychedelic at times. The pulsating synths really begin to take form in “Lush Deviation,” a middle-ground between heavy low-end presence and percussion riding higher frequencies. “Emergence In Motion” recruits frequent collaborator Tenebral Cortex to deliver a seven-minute cinematic experience of its own, which feels like a separate story within the entire narrative. “Waves” is a formidable end to the project, with an eerie yet beautiful piano melody in the outro that leaves it open-ended.

Although “Aetherial Pulses EP” is only Disektor’s second-ever extended play, the project is easily his best and most emotive work yet - a stepping stone for what is next on his musical agenda. The undertones speak of finding senses of tranquility in the decaying Earth around us however we can. It perfectly contributes to our DNA as servants of the experimental intersection and delivers a memorable, sometimes challenging journey. 

Written & produced by Mhamed Mansouri
Mastered by Amir Mashayekhi
Cover art & visual designed by Nic Juister

BUY / STREAM

Disektor - Aetherial Pulses

Make it yours here: https://herbalistekmusic.bandcamp.com/album/inner-surface

"We’re stoked to share Inner Surface: a collection of our favorite tracks that have sparked deep reactions on systems. Mostly rooted in our love for psychedelia, textured grooves, and that strange sense of hazy clarity, this EP draws from the subconscious forces that shape us such as ego, illusion, and desire: the tension between what lies within and what shows up on the surface.

These inner forces can loop in on themselves, like thought spirals you can dance to.
That idea guided this approach to both sound and structure.

We drew from a wide spectrum of psychedelic music, bass, techno and IDM - the sounds that have shaped our perspective and challenged our sense of form.

This project leans deep into the low end but pulls textures and feelings from all directions. A reflection of sound as sensation, instinct, and pattern.

We’re glad to put this out there and hope it finds you in the right headspace."
—Herbalistek

Inner Surface

Get Me

Herbalistek – Avaricia (feat. Allen Mock) [YUKU]

SWINE PREMIERE >>> Herbalistek ~ "Continuous Tone-Coded Squelch System"

The CRTTR-CLB is a new series that carries the vision of exploring different ways of challenging the notion of club music. For each release the collective aims to bring together 4 artists who have somehow given CRTTR a glitchy feeling on the dancefloor, while digging or in any other listening situation.

Deep dive into experimental trippy sound of Herbalistek 😈

Bandcamp

[Swine Premiere] Herbalistek - Continuous Tone-Coded Squelch System (CRTTR)

Link to the video of the patch, recorded in one take here: https://vimeo.com/136165676

download to the .wav file :-)

Patch Notes:

Harmonic patch using the new MakeNoise tELHARMONIC is a Multi-Voice, Multi-Algorithm synthesizer, and 4ms Spectral Multiband Resonator. The master clock is the Tiptop Circadian Rhythms. Clock output running into the Modcan Touch Sequencer. Channel output one running into one intellijel Dixie (V1) for the bassline. Dixie output running into a Mutable instruments Ripples filter (LP4), triangle waveform. Second channel output sequencing quantized 8 note sequence to the telharmonic oscillator, creating the first lead sequence in the patch (major scale set). One Mult output taken and sent to the Strymon BigSky reverb pedal to create the delicate swarm pads that rise in and out at the builds. Amplitude control of the slow rises via the intellijel HexVCA, slow rate control from one Modcan Quad LFO. The other output is then taken and sent to the Qu-bit RT-60 reverb. Third output from the Modcan TS sending quantized CV to the MakeNoise STO oscillator variable SHAPE output then sent through lower section of the MakeNoise Optomix. The forth output from the Modcan TS is sending a 4 chord pattern (min9) to the intellijel shapeshifter module in chord mode. This output is then sent to another Qu-Bit RT-60 reverb algorithm. MakeNoise Mysteron plucking guitar like effect being triggered by a 4ms RCD, 5th trigger out. The Mysterson then is running out into a Strymon BlueSky pedal, reverb.

Drum sequencing from TipTop CR, channel one kick drum going to the Nord Drum 2. Second channel number 2 triggering a custom snare drum made on the Nord Drum 2. Channel 6 from the CR triggering a low bass drum, in the key of "C". Clock output from CR into the 4ms SCM being rotated by a intellijel dixie sine wave output running at a slow rate shifting the 16th's hi hat pattern. Noise source for hi-hats are the SSF quantum rainbow 2, purple output running into the MakeNoise Optomix. The high end snare clap sound is by the Synthrotek's DS-M drum module, then being lightly processed by the Synthrotek DLY, slowly CV controlled by a Modcan Quad LFO in random mode creating more glitchy effects. This is then being sequenced by channel number 2 from the tiptop CR. The first lower left side 4ms Spectral Multi-band Resonator processing 72 custom DSP samples, which are being played by one addac wave player. The output is then being sent to a intellijel uVCF filter (hi pass), for the light subtle glitch textures. The second 4ms Spectral Multi-band Resonator, processing another set of 32 samples (noise washes/slow rises/falls) via channel number 4 from the CR tiptop. From here the output is being processed by a Mutable Instruments Clouds (granular mode), being controlled by the Pittsburgh Modular Game System running "Meteor Shower" mode in which the explosion based gates and random control voltages are then being sent to 3rd Dixie, controlling the CV rate time then from there its sent to the "Freeze" input on clouds, processing small bits of audio coming from the second addac waveplayer, The second output coming from the gamesystem is going into the "position" input on Clouds, which is doing some additional glitching to the signal.Main output from a intellijel Mutagen mixer then ran through the Eventide space pedal for extra spatial atmosphere. :-)

Harmonic Symmetry - Modular Patch

Track 3 from 'Hidden Structures', released on Leisure System

Thin Shell, Inner Void

Pulse/Excerpt/Short Experiment

From the Transition EP, due to be released 23/02/18 on Mesh.

Also as part of the EP release, I've made an algorithmic summary of my entire musical output since I started writing in 2003.

You can listen/watch the A/V experiment here:
robclouth.com/transition/

The artwork is based on growth-rings in trees and is a data-visualisation of my entire back catalogue. You can read more about it in the link above.

Buy / Stream

Like A Second Sun

New EP Systik now available: https://richarddevine.bandcamp.com/

Bookings: mia@lb-agency.net

Pulse/Excerpt/Short Experiment

RichardDevine