Jaubi - Satanic Nafs - Gaslamp Killer & Mophono Remix 
Buy the 7" here Friday March 26th! www.jaubi.bandcamp.com
Watch the video here https://www.youtube.com/watch?v=_nI65CIhxhU

Jaubi - Satanic Nafs (The Gaslamp Killer & Mophono Remix)

I am very excited to announce I am releasing a new track called "Recursion Constructors". This piece was a commission for the University of Huddersfield. A 12-minute mind-bending Electroacoustic journey driven by a customized MakeNoise modular system and various objects, that utilized the FluCoMa toolset.

Link to the track on Bandcamp: https://richarddevine.bandcamp.com/track/recursion-constructors

Grab the free Max/MSP patches, samples, Morphagene Reels, and a detailed explanation of the making of "Recursion Constructors" in the link below: 
https://learn.flucoma.org/explore/devine/

Recursion Constructors

Transonic

HOLE IN THE GROUND (Original Motion Picture Soundtrack)
CAT NUMBER: NO 12
RELEASE DATE - 8th September 2023

The Hole In The Ground (Original Motion Picture Soundtrack) is bursting with rich treats from the imagination of Amon Tobin. 
A film in audio/visual excerpts, each track has its own short selected from the visual explorations of Tobin’s alter ego Shy1 and musically we are teased with beguiling and frightening hints at what the story of this place we see might be. 
It’s a collection of music and imagery playing with themes and deliberately incomplete narratives,  inviting us to wonder; where is this place? What is the story of these characters?
The viewer is left enough space for their own imagination to begin to fill in the gaps.
It’s an enjoyably menacing process. 
The perpetual undulation between hope and fear coursing through each and every minute of the EP’s 6 tracks.

Opening with the ominous, glittering Hole in the Ground with plaintive cries from the edges of the universe, Ghost of a Star brings a disturbing and delicate urgency through sound and visuals where we appear to be presented with the sculptural, modular construction of a Black Hole. A portent of what is to come or a playful game the Gods play to amuse themselves?

If we could intercept the conversations the machines are having then Wolves in the Yard is how they may sound. It builds and builds leaving us with an inkling that perhaps something that is not our friend is coming close.

Larkspur reveals a beautiful, biomechanical temple and its acolytes. But did they arrive with the vessels featured in the earlier Hole in the Ground film or do they worship them? Again the questions… What is this place? Who are these people?

Self Collider tantalises with elements of light, in sound and vision. A different climate suggests there is more than one tribe in this evolving world and there amongst the triumvirate of dancers is a character already familiar to Nomark devotees, Figueroa. 
Celebration, ritual or necessity? The billowing choreography of Self Collider’s dancers is filled with an intense  grace and a fierce determination etched onto the faces that we can see. As their dance comes to an end there is an enigmatic serenity in their eyes. 
There’s something curiously optimistic and grand about Pale Tundra that keeps you guessing. A mighty rock looms large in an otherwise flat and ice encrusted landscape, as our view sweeps across this unnatural wonder your eyes are drawn by details you may not have noticed at first. Beneath the horse like rock paintings, are there really petrified faces trapped in the lines and shadows of the cliffs or is it just a pareidolic response?

Hole In The Ground (Original Motion Picture Soundtrack) is a glimpse into the developing work of film score and story. 

Tracklist:
Hole In The Ground
Ghost Of A Star
Wolves In The Yard
Larkspur
Self Collider
Pale Tundra

Ghost Of A Star

Hole In The Ground

this track is a part of the "Potential Energy" album released on ANTISPACE by Mad Zach.

Support the release on Bandcamp: madzach.bandcamp.com

@antispaceorg

Potential Energy

Good Stuff Comin Thru

I have no idea when I recorded this.  However, since  the most recent tune featured is the Soul Oddity remix, which came out in 2003 on the Salim Rafiq Sound Off 2 mix, I think we can safely say it was sometime around 2003.

Tipper - End Of Make Believe [Fuel]
Tipper - Oblong [Fuel]
Soul Oddity - DJ Tokyo (Tipper's Troll Mix) [Fuel]
S.I. Futures - Eurostar (Tipper Remix 2) [NovaMute]
Tipper - Subalicious [Fuel]
Tipper - Sine [Fuel]
Eyedentity - Heavy Interference (Tipper Remix) [Electric M.E.L.T.]
Ils - Revolver (Tipper Remix) [Fuel]
Tipper - Donut [Fuel]
Tipper - Multiplexus [Fuel]
Diaskeaust - Lattitude By Observation (Tipper Ordinance Survey Mix) [Fuel]
Grooverider - Where's Jack The Ripper (Tipper Remix) [Higher Ground]
Q Project - Champion Sound (Tipper Remix) [C.I.A.]
Tipper - Tug Of War [Fuel]
Leftfield - Dusted (Tipper Remix) [Hard Hands]
Tipper - Supersport (SE Mix) [Fuel]
DJ Rap - Bad Girl (Tipper Remix) [Higher Ground]

Bushby - Tipper Mix (2003)

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

“Beginning as the End” is a hauntingly cyclical piece — a sonic meditation on rebirth, closure, and the fluid boundary between creation and decay. It’s the kind of track that feels like both an arrival and a departure, an aural paradox where endings dissolve seamlessly into new beginnings.

The song opens with distant, echoing tones — ghostly, uncertain, like the first flicker of light after darkness. Slowly, a low rhythmic pulse emerges, heartbeat-like but irregular, hinting at instability beneath the calm. The textures feel weathered yet alive — analog synths drift in and out of focus, their imperfections adding warmth and humanity to the mix.

As the track unfolds, layers build in quiet waves. Subtle harmonic shifts create a sense of inevitable progression, but the momentum is circular rather than linear — everything moves forward while folding back on itself. There is a sense of existential stillness here, using repetition not as monotony, but as meditation.  By the final passage, the soundscape softens into silence, but it doesn’t feel like an ending. Instead, it feels like an inhale before the next exhale — the closing of one loop and the quiet birth of another.

“Beginning as the End” is a masterful reflection on continuity — serene, philosophical, and deeply emotional. With restraint and precision, sound turns into a metaphor for the eternal rhythm of creation, loss, and renewal.

Beginning As the End

Link to the video captured here in real-time: https://vimeo.com/150015591

Patch Notes:

This was a patch experiment using the new Mutable Instruments Rings/Clouds Modules, and trying to create strumming/plucking guitar like sounds within a patch. The inspiration came from playing around with the Clouds Parasites 1.3 alternate firmware running in the Resonator mode highlighting the "scatter" (or strum) function. The master clock was the Tiptop Circadian Rhythms module, taking the first 4 outputs into my Nord Drum 2 for the Kick, snare, closed and open hi-hats. From there the clock output from the CR was multiplied and then sent to the Modcan Touch Sequencer. First row output from the TS was sent to the intellijel Shapeshifter creating a two note baseline sequence that comes in at 1:58. The second sequence Row2 output from the TS was sent to the "ALM Akemie's Castle" module OSC A output using the chord function, that comes in at 25 seconds. The gates from the modcan where set to a 16th's pulse sequence. Modulation from the synthesis technology E102 Quad Temporal Shifter output 1 modulating the Multiplier input on Operator 1. The 2, 3 and 4 outputs from the E102 where also modulating the Operator 2, 3, and 4 inputs on the Akemie's Castle. This was creating the harmonic timbre changing as the sequence was playing.

The slowly evolving sweeping noise textures that come in at 1:09 is from the Music Thing Radio Music module. The sample was a white noise sampled lightly filtered and then sent to the intellijel HexVCA with the amplitude CV control via a Intellijel Dixie modulating from slow to high rates (free running). The Make Noise Rene was being externally clocked from the Circadian Rhythm, and was sending out a quantized output to the Mutable Instruments Clouds pitch input creating the chord guitar sequence. The strum sounds on Clouds was played by the 4ms QCD running in 32th division output into the Trigger input. The freeze input was also triggered by a Ladik R-110 Random clock module. The combination of the two created the trill chord like strums.

The bass guitar tone sound that comes in at 1:24 are from the MakeNoise Mysteron, that is being sequenced by the Modcan Touch Sequencer, Row Output 3 was programmed in the same key but a lower octave. The "Rings" module was creating slow attack soft high pitched chords in reverb that come around 2:50. There was additional processing of the Clouds output that was sent into the Tiptop ZDSP module running the "Halls of Vahalla" card program 8 "Ginnungagap" creating the high pitch octave deep reverb shimmer effects. The harmonic slow swells that come in at 3:30 where created using another intellijel Dixie oscillator sine output running into an Strymon "Big Sky" pedal being harmonically controlled by an intellijel µScale V1. The output was being played slowly then processed using the "Choral" mode, creating the slow shimmer swells. The entire mix was sent into the Eventide Space pedal using the "Corridors" patch.

Mutable Instruments Rings : mutable-instruments.net/modules/rings
Clouds Parasites firmware: mqtthiqs.github.io/parasites/clouds.html

Strum - Modular Patch

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

Strum - Modular Patch

RichardDevine