I used short snippets of a 78rpm recording of Pagan Love Song.

Faded Map

Preview from upcoming EP. This track is about the mythical Piasa bird coming to attack a tribe in the Illinois Mississippi River Valley.

Attack Along the Mississippi

New Jam

Regex (CassetteRip)

RIOT Ensemble, cond. Aaron Holloway-Nahum 

Distat Terra Festival 2022

Tränen und Ozeane (2022)

sinewaves + LFOs played on an akai MPC 1000

230108 (dodecalogue 007)

Mi Cosa de Resistance is Buenos Aires, Argentina based artist Fernando Perales, who has released with labels including Elm, Rusted Tone, Minimal Resource Manipulation, Aural Tethers and his own imprint ‘Hissful Tapes’. Fernando was also the spearhead behind the various artists album ‘A Speechless Body’ which we released on Whitelabrecs in January 2022. Within the line-up of artists included in this project was Ciro Berenguer with whom he has collaborated for this album.  Ciro also originates from Argentina, hailing from Rosario but for the last couple of decades, he has lived in Barcelona, Spain. Ciro’s music has been released on labels such as Dauw, Eilean and Slaapwel. He has also collaborated with Ghost and Tape (Heine Christensen) as Sokkyo.

This collaborative album between Mi Cosa de Resistance and Ciro Berenguer is entitled ‘El final de las lluvias', which translates to ‘The end of the rains’. It is inspired by moments of transition; in the Mediterranean they know Spring has ended and Summer is approaching once the rain subsides. This may be the title of the album and but one example, yet the broader theme of the album is to mark the end of something, and the beginning of something else.

There is a balance of these artists’ respective styles and inputs, in an album adept in presenting light, dark and melancholic moods through its many shades. It’s a space in which their musical personalities can live alongside one another as one, with Fernando’s hints of darkness placed alongside Ciro’s music box compositions and recordings of bicycle rides through the suburbs of Barcelona. It draws in experiences of pre and post pandemic life, from the viewpoint of two populous cities, and its blend of blurred naturalistic-leaning tones sit, decayed, against an urban bedrock. At times optimistic, at times despairing, El final de las lluvias was finished in Spring 2022 as these artists emerged from a 2 year period of life, learning to deal with the challenges of the pandemic. This record, a document, marks the conclusion of one phase, and the beginning of something else.

El final de las Iluvias

wlr138 Mi Cosa de Resistance & Ciro Berenguer - El final de las lluvias

Aryl Kabemoc

flagellatio ii (torso) for a performer and amplified piano + live video ad lib.

HfMDK Frankfurt (Kleiner Saal) | 11/12/2016

PERFORMANCE — Gilles Grimaître | www.gillesgrimaitre.com
RECORDING — Christoph Schulte
MASTERING — Raphaël Languillat | www.raphaellanguillat.com

Saskia's Lankhoorn video - Gaudeamus Muziekweek 2018: https://www.youtube.com/watch?v=OpFCKxVbQn8

flagellatio ii (torso)

Homo Machina is the first work composed as part of the suite Der Industriepalast. The piece is deeply influenced by the work of infographic pioneer, Fritz Kahn (1888-1968). Kahn’s most pivotal work was the life-sized poster “Der Mensch als Industriepalast” (Man as Industrial Palace) of 1926, which this piece is based upon.  Such is the inspiration of his work, it has influenced children’s anatomy books, comics (e.g. Numskullz) and even movies (e.g. Fantastic Voyage).

The visual crossover between industrialization and science in Fritz Kahn's artwork demonstrates the means by which human nature became culturally encoded by placing the knowledge of the human anatomy within the context of the modern, industrial world. Kahn produced lots of illustrations that drew a direct functional analogy between human physiology and the operation of modern technologies of the times. Therefore, by illustrating the body as a factory, Kahn was able to relate the body’s complex organic interior to the industrialized space so common in society during  the 1920’s.

As the work is intended as an introduction to a far longer suite, it is intended to provide an overview to the sounds that Kahn may have imagined as he was creating his remarkable graphics. It is therefore structured into 6 sections. 

Introduction: 00:00-00:21
Lungs: 00:22-02:03
Heart: 02:04-04:01
Brain: 04:02-06:05
Digestion: 06:05-07:59
Homo Machina : 07:59-10:07

Homo Machina

DR0000 0158

᥅ꪖρꫝꪖëꪶ ꪶꪖꪀᧁꪊ꠸ꪶꪶꪖꪻ
• composer / performer / sound designer
• curator ~ Naxos Hallenkonzerte
• based in Offenbach/Main (DE)
• part of Studio Wäscherei

flagellatio ii (torso)

᥅ꪖρꫝꪖëꪶ ꪶꪖꪀᧁꪊ꠸ꪶꪶꪖꪻ

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