Very cool. Reminds me of old school artist Bitcrush.

your love is as toxic 
as phosphorus lakes

and that`s why i want it
to end all this pain

to end all the suffering
erase all mistakes

to kill all the life
you kill all the life
to kill all the life
to kill all the life
...............................................
your desire is deadly
as grant oil spills

the human nature of
seeking cheap trills

mystification
whilst is slowly kills

all the life
you kill all the life
to kill all the life
to kill all the life
...............................................
you act high & mighty
like you`re in control

meanwhile you are programmed
to consume petrol

there is no free will
you don`t have a soul

we can only kill
it`s what makes us whole
 
to kill all the life
to kill all the life
we kill all the life
to kill all the life
...............................................
there`s  only one virus
on this planet earth

parasitic behaviour to numb all our hurt

we are the undead
we are the true dirt

we kill all the life
we kill all the life
we kill all the life
we kill all the life

we kill all the life
...............................................
i've been deemed priestess of the undead
it`s why i must tell you
though we never met

you are the true plague
you are the undead

for  eternity`s sake
off with all heads

we kill all the life
we kill all the life
we kill all the life
we kill all the life
we kill all the life

keta gözlüm - phosphorus lakes

This composition is the result of my artistic residency at Uncool in Poschiavo (Switzerland 2021).
It is a radio portrait of Poschiavo town, its surrounding mountains and glaciers. During the residency I did outdoor self-made recordings of VLF natural radios phenomena, meteor echoes, electromagnetic field and radio communication. This portrait is a part of my ongoing  project started in 2014 about creating radio portraits around the world called “The unknown beyond” .
PHOTO CREDIT: Thomas Rohrer

Radio Portrait of Poschiavo 

" Poschiavo - A Radio Portrait" @UNCOOL artistic residency 2021

A Star-sized Impact-produced Dust Clump in the Terrestrial Zone of the HD 166191 System.
This intense activity is highlighted by a star-size dust clump, passing in front of the star, in the midst of its infrared brightening.

Dust Clump

Site recording of 'Partials' at Miguel Abreu Gallery, New York, October 13, 2021–December 4, 2021 . 
" ... at stake is an explicit refusal of the pervasive notion that sound, over and above the other senses, is a universally immersive and unmediated experience. Instead, 'Partials' takes off from the knowledge that our sense of sound is always incomplete, differential, phenomenally distinct and materially pliable... " More: www.marinarosenfeld.com/partials

'Partials'

L'Infinie puissance des vagues - Mvmt. I

L'Infinie puissance des vagues won the student prize of the international electroacoustic composition competition KLANG! 2023 : https://klangacousmonium.wordpress.com/concours-international-de-composition-electroacoustique-klang/

Le titre et le concept sonore de cette pièce sont tirés d'un poème en prose de mon père. La phrase entière est : "À chaque assaut de la mer, il rit, il joue à avoir peur, car il ne connaît pas encore l'infinie puissance des vagues.” Ce mouvement est un labyrinthe sonore. Les portes s'ouvrent et se ferment. Les murs apparaissent et disparaissent. Le sol s'écroule. Les plafonds s'effondrent. Les couloirs s'entremêlent et se délient sans cesse, évoquant une cartographie sonore en constante évolution dans l'imagination de l'auditeur qui s'étalera au long des deux prochains mouvements.

The title and sound concept for this piece are drawn from a prose poem by my father. The translation of the full sentence is : “They laugh at each assault from the sea, playing at being scared, for they don't yet know the infinite power of the waves.”  This movement is a labyrinth in sound. Doors open and close. Walls appear and disappear. Floors fall out. Ceilings cave in. Corridors are incessantly interwoven and unwound, evoking an ever-changing sonic cartography in the listener's imagination which will spread across the two following movements.

composé mars-mai 2022, la haye

À chaque assaut de la mer, il rit,...

Music performed by Francesco Corvi (nesso.xyz) using generative systems and live coding techniques

All rights reserved

Excerpt from live at The Grey Space (The Hague)

"Black Truffle is pleased to announce Tender Membranes, the label’s first release from Swedish-Finnish sound artist and electro-acoustic composer Marja Ahti. Active for a decade in the Finnish underground music scene, in recent years Ahti has developed a distinctive approach to patiently unfolding electro-acoustic constructions, documented on a string of solo releases and collaborative projects with Judith Hamann and her husband Niko-Matti Ahti. Working with concrete and instrumental sounds, field recordings, and electronics, Ahti favours neither disjunctive collage nor monolithic consistency; rather, her work is composed of organically unfolding sequences of details and textures, which, as she says, ‘can stretch out or cut fast as long as they have a sense of inner stillness’, a sense that she connects to moments of heightened attention in everyday life.

Tender Membranes consists of four lengthy pieces, partly inspired by the image of the senses and mind as membranes allowing for the passage between inner and outer spaces, sensation and its causes, creating a world. Ahti’s unhurried pacing encourages this sense of listening as an opening or surrender to sound, which can often create the impression that the listener is moving through a space zooming in on details. The opening Shrine (Aether) exemplifies this aspect of Ahti’s approach: a bell clears the air with a single long tone, followed by the ambience of outdoor spaces, crackling electronics, an archival recording of a horsefly on a windowpane. Dozens of these moments, varying in length, density, and intensity, move past the listener’s attention, momentarily brought into focus then slipping away. Like those of the masters of the French musique concrète tradition, Ahti’s sounds are not often recognisable, though they might suggest proximity or distance, open environments or closed spaces, the urban or rural, day or night. In Ahti’s work, we do not encounter spectacular metamorphoses à la Parmegiani but rather a state of ambiguity where the listener is often unsure what is organic and what is inorganic, where the careful productions of the synthesizer might end and sounds discovered in the environment begin.

What Ahti calls her ‘poetic way of experiencing and organising the familiar and the unfamiliar’ is sustained throughout Tender Membranes, but each piece has its own character. On Dust / Light, human presence is more overt, as what appear to be whispers, singing, and distant speech thread between high frequencies, untraceable drips and pops, and metallic shimmers. In all this there is a melody that you can sing and to which you may dance makes more prominent use of musical instruments, gaining a sombre beauty from half-buried piano chords and organ tones. On the closing Oh Fragrant Witness, a delicate cloud of subtly bending pitches is repeatedly disrupted by a resounding, almost ominous mass of low tones, at once a strange detour from much of what has gone before and an almost classical finale. Arriving in a sleeve reproducing contemporary Finnish photographer Sini Pelkki’s fragmented visions of the everyday, Tender Membranes is a balm to reawaken tired ears."

Released September 29, 2023

Tender Membranes

Shrine (Aether)

Rei Nakamura - piano
Wojtek Blecharz - conductor

Concerto for piano and wireless speakers (after Symphony No.3 for 200 wireless speakers) is a continuation of my work with sonic multiplicities. Replacing the orchestra with small electronic devices refers both to the industrial and the digital revolutions. 
The first one allowed mass production of musical instruments and creating large homogenous orchestras, the second one allowed mass storing of sound and playing it at any place and any time.
The orchestra of speakers can be compared to a sound garden, where each seed is activated by the “conductor”, who arranges and distributes ca. 60 speakers in space, creating themes, lines, rhizomes or echoes. 
Each speaker contains a memory card with a track, a larger number of speakers creates a multilayered texture and the accompaniment for the soloist. 
The “conductor” controls the motion of the speakers around the audience, since the speakers can be passed from one person to another during the piece, changing the sonic/spatial constellation of the “accompaniment”. 
Concerto was written for Rei Nakamura
The recording was made during Summer Courses for New Music in Darmstadt, August 2023
This track features the 2nd half of the Concerto (total duration 60 mins.)

Concerto for piano and wireless speakers (excerpt)

TRIAL & ERROR 🕶️ - MILKO

Taken from the album 'Two' released as LP and Download

Oto Hiax 'Strain' (EMEGO 255)

Two totally infectious sets from Decoy - the trio of John Edwards, Steve Noble and Alexander Hawkins - reunited with pocket trumpet and saxophone player Joe McPhee on the closing night of his four day residency at Cafe OTO.

In the eight years between the recordings which make up ‘AC/DC’ and their last release ‘Spontaneous Combustion’, Decoy and each of its members have been practicing individually at the very top of their form. Coming together again in such celebratory circumstances and in the good company of a fantastic crowd set the scene for a very special night. 

As they begin, Alexander Hawkins casts a needling surface between his Hammond organ and John Edwards’ loose splatters and slaps of low end bass. McPhee skitters over them with his pocket trumpet by way of introduction; Steve Noble strikes his rims in anticipation. The mood in the room is that of a rock band reformed, of a certain number of “boys” being “back in town”.

The first set sees moments of frenetic free jazz peel off into weirdo soul territory and when switched to saxophone halfway through, McPhee’s romantic lyricism is utterly beautiful. When a groove sets in, Hawkins’ B3 ascension in harmony with an ever powerful Edwards-Noble rhythm section sees the room thicken and swirl to the point of giddiness. There is one unreal part at 22:22 where we’re sure you can hear Edwards’ bass vocalising. 

Regrouped for a second set, Steve Noble’s metallic textures meld with detuned arco bass to create an unholy atmosphere, ripe for Hawkins to play out the eerier end of the Hammond. When McPhee sounds a sax motif the band catches it quickly and it’s soon wickedly morphed and stretched by each player, recurring to absurdity in a stoned out funk free for all. 

The whole recording bleeds enthusiasm and joyful imagination and is a brilliant document of an unforgettable evening. Decoy are a limitless band who play nowhere near enough. We cannot attest to them any more, Book them, buy this, go and see them if you can.  

---

John Edwards / bass

Alexander Hawkins / hammond b3

Joe McPhee / pocket trumpet, alto sax, voice

Steve Noble / drums

---

Recorded live at Cafe OTO by Shaun Crook on Friday 10th May, 2019. Mixed and mastered by James Dunn. Artwork and layout by Oliver Pitt. Printed in an edition of 1000. OTOROKU023CD.

ROKU023 - Decoy with Joe McPhee "AC/DC" [sample]

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Dust Clump

Rugon

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