Vanessa Amara - 3

A I W A - Some Time Maybe

Taken from the album 'Too' released as LP, CD and Download

Klara Lewis 'Too' (EMEGO 210)

buy tape + digital nicemusiclabel.bandcamp.com - also available on Spotify, Apple Music, Tidal, Google Play, Juno Download and more.

taken from Nina Buchanan 'Sunk' NM009

Debut release of hi-res, bare bones hardware techno from Melbourne-based synthesis explorer Nina Buchanan. Parallel to creating woozy extended synth pop jams in duo Video Ezy (Paradise Daily) as well as pushing dynamic textural noise forms into unique shapes in UTI (duo with Maya Kjellstrand of Bleach Boys, Leopard Leg), Buchanan has arrived at a precision nexus of brutalist techno and a truly uplifting style of ecstatic melodic synth riffage. Conjuring thick atmospheres and tonalities with almost blu-ray levels of vibrancy is perhaps in essence attributable to the simplicity of her chosen elements; 1 synth, 1 drum machine - the rest is purely incendiary sparks, resonating brightly in the spaces in between. For fans of Helena Hauff, Regis, Nitzer Ebb.

Sunk

Nina Buchanan 'Waiting Game'

PREMIERE > inverted-audio.com/premiere-klorin-noncompliance

Stepping up to deliver the third number of newborn Copenhagen-based imprint @waa-industry, Klorin unload an hypnagogic four-tracker shining with heavy-lidded climates and numb downtempo drowned in reverbs and delays, created in a number of early morning sessions in Kenton Slash Demon’s studio.

Noncompliance 

Klorin - Noncompliance [WAA Industry]

Degradation Loops was a 16 day composition that gradually and completely 'bit crushes' my 2015 album Yellow Bell. Produced for a group show at the 55 Sydenham Rd, Marrickville gallery in Sydney, a process of sonic destruction unfolds in response to visual artists destroying and reassembling their work, to create new work, and to question the dominance of commercial imperatives within art. Here is a 14'48" time lapse edit of the 16 day composition, 2016.

Degradation Loops_55 Sydenham Rd Marrickville

Greg Fox - By Virtue Of Emptiness

Learn more at RVNG: smarturl.it/rvngnl38-rvng
Add to your collection at Bandcamp: smarturl.it/rvngnl38-bcamp
Download + stream everywhere else here: smarturl.it/rvngnl38-digi

©2017 RVNG Intl. / igetrvng.com

The Gradual Progression (RVNGNL38 - 320 Promo)

Greg Fox - By Virtue of Emptiness

Zach Rowden in an American musician dealing with the acoustic and performative possibilities of the contrabass. His fierce improvisational approach strips away the raw textural make up of this iconic acoustic instrument, rendering a complex timbral transformation of its sound and a complete obliteration of the listeners own understanding of the sonic potential of the contrabass. Zach’s promising release for XKatedral, “Tasked”, is a brutal harnessing of pyschoacoustic rhythms and microtonality through the minimal instrumentation of contrabass and feedback. 

XK14

Zach Rowden - Fog area

Degradia (2018) is a sound work by Anni Puolakka and Miša Skalskis, originally made for an exhibition of the same name. They were inspired by some old Finnish poems in which vulva plays a central part and becomes a powerful character of its own right. Parts of Degradia are translated and altered lines from these poems, for example, where vulva is likened with a biting dog's jaws and a running wolf's gums.

www.annipuolakka.com
https://soundcloud.com/ang3l_sp1der

Anni Puolakka and Miša Skalskis – Degradia

Music by Èlg
Text and vocals by Catherine Hershey

Taken from "Les Particules" original soundtrack released by three:four records in digital and LP.

A film by Blaise Harrison
Les Films du Poisson / Bande A Part Films / Les Films du Losange

Les Particules

Buy on bandcamp

Les Particules - Original Soundtrack - Particles

R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her
solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop
minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated
on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On
manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch. The songs are full of
air and light; infectious, melodic and off-the-cuff.
Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth
belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language –
divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel
guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes,
realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the
undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like
the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps
and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of
perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of
repetitive listening.
Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist
mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist
becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at
the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces
Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless,
conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go
outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be
honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting.
The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and
grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a
loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble
provides aural snakes for the listener’s ear to follow.