https://lyl.live/show/lhypothese-grise
https://lesyndicatdesscorpions.bandcamp.com/

Stupeflip pas vite // Megageoduck
I’ll do anything but break dance for ya, darling w/ Coucou Chloé // Claude Barbara
Hugs'n'Drugs // Batmoon
Toutes les choses qu'elle dit // Didier XCX
Veuf // Poney Gallant
Peut-être // SMS
Des cercles polaires // Mrostga
Nicolü l'ami // Anne Laplantine
Call of heart // Tcentralen
La Plage // K-Valière
Courageux // Baptiste Brunello
Poppers // Golden ℺
Ma Baby // Lil Crotale/Sauron
Mardi Férié // 21 rue Ulysse Gayon
Tout mignon // Musique Chienne
Le temps file a une vitesse // Moyen Âge
Enfant De Putain // Galibier
Ever Fallen in Love (Buzzcocks cover) New Mix // Grégoire Bruno
Club Girafe // Enfance de Merde
Je te suis ! Tu vas où ? // Golden ℺
Just like we never said goodbye // SOPHIE

LYL May - L'Hypothèse Grise invite Gwendal Coulon #10

Download Karen Gwyer's remix for free: http://bit.ly/SCLPTKGRMX

Order Membrane Pop via Software: http://bit.ly/1miQZyO
Order Membrane Pop via Bandcamp: http://bit.ly/Nx0Wt6
Order Membrane Pop via iTunes: http://smarturl.it/SculptureMembranePop

Sculpture's Membrane Pop is available now. 

©2014 Software Recording Co. // http://softwarelabel.net

Sculpture - Hackle Scam Populator (Karen Gwyer Remix)

For Doom's streams. 

"A lich exists because of its own desires and the use of powerful and arcane
magic. The lich passes from a state of humanity to a non-human, nonliving existence through force of will. It retains this status by certain conjurations, enchantments, and a phylactery. A lich is most often encountered within its hidden chambers, this lair typically being in some
wilderness area or vast underground labyrinth, and in any case both
solidly constructed of stone and very dark... A lich appears very much as does a wight or mummy, being of skeletal form, eye sockets mere black holes with glowing points of light,
and garments most often rotting (but most rich). " - Monster Manual (1977)

I imagine they have quite the rich cackle as well.

Phylactery: Lich

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

Klara Lewis 'Too' (EMEGO 210)

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

Mark Renner - James Cowie (The Portrait Group)

Learn more: https://smarturl.it/rervng11

Taken from Few Traces.

©2017 RVNG Intl. / https://igetrvng.com

Few Traces

Mark Renner - James Cowie (The Portrait Group)

First song of the upcoming album "The Paris Tapes" out on April 21st 2018!
Previously unreleased album, recorded in Paris in the 80s!

Robert Goerl - The Paris Tapes - Part 2

lyrics:

for tonight
all is desired
in the stillness
life is delight

on the shores 
the sea roares
on the countryside 
life is delight 
in the sunlight 
we fight 

i tell you i promise you we fight 

for tonight 
all is required 
composure
force in motion
on the shore
oh the sea roar
on the countryside 
leave all behind 
in the sunlight 
we fight 

i tell you i promise you we fight 

for tonight 
show me your king 
and i will show you an army 
it's evening desire increasing it's binding
whatever you do lets leave us two 
whatever you decide never hide never hide
a yell through the heat men are wolves the kill and eat 
leave us celebrating or with defeat 
a yell through the night that never gets dark
cause afraid we 
never get this far 
afraid we 
never get this far

produced mixed and mastered by Mathias Sarsgaard
Bass by Patrick Kociszewski
Guitar by Rune Risager
Drums by Mathias Sarsgaard

Persistence

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.

R. Elizabeth - SPIRITUAL TO SYMPHONY (from Every And All We Voyage On)

A Million Years

https://lesyndicatdesscorpions.bandcamp.com/album/mimosa

Mark Renner - James Cowie (The Portrait Group)

RVNG Intl.

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