Why do hear this with the back of my mouth

ISLA33 - “Somaesthesia” is for the body, for how the body feels and how the body communicates with its soul. It was written through a year of growth and sickness, which stimmed inflection to a body at rest, a body aroused, a body communicating needs, a body happy, a homeostatic body, a friend body.

Pre Order 12"
https://one-eye-witness.com/release/1674493658/PVAS-Somaesthesia
Pre Order digital
https://isla.bandcamp.com/album/somaesthesia

ISLA33 - PVAS - Somaesthesia EP (Previews)

dataplex

data.simplex

D003 arrives as a split between four experimental sound artists from London/LA, Philadelphia, Krakow, and Portland/Berlin.

TL: 

EBY150822 - https://soundcloud.com/yekate
In Defense - https://soundcloud.com/martyna-basta
Guiding You - https://soundcloud.com/felishaledesma
그posture - https://soundcloud.com/lucytheliyou

Available on Bandcamp now: https://doyenne-books.bandcamp.com/album/doyenne-003-felisha-ledesma-martyna-basta-lucy-liyou-ekaterina-bazhenova-yamasaki

D003: Felisha Ledesma / Martyna Basta / Lucy Liyou / Ekaterina Bazhenova-Yamasaki preview

Bank NYC is very excited to present the definitive statement of Collector, "No Prospects". Collector is the solo guise of Jason Campbell, resident of Newcastle, Australia. Since 2014, Campbell has been channelling the industrial malaise of his hometown through his unique take on heavy electronics. After a series of releases on global-spanning labels such Steel City Dance Discs (UK), Nice Music (AUS), Clan Destine (SCO) & Night People (US), the debut long-player for Bank NYC finds Collector embracing true album form for the first time in his discography. Across eight pieces, Collector delivers a bleak sonic narrative via a hardware-only approach to production: Analog drum machine patterns are intricately intertwined with menacing synth lines, and driving bass is met with the unrelenting clatter of tightly-sequenced field recordings taken straight from the heart of local industry.

Thematically, "No Prospects" navigates the downfall of Newcastle's BHP Steelworks at the end of the 20th century. Acknowledged widely as the largest de-industrialisation event in Australian history, the closure of the Steelworks in 1999 marked a dramatic cultural shift where blue-collar vocations were vanquished due to an economic slump, and were consumed by the trending cosmopolitanism seen in adjacent cities. "No Prospects" draws on Campbell's family lineage in the Newcastle's steelworks, providing a rich, personal context to an industry that both gives and takes away. The sharp intensity of the album is sustained by dramatic shifts in pace: the devestating slow burners of 'Two From Five' and 'Ricochet' are instinctually offset by the frenetic 'CFT' and 'Workers Club Collapse', which showcase Campbell's no-nonsense approach to shaping an almost club-ready breed of modern industrial techno. Although diverse across both sides, cohesion is found in Campbell's toolkit of samples that are unmistakably Collector. The album's eponymous track, 'No Prospects', serves as an introspective centrepoint - a largely arrhythmic excursion shrouded in familiar brooding, textural drones, and underpinned by the chug of machinery on the brink of collapse.

Although forever indebted to the spirit of local electronic outcasts, Bloody Fist Records, Collector's "No Prospects" is a remarkably distinct statement straight from the heart of Australia's Steel City. The complexity of arrangements speak to Campbell's long association in experimental music communities, whilst the persistent feeling of dread conveys a uniquely regional story of decay and futility. Pure Novocastrian industrial electronics.

No Prospects

Collector - Gauze (BNK-040)

Lost and found on my iBook. 6th version of this track.

Microscopic Eye of Horus (2011)

Purchase: bit.ly/daniailyas
Catalog #: GN77
October 22, 2024
LP+DIGI

DANIAILYAS is the collaborative, cross-continental project from Barcelona-based composer Dania Shihab (Paralaxe Editions), and Portland-based avant-gardist, Ilyas Ahmed (Grails member and collaborator with Liz Harris, Jefre Cantu-Ledesma, and Golden Retriever). Having both previously issued solo works through Geographic North, a remote one-off collaboration soon manifested into an on-going aural dialogue, yielding the duo’s debut ‘Enough for Me to Remain.’ The album stands as a hallucinatory masterclass, charting into the theater of the uncanny—Dania's transcendent vocal melodies and cathartic synths exquisitely woven between Ilyas' mercurial guitar in some vaporous dance of beauty. A love letter scribed in blood. A bloodletting drenched in hope.


Opener “The World Spins” immediately establishes Dania and Ahmed pairing as a truly exalted engagement—a nascent collaboration with boundless potential and cosmic chemistry. It’s the best of both worlds, with Ahmed’s spidery, open-ended acoustic gestures providing the perfect backdrop to Dania’s double-tracked and echoed lyrics spoken into the darkness. The morbid mise en scène of “Be Where” creaks with diegetic gloom and deeply sullen composure, straddling the physical, astral, and ethereal plane at once. 

Commencing in a blur of solemn acoustic genuflection, “Walking Through Another Door” ambles along with wordless, funereal focus. Vocally, Dania meticulously layers various vocal parts into a unified, mellifluous missive delivered with disembodied elegance and weightlessness. It’s equal parts angelic and grievous, striking a chord of heart and mind. “Breathe and Start Again” continues the emotion into more kaleidoscopic patterns, with a heaving manipulated clarinet motif turning over and over again through its habitual dance and Dania’s spectral coos floating by like storm clouds at dusk.

“The Pilgrim” ushers in an unassuming epic of dust-swept vistas haunted with spirits of yore. Beyond capturing a “cinematic” feeling, the song is essentially “pure cinema,” conjuring aural images that are both historic and timeless. In the song’s final moments, Dania’s refrain “Feeling dark again” enters the weighted darkness, bringing a flash of light and hope amidst the oblique obscurity. Closer “Coming Home” offers the most vulnerable and delicate moments on ‘Enough for Me to Remain,’ creating ample safe space to console and comfort in these weary times.

DANIAILYAS - "The World Spins"

Oneiris

Telos

reupload of just the c1 bbd example. it's my favorite delay now :))

c1 bbd

McMarian - duo from Cracow (Poland) formed in 1986 and suspended in 1989. Main members was Piotr Kalinowski and Marcin Bednarski (Wahehe, O.N.G.O., Biomodem, Elektrostat, Subotnick), supported by Piotr "Peter" (tapes, effects, noise) and Marcin "Marski" (sounds, rhythm, noise). Mostly session project, played only a few gigs (Gdansk, Warsaw).

Guest musicians: Ojciec (Wahehe) - guitar, Franz Dreadhunter (Düpą) - bass, Prezes (Id) - bass, Nodzeń - bass. 

McMarian was inspired with music forms created by early Cabaret Voltaire, The Residents, Throbbing Gristle, Criss & Cosey, S.P.K. and D.A.F. Two homemade analogue synthesizers constructed by Piotr himself were the fundamental part of all his musical instruments. One of them was a sort of mixture of a sound generator, a sequencer and a drum machine. The soundscape was filled by loops (short glued together bits of the magnetic tape) as well as electronic and acoustic instruments. 

Official discography: 

V/A "Cienie" (1988, Henryk Palczewski, Poland & USA) 
V/A "Polish Road" (1989, Organic Tapes, France).
Marian Wyjechał (Give Noise A Chance) (2010, Impulsy Stetoskopu (3xCDr)

McMarian - Dziwny Swiat Mariana (Strefa X) 1987

CP/BW LP2

A1. Nightclub Foot
A2. The Plop Shop
A3. Stammer Time
A4. Symbionese Take Out 
A5. Aylmer's Glue
B1. Sewer Sex
B2. Henry The Huffer
B3. Vertical Probation
B4. A Thing That Thinks
B5. Rodzina Manekinow

Collaboration between Corporate Park and Beau Wanzer.
Recorded in Denton, TX.

CP/BW - LP2 (snippets)

releases November 20, 2020
mastering and lacquer cut :: Mike Grinser (Dubplates + Mastering, Berlin)
mixing assistance on "An Indefinite Lattice" :: Nathan Taylor

all proceeds to NHLC (Honolulu, HI) :: nativehawaiianlegalcorp.org

"Indefinite Lattices, the new 12-inch record by Glyn Maier, is rock music of a very different order. During visits to two mineral-rich sites, Maier collected field recordings of these environments which were then re-synthesized into four extended compositions. At Ringing Rocks in Pennsylvania, a field of boulders make bell-like tones when struck, as well as low-frequency tones that are unhearable by humans. (Scientists have yet to discern why the rocks ring, but believe it may have to do with the freeze-thaw cycle that produced them.) The other site visited by Maier—the fairly remote Kaʻena Point on the coast of O’ahu, Hawaii—was believed to be the departure point for souls leaving this world.

The unstable rhythmic patterns from these spaces, as well as Maier’s tappings, scrapes, and footsteps throughout the two sites, are paired with lullabilic progressions and ghostly effects. Instead of the artist’s personal expressions, the tracks on Indefinite Lattices are envisioned as lithic formations in their own right, as things grown rather than produced. They seem to have peaceful but complex lives of their own. Guided by notions of deep ecology—and an anti-colonialism that recognizes the bloody histories of these two sites—Maier refashions the instrumental utility of electronic music so that the agency of environments is emphasized.

Like watching rocks fall down a cliffside and splashing into a stream, or the humbling calm of a thunderstorm, one is left wondering whether this record is the result of human intention or a combination of natural forces. Treading the line between traditional and experimental approaches to ambient music, Maier edits the contingency of his gear’s electrical signals and the recorded environments into tightly conceived compositions. Indefinite Lattices is documentation of moments in the geological process, but also illustrates the geologic nature of art itself.

---

Glyn Maier is a sound & field recordist and conservationist living in the Unorganized Territory of South Oxford, Maine. He previously released music under the alias Lack. "

data.simplex

Ryoji Ikeda

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