TR191 - Taku Unami - 'Stardust 3'

From Visual Squash CD + Book. Coming out December 2021

Watch a video of this track by Nisa Karnsomport

Visual Squash

ANM057 Ellen Phan — BreakState

gostzvuk.bandcamp.com/album/stop-the-war

100% OF ALL PROCEEDS WILL BE SENT TO HUMANITARIAN FUNDS HELPING THOSE IN NEED ‼️

Deharmer

’tis no mere trick; here’s is a treat for you: a new Sequences release! 
‘Hypnagogia’, a 13 track collection of horror vacuum pieces. 
Discarded and strewn about, forgotten, dusty and old. 
They are presented here, together & hermetically sealed, instead of being eternally lost in the ether. 
A hommage to all things haunted. A candle for our ghosts of the past.
Footprints in a boundless terrain.

Guitar processed through cassette tapes and eurorack modular system.
Recorded & mixed May - October 2022.

Released on All Hallows’ Eve 2022.

Hypnagogia

In The Shine Of The Lamp

January 21 2023

Sad*Crab Radio w/ ant mill - 30/01/2024

☆ sampled i want to be with you by sadness

black teeth

American avant-electronic musician and essayist Bret Schneider holds no institutional allegiance to one artistic medium. His background encompasses a wide range of work experiences and reveals a man who is connected to the world around him in complex, alienated ways. His thoughts on music and philosophy are intertwined into a billowing exposition. But when exploring the dark recesses of his more aural works, there is an inherent flexibility. Phasing percussive elements and frayed droning lines all lead to a perpetually shifting feeling for an aural uncanny. As fractured as his music can be, there is a dim spark of rumination that threads through his synthetic machinations.

On his latest release, “Xilinx,” Schneider taps into a primordial electronic noise—the kind that rests just on your periphery, unwinding itself to reveal myriad sordid circuits and disjointed projections. These tracks maintain a wired mania, expressing an unsettling undercurrent of ragged repetition and warbling drones. There’s an unexpected elasticity to Schneider’s cabled rhythms, and they often shift across several temporal lines before turning inward, struggling to illuminate an intimate dissonance or imagine a multi-chambered core. Displaying a raw and unusually concise knowledge of how these sounds might fit together, “Xilinx” is part zoetrope, part post-industrial dreamscape. It is an inquiry into the idea of internal movement, a contorted experiment in musical patterning, and an experiment in self-replication.

Xilinx

Bret Schneider - VaVE1

ultimate

LISTEN or BUY: https://mappa.bandcamp.com/album/sotto

VIDEO teaser / SOTTO 
youtu.be/md6kPU18r6g 

‘Sotto’ is Andrew Oda’s attempt at world building in sound. Meshing method, mind, metaphysical and mundane into massive murals, its triptych of vivid compositions seem to wield electronic sound like a magic paintbrush. Inspired by the paintings of Otto Marseus van Schrieck, Ljubomir Popović, and Nicole Duennebier, ‘Sotto’’s three parts inhabit environments bursting with explosive internal ecologies of synthesized pulsations, yawning drones, tinkling imaginary chimes, and abstract noisy rumblings that flow, ebb and breathe with the infinite complexity cognition meshing with the chaotic order of natural greenery. 

Side A’s two pieces – ’Sotto’ and ‘Spirit’ – are both only made up of synthetic sound, created via computer and other synthesizing methods. The spark came from an attempt to show the process of creation, life and the final union through sonic means, spiralling into a dense lattice of lifeforms, spirits, and objects realised in sound. “The original goal of the project was to convey the idea of this sound visualization for creatures and textures that are fluid, tangled and morphing into and around each other,” explains Oda. 

While imagination and spirit are the subjects of the first two pieces, the final piece of the triptych, ‘Enfold’, emerges into a luscious and staggeringly beautiful material world. Oda turns here to acoustic recordings made in the field, as well as pianos, bells, and flute (performed by Susannah Oda), layering the results into the trembling organic soundscape suggested by Jonáš Gruska’s cover photography. The entirety of ‘Sotto’ is a living and vivid sound world of Oda’s creation – the first in a pegged trilogy of triptychs – brimming with beauty in which to wander and bask. 


released November 2, 2020 

Music by Andrew Oda 

Side A contains only sound synthesis 
Side B contains field recordings, piano, bells, as well as flute recordings from Susannah Oda 

SOTTO was made in Indiana, California and Virginia from 2018-2020 

Cover and photos by Jonáš Gruska 
instagram.com/jonas.gruska/ 

Mastered by Adam Badí Donoval 
abdonoval.com 

Words by Tristan Bath 
tristanbath.com 

Photography by Leontína Berková 
leontinaberkova.com 

Released by mappa as MAP021 in 2020

MAP021 / Andrew Oda - SOTTO

isolation beats
bass station2, minilog, sh101 and some breakz

Poitiv2

Contact: sequences0@gmail.com

"The searing rise of sonic scapes portraying the imperturbable depth and infinitude of winter.
Sultry feedback saturated static lays foundations for the purest hints of tonal harmony to shine through - they meander and wallow in a glorious middle ground that jostles constantly amidst the furrow of feedback and dirt.
There is something glistening and beautiful about the work that leaves with a surprising feel of refreshment and serenity."

In The Shine Of The Lamp

Sequences

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