Hag of Beare

Many are my Sons

Rat-tat-tat-tat

Mount the Brooms, Witches!

Kali is a Goddess

I Sing the Anthropocene Deathwish

This mix is presented by Justin La Rose, who’s nascent label, Sem Forma, will be launching their first release, Legendas by DJ Copan,  in early April. 

The title of the mix, Desordem é Progresso (Disorder and Progress) is a direct challenge to Brazil’s national motto of “Order and Progress”—an inversion that reflects baile funk’s enduring role as a form of resistance. From maracatu to samba, from Tropicália to baile, Brazilian music has always been a defiant force against societal order. 

This mix attempts to capture that energy in its most raw, brutalist form—an explosion of disorienting electronic polyrhythms that bend time and space, slapping you in your face while holding you with care. 

Spanning beyond the well-documented sounds of Rio and São Paulo, Desordem é Progresso dives into the fringes—Belo Horizonte, Fortaleza, Brasília—where hyperlocalized mutations of mandelão, bruxaria, and ritmada are forging new sonic territories. 

This mix isn’t nostalgia. It isn’t an artifact. It’s a snapshot of a ceaseless evolution—a present-moment expression of Brazilian culture that carries the throughline of resistance woven into the country’s artistic history.

Séance Centre Radio Episode 83: Desordem é Progresso w/ Justin La Rose

Limited and hand-stamped collaborative publication between Séance Centre, BlackMass Publishing, and The Strangeness of Dub. Includes a published transcription, collaged booklet by Yusuf Hasan, and cassette.

In April 2022, Brandon Hocura huddled in the Séance Centre inventory closet to block out traffic noise and recorded a three hour conversation with Edward George. The exchange was modelled on The Wire magazine’s Invisible Jukebox where artist’s improvise responses to a number of songs, drawing out themes, memories, and theories from their sonic praxis. In this case, the discussion sprung from George’s lauded TheStrangeness of Dub series as well as his longstanding work with Black Audio Film Collective and Hallucinator (Chain Reaction). 

From the introduction: “In the 1996 film The Last Angel of History Edward George plays the Data Thief, a sonic archaeologist who travels back in time in search of fragments of Black musical technologies that hold the keys to the future of mankind. In life, as in fiction, he is a theorist of vibration, reading the melodic codes and subaltern tales embedded in sound for clues about the past, present, and future. In The Strangeness of Dub, he uncovers and elevates the discourses encapsulated within dub music — he reads King Tubby, Burning Spear, Don Drummond, and Lee ‘Scratch’ Perry alongside Foucault, Benjamin, and Derrida. In this capacious methodology of listening, knowledge is non-hierarchical and non-linear — Jah Shaka is as much a metaphysician as Wittgenstein.”

Edward George is a writer and broadcaster. Founder of Black Audio Film Collective, George wrote and presented the ground-breaking science fiction documentary Last Angel of History (1996). George is part of the multimedia duo Flow Motion, and the electronic music group Hallucinator. He hosts Sound of Music (Threads Radio), Kuduro – Electronic Music of Angola (Counterflows). George’s series The Strangeness of Dub (Morley Radio) dives into reggae, dub, versions and versioning, drawing on critical theory, social history, and a deep and wide cross-genre musical selection. Edward George lives and works in London. 

Co-release by Séance Centre, BlackMass Publishing, and The Strangeness of Dub

SIDE A DISCREPANT ECHOES CASSETTE

SIDE B DISCREPANT ECHOES CASSETTE

Further scenes of hearts gone into orbit — mirages racked with fuzz, high-powered doom crooners, wah-gilded evocations, and pedal steel time slips  — a testimonial amid the wreckage to that most unassailable law of physics: love is a continuous stream.

Séance Centre Radio Episode 84: Heavy Days, Light Years w/ Josh Lewellen

Siren Recordings is a digital, multimodal platform that operates as boutique, studio, and archive. We seek to connect scholars, artists, and lovers of sonic poetry in an online community. Following Ed Sanders, we believe that perfection comes in the poetic triad: “the spoken text/the text as beauteously presented on the page/the text as performed.” We incorporate elements of sound and music into recordings of poetry performances to emphasize the affective, social experience of poetic work. 

We value experimentation in form, both contemporary and modern. We renew older poetic works by treating the archive as a participant in the work we are making; archival play ensures that our releases blend contemporary technology with influential poetry. These values seek to serve one, ultimate goal: to contribute to the siren call that warns of the diminishing time we spend in the archaic situation of gathering to hear someone speak.

For all inquiries, email admin@sirenrecordings.com.

Hag of Beare

Siren Recordings

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