صبر پوشیدن
/از برف روییدن سخت
سرد بوسیدن
/از درد پیچیدن، از تب

ابرا به پای دشت رسیدن
/رو طرح دایره‌ش ندیدن شب؛ زد شبنم
از لابه‌لای خاک کشیدن
/از ضرب پای راه چشیدن زهر

هرجا به شهر رسیدن
/از آدما پرسیدن ماه کو
هرجای دَهر رسیدن
/از بیشه‌ها پرسیدن ماه کو

ابرا به پای دشت رسیدن
/از گرد پای دشت ندیدن ترس؛ زد شبنم

ماه کو
...از هامون بپرس

Mahāq | مَحاقْ

بهروز پاشایی - گیتار، خواننده و تنظیم الکترونیک 
کیمیا نیکپور فرخ - سُروز 
آرت‌ورک - سلما حسینی

با سپاس از عطا ابتکار، آرش بلوری و عرفان کمالی

برگرفته از الله مزاری که خانگل مصرزاده خوانده بود

Behrouz Pashaei - Guitar, Vocal and Electronics
Kimia Nikpour Farokh - Sorouz 

Artwork by Salma Hosseini

Special Thanks to Ata Ebtekar, Arash Bolouri & Erfan Kamali

Allah Mazar

Allah Mazar - الله مزار

Composed by Ata Ebtekar
Mastered by Neel
Artwork by Arash Bolouri
Morphine Records

Copanic

Our next mixtape instalment comes by Temp-Illusion the Iranian experimental/electronic duo consisting of Shahin Entezami and Behrang Najafi.

Formed in 2011 and mainly operating as a live act, temp-illusion use a wide range of music programs and hardware synthesizers in their music production to combine noisy and atmospheric layers with melodies and complex beat programming to achieve a unique style of dance music.  

In recent years, an exciting Iranian electronic music-scene has quickly emerged and reached western ears, partly thanks to the work of Sote and Zabte Sote, a sister-label to Opal Tapes that focuses on putting out experimental electronic music by Iranian composers that he runs, as well as SET festival. Temp-Illusion release their first album Autoelected in 2019 in Zabte Sote as well as the more recent Pend, released earlier this year. 

While Autoelected was a perfect example of what recently has become known as ‘deconstructed dance music, Pend takes it from there to evolve into an assembly of carefully designed sonic microstructures that ultimately result in an artificial macro environment of hard electronic funk. Taking the listener from a meditative to a hyper demented state, inspired by the fear and stress instigated by media manipulation during and after the war. 

Shahin Entezami and Behrang Najafi, also have their solo projects as Tegh and Bescolour. The artists share that this mix is mostly made from the music they have recently listened to during these 2-3 months of quarantine: Since our rehearsals are also cancelled due to this pandemic, we have started to work separately on music projects, which is a new experience for us and it would probably change the way we sound! So this mix is the first output of working on a mutual project separately.

Tracklist:
00:00 Selm - Sand
01:55 Clipping - All in Your Head
04:30 Zonal - System Error (Feat Moor Mother)
07:40 Aho Ssan - Simulacrum III
11:12 Arash Moori - Forward Backward
13:06 M.E.S.H - Search. Reveal.
18:38 Of Habit & Dane Law - Laid out
20:20 Xin - Crrrash! 
22:25 Emptyset - Axil
24:50 Temp-Illusion - 22nd Alley
29:25 Grischa Lichtenberger - 1 req
32:00 Diamond Version - Access to Excellence 
34:40 Sote - MOSCELS O + Emptyset - Bloom
38:22 Kindohm - Meme Booth
41:46 Daniel M Karlsson - 16 Rare beauty
44:38 SDEM - 6448
48:53 Lorem - The Sky Would Clear What The Man Had Wrapped To The Link

CLOT Magazine Presents Temp-Illusion - Divided

❏ afolder.studio ❏ 
segment taken from 2020's 'flash across the intervals' lp on sister platform 'a ƒolder' ➜ limited physical run of 250 vinyl copies with sleeve art by Michael Amstad and Marte Eknæs and 4-page text insert by Oscar Powell ➜ pre-order via ↯ BUY ↯ ➜ released 11 september

✲

↯ flash across the intervals ↯ is the first new powell LP since 2016’s Sport on XL Recordings ⨧ the first music available physically since his 2018 collaboration with Turner-Prize winning artist Wolfgang Tillmans ➬ oscar wanted it known that this is not intended as a definitive album ↪︎ the realisation/release of some bold new statement, a singular mark of identity or triumphant elucidation of years of valiant work ↩︎ rather, it is simply 35 minutes of music segmented from an overall flow of stuff ⥄ a variable torrent of hyper-synthetic composition brought about by entirely other things ⇩ circumstances that relate in no way to a previous life led within the toxic/capitalist bubble of taste, music, entertainment and ‘community’ ▷ as René Char once wrote, ‘no bird has the heart to sing in a thicket of questions’, and so it was that oscar found himself bereft of courage, stripped of any enduring connection to his work, dissociated from many of the fragile and reactionary structures that had previously held him up. when your own distributor won’t answer your emails ☀︎ when the illusion of reality dissolves around you ☀︎ how can you not think as Leibniz once did: ‘we thought we had arrived at port, but found ourselves thrown back out on the open sea.’ it is easy to be moulded by a contemporary space that leaves you with no possibility of creating anything at all, in a kind of zero state of expression that inevitably forces you to look elsewhere ↙︎ to pursue a Deleuzian line of escape out towards a horizon line that never draws closer. here at least, out on the waves, new cartographies can be traced and new connections formed. 

this album thus functions as a message in a bottle: cast from unknown coordinates, it maps some of these connections, not least in its close relationship with the visual work of michael amstad and marte eknæs ➔ their imagery fills this music ➔ oscar’s music inflates their films. what emerges from the fog is a luminous three-headed constellation of melodic lines in non-sensical interplay with one another ⥄ here on record, though, spinning at a speed of your choosing, and with eyes closed and no imagery to hand, the feeling remains of a profound decentring, music discontinuously carb✲nated by an alternate geography of relations, the depths of which are only just beginning to be explored.

flash across the intervals

↯ Buy ↯

powell ☀︎ performance to a harsh critic ☀︎ aƒ18

"Original track for GAIA: A Cyborg Opera [directed by Kainkollektiv]"

Stepped on, hold
how'd she get here
Fire burns
right beneath her sole
The truth is what she couldn't love
couldn't have

Step on coals
how'd she make it
her feet stain
where she lands our bodies
laughing at our songs

Can't follow
sees her end is near
hides her only spear and holds
Smells like home

Can't follow
sees her end is near
Hides her only spear and falls
Smells like home

The sun's cold
how'd she felt it
Her tired hands
are where she left our lost bodies
standing by our corse
our corpse

Land's hollow
sees her end is near
Last body standing falls
Feels like home

Can't follow
Sees her end is near

Last body standing,
falls

Last Body Standing [Falls]

Following two duo releases on Le Cabanon Records (Crypto Tropic & Othello Aubern), French composer and producer Nebulo (Thomas Pujols) now presents his album ​Parallaxes​, the second installment of our Albe series.


Parallaxes was written for the most part in the spring of 2018. Acting as a prequel to the ep ​Ascii Snake released in June 2019 on Conditional, it is a consequence of ​Zellige​, released three years earlier on Phinery. These records are collections of polyrhythms and ritornellos of dramatic efficiency as much as they are an exploration of electronic tones. The phrase “music written for synthesizers” makes a lot of sense here.

This new chapter takes a final step in confirming an aesthetic turning point in Nebulo’s career, in which his polyphonic style, entirely concentrated on synthesised timbres (​Parallaxes’ only sound sources), reaches maturity.

By blowing life into these coarse and glittering materials, Nebulo reveals with great ease both their emotional potential and their profound tranquility. The composer expresses himself within the slightest shades and accents of the inner life of his constructions, with that global sense that is the science of melody, thus satisfying both fans of sonic spontaneity and those more attuned to an art of nuances. Thus, the sounds are sculpted, twisted, deconstructed and recomposed to form rhythms and melodies that are free in each of their movements.

Having already begun to work on the friction between the harmony and dissonance on his previous releases, Thomas Pujols takes things a step further with ​Parallaxes​. Here, he takes to microtonality and other scales of pitch that escape the norms of equal temperament. The repetitions and motifs he uses balance the soundscape by facilitating the reading of melodic variations that do not fit within our usual patterns. These two seemingly contradictory directions maintain a sensation of blurriness as to the chain of events, as well as to the vanishing point towards which each composition leans. Thus, repeated listenings of the record will necessarily lead to a new angle of approach each time, allowing the listener to access the sonic picture in its entirety, and ultimately make the image clear.

The question of multiplicity is precisely the central theme of this work, wherein every change of position regarding one same object, one same point of attraction, results in the birth of a new entity. As we move from track to track, each layer of sound is often the mirror of another, near or far. In their construction, in their existence, their interactions and sometimes even in their absence, the sounds weave a subterfuge that we must dispel in order to truly explore it. Nebulo draws a narrative pattern designed to disorientate, both a mirage and a tangible phenomenon, that changes in the midst of our perception.

END - ON - END

"Original track for GAIA: A Cyborg Opera [directed by Kainkollektiv]"

Standing in the crowd
falling in
Staring into future,
standing out

Standing in the crowd
pouring in
Bleeding through the sutures
standing out

Learning how to grow these scales
has hardened my skin
Dragging all the bones stale
through thick and through thin
I'm a reptile, crawling

Wondering why the lights bounce
off the skin
like a light house
I'm solid

Standing in the crowd
falling in
Staring into future,
standing out

Standing in the crowd
pouring in
Bleeding through the sutures
Standing out

Learning how to stay
Dragging my bones, stale

Reptile

Slorb Gash12

Suffocation 

Music: Behrouz Pashaei
Mastering: Behnam Asadi
Cover Painting: Salma Hosseini

Special thanks to Ata Ebtekar(SOTE), Arash Bolouri, Hamed Afshar, and Kasra Eskandari

Suffocation

Avant-garde electronic music from Tehran, Iran
@opal-tapes @diagonal-records @warp-records ...
Contact: info@sotesound.com
Booking: jan@disk-agency.de