Name: Double Speed Lizard Point by Joshua Davison in Marc Weidenbaum
Duration: 1 min 59 s
Description: Listening to Lizard Point from "On Land" I always got the impression it was played back significantly slower than the source recording. Here it is sped up 2x to reveal what sounds like rhodes, guitar and barking dogs.

Brilliant! Eno has always mentioned that many of his ambient albums were slowed down, as, once the track had been recorded, playback always sounded better at a slower speed...

Marc Weidenbaum

Exploring the deeper and more abstract end of the ECM catalogue.

Lot Radio 4/27/25 ECM Special #2

Pressing Invites DJ CZ: 18th May '25

https://www.instagram.com/abbyechiverri
https://www.instagram.com/claywwilson
https://www.instagram.com/iamthespiral

Tonal Fiction and Sensoria @ The Lot Radio 05-22-2025

Ken Meier DJ Set @ a private soiree 5/16/25

This was a DJ Mix created by Pete Namlook for a radio broadcast in 2002 - uploading this here for any fans. Enjoy.

Pete Namlook HR-XXL 10 Year Mix

Playful sound explorations by Weird Science crew & guests.

https://www.instagram.com/shawn_osullivan_

https://soundcloud.com/shawnosullivan 
https://soundcloud.com/weirdsciencenyc



WEIRD SCIENCE with Shawn O'Sullivan @ The Lot Radio 07-31-2025

Palm Reader 11: Israel Vines
"disquiet, reprieve, unbind"

Aired on VPN Radio, virtualpublic.net, on August 7th, 2025
Recorded live at Plata Lounge on the Palm Reader label series preview night on 06.13.2025  @israel-vines

~

We’ve been big fans of Israel Vines ever since hearing him play out in LA warehouses some 15+ years ago. A true veteran of the US underground, Israel spent his formative rave years in Detroit and Chicago in the early 90’s - where he worked at the legendary Gramaphone Records - before going on to become the distinguished producer/DJ we know him as today, with releases on Tresor, Semantica, Cult Figures, and Eye Teeth (sub-label of Detroit’s own @ithqdetroit ).

Both Israel’s productions and sets reveal his encyclopedic knowledge of, and a deep love for, abstract electronic music - always carrying his signature heady sound and flair for bold artistic expression. Israel has played for us several times before at @gradientcampout and other collabs with our homies eternal @printshop.club ❤️ We're thrilled and honored to have his contribution to Palm Reader, our series dedicated to ambient and experimental for wayfinding in stillness. This mix was recorded live at our Palm Reader label preview night (!) on Friday, June 13th, indoors at Plata in Silver Lake. Thank you Israel for joining us that night, and trusting us with your beautiful mix 🙏 Enjoy! ~


TRACKLIST >>> 
F&E - Emotions - (Nullpunkt, 2021)
:ZOVIET*FRANCE: - Ciels Ténébreuse - (DOVe, 1991)
WILLIAM SELMAN - A Soft Degeneration - (Mysteries Of The Deep, 2023)
LEMNA - The Dawn - (Self-Released, 2025)
NSI. - Detached To Reality - (NAKID, 2024)
KLAUS SCHULZE - Melange - (Elipsis Arts, 2000 *recorded in 1978)
LEMNA - Caught In Mud - (Self-Released, 2025)
COSEY FANNI TUTTI - The Secret Touch - (Conspiracy International, 2017)
JACK DANGERS - Come Back To Earth With Me - (Important Records, 2004)
DEATHNESS - Daughter Of Slaughter - (Self-Released, 2025 *recorded in 2017)
FRENSEL LENS - Tireless Wait - (Self-Released, 2022)
LEMNA - Hallucination - (Self-Released, 2025)
AZU TIWALINE & CINNA PEYGHAMY - Canopée Imaginaire (Live Version) - (Self-Released, 2024)
PUB - Dilema - (Ampoule, 2001)
NATHANIEL YOUNG - Graying Dawn - (Mysteries Of The Deep, 2019)
SENZA TESTA - ॐ ऐं ह्रीं क्लीं चामुण्डायै व ि च्चै - (Northern Electronics, 2022)
COSEY FANNI TUTTI - Corridor - (Conspiracy International, 2022)
JON HASSELL - Viva Shona - (Lovely Music, Ltd., 1978)
RASHAD BECKER - Themes I - (PAN, 2013)
IRENE BIANCO - Hvid // - (Permanent Draft, 2024)
DEMDIKE STARE - Ghostly Hardware - (Modern Love, 2009)
DOPPLEREFFEKT - Computronium - Curtis Electronix, 2024)
DEMDIKE STARE - Mephisto’s Lament - (Modern Love, 2012)
DOPPLEREFFEKT - Pascal’s Recursion - (Leisure System, 2013)
STAVE / KARIM MAAS - The Center Is Dead - (Standards & Practices, 2025)
HILDUR GUONADÓTTIR - Bridge Of Death - (Deutsche Grammophon, 2019)
KING MIDAS SOUND - Bluebird - (Cosmo Rhythmatic, 2019)
COSEY FANNI TUTTI - Ritual Awakening 2t - (Conspiracy International, 2000)
STARS OF THE LID - Adamord - (Sedimental, 1995)
COSEY FANNI TUTTI - Selflessness Part One - (Conspiracy International, 2004)
MELVINS - A Really Long Wait - (Scion Audio / Visual, 2012)
BLACK SABBATH - Planet Caravan - (Vertigo, 1970)

Palm Reader 11: Israel Vines

RA.1000 launches with Theo Parrish, live at fabric: a vanishingly rare club mix from the king of deep crates and impossible transitions.

There are DJ sets and then there are Theo sets. No matter how many times you've caught him in action, every time still feels like the first. Running hot, levels smoking, isolator working over time. You think you know dance music? Think again.

Parrish's long-awaited debut on the RA Podcast is a milestone for the series, one we've sought for over 15 years. So it was only right that Theo led off our 1000th celebrations, the first of ten mixes this week. Recorded live at fabric last December as part of RA's collaborative party with the London club for their 25th anniversary, this three-hour segment documents the crescendo of his eight-hour marathon. 

The Detroit legend doesn't release mixes often, and when he does, they're usually studio recordings: think NTS shows, his 100% Detroit edition of DJ-Kicks or classic tapes Body (1997) and Methods of Movement (2020). A capture of the Sound Signature boss on the dancefloor is hard to come back. On RA.1000, you'll hear Theo in his element.

Sure, there's galvanising build-ups and crowd-pleasers, but laced throughout a Parrish beatdown are rarities designed to shock the system. In a business dominated by image-driven marketing, the vinyl master towers above thanks to a relentless hunger for lustrous melodies, moods and textures of all stripes, which he and he alone can fold into an inspiring and exhilarating joyride.

On RA.1000, blissful reggae precedes new wave disco; '80s R&B morphs into synthy techno; bleepy Chicago jack makes way for a poignant vocal ballad. Theo, once again, proves that anything and everything is possible with the right records.

@theoparrish @fabric @soundsignaturedetroit @crownruler

Listen to all RA.1000 mixes, as well as the complete history of the RA Podcast, at https://1000.ra.co

RA.1000 Theo Parrish

Some DJs treat genre boundaries like walls; others see them as doors. Craig Gonzalez belongs firmly to the latter camp. A staple of Detroit’s underground and a resident DJ at Paxahau’s Third Thursday monthly, he has long been drawn to what happens when techno’s linear propulsion collides with the restless syncopation of drum & bass. That liminal space, the “grey area” between the two, has become one of the most fertile playgrounds in electronic music over the past decade, and Gonzalez shows why. In this mix, recorded as the opening set on the Movement main stage, he handles tempo as a fluid variable, shifting gears without friction and letting polyrhythms function as the connective tissue. It’s the kind of approach that resists the obvious peak and instead builds a topology of groove, a groove that bends but doesn’t break, carrying dancers across time signatures almost without them noticing. 

And while opening a stage that would later host Deepchord, Sama’ Abdulhadi, Octave One, and Jeff Mills could be seen as a daunting warm-up role, Gonzalez treats it less as preparation and more as architecture. Across ninety minutes, he layers patterns with patience, calibrating intensity so that tension rises and releases without tipping into spectacle. The set moves like a conversation that shifts from whispers to declarations, never overstated but always persuasive. It’s a reminder that flow is not just sequencing but narrative logic, and that true mastery lies not in domination of a dancefloor but in shaping the conditions for everything that comes after.

@craig-gonzalez
http://instagram.com/cgonz313

Write up by @gilleswasserman

Follow us on social media: 

@itsdelayed
linktr.ee/delayed
www.delayed.nyc
www.facebook.com/itsdelayed
www.instagram.com/_____delayed
www.youtube.com/@_____delayed

Contact us:
info@delayed.nyc

Delayed with... Craig Gonzalez (@ Movement, Detroit, May 24th, 2025)

I've wanted to get a white-noise module for awhile, and finally added one to my setup. This module has 7 different noise sources, including white, red, grey, and blue. Each is being triggered by a different sequence. They're all in sync, though one is slightly delayed, which lends a tiny bit of character to the cadence, I think. The only reason I skipped pink is because I don't have any pink cables right now, and the color-coded cables helped me keep track of things.

You can blame this on someone who's listened to too many Chain Reaction releases, too much Consolidated, and too many scores to Michael Mann films.

Slightly more technical information: The sequences are all in CV Toolkit (a piece of software running on my laptop), and they're getting to my modular synthesizer via an Expert Sleepers ES-3 module. The noise-source module is the Quantum Rainbow 2. The white, red, and grey sources are all receiving sequences directly from the software. The blue source is getting a slight trigger delay (and a slightly extended length to the trigger), thanks to the Doepfer A-162. The whole thing is being mixed in an ADDAC 802 VCA Quintet, and out through a Pittsburgh Outs, through a Focusrite Scarlett 2i4. It was recorded in Audacity. 

White Noise Beat

I was asked by the Dutch musician Michel Banabila to contribute a remix to Marilli Remixed, a collection of reworkings of tracks from his very first album, Marilli, released in 1983. I selected the fourth track on the first side of the LP.

The original was elegant, but had percussion throughout. I wanted the ambient quality more formalized, and the percussion a little more muted and arhythmic.

. . .  

Here are some notes on my remix. I’ll note in advance, they’re fairly technical, as a notebook entry on what went into this, and what I learned in the process.

I used the my modular synthesizer (mostly filters, and a little triggered live sampler), the software Audacity (to sequence it, and also for some effects), and my Monome (running the mlr patch in the software Max). 

First I stretched a relatively percussion-less segment of the original track to get an ambient bed, yielding in the end something about 30 seconds long. I set it to run eight times in a row, overlapping to varying degrees at each repeat. 

Then I extracted a small percussion loop from the original. I did a "live performance" of that percussion loop with the Monome (four simultaneous tracks: one straight through, two running tighter sub-loops against each other a little quieter, and one in reverse even quieter still, though it's also the last bit to fade out of that sequence, so it has a little moment in the sun). The loop ran a little slower than the original, and I used a small Novation Launch Control to manage the relative volume of the four tracks within mlr.

And then I used my modular synthesizer to create variations on the ambient bed, which I layered in at various stages. 

In the end I had eight tracks in Audacity:

The 1st and 3rd tracks are the eight sequential repeats of the ambient sound bed, each intersection overlapping to varying degrees.

The 2nd track is a filtered version of the ambient bed, which has a slow LFO on it (giving it a light Laurie Anderson–ish "ha ha ha" feel) and some echo. This was done on the modular using a filter (either the A-121 or the A-136 or the Z2040 — my notes are unclear — influenced by a digital LFO, the Hikari Sine, and then run through an Eko module).

The 4th is the "live performance" on the Monome of the percussion loop, running mlr. It has four tracks of the loop doing different things. I used a Novation Launch Control to balance the volume of those four tracks.

The 5th is a copy of the ambient sound bed, pitched lower for the full length of the loop. This gives it that deep vibe for the penultimate repeat of the ambient bed. In track 1 at that same stage the volume of the original ambient bed is a little quieter, to let the deep version sound even louder than it is, in relative terms. 

The 6th track is a copy of the ambient bed but pitched higher, and I just use it for a very short moment, a final peak before the track fades out. 

And the 7th and 8th are two different instances of the same tweak of the ambient bed, which I did in the modular using a Harvestman Polivoks. It's a tingling, slightly irritating sound, a momentary breach in the ambience.

The whole idea is it opens with this expanse, and then goes to something a little tribal, and then returns to the expanse. I'll be honest about my influences here. The ambient bed is striving toward Brian Eno's Thursday Afternoon, and the rhythmic part has Peter Gabriel's soundtrack to The Last Temptation of Christ in mind. The first appearance of the Polivoks "irritant" is then repeated toward the end to provide a sense of reflection on where the piece started, but in between is that percussion performance. The deep vibe in track 5 gives an orchestral sense of closure, and the peak in track 6 is little filigree, like the clouds breaking, before it all ends.

At least that's where I ended up. It wasn't where I started. When I started, it was all gonna be about this firecracker/rattle sound in the original, but in the end I went a totally different direction.

Free Album Download

"A4. Marilli Rmxd 14"

Listening to Lizard Point from "On Land" I always got the impression it was played back significantly slower than the source recording. Here it is sped up 2x to reveal what sounds like rhodes, guitar and barking dogs.

Double Speed Lizard Point

disquiet 0245
Disquiet Junto Project 0245: Practical Music
Write a piece of music for getting things done, suitable for playing on repeat.

Clean up, routine, tiding up....that leads me to repetitive stuff.
I played a simple riff on my “diaz custom5”  drake bass guitar, very repetitive and yet variations going from A to D to D/E with no real structure.
Added a synth bass drone, and a Wurlitzer A200 electric piano improvising a bit.
Then some repetitive voices (tah-tah-tah-tah...) in four part harmony/
My usual rhythmic delays played a big role, here in 1/8th and 1/4th notes.
You can loop this, there’s no lead in or lead off.
Love
DD
Recorded in Paris, France September 9th  2016.

More on this 245th weekly Disquiet Junto project — “Write a piece of music for getting things done, suitable for playing on repeat” — at:

http://disquiet.com/0245/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/disquiet-junto-project-0243-synth-trial/4288

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is by jurek d. and is used thanks to Flicker and a Creative Commons license:

http://flic.kr/p/npLwcU

clean it and loop it - disquiet0245

This is based on a Pure Data patch I made called "Oval Noise" because it reminded me of Markus Popp's ovalcommers-era sound. 

The patch is a mess since I just kind of threw it together with 3 oscillators playing one of four pitches randomly, with 2 of them summed up and the other being sent to another effect along with being summed with the other 2. 

Pure Data measures tempo by millisecond, so I started at 500 (i beat every half second), then divided it by 2, 4 and 6. The last little bit is divided by 8. 

Recorded into Audacity where I cropped it and fixed some clipping issues. 

||||

More on this 246th weekly Disquiet Junto project — “Compose a piece of music that increases speed in stages as it proceeds.” — at:

http://disquiet.com/0246/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/double-quadruple-sextuple-music-disquiet-junto-project-0246/4549

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is by Oliver Gouldthorpe and is used thanks to Flicker and a Creative Commons license:

flic.kr/p/sMDxq

https://creativecommons.org/licenses/by-nc/2.0/

Latticeworks (disquiet0246)

VINLY ONLY. no track listing. heads have to dig blind! for bookings contact readewhite@gmail.com. #techno #house #bass #bleeps #readetruth #cartulis #electro #oldschool #sonicgroove #classics #vinyl #DJ #brooklyn #frankfurt

Double Speed Lizard Point

Joshua Davison

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