Sublime, Marvelous - better than the original recording

drone

Boiler Room x The Wire Presents : Night of the monoriffs w/ Gnod, Kogumaza, Joseph Stannard & Jennifer Lucy Allan.

[Broadcasted on 16th July 2013]

Tracklist & video at boilerroom.tv

Gnod LIVE in the Boiler Room

Undercurrents

For A While

ION STORM (010): 

Martijn Comes | 2044 ASTRAL DUB VISION
s* | RETURN OF THE 12TH PLANET

Two mixes in this eclectic space travel through intergalactic dub and IO SOUND releases exploring the cosmic realms of experimental electronica.

== hosted by tobias.dj ==
http://deradio.ca
http://djtobias.com

ION STORM broadcasts interstellar techno, future house & offworld ambient from the vaults of TOBIAS.DJ. Prepare your space voyage with occult sounds drawn from 20+ years as a technoculture catalyst and turntablist. The mission — to invade consensus reality with an all-out assault of alien frequencies. Some sex in zero gravity included. Occasional interplanetary guests from the technosphere and label [ IOSOUND.ca ].

// TRACKLISTING //

== Martijn Comes | 2044 ASTRAL DUB VISION ==

Martijn Comes. Astral Vision Dub. (Unreleased)
Ulrich Troyer Meets Georg Blaschke. Back from Serbia. Somatic Soundtracks. (4Bit Productions)
Ursula Bogner. Fur Ulrich. Recordings 1969-1988. (Faitiche)
Rumpistol. Vuggelise. Mere rum. (Rump Recordings)
Chromatics.Tick Of The Clock. Night Drive. (Italians do it Better)
Rumpistol. Analog. Dynamo. (Rump Recordings)
Grace Jones. Sunset Dub. Hurricane. (Wall of Sound)
Vladislav Delay. Kuuluuko. Vantaa. (Raster-Noton)
General Strike. Interplanetary Dub. Danger in Paradise (Staubgold)

== s* | Return of the 12th Planet ==

* = unreleased

Scant Intone - earos [rmx of TTLD] - IO/001
Yves De Mey  /  rework of Pinkcourtesyphone*
Jeff Carey - Cut 0.3 [rmx of TTLD] - IO/001
I8U - 'til death [rmx of TTLD] - IO/001
Pinkcourtesyphone / sans (E. Domnitch + D. Gelfand rework of "Sans Many Things")*
Pinkcourtesyphone + Kid Congo Powers + CoH / Blow Up (iamaphotograph Cut)*
s* - Quiet [excerpt]*
s* + kk / eclipse - IO/002
Pinkcourtesyphone / An Awaiting Room (Frank Bretschneider remix)*
Richard Chartier / EVP.RE [rmx of TTLD] - IO/001
a.j. cornell / 1981 - IO/003
s* + kk / hypnosyne (psonn) - IO/002
s* + tomas phillips / body*
Pinkcourtesyphone + Kid Congo Powers / iamaphotograph (slowsleazemix)*
tomas phillips / flore [TTLD rmx] - IO/001
s* / 1999 - IO/003
s* + kk / ix chel (dead s* dub) - IO/002
s* + kk / she dreams of isis - IO/002
Pinkcourtesyphone / Simon Scott rework*
souns / waves [rmx of Mario van Horrik & Petra Dubach]*
s* + MVK / Thunderklap (Side B) - IO/004
coingutter / a little night music [rmx of TTLD] - IO/001
Martijn Comes / Memory Field*
Martijn Comes / Neptune Federation of Light*
a.j. cornell - sorgue [rmx of Mario van Horrik & Petra Dubach]*
Martijn Comes / Electric Field*
Martijn Comes / Silent Field*
Martijn Comes / Mirrored Field*

TTLD = Tactical Tape Loop Division (Unearthed from Airwaves / IO/001)

ION STORM (010): Martijn Comes | s*

Nerve Net

Juju Space Jazz

ftwr

Coalesce Ext

Recorded live at St John at Hackney Church in Hackney, London on May 22nd 2014 as part of the St Johns Sessions concert series.

Featured on Electronic Explorations 320

http://electronicexplorations.org/?show=paul-jebanasam

Subtext Recordings

EE320 - Paul Jebanasam - St Johns Sessions 220514

Bandcamp: https://tinyurl.com/fsol-presents-pulse-five

A2 The Future Sound Of London - Dialectics

Taken from the upcoming 'The Future Sound Of London Presents Pulse Five' LP, released 26 January 2024 on De:tuned.

www.fsoldigital.com
www.facebook.com/detunedrecords

Pulse Five

Pre-order

A2 The Future Sound Of London - Dialectics

The second release of POSITIVLAND by Mancunian artist:

Faff
@ffaf

PSTVLND 002 - 04/01/2024
positivland.bandcamp.com/

Limited ≈200 copies in Black vinyl, 180g.
Very Limited 26 hand-numbered copies, Splatter vinyl 180g
* Release Limited Edition 25/01/2024

****************************************
Note from the artist:


Faff’s Scrapbook.ep

This record is a collection of tracks I made from the start of 2019 to the end of 2021. They all exist completely independent of each other. My intention while working on music during this time was to create a time capsule/memory album for me to remind myself of my moments with. I had a lot of different experiences and substantially changed during this time. The early tracks were made by a completely different person than the person typing this. Of the 6 tracks on this EP, only one of them was made with the knowledge that it would be put together with the others and released as one cohesive article.

I wanted to make music again after abandoning it for 3 years. One of these tracks marks the turning point where a projected pipe dream of determined mastery was cracked through by what the speaker cone did when piano roll blocks were placed intuitively for the first time. 

In this .ep, I present:

THE CONCEPT

In its disjointedness, this music has presented itself to me as a scrapbook. It is rough around the edges, vague in its sentiment, and has more of an emotional than abstract association. While brainstorming for visual ideas to package these tracks in, I spat a bunch of words into a GAN and the words might be useful for you to get a sense of the general themes:  “synthesizer drum machine back catalogue emotional syneasthesia-inducing dance music” “vibrant energy synthesiser music record” “faffing about analogue synth music maker colour-changing light experiment” “bedroom studio acid bass sentimental rave artisan” “braindance analogue synthesiser data catalogue metaphysical music” “psychedelic synthesiser contemplation heartfelt breakbeat lullabies” “reaction diffusion rephlex records melancholic analogue music journal” “cerebral rave chromatic anthem dirge synth memories” “tr-808 analogue rave cerebral music energy ritual”

There is a dualistic nature to this EP, as it is a highly organised arrangement of totally disparate tracks. They are all (except one) built inside a DAW, but largely featuring live performance recordings of analogue hardware. The recordings are then processed after the fact. Layers on layers of humanity and machine, analogue and digital, specificity and ambiguity. All of the tracks are also subjectively experienceable pieces of music, but they sit in an objective folder structure on my laptop. Each one also was ignited by a unique occasion, but absorbs new meanings and connotations as time flows through and around them. These polarised paradoxes are key to the idea of this EP. Even to have a concept EP assembled from standalone tracks without any uniting concept is an example of the intertwining of opposites. Visuals associated are DAW architecture, poorly managed cables in thrown-together bedroom studio, piles of photographs printed out, computer folder structure, MIDI information in piano roll/automation envelopes, synthesiser encoders and pots.

Buy it:)!!

Special thanks and love go to Weefween, Robert and Chloe 

********************************************************************

credits
release January 4, 2024

Written, composed and produced in Manchester, UK, by Faff.
Mastered in Groningen, the Netherlands, by Johanz Westerman at Balyhoo Studio Mastering.
Designed in Manchester, UK, by Faff + Weefween + Positivland.
Distributed from Sardinia, Italy, by Desslab.

www.desslab.net
www.positiv.land

Faff - Voicenote (Snippet)

Excerpt of the first five minutes from the forthcoming vinyl re-issue of 'Topography of The Lungs' - one of the key recordings in the development of free improvisation and originally the first release on Incus, the label founded by Evan Parker, Derek Bailey and Tony Oxley to document the music. 

This vinyl issue caps off a year celebrating Evan Parker's 70th Birthday. Evan plays a week of concerts at Cafe OTO and The Vortex from the 20-26 October. 

Release Date: 15 December 2014

Liner notes by Evan Parker (for the 2014 re-issue):

‘The Topography of the Lungs’ was the first recording I made as a "leader" - in the somewhat antiquated terminology of the times. What this means in simple terms is that I set up the date and invited Han and Derek to participate - after that it was a matter of open interaction.

The original notes make clear my enthusiasm for the work that Derek Bailey and Han Bennink had done as a duo and it was good of them to share their discoveries with me. It was the first release on Incus, a label that I set up with Derek Bailey and Tony Oxley with financial assistance from music journalist Michael Walters.  No accurate history of Incus Records has yet been written. After parting company  and when the conditions of my agreement with Derek Bailey had been met, it was issued as a CD, thanks to Martin Davidson, on my label psi.

Musicians of my generation were very happy when the CD superseded the LP. I remember clearly the initial argument that CD was an elitist format... Times and attitudes have changed and the LP has made a serious return, especially in the documentation of marginal musics. OTOroku is run by and, perhaps, largely for, a new generation of listeners who have an affection for the LP format that reminds me of my youth.

I am very happy that a label associated with one of the most important music venues in London is overseeing this release.

I often travel along Dawes Road in Fulham and pass the building where the recording was made.  It is on the first floor by a bus stop and was a small space with a dead acoustic, probably ideal for making low-budget rock demos, which encouraged very analytical listening.

The engineer, Bob Woolford, was not shocked by what we were doing. On the contrary he was then, and remains, one of the great engineers, along with Adam Skeaping and Michael Gerzon who enjoyed the challenges of recording alternative musics.

In the intervening forty-odd years since its first release, the idealism of the original notes has been battered almost sense-less by the Neo-Liberal (Neo-Fascist would be a more accurate term) moves to global hegemony. I take heart from the environ-mental, Occupy and anti-war movements and would encourage all younger listeners to find a way to live their lives as far as possible without interference and control by decisions made in corporate boardrooms. May the music here give you energy and fuel your imaginations.

					          EP  (August, 2014)



PRE-ORDER NOW

Evan Parker / Derek Bailey / Han Bennink 'Topography of the Lungs' [Excerpt] (ROKU(RE)001)

Tracklist

01. Lorenz Weber - A Wounded Bird
02. Observatories - Picking Up Stones
03. Marcus Fischer + The OO-Ray - Cold Spring
04. Scott Campbell - Innermost
05. Steve Pacheco - Eventide
06. Tomáš Šenkyřík - 1344
07. Tomoyoshi Date - 土 Tsuchi (33 rpm)
08. Alex Bober - Betray Me, Crush Me
09. América Analógica - Cortezas (i)
10. Celer - Melancholy Movement III
11. Francisco Sonur - Bosque de Alerces

361. Sleepy Sunday Podcast (Elm Records)

Sicko

Listen in full/Buy here:

https://finlayclark.bandcamp.com/album/sicko

Additional mixing by Shaun Crooke
Mastered by Amir Shoat
Artwork by Finlay Clark

Sicko - Finlay Clark

Opium Hum - promo mix for ≠ (not equal)  11.11.11. @ Berghain Berlin

TRACKLISTING

01. Antti Rannisto - Numbers
02. Alva Noto - Xerrox Monophaser 2
03. Bastian Wegner - Face Down
04. Kouhei Matsunaga - 236
05. Wu-Tang Clan - Da Mystery of Chessboxing
06. Yves de Mey - Particle Match
07. Autechre - Tkakanren
08. Yoruba Drums from Benin - Repertoire for Oro and Ifa in Kétou
09. Machinefabriek + Stephen Vitiello - Field Recordings, Rocks, Speakers
10. Bernhard Hagen – Walze 13: Lagu Lang
11. Ben Frost - Through The Roof Of Your Mouth
12. Peterlicker - Always Right
13. Mika Vainio - Conquering the Solitude
14. Throbbing Gristle - Lyre Liar
15. Coil - Something
16. Porter Ricks - Biokinetics 2
17. Andy Stott - Execution
18. G.H. - Albedo
19. Tim Hecker - Aerial Silver
20. GAS - Königsforst 3
21. Fennesz - Saffron Revolution
22. BJ Nielsen - Black Light
23. Purl - Oceanima
24. Kreng - Wrak


The ≠ (not equal) series in Berghain fathoms the intersecting trajectories of sound research, dramaturgy, narration and affect in contemporary electronic music. The line-up put together for its second edition by Berghain and CTM leads us through various musical phases, from listening thru club, in which dramaturgical density, deep timbres, and sound’s intense physicality and coarse materiality nevertheless always predominate.

While, in the millennium upheaval, the positive rush and futuristic drive of rave mapped out utopias based on egalitarian community spirit, emancipatory technologies, liberated locations and unrestrained bodies, electronic music today, with its disquieting tonality, frequently also reflects the oppressive repercussions of our current submergence in medial dematerialization, the control society, and increasingly self-referential data streams that appear to live a life of their own.

With hypnotic depth, irresistible psychedelics, grainy textures and raw frequencies, the artists at this special concert/ club night neutralize or amplify the internalized unease triggered by such perceptions as well as their psycho-social impact.

Opium Hum - ≠ (not equal) pt. II

Kistvaen

Inflation Field

Tracklisting/info here: http://www.self-titledmag.com/2013/05/03/needle-exchange-120-an-exclusive-mix-by-violetshaped/

Needle Exchange 120: Violetshaped

Subtext Recordings is a Bristol founded / Berlin based label curated by james ginzburg.

EE320 - Paul Jebanasam - St Johns Sessions 220514

Subtext Recordings

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