Archet motorisé -

occhi a mandorla

JFM - Changing Colours

Audible: Dan Hayhurst
Visible: Reuben Sutherland
Mastering: Andreas Lubich [LUPO]

Psyché Tropes / LTR Records 2024

Sculpture’s new album Max Ax is the product of constant recombination of wildcard sonic and visual elements into new forms in performance. Catching a live AV set by the duo is to enter a maximal portal into their visionary aesthetic, as Sutherland's kaleidoscopic visual turntablism and Hayhurst's analogue/digital hybrid of electronic pop and experimental splatter combine in free associations and unstable reactions.

Max Ax is the capture of one possible frame in this ongoing sequence, but it is also Sculpture’s most direct and focused transmission yet.

Sculpture’s music may be compulsively metamorphic but a consistent intent and stylistic confidence connects these eleven compositions. Hayhurst’s signature junk pop gnarl is present, a chewed tape melodic sensibility holding the assembly together while surfing chaos. Tape loop psychedelia, overdriven techno, cassette deck melancholia and disintegrating chamber pop combine with a moire of varispeed electronics and percussion.

The resulting first thought best thought dynamism is sometimes ferocious, sometimes joyous, trashy ecstatic or strange, but always singular.

Sutherland's artwork playfully references recurrent motifs in the duo's work. The opaque corporate/ scientific department with its maze of abandoned zones visualises environment as pattern, threatening containment while inviting exploration. The visual language of product design and commercial exploitation is subverted in absurdist combinations of the organic and synthetic, banal and fantastic, geometric and cartoonish. Cryptic devices for calculation, summoning or nonsense are simultaneously futuristic and medieval. The facility has been compromised in some unknown event and strange code has broken through.

Max Ax marks a first collaboration between LTR Records and Psyché Tropes. Available on deluxe double gatefold 10” zoetrope disc and download. The album is available direct from LTR Records and Psyché Tropes, as well as from select record stores, online and via all streaming services.

Double 10" Zoetrope

Max Ax

Midweek Smile

Bruce Cockburn's 'lovers in a dangerous time' reimagined & recorded live to cassette using a sampler & FX. Live at Mighty Niagara Film Festival - https://www.youtube.com/watch?v=5jil-8nsgQY

'Fragile Bodies'

Track from album: Gary Gwadera - "Far, far in Chicago. Footberk Suite"
POINTLESS GEOMETRY 2024 / POINT#60
Pre-order date: 11.11.2024 / Release date: 21.11.2024

https://pointless-geometry.bandcamp.com
Limited edition of 100 copies / C-43 cassette
The material is also released in an audio-video version on VHS cassette. The visual side was created by Darek Pietraszewski (Copy Corpo).

Music composed, performed, recorded, edited and mixed by Piotr Gwadera
Recorded in Łódź, August/September 2024
https://www.instagram.com/gary_gwadera
@gary-gwadera

Mastered by Paweł Cieślak (Hasselhoff Studio) 
Artwork and design by Jakub „ Hakobo” Stępień
https://www.instagram.com/hakobo
Conceptual collaboration – Hanna Szczęśniak (Polish Radio Folk Centre)

The publishing partners are:    
KODY Festival of Traditional and Avant-garde Music
ROZDROŻA Centre for Intercultural Creative Initiatives
Polish Radio Folk Centre

Media patron:  
Dwójka – Polish Radio
℗ 2024 Polish Radio
© all right reserved

“It’s nothing else but a Chicago-style oberek!’ – that was my first thought when I heard the compilation ‘Bangs & Works’, an album that introduced the footwork style to a global audience. At first I was drawn by the triple, syncopated rhythm, based on the iconic sounds of the Roland TR-808 drum machine. My musical explorations have long been centering around triple rhythms of rural Poland. The clash of this archaic, distinctly Polish form with the freedom of the underground, electronic sound from the Black suburbs of Chicago seemed to aesthetically hit the perfect spot. As an anthropologist - dreamer, I also imagined that the presence of a triple rhythm in Chicago – the largest hub of the Polish diaspora in the USA – was not a coincidence. It was a result of a meeting between our native musical tradition and the musical sensitivity of the Black community in the United States. I must admit that this hypothesis was, and still is, purely my musical dream, unsupported by any scientific evidence. However, regardless of the actual roots of this fascinating phenomenon known as footwork, it is hard not to notice certain correlations between footwork and the Polish oberek tradition. This is in both cases music rather meant for dancing than for listening. It’s supposed to present a certain musical and rhythmic challenge to dancers, who can test themselves in a fun-oriented setting, where competition is an integral part. In Polish villages, these are traditional battles of village bands, while in Chicago, they are footwork battles in underground clubs. Both in the oberek and footwork, the most important are a sense of community, energy, and excitement built around dance, accompanied by a characteristic triple pulse.
Therefore, the footberk suite “Far, far in Chicago”, is intended as an imagined musical journey through time and space, where the Polish oberek and Chicago footwork find a common ground in dynamic, triple rhythms. I aim to show that the syncopated rhythm of the mazurka (or of the oberek) can sound just as contemporary and bold as the beats created for Chicago dancers. The composition is meant to be an auditory tribute to both cultures’ dance spirit and their sense of community. It is an attempt to capture the emotions that accompany both footwork dancers and participants of rural dance parties – spaces where music and dance become tools of self-expression.
To connect these two seemingly distant worlds I use a specially designed rhythmic machine. At its heart lies a rural jaz, with build-on Lem-esque pads packed with samples from the TR-808 and TR-909, as well as other electronic sounds."

Far, far in Chicago. Footberk Suite

Gary Gwadera - II. Battle („kasowanie”) / POINT#60

https://repeater-radio.com/shows/kosmische-radio/

1 Téléplasmiste - Victims Of Higher Space
2 Sunroof - Brotherly
3 Acid Rooster - Chandelier Arp
4 Sula Bassana - We Will Make It
5 Lost Signal - Trail’s End
6 Eat-Girls - A Kin
7 S.Y.P.H. - Zurück Zum Beton
8 Benoit Pioulard - Weird Door
9 Hornorkesteret - Gangar Grå
10 Das Rad - Dream Of Golden Sun
11 Skyjoggers - ...For Outer Space
12 Human Teorema - Studiis
13 S/T - The Story Of A Long Distance Flight Or Crash
14 Richard Pinhas - Winter Music Part 2

Kosmische Radio | #33 11172024

This is track "close ab" from the tiles teils cassette. 
Released October 10 2024

The cassette was published as part of the same titled 6-channel sound installation that was presented earlier in 2023 at Museum Schloss Fellenberg Merzig.

It features the sound of broken and cut tiles from the Merzig based tile factory Villeroy & Boch Fliesen GmbH. The factory, wich was directly opposite the Museum, has now, in 2024, moved its tile production entirely to Turkey.

However, the fossilized sounds of a few selected V&B tiles remain somewhere here... in Merzig, in Berlin, on magnetic tape, digitally, www, memorized.

In the former sound installation and now on this cassette, you can hear the tiles assambled to a three-storey ceramophone... humming a farewell song to their origins with the voices and sounds that might be very well known to the 200 former V&B workers.

[ Find here: Ceramophone percussion, tiles scratching, performance documents, analogue synths, text to speech poems, exploratory handling of ceramics and mics, etc. ]

~
credits
released October 10, 2024

C-26 ferro-tape cassette
Kraftpaper slipcase
Stamp printed cover
Hand numbered

Ceramophone, recordings and mix: Peter Strickmann
Text to speech: NaturalReader
Mastering: Leo Kwandt
Dubbing: Shell Tapes
Graphics and Layout: Peter Strickmann
Font: Silka, by atipo

Comissioned by SaarART 2023
Presented as 6-channel sound installation at Museum Schloss Fellenberg, Merzig in June - September 2023

Most of the tiles used for the Ceramophone were kindly provided by Villeroy & Boch Fliesen GmbH

Peter Strickmann - tiles teils (A4)

Faustus

"Arcane 7 : 2020 CD³ vs Starlink " de Léa Roger
Parce que Là Venir.e pense que l'ambiance c'est important, parce que Là Venir.e aime la musique des anges et les cris sauvages, parce que Là Venir.e écoute le grondement des machines et la course des astres, pour son premier numéro Là Venir.e a demandé à Léa Roger, de Félon et Osilasi, de composer une hymne au Chariot, une hymne cosmique, qui t'invite à la lutte, au soulèvement, à marcher toujours devant.

Arcane 7 : 2020 CD3 vs Starlink par Léa Roger

Audiovisual duo Sculpture mix animation, video art and unstable sonics to uniquely synaesthetic effect.

Max Ax

SCULPTURE