All credits to Porn Sword Tobacco!
Influences:
Anything creative, nice and honest. An afternoon stroll, Recording studios, Gunnar Ekelöf, Karl, Pilkington, Massimo Ranieri (perdere l'amore), Journey(only the young), Nintendo, Leonard "the hills" Mills, Mozart, Stephen Hawking, Murals, Carl Sagan, D+M mastering, Crispin Glover, Nacho Libre, Ed witten, Wierd rants from outlaws and homeless people, instrumentals, 80 blocks from tiffanys, old records, For the sake of the song, Matt monro, Bo Widerberg, George Carlin, Alan Watts, Omar s, the interior of my grandmothers place, Roy Andersson, Galt Mcdermont, Techno, the Swedish woods, My Friends, Vilgot Sjöman, the heartful quality of the foot fist way, Mr.Dawkins, Internet, DJ Gazz, Christopher Hitchens skills, Reh Dogg, Richard Feynman, Cappuccino, Africa, punny..

Porn Sword Tobacco - Cubical Fever

Lucrecia Dalt - “Glosolalia”

written 10/30 - 11/12, three sessions

thanks SCP for giving us earz over da yearz and sharing delightful commentary
https://soundcloud.com/sour_cream_pringles

4SCP

from Brooklyn Banks, out Oct. 31st on Palmetto Arts

Eric Copeland - "Bear Country"

From the album Off World 2
Constellation CST127
06 Oct 2017
http://cstrecords.com/cst127

ALBUM TRACKLIST:
1. Wet Max
2. Island Fanfare
3. Scrubdown
4. Memory Drip
5. The Mask
6. Play Room
7. Night Valve
8. Decamp
9. Satellite Beach
10. The Grail 

PLAYERS:
Sandro Perri: bass, drum machine, electronics, guitar, piano (all tracks)
Drew Brown: electronics (tracks 2 & 8)
Eric Chenaux: guitar, percussion (track 10)
Matthew Cooper: electronics (track 8)
Craig Dunsmuir: bass, guitar, percussion (tracks 1, 6 & 7)
Brandon Hocura: electronics (track 7)
Susumu Mukai: drum machine, electronics, guitar (tracks 1, 2 & 8)
Lorenz Peter: drum machine, electronics (tracks 3, 5 & 9)

Off World • "Decamp"

From the Neptunalia LP compilation (LAL-92 / IKU-054). Edition of 300. Release day hopefully July 23rd.

NEPTUNALIA, a festival of Neptune, celebrated at Rome, of which
very little is known. The day on which it was held, was probably the 23rd
of July. The festival was celebrated with games. Respecting the ceremonies
of this festival nothing is known, except that the people used to build
huts of branches and foliage, in which they probably feasted, drank, and
amused themselves.
From a "Dictionary of Greek and Roman Antiquities" by John Murray, London,
1875.

Side A:
David Edren - Whale Bubbler
H. Takahashi - Deep
Nuslux - Hippocampi
Olli Aarni - Eliksiiri A & B
Ilpo Numminen - Speleothem

Side B:
H. Takahashi - Coral
Non Local Society - Latiaxis Mawae
Kuupuu - Jään alle
Marja Ahti - Silent Floor
Miaux - Rip Current at Avalon Beach

Compiled by Roope Eronen
Cover Art by Leon Sadler
Mastered by Tommi Keränen
Laquer cut at Duplates and Mastering

Lal Lal Lal & Ikuisuus, 2018

Miaux - Rip Current at Avalon Beach

From the album The Grid, available June 21, 2019 on Western Vinyl.

Bandcamp: https://robburger.bandcamp.com/album/the-grid
iTunes: https://itunes.apple.com/us/album/the-grid/1455379979?ls=1&app=itunes
Apple Music: https://itunes.apple.com/us/album/the-grid/1455379979?ls=1
Spotify: 	http://open.spotify.com/album/0IPX0k7LE3SJ6RIetDUUzQ

Rob Burger is an accomplished keyboardist and composer whose storied career comprises film soundtracks and other compositional work, as well as meaningful contributions to the albums of artists such as John Zorn, Laurie Anderson, and Iron & Wine with whom he maintains an ongoing working relationship. Burger rightfully brings his skills and nuanced sensibilities to the fore on The Grid, an LP that recombines neo-classical soundscapes, Harmonia-esque kosmische, and jaunts of 20th-century exotica into a multigenre quilt-work all his own. As a listening experience, the album ranges meanders gracefully between the jovially playful, the contemplative-- and occasionally the menacingly stark-- with masterful ease.

Artist Site http://robburgermusic.com/
Instagram https://www.instagram.com/robburgermusic/
Twitter https://twitter.com/robburgermusic
Facebook https://www.facebook.com/rob.burger.526

The Grid

Rob Burger - "Souls Of Winter (feat Laurie Anderson)"

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<p>Excerpt from the album, available from <a href="http://www.soundohm.com/product/Luciano-CILIO-/Dell-Universo-Assente/pid/20619/" rel="nofollow" target="_blank">soundohm.com</a>. The critically acclaimed "Dell'universo assente" has finally made available again in a stunning double-LP and CD remastered edition. "These recordings sound as they feel self contained, introspective, and determined, you can feel in the music a sort of necessity that can be rarely found, as in Bill Fay's "Time of the Last Persecution", or in Nick Drake's "Pink Moon": this enormous weight that is bearing on it's creators, the absolute need to exorcize it from their lives, a moment in time where you are invited to hear artists truly in contact with their existence. Luciano Cilio holds that moment in time, an authentic emotional testament, something to be cherished (...) from Jim O'Rourke liner notes</p>
</body>
</html>

Luciano Cilio "Interludio" da Dell'Universo Assente

R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her
solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop
minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated
on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On
manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch. The songs are full of
air and light; infectious, melodic and off-the-cuff.
Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth
belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language –
divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel
guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes,
realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the
undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like
the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps
and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of
perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of
repetitive listening.
Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist
mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist
becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at
the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces
Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless,
conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go
outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be
honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting.
The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and
grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a
loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble
provides aural snakes for the listener’s ear to follow.

R. Elizabeth - SPIRITUAL TO SYMPHONY (from Every And All We Voyage On)

From the album Music For 18 Musicians (Steve Reich) available May 8, 2020 on Western Vinyl.

Pre-order: https://smarturl.it/motgsf

Erik Hall - "Section I"

from Bruch's upcoming album »The Fool«
out on Oct, 30th via Cut Surface & TROST Records.
www.trost.at // www.cutsurface.com

Lucrecia Dalt - “Glosolalia”

Tiny Mix Tapes