‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ #3

Aired on @repeaterrepeater radio on @dublindigitalradio 18/05/2024

Tracklist

Morton Feldman - Palais De Mari (Philip Thomas)
leftear - Room Feedback 房间反馈
Thomas Tilly - Crossroads, phasing
Taku Sugimoto, Sam Dunscombe, Michiko Ogawa - Improvisation 2018-06-10
brandon labelle + steve roden - the tree
Luciano Maggiore & Michael Speers - i
Sarah Hennies - Release (excerpt)
Marcin Pietruszewski - sieveSequence(001)
Jean Luc Guionnet & Thomas Tilly - SAA2 (For Standing Waves)
Madison Greenstone - hidden name
Madison Greenstone - flicker
David Watson - Vacuole
Yyed - Ridges Protruding From A Surface
Eva Maria Houben -Breath for Organ(excerpt)
Catherine Lamb - Divisio Spiralis - IX (JACK Quartet)
V/A - ꐱꑴꎰꆈꌿꋦꌿꄄꄖ 在井野碩諾杉林間 In The Forest Of Jingye Shuonuo 
kishun; ko ishikawa and kahoru nakamura - Improvisation in Hyojo Mode 1
Edward Sanderson 李蔼德 - Tapping in Time to the Loudness of Traffic 
pent  - antagonisms feat. dylan kerr
Ars Choralis Coeln, Amelia Cuni, Maria Jonas, Poul Høxbro - O Viridissima Virga

An incandescent shard of the sky, swallowed for safekeeping

all (in) your head

Fléau (stripped)

Million stars... There's something going on under the surface, are we still on a quest? So many questions...

The weather destroyed the grand piano. Now it waits solemnly on the charred remains of a pile of wooden debris.

Or did we lose the meaning?

Its keys are speckled with hues of hundred stars - touched by the many moons which have traveled through us.

If every person is worth a song, does it also apply to piano VST's?

We are its strings, spirals and thoughts, shaped by the moments and paths laid before and twisting ahead. (We are star bodies)

Drawn by the unexpected, asking for questions with not one beginning.

Composed, mixed and mastered by Henia Nikkilä and Jussi Hertz
Cover art by Jassir Kuronen

Murrettumeri & Romance Relic - Piano Composition XIII

You can encircle cities with your hungry restless, but can you round the coast? Meeting you, Pacific, was like hearing an echo sent to self from the distant future of the past. We rode to the desert often, looking for the glimpse of pale pink, so that I would feel less gaunt, and look a little less sickly. Rock folds like paper origami, and sierras stretch up north, rushing to your currents. Plaques colored brown notify us of our location, we are entering yet another natural park. I neatly fold the weed into the grinder, rolling out a tightly packed joint. Suckling, slowly lighting it hit after hit, like a christmas light on default setting, flickering at night in your living room. These days I am busy confronting certain images, it is hard to place their origin, source or time. Some might feel like memories, but certainly of fantasies. Phantom pain - that's what I imagine haunting of the past feels like. There is a unifying quality to all of them, and I am certain if there was a form of a deep dive into the MTV aesthetic of a certain period, these magical images would only be symptoms. Signs of the cold war won, the prize is enterprise. My rhymes are cheap today, and the sun is blazing through the end of September in the valley. I miss signs of autumn, but the leaves are so saturated in the backdrop of a clear blue sky. Shadows play a pattern, and the fuzz of the heat lingers in the atmosphere. Slowly zooming out, the gaze defocuses, and the natural miracles fade into the mundane. My body collects the summer dew, sweat folds like little mountain lakes. “We should break up”,- the sentence curves and comes out in italics, as if the font had a certain tune. Soon, I will leave you in the golden warmth of California.

words written and read by Lana Romanova

meeting you, Pacific (ft svetlana romanova)

Charles Verni (@charles-verni) is on Clout Farm. One of our favourite music type individuals in and around London, his album ‘I’m Crazy’ is one of 2024’s most advanced sleeper hits… it churns up elements of metal and noise and trap and extreme music in a way that doesn’t sound like $uicideboy$. We rock with him heavy, hence his voluntary presence on this podcast.

We spoke on Charles laughing at his own music but it not being a joke, making boring versions of extreme things, Paris Hilton’s ‘House of Wax’, producing for RXK Nephew, the tragedy of unintentionally funny metalheads, Napalm Death’s ‘Scum’, Lewis Saunderson’s cathartic outsider art, NEW YORK, letting people hate things, Chekhov’s sandwich, and other thangs of this nature. OK!

Full ep: https://www.patreon.com/c/CloutFarm

The Full Episode

Episode 31: "HATE THANGS" feat. Charles Verni *FULL EP ON PATREON*

With „I DARE YOU II“, Xzavier Stone unlifted the veil: Removing the usual hard-hitting drums and pop structures he highlighted the meticulous sound design that has made up a big part of his signature sound. This culminated in a soothing and ever evolving 26 min soundscape. With I DARE YOU II (Interpolated Versions), the artist invites friends to re-interpret his sonics. Whether it's made up of one sequence or many; there weren’t any rules to the creation process. This open approach resulted in a variety of interpolations - featuring a vocal debut by American musician and DJ P. Morris, the Dutch duo KEY/GEN, Montreal’s producer and DJ Martyn “M.” Bootyspoon, Swiss producers and artists 2AAB, Kombé, Modulaw and Tobias Koch, french pianist Joseph Schiano di Lombo, genre-bending French producer Brodinski and Xzavier’s frequent collaborator Phillip Jondo from Cologne.

Original compositions by Xzavier Stone
Mastered by Modulaw
Artwork based on a still by Enayet Kabir's video work for "I DARE YOU II"
www.instagram.com/_enayet/

I DARE YOU II (Kombé Interpolation)

Buy: https://bugbuspiano.bandcamp.com/album/passing-through-all-happy-dreams-like-hallways-2

‘Passing Through All Happy Dreams Like Hallways’ is an album by New York City-based artist Bug Bus Piano (@goodnightbed). It’s on TT.

It’s a world. A zone of elusive memories and insomniac fog. An album of murky mirages, slow-spiralling smoke plumes, gently bobbing streetlights viewed through bleary eyes during hours outside of time. Dream-to-mp3 conversion.

The spectral hypnagogia of ‘Blue And Purple Ribbons In The Hallways’ and ‘Tired’ haunt and soothe in equal measure, while the low-lidded vignettes of ‘Unlucky’ #1 through #6 conjure ghostly, stairwell-dwelling figures. Sleep paralysis angels. Whispering windows and shadows that sigh.

This is night music. ‘Open-Air Factory (Entering The Battlefield Version)’ is a mind playing tricks on itself, ‘All Clocks Stopped And The Dream Rewound’ is pure sleepwalking sugar. Songs that flicker and glow like candlelight, music about half-hallucinated conversations that might have meant everything or nothing at all. Blurry mnemonic outlines of encounters that feel significant, if you could only bring them to mind. There’s truth in dreams, but a weary head is hard to trust.

Per ‘Lucky’: “The path into the light seems dark. The path forward seems to go back. The direct path seems long. True power seems weak. True purity seems tarnished. True steadfastness seems changeable. True clarity seems obscure. The greatest art seems unsophisticated. The greatest love seems indifferent. The greatest wisdom seems childish.”

---

Released on TT.

All music by Bug Bus Piano
Mastering: Robert Venning, aka DJ Pitch
Cover art: Bug Bus Piano, Josh Crumpler
Words: Madjestic Kasual
A&R: Madjestic Kasual

Bug Bus Piano - Unlucky #5

free version remix, ruts dc, terre thaemlitz

@haana_lee is no stranger to the label, guesting on our NTS show back in 2023. We're very excited to share their special release titled 'The Closeness of Toxicity'.

The name is inspired by a chapter of Yasmine Ostendorf-Rodriguez's book "Let's become fungal!". The intention is to highlight impurity and the functionality of toxicity in relation to noise.

The Closeness of Toxicity uses analog sound design techniques to create dynamic yet penetrating drone, seeking to create grounding, meditative tranquillity out of deep, almost disturbing base of noise. This one hour piece was recorded in one take using a Korg CX3 and different effect pedals, with a focus on improvisation, stereo image, and the physical impact of sound.

The set is a snapshot of a year-long exploration of live improvised drone played on different electric organs while haana lee was touring Latin America and Europe, that they brought back to their hometown LA and their own drawbar organ.

The Closeness of Toxicity

Label and occasional function
Run by @djpitchdj + @maya-garside + @madjestickasual
General inquiries - info.TT.label@gmail.com
Demos - demos.TT.label@gmail.com

Art Direction
@josh-crumpler
www.joshcrumpler.co.uk