How do artists break down the structures, patterns and constraints of music theory to innovate and expand upon their Ideas? 
Roman Ćinske takes a look into the world of improvisation and experimentation for the April edition of Aerial Palettes.

Artwork: Yves Klein  'Anthropometry of the Blue Period'
Reconstructed by Roman Ćinske

IG: https://www.instagram.com/aerial_palettes/

Tracklist:
https://www.noodsradio.com/shows/aerial-palettes-w-roman-cinske-18th-april-21

Aerial Palettes w/ Roman Ćinske :: Noods Radio (April)

(ES) @ClaraBrea nos ofrece esta pieza a modo de epílogo sonoro del festival En Pausa. La artista madrileña, especializada en grabaciones de campo, registró mediante un entramado de micrófonos lo acontecido durante las jornadas presenciales del evento celebrado en abril. Tras un particular trabajo de proceso y manipulación de todo ese material, nos presenta una pieza de una hora en la que podremos revivir las sensaciones de la cita.

El festival se articulaba en torno a la reflexión, la disidencia y la conexión a través de la escucha, y en la memoria resonante de Clara quedan representados estos parámetros ya que podemos reconocer partes de las actuaciones y del ambiente sonoro que vivimos esos días: La síntesis de Ylia y Jonathan Fitoussi el viernes en el patio, el concierto de clarinete y charla de Paweł Szamburski en la terraza la mañana del sábado y los conciertos de Menhir y Mecánica Clásica como broche esa misma noche.

Las técnicas empleadas por Clara, desde micrófonos de contacto situados en cristales y tuberías, a micrófonos 360, dotan al material capturado de una entidad propia, que sumada a la postproducción mediante sampling, efectos, filtrado y mezcla, generan una pieza que trasciende la mera documentación y nos adentra en el universo sonoro de una de las creadoras más originales del panorama local.

En Pausa, reflexión, disidencia y conexión a través de la escucha, comisariado por a_mal_gam_a, fue celebrado los días 16 y 17 abril de 2021, presencialmente en La Casa Encendida y virtualmente el domingo 18 a través de la plataforma de radio online 9128.live.

(EN) Clara Brea brings us this piece as a sonic epilogue to the En Pausa Festival. Brea is an electronic musician and sound artist with a focus on field recordings, for this occasion she registered, through a microphone system what happened during the on-site concerts of the event held in April. After a particular process and manipulation of the recorded material, she offers us an hour-long piece with which we can relive the sensations of that journey.

The festival was articulated around reflection, dissidence and connection through listening, all these concepts are represented in Clara's 'Resonant Memory' since we can recognize excerpts of the performances and also the sound environments that surrounded us during those days: The synthesis of Ylia and Jonathan Fitoussi on Friday in the courtyard, the clarinet concert and talk by Paweł Szamburski on the terrace on Saturday morning and the Menhir and Mecánica Clásica concerts that took place that evening to put an end to the on-site event and this piece itself accordingly.

The different techniques used by Clara to capture the event including contact microphones attached on glass windows and pipes or 360 microphones, already give the captured material its own entity, and after the post-production processes she made through sampling, effects, filtering, and mixing, we are left with a piece that transcends mere documentation and takes us into the sound universe of one of the most original creators on the local scene.

En Pausa, reflecting, dissenting and connecting through listening, curated by a_mal_gam_a, was held on April 16th and 17th, 2021 at La Casa Encendida and virtually on Sunday 18th through the online radio platform 9128.live .

En Pausa

En Pausa - Epílogo -  Memoria Resonante por Clara Brea

hear the full album from @kafka-sound and purchase at:
http://concreterecords.bandcamp.com/album/castles

KAFKA - Floors (Tomas Jirku Remix)

Perpetually obsessed with proving the futility of binaries, Lou Drago is drawn to the spaces between analogue and synthesised sounds. In their sets, Drago aims to provide a space for contemplation and introspection, offering a pause from the anxiety of neoliberalism through ambient, strange and relaxing sounds. They aim to summon imagery of speculative queer and postgendered futurities through evoking sci-fi, space, drone and ambience. Drago hosts a monthly show on Cashmere Radio based in Berlin called TRANSIENCE, each time inviting a different artist to respond to their concept to create an hour of anxiety relief from hetero-patriarchial systems of oppression.

In Patterns of Perception 47, Drago fuses all these elements into a masterfully lucid kaleidoscope of vivid textures and colours punctuated by shimmering spaces.

Links:
https://soundcloud.com/transience-archive
https://www.facebook.com/transiencearchive/
https://cashmereradio.com/shows/TRANSIENCE/

Patterns of Perception 47 - Lou Drago

It is undeniable that we are living in uncertain times. For those of us failing to fit the patriarchal, neoliberalist mould we have lost hope in the future. We can see capitalism is not working but we cannot yet envisage an alternative. We discover that the stability we were instructed to obtain whether it be financial, political or ecological, is fleeting, if at all. The resulting anxiety is an instrument of neoliberalism that prevents many of us from being able to raise consciousness of the structural injustices that alienate us.

In a world where security is no longer feasible, the only constant we can rely on is change. Barad teaches us that the world is a dynamic process of intra-activity and materialisation, an ongoing ebb and flow of agency. The Buddhist Law of Impermanence proves that nothing in this world is eternal.

Regardless of ones point of reference we can understand that every aspect of life, physical and mental is in flux and perhaps this transience is the only thing we can depend on.

Each month we invite an artist to ruminate on these ideas and create an hour of relief from these anxieties. A temporary suspension of reality, where the listener can speculate on alternate modes of existence that reject hetero- patriarchal systems of oppression.

This month we have invited @martinou3000 to respond to this concept.

Photography courtesy Ángela de la Serna

For tracklist visit: https://cashmereradio.com/episode/transience-18-with-lou-drago-and-martinou/

transience #18 with Martinou

INTERVIEW : www.indepth.be/itw-ameeva-lowless

The Ameeva project has been a way for Alex Busse to explore the aforementioned influences while remaining genre-fluid. With more standalone, conceptual works in store, he hopes to utilize his music catalog's ambiguity to adapt his performance to the situation, whether it is for a live or DJ set; ambient and kickless atmposhperic rythm, or a deep techno odyssey on the dancefloor.

Ameeva on Facebook - www.facebook.com/ameevamusic/
Ameeva on Soundcloud - @ameeva
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Lowless on Facebook - www.facebook.com/lowlessmusic/
Lowless on Spotify - bit.ly/lowless-catalog
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Follow InDepth 
Facebook : www.facebook.com/InDepthBe/
Soundcloud : @indepthbelgium
Web : www.indepth.be

InDepth invites Ameeva [Lowless]

Eight Fold Under is a new thread of thinking aimed at exploring the rhythmical side of music and the power of low-end pressure.

Sliver of Light

Rinse France Podcast

Download

Tri Sélectif : Roman Delore invite Jonathan Fitoussi - 09 Novembre 2020

The first release of collaborative works with TASOKO on my new Label
"VISIONARY"
http://visionary0.bandcamp.com

BLUE FICTION /DECONSTRUCTION

Most people don't really figure out how HKS97 belongs to ://about blank but it's still obvious that he is just as much part of this club as the red caravan in the garden. Research brought to light that he actually worked as a writer for events at ://about blank. And of course often, but not often enough, he steps behind the DJ decks of his favorite club as well. Together with Yobovski he earned some fame with with the Leftfield and Dance music project Freude am Sitzen, named in reference to a, back then well known, Tech-House label from Thuringia. Today his musical journeys explore Electro, Breakbeat, House and Synth Wave territories while his love for sinister Ambient sounds shines through from time to time. 

Follow
https://soundcloud.com/hks97
https://soundcloud.com/freudeamsitzen

Tracklist

FS024
AC_32
ZK003
OPTILL001
CLS001
CE034
CLEAR003
RMCE004.1
CWCSXMAP003
LOP002
STRICT006
JPT004
FR004R
CWCS-X
PHLTRX
XL003
CAL006EF
BUNKER 3012
CWCSXMAP002
DBC4W-190
RMCE004
DB4W-028
LOP13
CE029
EPE02
01010101
BM04
COOL X 151
DMSR 00222
RF002
CNSRM002
AC_24
PLANT43001
GTD.009

Warning80K - HKS97

•Clan: Down Wall
•Ocupación: unknown
•Naturaleza: psicotrópico natural para cuerpo y alma 
•Delitos cometidos: conquistar el valle del Guadalquivir y el norte de Argelia y Túnez, rivalizar con la mosca blanca y diversos hongos
•Habilidades: fotosíntesis, mimetismo
•Weapons: cápsulas tricocas explosivas
•Visto por última vez: nunca antes contemplado

bso by @southerneuphorbia

Beyond the Wall #022 Euphorbia

Tomas started his career in the golden era of minimal and glitch techno and helped to define the genres. 
His live performance at the inaugural Mutek festival in 2000 caught the ear of Force Inc who signed him shortly after, just eking-out Akufen to become the first Canadian on the label. In the era where vinyl still ruled, and digital downloads were just a twinkle in some corporation's eye, Tomas dropped albums on Traum, Klang Elektronik, Revolver, Audio.NL, and more. 
Since then, two decades of producing has seen Jirku manipulate house on Arbutus Records; hip-hop with his laser-gun-rap project The Killaz; dub on his highly regarded "Entropy" album; electro, ambient, and other experiments that defy genres. With experience performing around the globe and having made his mark on innumerable record labels, Tomas has been honing back in on techno, aiming to maximize the brain and body connection that deep techno can provide.
His recent releases on Seattle's Innerflight, Berlin's Thoughtless, Vancouver's Subspec, and Rome's Concrete record labels further prove that the Canadian producer has built a strong repertoire by not doing anything straightforward or ordinary.