On the 31st of July I had an episode of atrial flutter.   This is what it felt like.
Now having an operation called an oblation on the 19th of August, burning away the over active parts of my heart. This is 3 minutes of what turned out to be a 3 hour long episode in A&E.

flutterer

Based upon collab of @EnigmaCurry and @Mystique_Wind :: 
https://soundcloud.com/mystique_wind/small-sync-cycles
Enigma made syncopated arp
Mystique made song with instruments atop
Enigma stretched the audio for remixing
@myrhyum mixes in vocals & edits an artwork of EC's for the cover
Mystique does final mixing, fx's & master

lyrics based on the poem My Cocoon from These Tales Are True

my cocoon

not breaking the grounding between my feet
but stepping into the dance.
a move behind me at times
and then leading,

you work me into a circle
circling my radius
my cocoon
 
in my body
you work me, my cocoon, 
in a dance, in a dance, an inner dance

My Cocoon | of mystique & myrcury

From the new album

LYRICS:

Sitting in the shade tree trying to see what I can see
All the birds and bees flying over me
I have lost my mind but I don't give a damn
I'm so high sitting in this tree

You got a bold opinion?
Roll it up and stick it up your ass
I don't remember asking for your angle
Against the wind and I'm ready to roll
Against the wind and I'm ready to roll
I'm sitting high and I'm never coming down

Sitting in the shade tree trying to see what I can see
All the birds and bees flying over me
I have lost my mind but I don't give a damn
I'm so high sitting in this tree

I'm sitting far above you
Don't know how I'll get back down
Don't care cause I'm so freakin' high
Against the wind and I'm ready to roll
Against the wind and I'm ready to roll
I'm sitting high and I'm never coming down

You want to climb and join me?
Come on up and touch the clouds
Don't bust your ass going back down
Against the wind and I'm ready to roll
Against the wind and I'm ready to roll
I'm sitting high and I'm never coming down

Precambria

Shade Trees

Digital Rocks

Out Of The Dark

Lyrics (Translated below):

Jag är den jag är
trasig rädd till besvär
livet hårt och skört
kommer aldrig bli som förut

du vill ej
du vill inte ha 
du vill inte ha mej där
vill inte ha
du vill inte ta på mej mer

du kunde aldrig fullt lita på mej
det verkar aldrig ordna sej
allt fokus blev så skevt
och allt fint vi två upplevt

du vill ej
du vill inte ha 
du vill inte ha mej där
vill inte ha
du vill inte ta på mej mer

du vill ej
du vill inte ha 
du vill inte ha mej där
vill inte ha
du vill inte ta på mej mer
du vill ej
du vill inte kämpa
du vill inte kämpa mer
Jag vill inte längta
vill inte sakna
dej nå mer


GOOGLE TRANSLATION:
I am who I am
broken afraid Im trouble
life hard and fragile
it will never be the same as before

you do not want
you do not want
you do not want me there
you do not want
you do not want to touch me anymore

you could never really trust me
it never seems to work out
all focus became so skewed
and everything nice we two experienced

you do not want
you do not want
you do not want me there
you do not want
you do not want to touch me anymore

you do not want
you do not want
you do not want me there
you do not want
you do not want to touch me anymore
you do not want
you do not want to fight
you do not want to fight anymore
I do not want to long
do not want to miss
you any more

Du vill inte..

Upper Coberley Does Exist, You Know... Init

could call her Bessie/maybe Pokey/blow it up/ if wanna see more.

Poke Around Some/ U & Me/Here Hear/See What'll See

As I already have done so previously, during this jam session I again experimented with a vast amount of different samples and employed a technique which I like to call "time-synchronized sampling of percussive sounds". I played back a drum and percussion sample at 100 BPM through my humble Eurorack which was also set to 100 BPM. The next step was feeding the sample through the Make Noise LxD module (which is a dual low pass gate that can function as a filter, and also be pinged to produce percussive sounds) and modulating it by a collection of different Eurorack modules. Due to the imperfections in the synchronising, the already percussive sound was "forced" into a slightly skewed percussive structure which results in these intricate glitchy raw rhythms. Additionally, an LFO at audio rates in conjunction with the LxD were used to create auxiliary drum and percussive sounds.

As so often the case, this jam session took a couple of hours, and I experimented with a vast amount of sounds, settings and samples. Unfortunately, I didn't make a note what samples exactly I was using here. The only thing I clearly can remember is that I took one of the rather rare interviews by Aphex Twin and played it back in order for his narration to fit the rhythm of my jam session, which is heard in the second half of the track. Also, at the beginning, samples from the 2007 documentary "What The Future Sounded Like" can be heard.

Again, I recorded the result of this jam session in Audacity, which I used in post-production to extract the best parts from that jam session in order to create this track. As always, I only used basic audio editing techniques like simple crossfades. Only a touch of soft limiting and a high pass filter at 30 Hz was applied, no elaborate approaches like mastering were used whatsoever. Thus, the result is raw and highly dynamic in nature, so put on your favourite headphones and turn up that volume knob, because the Loudness War is for losers!

Glitchy Technoid [Jam session sections: RAW2021 - 1]

Part 20 of 266
Installments released every Saturday.

I use a complete hybrid of organic & electronic sounds within the scope of the Taffeta project. Nothing is out of the question and no limits are set on how things may evolve one way or another.

Part 1: https://soundcloud.com/belial-pelegrim/taffeta-part1
Part 2: https://soundcloud.com/belial-pelegrim/taffeta-part2
Part 3: https://soundcloud.com/belial-pelegrim/taffeta-part-3
Part 4: https://soundcloud.com/belial-pelegrim/taffeta-part-4
Part 5: https://soundcloud.com/belial-pelegrim/taffeta-part-5
Part 6: https://soundcloud.com/belial-pelegrim/taffeta-part-6
Part 7: https://soundcloud.com/belial-pelegrim/taffeta-part-7
Part 8: https://soundcloud.com/belial-pelegrim/taffeta-part-8
Part 9: https://soundcloud.com/belial-pelegrim/taffeta-part-9
Part 10: https://soundcloud.com/belial-pelegrim/taffeta-part-10
Part 11: https://soundcloud.com/belial-pelegrim/taffeta-part-11
Part 12: https://soundcloud.com/belial-pelegrim/taffeta-part-12
Part 13: https://soundcloud.com/belial-pelegrim/taffeta-part-13
Part 14: https://soundcloud.com/belial-pelegrim/taffeta-part-14
Part 15: https://soundcloud.com/belial-pelegrim/taffeta-part-15
Part 16: https://soundcloud.com/belial-pelegrim/taffeta-part-16
Part 17: https://soundcloud.com/belial-pelegrim/taffeta-part-17
Part 18: https://soundcloud.com/belial-pelegrim/taffeta-part-18

The TAFFETA Playlist: soundcloud.com/belial-pelegrim/sets/taffeta-a-266-part-musical

TAFFETA | Part 20

Folkdans

Time machine to the 70s

Time Machine Back To The 70s

Mrs. Audio Boy is a proud member of Project:Music (@projectmusicsounds) and MintFam (@mintfam), and is a German-based project, which creates experimental electronic music by the process of conducting jam sessions, improvising during these sessions, recording them, and then using best parts from those sessions to create so called "Jam session sections" (manually, no AI whatsoever). These are generally raw sound clips that are mostly left unprocessed apart from using a simple cross-fade in order to tie two or more clips together. Only very rarely some simple effects like filters, compressors or noise reduction are applied. 

In doing so, the special one-of-a-kind moment is pursued; thus, the created sound is highly inimitable and unreproducible. Most of the tracks can be downloaded. If you use them, please give a shout-out to Mrs. Audio Boy!

MAB logo by @maxim-lichtenwald, check him out!