deep into the fray, almost lost or almost list

EXPERIMENTAL

From the album "New Environments & Rhythm Studies" - out on June 27th .
andrewpekler.bandcamp.com/album/new-en…ythm-studies

Fabulation For K

"Living on Superstition" is the debut LP from New York native Phil Tortoroli a.k.a. James Place. After his initial cassette release “An Entire Matchbook A Night“ (Opal Tapes) in 2014, James Place returns with a harrowing, meditative record of candle-lit rhythms and frost-laden ambience. The album was composed using an intricate collection of analog equipment, including the TR-606, Casio SK-1, SP1200, and a multitude of vinyl and tape-based samples, and mastered by M. Geddes Gengras.

James Place has two points of reference: a palette of quiet, emotional sounds that reflects compositions from both electronic music's early experiments as well as a more contemporary style of hauntological exploration. This blend offers a mirror with which to view the world through - it's as if we've stepped into the long-forgotten attic.

It is his second nexus of inspiration with which Living on Superstition does not bear an allusion to a defined era. Engaging in a bacchanal waltz with deeply-contemplative ambience, the album is peppered with an array of street recordings that create overlapping folds of sound out of everyday vignettes. Intonations of the aquatic environs of Jürgen Müller and Robert Turman inform parts of the album, in addition to extended passages of primitive techno seemingly influenced by the early releases of Juan Mendez’s Silent Servant project.

Living on Superstition is ultimately a collection of midnight material recorded in a Manhattan high rise that, curiously, resembled a prison more so than an apartment. With the 13th floor actually marked as the 14th, an urgent disgust with the opulence of this rapidly gentrifying city is evident as a never-ending parade of brazenly destitute drunks and high-heeled clowns shriek with shallow delight from the streets below. If one listens closely, fragments of that insipid hedonism so common to today's American dream can be heard seeping into the recordings of James Place throughout his waking dream of an album. 

James Place — High Rise (Rainier)

boomerang

Editions Mego reissue the 2001 release Asuma by Finnish artist Ilpo Väisänen. Originally released on CD this is the first ever vinyl issue, remastered by Rashad Becker. 2001 is a landmark year for the artist following a wave of success from the notable outfit Väisänen formed alongside Mika Vanio, Pan Sonic (as they were now known then). Following a string of highly acclaimed and influential releases such as “Vakio”, “Kulma”, “A’ and “Aaltopiiri” Pan Sonic had toured the globe extensively leaving a trail of blown expectations and rumours of all manner of objects in venues cracking or falling apart due to the immense sound the duo concocted with their unique instruments.

Taking a break from the ecstatic cacophony of Pan Sonic, Väisänen retreated to work on a solo release which conjured the spirits of the former outfit whilst simultaneously carving out a more personal take on these new electronic forms.

Asuma is a precise study of drones, rhythms, clicks, ambience and gentle confusion. Whilst inhabiting a zone of abstraction the results also move in a natural field as Väisänen’s native Finland permeates these recordings as much as the idea of experimentation itself.

Autioitu 1 opens the album as delicate pinball rhythms bounce across the spectrum as a hairy drone hovers underneath. The mood is both intriguing and unsettling. Tukahduttaja is a delightfully disorientating sound sculpture that is hard to pinpoint what it actually is. Klikki is comparable to a microscopic version of Pink Floyd’s “Several Species Of Small Furry Animals Gathered Together In A Cave And Grooving With A Pict”. Asumaton is a foreboding miniature acting like a segway to Vallitseva which embraces the icy clicks that punctuates much of the Pan Sonic output. Arvioimaton Ongelma is an audio riddle whilst Jaettu jitters around a dancefloor crawl. Autioitu closes proceedings as a gentle ambient thumper. Asuma is awash with contradiction and mystery. This is time wrapped in twisted turns and rewards a neat payoff for those interested in the absolute fringes of electronic ‘dance’ music.

Ilpo Väisänen 'Autioitu 1 [2025 Remaster]' (EMEGO037)

All Stars Have Names

"Der Baum" (Liv Billerbeck, Billo (billotontraeger.bandcamp.com/album/die-letzten-ecken-talisman) wurde improvisiert für die Installation "Die Ruine die spricht" - von Sven K. und Maximilian K. (diemassnahme.org/kassettenfirma, https://niederschriftenvonanhaengernniedererinstinkte.org/ ). Gezeigt in Nürnberg  vom 16.-20.07.25 - gemeinsam mit anderen Hörspielen in Form einer Hörspielburgruine unter freiem Himmel.

Das Hörspiel wurde hauptsächlich mit Stimme, einem Keyboard  - bei dem die Batterien komplett alle waren und zwei älteren kurzen Synthieideen, die sich noch auf dem Mobiltelefon befanden, hergestellt. Text und Sounds wurden improvisiert am 9.07.25, aufgenommen in einem Bett in Berlin. Es wurde nicht weiter bearbeitet und improvisiert belassen.

Der Baum

Rough re-edit adding various effects and things, its rough  so some parts work better than others, completely improvised.  I actually think it sounds quite good like this , but you know..

Aphex Twin-Tha (Qeta Remix Q)

https://mnlth.bandcamp.com/album/the-ridge

Foxcall (Blue sky days)

As far as we know, or at least can discern from those letters and records published after his tragically early death at the age of 40, the author Franz Kafka had two great love affairs. The second, with journalist and translator Milena Jesenská, has been widely celebrated in the decades since the collected, one-sided Letters to Milena was compiled and published. In it, we see what must be the total store of his warmth and passion – everything lacking in his disorienting, menacing fictions. The Milena letters, strange and hot and highly questionable as they are, remain a source of fascination and inspiration for Kafka fanatics, erotomaniacs and historians alike. 

Unfortunately, their intellectually salacious reputation means those Letters far overshadow an earlier, thicker, darker volume penned by Franz K to his first great love and one-time fiancée, Felice Bauer, a relative of his lifelong editor Max Brod. While Kafka’s real-life story is one of brutal sexual failure and alienation before, during and after these two longer-term relationships, he managed a depth of written intimacy with both of these women most accurately described as harrowing. This tendency to expose himself most in moments of bitter melancholy is far more apparent and striking in the collected Letters to Felice.

This cold zoetrope, which conceals and reveals at accelerated frame-rates, eventually making a complex picture from an endless sequencing of small repetitive gestures, is the scaffold supporting Aris Kindt, the ongoing two-piece ‘post-structuralist pop’ project from Francis Harris and Gabe Hedrick. With Now Claims My Timid Heart, Harris and Hedrick continue the experiment started on Swann and Odette, crafting closed systems that promote a hushed correspondence between their sonic (Basic Channel, drone metal) and literary influences (Kafka, Sebald, Pynchon). 

Their commitment to this insular, architectural thesis resolves itself yet again with a record that manages to be simultaneously alienating and deeply human. This is largely due to the novel and particular ways the band achieves its trademark sound: For Timid Heart (their first record since 2017 as well as their first release on NYC’s Quiet Time Tapes), Harris eliminated much of music’s normal dependence on physical space, instead creating hermetically sealed sonic ‘rooms’ where the songs can live by sending samples and loops through convolution reverb. Each of the eight tracks on Timid Heart is fundamentally, thus, a field recording from an inaccessible world.

Nowhere is this more apparent than on ‘Letters to Felice,’ which contains some of the album’s most Kafkaesque, dystopian atonality, as well as the most obvious influence of storied producer and engineer Phil Weinrobe (Adrienne Lenker, Big Thief), who oversaw mixing for the record. This is about as upbeat as Aris Kindt gets; listening closely and taking into consideration the Rembrandt painting that gave the band its name, one can only hear the ravings of the human heart in a biomechanical sense. Not the stuff of love letters, but the operating table; not throbbing with lust, but electricity. It is the sort of music that begs the listener to remain at a slight remove for their own safety, to avoid going out in the way that desire, once sated, also ceases to be.

Now Claims My Timid Heart is, in this way, both a continuation of and an advancement upon Swann’s speculative emotional landscape; it maintains the band’s mystic sense of intimacy while simultaneously moving it in a more interior, cautiously analytic direction. Like viewing the Aris Kindt of Rembrandt’s masterpiece, or the vulnerabilities of Kafka on the private page, Timid Heart feels at times like getting a peek into an autopsy in progress. Simultaneously raw and clinical, it pulses inside the listener, encouraging retreat – if only into oneself. 


Aris Kindt - Saichh Sequences

There is no quest for efficiency here; the device is rudimentary, just raw, haunting loops repeated ad infinitum to better lose oneself in them ! Send us a telegram here : https://nottebrigante.bandcamp.com/album/telegraphic-lucubrations

Pierna Talu - Patient Mission (B1)

Massimo Flegme - Mask II

December @ Berlin Community Radio - Berlin Atonal 2016 Special Promo Mix

TV.OUT & TAAL - Foreel

The scene took place in the amazing ohm club from 4 to 6am. I think it has been one of my best experience behind the decks so far. It's so rare to play in front of such a receptive and respectful audience...

Full article @ Thump : http://bit.ly/2g1DDcJ
Festival review : http://bit.ly/2gXt8pW

Simo Cell @ Berlin Atonal Festival 2016 (dj set)

Just before 2020 comes to an end, Berlin-based artist @leozylberberg graces this crazy (!) year  with an oddball of a track: “Sheshells” is a total earworm and at the same time a bit off, maybe. It’s chill, it’s haunted, and it might be the most appropriate end to 2020 one can imagine. “Despite its imperfections, it feels like some sort of antidote to something,” as the Australian artist puts it herself.

Sheshells is published as a digital single. It features an artwork from Paris-based graphic designer and art director Olga Prader’s Ftantasy series. The track is Präsens Editionen’s fourth audio release in 2020, following music by Remo Helfenstein, @samuelreinhard , and @damexlove , that is ranging from gospel and dark ambient-informed lullabies to proper sad-boy-reggaeton-heat.

Zylberberg is a mainstay at @sameheads , Berlin’s most infamous pub / fashion store / club / art space / what not. In 2017, she came to attention with a split tape realized with the wonderful Belia Winnewisser. Earlier this year, the Australian artist published Greatestings on @noisekoelln , a label that came back to life just for this highly limited 10” after a four-year period of inactivity. Zylberberg is part of Balance Crew alongside partner in crime @dane-close .

Sheshells

Buy the Track

L.Zylberberg - Sheshells (PE-022)

Record label based in Mexico City, distributed worldwide by Morr Music.

James Place — High Rise (Rainier)

Umor Rex

Recent comments

gohogoho

gohogoho

isanologia

Nhung Nguyen

Related tracks