Name: e/tape @ PW x Intuit.fm by Intuit.fm
Duration: 1 h 47 s
Description: 1 hour of pure ambient gold taken from e/tape's performance at the end of May '24 at PW. Words are useless, sit back relax and enjoy!

Mechanical actions might be seen as the reunion between force and time. With linear time out of the equation, force would stand alone, floating in her own field, her space for eternity. 

Now let's take a body, one single, rigid, solid, human body. With force acting alone like a steamroller, the body would be subjected to a great amount of distortions, its soul and memories transforming into a strange mixture dilated in cyclic never-ending times. Frightening isn’t it ? No beginning nor end, no order, no evolution, only the manifestations of surprise and creation. 

Reminds you a dream ? Well, think about the body. It's a nightmare now.

@telephonekale

Hypnocall - Telephone Kale

EOS Radio - Zacke

day and night, the gold is melting into stars in the alchemy chamber of Young Gaina @morelized

SpeLL: YOUNG GAINA

1 hour of pure ambient gold taken from e/tape's performance at the end of May '24 at PW. Words are useless, sit back relax and enjoy!

e/tape @ PW x Intuit.fm

Jill Krecké aka GURL (https://soundcloud.com/j1ll) is a Luxembourg-born, Brussels-based artist & archivist. We met more than a decade ago on the dancefloor of Fuse Club, Brussels. Ever since, we’ve stayed close music/clubbing friends and swum through different moments in our lives, forever positively connected and supportive. 

Properly balanced and in the pipeline for some years (!!!) now, Gurl’s Basic Moves podcast demonstrates her love for detroity electro, wonky breakbeats and dusty techno. Her passion and skills for mixing and digging up this specific sound of dance music have forged her a steady presence in the electronic music scene of Brussels. Since she started performing as a deejay at the age of 22, she’s became part of various projects (Brüxsel Jardin, C12, Planet), not only as an artist but also as a promoter and safe spacer. 

As a number one supporter and participant of our Beautiful Freaks party, it was a logical choice to ask Jill to join the core team. Multitasking 3-dimensional friends forever. Enjoy the energies & roll out the beats. Gurl in the mix!

The Basic Moves Of … GURL

Transmitting from one of Belgium’s most promising electronic dance spaces, the Garage at Horst club. It’s the most intimate room of the club. Ko-designed, ko-invented and ko(be)-built by the deejay behind this live recorded Basic Moves mix: Kuba’97 ! 

Kobe is part of the early generation of Horst alumni. From his early 20ies he has been involved in this world leading and ultra professional hybrid architecture, art, culture and (club) music festival. They are organising a yearly festival in May and a burgeoning club space that operates throughout the rest of the year on the Asiat site just outside of Brussels. Back in 2018 Kobe started together with a crew of music heads and dreamers a nightlife collective called nacht which operated from the socio-cultural spot Stelplaats in Louvain. This being said Kobe is also the head of production at our Beautiful Freaks parties, a fantastic cook, creative DIY handy person, cider maker, pizza master & great human to have around anytime of the day or night. 

Now let’s put some attention to what Kobe loves the most … records! He has been working hard, digging through the fruitful orchard that is dance music (and beyond), to make his own special brew. This live recording is a perfect reflection of what he loves and has discovered over the last couple of years. We hear shreds of deep techno, spaced out minimal, 80s inspired body music workouts, psychedelic oddities, proggy weird b-sides…and more; definitely not the easiest spread to put together. In Kobe’s hands these three and a half hours are a cruizin’ ride, produced in the dj booth he has built and danced-to by the community Brussels has been (re)building over the last decade … with Kuba’97 unquestionably at the heart of it.

https://soundcloud.com/kuba97

The Basic Moves Of … KUBA'97 (live at Garage/Horst Club 2025)

meltdown 74 - moss witch

Blitz Live : Richard Akingbehin : 22/03/2025

Richard Akingbehin – the tasteful selector known for his engrossing, soothing soundscapes and the driving force behind Berlin’s Refuge Worldwide and Kynant Records – made his Blitz debut in late March 2025, playing alongside DVS1 and Ogazón. A night shaped by deep cuts, subtle shifts and tactile Techno!

We’re pleased to share a recording of the first half of his opening set – and took the chance to ask Richard a few questions about the night, too: find them in our Blitz Magazine:

https://www.blitz.club/2025/06/11/blitz-live-richard-akingbehin/

Listen to the recording here – and don’t forget to follow Richard to stay updated on his upcoming sets and projects.

https://www.instagram.com/richardakingbehin/
https://soundcloud.com/richard-akingbehin

https://kynantrecords.bandcamp.com/music
https://linktr.ee/refugeworldwide

Blitz Live : Richard Akingbehin : 22/03/2025

Microwave is a community-based, audiovisual webradio. We aim to provide a platform for a wide variety of upcoming artists through digital and real-life media.

Tune in at microwave.live.

13.06.2025 Macadam invites Jana Joanna

www.instagram.com/markuslipsoe

blurer is a peripheral study exploring ways to perceive our surroundings beyond any focal point. The poetic text where the winds are coming from, invites contributing artists and musicians to collectively explore a world that has become unfamiliar yet again. Inspired by the moment Alice tumbles into Wonderland, it asks what it means to unlearn, relearn, and navigate within a world anew. Like Alice, this conceptual mixtape delves into places, things, and feelings that have been overlooked, ignored or seen as a backdrop. The text, tracks, and sounds of this compilation take us on an explorative journey—not to arrive somewhere, but to sense that what lies within the blur has always already been in the here:now.
(Lisa Walder, 2025)

Most music is used as a form of abstract translation. To unblur the personal, we abstract it and transform and transport it through familiar sounds. Through abstraction, the motives are essentialized to their core. In this, minimalism becomes a prioritisation. A blur can be more flexible. The reduction of elements could be optimistic or protective.
What this release does is observe the peripheral, to look for emotionality or personality within it, but also to create atmospheres that appear peripheral, yet are again included in the general blur.
When hearing the sounds of blurer, the focus of the compositions fluctuates and directs the listener’s perception to certain points within, not only to hear what seems essential but also to draw closer attention to the peripheral. Throughout the whole release, the procedures are very different. Some moments are vivid, almost narrative. There are deconstructed references to find, in both energetic and quiet forms. Occasionally, we pass by rearing, foggy drone walls or prancing, twirling, or scurrying melodies carried around, on synths or guitar strings. Blurer seems to harbor atmospheres of comfort in the cold, loops of spiraling memories or expressions of disorientation, that scamper around on the acoustic foundation created by the 19 artists.
(Elia Brülhart, 2025) 

Assembled by Periphery Serpentine
Commissioned Text by Lisa Walder
Mastered & Cut by Isabel Schröer
Artwork & Design by Dimitri Erhard

supported by GGG Kulturkick Basel-Stadt
ryser005 © 2025

blurer

safe

Global Boiler Repair - safe

THROUGH GLASS
by MAX DEVEREAUX & KAZUYA ISHIGAMI

released July 15, 2025

Digital Album  $2 USD  or more
edition of 25 Cassette  $6 USD or more 

1.FRIED GRASSHOPPERS 03:53
2.GALVANIZED STEEL TUB 03:10
3.PARTICULATES 04:33
4.SHED FESTIVAL 05:03
5.RIVER OF RAZORS 02:17
6.CORRUPT WIND-UP 04:48
7.THROUGH GLASS 05:54
8.THE LOWEST CHAMBER 05:29
9.WORKING TO RETURN 06:09

Side A : 1-5
Side B : 6-9


Through Glass is the result of a deeply collaborative and cross-continental experiment between Japanese electroacoustic composer Kazuya Ishigami and American multidisciplinary artist Max Devereaux. Rooted in contrasting yet complementary approaches, the project unfolds as a dialogue between structured sound design and spontaneous sonic exploration.

The process began with Kazuya Ishigami, who created a series of intricate sound materials, merging electroacoustic textures, noise fragments, and ambient field recordings. These materials were then sent to Max Devereaux, who layered, reinterpreted, and expanded upon them through improvisation, using field recordings, found objects, contact microphones, and modular synthesizers. Max's additions reflect his tactile and often textural approach, combining environmental sounds and lo-fi textures with gestures that evoke both intimacy and sweeping activity.

The recordings passed once more into Ishigami's hands, where he carefully deconstructed and reassembled the sound elements into finished compositions. His final edits shaped the album into a cohesive whole, blending raw improvisation with composed electroacoustic precision. He also oversaw the mastering process.

The album’s title was chosen by Devereaux, reflecting a feeling he has carried for much of his life as an artist, especially one working within the avant-garde. To him, creating art often feels like living behind glass: present but removed, able to observe and reflect the world with clarity, yet never fully immersed in it. This invisible barrier separates the artist from society, allowing vision without contact, insight without belonging. The music on the album, with its delicate, translucent textures and fleeting glimpses of human presence, seemed to embody this sensation perfectly, like watching life unfold just beyond reach.


e/tape @ PW x Intuit.fm

Intuit.fm

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