目の回る素晴らしいグルーヴの組み合わせ！！

Trippy sounds and hectic energy, another very interesting soundscae my friend

love the gurgley texture! cool composition!

excellent manipulations and flow. Great track

From the new Album "Metascope" available soon somewhere!

Metascope

Acid Juice

download

This work combined recording of acoustic instruments (violoncello and violin), synthesizer outputs and environmental sounds. My approach here is very close to anecdotal music: the sound sources became unimportant; they are merged together in a new context musically. The sounds left their original environments and meet in an unknown space.

Departure

Substantia Nigra

read more
https://www.midirarecords.com/release/md-119-sogahukau-the-eternally-melting-ice-of-john-gorrie/

The Eternally Melting Ice of John Gorrie

stream/buy album

Sogahukau - From The Ceiling

This track is my old track and made by two sampler , SP505 and SP 606 .

Video :
Psychedelic Tokyo with Experimental Music
 (  五反田  /  Gotanda  :  Psychedelic Tokyo  )

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( Bandcamp )
https://orientallove.bandcamp.com/
(Spotify )
https://open.spotify.com/artist/2qzGIzbFnUxmwPsOZRJI66?si=Qoo6UERgSpa87Picg-BXiA
(Mixcloud)
https://www.mixcloud.com/kayatakada/

Video

禁じられた遊び  /  Forbidden Games

©2022 ༼ つ ◕_◕ ༽つ ♥♥♥♥ X4 RECORDS 
Produced & Mixed by Danny Playamaqui 

Artwork by Wou-Wou & The Wormling 
https://www.instagram.com/wouwouandthewormling/

479: 🕳🕳🕳🕳🕳🕳 

Eusebio: Percussion 🐙 
Rogelia: BrokenBeats and sab•o•tages 👩🏻‍🦰 
Valentino Arco: Synths 🦊 
Matilda: Keys 👩🏻‍🦱 
Hall: Noise and Sweets ⛑ 
Potoo: Basses 🦉 

"watch out for your ears" they say 🕳🕳🕳🕳🕳🕳 

Thanks to you! Much love! 💖💖💖💖 
ok done 
🌸🦄💥

Original Music By : 
https://soundcloud.com/scalq/corcho

Scalq -  Corcho (Senglar Suro Rmx )

Support

LaDdEr_Of_LiFe

Nariel - Erotica (2023 original version)

Erotica by Nariel

Nariel - Erotica (2023 original version)

Track from:
Simon Whetham "Forced to Repeat Myself" CD

“When performing with a limited set of resources, through choices in materials to work with and the constraints of being nomadic, there can be a tendency to repeat actions and scenes that 'work', even when improvising and having to respond to each new situation in a unique way.”

One characteristic aspect of the touring experience that is not discussed often enough is the dilemma of repetition. Not repetition as a mechanism of the work itself, but as a tedious consequence of being obligated to perform night after night in quick succession. Generating a completely unique performance for each stop, even with the assistance of improvisation,  is a laborious undertaking that consumes too much time and sanity, while adhering to a rigid set of rules leaves one open to both burnout and diminishing returns. Is there a way to split the difference so that both performer and audience are always engaged to the highest standard?

“I set these constraints on myself. The need to produce something (at least a little) different in each event of a tour was fierce, especially when traveling with other musicians.”

Explicitly within the title itself of his latest CD, Forced To Repeat Myself, UK sound artist and composer Simon Whetham tackles these questions with both a sly wit and sincere inquisitiveness. The tracks, all collected from recordings documenting a 2018 tour, utilize analogous source material and means of execution.  Whetham paid particular attention to the contour and character of each venue when deciding how to best put the pieces together, offering a customization that subverts pure deja vu for a sharp observance of the unfamiliar.

“In each situation objects and materials unique to the space were incorporated into the performance setup and structure, generating sounds or resonating with them. And yet I could hear similar scenes, movements, even spaces. This repetition determined the dynamic of the composition, working with it and against it.”

By the very nature of their disseminating sparseness, the tracks of Forced To Repeat Myself demand from the listener an attentiveness fixed on nuance and variation. The amplified cracks and static of ethereal currents and anonymous electronics infer the works of others who’ve made it their mission to attune our attention toward sounds outside our natural perception, including Christina Kubisch’s electrical walks, Toshimaru Nakamura’s no-input mixer excursions, and Jason Zeh’s experiments with blank tapes and the mechanizations of his cassette players. Whetham’s shaping of the album’s source material to highlight certain exclusivities of each live performance emphasizes how the inherent dynamics of time and chance guide his self-imposed constraints into pathbreaking spectrums. 

“The title references a phrase many of us will have heard in our formative years, ’Why do you force me to repeat myself?’ I have no answer to this question. I never forced anyone to do anything. But with this work, I did.”

One inherent paradox of Forced To Repeat Myself is that each listen naturally manifests a distinct, individual experience. The way sounds are received and processed in one instance to the next each forget their own entryway into transcribing meaning from this abstraction. And Whetham is keenly aware of this as the sounds of Forced To Repeat Myself find consistent, unique ways to perpetuate themselves, ensuring any repetition to be delicately understated.

Forced to Repeat Myself

Forced to repeat Myself

Simon Whetham "08-11"

Noxin SD02 (Senglar Version)

' Oriental Force ' is small Live / Dj Bar in Koenji , Tokyo .
This space is organized by Oriental Love a.k.a. Kaya Takada.
If you will visit Tokyo , Please come to my space

禁じられた遊び / Forbidden Games

Oriental Force (Oriental Love a.k.a Kaya Takada)

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