Daniel Avery - Magic   Memory [a playlist]

Premiering "Vosetevlenie" by DIGITONICA taken from VA "Nobody Owns The Future" forthcoming on 1st July via POSTWORLD

DIGITONICA’s Vosetevlenie begins with abrasive textures and a disorienting poetic onslaught, a dark chaos that is remedied by a daybreak-like transition into haunting yet warming vocal harmonies and yearning icy synths.

Nobody Owns The Future is the first release on POSTWORLD, an evolving decentralised label concept and a hub for an expanding network of neoteric artists.
This 4-track micro-compilation brings together artists from distinct geographies whose music is linked by exploratory production techniques and a hopeful perspective of the world to come.


Bandcamp: https://postworldmusic.bandcamp.com/album/nobody-owns-the-future 
Soundcloud: https://soundcloud.com/postworldmusic
IG: https://www.instagram.com/postworldmusic/

Nobody Owns The Future

bandcamp

[Premiere] DIGITONICA - Vosetevlenie (VA out now via POSTWORLD)

The first single from dragon girl's debut album - to be released Oct 28th, 2022. The album will be out 2023.

dragongirl - isolde's greatest hit

Messages From The Stars w/ YOZY - 19/09/2022

@v8s8n & @e6c41

tracklist: 

[v8s8n & e6c41]

Malibu - So Far Out of Love
special guest DJ - waiting for the stars to change
4TUNA - puddles always trying to say something
ddertbag - Oceans Breeze
Drumloop - When Its Cold I'd Like To Die (Moby)
Frederik Valentin, Loke Rahbek - In Waves (oqbqbo
Version)
Lucky Wings - 4:14:22, 11.11 PM
maje - Sukin
cedric madden - Glitter (feat. Anima)
ANIMA - FANTASIA
Malibu - come down to us
deusxa - what happened and whats going on
bod [包家巷] - My Hypergraphia ls Exploitable but I Refuse to Allow It to Be
Eterna - silvver
7038634357 - AEON (703 Braid for Dasychira)
airflo - Drowsy
STARSHINE - ibiza love <3
hex key fantasy - MOS (feat. e6c41)
Croatian Amor - 'An Angel Gets His Wings Clipped'
Emery Drama - broken stairs
SoundLift - Shining
Crystal Warmth - Ash In Whispering Rain
willix - emotional numbness
shibíre - drowning
Sky H1 - Land
e6c41 - ????
airshade - a dream about you
doon kanda - Bloodlet
yandere - look back

aeon09: raízes entrelaçadas w/ v8s8n & e6c41

@spraelle

"Poussière. Plastique. Résidu. Ruines. Je me réveille et ne reconnais rien de ce paysage de néant pourtant si plein. Le ciel est d’un rose rance et terrifiant. Sur ce sol accidenté, rien ne semble avoir résisté, ni image, ni écran. Rien si ce n’est des débris, des reliquats de vies passées, d'existences numériques. De la mousse phosphorescente a recouvert mes pieds. A tout recouvert. Entre effroi et émerveillement, je contemple les alentours, médusé. 
Alors que de nouvelles voix et un nouveau langage résonnent en moi, le silence environnant m’accable. Pourtant au loin j’entends des sirènes en écho. Elles m’appellent. Je me lève finalement et commence ma traque. Suivre la trace des ces chants, quoi de plus hasardeux. Allez, qu’est-ce que j’ai à perdre de toute façon."

Identité visuelle : Maxime Buono

Intro, interludes et outro 
Textes : Alexandre Peron 
Voix : Alice la Terreur 
Traitement et production : Hildegarde

Mastering : Tristan Chaillou

Production : Alice la Terreur & 
Alexandre Peron

Ruines

Sprælle - hourglass

Buffer (@datalifecycle) and Andrea des (@user-347777026) at legendary tune4tune

andreades; buffer

buffer/andrea des -  tune for tune radio

buffer/andrea des -  tune4tune radio

Пайта @user-251557634 "Веди меня" [ICSOO5]

Art cover by @holographic-internet

Mastered by @fmsao

Веди меня

Пайта "Веди меня" [ICSOO5]

After releasing "Retain a Breath" last year, @fmsao returns on Imum Coeli with a new full-length album titled "Tales of Severe Damage," which marks his fifth release in his discography. This monumental sonic canvas encompasses a wide spectrum of electronic genres : you can hear elements of ambient and IDM from the 90s and 2000s, passages reminiscent of krautrock from the 70s and 80s, deconstruction, glitch, noise, Soviet electronic music by Eduard Artemyev, video game soundtracks in the spirit of Jesper Kyd and Akira Yamaoka, and much more. FMSAO magically unifies this entire sonic spectrum into a cohesive dramaturgical narrative. We find ourselves in sunlit clearings one moment and in the dimly lit chambers of David Lynch's films the next, while also witnessing something grand and cosmic that defies description. This can be likened to a psychedelic journey with the purpose of healing the soul and addressing profound damages. The album is about the power of overcoming and the strength of the inner light that resides within each of us.

Bandcamp/streaming https://album.link/ic009

FMSAO is the project of Evgeny Shchukin, who also produces as WOLS and in the duo Narcissi. Evgeny is also one of the founders of Fuselab label.

Tales of Severe Damage

FMSAO - Crystal Wonders

DJ Miss Parker's 2nd full length album

Produced by DJ Miss Parker
Mastering by Naemi
Vocals by Silas and DJ Miss Parker
Lyrics by Silas and DJ Miss Parker
Electric guitar on WHERE I BELONG by Gavin Morgan
Bass guitar on PLEASURE SENSE by Gavin Morgan

PLEASURE SENSE (DJ MISS PARKER VOCAL MIX) FT. SILAS

w, graphic

Recorded at Secret Twitchdance, 1984
Romulus Cœurque: rhythms, dub treatments | Porn Flake: synths, dub treatments

Out on "Prototech" 2x12"EP, a joint release of Dark Entries (DE-179) and Serendip Lab (SERLP007).
http://www.darkentriesrecords.com/store/vinyl/hypnobeat-prototech-2xlp/#tab-description
http://www.serendip-lab.org/label/releases/hypnobeat-prototech-serlp007

Driven by the common DIY-attitude, James Dean Brown founded Hypnobeat with Pietro Insipido in 1983. Making noise with a Boss DR-55 rhythm machine, 2nd hand gear and household utensils, it was not before JDB’s encounter with Victor Sol and Tobias Freund a year later that Hypnobeat became a proper, fully electronic outfit.

The main goal was to follow a "neo-tribal" approach by reducing electronics to the hypnotic rhythm core. Affected by the emotional impact of polyrhythmic energy, the collective's live sets were often based on machine improvisations. In the studio, machine expert Victor Sol was the one who shifted the Hypnobeat sound to the desired level of technological sophistication.

Apart from a TB-303, the wide range of analog studio/live gear included up to six synchronized rhythm machines – always with a focus on the inimitable sound of the Roland TR-808. Accordingly, Hypnobeat conceived an early form of contemporary club music, somewhere within the scope of classical Electro Funk and prototype Techno, and with a proto-Acid flavour – on "the front-line of sonic innovation before Techno was even a thing."

In 1996, evolving from Hypnobeat, James Dean Brown formed Narcotic Syntax, a project he boosted together with Yapacc in 2003, with releases on Perlon, WIR and Prospector.

And after all, Hypnobeat retransformed from Narcotic Syntax. What was supposed to be a one-off solo live appearance by James Dean Brown at Serendip Festival, Paris in 2012 became the exciting new evolution of Hypnobeat with Helena Hauff joining the project a year later.

The duo's live performances are completely based on improvisation, exhausting the power of an untamed Roland horde which is unique on stage: 1 x TR-707 + 3 x TR-808 + 2x TB-303 + a formidable array of effects = provocative percussion, voodoo passion, tribal ecstasy, hypnodelic temptation, psycho-exotic magic, universal resonance, and a quantum of danger under a crypto-bohemian approach.

Hypnoweb
http://www.hypnobeat.net
Booking
hypnobeat@hypnobeat.net

Past live shows:
•	Festival Serendip, Paris
•	CTM, Berghain, Berlin
•	Grundlos Glücklich, ://about blank, Berlin
•	Les Siestes Électroniques, Toulouse
•	Écoutes au Vert, Motel Campo, Geneva
•	Insomnia, Tromsø, Norway
•	Bleak Future, Petit Bain, Paris
•	SAVE, Moscow
•	Intonal, Malmö, Sweden
•	Rural, Mountain Park Tsunan, Niigata, Japan
•	Krake, Urban Spree, Berlin
•	Arma Labelnight, OHM, Berlin
•	Atonal, Berlin
•	Kaiku, Helsinki
•	Boiler Room, Vienna
•	Dark Entries, Säule/Berghain, Berlin (JDB solo)
•	Mmodemmnight, Frankfurt a.M. (JDB solo)
•	Arma X, Funkhaus, Berlin (JDB solo)

Hypnobeat features:

The whole story
https://www.electronicbeats.net/frankfurt-diy-history
Techno Cadeau (08/2017)
https://web.archive.org/web/20220625101310/https://technocadeau.fr
Resident Advisor (01/2015)
http://www.residentadvisor.net/feature.aspx?2359

Hypnoweb
http://www.hypnobeat.net

Interview with Early Reflections, Paris (03/2023)
https://early-reflections.com/mixes/james-dean-brown

Interview with Fabric. London (03/2013)
www.fabriclondon.com/blog/view/in-conversation-with-james-dean-brown

www.empire-of-passion.com

Hypnobeat - The Arumbaya Fetish (1984)

Ursula Bogner: Winkel Pong
Format: 7” Vinyl/DL
Label#: faitiche15
Release date: Sept 8th 2017
 
Faitiche is delighted to announce the release of a new Ursula Bogner record (faitiche15). Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner’s tape archive (CD/LP Recordings 1969-1988, faitiche01). A second followed in 2011, compiled this time by Andrew Pekler (CD/LP Sonne = Blackbox, accompanying the book of the same name with texts, photographs and Bogner’s graphic oeuvre). For Winkel Pong the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.
 
Gundrun Gut (Malaria!, Einstürzende Neubauten), an activist and reluctant chronicler of Berlin’s underground scene since the 1980s, has worked with Lucrecia Dalt. She is also familiar with Ursula Bogner’s work. Reason enough to ask her for an interview:
 
Jan Jelinek: Gudrun, how does it feel to be constantly obliged to talk about the 1980s Berlin underground as someone who was there at the time?
 
Gudrun Gut: I’ve learned to live with it as there are clearly too few people who witnessed it first-hand. Maybe it’s even important to do these interviews as a woman – so that someone actually says that women, too, have written music history. Men tend not to mention this. But it’s true, people do always ask the same questions.
 
JJ: Did you know about Ursula Bogner in the 1980s? Did you ever meet her?
 
GG: No, I never met Ursula Bogner in person and I only discovered her in 2008 thanks to Faitiche. But that’s no surprise: firstly, I don’t know every single woman artist, and secondly, far too many women artists never see the light of day. In the male-dominated art and music market, women are not considered important – or worse still, they are not understood. Look at artists like Sonia Delaunay, Eva Hesse, Bebe Baron, Delia Derbyshire and Daphne Oram. Some of them have now been discovered – but only recently. A lot has changed in the last few years: there is a growing awareness of art and music made by women.
 
JJ: But isn’t it annoying that the conventional distribution of roles still applies? One example: in many articles, Ursula Bogner has been presented as an “electronic housewife”.
 
GG: When Ursula Bogner is referred to as an electronic housewife, then sadly that reflects the situation of many women artists at the time. Women could only pursue artistic activities in private – transcendence was reserved for men. This has still not been overcome. But today, the home has become a site of professional production for all. I’m talking about bedroom producers: it is totally normal to make art and music at home. And that makes things interesting, because “working at home” is no longer associated solely with women.
 
JJ: For Winkel Pong, Lucrecia Dalt compiled and remixed three pieces from the Bogner archive. You know Lucrecia and you’ve already worked with her. How did you meet?
 
GG: I met Lucrecia through MySpace – I think it was 2007. Back then she was still living in Medellin, Colombia. Lucrecia’s father made loop machines for her that she still uses. The Sound of Lucrecia was part of my 4 Women no Cry compilation series on Monika Enterprise, each with four producers from different countries. She’s great fun to watch as a performer because she has a unique sense of rhythm and feel for music. Above all I’m impressed by her sustained approach as an artist, someone who can and does think around corners. I’m thinking specifically of her album Ou, for which she ploughed her way through post-war German cinema, using it as a source of inspiration for a soundtrack. This is proof that she thinks like an engineer – so it makes perfect sense that she would want to explore the work of Ursula Bogner.
 
Berlin, 2017

Regel 3:36

Varg

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