Drive (feat. Veela)

!!! Mike Paradinas first album of new material since 2013, written in some rare downtime in the Gower (Wales) during the summer 2020 lockdown. There’s a strange sense of the old and new in Scurlage, the sentimental and utopia. Dive into Paradinas world, yesterday, today and forever.
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+++ OUT EARLY JUNE +++
PREORDER 2x12" TURQUOISE VINYL + DIGITAL: https://bit.ly/3urgapd
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CAT: AF038LP
ARTIST: µ-Ziq
TITTLE: SCURLAGE  
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A1   BLAKERS LOOP                                  04:32  
A2   PRESTON MELODICS                              04:00
A3   MURKER                                        02:54

B1   SLADE TREACHER                                05:47 
B2   CLEANING                                      05:31

C1   OXWICH & PENRICE                              05:31  
C2   BLAUWASSER                                    04:34

D1   SKETTY                                        04:05 
D2   BENTLEY                                       03:17
D3   STRAWBERRY AERO                               05:16
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©+Ⓟ Analogical Force 2021. Copyright Control
Written, produced and mixed by Michael Paradinas in UK 
Published by Planet Mu Publishing
Mastering by Carlos Koschitzky at Koschitzky Studio, Gijón
Design by Acid Hazel, Berlin
Distributed by Clone, Rotterdam 
www.clone.nl
www.analogicalforce.com

Buy Now

[AF038LP] µ​-​Ziq 'SCURLAGE' [2021]

Serge Geyzel and Karsten Pflum are old friends, with a common musical ground and passion. Since 2020 they have been collaborating prolifically - focusing their energy and effort on dance-oriented electro, with strong acid, breakbeat, and IDM vibes. 
“EP 2” is a five tracker, displaying a palette of funky, tight, deep, and quirky excursions into their acid galaxy.

Written and Produced by Geyzel & Pflum
Mastered by Bob Humid
Artwork by Roganski Genetik
©Specimenrecords_2021

Serge Geyzel & Karsten Pflum - EP2 Snippets

Some more Sub 37 polychain experiments :)

Moog Sub 37 / Minitaur Polychain Demo

This track is made entirely from field recordings of animals. If you like it, a repost would be great, thank you.

Animalia

This is made from a mixture of hardware and software synthesizers as well as lots of animal recordings.

Bad Man

Fahmi Mursyid - Lautan

Pre-order Selected Early Keyboard Works at blankforms.org/publications/

Selected Early Keyboard Works is the first in a series of planned archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It comes hot on the heels of Traversée Du Fantasme at the Stedelijk in Amsterdam, Hennix’s first solo museum exhibition in over 40 years, and will coincide with both Blank Forms’ publication of Poësy Matters and Other Matters, a two-volume collection of her writing, and the closing of Thresholds of Perception, a retrospective archival show of Hennix’s visual work at The Empty Gallery in Hong Kong. The record also marks the first time Hennix’s own music has been given a full-length vinyl issue.

In 1976 Catherine Christer Hennix’s just intonation live-electronic ensemble The Deontic Miracle performed Hennix’s orig- inal compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer’s Lattice at the Moderna Museet in Stockholm. Culled from rehearsal tapes recorded during the 10-day Dream Music Festival, Selected Early Keyboard Works features three pieces of minimal music, performed by Hennix on tunable electric keyboards. “Mode nouvelle des modalités,” for well-tuned just intonation Fender Rhodes and sine wave drone, is a consummate expression of Hennix’s formative years, a probing meditation giving the mercurial quality of early electronic music an instrumental life replete with the dexterity of Cecil Taylor and shades of Paul Bley’s synthesized reveries. “Equal Temperament Fender Mix,” performed on the same Rhodes but in twelve-tone equal temperament tuning, employs a tape delay system not unlike that used famously by Terry Riley, here towards more sombre, hallucinatory means. Hennix is joined by Hans Isgren for the collection’s centerpiece, “The Well-Tuned Marimba,” for well-tuned Yamaha, sheng, sine wave, and live electronics. Using the same approach and just intonation keyboard featured on Hennix’s The Electric Harpsichord, but with marimba in place of harpsichord stops, the piece is an undulating marvel of lysergic drone, equally deserving of its companion’s status as “THE obscure masterpiece of the days of the early American minimalism”. Now accessible for the first time, these recordings only begin to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.

Catherine Christer Hennix (b. 1948) started her creative career playing drums with her older brother Peter growing up in Sweden where she saw jazz luminaries such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform at the Golden Circle. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstu- dion (EMS), where she helped develop early synthesizer and tape music. After traveling to New York In 1968, she met Fluxus artists Dick Higgins and Alison Knowles and developed fruitful collaborative relationships with many composers in the bur- geoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath, and she would later study intensively under him. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invita- tion) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage. She currently resides in Berlin, Germany, where she is active as a composer and writer. A two-volume collection of her writing is forthcoming from Blank Forms.

Catherine Christer Hennix - The Well-Tuned Marimba (excerpt)

Not Even Midnight - Old School Hip Hop - Jazzy Guitar, piano, chopped beat

Buy Ultraista: http://www.ultraista.co.uk/Ultraista/Album.html
See Ultraista: http://www.ultraista.co.uk/Ultraista/Live.html

Gold Dayzz (Maribou State remix)

WaveThirtyTwo makes music for film and video soundtracks. Electronic, Alt-Rock and Ambient instrumentals. With guitar, bass, synths, a million different (legal) samples and speaker knocking beats. The vibe ranges from upbeat and energetic, to relaxed and  cinematic.

Not Even Midnight - Old School Hip Hop - Jazzy Guitar, piano, chopped beat

WaveThirtyTwo

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