Just after I got set up for recording 4 guys arrive with a trailer full of rubble and they begin to unload it like there's no tomorrow. Recorded with a Neumann RSM191 into a SD MixPre6 and a LOM Geofon added for extra bass. Processed and mastered to make it sound a little bigger. Just because I felt like it :)

Rubble Unload

Wouter van Veldhoven - (un)Finished Contraptions 1 (Peter Broderick Rework)

This is 24919Files#14.
===
Live at DOM.
Moscow, september 7, 2013

http://www.youtube.com/watch?v=HedrmtUzSeg

Rombix "Wolves Danger" (live)

Say Tielsie!

Skinimin - Close Encounters Remix X Foxxy Dekay - Water Sky (Tielsie Edit)
Wiley - Heatwave (instrumental) (Tielsie Edit)
iPhone Marimba（PandaBoY Remix)
Gya9 - Saving
Sunlight Shower (DJ Paypal Edit)
Tielsie - Hueboy [Forthcoming Tomcrew]
Tielsie - Hueboy (DJ Fortify DNB Edit)
Ticklish - Abstrakt
Dutch Movement - Da Pussy Syndrome
Basto - Cloudbreaker (Dj Sound Remix)
501 - The Final Cut (Tielsie Edit)
Tomggg - Fizz 
Renard - The Castle (vs Kitsune²)
Christiane Jaccottet - Prelude And Fugue No. 21 In B-Flat Major, BWV 866
Tielsie - Défilé [forthcoming Emotion]
Tielsie - Firlgriends [forthcoming Emotion]
Tielsie - ??? (Demo)
Tielsie - ??? (Demo) 
T2Kazuya - Breathtaking
Dj Uniique & Dj Yolo Bear - Bad Bxtchs 
Anamanaguchi - Who Let The Fatlip (Tielsie Edit)
Slutcore - Spayed (Tielsie Edit) 
It's Love (Daedelus Pacifically Remixed)
$EKI - X BOY X
DJ Clap - Hopeful Hearts
Tielsie - Hueboy (Tokyo Hands Reprise) [forthcoming Tomcrew]

Tielsie - Huewave

the act of self-resemblance

Drvg Cvltvre has long been a shadowy architect of the underground, conjuring claustrophobic soundscapes and dissonant realities that feel plucked straight from some post-apocalyptic industrial wasteland. On “Us Against Us,” his latest 12-minute opus, the Dutch producer eschews the stomping electro rhythms he's often flirted with in favor of a harrowing descent into pure industrial ambient minimalism. It’s a patient, pummeling dirge—a slow-motion scream reverberating through empty factories and forgotten spaces.

“Us Against Us” doesn’t invite the listener so much as it traps them. The track opens with a low, tectonic hum, a frequency that seems to crawl along the floor, unsettling the senses like distant machinery warming to life. Over the first few minutes, layers of static yet human sound creep in at the edges, their abrasive textures swelling and disintegrating in hypnotic cycles. Drvg Cvltvre has always excelled at tension, but here it’s weaponized. It feels deliberate, methodical, as though he’s slowly welding the listener into their seat.

Midway through, the tension fractures as a distorted, metallic drone slowly takes center stage, rising and falling like the breath of some immense, decaying organism. It’s at this moment you realize that “Us Against Us” is not a typical ambient exercise. The track is suffocating in its singular focus—there are no grand melodic flourishes or satisfying climaxes to soften its impact. Instead, it evokes a kind of anti-hope, a meditation on decay and entropy. Even the track’s title suggests a conflict of self-consumption, a doubling-down on existential dread.

Yet, for all its bleakness, there’s a certain serenity to be found here, too. The final minutes blur into a desolate calm, the layers thinning like fog retreating from a rusted landscape. "Us Against Us" doesn’t entertain; it doesn’t even comfort. But like the best industrial ambient works—think Lustmord’s *Heresy* or Coil’s *How to Destroy Angels*—it leaves a residue on the listener, a lingering discomfort that somehow feels vital.

Obsidian Magazine 11/12/24

Drvg Cvltvre - Us Against Us

Test #2 for syncing my music box with a stepper motor. The stepper motor (for now) delivers the drone, and plays the same chord at a fixed interval (10 cm). By changing the pitch of the drone (in octaves), it should move twice as fast through space, and play the chords twice as fast. You're listening to 13 recordings of the same paper tape, sometimes looped. 

5 at c6, 3 at c5, 2 at c4, and one of C3, C2, and C1. Especially in the beginning I make liberal use of the great "Soundmagic Spectral"  effects by Michael Norris. At the end you're listening to only C3 (with a tail of reverb at the end). 

In other news: apparently if you want 'clean' recordings, you shouldn't put your microphone almost on top of your arduino stepper motor shield ;-)

Time as relative dimension in space: test #2

both sides of dunst ping the mmf-1 in dual bandpass mode. dunst "clocks" stepped side of r*s ssg for pitch cv and delay modulation. 
dunst modulates itself. d0 delay with feedback path through doepfer spring reverb.

dunst pings

Yep, my 36 favorite punk songs editing into one new punk rock song. 
From the album "Shamlessly Exciting" on Sonig recs, 2005

My 36 Favorite Punk Songs

Dark Time

A piece composed for a lockdown exhibition

https://balcony-art.com/projects/

A wave is a disturbance, a change from dormancy to activity.
Using a prepared* music box connected to a modular synthesizer the artist seeks to explore indeterminate actions and reactions. Sound and sonic events are triggered by the release of tension within the music box forcing a spring reverb tank to self oscillate into feedback which is then tuned using a bandpass filter and fed back into the synthesizer to determine the pitch of the composition.

Wave - David Bloor

Wouter van Veldhoven creates music, instruments and installations. Most of it has the following ingredients: taperecorders, toy-instruments, lots of hiss, nostalgia and moving parts. Old means, new music.