Name: Jon Porras - Apeiron by XLR8R in ambient set
Duration: 6 min 54 s
Description: Download: http://www.xlr8r.com/mp3/2014/03/apeiron

truly great album. i wish it the recognition it deserves.

ambient set

Cosworth

It's early days yet, but things are going well for the London-based trio FACTORY FLOOR: Nik Colk (guitar/vocals/electronics), Gabe Gurnsey (drums/ electronics) and Dom Butler (electronics/vocals). And Optimo Music are in the unique position of doing a remix for Factory Floor and having a exclusive single release for it. 

“~ (R E A L  L O V E)” An Optimo (Espacio) Mix is already getting attention from James Holden, The Quietus, and it was only mastered about a fortnight ago. The Optimo (Espacio) mix was made at the behest of Factory Floor an was done by Optimo music head honcho JD Twitch alongside his sometime collaborator Dave Clark.

Stephen Morris, the drummer and rhythm king for music legends Joy Division & New Order produced the original version and continues to work with the band on remixes and new tracks. 

Both tracks will be released as a 12" single on 6th April 2011.

Factory Floor - ~ ( R E A L  L O V E ) (An Optimo Espacio Remix)

Download: http://www.xlr8r.com/mp3/2014/03/apeiron

Download

Jon Porras - Apeiron

towLie's skitungen project 
pre-master demo version

this is a momenth by towLie the shiTkid

Composed & Performed by GIIRLS
Mixed by Welt Motors
Mastered by Sydney Valette
Cover by François Vesin & GIIRLS

Time of Glass

Pure

FUSE044 Frunk29 - Сказки Леса

Bandcamp: https://fuselab.bandcamp.com/album/--9

Our longtime friend, resident of Fuselab, Marat Shainsky aka Frunk29, returns with a new 7-track psychedelic pop EP recorded with his daughter Karina.
Over the past 10 years since the last release, Marat has developed and changed his sound having released music on labels such as Jungle Gym and Not Not Fun.

Frunk29 said:
“Really love the way my Docha sings and I've been wanting to do some material with her for a long time.
Watching her grow up, I remembered myself at that age, a time of change, when every step seems important and every feeling is incredibly deep. Love, insecurity, vulnerability, uncertainty, sadness and joy, that's what I wanted to express. That's how, track by track, this album came together.”

Vocals - Karina
Cover art - Maka

Сказки Леса

bandcamp

Frunk29 - Невесёлое Пати

Artist: @winterfamily 
Track: "Black Sun"
Title: "On Beautiful Days"
Label: @murailles-music + Hublotone Records + Sub Rosa
Format: 12" + CD + DL
Release date: September 27, 2024
Pre-order: https://hublotone-records.bandcamp.com/album/on-beautiful-days

written, composed, played, mixed by Winter Family (Rosenthal/Klaine)
mastering by Patrick Klem, Klem Sound, USA
Ruth Rosenthal : voice, drums, machines, iPhone
Xavier Klaine : organs, piano, harmoniums, synths, celesta, voice
Saralei Klaine : flute, voice
Field Recordings by WF at Bab a-Zawiya Checkpoint, Hebron
& City Hall Square, Jerusalem

artwork by Winter Family
diamond painting by Emmanuelle Klaine
graphic design by Olivier Perola
© & ℗ Winter Family, Murailles Music, Sub Rosa, Hublotone

Premiere: Winter Family - Black Sun [HUBLO001 / MM036 / SR571]

Anhedonia

stream: open.spotify.com/album/4k3C32goUz…jUQluySQsv3g5UYw

follow me:
linktr.ee/insensiblewav

spotify: spoti.fi/3NSKDZ7
instagram: bit.ly/3THzs9k

follow jay karin:
soundcloud: @fakekarin
spotify: spoti.fi/3Wnpf2Q
instagram: bit.ly/3xNtf3b

after all im not alone (Slowed)

Artist: Majeure
Title: Solar Maximum
Album: Solar Maximum
Release Date: October 16, 2012
Pre-Order Here: http://temporaryresidence.com/descriptions/trr212.php

Majeure - Solar Maximum

TOTAL SOLIDARITY 
a benefit compilation for grassroots LGBTQIA+ organizations in Poland

"Instead of total hatred, we give you TOTAL SOLIDARITY. We present you with the compilation created thanks to the cooperation of Oramics collective and the person behind New York Haunted label - Drvg Cvltvre. All proceeds from the digital sales will support Polish queer organizations: Kampania Przeciw Homofobii and Miłość Nie Wyklucza, who monitor homophobia, provide all kind of support for queer people and have agreed to help us redistribute the proceeds throughout LGBTQIA+ organizations in smaller cities and towns of Poland, who need them the most.

Among the supporters of our action, you will find international headliners, underground stars, beginners, heroes from our local scene in Poland and music from the members of Oramics collective.

In recent years, we have observed an evolving campaign of homophobia run by the right-wing Polish government, spread by the government media and fueled by the Catholic Church. We have heard that the LGBTQIA+ community is a plague, a dangerous ideology, a threat to morality and Polish culture and should be fought with fire. These words caused an eruption of violence, e.g. recent pogrom-like attacks on a Pride march in Białystok and targeting queer people on the streets as well as their allies wearing rainbow symbols. This atmosphere of disrespect, violence and hate leads many Polish queer people to depression, migration or even suicide. 
The electronic music scene in Poland has recently taken a stand and many initiatives, festivals, collectives and clubs declared their solidarity and support. We want to take it further and do what we do best: share our passion for music and creating spaces where we can all feel free and at home. Music, art and the club scene are all parts of culture which is not and cannot be indifferent to historical and social turmoils or political oppression. Quite the contrary, it has always been the voice of resistance. Club culture is something more than hedonistic sounds letting you forget about your everyday life, it is something more than a way to make money - it is a tool that can help other people. Apart from the fundraiser party at Jasna 1 on August 9th 2019, we present you with the compilation “TOTAL SOLIDARITY” created thanks to the cooperation of Oramics collective and the person behind New York Haunted label - Drvg Cvltvre. All proceeds from the digital sales will support Polish queer organizations: Kampania Przeciw Homofobii and Miłość Nie Wyklucza, who monitor homophobia, provide all kind of support for queer people and have agreed to help us redistribute the proceeds throughout LGBTQIA+ organizations in smaller cities and towns of Poland, who need them the most. It took us less than a week to collect more than 100 tracks from all kinds of electronic music genres, from various different producers from far and near who wish to support the queer community in Poland. Once again we want to pay respect to the roots of club culture in queer, people of color, anti-gentrification, anti-state oppression struggle. We want to say, sing and bang it out loud: Queer rights are human rights. We’re in this together.

The fight for equality in Poland is an ongoing battle, so the compilation has an open formula - whoever wants to contribute after the release, please contact us.

Big thanks to Berlin-based Uferlos Studios, especially Rey KM Domurat for their hard work mastering the whole material. We cannot express how important this work was for us!"

LEE GAMBLE — 89

MARIA W HORN, Epistasis, LP

Release date - Oct 25th 2019 
Catalogue nr. - HG1904
Format - Vinyl/digital

https://hallowground.bandcamp.com

Tracklist:
A1) Interlocked Cycles I 	(10:45)
A2) Epistasis 			(09:31)
B1) Konvektion 			(13:16)
B2) Interlocked Cycles II 	(09:46)

Credits:
All music composed, recorded and mixed by Maria W Horn
Linnea Hällqvist - violin
Knapp Brita Pettersson - violin
Maria Jonsson - viola
Natalia Goldmann - cello
Johanna Niederbacher - cello
Mats Erlandsson - electric guitar
David Granström - electric guitar
Johannes Landgren - organ 
Fredrik Lundqvist - organ

Mastering by Lawrence English
Design by Ruth Stofer

Promotion by Dense Promotion, ed@dense.de 
Distribution by Cargo Records and a-Musik
Released by Hallow Ground

///
Following the success of her 2018 solo debut album »Kontrapoetik,« the Swedish composer Maria W Horn returns with »Epistasis,« her most ambitious record to date. The title track, »Konvektion« and the two parts of »Interlocked Cycles« see the XKatedral co-founder explore radical approaches to composition that combine avantgarde methods with electronic means. While »Kontrapoetik« highlighted Horn’s strength as a conceptual and political artist, »Epistasis« is to be understood as an advanced statement by a forward-thinking composer who throughout four pieces channels her influences, ranging from black metal to minimal music, through state-of-the-art technology. 
Originally composed as an audiovisual piece for synchronised multichannel sound and lights and premiered in 2018 at the Royal College of Music in Stockholm, »Interlocked Cycles« is a series of pieces exploring a gradual increase in tempo and density using various instruments. It was written to be performed by a computer-controlled upright Disklavier piano while the electronic part was generated within the Supercollider framework using phase modulation synthesis. Navigating between acoustic and electronic sounds, the two parts of »Interlocked Cycles« create a frame for the album by respectively serving as an introduction and coda to Horn’s musical exploration of the notions of authenticity and artificiality.
The nine and a half minute long title track was composed for an eight-voice double string quartet and draws on evolving progressions in F minor that were inspired by the sound and harmonic structures of early nineties doom and black metal music. During the performance of »Epistasis,« which was commissioned by Konstmusiksystrar and premiered by Malvakvartetten at Konserthuset in Stockholm 2018, four parts are played by the string quartet and four parts are played back electronically. Using various amplification techniques, the spectral characteristics of the string instruments are enhanced and distorted and were later on complemented by feedbacking electric guitar overdubs while mixing the piece. The result are densely layered drones that are most unsettling when they are the quietest and reveal their anthemic qualities in their most forceful moments.
The structure of »Konvektion« however takes its cues from a very different field of the musical world. The composition progresses in a way that was inspired by Arvo Pärt’s »Tintinnabuli« technique, where step-by-step diatonic movement interplays with triads to form a complex harmonic function that is still rooted in tonality. Based around four-note chords articulated as dyads and performed by two organists on the same instrument, the duration of each dyad is measured by the individual breaths of the two performers while pitches are predetermined in the score of the piece. The alternating breathing cycles of the performers slowly move the piece forward at a glacial pace. Simultaneously, an electronic part composed of interference tones creating high and low frequency beating patterns gradually unfolds, making »Konvektion« an exercise in minimalism that combines the subtle gravity of Phill Niblock’s work with the visceral theatrality of Anna von Hausswolff’s organ pieces.

-

Epistasis

MARIA W HORN - Epistasis (HG1904)

It all started with a fan letter…

“Hey Peter, just noticed you on a Rhys Chatham link. Just want to say I adore your work, I had a release on DFA recently, and they sent me some of your releases you did with Jonathan - so brilliant! I’ve had “Condo” track for a while, this completely catches my personality and when I feel disillusioned or need comfort, I always put this on, and it makes me feel good and strong.....i will stop gushing now! Thank you!

Nik Colk Void x”

This was Peter’s reaction…

“I was quite flattered and was glad that ‘Condo’, one of my lesser-know tracks, was being appreciated. (I was also curious, because the most-viewed clip of ‘Condo’ on Youtube is actually a slowed down version: someone played the 12” 45rpm EP at 33 rpm. The result, however, is quite beautiful.)

I responded, said I hoped we could meet the next time I am in London, and Nik then suggested that she had a track that she was working on, and would I like to listen to it and possibly collaborate. I am always game for a new challenge, so I said sure and Nik sent an mp3.

I was immediately struck by the haunting and evocative nature of the track, the analog synths feeling fresh and familiar at the same time, the vocals having a primal quality of breath and phrasing. I loaded the track into Ableton and instinctively began recording some overdubs. I used analog (Prophet 5) and digital (Moog iPad) synths and a soprano saxophone. I then sent a mix to Nik.

Nik responded quite positively, and over the next few weeks we exchanged files back and forth, experimenting with different mixes and submixes. After a couple of dozen rough mixes, accompanied by email discussions among the three of us (Gabe had entered the process after the first few exchanges,) we settled on a final mix. Shortly after we had a final mix, I synchronized the track with a video that my partner Kit Fitzgerald was working on. This long extended shot fit the music perfectly, and we had a video for ‘Beachcombing’. (A still from this video serves as the artwork for the 12”.)

Initially, there was going to be a one-sided 12”, with ‘Beachcombing’ the only track. Nik then wrote to me that Dominic was also interested in working on a track, and would I be interested in working on a B-side with Dom. Of course, I readily agreed, and I received an mp3 of synth tracks. As previously, I began building up tracks, using the alto sax (rather than the sopranino used on Beachcombing) and the addition of a vintage Korg vocoder.

Once again, a series of file exchanges of mixes, submixes and discreet tracks ensued, and we finally settled on mix #26a. There is kind of a sweet quality which surprised the both of us.”

The result is before you now and forthcoming on Optimo Music. Modern collaborations with magical results!

www.optimomusic.com

Peter Gordon and Factory Floor - Beachcombing

Mats Erlandsson – Minnesmärke - LP
Release date - Nov 6th 2020
Catalogue nr. - HG2008
Format - Vinyl / digital

hallowground.bandcamp.com

Tracklist:
1. Vilja 	(19:08)
2. Slakt	(22.03)

Credits:
Hilary Jeffery - Trombone, Tuba
Gaianeh Pilossian - Violin
Yair Elazar Glotman - Double Bass
Mats Erlandsson - Everything Else
Mastering by Andreas Lupo Lubich
Artwork by Marijn Degenaar

///
Mats Erlandsson makes his debut on the Swiss label Hallow Ground with »Minnesmärke,« at once a nuanced sonic exploration of the industrial and political history of his native Sweden and a deeply personal album. One of the key figures of the Stockholm drone scene, the prolific composer worked with The Kilimanjaro Darkjazz Ensemble’s Hillary Jeffery, violinist and long-time friend Gaianeh Pilossian as well as sound artist and frequent collaborator Yair Elazar Glotman for a two-part composition built around tuned sustained tones performed by electronic and acoustic instruments that were combined with field recordings in order to evoke a psychedelic state of reflection, a dream-like elegy for the acoustic properties of the former iron ore mine Ställbergs Gruva where the music has been conceived and recorded. Following up on releases on labels such as Hallow Ground label mates Kali Malone and Maria W Horn’s XKatedral imprint, »Minnesmärke« is Erlandsson's most accomplished work yet. 
Originally a commissioned work by the Non Existent Center for a month-long artist residency in Ställbergs Gruva last Summer, »Minnesmärke« conceptually picks up on the socio-political and economic history of the Bergslagen region where the mine is situated. After mining operations had been on-going for decades prior, in the Industrial Age iron became one of the country’s largest exports, making the mining industry an integral part of the country’s progression towards a socialdemocratic welfare state in the years after World War II. With the rise of neoliberalism and the simultaneous erosion of the welfare state however, the mines around the region started closing, which resulted in the surrounding community losing its relative prosperity. Erlandsson’s interest in this story though does not exclusively stem from the historical significance of the mine, that has been re-opened in 2012 as a centre for cultural activities and critical thought. In fact, his grandfather was born and raised in the vicinity of it and thus his life - and, by extension, his grandson’s - was inextricably linked to its fate and the ebbs and flows of the industrial development in the area. 
It’s no surprise then that the two parts of »Minnesmärke,« which translates to »memorial« or »monument,« is marked by a sense of dislocation and dissociation. »Working in Ställberg was a somewhat surreal experience from the point of view of a musician some one hundred years later,« says the artist. »Being in that environment makes you view time from the side - since the place remains the same it accentuates the deep chasm that separates my perspective from those of my relatives, while at the same time providing a form of intimacy with them.« This naturally shaped the recording process, which saw Erlandsson create an interaction between the acoustic and the electronic, the human and the machinic as well as the natural environment and the technology that has shaped it as much as it has been shaped by it. A combination of synthetic and recorded sound sources was processed by reamping it in various rooms of the vast mining complex. The resulting hybrid field recordings were transferred to tape and have then been treated extensively. An arrangement for Pilossian’s violin, Jeffery’s tuba and trombone playing as well as Glotman’s parts on double bass were recorded separately and similarly manipulated to create an expanded chamber ensemble with a wider range and an ability to transcend the usual temporal bounds of the instruments.

MATS ERLANDSSON - Vilja (edit)(HG2008)

Eliane Radigue - Kaylasha

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Jon Porras - Apeiron

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