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I S S U E # 8
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December
2019
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Welcome to the 8th
Issue of the Shadow Wolf Cyberzine!!!!! Almost six
years after the first Issue in 2014 I can't
believe people are still reading this stuff!
We got an action packed issue again full of freaky
stuff! D.I.Y articles, interviews with intriguing
artists, ASCII ART, Studio tips etc.etc.etc.
Thanks to all contributors,
even if your article didn't make it (that can be
due to various reasons, like I didn't have time
to make ASCII art for it)-> you have reached
the highest level in the order of the SHADOW
WOLF and have been consecrated into a higher
being
Side by side by we ride against the hypocrite
electronic music establishment!!!
Wishing you all the best for 2020
S.Hadow Wolf, cyberpunk.
24 December Aroeira, Portugal
In this issue:
1....Botanical Journal
2....Confessions from Club Promoters
3....AI and music making: A cheap reflection
4....Make your own self hypnosis tape
5....Nostalgie de la Boue -
an Interview with Tristan Koreya
6....Studio Tips
7....Poetry Corner with
special guest Puck Schot aka Acidic Male
8....18th century A.I with Muzikaal Dobbelspel
9....Secrets After Dreams
10...Unconvential Modular
Modules
11...The Origins of Acidhall
music
12...Interview with
Franziska Lantz
13...On Carl Jung's
Synchronicity
14...I Don't give a damn
what you think - Canada's first bigfoot
encounter
15...Gabber Tales from the Lowlands
16...Tylers Cyber Corner
17...Get your screenplay done buddy
18,..Gladio Parotti
19...Music Reviews
20...The Portal - A Short
Story
21...Nightwind Records
Bandcamp codes
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GUERILLA GARDENING
Fighting against the concrete jungle
Guerilla Gardening is the act
of illicitly transforming grim dead places into
colorful botanical paradises. Creating clandestine
gardens, planting flowers and all sorts of flora
in abandoned lots, patches of dirt, city streets,
all sorts of concrete dullness in/around public
places.
You will be transforming miserable dead land into
the colorful botanical splendor of life.
One of the most ideal ways to do this is to create
'seed green-nades' - these are small sphere
shaped (non-explosive) 'seed bombs' made out
of clay, compost and seeds which are easily thrown
anywhere. Because they are pretty much
self-contained with nutrients, the sphere will
give the seeds some much needed starting power,
especially in poorer soil areas.
This is ideal to transform urban decayed wasteland
and empty lots into blossoming flower /plant
fields - attracting birds, insects (bees!) and
making everything much nicer. Now is the time to
do this - its very little effort and also fun to
do - become a Guerilla Gardener today!
What you need to make a seed green-ade:
1 part mixed seeds
3 part living compost
5 parts of red clay
0.2 parts of chili powder to repel insects and
birds eating the seeds.
- If you are really into that stuff you can make
uniforms too, or patches of your para-military
Guerilla Gardening group.
About the seeds you can use, this depends a bit on
what you want to achieve and what will grow in
your area and type of soil it has to grow on. Do
some research, its always good to have a mix of
lots of different seeds. Take in consideration
things like weather, how much water there will be,
how much sun there is, cardinal direction etc.
Also think on a 'psychological' level: you can
make a depressing grim area nicer by seeding
colorful rich smelling plants (Flowers like
lavender, Daffodils, Honeysuckle, Jasmin, lilac
but also all sorts of herbs; Rosemary,
catmint, Marjoram, Sage, Basil etc.etc.etc.)
You can choose resilient plants that will grow
anywhere, seeds that will give flowers that
attract bees and help the wild bee population,
seeds that will grow plants that enrich the soil
etc.etc.etc. Your local gardening store or
whatever most probably sells boxes of special seed
mixes or else get a bunch of different seed packs
and throw them together.
Be respectful of the local flora habitat don't put
in invasive damaging species or weeds that will
destroy everything.
Mix all this stuff together and knead them into
small balls, say somewhere in between a jawbreaker
and a golf ball.
Put them all in a bag and start planning your
mission. Do you need to be covert? Do it when its
dark, wear dark clothing and operate in a stealthy
fashion. If there is no danger of getting caught
or nobody cares about the spot where you are going
to do gardening you can do it in broad daylight
and make it a bit of a public happening.
Another way of 'covertly' operating in broad
public daylight (hide in plain sight) is wearing
some official looking apparel - an overall, a work
shirt and cap with some logo on it, maybe even a
walkie-talkie, clipboard or a 'danger' pylon.
People will mind their own business thinking you
work for some city gardening department.
If the spot is difficult to get to, throw the seed
bombs over fences and places you can't reach.
More tips on how to start a career as a Guerilla
Gardener here:
http://www.guerrillagardening.org/ggtips.html
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___
| '_ \| '__/ _ \| '_ ` _ \ / _ \| __/ _ \
'__/ __|
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| @ @| o()
)
o
| __\ o
o-------
o
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o ____________
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O o | GREEN ROOM |
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__ oo
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/ + + \ _||_
|| oooo
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\__________\===
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___\_____/____ | | | _oooooooo_
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Confessions from club
promoters - what's going on in the degenerate
techno club world - what secrets are hidden in the
backstages!!!?!?! What debauchery and scandalous
behaviour are artists capable of!!??!...SHADOW
WOLF investigates and asked some club promoters in
the business to spill the BEANS:
An anonymous deconstructed
club music promoter from Luxembourg City writes:
Every week I have to serve the visiting artists
quinoa in their dinners because that is in their
goddamn rider - don't they know we have exactly
the same thing here in Europe, a pseudo cereal
called buckwheat. It's also a superfood but it
doesn't have to travel all the way from South
America on a polluting airplane. And also no poor
Peruvian Llamas have to be exploited to their
death to transport it from the Andes mountains.
Buckwheat also tastes much better and is mostly
made in Russia with advanced tractors and no
Llamas that are being exploited. Could you please
make a case for buckwheat because I know these
types love to read the Shadow Wolf cyberzine.
Ed. Thank you for your lovely
letter, this certainly strikes a chord with us
because we just LOVE the pseudo cereal buckwheat (Faqopyrum
esculentum)) and we also find the quinoa
craze quite disturbing as we indeed have
indigenous buckwheat which is far superior and
much more versatile. These 'types' should know
that the whole Quinoa industry is just a
continuation of European colonialism and it is
destroying the environment. We will definitely
write a special about PSEUDO CEREALS in the
future. So a message to all our readers outside
the Andes regions -> Don't buy quinoa get
buckwheat instead! - it's local, almost the same
thing and much nicer. A nice thing to do with
buckwheat is making pancakes, a delicious
breakfast treat that will make much more impact
then soggy quinoa pancakes that fall apart just by
looking at them, ironically just like what happens
with deconstructed club house if you listen to it!
An anonymous club promoter
from Milton Keynes, England who runs the
charming town's only techno night 'FLIPPING
OUT'writes:
Last week we booked the hyped Italian techno
DJ's Marcello Lamborgini & Donatello
Macaroni for 7000 euros in a package deal. When
they arrived they demanded several class A
narcotic substances of which we had no idea how
to supply them. They would refuse to play if we
wouldn't get them their drugs. When we told them
that we had no idea how to supply them with
these substances they started to throw some
rather nasty temper tantrums like little spoiled
brats.
The audience numbering around 19 people, of
which one came all the way from Surrey, was
getting a bit rowdy when our local warm up DJ
started to play his entire collection of
Strictly Rhythm records for the 2nd time. We had
to act fast to make this night a success, we
could not disappoint these 19 fans of fine
Italian minimal club tech house.
Then I remembered that Keith, our clubs
technician, had bought some weed once from a
fellow off the allotments. We asked him if he
could get 5 grams of ketamine,a family bag of
cocaine and 3 ampules of cheap speed. We gave
him 20 pounds and he said he would 'fix' it.
Relieved we told the Italian DJ's - who were now
on the phone complaining to their agent and
trying to blacklist us and get the first flight
back home. They would give us only one chance
but pointed out that is was outrageous that we
hadn't any drugs ready for them.
Meanwhile Keith had a little trouble finding the
stuff and in his desperation had raided his
parents bathroom cabinet and cut up a bunch of
xanax tablets with a pack of Rennies(tm)
laxative powder.
Well you don't have to have much imagination to
know what ensued after the Italians sniffed the
entire bag without noticing it wasn't their
usual medicine. The night sure turned into a
fine mess, if it wasn't already one to start
with. We had to pay all 19 attendees their
tickets back and also had to go down to the 24
hour gas station to get some diapers and
wunderbaum air refreshers to hang in the club.
And the next week we were also billed with
extra hotel cleaning costs as they had left an
entire trail of diarrhea from the lobby of the
travelodge to their rooms, including a pool in
the elevator that was so hard to clean up that
they had to install new carpets.
Ed. I am sure this night went down way more
spectacular then if they had played their boring
techhouse with their usual drugs! All jokes aside
just book artists and DJ's from the Dutch West
Coast scene, they are mostly light on drug use and
are known for their exquisite social etiquette and
behavior!
SW
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|/ ___)
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___ | | | ( (_| | | | | | |_| |___ | ( (___
|_| |_|_|
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__ __
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(_) ||
|| |
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___________ |
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(_____| ____ || |
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_____
____| |__ _____ _____ ____ | |
| | |
(____ | /
___) _ \| ___ (____ | _ \ __|__ |_____| __|__|
/ ___
| ( (___| | | | ____/ ___ | |_| |
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(___ | |_| | |_| | | | |
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\__)_|\___/|_| |_|
AI and
music making : A cheap reflection, borderline
ranting, on what makes a track sound good to us
puny humans, by our special reporter
BoeufStroganoff
AI... AI... ! AI is the new information
superhighway, the new "in the year 2000". You
hear about it in every start-up company pitch
and hi-tech product description. But now even
your coffee machine is equipped with AI. Of
course, it is not used for making better
coffee, but for snitching on you for the benefit
of the manufacturer. He probably makes more
money selling your day-to-day routine data than
he does selling the coffee machine in the first
place.
We music aficionados are not spared by this AI
craze. As would flashy click-baits title have
you know, it is the future of the music
industry, the eardrum revolution, a new era of
computer generated music content.
Wait a minute, hold on... that sounds more like
a big pile of bovine discharge to me. Or is it ?
It is important to make a distinction between
two concepts involving AI in music production.
There are studio tools, a natural evolution of
previous VST's and plugins, allowing you to do
impressive stuff like intelligent noise
cancelling, instrument isolation, auto-autotune,
auto-mixing tools and so on. No problem there,
they are designed to make your life easier. But
then you have AI as the composer of the music
itself.
The latter, in combination with the former can
produce an entirely new track out of a dataset
and some initial parameters like genre, length,
tempo, you name it.
OK cool yeah whatever... But how does it sounds
and is it really something that we want ?
Of course not all music in the world has to be
an amazing transcendental experience. It's quite
the opposite in fact. Most of the music produced
today is more of the functional type, just
fulfilling its task of filling a silent void
that would otherwise be perceived as
uncomfortable. You can't really play intricate
clever banging junglecore in an elderly home
elevator (or can you ?) We need proper
elevator music. Similarily, that background deep
house music they play in hipster hotel lobbies
nowadays isn't that complicated and it might
very well be cheaper to generate it on the fly
with AI. And that sort of music should be
appreciated just for that, regardless of how it
was produced. It is a segment of the music
industry that can totally be taken over by AI
because this type of music is only used as a
reassuring background soundscape. And let's not
talk about the millions of scripted Youtube
videos in need of canned music that were
uploaded as you read these lines. This plethora
of cheapo music will have an impact on the
"price" of music : in the same way that the
value of quality pictures decreased constantly
since humans are producing images, the
once-reserved-for-kings privilege of ordering
music to an artist will continue to go down
until it will reach zero, Enron style.
So far, all the examples I've seen of online
services that provide music generated by AI fall
in that category : something you listen to
without paying much attention.
Decide some parameters, click generate and
PRESTO, you have a piece of music. But is it any
good ? Listening to it seems ok for a few
seconds and then re-PRESTO : it starts to make
you feel a bit weird, something is off, you feel
the industrial-processed taste of it. Fake
butter doesn't taste like butter, and fake music
doesn't feel like music. But can you use it or
is it all bad ? The analogy to photography
imposes itself here : in this
pro-Instagrammability era of cheap imagery,
anybody can be a good photographer. The recipe
is simple : take hundreds of pictures and only
select the top 3 nicest ones. Then, here we go,
everybody thinks you are an amazing legit
photographer.
The experience with AI music can be quite
similar. Just generate tons of tracks, take the
best one and delete the others. Then, suddenly,
AI is OK at making music.
Of course, we could train another AI to select
that 1 good track out of 10,000... seems like we
can russian-doll the process here, but how would
you train that AI to process these tracks ?
We hear very often that the creative act is
based on accidents. Sure, it is true that you
can come up with amazing melodies that you
didn't originally envisioned. Has anybody here
ever programmed a MC-202 ? Make a mistake while
recording the midi track of your next supersaw
lead or something and BAM, illusion of talent !
We could also "mutate" whatever an AI is giving
us, but this is where it becomes interesting :
accidents are indeed important, but what is more
important is the ability to judge those
accidents and decide if they should be rejected,
assimilated or modified further for even better
results. And THAT is the thing that is a bit
more tricky for a computer : having taste.
The musician's judgement about composition and
sound design is a very complex process, relying
on the entire life, taste and background of the
artist. Maybe the color of the wallpaper in the
toilet of your grandmother's bathroom might have
a small impact on all aspects of your choices as
a musician, taking your track on an alternative
path. Taste is a constant and deliberate state
of mind with which the artist applies a set of
rules defined by his past life experiences at
every level of the composition process. It's a
bit like taking a hike on a mapped trail,
slipping, and instead of returning onto the
trail, you decide that it looks more beautiful
down here. Chances are you will discover a new
valley filled with cool rock formations that
you've never seen. You might as well camp there
for the night and explore. AI of today do not
have a life, they do not have experience, they
do not have... consciousness. And this is why
they will not replace musicians anytime soon.
Without trying to channel good old Nostradamus
here, I think this whole AI business will become
extremely interesting when it will be complex
enough to develop some kind of weird
cyber-brains, capable of cognitive thoughts,
thus opening the Pandora box. But our definition
of what sounds good might be different. How will
those silicon cyber-beings feel the passage of
time for example ? Time, or rythme, is the most
defining concept of any kind of music, and I'm
sure the vibe must be different when you can
perform 57248 MIPS. Maybe they will produce
legendary tracks that only last 5 microseconds.
A great piece of art for them, but just a faint
"click" for us. I'm quite curious to hear music
motivated by a computer "Vague ‡ l'ame". A good
AI would also integrate the fact that sometimes
you need to listen to a song several times, in
different contexts, in order to suddenly unlock
it's magical appeal. And what about that track
that sucks for the first 5 min and then suddenly
becomes amazing by contrast ? Some tracks are
impossible to listen to during a rainy commute,
but play it loudly with the right amount of
ethanol in your blood and you will take off to
space. It would take a concious AI to understand
those concepts and AI stuff generated today only
tend to provide music that are designed to be
liked right away. Boring !
Today's AI can be very good at taking care of
some parameters of your tracks though. Making
sure the technical aspect of your piece of music
follow some pre-established rules, like not
clipping for example. But I'm afraid of this
kind of conformity, and if your AI avoids, on a
technical standpoint, to make any mistakes, then
you're missing out on quite a large landscape of
these happy accidents. As a way of analogy,
using Lens flares in cinema was considered a
technical no-no, a proof of your amateurism as a
director of photography, and any lab technician
would report it if he sees one. Well... JJ
Abrams anyone ?
It seems like the use of AI in human business is
quite successful when applied to specific
repetitive tasks, like image recognition and
manipulation, pattern recognition within
datasets and so on. But for the creation of an
genuine original artistic piece, AI seems to
lack the framework possesed by humans to be able
to create something ex-nihilo. You can ask an AI
to recreate an old Flemish painting if it has
all the other existing Flemish paintings
available to it, but can you give an AI a blank
canvas and ask it to create a new style of
painting without copying whatever was done
before ?
So what makes a good "human" track ? well I
can't help but somehow comparing it to sex.
Everybody has their special taste, a little kink
that suddenly talks to you. It can be the
position of your arm, the angle of the neck of
your partner, a sound... Something would just
suddenly click in your head because of what you
see or feel, drives you, and makes you come. To
some weird extend, I think the fact that our
brain suddenly decides to trip on a track is
quite similar. But as for sex, it is a very
personal experience, a sort of individual
signature, a set of rules that only applies for
you. You can easily feel that tipping-point
moment when good musicians jam together. It's a
bit sketchy at first, then their brains
synchronize and the energies add up. Suddenly
something happens, a pleasure nerve is activated
in each of their head and the public feels it in
a resonant fashion. Now the pleasure of the
audience is proportional to the one of the
musician, because a bridge is being build
between the two minds. This is the moment where
my shy-self would suddenly allow my body
to let go of its inhibitions and dance like
nobody is watching.
Music and the pleasure of listening to it is
about setting a standard for yourself. People
might call you an elitist for not liking pop
stuff, for listening to "obscure" electronic
stuff. But what you listen to is no one else's
business. You like what you like because of the
pleasure it generates in you, not because you
want to impress the others. You like what you
like because you see a different twist, an
originality, a colourful soul in it. You want to
explore your limits and push them further into
new genres and artists. The love of Music is
mainly a matter of pleasure but also the love of
being challenged intellectually by it a bit. If
you think AI is here to supplant humans, just
give a listen to a Prokofiev concerto to
convince yourself otherwise. AI will not replace
a lifetime of emotions, talent and hard work. It
just provides a new musical product using a
checklist of gimmicks, rules and stereotypes
that make a track sound like the real deal but
it is not the real deal.
AI today only adds up to the digital background
noise that we are generating more and more in
our society. It's going to pollute our cyberways
by drowning authentic human-generated content in
a gigantic sea of automatically generated fake
stuff. Do you remember how charming it was when
all the webpages of the internet where designed
and written by humans ? They all had a special
charm and differed from one another. Now human
generated content has become a rarity. Small,
niche groups, like our synth community, are
still maintaining some of them, dedicated to a
brand of samplers or compiling anything there is
to know about a certain synthesizer for example.
But as their owners die or forget to pay the
bills, they are slowly being replaced by the
dreadful 404 page.
Since the very essence of non-functional music
is to communicate emotions, and since we know
that an AI does not feel any at its current
stage of evolution, we therefore can't fall into
the trap. AI for any artistically relevant music
is a scam, a well adjusted algorithm designed to
trick us... an Ode to Fakery. The late James
Stinson mentionned that he isolated himself from
every influence to create his music, that it
came from within, untouched, clean from the
corruption of external magnetism. AI's very
nature can't do that. But what if we start
cross-feeding it with other datasets, in fact
with all the other datasets available in the
world. Suddenly it can learn about ancient
Japanese clay pot design, fashion from the 20's,
shapes of tree leaves around the world, and
literature from Ouzbekistan. Perhaps, with
access to all this complexity, AI will slowly be
able to touch us, to pass the eardrum Turing
test, and produce some good shit. But one
important question remains : can an A-grade fake
be considered to be as good as the original
?
----------------------------------------------------------------------
Make your own
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/ __|/ _ \ | |_ _____| '_ \| | | | '_ \| '_ \ / _
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___
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\__\__,_| .__/ \___||___/
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\/
by Celeste L'Orbesia
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_________________________
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o
o
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o
o \_____|
/ \/
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\__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \
____________________________________________________________|
One day I found myself in
possession of an odd cassette tape titled "EASY
WEIGHT: Zonder diet naar een natuurlijk gewicht",
an eccentric self-help tape promoting weight loss
through hypnosis. I came across it one afternoon
while scavenging the local thrift store and was
drawn by its DIY vibe and insert notes informing
that it was a production of a Dutch non-profit
organisation researching and promoting hypnosis
for medical purposes, including for treating
fibromyalgia. Although the tape is pure
exploitation, it has some interesting musical
qualities as well as a DIY attitude to it.
The tape has some connections with the synthesizer
new age ambient world. Underlying the tape's
narration is a belief that the unconscious can
also be manipulated for medical purposes such a
pain management and weight loss through music,
through entrancing slow and pulsating melodies and
guided visualizations.
The internet is full of hypnotherapy aids,
including innumerable 10-hour videos and playlists
on youtube. But before the age of youtube, a
market existed for self-hypnosis and guided
meditation or subliminal persuasion cassette
tapes.
But, why not make your very own exploitation tape?
First, decide what kind of self-help tape you want
to make. Stress and anxiety? Positive
reinforcement? Quit smoking? Become a better
lover? Weight loss? Sleep better?
Once you've established your exploitative goal,
choose your synth(s). Ideally choose one or two
synths for a more focused sound and recording
process. An FM synth or rudimentary keyboard would
do the trick. Decide whether you want to record
one long track, or several shorter ones. Then,
start with a slow, repetitive and entrancing
melody to initiate the hypnosis state and build
the narrative, which should be punctual and slow.
Spice it up with some extra wow and flutter, which
you can easily simulate by quickly turning the
rate on a delay pedal, pitch pending or using the
smackos tape simulator. For the format, you can
for instance record one side of the tape for day
time hypnosis and the other side for the night
time, or record the same track(s) on both sides of
the tape for longer or repetitive listening.
Don't forget the tape artwork and tape inlay,
where you can invent the name of fake organisation
or medical institution and real-life testimonies
of people whose lives have been transformed
forever by the tape!
HERE IS A LINK TO a
recording of THE EASYWEIGHT tape!
C.L
----------------------------------------------------------------------
SEASONAL GREETINGS !!!
____
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________________________|_|
|
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/
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/
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_________
\ / _______ \
/
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___|___|
/
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. \
/ oo \
/
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_\======= _\
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/ . . /
/ |||||\__ |
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____ | ______________ |
/ /\ \
/ \___
/ _/ ___ | |
|((((((( _ ((/\| | /
/ / /
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\ /_____/ |_|_|| |
|_
((((|| |(/o.|
__/ / / /
/
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|_|((((/ /. o|
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___/ . .
\
\
\_____ \
|__|_____|__|________________/.
. . __/
\________\__\ \_
__/
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\___\ /_________/
\_________\
Don't forget to let monsters in on Christmas eve!
----------------------------------------------------------------------
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| | | | (_) \__ \ || (_| |
| (_| | | __/
\ \ \ \
|_| |_|\___/|___/\__\__,_|_|\__,
|_|\___| \ \ \ \ \
|___/
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_ \
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_
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__| | ___ | | __ _ |
|__ ___ _
_ ___ \ \ \ \ \ \ \
/ _` |/ _ \ | |/ _`
| | '_ \ / _ \| | | |/ _ \ \
\ \ \ \
| (_| | __/ | | (_| | | |_) | (_) | |_|
| __/
\__,_|\___| |_|\__,_| |_.__/ \___/
\__,_|\___|
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_=_
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_____
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_________
|____|| ||_||
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\ / \
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@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@|@@@@@|@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
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_ _____ _ _ _ _ _ _
--- --
___-- - -__ __ _--- - ____---__ _ ___ --_ __ __
__ _
---- _ _ _ __-- ---- __ _--- _____ --- -_
___ - - -_ _ __. _ ___
skyline
of Abidjan
Written
by Z. v. Z
Shadow Wolf CyberZine met online with Tristan
Koreya, who runs “Nostalgie de la Boue”, an
intriguing and renegade music label and blog of
the same name based in Abidjan Côte d'Ivoire,
specializing among others in industrial,
ambient, noise, musique concrète, and field
recordings. The label features both well-known
and less well-known artists, as well as around
136 releases, including two excellent
compilations titled “rien ni personne”. The blog
and related label are titled after a
:zoviet*france track off the album Loh Land
(1987), which in turn is a reference to
the expression coined by mid-nineteenth
century dramatist Émile Augier, meaning an
attraction to depravity, crudity or
something vile.
SWCZ: First, thank you for
accepting to virtually meet with us for this
edition of the Shadow Wolf CyberZine! I came
across your net-label Nostalgie de la Boue on
Bandcamp as well as your blog of the same name
while looking up artists. Could you tell us a
bit about Nostalgie de la Boue, both the label
and the blog?
TK: In the mid-2000s, I started to rethink about
everything that had been produced in the 1980s and
1990s in the field of industrial/post-industrial
and experimental music and I wanted to create an
archive web site, but I didn’t do it because I
didn't have the technical skills to do so – it
remained at the idea stage. During the summer of
2007, I was delighted to discover some blogs that
offered free downloads of rare and exhausted
cassette or vinyl rips: the first one was Mutant
Sounds, the second one The Thing On The Doorstep,
and others later on. I started downloading what I
was interested in and quickly I had a pretty
accurate view of everything that was available on
the Internet. So I decided to create my own blog
to put online cassettes or records that I hadn’t
seen anywhere else on the Internet, after
understanding that it was technically very simple.
The name of the blog, “Nostalgie de la Boue”, is
the title of a track by :zoviet*france:, one of my
favorite bands, on the album “Loh Land”
(Staalplaat, 1987). Being French, this song title
in French intrigued me and pleased me, I memorized
it. When I looked for a name for the blog I
created at the end of 2007, I thought about it. I
then searched the Internet and learned that this
expression, which does not have a very precise or
clear meaning in French, is used as it is in
English. Literally, “nostalgie de la boue” can be
translated as “nostalgia for mud”. According to
some definitions found on the Internet, the
expression means: “a desire for or attraction to
crudity, vulgarity, depravity, etc.”; “an
attraction to what is unworthy, crude, or
degrading”; “a yearning for something base or
vile”; “longing for an uncivilized, savage and
indulgent life”. According to the Oxford English
Dictionary, it also means: “A longing for sexual
or social degradation; a desire to regress to more
primitive social conditions or behaviour than
those to which a person is accustomed”. A slightly
different definition is given on another site:
“‘Nostalgie de la Boue’ means ascribing higher
spiritual values to people and cultures considered
‘lower’ than oneself, the romanticization of the
faraway primitive which is also the equivalent of
the lower class close to home”. So all this fits
well with the spirit of the blog.
When I created Nostalgie de la Boue, there were
already many blogs that inspired me. My favorites
were: Atlantis Audio Archive, Because God Told Me
To Do It, Continuo, Dualtrack, Mutant Sounds, No
Longer Forgotten Music, Phoenix Hairpins, Shards
Of Beauty and The Thing On The Doorstep which no
longer exists but was in my opinion the best of
all. Among the blogs I discovered or that appeared
after I created mine, I especially appreciated
those that offered original rips or took into
account what was already available on other blogs.
Indeed, in the early years, there was a spirit of
community between blogs. We were connected and
each one followed what the others posted in a
cumulative logic. This spirit has been lost with
more and more blogs focusing on quantity without
taking into account what others post. Some repost
rips from other blogs or peer-to-peer sites
without citing their source and without worrying
about what else exists. I do not recognize myself
in this spirit, even if it probably meets the
expectations of many users.
As for Nostalgie de la Boue, for a few years now,
I can no longer make rips myself because I live
most of the time in Africa, far from my collection
of cassettes and records. That’s why the majority
of rips posted on the blog now come from external
contributors, which is interesting for both me and
them, because some people like to rip and share
some tapes or records from their collection
without wanting to run a blog. It is also another
way to maintain the spirit of exchange.
The net-label started a little by chance, as part
of the blog. In 2011, Canadian musician Al Conroy,
who performs under the name Not Half, offered me
to post on the blog the recording of one of his
recent concerts. On the cover he designed for this
post, he added the reference ndlb#1. It gave me
the idea to ask other artists to send me
unpublished recordings, recent or old, to make a
series. That’s how it started. The first releases
were only published on the blog, among the other
posts. But after having published several of them,
I decided to create a net-label on Bandcamp to
better highlight them. I gathered the first
releases and started looking for more.
For the blog, the objective was to exhume rare and
unavailable releases, so it has always been and
will remain dedicated to old things, whether it is
cassettes, vinyls or CDs. For the net-label, it’s
different, since artists are invited from the
beginning to propose recent recordings if they
want, new or rare, but also because I gradually
decided to open it to artists of the new
generations.
Indeed, during the first years, the idea of the
net-label was to propose releases by artists
working in the field of industrial/post-industrial
and experimental music for a long time, who
therefore belonged to the older generations. These
releases could be recent or older recordings,
unpublished or re-released classics. It was later
that I decided to open the net-label to artists of
the new generations. On the other hand, one
principle has not changed since the beginning: I
want to propose a great diversity of styles,
because I don’t like the idea of a label locked in
a too limited musical identity.
Finally, regarding the financial aspect, at first
I wanted the net-label to only offer releases for
free download, as on the blog. But on Bandcamp,
beyond a certain number of free downloads offered,
the page manager must pay to get a new credit for
free downloads to offer; so with the money earned
through voluntary payments, I can finance the free
downloads offered. Moreover, the fact of making it
possible to pay by the “name your price” option
also allows you to upload longer tracks; it was
one of the artists from whom I had to release a
long track who advised me to switch to this
option.
SWCZ: You are a digital-only
label, in an era where vinyl and cassette are
still very much in demand. Could you tell us
about your choice of running a digital-only free
download/name your price label?
TK: As I mentioned earlier, the creation of the
net-label is born within the blog; it is as an
extension of the blog that I chose to create it.
So I never asked myself whether I would create a
physical products label or a net-label. In fact, I
plan to do physical releases in the future.
Physical products and digital files are often
thought in opposition, as if they were two
competing formats. This is partly true, since we
have seen a significant decrease in sales of
physical formats since the emergence of digital
formats, but I would like to point out that this
observation is only partial, particularly in the
specific field of industrial/post-industrial and
experimental music. First of all, I think that the
multiplication of blogs that have exhumed past
cassettes and records since the 2000s has largely
contributed to the renewed interest in these
products and, paradoxically, to the taste for the
physical formats, limited editions, special
packaging, etc. Moreover, I think that the fact
that tapes or records are available online does
not prevent, and sometimes even helps, that they
are sold in physical formats. I will take the only
example of the French band Vox Populi! Its
founder, Axel Kyrou, has always been grateful to
blogs for excavating his music at a time when he
thought it had been forgotten and no one was
interested in it anymore. Under his encouragement,
many Vox Populi! albums are available online on
blogs or net-labels, especially Nostalgie de la
Boue, which does not prevent them from being
re-released in physical formats and still selling
very well. There is therefore sometimes a certain
complementarity between physical and digital
formats.
We can think of the relationship between these two
formats at another level, that of the taste for
the material object, in particular concerning the
physical format that most closely resembles the
digital format: the cassette. To some extent, the
relationship to digital files is comparable to the
relationship to cassettes on which vinyl records
(or other tapes) were recorded and then erased to
record others. Likely, there is a similarity at
the level of labels. The physical products to
which net-releases most closely resemble are
cassettes: with very few means, recordings of
unknown artists made at home with limited
equipment can be released. However, there are also
important differences, the main one being the
dematerialization of music. As cheap as it was,
the tape had a physical existence and usually took
place in a collection of material objects like it,
alongside vinyl records and CDs. In addition, it
was often produced in limited editions: it was
therefore not only an object, but also a rare
object, sometimes with special packaging, which
reinforced the value given to it by its owner.
This dimension is obviously absent from the
relationship to digital files: it is much more
difficult to develop a fetishistic or
materialistic attachment to a collection of
digital files than to a collection of cassettes,
vinyl records or CDs! It is also that the files
are perishable: you can easily lose an entire
collection of digital files in the single crash of
a hard disk for example. This strongly modifies
the relationship to the musical medium: the
relationship to the perishable digital files is
finally closer to the relationship to streaming
listening than to the relationship to the
collection of cassettes, vinyl records or CDs.
Moreover, by moving from the cassette to the
digital file, we lost part of the exchange
dimension and especially the materiality of these
exchanges that passed through the postal mail. But
there is still an important dimension of exchange
related to digital files, for example between
people who make rips and those who download them,
whether on peer-to-peer sites or on blogs.
However, this dimension is also lost as the supply
increases. All you have to do now is connect to
the Internet and help yourself. On this point, the
situation has changed a lot in recent years, even
if we confine ourselves to the field of
industrial/post-industrial and experimental music:
a decade ago, we could try to get all the rips of
cassettes or vinyl records available on
peer-to-peer sites or on blogs, but today it has
become almost impossible because there are so
many.
SWCZ: I find interesting for
the compilations you indicate on your blog how
the digital tracks can be burned onto CDRs. How
do you see the CDR format in the realm of being
a digital-only label?
TK: When online releases and net-labels appeared
in the 2000s, it was the time when I made many
copies of CDs on CDrs. As a result, I also
systematically burned on CDrs everything I
downloaded from the Internet, and I was annoyed
when the releases were not designed to fit
properly on a CDr. It was following this
experience that I organized the compilation “Rien
Ni Personne” so that it could be burned on CDrs.
It was also because I thought the quality of the
compilation would have deserved it to be released
in physical format, and that was one way to get
closer to it.
That said, I don’t like the CDr format, because it
is too often of poor quality. Similarly, although
I am very attached to the cassettes of the past, I
do not like the revival of the cassette and I
never buy recent releases in this format. I would
love to and I plan to transform Nostalgie de la
Boue into a physical products label, but it would
only be to release CDs and vinyls.
SWCZ: The label features
well-established and lesser known artists, with
a broad range of sound and types of releases
described on the website as “experimental and
unconventional musics”. Some of my personal
favorites are the albums by Mireille Kyrou/Vox
Populi!, Bourbonese Qualk (live), German Army,
the two compilations released on the label
titled “Rien Ni Personne - a french
compilation”, vols. I and II+III (comprising 91
and 184 tracks respectively!) and the latest
release by Stradivarius. What are some of your
personal favorite releases on Nostalgie de la
Boue or some of your personal highlights in
terms of working together with artists and
bringing their music out on the label?
TK: There are several releases that I like very
much, but the one I prefer is undoubtedly the
compilation of French artists “Rien Ni Personne”,
which is also the one that has been the most
successful. As I said earlier, after creating the
net-label, I gradually wanted to release artists
belonging to more recent generations, but I
realized that I was lost in the current scene,
including that of my own country, France. So I
thought I would design a compilation that would
provide a panorama of this scene. I had in mind
some cassette compilations dedicated to France in
the 1980s and I wanted to make a compilation in
the same spirit, but with the current artists and
means. The compilation was designed almost
exclusively using Facebook. First, I sent
invitations to artists I knew or identified, many
of whom were from the 1980s generation. Then,
little by little, I tried to get to know and
contact other, younger artists, and I realized
that there was a considerable amount of them.
That’s how I finally ended up with 91 tracks. But
the story didn’t stop there, because many of the
artists I had identified didn’t contribute to the
first volume of the compilation and, after it was
completed and released, I discovered many more. So
I decided to launch a second volume that gathered
more than twice as many tracks as the first
volume! I decided to stop there so as not to tire
the public. However, I then made another
compilation dedicated to the city of Bordeaux
alone, and again I was very surprised by the large
number of contributors. This shows that the number
of people working today in the field of
post-industrial or experimental music is much
higher than in the 1980s or 1990s. This is why the
market for physical products has become saturated
and net-labels have developed in parallel, and
again why we must avoid thinking of these two
categories in opposition.
Check out the Nostalgie de la boue blog here and label here!
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\_______________________________|||_____\\____\|||______|
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|_______________| *
Algae Graffiti in Alien Language by Verner
Trescott
-----------------------------------------------------------------------
_________
_______ __________/U U
U U U\
_____
/\
U U U\____/ U U
U U
\________/U U U\___________ / \
___ U U
U U U U
U U_U U U
/ \
/ /\
________________ _________________
/ /\ / O \
/ / \ |
. .
. | |
. . | \ /
\ / \
\ \ / | .
|
| . . .
| \ \
\ o o \
/ \/ |
. . | | .
. | / \ / /
O \
/____ |________________|
|_________________|_/__ \/
/ O \
/ __ /\
________________ ________________
/ _\_ / o
O
|/_ \\ \ | .
|
| .
/ __/ / /
|/ \/ \/ |
o | | .
o / / /\ / \
/O o
O
| ____ | .
o | |__
. / / /
\ //
|/ \ |___-------______| | \____-------\/
____ \/ / o
O
/ ___ \ |________________|
|________________/
\_---_______
| / \_\____________________________________
/_ ---__ ___
\
|_----___----____
||\/ o o \/. .\ __|
_ ____ __
_\ ______________________||_____________\/| |
o\_/o
o \/ -\
/ |_____/
___________////////////////// /
_____________\/__|
_____________/
//
/ / / / / / / / /
\\\\\\\\\\\\\\\\\
_________________
\----------------/_/
\ \ \ \ \ \ \ \\ \_________-----------------
------------------'
\
S
h_a d o w _ _ W o l f_
_ \ _-----__ _
___|
|_ _ _ __| (_) ___
| |_(_)_ __ ___
\ / -----
/ __| __| | | |/ _` | |/ _
\ | __| | '_ \/ __| / \
\__ \ |_| |_| | (_| | | (_) |
| |_| | |_) \__ \
\ \
|___/\__|\__,_|\__,_|_|\___/
\__|_| .__/|___/ \_____/
|_|
CREATE GROOVE WITH DELAY -
use any delay effect to add polyrhythmic exotic
grooves to a rhythm or riff. Try to find a good
wet/dry mix on the delay so it doesn't encompass the
whole sound but leaves enough of the original sound
spectrum. Its good to add some kind of EQ before the
delay maybe -> cut the low EQ a bit to
taste - so it doesn't get too muddy and the focus
will be on the mids and highs i.e. the snares,
hihats, percussion instead of the
bass drum. If you are using a
hardware mixer use the AUX send to feed the delay
and let it come back on a channel with EQ (and not
the 'normal' AUX return as some mixers have -
letting it return to a normal channel gives you the
power to EQ and even sweep the effected signal!)
Set the delay time manually with the sync off to get
weirder exotic grooves. PRO TIP: Try using 2
different delays on different rhythmic elements.
LONGER CABLE - You need a long cable but
you don't have one - use two
shorter ones and connect them together with a pedal
with the bypass
on. Don't worry about degrading the sound quality,
the music you are making most probably doesn't need
any hifi sound anyways
___
cable 1
|o
o| cable 2
___==--
--===_____
_____ __===| o
|===______-----____--
---__-
-__- | _ |
|___|
any pedal
CREATE OLD SCHOOL AMIGA TRACKER SOUND: why
do a lot of those old early 1990s techno jungle rave
records sound so choppy and tight? Because a lot of
them were made on 'Tracker' sequencers on Amiga and
PC computers.
An Amiga tracker only had 4 channels of audio and
each channel was monophonic. If you would play the
next sample on the same channel the other one got
cut off by the new one - instant choppy staccato
rhythms and melodies! Its easy to emulate this
sound in your sampler. In SIMPLER,the Ableton
sampler, for example - set the polyphony to 1 so the
channel becomes monophonic - use the glide function
to make interesting portamento effects.
FILTER EFFECTS ON SAMPLER
WITHOUT FILTER - a little l33t trick
people used to do back in the day on trackers on the
Amiga computer to make acid riffs: You need a sample
of a squelchy acid/synth sound with a strong filter
envelope - starting with a sharp high filter
cut off and a gradually slope to a calmer lower
filter setting like "Pwiiioooooooaauaauauauauauauau"
or almost any acidic synth/synth bass sound. Now the
Amiga didn't have a filter (YEAHYEAH it did but not
a real time tweakable filter) but you could get
crazy filter effects by just changing the starting
point of the sample - the later it starts the less
cut off you hear - the earlier you start it the
higher the cut off! If you change the starting point
on every note played you get this unique filter
tweak effect. This is easily emulated with any
sampler, For example, in Ableton's SIMPLER just set
a controller on the START parameter. Set the sampler
polyphony to 1 and turn the glide effect on for more
FREAKINESS! I would also do this on my Roland MKS100
sampler just tweaking the alpha dial while set on
the sample starting point function.
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(a) normal starting
position
(b) starting point later in sample
sharp filter
sound
starts at point were filter cut
"Pwiieiieiieieeuuoooeee"
off is lower. - will sound like
filter cut off is turned down
"ieieieieuuuoeoeoeoe"
COAT RACK AS A CABLE WEEPING WILLOW - Need
serious cable management use a standing vertical
coat rack to put your cables on. Different arms can
have different size cables.
\_____||______/
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||| || ||||
||| || ||||
| | || | |
| || |
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__||__
HEADPHONE TRIGGER OUTPUT
A very short but unique tip from Gerald Brunson
who says 'When I doubt try using the headphone
output as a trigger source"
PORTABLE
LED MAKE-UP MIRROR TO LOOK BEHIND GEAR
- A cool tip from David Vunk: Get one of those
portable make up mirrors with build in LED
lights. This will give you a handy tool to look
behind gear (Rack Modules, FX units, patchbays
etc.) when you need to insert or take out
cables. No more putting yourself in impossible
positions and getting a hernia just to insert
that MIDI thru cable!
----------------------------------------------------------------------
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.
/__ - \
____________/
\_____________
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\________
________/
\_______
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.
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_
/ \ / \
_ .
. /
/ |
\ \
/
/ /
\ \
\
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.
\\\\ / \
////
\ /
________________________ /
\
____________________________
/
\
______________________
/__ _ _ _ \
__________________________
/ / \ \/ | \| \ \
____________________
/ / / / | || \
\ ________________________
/_/ / /
__|_/| \ \
/__
__ ______ \
__________________/
\| | |
\
\ \ _____________________
/ ||
/ | | |
\ \
/
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\ \
/
|\____/ __|
|
\ \
_____________
/
\ _________________
/
\
/
\
___________/_____________________________________\_______________
----------------------------------------------------------------------
POETRY CORNER with special guest
_ _
_
_
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_ __ ___ __ _| | ___
/ _` |/ __| |/ _` | |/ __| | '_ ` _ \ / _` |
|/ _ \
| (_| | (__| | (_| | | (__ | | | | | | (_| |
| __/
\__,_|\___|_|\__,_|_|\___|
|_| |_| |_|\__,_|_|\___|
_________________________________
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|_________________________________|
I lived here just now, quietly
Have sand surround this scorpio
As I drive
Into the depths of this gutter, willingly
I’m liking you deeper, darker
The darker the deeper, my betrayal
God bless you now Jesus use it
Use everything against me in this darkest evening
I Out my allergy for silent places
Joyous drying, falling pieces of skin
All hair cells and vein vessels
Flex my muscles frustratingly
Inside the nether of the empty desert here
Where once a native bled under oppression
Pull strings out of me, one by one
Turn me into a souvenir
As a wind swept me further down
Here, A raccoon’s tail, I quench a smirk
Can’t see the light in my eyes
Corners filled with dust and water
Can’t see a single fucking thing
In all awe and obey to what matters
What really matters?
Pin me down on flowering cacti
Under starry bloom of a new moon and
Dedicate something darker, deeper
Into this lively confession of nothing
Maybe I hate every single thing about you
Your instincts, I
don’t even want to know them
Look around here
I can teach you something
Some real shit something
A thing or two
Yeah you gotta
Lay low, boy, lay low
Lower, girl, lower
Lower, yeah that’s something
I gotta teach you
In this phase - this memory
Something new
Something everybody wants you to use
'untitled' by Puck Schot
_---_
Puck Schot, aka Acidic Male, is a captivating
all-around multimedia artist who writes gripping
poetry. Through impulsively writing thoughts
fragmentarily and by visually reflecting on that,
narratives of fictive character and alter egos
start existing. Her work results in confessional
texts, essays, audio and video(-installations).
Often she also runs self-written and found texts
through an algorithm that mixes the text into a
new one. in video work, she often pays actors from
online gig websites for a few dollars. Thus, a
stranger performs a quite violent, confessional
and fragmented script (sometimes run through an
algorithm) on their webcams for her. Schot
produces and live-performs music under the name
Acidic Male and is part of the all-female group
called “North Sea Wolf Pack”. Together with RJM
Vanderheyden she performs under “Vot’ress”. They
experiment with synthesis and modulation, creating
ambient soundscapes and distortion, layered with
spoken word and found-footage. Their performance
loosely embraces Shakespeare’s ‘A Midsummer
Night’s Dream’ and the role of Robin “Puck”
Goodfellow, a demonic mischievous sprite. Themes
involve loss of identity, fecundity and elvish
tricks as they explore elements of literary
sadism.
1. Could you tell us a few
words about this poem "Untitled" and about
either the context in which you wrote
it/processes used/inspirations for it?
I wrote part of it when I was traveling through
the U.S.: in this part of my travel I was staying
in the middle of nowhere in the desert on historic
route 66. There's only a gas station every 80-100
kilometers or so and you can basically drive as
fast as you like, there is no one to check it or
even care about it. In night time, there are no
lights. On these ghost-like roads I had to deal
with a sort of solitude, even though all the
people I had encountered were very friendly, but
there were not many of them. 90 percent of the
time was spent alone, in my motel, in nature or in
my car. I felt that, in such a gigantic empty
surrounding, there is something "haunting" about
it: kind of a reversed claustrophobia, an "allergy
for silent places". It made me involuntarily
reflect on some things I felt were "buried" and
linked it to the direct surroundings. I edited the
notes I took when I came back home again, in my
safe surroundings and performed them with some
music. It all felt like a good reflection of
thoughts and notes I took, sometimes in the
adrenaline of driving 200 km per hour, sometimes
walking alone through prickly bushes in nighttime,
sometimes being in my cheesy-looking motel which
had Dinosaur statues outside and advertised on
having "paranormal activities".
2. In addition to your
audio-visual, conceptual and literary works, you
produce and perform under the artist names
"Acidic Male" and as part of the duo "Vot'ress"
along with RJM Vanderheyden. Could you tell us a
bit about these new projects?
I have graduated from art school in 2016, mainly
making video work within installations of objects
and drawings. At a certain point during art
school, I wanted to include loosely written notes
and poems from my chaotic sketch book in these
videos and in some experimental spoken word
performances. I did voice-overs over some footage
I had shot in the woods for example or performed
texts, trapping myself physically in a space. I
was, for some reason, always afraid to have others
perform my texts: would they lose the intimacy I
intended to bring across? My friend pointed out
this website to me, wherein people advertised to
do voice-overs for just a few dollars. I decided I
wanted a male voice for a video including a poem.
The seller then asked me if I wanted audio or
video: "let's try the video", I thought. I liked
the result so much, because these sellers are
usually focused on making static, commercial
advertisements, as they are now perform a bedroom
text of mine.
I kept doing this and enjoying this, this poetry
exchange including a monetary factor. Yet, I
wanted to re-find my balance of distancing myself
from poetry and "Othering", script-writing using
mostly using male actors, and of directly
expressing something confessional, my personal
hauntologies. I found that this could best be
expressed directly in text and by saying the text
or singing it. With that, I started making music,
which somehow felt less staged than a finalized
video work for example. Sound seemed closer to a
sensory feeling for me and already had a big
admiration for a few experimental female music
artists like Puce Mary, Swan Meat and COUCOU
CHLOE. Some of my friends told me I have an
interesting voice and should do more with it, I
tried to overcome my shyness in using it and...
Acidic Male started to develop in the beginning of
2019, she is still in the middle of that actually.
:-) I bought a Korg MS-20 and a mic, recorded some
stuff and added drum patterns and other samples in
Fruity Loops. This is mainly still how I work,
although I have some other fun stuff like 2
Volca's and a TR-8 and like to use samples of
nature sounds, which I also want to start
recording more myself.
Vot'ress came very naturally: RJM Vanderheyden and
me wanted to collaborate on something for a long
time, seen our mutual interests. She introduced me
to a lot of interesting music by going to live
performances together, which also later became a
motivation for me to try to make music myself. We
always wanted to make something reflecting on "A
Midsummer Night's Dream" by Shakespeare. We
started analyzing the text and found macabre
details, mostly from character Robin "Puck"
Goodfellow: a demonic, mischievous sprite. We
mixed some of the texts together with our own
poetry and with Bataille's "The Language of
Flowers" and made a performance consisting of ASMR
sounds, nature sounds, synthesis and vocals.
I'd say even though some projects are more
"finished", some more conceptual and some more
free, some using "Othering", some being a direct
expression, all these projects are interwoven in
some way, all link to the core of searching for a
spatial poetic creation.
3. Could you tell us what is
in store for you for early 2020 and where Shadow
Wolf Cyberzine readers can get a glimpse of your
artwork, whether in The Netherlands or
internationally?
My newest experimental film, in which I paid a
porn production company to perform my sexless
script, will be shown again during Art Rotterdam
in February 2020, accompanied by an installation
of printed flags. I hope to make more music (live
and on record) and really make it evolve,
ambient/noise style but also more rhythmical, like
a good techno track. :-) Also Venderstrooik
remixed a track of mine, to be released on a
mixtape on cassette soon.
Recently, I started DJ-ing as well, my next gig
will be on NYE in The Grey Space in Den Haag, The
Netherlands.
There's also some writing projects coming up, but
they are still under the radar.
Check out
Acidic Male here.
------------------------------------------------------------------------
_
_
_
/\/\
_ _ ___(_) | ____ _ __ _|
|
/
\| | | |_ / | |/ / _` |/ _` |
|
/ /\/\ \ |_| |/ /|
| < (_| | (_| |
|
\/
\/\__,_/___|_|_|\_\__,_|\__,_|_|
___
_
_
_
_
/ \___ | |__ | |__
___| |___ _ __ ___| |
/ /\ / _ \| '_ \| '_ \ / _ \ / __| '_
\ / _ \ |
/ /_// (_) | |_) |
|_) | __/ \__ \ |_) | __/ |
/___,' \___/|_.__/|_.__/ \___|_|___/ .__/
\___|_|
|_|
_______
_______ / o /|
______
/o
/| /____o_/ | ____ | __
| _ ______ __
/ o / |
| | |
____o____o___|____|___
/______o/ | _____|_o o |o|
____________o____o____|
| | o|
/ \ o | |
_____________________o_
| o o | |/ o o \ o | /
| o | //___________\___|/
/\
/\
|________|/
|
| /
\
/\ / \
| o o
o |_____/ \
/\___/ \___/ \_
| o o o |
\/
|___________|
'Muzikaal Dobbelspel' is Dutch for 'musical dice
game'. Its more known in its German translation:
'Musikalisches Würfelspiel. This is an old
technique to generate 'random music' using dice.
In 18th century sophisticated upperclass 'tout
monde' hip music circles this was allllll the rage
- akin to something like using artificial
intelligence in music today. Although without the
need for a degree in advanced compositional
machine intelligence - you just need two
dice and a notepad!
There were lots of different variations of
'Muzikale Dobbelspellen' (that is the Dutch
plural) - using different systems. Mostly they
were pieces of'preset' note patterns which you
added together according to the numbers you cast
with the dice. Once you did this a bunch of times
you ended up with a 'random' waltz out of nowhere.
Here is a little Muzikaal Dobbelspel to make a
monophonic melody in four different exotic scales:
Determine a scale from the list below (Venusian,
Centaurian, Vulcanian, Andromedian) and throw 2
dice. Now add the two cast numbers together -
check which note that sum represents from the list
below and write it down. Now do this 16 times (or
12 or whatever your measure is). If you cast a
'nix' you skip a position in the measure - this
nix can either be a tie or a rest - you can throw
one dice again to decide this. If you cast 1,2,3
its a tie - 4,5,6 its a rest.
Venusian
Centaurian Vulcanian
Andromedian
2 C ____________ nix
_______ A# ______ nix
3 A ____________ B
_______ nix ______ nix
4 D ____________ C
_______ A# ______ A
5 G ____________ D
_______ B ______ C#
6 B ____________ F#
_______ C# ______ D
7 E ____________ B _______ D#
______ A
8 F# ___________
C _______
F ______ F#
9 D+1 Oct_______
G _______ F#
______ G#
10 nix __________
A _______ nix ______ D+1
oct
11 nix __________ G
_______ B ______ F#+1 oct
12 nix __________
nix ______ F ______
nix
So if you threw a 5 and a 3
you have a total of 8, if you chose the Vulcanian
scale the note will be F
if you threw 2 and 1 the total will be 3, if you
chose the Andromedian scale there will be no note
and you skip a position in the measure. Throw one
dice again - if you cast 5 the empty position will
be a rest.
If you are not familiar where the notes on a
keyboard are you can use this diagram:
a#
a#
d#
g#| d# g# |
c# | f#| | c# | f# |
|
_|_|___|_|_|___|_|_ _|_|_|_
|| | ||| | | ||| | ||| | | ||
||_|_|||_|_|_|||_|_|||_|_|_||
| | | | | | | | | | | | | | |
|_|_|_|_|_|_|_|_|_|_|_|_|_|_|
c d e f g a b c d e f g a b
| + 1 octave |
------------------------------------------------------------------------
_
___ ___ ___ _ __ ___| |_
___
/ __|/ _ \/ __| '__/ _ \ __/ __|
\__ \ __/ (__| | |
__/ |_\__ \
|___/\___|\___|_|
\___|\__|___/
__
_
_
__ _ / _| |_ ___ _ __ __|
|_ __ ___ __ _ _ __ ___ ___
/ _` | |_| __/ _ \ '__| / _` | '__/ _
\/ _` | '_ ` _ \/ __|
| (_| | _| || __/
| | (_| | | | __/ (_| | |
| | | \__ \
\__,_|_|
\__\___|_| \__,_|_|
\___|\__,_|_| |_| |_|___/
|
|
___/_\____
____
|_|_|__|_|_| _____/
|__________| ____/
| | __________________/
____
| o| _____/ _______________________
\____ |
| ____/
|_______________________|
___ \__| o|______/ ____
|__|__|__|__|__|__|__|__|
____| |__ | | ___
____| |__
|__|__|__|__|__|__|__|__|
_________
||
o|___|
|___|
|__ |__|__|__|__|__|__|__|__|
| _|__|___ ________
______ |__|__|__|__|__|__|__|__|
|_ |_ |_
||
|
|
| | ||__|__|__|__|__|__|__|__|
|||_ |_ |_|___||_ |_ |_| | | | |||__|__|__|__|__|__|__|__|
|_ |_ |_
||
|...|
|___| ||__|__|__|__|__|__|__|__|
|||_ |_ |_|...||_ |_ |_|...| | | |||__|__|__|__|__|__|__|__|
|_ |_ |_
||
|...|
|...| ||__|__|__|__|__|__|__|__|
|||_ |_ |_|...||_ |_ |_|...| | | |||__|__|__|__|__|__|__|__|
|_ |_ |_
||
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|
_______ ||
_____ | _ | ______ | | _____|| ___________________
|
| | | | |||| | | | ||
||| | | || || | | || | | | | | | | | | | | |\
_______O___________O__________O_________O__________O________O_______O__\
|
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| |
A new little Legowelt LP on
the Spanish MYSTIC & QUANTUM records
Out in early January
availabe at all good record stores check it out
at:
CLONE RECORDS
RUSH HOUR RECORDS
BLEEP RECORDS
PHONICA RECORDS
BORDELLO A PARIGI
------------------------------------------------------------------------
_
_
_
_ _ _ __ ___
___ _ ____ _____ _ __ | |_(_)
___ _ __ __ _| |
| | | | '_ \ / __/ _ \| '_ \ \ / / _ \ '_ \| __|
|/ _ \| '_ \ / _` | |
| |_| | | | | (_| (_) | | | \
V / __/ | | | |_| | (_) | | | | (_| | |
\__,_|_| |_|\___\___/|_|
|_|\_/ \___|_| |_|\__|_|\___/|_| |_|\__,_|_|
_
_
_ __ ___ ___ __|
|_ _| | __ _ _
__
| '_ ` _ \ / _ \ / _` | | | | |/ _` | '__|
| | | | | | (_) | (_| | |_| |
| (_| |
|
|_| |_| |_|\___/
\__,_|\__,_|_|\__,_|_|
_
_
_ __ ___ ___ __|
|_ _| | ___
___
| '_ ` _ \ / _ \ / _` | | | | |/ _ \/
__|
| | | | | | (_) | (_| | |_| |
| __/\__ \
|_| |_| |_|\___/
\__,_|\__,_|_|\___||___/
_________________________________________
o |
|
|
|
|
| | | o
| . .| [ [ | [ [ [ | o [ | o o
| . [ | |
o | .
.| [ [ | - - - | o [
| o o | o [ |
| o
| o o| . . | o o o | o [ | [ [
| o [ | |
o | o
o| . . | o o o | o [ | [ [ | o [ | |
|____|_____|_______|_____|______|_____| | o
o
_____ , | ______ , | _______ , | |
| |/| |.
.|
|/| | . |
. . |/|.. | |
| o o | | |. .| o o | | | .
|
| |.. | /
| |
| | | . . .| | |
. | O O |
|.. |
/ o
o |
O | |_|___| |
|_|___| |
|___|/
| O | / | - - | / | /\ /\| /
o
| O |/
| [ [ |/
| \/ \/|/
|_____|
|______|
|______|
By Gwendolyn Gilman
Make the dorkiest hobby even dorkier -> Here
are some makeshift ideas for 'off the path'
modular system modules. You can make these pretty
much without any knowledge of electronics - just a
bit of handy work and a rudimentary understanding
of how audio travels through wires is all you
need! A fun thing to do during the holidays with
the whole family or all by yourself if you are
lucky enough to celebrate the yuletide times in
solitude.
First of all, contact mics are your friend - also
known as transducers and Piezo microphones they
are rudimentary microphones that you can attach to
anything. Stick them to anything you like and you
can record it, going beyond a normal microphone,
focusing more on the unheard side of things. The
cool thing is that they are super cheap, can be
bought for 20 cents and the possibilities are
endless. More info here
Furthermore you just need some
empty module boxes/panels (just make them yourself
out of cardboard, thin wood etc.) , some tape, a
drill, jack in & outputs, wires, if you are a
bit pro some solder and a soldering iron and some
other crap. Mostly these are just some starting
point ideas to get you inspired...you are smart
enough to improvise, experiment and above all
figure it out....don't be afraid because its
electronics! These module ideas are all "passive"
when it comes down to power - they don't need any
connection to the modular case's power supply.
LIQUID BUBBLE MODULE
synthesize 100000% real analog
bubble bath sounds with this easy to make module.
What you need:
- A flexible plastic/silicone/rubber tube you can
blow into - not too thick, it can be
as long as you want, maybe minimum of 30
centimeters - 60 centimeters will give you some
more suppleness
- Some kind of liquid proof container to put the
liquid in
- Contact mic
- 1xAudio outputs & wires
- Liquid - can be just water - different types of
viscosity will give
different sounds, but just normal water is
probably the best.
_______
/ ______() <- tube to
blow into
/ /
/ /
/ /
/ /
________
| |
| _
_|_____________ wire leading audio output
| |
_______|__ (_)
|_____
| /
| | /
_________) |____
\ | <----'
| | / /
|
| \
\ |
| | / /
| ( ) | __|
|__ |
\ \_/ / ______\
| | o| | o||\/ <-- contact
mic glued/taped
\___/ | |
/( ) | |~~o~O
||/ to container - wire
going
|
| | | o|
| o| to audio
output
fake placebo
| |
|oOOoooO| <----,
knobs for
|________|
|_______| \
'bubble control'
_
water tight container with
/
\
tube inserted into liquid
|__ front panel
Attach the contact mic to the container with some
tape or glue - put the tube into it, make sure
everything is enclosed good, use some extra tape
to make it water tight so you don't get
electrocuted. Attach the wire of the contact
mic to the audio output. Construct everything in
the
Now you can blow into the tube and it will create
bubbles which will be picked up by the contact
microphone. Patch the audio output to a VCA to
increase the gain to an audible level.
CHEAP SAMPLER MODULE
A sampler module made out of an old mp3 player.
Search your messy drawers for one of those 2000's
era mini MP3 players and put it in a module and
you will have nice little 'sampler'. Saw a
rectangular opening on the front panel so you can
place your MP3 behind it. Use some tape or slats
with glue or whatever.
Cut a mini jack cable at one end and attach it
from the MP3 players headphone output to an audio
output on the front panel. Use some kind of
inverted USB converter cable as a USB port on the
front - so you can conveniently load new 'samples'
into the device but also charge the player with
power - if the player uses such a system, else you
got to make another port connection for a charging
cable.
________
Fake placebo
|
| _| _____
knobs for show -> | ( ) () |
| | / __ \
| ____
| |_|_|| | | <- mini jack
& USB cables
| | |
| | | |
| to outputs
MP3 Player --------->| __ | |
| | <- | --- MP3 player
in rectangular | | . .|
| | | | |
opening
| |____| | |__| / |
|
| |___/ |
audio output | o
=== | ||=------' <--- to
output & USB
& USB interface ->|________|
|
connections
FRONT
VIEW
SIDE VIEW
PROPOSED CHAOS AIRWAVE NOISE GENERATOR
A quick design for an ever
changing noise generator as was used in the STAR
SHEPHERD synthesizer - just put one of those
little portable AM/FM radios behind a panel, make
an opening for the knob (or disconnect it and put
it on the front panel) to select the radio
frequencies etc. Make sure you put the radio
inside a sort of 'cage of farrady' made out of
chicken wire of silverfoil to stop the radio
interferring with the modular electronics and vice
versa. Also an input jack that is attached to the
antenna on the front panel comes in handy so
you can connect a large antenna to recieve
wrabbled space far off radio transmissions!
_______
| |- - -
Dail to select| _
|___ \
Frequency ----->
(_) | | | <- Cage of
Farraday
| | |
knob to select ----->[]
| | |
AM/FM
|
| |
-----> o o | | |
Output jacks & |
|___|
input for antenna |_______|_ _ _|
G.G.
------------------------------------------------------------------
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__ _| | | O O
/ _` |/ __| |/ _` | | '_
\ / _` | | |
| (_| | (__| | (_| | | | | |
(_| | | | -_ _-
\__,_|\___|_|\__,_| |_|
|_|\__,_|_|_| ---
U
o
o
o
o
______ o
o
_-----_
/ \ __/\/\/\___
o _// O O \
/ O O \ \ __ __ /
____/ \\ \___/
/o
|
|
/ o \/ o \
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\ \____--'
\ \____/ / /
^^ \ /
_/ \___
\______/ /
/\
\\____ / _________ \
______// __/--\___\\\
\_____/ \
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_____/ / _ _______\
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/
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/ /
\
______ /_
/ ______/__///______________/\\
\
/ \/ / | /
| //
/ /____\ \||o|
| o o o o o o
o o o |//
/___ __ ___\ | \ o o o o o \_______//
\ / | \_\_\_\
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|__________________________________|
By Permillia Shuttleworth
ACIDHALL - a combination of digital
dub/dancehall, mostly from the 'golden era'
1985 - 1990, with acid basslines. As far as I
know, the origins of ACIDHALL can be traced to
ACID RAIN RECORDS a label from New York, who
released a bunch of dancehall related
7"s in the late 90s till mid 2000's. The label
started with some mediocre releases using the
"1999 riddimm" - a
simple dancehall rhythm based around the
stabby chords of prince's 1999 - The 'prince
hommage' is also visible on the label's logo
which uses the Purple Rain font. In the year
2000 they released the first record with
the ACID HALL RIDDIM - an incredible sludgy Roland TB303 acidline
with a simple rough TR606 beat. It was raw,
uncompromised, trippy and above all
irresistible - sounding like it wouldn't
be out of place on an underground sewage
Beverly Hills 808303 or Acid Planet release.
Curiously the producer of this slab of raw
acid was Salaam Redi - a well established grammy
award winning producer who produced multi
platinum selling albums for the likes of NAS,
The Fugees and would go on to record Amy
Winehouse's Back to Black album.
With
its raw smudgey grooves it quickly became a
staple in certain zones of the Dutch West
Coast/The Hague electro-nix scene. Mixed with
slower electro & italo, "cosmic", memphis
rap & underground hiphop music. As there
basically was only 1 acidhall riddim, the
pressure was on for expansion and creation of
the Acidhall genre:
Around 2016 the first tracks slowly creeped
into the scene - mostly edits/remixes of
golden era digital dancehall/dub tracks
layered with acid basslines. Often the beat is
fattened up too with slow electro rhythms
preferably from the Roland TR606, 707 but also
the 808 and some
use the Boss DR55. Other synths, strings and
fx sounds are added too, whatever
works...there are no rules! The sound is
mostly RAW and LO-FI,
smudgy and intense. Making acidhall is easy
- everyone can do it! You just need a
computer with software - a 303 emulator like
ABL, Phosycon or that ancient sweet luscious
REBIRTH - and a DAW. Cut up the riddims,
play some reggae chords and layer it with
some acidlines - like mayonnaise on a bun!
Here you can download
(120.9 Megabytezzz) a compilation BEST OF ACID
HALL music with 9 acid hall versions of the
following songs:
BOOM BACK - ROAD
BLOCK
CRIME STOPPER - DRUGS
ADDICTION
TONTO IRIE - WORLDS BEST
LOVER
HORACE ANDY - CURFEW
FRANKIE WILMOT - PAULA
& SANDRA
EVERTON CHAMBERS - Hold
Your Corner
HORACE FERGUSON - SENSI
ADDIC
THE TWIN ROOTS - Know Love
WHITE MICE - Don't Waste
Your Life On The Freebase Pipe
------------------------------------------------------------------------
An Interview with
__
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| |_| '__/ _` | '_ \|_ / / __| |/ / _` | |
|/ _` | '_ \| __|_ /
| _| | | (_| | | | |/
/| \__ \ < (_| | | | (_| | | | |
|_ / /
|_| |_| \__,_|_| |_/___|_|___/_|\_\__,_|
|_|\__,_|_| |_|\__/___|
F O R M I N G T
R O P I C A L C Y C L O N E S
"Echo equals infinite space, its
spiralling away picking up speed and volume
exponentially, like a big fuck off wave that you
want to surf, you have to throw yourself in
there before you can ride the thing and come out
on top of it."
____________ _________
________________ ___/
\____
o o
______________ /___
\________
__________ __
\_____
__\
. ________
\\___/
\______________/
@
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\___/
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@ \ \
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@
\ \
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.
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,___ _______
\___
\ @@ //// \
_/ \ _
/_ \
/ \___\ @ /\/_ \ \ \\\\ \ \ \
____ . / \ | |
|
/ \ \ \ \ \___/ \ \
___/\___/
\_____/_______|___|___|_______/______/\/\/\__
-- - \___
Shadow Wolf investigates the mysterious
Swiss/English artist Franziska Lantz who has
released a handfull of LPs on her own Global
Warming Records. Those who are in the know where
inmediatelly captivated by her weather-themed raw
uncompromised projects. If you are not familiar take a listen to the 2017's
ARID ZONES album which is a MUST LISTEN for any
fans of Bunker, L.I.E.S, Psychic Liberation, BANK
records et all. We send her a few questions to let
the cat out of the bag...
Where are you from? Where
did it all began???
I am from Switzerland, I grew up in a village in
the hills surrounding Basel. It was a typical slow
countryside life, a great place to grow up as a
kid, spending lots of time outdoors and in nature,
I had a beautiful time. but as a youth it started
to feel quite insular and confining, there seemed
to be all these invisible rules and expectations,
it used to drive me off the wall and eventually
away.
in 1998 I came to London to study art, after Swiss
bliss I embraced the chaos and roughness of the
big city a lot, I was so ready for some exposure
and turmoil. it felt liberating to dive into the
mess and multitude of things and people here, it
inspired me, fueled my creativity.
When and how I started to make music is one long
and bendy road!
Music has been a great friend and magic companion
of mine since I can remember. It has always played
an essential part in my life as some sort of
emotional conductor or equalizer or absorber or
pusher.
At home my mum played a lot of music, mostly
classical, but also stuff like french chanson,
gospel, jazz, rock'n'roll, we did a lot of dancing
and singing, it was fun. Music was this exciting
mood maker and allowed you to let go of a lot of
energy.
I played all the various recorders as a kid, I
still love wind instruments, sometimes I use them
over some hardcore electronic beats. In my early
teens I picked up the drums. I was blown away by
an African drummer performing at my school and
started begging my parents for a drum kit. it felt
immensely liberating making all that noise, its
also very physical, tires you out, perfect for
frustrated teenagers!
Though as a teenager I became more of a consumer
of music and passionate dancer at the local disco
and i recorded lots of tapes for myself and my
friends.
I first started recording tapes when I won a
beautiful blue Phillipps walkman at some
competition, I was about 9, it also had a radio
and record function, so I spent my time zapping
through radio stations, capturing stuff I liked..
Meanwhile my uncles introduced me to their old
blues records, the Beatles and sixties/ seventies
stuff, which really awakened my hunger for more
music, finding led zeppelin and black sabbath in
their record collection was so thrilling, opening
up whole new horizons. One night my godfather
brought me along to an L7 gig at Frison in
Fribourg where he worked as a promoter. I was
about 12, I wore my favorite turquoise jumper,
everyone else was dressed in black leather, I felt
a fool but forgot about it as soon as they plugged
in their guitar. After that I was totally
infected. I got into alternative rock, punk, hip
hop, grunge, at some point came Nirvana, for whom
I still have big love...
and only in 98 when i came to London was I hit by
electronic music!
By then I only experienced the shit side of really
depressing Eurotrash euphoric trance bullshit
raves in Switzerland, I was quite horrified and
put off by the music and people alike.
In art college in London I met a few great people
and one of them was my friend tony who introduced
me to electronic music and all that has been going
on since the early 90ies that I managed to totally
miss. THAT WAS A BLAST! He had loads of records
and kept them coming, every week a few new ones,
it was like a wonderland! He had lots of Rephlex
releases, I couldn't believe all these crazy
sounds, it was really so inspiring, empowering and
enchanting to find out about all this music, like
everything Aphex, Bogdan Raczynski, DMX krew,
Squarepusher, two lone swordsmen, and so on.. then
a lot of Bunker and Clone releases, it was a whole
new world opening up, the mood and attitude of
these labels and releases felt so refreshing,
serious and dark yet humorous and playful.
I guess it was much in tune with where I arrived
creatively or how I felt in relation to the world.
there was also a lot of secrecy and myth that came
with a new record, often I didn't know which
artist I was playing, I picked records by the
label and cover and it usually worked..
at this point if you allow a little hommage to you
Danny, you elated so many of our nights :-) as
Legowelt and other aliases which I didn't know
were you until later, like Gladio, Slave of rome
or Squadra blanco, Night of the Illuminati, two
massive favourites of mine, have listened to these
records so many times, literally played them to
death!
Huge was also the discovery of Drexciya. the music
and all politics and myth that came with it. the
sound of Drexciya seemed so precise, consistent
and otherworldly, I studied it endlessly, it
surely shaped my understanding of electronic music
a lot. I am evidently a great admirer of
Dopplereffekt, Arpanet and everything Gerald
Donald, his output is always full of love and
integrity. To continue on the Drexciyan path,
Another massive influence is DJ stingray, I've
been following him ever since I found out about
him, which was only in 2008, I went to see him at
a bangface weekender and it felt like homecoming.
his DJ sets are one of a kind, its truly a cyborg
battlefield, he is always on the attack, focused,
frontline, going for the kill, no messing about,
love him.
in terms of starting to make electronic music
myself I felt really encouraged by Aphex's
fearlessness and fuckoff take on to sound, music,
experimentation, creativity. It wasn't about
perfection and production but he was unleashing
some proper hardcore energies that felt totally
relevant and alive.
The idea i could produce any worthwhile music only
grew slowly by coming across certain musicians or
music that made me understand it could be quite
simple once you are in the right place knowing
what it is that you want to let out, all you got
to do is open the gates and let it go.
one of them was Raymond Scott, Manhattan Research
inc, I listened to this album inside out and
upside down, was super inspired by all these
playful tunes and felt ok I gotta make some
electronic music myself. a friend of mine gave me
logic and so I started on software and laptop.
This felt great in the beginning, so much freedom
and possibilities, I had a lot of fun creating a
lot tunes, it for sure sharpened my skills and
ears and ideas of what I wanted to produce, but
really only in 2104 when I finally bought my first
drum machine I was set free. Set free by the volca
beats ;-)
I was kind of intimidated by tech and gear as I
wasn't familiar with any of it, I am definitely
not a tech head plus these things were expensive.
I've been playing and recording music with with my
friend Howard around that time, we played
improvised, ritualistic electro acoustic stuff as
dpm357x.
He taught me a lot about making music and
improvisation and helped me to overcome my fear of
performing. and he had these Monotribes, and was
playing around with them and had great fun and
produced amazing whacky sounds and I was just oh
my god I need to have this, it felt like a fun toy
with big sound. this is the long and winding story
to my first drum machine.
Can you tell me about your studio set up a little
if you want my set up of machines was gradually
growing from that moment on, and continuously is.
I already had a line 6 pod guitar pedal that I
used for effects on my voice, I connected it to
the volca which gave the drums great warmth and
distortion. I don't really like clean sounds
straight from the box, they need to be somewhat
beaten up, morphed, whacked and lived in..
Because the Volcas were so affordable and I
realised it would be useful to have a synth to go
with my drum machine I bought the Volca keys soon
after, then the kick. I researched for a multi
effects pedal that is easy to use with all effects
accessible and physically available on the board,
that has an extensive delay and reverb section,
and I arrived at the boss me50, I had this in mind
for voice and synth. while the little volca keys
has its limits played alone, through the me50 it
can turn into a big and wonderful dreamy synth.
This was basically my setup for my first album
expanding arid zones.
Volca beats and kick through the line 6 guitar
pod. Volca keys through the boss me50. This album
is very much me learning how to work these
machines and finally being able to create the
sounds I wanted. I am playing the machines like
instruments, I like real time playing and
tweaking, improvising and jamming. I got no
computer or midi controller in my setup. It is
very primitive and intuitive. I record my sessions
into a zoom stereo recording from my mixer output,
then cut out the bits I like. that's it, not much
of an after production.
After expanding arid zones I was ready for some
slightly more complex machines. still low budget,
and still no hidden menus..
I am a rhythm person, always starting with a beat,
I was looking for a drum machine that is more than
the kick, snare, clap, etc setup, but lets you
create your own synth voices, and I arrived at the
korg Electribe ER1 rhythm synthesizer, this
machine is perfect for me, it is so versatile,
generous and playful, really love it. I needed a
better synthesizer and it seemed very obvious to
go for sister electribe EA1, which has a gentle
and sensitive soul with the ability to unleash
powerful basses. The two make a great couple.
I was in need of 2 more effect pedals, for the ER1
I could imagine nothing more suited than the boss
me50b bass to give it extra depth and base, and I
added the line 6 bass pod to the family for the
volca drum which became more and more my backup/
supporting subbass kick.
This was more or less the setup for my second
album, FORMING TROPICAL CYCLONE. volca beats/ kick
through line 6 bass pod/ guitar pod
electribe er1 through boss me50b bass pedal ->
electribe ea1 through boss me50 guitar pedal ->
voice through bossme50 guitar pedal.
I keep mixing it all up as well, small changes in
setup and connections can bring whole new sounds,
and I am in constant search for new possibilities.
Recently I have built a small modular unit in a
bastl instruments workshop, modular brings a whole
lot of exciting new prospects, though its also
expensive and like to keep it lofi. for sure I
want to improve my basic way of recording from
stereo to multitrack, so I have a bit more of a
chance to edit and mix my jams. looking at zoom
r16 at the moment, any recommendations welcome!
what is Global Warming
records?
in 2014 I started global warming records label to
release my own music. after years of me, my
laptop, a pair of headphones and no connections to
the music scene I wanted to take things into my
own hands and get the music out there somehow. I
was planning a compilation of my stuff, but right
at this time Howard and me recorded quite a few
dpm357x sessions and this felt really urgent and
alive. it was real and important and fun. Also to
start the label on a collaboration was so helpful
and
encouraging, taking off some pressure, and so
happened the first release, GREENLAND'S MELTING
GLACIERS.
The idea and name global warming records came
about as I wanted to guide peoples attention
towards something I felt was urgent and needs
consideration and action. force the thought, the
fact, the expression and words GLOBAL WARMING
RECORDS into peoples mouths and minds. say it,
think about it, be aware.. I'm not sure if that
works, but it doesn't really matter, its an ethos,
a focus, a context that I can use creatively, I
will not let myself be limited by it, I am not
Greta Thunberg rallying for this cause, its more a
subverted and subtle core to my music and visual
work.
Striking is your use of the
echo/delay effect, almost used as an instrument
on some tracks - to give the rhythm extra accent
and transpose it in time and perhaps even
dimension - What echo box are you using and do
you have any, for lack of a better word,
metaphysical
ideas on echo/delay?
The biggest delay/ echo effects I get on
the boss me50. And youre right I use it kind of
like an instrument adding a whole new sphere which
is uncontrolled mad and very explosive. With voice
through microphone I get feedback which I like to
blow up but also try to tame and use to my
advantage. what is most exciting is that you never
quite know what will happen, of course its
possible to apply a controlled delay, but to push
it into dangerzone I find exhilarating, as it
turns into a violent stormwind but will slowly
settle into some random crazy sounds that you can
try accentuate and suddenly you have this new
voice reaching out over a sea of noise, I am
always trying to find this voice.
Similar with the synth, delay and reverb allows me
to change the mood of a song drastically, there
you got a beautiful, warm synthline, you can
reverb it into heavenly spheres then get a sudden
eruption of a hundred synthlines shouting back at
you in a powerful surge to take over everything
else...
In the drums/ rhythm section I generally use
delays more precise and controlled, like creating
variations on a theme. switching between these
themes already gives me a basic structure for a
track. on the volca beats I use stutter a lot, its
such a generous function to play around with,
opening up endless combinations of time and delay.
Generally I like the drums to be reliable, a
sturdy backbone to the rest of the mess I will
create ;) the drums I work far more with various
filter/ distortion/ eq effects, keeping the beat
solid but changing the sound and tone, which can
be all tight and contained, or harsh and brutal,
bass driven or muffled, whatever works.
Effects pedals are essential in the sound I want
to create. they allow me to shape and mould sounds
kind of like using clay for a sculpture. I am not
sure if i'm dodging the metaphysical question
here? echo equals infinite space, its spiralling
away picking up speed and volume exponentially,
like a big fuck off wave that you want to surf,
you have to throw yourself in there before you can
ride the thing and come out on top of it. Sun Ra
comes to mind, what do you do when you know that
you know, that you know that you're wrong, you got
to face the music, you got to listen to the cosmic
song... I think Sun Ra was teaching me some of the
most valuable lessons in terms of approaching/
playing music, as in be free, let go, enter the
zone, and go infinite space.
You are also an artist with
stuff in galleries?
yes I am also a visual artist. I would say my
physical work and music share the same approach
and origin, they arrive from the same place, its
almost one and the same thing to me, except one is
taking on form that you can touch, and the other
is taking off into spiritual spheres. The two
together create a wholesome balance, while the
music transports me into this infinite space, to
work materials, to touch and handle things is
bringing me back to the ground, its earthing me.
Often they are intertwined. In every art show I
bring in music, like a soundtrack to the scene, it
allows me to support a mood and channel peoples
attention.
As for the music I like to deliver my records in
handmade packaging, I stamp the labels and spray
the sleeves, its a crazy amount of work but I feel
the aesthetics of the handmade object underlines
the spirit of the music. As a visual artist I work
with found materials mostly, trash that I find. I
like objects that have a history, a story to tell,
broken, weatherbeaten stuff appeals to me much
more than shiny new things.
The shore of the Thames in london is a great place
to roam for raw materials, I pick up a lot of
animal bones dating back a few hundred years to
times when there were markets by the thames and
butchers threw their waste in the river. These
bones have washed around the river for so long,
each and every one is a perfect sculpture in its
own right, they are very powerful objects. The
beaches are scattered with anything from ancient
to modern trash, finding and picking my bits feels
like harvesting the crops, its very meditative,
you got a few hours at low tide to roam around and
bring home what you can carry. My studio is full
objects I find. I like to give them a new chance,
new life, new storyline, combine them into fresh
formations.
I always hang my works, it always seemed the most
obvious thing to do, so they can freely turn and
move in the wind. I often treat my sculptures like
creatures or characters emerging from some sort of
forgotten places. I enjoy creating fictions and
storylines for an exhibition, its like outlining a
playground that I can explore creatively, and is
also really useful in informing aesthetic
decisions, so everything can fall into place
naturally.
Check out Franziska's releases on her Global
Warming bandcamp page
She also has a radioshow called DRIFTSHIFT which
you can check out here
------------------------------------------------------------------------
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A summary of Carl Jung's "On
Synchronicity" so you can pretend you are an
expert on this intriguing subject...
By: Darea L. Spoors
Most people have experienced so-called
“supernatural” occurrences, experiences which
cannot be explained by causality but are
nonetheless meaningful coincidences or of what
Carl Jung would term “acausal orderedness”. Jung’s
proposed theory – synchronicity – serves as a
powerful lens through such occurrences may be
explained. He famously laid down one utterance of
his theory on synchronicity in a short essay
published in 1952 titled “Synchronizität als sein
Prinzip akausaler Zusammenhänge”.
In the first part of the book, Jung defines the
concept of synchronicity as an acausal meaningful
coincidence. A-causality is the main
characteristic of synchronicity. Jung goes on to
provide some illustrations and examples of
synchronicity from his own and his patients'
lives. Jung proceeds to detail the historical and
philosophical foundations of his theory. He
discusses that ancient, medieval and modern
philosophers have already conceptualized unitarian
theories of the world, which accommodate his
theory on synchronicity. He goes on discussing the
theories of thinkers such as Lao-Tze (Tao),
Keppler (geometry, mathematics), and Leibniz
(monads, “pre- established harmony”).
Jung concludes that there is a
necessary pre-existing, a priori
“harmony” or what he has termed
“absolute knowledge”. Synchronicity confirms the
existence of this pre-existing order.
According to Jung, synchronicity must be added to
the “trial of classical physics” (space, time and
causality), which would then become a tetrad (see
fig. 1, below). Adding this fourth category would
allow us to understand synchronistic phenomena, as
a special class of natural events. According to
Jung, synchronicity is transcendental and it is
difficult to conceptualize it (because it is
contained in an “irrepresentable space-time
continuum”) and it often feels like “magic”. We
must not, according to Jung, however, think of
every event whose cause is unknown as “causeless”.
Space
|
|
Casualty __________|____________ Synchronicity
|
|
|
Time
fig. 1
To conclude, Jung describes a
near-death example of one of his patients who was
in coma as a result of child birth. She could
perceive herself and the hospital room as
observing from above. Jung uses this as an example
to explain that in such circumstances of
unconsciousness (ie. coma) perceptions and acts of
judgment continue to exist. The sympathetic
(nervous) system can produce thoughts and
perception, and is a potential carrier of psychic
functions.
According to Jung, skepticism towards ESP
(extrasensory perception) is unjustified, both
from a scientific (ie. scientific theories are
constantly being refuted) and a human/instinctive
point of view (ie. humans have prayed to gods and
deities for millennia). His theory and his
criticism of the “sovereign rule” of causality of
our time remain relevant today.
------------------------------------------------------------------------
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(_) | |_) | | | |_| | |_| |
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. .
IFM = Intergalactic FM - one
of the oldest dutch internet radio stations
broadcasting 24 hours a day 7 days a week -
running since forever, before everyone and their
grandmother had an internet radio station. Run by
The Hague's godfather of the electro-nix scene
Ferenc aka IF and a host of super-devoted freaks
its the homebase of many radioshows like Queen of
Blood's BLACK MIXX , Knekelhuises KNEKELHUIS
RADIO, Ian Martin's SEER, Le Chocolat Noir's DISCO
PANOIA, Legowelt's SHADOW WOLF RADIO and many many
more. Live transmissions are done from IFM's local
hang out spot/recordstore/studio PANAMA RACING
CLUB, an old garage situated on the grounds of the
PIP club, conveniently located between The Hague's
two major train stations.
A yearly reoccurring mega CULT event on IFM is the
INTERGALACTIC TOP 100: A countdown of 100 of the
'best' tracks either voted in by the audience or
by a technocratic assembly of unknown beings.
Traditionally taking place on second Christmas
day, pandemonium is GUARANTEED s IF himself
announces and rambles the TOP 100 tracks until
deep in the night while the audience is getting
more and more tipsy.
This is year the IFM TOP will be a bit special as
it will be broadcasted live from the PIP club for
a live audience. In true vaudeville Ray Liotta
nightclub 'Vegas' style with tables, cocktails
(supplied by the ZAHARA cocktail bar) food and a
'special' punch (we all know what means in The
Hague!!!)
You will be guaranteed to be mentally massaged
with unadulterated entertainment of the HIGHEST
LEVEL.
This is all happening on 26 DECEMBER - reserve
your ticket here
The whole TOP 100 will be broadcasted live too on
INTERGALACTIC FM
NO STATION SUCH DEDICATION!!!
TUNE IN HERE ON INTERGALACTIC.FM
Also -> IFM always welcomes new shows -
whatever you want: Talk shows, documentaries,
niche-hobby related podcasts etc.etc.etc. So stop
wasting your life on netflix and start making some
shows!
------------------------------------------------------------------------
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/ _` |/ _` | '_ ` _ \| '_ \ / _`
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| || | || | *|
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|_--_ _---_************************| | | | | | | |*| ||******|
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|***********************| | || | | | || | **| |
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|___________________________________________________________________|
by Brad
Abrahams
Those are the words Albert Ostman would say when
anyone would contend the veracity of his story.
A Canadian-Swedish construction worker and
lumberjack, Albert had one of Canada’s first
Bigfoot encounters, and perhaps the world’s
first recorded Bigfoot abduction (with romantic
undertones).
I’m adapting Albert’s story into a short film,
and below is a short excerpt from the
screenplay. Albert is on vacation, hiking and
camping in the remote wilderness of coastal
British Columbia...
EXT. FOREST - NIGHT
Faintly illuminated by campfire, ALBERT
struggles to stay awake in his oversized
sleeping bag. He keeps one hand on his rifle,
determined to confront whatever animal ransacked
his campsite the night before. But the day was
long, and the flickering of the fire is
hypnotic. His eyelids blink and stay closed. He
immediately starts snoring, then lets out a loud
nocturnal fart. Sound of HEAVY FOOTSTEPS and
BREATHING.
FADE TO BLACK:
INT. SLEEPING BAG - NIGHT
CUT TO:
Albert wakes with a jolt. Sounds are muffled.
The sensation of being jostled around. It’s
nearly too dark to see. He fumbles for his
lighter, finds it, and flicks it on. We are in
Albert’s POV: the flame reveals we are tightly
contorted in the bottom of his sleeping bag,
along with his backpack and rifle. The whole bag
is lurching from side to side, in a slow,
constant, swinging motion. The sound of deep,
long breaths and wide footsteps. Perhaps we’re
slung over the back of a horse? Albert’s
breathing quickens and his eyes dart around,
edging towards panic. By force of will, he slows
his breathing and closes his eyes.
EXT. FOREST - NIGHT (HOURS LATER)
A vista of the wilderness. Dense douglas firs
blanket fog-ringed coastal mountain tops
stretching out in the distance. The blue glow of
dawn emerges with the chirping of sparrows.
INT. SLEEPING BAG - DAWN
Back to Albert’s POV: The swinging, footsteps
and breathing stop. We/Albert/the bag are
suddenly dropped and slam against the ground.
Albert tries to stifle a YELP of pain. SILENCE
and stillness for a beat.
He crawls towards the exit of the bag. Blue
morning light floods our POV.
EXT. VALLEY - DAY
Albert attempts to stand up out of the bag, but
his legs have lost circulation from the night of
contortion. He sits back and rubs them, blinking
to adjust his eyes to the day light. Directly in
front of him is a narrow valley, of which he is
on the floor. There are steep, cliff-like walls
all around it. He hears a low GRUNT and some
CHITTERING from behind him. He swings 180
degrees around. Five meters away, blocking the
exit of the valley, stand four, large,
fur-covered “people” staring back at him.
These must be the Sasquatch the First Nations
man warned him about. He takes it all in. Their
heads are almost human, but with wider jaws and
narrower foreheads that slant up & back, and
faces covered in soft, dark fur. The OLD MAN is
the largest, about 8 feet tall with a big hump
on his back. The OLD WOMAN is half a foot
shorter, with sagging fur-covered breasts, wide
hips, and a dour disposition. The SON is 7 feet
and powerfully built, flashing Albert what looks
like a grin. The DAUGHTER is slightly smaller,
more femininely proportioned, with a wisp of
hair on her forehead that resemble bangs. Albert
and her lock eyes before she shyly turns away.
After a beat of silence, Albert musters the
courage to
speak.
ALBERT
W-W-What
you fellas want with me?
The Sasquatch family looks at each other and
CHITTER. The Old Man turns towards Albert, looking
right into his eyes.
OLD MAN
Ook Ook.
TO BE CONTINUED
------------------------------------------------------------------------
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__/ ___/
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__| \__ |
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Gabbertales from the Lowlands
part 1:
“Mushrooms & the Fibonacci Sequence”
An autobiographical text by Koernaad Bramenboter
aka Mr. Maximal
Recommended music while reading this article: https://www.youtube.com/watch?v=PKol0f_Tzjk
Once upon a time when Gabberhouse reigned supreme
and global warming was just a rumour, yours truly
found himself in a posh villa, together with
around 20 acquaintances and a large kettle of
mushroom tea.
This tea was only part of what would be consumed
at the party that evening. I for myself would keep
it minimalistic and stick to mushrooms and
cigarettes. Earlier, someone had told me that
mushrooms and chemicals don’t combine. I had
taken that advice to heart.
The party - fueled by alcohol and hardcore beats -
started raging. I, myself started feeling
increasingly hot and uncomfortable. I unzipped the
front of my expensive yet low quality tracksuit.
That did not cool me off.
I found that it was not the temperature or even
the music that made me feel weird. It was the
energy of the people in the room. I seemed to be
at another “wavelength”, for lack of a better
word. I decided I needed to get away. So I
rolled under the couch I had been sitting on.
Now, to the reader this might seem like a weird
move. And it was. But I hope fellow psychonauts
will understand. Weird or not, It was indeed a
very bad idea. People started kneeling down
to look what I was doing. This made me more
uncomfortable. Soon I also started feeling
claustrophobic. What was supposed to be a fun
party full of psychoactive experimentation had
taken a turn for the worse. I rolled back
from under the couch, got up, zipped up my
tracksuit and went outside.
Before me was a well-kept lawn with a number of
large trees around it. I lit a cigarette and
picked a spot under a large pine tree. As I got
comfortable under the tree, I felt my body calming
down. I rested my head in the soft grass. I took a
drag of my cigarette. I looked up to the sky and
stars trough the tree’s branches.
And that’s when I saw it.
It was perfection. Every branch, twig and needle
was in exactly the right spot. The only spot they
ever could be. Perfectly arranged to nature’s
universal rule. The Fibonacci Sequence
------------------------------------------------------------------------
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'__| '_ \ / _ \ '__|
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(_| (_) | | | | | | __/ |
\___|\__, |_.__/
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_/______\__
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____________
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/
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|| /
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\/_____________/
\_____|____|
Another little article coming all the way from Tyler
Dancer, KALAMAZOO, Michigan!
Workflow Tip: Finish Tracks While You Game!
Look y'all. You know your studio is a multipurpose
space. With all that computing power it only makes
sense to optimize its functionality. You know you
want to live in it, why not give it the touches that
never make you want to leave.
For instance, sometimes after a little mix practice
you need something to do while you review what you
did. Or perhaps you have a bunch of long synth
passes to record and your computer is like, "Man, we
aren't gonna be doin' much else now are we?"
Well I know you've got an ancient TV out there, get
yourself an old game system, and chill while you
bring works of art further into completion!
Seriously! You could be letting whatever crazy
synthesizer madness mix-down your doing happen and
play some dope 32 bit obscuro classics like Shodai
Nekketsu Kouha Kunio Kun. The perfect solution to
your pick up and play beat down needs. All you have
to do is go find your little cousin's Wii he doesn't
care about anymore or fix yourself up a Raspberry Pi
and you are in business. Might as well go ahead and
record some more loops off those machines cause
you're vibin in Funkotron with ToeJam & Earl.
Look how much got recorded! And how those two
inspire your next track while you're racking up
credits running B-Specs in Gran Turismo when you
need to shift back into studio mode!
One of my personal favorites is the Wu Tang "Shaolin
Style" for the PS1. I mean, its almost like
spiritually intoning the Rza or the Ol Dirty Bastard
into the studio to bless the tracks! And its
multiplayer so when your friends come over to vibe
to your new banger, you can literally bring the
ruckus!
Really after that all you need in life is a mini
fridge which would make a good stand for your old
TV. The super hip may go for the slick Commodore
1702 monitor, the multipurpose Amiga, and a VCR for
a world of added pleasures and possibilities.
-Tyler
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_
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|
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|
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___ | |__ _ _ __|
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/ _` |/ _ \| '_ \ / _ \ | '_ \| | | |/ _`
|/ _` | | | |
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__/ | |_) | |_| | (_| | (_| | |_| |
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|___/
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/____ \ / _- - \
/_______\____
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/ | \ \
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/ /
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/ \___/
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/|_________|
\__|
/ \ / \
/ \
\ / / / |\
/\
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\
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/ \ \_
\ /|
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\ / / \______\ / |
| |
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/| \
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\\ / \__
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\_==
\\==========
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/ //
By Antoni Maiovvi
It is said that everyone has an idea for a film in
them but maybe due to personal or financial
circumstances most people won't ever try and
pursue this, even if they always wanted to.
Writing a screenplay is in the end quite simple
but it does require time. But it's time well spent
so don't let that put you off. Hell, you could
probably even make some real money and then have
an affair with a celebrity, who am I to tell you
that you couldn't? I'm the guy who's gonna get the
ball rollin' pal so you'd better take some notes
(you'll be making a lot of them). In all
seriousness, I'm going to lay out three tips that
I've learned over the last 10 years or so,
hopefully in a way you can understand, but who
knows how well this is going to go.
I wrote my first script when I was 17 after I just
saw David Lynch's Lost Highway. As much of a
cliché as that is, I can assure you that the idea
was pretty crap and the ending was rushed because
I gave up. The story was about a man who after
suffering an accidentally high dose of some
designer hallucinogenic drug, ended up having his
mind almost entirely wiped and was forced to try
and piece his life back together in a clinic in
the English countryside. Whilst there he meets a
strange woman hiding a big secret. I remember
clearly writing a farmer character who I insited
was to be played by a man of Chinese descent and
that he must speak with a Bristolian accent. I
think it was because I never met a man of Chinese
descent that had a Bristolian accent and I really
wanted to know what that was like, though
certainly in the last 22 years I didn't really try
outside of writing it down once when I was young
and ignorant. Years later I took the script for
the movie 'Die Hard' and then replaced all the
classic moments and dialogue with my own story.
That one was about a retired police officer having
to take a job as security for a Wall Street firm,
only to discover that the stock brokers were
literally blood drinking reptiles. It's called
'Gloves Off' and it's stupid. Amongst my friends
whenever we were wondering what we were going to
do with our lives one of us would always say
"There's always Gloves Off!" - and we'd laugh at
the absurdity of my dumb Sci-Fi Horror Die Hard
rip-off (though secretly I want it to be a real
movie because I have a feeling it would be great).
I give these examples to show that I went through
the phases of not knowing anything to someone who
read some books and asked some people who actually
do this for a living what to do. Now I'm passing
it onto you... Here goes
TIP 1) Saving The Cat, or Just Making Sure The Cat
Is Ok
Save The Cat is a book on screenwriting I don't
really recommend. The author is obsessed with
Legally Blonde, a film I've never seen but am 99%
sure I probably wouldn't like. You've seen movies
you know how they go. Don't let anyone tell you
otherwise. Confidence is half the battle, you've
got to get your deranged brain-wrongs onto the
page and you don't want to be thinking about Reece
Witherspoon's sassy sup plot friend because that's
what that weirdo said you had to do.
TIP 2) The Lie Of The Three Act Structure
Technically yes, it is three acts, but Act 2 is
split in half and you want to really think about
what happens in the middle. Really you just need 5
major plot points by my thinking.
Start
Act 2
Middle
Act 3
End
If you want to be poetic make the start and end
connect somehow. If you want to be SUPER poetic
make the middle connect also. Like a triangle.
I've found that thinking about these things in
advance makes the whole story way easier to plot
out. Getting stuff done is the name of the game
here, unless the game is backgammon, in which case
you'll have to show me the rules again because
I've forgotten. Same goes for cribbage.
TIP 3) It's Your Idea Dummy!
Make a list of all the cool shit you want to
happen in the story. Write them on post it notes
and put them on your wall or write it on your
computator. Once it's all laid out in an order
that makes sense to you. Start filling in the
blanks of how to get from A to B.
"But how Papa Maiovvi?"
Alright fine. These are plot points off the top of
my head for something totally random
Freddi wakes up in a bathtub of eyeballs
Freddi kills a guy for whistling too loudly
Police are owned by Dr Randy
Freddi makes love to all the ladies
Freddi makes soup for the kids and saves the rec
centre from being closed by "the man"
Ok, So already I can see (from having seen a movie
before) that we need to swap things around so they
form a story that makes sense
Freddi makes love to all the ladies
Freddi kills a guy for whistling too loudly
Freddi wakes up in a bathtub of eyeballs
Police are owned by Dr Randy
Freddi makes soup for the kids and saves the rec
centre from being closed by "the man"
So what we have here is a guy named Freddi who is
a total ladies man, I've already cast Jason
Statham in the role. Freddi is a bad boy and has a
temper. So how does he get to killing a guy?
Freddi after a hard day womanising heads to his
favourite bar to see his friends
1A. At the bar his friend gives him some bad news
which he doesn't take well
1B. A drunk guy comes in acting obnoxiously
1C. Freddi yells at him asking him to stop
whistling. The Drunk man does not
1D. Freddi, annoyed by bad news loses his temper
Freddi murders the drunk and his friends advise
him to lay low for a while
2A. But the Drunk worked for Dr Randy a wealthy
plastic surgeon turned drug lord
You see how easy that was! You're probably already
imagining how Jason Statham, I mean Freddi gets to
that bathtub of eyeballs!
Now it's your turn! Let your mind get real
upsetting.
TIP 4) Setting A Schedule
You've got all your plot points, you know where
this bad boy is heading and it's time to write.
But how much should you write? Do you get a bunch
of amphetamines and a bottle of scotch and bang it
out? I'd advise against it but be your own freak.
A screenwriter friend told me that if he gets 5
pages done a day then he's happy. 5 pages of a
screenplay is really not a lot if you think about
it. When I'm really cooking I can get 8 to 10
done. But then my brain is tired and all I want to
do is drink a beer and watch CSI or something. The
main point here is: 5 pages a day means in 20 days
you'll have a completed screenplay. This is not
unachievable. Hollywood wants to make you think
you can't make your dreams come true, but that
celebrity you're going to have an affair with is
waiting for your call. It is your duty to make
this happen. For all of us.
So there we have it. You should be filling your
idea wall with all those terrible thoughts you've
had in the last 5 years on little post it notes.
Moving them around and beginning to write about
fantastical things that never really happened. Or
maybe they did. I don't know. I'm not you. You're
you and don't you forget it.
I hope you get your film made and it's a nice
experience. Even if they re-write it, you wrote a
movie when all the other chumps were twiddling
their thumbs. Well done.
Good luck and happy writing!
PS. Don't ask me how to actually sell a script
because I genuinely have no idea.
Antoni Maiovvi
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\
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\/
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_--
--___/
/
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\
/
___________________/
/
/ /_\
\__/__
/
/
\___//
\ _________________/
/
/ _____ \
/
/
--
--'
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/
\
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/
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________
\ _____/
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Gladio Parotti is the
puppet star of the Gladio OLYMPUS PANSPERMIA
videoclip, released in October 2019. The
track comes from the new GLADIO LP 'MEANS TO
FREEDOM' that was released on L.I.E.S
records earlier that year. If you haven't
seen it check it out here: https://youtu.be/Ec4Cp0jzVkM
Panspermia
sounds like a foul word but using it in such a
fashion (as in 'you $&@#*&$*@
PANSPERMOID') would only be counter effective as
it would mean you blasphemise the person as an
galactic alien - a godlike entity that is the
source of LIFE. All that in view of the fact
that Panspermia means the following (from
Wikipedia):
"Panspermia (from Ancient Greek πᾶν (pan),
meaning 'all', and σπέρμα (sperma), meaning
'seed') is the hypothesis that life exists
throughout the Universe, distributed by space
dust, meteoroids,asteroids, comets, planetoids
and also by spacecraft carrying unintended
contamination by microorganisms.Distribution may
have occurred spanning galaxies, and so may not
be restricted to the limited scale of solar
systems."
Read more here
In the videoclip GLADIO the galactic space
parrot lands on earth and starts to write a
novel called 'Olympus Panspermia'. He makes
friends, creates life and struggles as he fights
his crisps addiction.
As a final point, an interesting idea regarding
Olympus Panspermia: Astrophysicist Thomas Gold
suggested in 1960 the hypothesis of ‘Cosmic
Garbage’, that life on Earth might have
originated accidentally from a pile of waste
products dumped on Earth long ago by
extraterrestrial beings
SW
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(__ | | | __/\ V /| | __/\
V V /\__ \
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m -----
/
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|
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Some reviews of stuff that came in 2019:
Lake Haze - Glitching Dreams (2019)
Lake Haze, aka Gonçalo
Salgado's newest album on UK based E-Beamz label
is one-of-a-kind release. According to E-Beamz,
the album "ushers a new phase in the label's
output", and marks the beginning of a new
direction which the release perfectly
encapsulates. Fast breakbeats, trenchant TB303
lines, intertwined with slow, undulating and
pretty melodies. Personal favorites are
"Plant_Dust", which indeed start with 'dusty'
sounding drums, soon joined by a divine melody,
as well as Radius_X34, an otherworldly track
filled with wonder and agitation.
For fans of: EOD, Aphex Twin, Ross
154/Newworldaquarium, and Drexciya.
https://e-beamz.bandcamp.com/album/glitching-dreams
Langwar - Langwar (2019)
Recorded in 3 days in
Friesland, Dutch industrial trio Langwar
released a must-listen musically picturesque
album. Shadowy and dim, with Jessie Hoefnagel's
(Stekkerdoos) luminous voice. Industrial
soundscapes, spoken word, reminiscent of an
interbellum orchestra made up of ghosts stuck in
an abandoned resonant theatre. We hope to hear
more of Langwar in 2020!
https://langwar.bandcamp.com/releases
No Hay Banda Label (Rotterdam/Utrecht)
For the past year,
Rotterdam/Utrecht based No Hay Banda, run by
Koen Bouman, has been brewing fresh releases by
inviting artists to curate their personal
musical takes on cult classic films. This
merging of sound and cult cinema has resulted in
unconventional radio mixes which are then
released on limited edition cassette tapes. One
artist who has appeared so far is RJM
VanderHeyden, who re-scored softcore/arthouse
classic Contes Immoraux (Borowczyk, 1973), a
"four tales display of sexual transgression
throughout the ages told in reverse order". The
label also releases a catalogue of imaginative
scores to never-to-be-made films, the first
instalment of which is called "Vier Rivieren"
("four rivers"), produced by Ipanema, a new
project by Rotterdam-based musician Bram Nigten.
https://soundcloud.com/nohaybandatapes
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//_
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|______________________________________|
A short story by Ian Alloway
The ventilator had broken last week, and the
association, with all its resources tied up in
production, wasn't going to fix it until things
slowed down.
But, if production was going to be efficient,
didn’t the humans have to breathe?
A pillar of light slanted across the floor of the
facility. It made its way towards a small cluster
of workstations. It was the seventh day in a row
that this had happened. The light continued its
course and eventually shimmered on one particular
man’s desk. Was the source solar or was it sodium
halide, the man wondered?
What time was it? Had he really been here seven
days?
He paused from his labor and stood up, partly from
curiosity and partly from rebellion. He quietly
made his way towards the glowing wave.
As he climbed the stairs, he could discern that it
was a mixture of both artificial and natural
light. Even with his curiosity satisfied, he still
continued to move towards the source of
illumination.
And there it was: a hole in the wall with the
silhouette of a frozen “x”. Visible swells of heat
twisted around its edges and rushed through the
openings.
He would take some time at the portal today. The
fan had rested, and so he would do the same.
Having already assembled three components this
afternoon, a small break shouldn’t reflect in the
final shift count.
He could still place his head out the hole,
COULDN'T HE?
He did.
The warmth from inside the facility gathered at
the portal. As the thermal cyclone bore its way
through the hole, there was no reprieve from the
temperature, not even outside the walls.
There were at least twenty places he would rather
be at this moment; numerous paradises. But those
thoughts should stop, he insisted. He needed to
focus on… the shift.
But then… the swaying began and its allure was
potent. The movement continued…
A BREEZY HAMMOCK ON A REMOTE ISLAND. He sat up,
interrupting the rhythm of his netted swing. He
wondered if he could reach the summit of the
solitary hill that stood in the center of the
land. He would have a clean vista from the peak.
Maybe a soft cyan vision would spread upon the
horizon and through it he could see everything.
What route should he take?
He stood and began to move. Perhaps passing
through the sentient forest might invoke the
vision again. Something rare had haunted him with
pleasure since his first encounter, and he
believed he would be happy forever if he could
just have the same experience again.
So he trudged along the way. And, deep in the
chlorophyll distance of his path, he wondered if,
with his mind, or perhaps with his hands, he could
release all of the pain inside all of the stucco
buildings in the world.
The fronds touched him as he persisted. They
seemed to ask so many things of him. Who was he?
What did he want? Why was he there? Did he like
them? Would he stay?
He was uncomfortable. Confusion grew. He paused on
his way to the crest. He was hungry. He would
start a fire to cook -to cook -to cook -to cook
what?
Who was he kidding? He needed the markets, the
cans of food. He wasn't going to hunt, kill, clean
and cook a wild pig.
HE NEEDED THIS PLACE. This place right HERE.
This relentless industry granted his survival.
What would he be without it? A rat on pavement?
He believed in honest wages; he was no pirate. He
should get back to the department, they had
probably already noticed that he was gone.
He took one last gasp into the portal. Fumes
floated from a machine in the alley below. As he
turned away, its acrid flavor was as bitter as the
air inside the walls.
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_
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_ __ (_) __ _| |__ |
|___ _(_)_
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| '_ \| |/ _` | '_ \| __\ \ /\ / / | '_ \ / _`
|
| | | | | (_| | | | | |_
\ V V /| | | | | (_| |
|_| |_|_|\__, |_| |_|\__| \_/\_/ |_|_|
|_|\__,_|
|___/
_
_
| |__ __ _ _ __ __| |
___ __ _ _ __ ___ _ __
| '_ \ / _` | '_ \ / _` |/ __/ _` | '_ ` _ \|
'_ \
| |_) | (_| | | | | (_|
| (_| (_| | | | | | | |_) |
|_.__/ \__,_|_| |_|\__,_|\___\__,_|_| |_|
|_| .__/
|_|
_
___ ___ __| | ___
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/ __/ _ \ / _` |/ _ \/
__|
| (_| (_) | (_| |
__/\__
\
\___\___/
\__,_|\___||___/
And
last but not least, because its the holidays
-> some presents for you - free bandcamp
codes for Nightwind Records albums. Redeem at
https://legowelt.bandcamp.com/yum
First come first serve!!!
STAR SHEPHERD - Current
Explorations in Star Synthesis
eta4-77p3
8n9q-5jus
2wt7-byal
u7qu-3k5b
vmbd-x9nw
78vc-jtq4
lube-y26a
45vf-bh97
qrgm-wjgv
blu7-hy29
5c5v-53xz
gpr8-usmg
tfl3-e4y3
t5s5-uab4
7xqz-7cfn
SMACKOS - A Vampire Goes
West
kqds-jggr
k84p-y3fl
nksb-bxjj
lyql-cq8y
qt84-x83f
gnzh-e2lm
3wtj-3dvg
ajk8-cht3
893t-w5r4
22xy-h3cm
xhgn-gr9h
heul-u46v
hrwj-jmt9
qlh6-yt3z
9cq2-b7l6
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