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C Y B E R Z I N E __-|_|_ \ \__________/ / \ \ /
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I S S U E # 8 |__ \ /
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December 2019 ____|________--------___________________---- / /
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for all freaks | | | ___ \ / | /
of the world | | | \ \ \ \ \ /__
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Slaughtering o | | | \/ | ___---- \ /
your dystopian | | | /\_| / / /
o future!!! | | | \____/ ___ / _/__----
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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:
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/\ / \ /| \ / / \\ ____ _/ \_______
/| \ \ \/ \ / \__ \ / \\ . / \_/ \ __/____ \ .
| / \ \ \/ / \ \_/ \\ . / __\ / \ \ \_ \ .
\|/ /\ \ _____ \ | / \ / / \ /__ \ \ \ \
// \ \/ /\ / \ / / / \/ \__\\ \ / /
// / / / \ \ \ / \ / \__\\ \/ /
\ / / \ / \_____\|____\_______ /__/ \ /__/
\/ \ \/ / --- - - | - - -- \ /__/ //
/ / - - -- - | ---- -- \/__/
/\/ / --- -- -- | - -- - -- \__\
/\/\/_//\\_ /\/\/\// ---- -- - | --- - - -- \__\/\/\/\/\/\
\-=_ () _=- /\/\/ - - ---- - -| - -- - - -- \__\/ / / / /\
\/\/\ \\// /\/\/\/ ---- - - - - | - - -- -- -- \__\\\ \\ \\ \
\/ /_______________|_______________\ ///\
/\/\\ /\/\\ =============== =============== /_//\\_/\/\/\
/\/\\\/\/\ \ =============== ===============_- - - -_/\/\/\
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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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/ \ -|||---
| @ @| o() ) o
| __\ o o------- o
| | o o / / o ____________
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____|_______/ / / O o | GREEN ROOM |
/ \/_ / _____ |____________|
\ \ || | / \ [] __ oo
\ \_______| || / + + \ _||_ || oooo
\ \=== \ \ ( . / | | | | oooooo
\__________\=== \ ___\_____/____ | | | _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'writesa
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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| | | | | / ___ | | | ( (_| | | | | | |_| |___ | ( (___
|_| |_|_| \_____|_| |_|\____| |_|_|_|____/(___/|_|\____)
_ _ ________ _______ __ __
| | (_) | | | | |
____ _____| | _ _ ____ ____ _ __| | | |__|
| \(____ | |_/ ) | _ \ / _ | (_) || || |
| | | / ___ | _ (| | | | ( (_| | _ ||___________||__|
|_|_|_\_____|_| \_)_|_| |_|\___ | (_) | ___________ | |
(_____| ____ || | ||__|
_ || || |
| | ___| | ___ | |__|
_____ ____| |__ _____ _____ ____ | | | | |
(____ | / ___) _ \| ___ (____ | _ \ __|__ |_____| __|__|
/ ___ | ( (___| | | | ____/ ___ | |_| | | | | | | |
\_____| \____)_| |_|_____)_____| __/ __|__|___|___|__|__|
|_| | | | | | |
___ _ _ |___|__|__|
/ __) | _ (_)
____ _____ _| |__| | _____ ____ _| |_ _ ___ ____
/ ___) ___ (_ __) || ___ |/ ___|_ _) |/ _ \| _ \
| | | ____| | | | || ____( (___ | |_| | |_| | | | |
|_| |_____) |_| \_)_____)\____) \__)_|\___/|_| |_|
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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\__\__,_| .__/ \___||___/ /\
|_| \/
by Celeste L'Orbesia
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\/ \/ /\ \/ /\ \/
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/ ___ ____ ________ __________ \
| / \ /____\ /________\_/________ \ \ /\
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|| | \| | | | | /\
|| | _____|_________________ | | | \/ /\
| | | ___ \ /| __ | | || /\ \/
|| | | / \ | / / \ | | | /\ \/
| | | \___/ | \ \___/ | | ||/ \ /\
| | |________/_______\|_____| | | \ / \
|| |_________________________________| || /\ \/ \/\
| _________________________ | / \/ / \
| /\ / o o \ | / \/\
/\ |/ \_/ o o \_____|
/ \/ \-----------------------------
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\__/ \__/ \__/ \__/ \__/ \__/ \__/ \__/ \
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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!
https://soundcloud.com/dimgarden/easy-weight-zonder-dieet-naar-een-natuurlijk-gewicht-1989-90
C.L
SEASONAL GREETINGS !!! ____
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/ oo \ / \ _\ _\======= _\ \ \ \
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/ \___ / _/ ___ | | |((((((( _ ((/\| | / / / /
\ \ /_____/ |_|_|| | |_ ((((|| |(/o.| __/ / / /
/ \ / | ||_|_|| | |_|((((/ /. o| /. . \ \ \_
/ \ | | | | |__\___\__/__ _|_/ \ \__\
/ / /____| | | | ___/ . . \
\ \_____ \ |__|_____|__|________________/. . . __/
\________\__\ \_ __/ __ \__
\___\ /_________/ \_________\
Don't forget to let monsters in on Christmas eve!
\ \ _ _ _ \ \
_ __ ___ ___| |_ __ _| | __ _(_) ___ \
| '_ \ / _ \/ __| __/ _` | |/ _` | |/ _ \ \ \ \
| | | | (_) \__ \ || (_| | | (_| | | __/ \ \ \ \
|_| |_|\___/|___/\__\__,_|_|\__, |_|\___| \ \ \ \ \
|___/ \ \ \ \ \ \
\ _ \ _ \ _ \ \ \
__| | ___ | | __ _ | |__ ___ _ _ ___ \ \ \ \ \ \ \
/ _` |/ _ \ | |/ _` | | '_ \ / _ \| | | |/ _ \ \ \ \ \ \
| (_| | __/ | | (_| | | |_) | (_) | |_| | __/
\__,_|\___| |_|\__,_| |_.__/ \___/ \__,_|\___| \ \ \
\\
\ \ \ \\ \\\ \ _=_ \ \ \ \ \ \ \
\ \ \ \ ||_|| _____
_____ ||_|| ||||||| \ \ \ \ \\
\ _________ |____|| ||_|| |||||||
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__ __ |_|_|_|_|_| _ |:::::|:|__||_|| |||||||__ \ \ \
| | | /_| . |_\ | | |:::::|:| ||_||___||||||| | \ \ \ \ \
| | /__| . |__\_| |_||:::::|:| _||_|| ||||||| |__
/\|_| /___| . |___\ \ |:::::|:||.....| __|||||||/ \/\/\ /\/\ /|\
| \ /___ | |____\ |:::::|:| @@@@|||| | | | |
| @@@@@@@@@@@@@@ | \/ \ / \ /\/\ /\/\ @@@@@ @@@@@ @@@@###########
@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@|@@@@@|@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
______ _ __ _ _______ _ _ _ _ _ _ _ _ _____ _ _ _ _ _ _
--- -- ___-- - -__ __ _--- - ____---__ _ ___ --_ __ __ __ _
---- _ _ _ __-- ---- __ _--- _____ --- -_ ___ - - -_ _ __. _ ___
skyline of Abidjan
Written by Z. v. Z
Shadow Wolf CyberZine met online with Tristan Koreya, who runs âNostalgie de la Boueâ, an intriguing and renegade music label and blog of the same name based in Abidjan CĂŽte d'Ivoire, specializing among others in industrial, ambient, noise, musique concrĂšte, 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 ârien ni personneâ. 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 Ămile 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 didnât do it because I didn't have the technical skills to do so â 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 hadnât seen anywhere else on the Internet, after understanding that it was technically very simple.
The name of the blog, âNostalgie de la Boueâ, is the title of a track by :zoviet*france:, one of my favorite bands, on the album âLoh Landâ (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, ânostalgie de la boueâ can be translated as ânostalgia for mudâ. According to some definitions found on the Internet, the expression means: âa desire for or attraction to crudity, vulgarity, depravity, etc.â; âan attraction to what is unworthy, crude, or degradingâ; âa yearning for something base or vileâ; âlonging for an uncivilized, savage and indulgent lifeâ. According to the Oxford English Dictionary, it also means: âA longing for sexual or social degradation; a desire to regress to more primitive social conditions or behaviour than those to which a person is accustomedâ. A slightly different definition is given on another site: ââNostalgie de la Boueâ means ascribing higher spiritual values to people and cultures considered âlowerâ than oneself, the romanticization of the faraway primitive which is also the equivalent of the lower class close to homeâ. 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. Thatâs 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. Thatâs 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, itâs 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 donât 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 âname your priceâ 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 âRien Ni Personneâ 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 donât 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 âexperimental and unconventional musicsâ. 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 âRien Ni Personne - a french compilationâ, 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 âRien Ni Personneâ, 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. Thatâs how I finally ended up with 91 tracks. But the story didnât stop there, because many of the artists I had identified didnât 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!
http://nostalgie-de-la-boue.blogspot.com
https://nostalgiedelaboue.bandcamp.com
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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 \/ -\ / |_____/ ___________////////////////// /
_____________\/__| _____________/ // / / / / / / / / /
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S h_a d o w _ _ W o l f_ _ \ _-----__ _
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/ __| __| | | |/ _` | |/ _ \ | __| | '_ \/ __| / \
\__ \ |_| |_| | (_| | | (_) | | |_| | |_) \__ \ \ \
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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.
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
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cable 1 |o o| cable 2 ___==--
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any pedal
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.
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"
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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A very short but unique tip from Gerald Brunson who says 'When I doubt try using the headphone output as a trigger source"
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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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
Iâm 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 raccoonâs tail, I quench a smirk
Canât see the light in my eyes
Corners filled with dust and water
Canât 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
donât 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 thatâs 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 âNorth Sea Wolf Packâ. Together with RJM Vanderheyden she performs under âVotâressâ. They experiment with synthesis and modulation, creating ambient soundscapes and distortion, layered with spoken word and found-footage. Their performance loosely embraces Shakespeareâs âA Midsummer Nightâs Dreamâ and the role of Robin âPuckâ 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.
https://soundcloud.com/acidicmale
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/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 WĂŒrfelspiel. 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|___| |___| |__ |__|__|__|__|__|__|__|__|
| _|__|___ ________ ______ |__|__|__|__|__|__|__|__|
|_ |_ |_ || | | | | ||__|__|__|__|__|__|__|__|
|||_ |_ |_|___||_ |_ |_| | | | |||__|__|__|__|__|__|__|__|
|_ |_ |_ || |...| |___| ||__|__|__|__|__|__|__|__|
|||_ |_ |_|...||_ |_ |_|...| | | |||__|__|__|__|__|__|__|__|
|_ |_ |_ || |...| |...| ||__|__|__|__|__|__|__|__|
|||_ |_ |_|...||_ |_ |_|...| | | |||__|__|__|__|__|__|__|__|
|_ |_ |_ || | | | | || |
_______ || _____ | _ | ______ | | _____|| ___________________ |
| | | | |||| | | | || ||| | | || || | | || | | | | | | | | | | | |\
_______O___________O__________O_________O__________O________O_______O__\
| | | | | | |
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:
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| | | | '_ \ / __/ _ \| '_ \ \ / / _ \ '_ \| __| |/ _ \| '_ \ / _` | |
| |_| | | | | (_| (_) | | | \ 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.
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.
synthesize 100000% real analog bubble bath sounds with this easy to make module.
What you need:
_______
/ ______() <- 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.
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
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 \ ____/ \ \____--'
\ \____/ / / ^^ \ / _/ \___
\______/ / /\ \\____ / _________ \
______// __/--\___\\\ \_____/ \ \
//// \ \ / / \ /\
\/\ \___ \_\ _____/ / _ _______\ \ \
____/__\___ \\ / / / / /
\ ______ /_ / ______/__///______________/\\
\ / \/ / | / | //
/ /____\ \||o| | o o o o o o o o o |//
/___ __ ___\ | \ o o o o o \_______//
\ / | \_\_\_\ --_______/
\/ | | | | | / |
| || || || || || || || 3 0 3 |
|__________________________________|
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
BeSt+oF+AcIdHaLL+cOmPiLaTiOn.zip
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 ______________ /___ \________
__________ __ \_____ __\
. ________ \\___/ \______________/
@ ______ \___)__ \ \ \ \ \ \ \ \
____ // \ @@ \ \ \ \ \ \ \ \ \ \
\___/ ___ @ \ \ \ \ \ \
@ \ \ ___ . . @ @ \ \ \ \ \ \ \ \_____ \ \
\_\_ __ ,___ _______ \___ \ @@ //// \
_/ \ _ /_ \ / \___\ @ /\/_ \ \ \\\\ \ \ \
____ . / \ | | | / \ \ \ \ \___/ \ \
___/\___/ \_____/_______|___|___|_______/______/\/\/\__ -- - \___
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.
https://globalwarmingrecords.bandcamp.com/album/expanding-arid-zones
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
https://globalwarmingrecords.bandcamp.com
She also has a radioshow called DRIFTSHIFT which you can check out here
http://driftshift.blogspot.com
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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 âsupernaturalâ occurrences, experiences which cannot be explained by causality but are nonetheless meaningful coincidences or of what Carl Jung would term âacausal orderednessâ. Jungâs proposed theory â synchronicity â 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 âSynchronizitaÌt als sein Prinzip akausaler ZusammenhaÌngeâ.
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, âpre- established harmonyâ).
Jung concludes that there is a necessary pre-existing, a priori âharmonyâ or what he has termed âabsolute knowledgeâ. Synchronicity confirms the existence of this pre-existing order.
According to Jung, synchronicity must be added to the âtrial of classical physicsâ (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 âirrepresentable space-time continuumâ) and it often feels like âmagicâ. We must not, according to Jung, however, think of every event whose cause is unknown as âcauselessâ.
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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 âsovereign ruleâ of causality of our time remain relevant today.
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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
https://www.intergalactic.fm/blog/2467-IFM-Top-100-Ticket-Reservation.html
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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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 Canadaâs first Bigfoot encounters, and perhaps the worldâs first recorded Bigfoot abduction (with romantic undertones).
Iâm adapting Albertâs 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. Itâs nearly too dark to see. He fumbles for his lighter, finds it, and flicks it on. We are in Albertâs 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 weâre slung over the back of a horse? Albertâs 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 Albertâs 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 âpeopleâ 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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Gabbertales from the Lowlands part 1:
âMushrooms & the Fibonacci Sequenceâ
An autobiographical text by Koernaad Bramenboter aka Mr. Maximal
Recommended music while reading this article:
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 donât 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 âwavelengthâ, 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 treeâs branches.
And thatâs 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 natureâs universal rule. The Fibonacci Sequence
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Another little article coming all the way from Tyler Dancer, KALAMAZOO, Michigan for
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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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 3) 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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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:
Panspermia sounds like a foul word but using it in such a fashion (as in 'you {body}amp;@#*&$*@ 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 Ï៶Μ (pan), meaning 'all', and ÏÏÎÏΌα (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.
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.
SW
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Some reviews of stuff that came in 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
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
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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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, didnât 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 manâs 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 âxâ. 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 shouldnât 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 continuedâŠ
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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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
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SMACKOS - A Vampire Goes West
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