Flutter and Rasp

Featuring : Bristophe + Tim Hecker


(photography by keithj5000)

This is classical music the way we like it. As the baleful mating calls of fathoms-deep brass whales. As the flutter and rasp of moth wings beating against the moon.

Bristophe – Anrufung

“On these recordings, we play the cello, the double bass, the trombone, the e-flat tuba, the church organ, the piano, the harpsichord, the clavichord, and the alphorn; we also use our voices, electronics, numerous birdcalls, some random toys and percussion, and a few other instruments.”

Bristophe are the musical partnership of Brice Catherin and Christophe Schweizer. Anrufung is a sliver from their remarkable most recent improvised live collection. It doesn’t make much sense in isolation, but then neither do we.

You need to let the full two discs’ worth of material seep into you – this strange conversation between two men mediated by reeds, bells, strings, and hammers – and live with it until it turns into words, pictures and a language your brain understands too.

Download Bristophe’s improvised live album die ersten zwei kirchen for free from from Pan Y Rosas

Bonus track from 2013!

Tim Hecker – Prism


That feeling of anticipation before your first cosmic date

Featuring : Le Révélateur


Le Révélateur’s recently released synth odyssey is called ‘Extreme Events’.

But extreme for whom?

For us, perishable sacks of fluid bouncing irregularly in trajectories full of confusion, waste and loss? Yes, the events contained within this album, in tracks such as ‘Stream Terminal’,  ‘Machine Ecology’ or ‘Loading Vistas’ would undoubtedly be extreme.

Less so for neural networks evolved over aeons of subjective time, stretched across a Solar System-wide web, singularly conscious yet multiplying, shards of themselves implemented in impossibly sleek and highly specced hardware: ships, satellites, feats of astro-engineering, anthropomorphic, insectoid and gaseous probes navigating the empty geographies of Mars, Venus, Jupiter and its many moons, skating down the rings of Saturn in missions in the intersection between science and poetry.

And extreme in what way?

In the way in which technological systems evolved to achieve the deterministic inevitability of nature would feel extreme.

So, think of the artistic or architectural equivalent of ‘extreme weather events’. Cyclopean eyes blinking from massive impact craters, palaces of crystal rising from forlorn mesas, armies of anime-like arthropods covering tomorrow’s terminal beaches glyphs and emoji for ultra-complex feelings, vast instruments recording the post-human civilizational equivalent of a romantic mixtape after their first cosmic date.

Le Revelateur – Followers

You can acquire Extreme Events from Root Strata, and mong out to their videos here.


Bliss, Bing and Ruth

Featuring : Bing and Ruth


Your time in this planet is limited, and as a logical consequence, it will only contain a few instances of true bliss. You should be grateful to have evolved the sensibility to experience them, and that there are sensations that bring them about.

You should also cherish them as precious things, perhaps even use them as benchmarks of your mortality.

Watch out for the signs of bliss before it arrives, new gradients of light transforming the horizon, molecules of joy spreading across your circulatory system, the pieces of a puzzle sliding together just before you realise its solution is at hand, the sonic glimmer of the first micro-seconds in Bing and Ruth symphony for the birth of a new world. Then say thank you, and surrender to bliss as it washes you away with its tidal might.

We have been listening to Bing and Ruth’s Tomorrow Was The Golden Age a lot in the last few days, it’s been good for us. It is coming out in October on RVNG Intl, and you should pre-order it now.


Featuring : Podcast + Spray Paint


Today we celebrate the release of Spray Paint’s Cussin’ 7” in Upset The Rhythm with a mixtape compiled by SP’s own Cory Plump. It is called FAVOURITE JAMS VS INFLUENCES and if you were to estimate the mean of its vibes, the result would come quite close to Spray Paint’s own propulsive psychedelic battlefield repeato-rock. As we usually do with these mixtapes, we will refrain from revealing the track-list and let you guess in the comment box.

Whoever gets the most correct will earn an infinitesimally small yet infinitely potent moment of their time in the eye of a desert whirlwind that proxies the skin-shredding abrasive thrust of SP’s Cussin’.



You can get Cussin’ here.

The Origin of the Species – a film by David Cronenberg

Featuring : Gum Takes Tooth


Gum Takes Tooth return to these aged shores.  Time has weathered some of their noisier tendrils, reduced their drag and exposed more of the electronic impulses that always moved beneath the surface.  Theirs is a ship exposed to the elements and actively evolving.

In turn, their journey has seen the poly-rhythm survive and flourish.  Attaining a Darwinian dominance that threatened on their earlier records.  Instead of toppling the whole thing over, the percussion now consumes all; becoming the framework and the content.  A two man gamelan.  A piece of noise powered by the elements rather than the liquefied remnants of dinosaurs.

Gum Takes Tooth – Buried Fires

You can buy the 7″ from Endtyme Records right here.

The City Screams


(art is by julian_gallasch)

Board the vector train. Feel the Militech Kite-14 gleam evil in your pocket.

The city screams in your ears as the train wheels cling to twisting, disintegrating lines. Your conscience is heavy but your thoughts are pure. Your soul is faster than lights.

Elektronik Noir – Zaitochi

Em-dashes spew from your nozzle as you trace arcs and morse code in the air. You rewrite the city with weaponry.

We are all authors.

Follow Elektronik Noir on Soundcloud

Bonus track from 2011!

Daft Punk – End of Line (Photek remix)

Monotonous cosmic noise generated by dead matter

Featuring : Smokey Emery


(Artwork for Summa Technologiae’s Bulgarian edition)

You already know we are devout followers of Polish thinker and sci-fi writer Stanislaw Łem. Besides writing Solaris, which inspired A. Tarkovski into the collaboration with E. Artemiev we discussed last week, he was also behind many other wonderful science fiction books (The Cyberiad, the Futurological Congress), as well as Summa Technologiae.

This prospective essay on the future of mankind was translated into English last year by the Electronic Mediations Series edited by the University of Minnesota Press.  We are currently reading this book, and were impressed by the way it describes the failure of astronomers to detect signals of intelligence when they gaze into the black void with their telescopes and detectors: “Day after day, week after week, their instruments registered nothing but the monotonous cosmic noise generated by dead matter’.

If we accept that the emergence of life and its development into an advanced civilisation is not a freak event but a typical outcome, then this silence is a surprise. Łem spends a fair bit of time considering this possibility, since it has significant implications for his own discussion on the future of mankind.

If life is an outlier then the stars have little to tell us about our own future. However, it could well be the case that life emerges frequently, but there are ‘natural’ obstacles to its development into a civilisation capable of interstellar communication, sending Von Neumann probes across the galaxy to explore it, or engaging in feats of astronomical engineering – like building Dyson spheres to capture the energy of the stars. Different modalities of a filter – cosmic holocaust, civilizational suicide, decay or technological stagnation – would explain this silence, which also vexed Enrico Fermi.

Łem proposes an alternative explanation for the situation, one that is consistent with his pessimism about the ability of humans to communicate with, or even understand the presence of an alien intelligence even if this alien intelligence existed and was singing at them in the face (this is an important theme in Solaris, of course).

The point is quite simple: there are aliens out there, and they produce signals, and they probably use supernova to build enormous reactors – but we can’t see or hear them. The cosmic noise hides their voice, The intensity of the explosions in the sky obscures their acts.


Which brings us to today’s song, by mysterious Texan sybarite of fuzz Smokey Emery. It is a cliché often repeated in this blog of devout worshippers at the altar of HP Lovecraft and Philip K Dick, that artists are individuals more attuned to occurrences below the perceptual threshold of the average human/ scientific instrument. Their visions, prophetic dreams and hallucinations are echoes of a physical reality most of us aren’t able/ready to perceive. Their work is a creative translation of that reality.

In that case, Smokey Emery’s work is a decryption of otherworldly signals written in black ink over the black parchment of the night. The cosmic noise generated by dead, inorganic matter turns into a poem. Sometimes it rumbles like the motor of the universe as it expands away from us. Sometimes it unfolds like a psycho-thriller playing out over aeons. Sometimes it conveys the pop music of dead civilisations muffled by their intergalactic journey. And in ‘The Room Falls Way’, it strums a doomed drone, like the wreck of an Slint cargo cult splattered over the fringes of an event horizon.

Smokey Emery – The Room Falls Away

Get Soundtracks for Invisibility Vol. III: Qué Mal y Pensé from Holodeck Recordings.