‘Moment’ is an honest and textural record that pays homage to classic recording techniques, with tracks recorded to tape and cassette. This approach not only enhances the album’s warm, analog feel but also underscores its authenticity and raw emotion.

Crafted by SoundGhost sound designer and curator Joshua Stephens, ‘Moment’ stands as a foundational project for new music exploration. It played a pivotal role in the development of SoundGhost Records, marking the beginning of a journey dedicated to fostering innovative and emotive soundscapes. This album is not just a collection of tracks but a carefully curated auditory experience that invites listeners to pause, reflect, and embrace the beauty of the present moment.

Written, Recorded & Produced By Joshua Buck.
Mastered By Taylor Deupree.?

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In “By The Shoreline,” tides masterfully crafts a distinctive auditory journey inspired by the Scottish coastline. “I sought to evoke a sense of nostalgia and longing, which became the foundation and driving force behind this record.” This album stands as a testament to his music production techniques, seamlessly blending digital processes with a more traditional instrument approach. “My sonic explorations are anchored by a deep affection for the guitar and piano”.

Tides’ creative journey is driven by a passion for inspiring others to tap into their creativity, using music as a conduit for peace, well-being, and nostalgia. This dedication shines through in standout tracks like “Anomic” and “Boketto,” which together create an introspective and solemn atmosphere. “Mado,” steeped in nostalgia, evokes poignant memories, while “Still” gradually unfolds into a breathtaking harmonic structure, offering a serene and contemplative listening experience.

“By The Shoreline” invites you to experience the tranquility and beauty of the Scottish coast through the unique soundscapes of tides.
credits

Written, Recorded & Produced By Samuel Death.
Mastered By Taylor Deupree.?

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Techno is Boring also includes short written essays and notes from Avery and fellow DJ, writer and collaborator John Loveless, who also provides an introduction, appearing alongside guest contributions from friends and allies.

The book is 24.5cm x 17cm, and the 148 pages are printed on premium heavyweight paper with Swiss binding.

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Originally published in 2021 as a Kickstarter campaign, this second edition features a complete redesign, hardback cover and essays from Blackdown, Charlie Dark MBE, Emma Warren and others.

The book is 24cm x 17cm, and the 224 pages are printed on heavyweight paper with a hardback cover.

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The book is 24.5cm x 17cm with 176 pages.

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Employing a slew of analogue synthesizers, the album recalls the 1970s work of Laurie Spiegel and Philip Glass, as well as standing amongst contemporaries such as Keith Fullerton-Whitman, Caterina Barbieri and Kaitlyn Aurelia Smith. What perhaps sets Maes Y Circles apart, however, is the dynamic approach applied to each of their pieces. Whilst the timbres of their synthesizer patches may be kept purposefully minimal, it’s the texture that many of these synths singing together creates that truly marks these works apart – a swirling chorale of tones that often feels more organic than constructed. And the melodies? Triumphant, anthemic themes, reminiscent at times of Vangelis, John Carpenter, even John Foxx – all cinematic composers themselves.

Maes Y Circle’s first full-length is a beautiful work of hypnotic electronics, bound to enrapture and spellbind the listener through its jigsaws of shimmering tones and gliding melodies

Let yourself be at one with the field of circles.

Produced by Maes Y Circles & Jeff Dale.
Mastered by Jeff Dale.
Art design by Matthew Olczak.

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Having spent the majority of the last two decades in hibernation, General Magic made a triumphant return in 2022 with the weird and wonderful “Softbop” EP for Generate and Test. “Livebop” and “GMTF Sessions 1-4”swiftly followed, both showcasing audio-visual explorations carried out with Tina Frank. “Nein Aber Ja” delivers General Magic’s next surreal sonic manoeuvre – a nine-tracker that points to psychedelic techno, ferocious rhythms, Kraut-esque space-rock and experimental electronic music.

“Nein Aber Ja” once again proves that General Magic set the benchmark in the playful deconstruction of electronic music, setting the pace since 1995 – what else would one expect from such steadfast proponents of the Third Viennese School? Their latest slice of post-futurist innovation will be unleashed on 30th November 2023 through GOTO Records – good music for good people.

Written and produced by General Magic (Andi Pieper & Ramon Bauer), 2022/2023.
Mastered by Finlay Shakespeare.
Cover artwork and videos by Tina Frank.

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The hollow mechanic growls of “Voice Return” kick off proceedings, soon joined by techno chimes and buzzing kicks. Alien sirens and calls from abandoned industry join the groove, before segueing into “Nervous System Scan”. The tempo drops, just like the floor beneath, as a subterranean world opens up in its place. Is that the greeting of a voice, or the murmurings of some half- machine left to its own decay? The air here is still humming, whistling even, still unsure of the biology of its own world. The only framework holding this place together is of scattering percussion and throbbing bassline.

The march picks up pace in “Feline Operations”, its slinky rhythm running still with the grotesque ghost- voices left to rot in this oxide arena. The first signs of human life are spotted in “A Right To Violence”, eluding to a very real struggle, but are they echoes from the past, or a call for now? Chaos ensues within its frantic death disco workout, before “The Ache” brings proceedings back to a sludge-shredding four-to-the-floor. Other voices cut against acidic synthetic sequences this time, in a panicked confusion that only calls out for a further escape from these environs. At last, “Behind The Mage’s Blast” opens the portcullis to whatever lies beyond – an expanse of rolling, rumbling percussion and chiming atmospheres still trapped somewhere in forgotten fates.

Life is feedback, let it ring out.

All audio by lifeisfeedback.
Mastered by Finlay Shakespeare.
Front cover photography by Sophia Stefelle
Original installation by Purple Taiko & Joe Evans.

The post lifeisfeedback – Sado-Mechanism (Cassette) appeared first on Elevator Sound.

IMMINENT has a four panel J card with the greasy lyrics to RAT MOUNTAIN inside.

Artwork by The Lost Past Society
Featuring R. Denham on PERMANENCE and RAT MOUNTAIN

From BSOC Monthly issue 19:
“A label like Dark Ambient Noise doesn’t really do it justice. It’s highly beautiful music with lovingly balanced details. These sounds are the reason why I love modular synths.”

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It’s raw, ugly, and aggressive. There’s some Pulsar 23 happening but most of the sounds are made within the modular.

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