CLOT Magazine

Next in our mixtape series, we welcome London-based musician and DJ Aventex (aka Alec Tullio) with a mixtape he has prepared ahead of his performance at our next event, Portals 02.. The Australian artist is a staple fixture of the London experimental and noise-punk scenes. He is involved in several bands (Keno, Skitter, Zek) where he drives the fast-paced rhythmic lines with his relentless and precise drumming. One of his main current projects, Casing, was born as a solo project during the pandemic, out of existential dread and societal dismay. The project, which has received lots of positive reception and press attention, has since evolved into a full band (with Dom Stevenson, also from Keno, and Liam Cadogan of Eros Catheter) for live performances and recordings. Patterns of Deterioration, Casing's first EP, was described as a six-song dive into depravity, nihilism, and desperation. It was praised as one of the most exciting newcomer voices in noise-punk. Over a year of live shows, Casing developed into another beast entirely and the finishing touches are being made to a new album showcasing this new fusion of sludge, grind and power electronics they now exist in as a unit. With his DJ moniker, Aventex began his quest for musical exploration and investigation around the same time as becoming a resident at Threads Radio at the station’s inception. The shows can often focus in-depth on a particular genre or be a trademark, unrestrained concoction of whatever would be interesting pieced together unconventionally. He tells us his DJ sets will follow in the same vein but will have a meticulous selection to suit the specificity of the event. Ranging from all-out driving techno to challenging noise and experimental, EBM, Acid, or ambient, there is not much that isn’t on the cards. In a nutshell, music for the fresh and/or fried brain. For the mix he has prepared for us, he mentions that he has relished the opportunity to gather some more of the oddball and experimental stuff that’s at some further reaches of digging: playing some genres I wouldn’t normally include in a mix and trying to work them where the outcome is very all over the place, which is my favourite approach. An hour techno mix can be fun and has its place, but absurd gems and challenging genre pairings are where it’s at, in my opinion. Enjoy!" Tracklist: Omen - Not Suitable For Work Vanessa Bedoret - Transition Trystero - La Lingua Rosso (Original) Organizatsiya - Die Idee Der Toleranz Jimmy Smack - Death Is Certain Dark Star - Trip Maoupa Mazzocchetti - Why’re You Talking About Henry Hektik - Hong Kong Wedding Night De-Bons-en-Pierre - Le Râle du Mâle Alpha Geier Aus Stahl - Unterland Further Reductions - Aural Equivalent Roly - My Century Further Reductions - Central System Job Sifre - Zeno Dicho KΣITO - Magnet Eric Toornend - Scum Grief Egg Meat - Georgel Bancal - Entresol Bataille - Echo Drift Part 1 Lord Crucifix - Sacrificial Altar PÖ - Fuck Jungle Orphx - Eating The Young Tot Onyx - Propaganda Machine Pontiac Streator - Angelus Spit (feat. Mister Water Wet)

The next mixtape is by Greek/UK-based artist Viki Steiri, who has recently released her debut album on our beloved Alien Jams. The mix is a recollection of sounds that inspired her for her album production. 'Balm' is a powerful album anchored by ritualistic, monolithic cello layers. Steiri combines eerie soundscapes with electronic dance rhythms, synth-tinged folk songs from Istanbul, and reworked cello and santur improvisations. The album encapsulates a hauntingly poignant journey through melancholic soundscapes punctuated by electronic rhythms. Recorded intermittently between Athens and London over six years from 2017 to 2023, the collection of tracks serves as a deeply personal documentation of the artist's experiences and emotions. Steiri's compositions for this album navigate themes of rootlessness, loss, and identity changes, reflecting the tumultuous nature of existence. However, amidst all, there is a profound exploration of humanness, delving into the realms of imagination and introspection. Steiri mentions she had a lot of fun making this mixtape and while preparing it, it made her realize what her inspirations for the album had been: "I hadn’t given it too much thought before. This is music that has informed the album, either directly or indirectly, plus a couple of my own tracks. There’s no particular cohesion, but to me, these are all musicians who have transcended conditioning, and I feel their music is very free and individual." With this mixtape selection as well as through her music, Steiri uncovers moments of beauty and intensity while offering listeners a transformative and immersive sonic experience. Tracklist: 0:00-1:34 - Rap Street Palestine – Otsha 1:35-4:22 - Tigran Mansuryan – Extracts from ‘The colour of the pomegranates’ soundtrack 4:13-8:25 - Viki Steiri - Procession 8:22-11:55 - Kesarbai Kerkar - Lalat -Ghatan Lagi Rain 11:55-14:31 – Safiye Ayla – Aksaray’dan geçer iken 14:31-17:43 - Masahiro Ikumi - ‘Virtual Mima’ [Voice version]- (‘Perfect Blue’ soundtrack) 17:41-21:05 - Chrisman - Lupupu 21:06-22:51 - Mica Levi - Death 22:50-29:41 - Viki Steiri - Brink 29:31-32:54 - Ryuichi Sakamoto - Composition 0919 32:55-37:18 - Tzusing - Gait 37:18-43:33 - Ectopia - Sauna 43:27-46:46 - Avel Mismo - Habibi 46:46-49:36 – Senyawa - Tanggalkan Di Dunia (Undo The World) 49:09-53:12 - Iannis Xenakis – Charisma (for clarinet and cello) 53:13-60:34 - Viki Steiri- Balm

Next on our mixtape series is Bersarin Quartett, the solo project of German electronic musician Thomas Bücker, with a delicate selection ranging from film scores, to gaming, and ambient tracks. Working within the realms of modern classical and ambient music, Bücker has garnered acclaim for his contributions as Bersarin Quartett (which he has been running for over 15 years), notably through his publications with Denovali Records. Bersarin Quartett's sonic landscapes are distinguished by a fusion of atmospheric textures, electronic nuances, and classical instrumentation, crafting a singular and emotive auditory journey. Bücker's oeuvre has earned widespread praise for its unique stylistic approach, captivating both ambient and experimental music audiences alike. A heavy sense of melancholy runs through the Bersarin Quartett sonic core, which Bücker confirms is indeed a big part of the project. The Quartett's most recent release, Systeme, also released on Denovali, marks its fifth release. It is described as probably the artist’s most intimate and focused sonic narrative. In this album, melancholy mixed with a sense of distorted alienation or strangeness is described as something that, while it still sounds popularly symphonic here and there, many soundscapes have an observing, almost unmasking effect. Microtonal shifts, polyrhythmic structures, tempo fluctuations, and sound aesthetics torn out of context create a fragile, unpredictable foundation. The mix he has prepared for us, he mentions, combines many film scores, gaming, and ambient tracks that really impressed and inspired him: First, I sorted the individual tracks by key so they could be mixed together appropriately. Here and there, this even creates completely new soundscapes beyond the original. To present my current album a little more closely, I have interwoven four new Bersarin Quartett tracks! Tracklist: 00:00 Ambience (Taken from "Elden Ring") 00:21 Michael Giacchino · Mayoral Ducting (Taken from "The Batman") 01:08 Spoken Words (Taken from "Women Talking") 02:09 Volker Bertelmann · No End (Taken from "All Quiet On The Western Front") 04:54 Imprints · Blood Moon 08:38 Bersarin Quartett · Firmamente 11:58 Rob Simonson · Rigging (Taken from "The Whale") 13:30 Lusine · Faceless 15:50 Bersarin Quartett · Gespenster 18:27 Loscil & Lawrence English · Grey 22:04 Rob Simonsen · Life Boat (Taken from "The Whale") 23:47 Bersarin Quartett · Für und Wider 26:17 Alix Perez & Headland · Mirage, Pt. II 29:03 Leif · Pteridium (Alternate Version) 30:53 Alva Noto · Sehnsucht 36:37 Hildur Guðnadóttir · Speak Up + Leaving (Taken from "Women Talking") 38:30 Tim Hecker · The Arrest (Taken from "Infinity Pool") 39:59 Aleph · Gradient 43:12 Bersarin Quartett · Illusionen 46:15 Hania Rani · In Between 48:02 Jeremy Soule · Kyne's Peace (Taken from "Skyrim") 50:40 KMRU · Guise 54:00 SSIEGE · Veyl 56:24 Louis Cole · Let It Happen 59:23 Michael Giacchina · Mayoral Ducting (Taken from "The Batman")

We kick off the year with a mixtape from Six Missing, the ambient music project from Austin-based TJ Dumser, with which he wants to take us on a journey with pieces that transcend the illusion of time - transporting you into a timeless, formless, galactic-jell-o. The artist, who is also a sound designer and composer, began releasing music under the name Six Missing in 2017, a moniker that he took after experiencing a supernatural experience while recording in a studio near the site of the Revolutionary War’s Battle of Brandywine, in Pennsylvania, in which six participants remain unaccounted for. For Dumser, Six Missing is a way of experiencing music that is meant for inner journeying, calming sensations, and finding peace. The project started by experimenting with ambient and modular systems, and several albums down the line, Six Missing released his latest album in December last year. Titled Here For Now, the album deals with themes around being in the present moment - especially during uncertain times. For TJ, this was during a time of displacement for him and his wife as a way to cope with the uncertainty. Here For Now is comprised of what Dumser refers to as “musical compost” — a concept that isn’t nearly as derogatorily gesturing towards the material as it sounds. “It’s a bunch of work that I’d previously done that I’d set out to release in its form, but something didn’t feel totally right. For the mixtape he has prepared for us, Dumser says that he wanted to find tracks that were on the longer side, with a quiet confidence in their sparseness or even the guts to make production decisions that he admires. For him, Music algorithms these days are giving preference to shorter, more consumable, bite-sized pieces of music, and it makes complete sense to me. However, as a listener, he wants to really spend some *time* with an artist and allow myself to sink into their work.

The last instalment of the year arrives from the hands of Furtherset, the musical project of artist and musician Tommaso Pandolfi, with a mix especially suited for the melancholic nights of December. With Furtherset, the artist has defined his personal sound, mainly composed of layers of timbre-modulated sounds and dense rhythmic geometric passages converging towards a single harmonic plane. His music touches on ambient, modern classical and rave, building on his approach to composition with shifting modulations, synthetic clusters and sampling alongside rhythmic and embracing harmonies. Furthersetmentions that the project, which began in 2011, is envisaged as formal research that follows a path towards saturation and layering but is always capable of generating voids in which the listener can take their place and fill them according to their own focus. Furtherset has released several EPs and two albums with the record label OUS, with whom he’s signed with. His most recent one, The Infinite Hour, released in October, puts together all the artist's compositional interests over the years. Six compositions resemble the laboured breathing of one who mourns a disappearance and fears oblivion. The album was created between 2020 and 2022, in a slow process of writing and continuous refinement parallel to the previous EP, Auras. The compositions found their final form during the mixing process carried out together with Bienoise. They were later named based on references to authors who influenced and are dear to Furtherset: Amelia Rosselli, Vladimir Chlebnikov, Hubert Damisch, Dante Alighieri. Furtherset mentions that when preparing mixes, he tries to create listening environments with moments of extreme stillness or sudden changes, but always having the latter have their own general organicity: I also fixate on certain artists, such as Simon Fisher Turner, whom I now propose in every mix. In this case, I added Michèle Bokanowski to my fixations. I found pleasant similarities between Moritz Von Oswald's latest work and Ligeti's. Everything then begins and ends with two voices: with Patti Smith's words and Glenn Gould's whispers over Bach. I look for emotion in the music I listen to. Tracklist: Patti Smith & Kevin Shields - The Coral Sea, pt. 1 Kevin Shields & Brian Eno - Only Once Away My Son Michèle Bokanowski - Tabou Moritz Von Oswald - Luminoso György Ligeti - Clocks & Clouds Michèle Bokanowski - Vers Syracuse Michèle Bokanowski - L’indomptable Marta De Pascalis - Harmonices Infinity Brunhild Ferrari & Jim O’Rourke - Tranquille Impatiences Michèle Bokanowski - Pour Un Pianiste Francis Dhomont - Chambre d’enfants Geinoh Yamashirogumi - Omae Wa Nan No Hana Simon Fisher Turner - The Invisible Frame, a film by Cynthia Beatt Lucy Railton - Rib Cage Jules Reidy - Trances III Ben Vida, Nina Dante & Yarn Wire - Who’s Haunting Who Here Luc Ferrari - Cycle Des Souvenirs II Johann Sebastian Bach - Concerto in D minor after Alessandro Marcello, BWV 974- II. Adagio (Glenn Gould)

The next mixtape instalment is by experimental musician Colin Andrew Sheffield. Born in El Paso and now based in Austin, Sheffield took his passion from being a self-taught drummer in Texas to a total transition to electronic music. For this mix, he’s compiled a captivating selection of experimental electronic music. Since the mid-90s, Sheffield’s work has consistently focused on the use of samples: deconstructed loops of hidden melodies and textures found in his collection of physical media. Through the re-contextualization of other commercially available recordings, like an alchemist of audio collage, he aims to distil the essential qualities of these works and convert them into new recordings. Sheffield’s music is full of atmospheric soundscapes, which shift and unfold, offering subtle waves and suspended stillness. From earlier work like First Thus (2005) to the most recent Images (2023), Sheffield's solo projects showcase his ability to explore diverse sonic ranges. One of our favourite records this year, Images, was entirely constructed from heavily edited and manipulated samples from jazz records and represents a true distillation of Sheffield's interests as both a composer and an obsessive listener. In 1998, Sheffield founded the Elevator Bath recording label, which has been releasing experimental works from a variety of artists from the US and abroad, featuring names such as Merzbow, Francisco López, Susane Drone, and himself. The mixtape he’s prepared for us, he says, was a lot of fun to compile. I limited myself to selections that are all quite recent or at least no more than a few years old. I tried to represent my tastes in various forms of experimental music and throw in a liberal dose of work from some good friends. There are a couple of brand new tracks in there from forthcoming releases too, so it's a bit of a taster of things to come. Hopefully, it flows well enough and has something for just about everyone. Thanks for giving me the impetus to create this mix! Tracklist: Andrew Anderson + Colin Andrew Sheffield Clarioned - Elegies Valerio Tricoli Mimosa - Hostilis Concepción Huerta - Trepidation Adam Pacione - Pos. Neg. Jana Winderen - The Art of Listening: Under Water Roméo Poirier - Les grandes lignes Matt Shoemaker - Pasar Gede Marta Zapparoli - The resonant sky of Krems Merzbow - Hat 1046 Susana López - Drones to Zazeela Richard Ramirez - Protective Custody 2 Telesurgient - Lifeline Sequences - Illuminated and Translucent TIBSLC - Hypertranslucent (2) Werner Dafeldecker - Neural Pendant - Dream Song Of The Woman Electric Capablanca - Capablanca Spin Felicity Mangan - Digging The Pedospheric Vibes III Jim Haynes - Variant, number four Colin Andrew Sheffield - Embers Kate Rissiek - Floating In Darkness Jake Muir - Cauldron Koray Kantarcıoğlu - Agat 01 Rick Reed - Leave a Light on for Tony

Our new mixtape comes from Copenhagen-based experimental R’n’B artist Karen Juhl. Her influences span from the likes of Laurie Anderson and Holly Herndon to Solange. Juhl is interested in exploring different approaches to songwriting in the 21st century, her style ranging from experimental electronics and contemplative poetry to antithetical rap. Her debut album Mother Tongue, released on the 22nd of September, is a dynamic manifestation of her self-written poems and diary entries. The album explores ideas of fragility within a hyper-globalised world, shifting in dynamics from intensely noisy and emotive to calm and reflective. When explaining her process of making the album, Juhl stated that ‘I brought diary notes and prose poems with me into the studio and worked on vocals in a stream-of-consciousness kind of way.’ The album was released on the London-based art platform Inklingroom and worked on with fellow collaborator Johan Feierskov. Using mainly YouTube samples, MIDI instruments and vocals, the album feels incredibly fresh and immersive. The dysphoric and euphoric elements that occur between the music and the voice reflect the contrast and overlap in topics; from personal in relation to politics and gender in relation to time, the songs travel between childhood scenes, psychiatric wards and internet rooms. Alongside the album, an artbook is also set to be released in collaboration with graphic designer Paw Poulsen, that displays digital collages based on Juhl’s lyrics for the album. The artbook aims to create an external layer to the album outside of the digital realm, seeking a space of intertwining narratives. The mixtape that Karen Juhl has created for us, entitled Threads, is described by herself as ‘a mix of moods, ideas, sounds, songs, and states. It’s full of life, cuz it unfolds in the same way life does, forward and through unforeseen terrains. I wanted to honour sounds on the verge of becoming. My compositions "Face Wash" and "Home" were composed and recorded in this somewhat improvised manner. I delved further into my personal playlists, but I also asked my two close colleagues and friends Laust and Johan to share some of their magical memos with me.’ Juhl presents her mixtape as ‘a gentle framework that holds something beautifully frayed—loose threads that just barely come together to form a picture.’ Tracklist: Dienne – Mio Signore Hoy La – Ecotone Laust Moltesen – Meditation #1 (memo) Maria BC – The Only Thing Karen Juhl – Face Wash TLF Trio – Trio A Jonas Albrecht – LEIB Laust Moltesen – Meditation #2 (memo) Johan Feierskov – zoom (memo) Karen Juhl – Home Jeph Vanger – CA Study Marina Herlop – miu Johan Feierskov – into (memo) Valeria Miracapillo – Fiction Crush String Collective – Intermezzo II (Fetus) ill – íra ii Laust Moltesen – Meditation #3 (memo) Johan Feierskov – Chalk (unreleased) Pankisi ensemble - Asete ghame Abdullah Miniawy X HVAD – Notice a tiny scratch for the blue behind

We are presenting a new mix that will transport you into the enchanting realm of the early autumn months. This special mixtape is curated by VAST HABITAT, a recently established record label, and it showcases a curated selection of artists and music from their freshly minted catalogue, as well as tunes that have inspired and resonated with them. Vast habitat founders are Daniel Lea and Michael Deragon, aka Heliochrysum (Bedroom Community Records), which we have featured in the past. The project grew out of the artists’s desire to create an environment where music, design and art can coalesce. A good demonstration of this is their crafted selection of music and a superb visual approach. The label launched with the release of two new solo albums — Lea's 'ENTHEOGEN' and Deragon's 'DAWN', and a compilation, VHS 001, which is the first in a series of engaging sonic conversations with artists working across electronic music, modern composition, and ambient. The compilation includes a remix by Heliochrysum from Pinkcourtesyphone, another of this house's favourites. For this mixtape, they share they have included things they were listening to while making their records, film scores they love, deep sound design elements, some ambient/electronic music, a few of the works from the VAST HABITAT catalogue and other works that we love listening to or moved us along the way. "As well as being an electronic-focused label, a lot of VAST HABITAT uses real instrumentation, working with amazing players like Yair Elazar Glotman, Bethan Kellough and Jamie McCarthy. So it’s nice to hear the instrumentation of Six Organs of Admittance; and Michael and I are huge fans of the 'Crash' Soundtrack from David Cronenberg scored by Howard Shore, which is all guitars very Glen Branca inspired." Tracklist: 1. Valerio Tricoli-Hic Labor Ille Domus Et Inextricabilis 2. Low- Quorum 3. Elliot Goldenhaul-Heat 4. Daniel Lea-Tactile Memory Is Still In His Left Palm 5. Abgail Mead-Leonard 6. Michael Deragon-When Rooms Were Full of Smoke 7. Colin Stetson- West of Arkham 8. Yair Elazar Glotman and Heliochrysum-Abandoned Image 9. Hildur Guonadottir and Sam Slater-Irreversible 10. Howard Shore-Crash 11. Six Orgrans of Admittance-Position of Cherry Blossom Spirits 12. Eric Truffaz and Murcof-Origin of the World 13. New Corroded-Chromosphere 14. E-Saggilia-9 Digest 15. Brian Eno-Signals 16. William Basinski-Meloncholia I

This week’s mixtape comes from the multidisciplinary music/art project Ghost Tracks. They are a wife/husband team, and Sylvia Girstmair and David Lopez, originally from Austria and Spain but came together in East London. This happy home life hasn’t led them to a place of musical complacency for the duo, though, who also runs the experimental music label Cluster Node. Drawing upon their shared experiences in the art and music scenes, throughout the years, they have cultivated a passion for creating cinematic narratives through their music and visuals. With acoustic and electronic instrumentation, soiled traces of noise and mixed modes of experimentation, their songs present a peculiar intimacy and effortlessness. Ghost tracks sit between a dark lull and eerie, phantasmagoric soundscapes, aiming to create sci-fi soundtracks that evoke vivid and immersive imagery of futuristic dreams and imaginary worlds. They are fresh from a triumphant opening of CLOT and Cluster Node’s PORTALs showcase and presenting here a mix of their own tracks and works in progress alongside artists who inspire them: we are most excited about mixing tracks from artists that we really like and think convey a similar emotion. We tried to keep it cohesive and stick to the 'Fragments of Light' theme. Tracklist: Ghost Tracks - Through Time and Space (unreleased) Ghost Tracks - The Zone (unreleased) Ghost Tracks - Stillness Astrid Sonne - Ephemeral IV (Escho) Ana Roxanne - It's a Rainy Day on the Cosmic Shore (Leaving Records) Feeler - Highest Heaven (Cluster Node) Ghost Tracks - Vases and Gold Ornaments (Cluster Node) James K - Soft Key (Cluster Node) Ghost Tracks - 14 (unreleased) Spivak - i b lyin (Cluster Node) An Trinse - Duairc Aontais (Cluster Node) Ghost Tracks - The Morning Veil (unreleased) Ryuichi Sakamoto - Solari (Commmons) Ghost Tracks - Be with me (Cluster Node) Ghost Tracks - Void Celestial - Endless (Ecstatic Recordings) LA Timpa - Brave (forsake) (O___o) Ghost Tracks - Ice One (Cluster Node) Dania - Lament (Somewhere Press) Ghost Tracks - Don't Move (Cluster Node) Edward Artemiev - Solaris Soundtrack Part IX (Song Cycle Records)

For our next mixtape instalment, we welcome Lý Trang, a musician-sound artist who will unveil a haunting musical storytelling piece arranged as an abstract dialogue around time travelling. Born and raised in the mountains of Northeast Vietnam, Trang's experiments with hollow rhythms follow folkloric instrumental phrases, and the music buzzes widescreen magic. Moving to Vietnam’s capital Hanoi for school, she connected with the local underground scene, joining Rắn Cạp Đuôi Collective for a short period before focusing more on her work as a multimedia artist. In 2018 she self-released ‘Snail Skeleton’, an album that hints at her sonic interests and various live-scoring commissions, soundtracks and installation works. Recently she released her second album, 'Syenite', grounded in a sense of alienation, first when she moved to Hanoi for school and later when she relocated to Moscow just a few months before the Russian invasion of Ukraine. In the Russian capital, her separation from home cracked open a deep yearning that swallowed up the erupting geopolitical uncertainty and disillusion, crystallizing into the album's 10 electro-acoustic tracks. Last year she also released her debut film 'Sisyphus's Cat' a conceptually complimentary short that charted the search for a lost pet in a parallel universe, and her music follows a similar trajectory, interpreting interlocking themes sonically instead of visually. The mix she has prepared for us, she says, "Is a musical-storytelling piece arranged as an abstract dialogue between the captain of a time machine and a girl who wants to be transferred to the future. The conversation is sometimes highlighted and sometimes escaped into layers of music, untangled by the thrill of technology in its content and way of producing sounds. The "captain" voice was amped through a vocoder, which dragged my voice down to a voice of a non-human character. In this sense, I tried to constantly call to mind human scales of time, science, presence and sustaining—even if only in their defamiliarizing absence. And I lean into the aesthetics of alienation, trying to imagine the world of immortal and forever-sustaining entities in the future and questioning that idea". Tracklist: Tracklist here: Live Performance “Cosmic Bodies" and phosphenes (from “Syenite") Magnetic iceberg sand congee (from “Syenite") Live Performance “Golden Bridge" sáo cọc ngang ao under the Arbat metro station (from “Syenite) (All tracks written and performed by Lý Trang)

Concluding our summer season, we invite you to descend into the audio abyss sculpted by the enigmatic Gosha Savage, the solo project of Małgorzata Sawicz, a visual and electronic artist hailing from Poland. Savage has prepared a very personal mix, which she also defines as one of her most experimental mixes, an audacious plunge into a sonic chasm. Gosha Savage's musical sojourn is an electrifying collision of the intensely personal and the unapologetically experimental. Imbued with the mystique of dreams and the ethereal allure of fairies, her sonic odyssey is a rollercoaster of emotions—plunging from the abyss of sadness to the heights of nostalgia. At the core of Gosha Savage's sonic landscape lies her fascination with real-time FM synthesis, an art of manipulating frequencies and exploring different timbral possibilities of sounds. This, coupled with her penchant for crafting irregular drum patterns, creates a sonic tapestry that defies conventional genre boundaries. Her musical explorations seamlessly meld elements of post-club aesthetics with the raw intensity of noise while drawing from a diverse array of genres, including trance, ambient, and dungeon synth. Gosha Savage is currently crafting a new EP and tirelessly honing her live act, promising exciting developments for her ever-growing fanbase. We are presenting this mixtape in light of Gosha Savage’s live show last June at the Polish Up to Date Festival. The mix is the most experimental and one of her most personal mixes so far. She describes it as a reflection of her Gothic sensibilities and her penchant for constructing and deconstructing emotions through her art. Furthermore, she says, I included incredible tracks from artists I adore. I'm glad I can share this with you and perhaps gain new listeners for them. Tracklist: Cimarrón - Amigxs Montenegro - Suceso de Colisión Seraphim - Bubbles Move No One Thoom - Sound of a Heavy Stone Abssys - SPACE MANTRA (KÖPEK EDIT) Dj Würm - Enchantment ʒLVʒNLIʒD - serial lover Sarahsson - Lime Time Ange Halliwell — My Secret Grief Chino Amobi - LAW II (DEMOLITION) DGNMP - Sanctuary Anthony1 - Arreglo Floral PENELOPES FIANCE - NOT DEAD YET SMILE ft Lag Switch, Tati au Miel, Blood of Aza - münki Hajj - Drag Me Into The Void (Euphoria's Death Edit) KMRU & Aho Ssan - Resurgence Pj Harvey - On Battleship Hill

The next mixtape comes from Alifiyah Imani, an interdisciplinary arts & media practitioner and writer. Imani combines multimedia arts and design, focusing on sound, curatorial research and practice. She enquires into our relationship with space, the workings of our cultures and auditory subcultures. Imani told us that an important aspect of Indian classical music training is practising with the tanpura, a full-bodied stringed instrument that creates a repetitive drone. While practising and tuning the tanpura, the daily ritual of attuning myself to the drone as a sonic companion and as a practice of embodied listening and improvising has been significant for me to understand the structure of sound itself. She said. Last June Imani premiered at Distant Gallery her online solo show Your Listening is a Paracosm, a show that shifts perceptual perspectives through sound and ritual, drawings and prompts. Your Listening is a Paracosm unfolds as an experiment for the web and permeates through radio transmissions. We read in the statement. Taking this show as an inspiration Alifiyah Imani has prepared a mixtape for us that intends to explore the sound pieces from the exhibition as an extended listening or long-form mix. Imani spent much of this time in her home studio layering field recordings, experimenting with the drone sound of the Tanpura, and improvising with other instruments like the Strumok and overtone flute: It's about different kinds of attention processes, tuning, and studying forms derived from sound. While drone-based and contemplative, it moves between textures, harmony, polyphony of colours, and moments that emerge in nature and improvised music.

The next mixtape comes from Heqc (an alias of Ben Lukas Boysen), an electronic music composer, producer and sound designer based in Berlin, with a selection of tracks that give a insight into some of his compositional interests. Boysen has classic training, being the son of opera singer Deirdre Boysen with the works of Bruckner, Wagner and Bach laid an important foundation in shaping his practice. With his moniker Hecq, he’s released several albums since 2003, exploring a wide range of styles from ambient to breakcore and releasing mostly on Hymen records. Under his own name, the artist has also released a series of productions on labels such as erased tapes and ad noiseam. His latest release as Hecq this year after a break since 2017, Form, released on Mesh, Max Cooper's record label, is defined as an echoic take on rave and electronica and a modern shapeshifting of styles, showing the artist's poly-faceted compositional ranges. Pulsating and syncopated synth lines built up with minimal ambient melodies, dub bases, and breaks fill the album with a breathable summery feel. His own productions aside, Boysen has led numerous workshops on composition and sound aesthetics, as well as creating custom sound designs for films, commercials, video games and installations. The mix he has prepared for us is mainly based on pieces that play with overlaying frequencies and oscillations, focusing on the fabric of music without going overboard compositionally. Boysen shares that these pieces are always a good reminder and exercise in exploring and understanding the nature of sounds around us (primarily while working with electronic instruments)and appreciating the beauty of simplicity. Tracklist: 01 Ben Lukas Boysen & Martyn Heyne - Orgeltod 02 Start Greiner - Final Sleep (Hecq Remix) 03 Set Fire To Flames - Kill Fatigue Frequencies 04 Alvin Lucier - I’m Sitting In A Room 05 Illusions Of Safety - P.O.E. 06 Jean-Claude Risset - Mutations 07 Jakob Ullmann - Solo III Für Orgel 1992 _ 1993; 2012 (Excerpt) 08 M U H D - Dalhem 09 Walter Fähndrich - Viola 1 (Excerpt) 10 Max Loderbauer - Au 11 NSI - 16 12 Hecq - Mare Nostrum, Part 2 13 Christine Ödlund - Lightning & Voices 14 Stephen Vitiello - Marfa Mix 15 Ricardo Villalobos & Max Loderbauer - Rensenada 16 Frank Bretschneider - Polaris (Hecq Remix)

The next mixtape instalment comes from American DJ and producer PTHGN, who has prepared a selection to give our audiences a glimpse into what he might want to hear on a night out. PTHGN roots in Chicago's music scene have shaped his unique sound that blends electro with influences from techno to grime and everything in between. The artist started out as a visual arts student in Chicago and was initially drawn to music production after exposure to the city's vibrant House, Techno and Footwork scenes. PTHGN's original work was more focused on the interplay between sight/visuals and sound, but his passion for a wide range of music genres, from electro to jazz and grime, led him to favour music creation and production. Emphasizing sound design innovation and musicality, PTHGN's current approach utilizes hardware and modular synths for production and performance, solidifying his status as an emerging artist to watch. PTHGN's Binary Operation EP perfectly captures this with its pulsating drum breaks, dreamy pads, with urban vocal snippets. With a muscley but very suggestive sound, it's Detroit electro with a fresh, dynamic twist. The EP was very recently released in Fides, a Berlin-based record label founded by Tresor Resident Z.I.P.P.O. in 2015. The label releases music influenced by electro, techno, and IDM genres. For the mixtape he has prepared for us, PTHGN adds that he tried to include as much as he could as far as influences go, within reason: I wanted to showcase something way outside the sounds of my EP to give a glimpse into what I might want to hear on a night out and also shine a light on some artists from past and present whose sounds keep me motivated. Tracklist: Final Cut - Open Your Eyes Chatterbox - Hibernation Machino - Nada Es Real Shallowed - Electric Swell T_ERROR - Hard War Exterminador - Pericos Machino - El Diablo Sabe Norwell - Secret Transmission(Solid Blake Remix) DJ Nepali - Vanity of your ego Dez Williams - Carkrash Vikdim Datawave - Concretion Assembler Code - BIOS Anthony Rother - Destroy Him My Robots Unhuman - Unterstützung

Our new mixtape comes from London experimental musician and producer Kinn, with a mix of sound, youtube rips, film audio, raw sound design and unreleased music from the artist himself, an intimate recollection to take us into the artist’s expansive creative universe. Kinn has emerged in recent years with a bleakly psychedelic take on post-rock shifting between traditional band setups and move avante-garde studio works. A rotating cast of collaborators, including Arthur Leadbetter, Maxwell Sterling and Alexander Tucker, bolsters this. Recently they have collaborated with artists Tai Shani and Mark Leckey. Their current offering, ‘Dogtooth’, coming out on 7th July 2023, carries off down this path with spoken word, string shards and clouds of distortion, giving away to more traditional song form. The production was all rendered over a 2-year period in precise, spacious, sonic detail, bringing to mind a mood somewhere between Mogwai and The Haxan Cloak or The Body. The album puts a profound and disenchanted humanistic stance at the centre of the stage. As we read, Dogtooth reflects on an array of individual, global and digital, often seemingly esoteric, shared experiences. Anger, conflict, beauty and grandeur, all summarised as part and parcel of wheezing and spluttering modern metropolitan world, looking to peel away the negative smog of contemporary living, the interfering noise which bombards our ever more digital lives, searching for meaning, comfort and ways of goofing off amidst these oppressive forces, sirens and snake oil salesmen everywhere, an all-encompassing true and truly messy beauty. The mix Kinn has prepared for us is built around some of his compositional approaches to long-form and non-linear narrative, spending a lot of time playing around with the arrangement and dynamics of the mix, how one thing can suggest, merge and form a narrative-only by preceding another track completely disassociated from each other in time, aesthetic, even meaning, or how a motif placed at the end can bend time and pull you back to something you heard at the beginning. This never ceases to interest me, how loose "reality" can be, how easily we can be suggested. It can easily be smashed apart and put back together in a different way, a wrangling of ambiguity. As I started to work on this mix, to me, a clear narrative unfurled, I'm keeping this ambiguous from the listeners so that they can invest their imagination in it, that's one of the beautiful things about music. It is meaningless without you to listen to it." Tracklist: Barry Adamson + Pan Sonic + The Hafler Trio - The Hymn Of The 7th Illusion (edit) K.C. Milian - Iconic Building Of The Past Simon Fisher Turner - Excerpts from Derek Jarman’s The Garden (1990) Stef Kett - Killing Flaw Laboratorio Palestro - 2 Gil Scott Heron - NY is Killing Me (Chris Cunningham Remix) Kinn - Untitled (excerpt from Pace Gallery performance, 2022) Kinn - ??? Kinn - Dogtooth The Microphones - day one Sonic Youth - JC Godspeed You Black Emperor! - $13.13 EdGein2 - ??? Simon Fisher Turner - Excerpts from Derek Jarman’s The Garden (1990) Portishead - Machine Gun L4b - Me4nwhile in the L4b Set Fire To Flames - Barn Levitate K. Leimer - Malaise Kinn - ??? Amateur Childbirth - All Doomed

Next mixtape comes from ZONDERWERK, who are a duo consisting of Linde Carrijn and Dijf Sanders. The artists started this project during the pandemic to explore their relationship as creative partners. Carrijn has a background in acting but recently has been more focused on composing and performing original scores for theatre, while Sanders is also a composer (and music gear enthusiast), with his work drawn from a wide array of non-Western music. The duo explain that their artistic name means ‘’without work’, but it also comes from ‘bijzonder werk’, where bijzonder is particular and unique. Both artists like to work with images/paintings that are bijzondere werken’, odd works, special and weird. The fact of working with images adds a particular approach to their creative process. As they mention, adding music and sound design to the work of art creates a new dimension and amplifies the beholder's experience. It’s an extra layer, an alternative storyline outside the frame ZONDERWERK have recently released their debut album babel on the Ghent-based tape record label Dauw (which similarly has a central visual/graphic aspect to their outputs and ethos). The album materialises the duo’s conceptualisation for this project; babel is an exercise in translating images into sound. It was initially created for the eponymous theatre piece by architect and artist Steve Salembier. One of the biggest inspirations for the album was Michael Woolf’s photographs, which in turn also served as the basis for the original theatre piece. The use of grey and repetition is translated into looped harmonies and fine-grained drones that progressively open up like blooming ice flowers. Using city-reminiscent musical elements, such as bells and metals, to create synthy lines, tape loops, and droney. There are details of fourth-world sounds that delicately populate the different tracks; small oases where to breathe away the man-made concrete jungle that is both inhospitable and endlessly awe-inducing. The mixtape they have prepared for us is full of compositions they are inspired by: Some we love because of the choice of the gear, some of them we love because of the emotionality, some of them we love because of the memory of a moment we listened to it together. Tracklist: Vuurfeest - ZONDERWERK Psalm - Yves Tumor Jynweythek - Aphex Twin known(1) - Autechre Addio - Dienne More Islands - Clark, Budapest Art Orchestra, Peter Pejtsik Lindbergh - schntzl Falaise - Floating Points Powerspot - Jon Hassel Goodbye Pluto- Kohn (clouds) Kristalstoelen - ZONDERWERK Oh Baby - Micachu & The Shapes Wintersong - Elisabeth Klinck Hana - Asa-Chang & Junray

Mixtape 58 The new mixtape instalment comes from Ale Hop(aka Alejandra Cardenas) and Laura Robles. Cárdenas is a Berlin-based artist, researcher, and experimental instrumentalist from Lima, Peru. Earlier this year, together with Laura Robles (a percussionist and bassist formed from a very young age in the rich Afro-Peruvian and Cuban musical traditions and who also grew up in Lima), they released one of the most exciting albums of the year so far, Agua dulce (Buh Records, 2023). This mix takes on and reflects on the artists' inspiration for and during the Agua Dulce album production. The album is titled after the most popular beach in Lima, agua dulce, near where both artists lived during their childhood, houses apart, without ever meeting one another. Years later, the pair met and joined forces, with Robles on a self-built electric cajón and Cárdenas on electric guitar and electronics. With this album, both artists explore rhythmical structures that form the backbone of the complex Afro-Peruvian music and dance traditions – a broad term used for the various musical developments that occurred in the last two centuries at the shores of the Peruvian Pacific. The cajón originated in coastal Peru as a percussion instrument that the black slaves created from wooden fruit boxes when foot drums were banned at the end of the Spanish colonial era in the 19th century. And it was form Perú that the cajón was posterioly introduced into flamenco. From its birth, the cajón was a symbol of resistance, experimentation and transformation. Robles and Cárdenas strived to maintain the instrument’s spirit and qualities by pushing the boundaries of its sound into the future. The duo’s mission isn’t merely capturing something sonically futuristic but is primarily concerned with shaking off the dust: These rhythms have become ossified nowadays, heard in Peruvian folklore shows and on the ‘global music’ circuit, but our desire is to experiment and do something more radical with them, connecting to the instruments more radical past, comments Cárdenas. At the same time, this type of percussive instruments infuse the music with a very special physicality and spirituality; the percussion sounds entuned with our heartbeats. Both Robles and Cárdenas chatted to us about the meaning and influence of the cajón on their work. Finally, the mix they have put together for us is a rare combination of very personal influences from each of them, with influences that informed the project and songs they find interesting from Peru. Tracklist: Ale Hop & Laura Robles - Agua Dulce Nicomedes Santa Cruz - Aquí Está la Marinera/Mamita/Mi Señorita Pochi Marambio y Tierra Sur - Canto a los Santos Huayno Tradicional Prenda Querida con Andrés "Chimango" Lares Andrés Soto - Quisiera Ser Caramelo César Calvo La Despedida Victoria Santa Cruz- Me Gritaron Negra! (Daniel Haaksman Edit) Cañaris Incahuasi - Triste con Fuga de Huayno Yma Sumac - Hampi (Medicine) Banda San Miguel De Piura - La Perla del Chira Los Jaivas - Cerro de la Virgen Alice Coltrane - Jagadishwar Aphex Twin - Ageispolis Ale Hop & Laura Robles - Defensoras del morro Miles Davis Bitches Brew (Live In Copenhagen, 1969) Ayacucho traditional music - Harawi (women performing harawi before the plowing of the communal field) Sun Ra - Solar Ship Voyage Los Ases de Huarochirí - El pescadito Oscar D'Leon - Llorarás (live)

Our next mixtape comes from duo Brueder Selke, East Berlin-born, Potsdam-based, polyinstrumental composers Sebastian and Daniel Selke and also curators of the Q3AMBIENTFEST in Potsdam (Germany). The festival, taking place at the beginning of June, is a musical happening that brings together established and emerging artists from various genres and diverse origins. Sebastian and Daniel Selke became well-known as an award-winning cello-piano duo under their pseudonym CEEYS. Throughout the work that has come from this long-term collaboration between the two brothers who grew up on the other side of the Berlin Wall, the essential elements are encounter and exchange. The independent Q3A, invite open-minded music lovers to discover a wide, contemporary sound spectrum. Each year, Brueder Selke invite artists to meet on a common, physical stage, and, with performances that range between academic avant-garde and accessible pop, develop a kind of cinematic music that holds a mirror up to and makes audible the eclectic architecture of the world-famous Filmstadt Potsdam, with its neoclassical palaces and socialist brutalism. The buildings where the brothers grew up gave Q3A its name, which is the abbreviation for Querwandbau, a type of Plattenbau that was very common in the GDR. Coincidentally, the first edition of Q3A took place in the year that marked the centennial of the 1917 Russian Revolution. Q3A focuses less on headliners and sees itself as a complement to the local cultural scene. Thus the constellation of the artists is itself the highlight, bringing with it spontaneous, improvised collaborations with Brueder Selke. The 2023 edition will feature analogue and virtual performances by Jakob Lindhagen & Vargkvint, Dirk Markham, Julia Reidy, Alex Stolze & Ben Osborn, Austarda, Sofia Paez, Laura Cannell, Grand River, Mabe Fratti, Yair Elazar Glotman & Johannes Malfatti, Brueder Selke, Sergio Díaz de Rojas & Cedric Vermue, Villemin, Will Samson, Ben Osborn, Hélène Vogelsinger, Tim Linghaus and Simon Ansing. Aiming to expand on traditional playing techniques, artists will combine classical instrumentation with electronic. A visualization of the curators staging moving still lifes in Potsdam will also be screened, which will be scored live by some of the sets. In this mix, Brueder Selke have mixed smooth and silent with bright and intense pieces, inviting open-minded music lovers to discover today’s contemporary composers and performers featured on Q3A. Tracklist: 1 Jakob Lindhagen - They Were Never Really There 2 Vargkvint - Fyr 3 Dirk Markham – New Joy 4 Julia Reidy - Imminently 5 Alex Stolze - The Rucksack Song 6 Austarda – suis moi 7 Sofi Paez - Preludio 8 Laura Cannell - Dried Hands Pluck the Stems 9 Grand River – Gold 10 Mabe Fratti - El Trabajo Será Nuestro Final 11 Yair Elazar Glotman - A Mirror 12 Johannes Malfatti - ornament i 13 Brueder Selke – QP (hidden) 14 Sergio Díaz De Rojas - Flores de Papel 15 Cedric Vermue – We Came And Left 16 Villemin - Sirens 17 Will Samson - Arpy 18 Ben Osborn – The Fire 19 Hélène Vogelsinger - Game B 20 Tim Linghaus – Mother, Hurricane 21 Simon Ansing - If Only I Had An Elevator 22 CEEYS – Opal Glass

Our latest mixtape comes from Hora Lunga, a composer, sound designer, and songwriter based in Zurich. With a passion for pushing the boundaries of electronic music, Hora Lunga creates a unique blend of traditional and experimental sounds that take listeners on a soulful journey. Having studied electroacoustic composition, the artist's practice focuses on extended instrumental techniques and improvisation. However, his versatile profile has taken him from pop music productions to experimental works and sound art in recent years. David, as Hora Lunga is also known, co-runs the Swiss experimental music label BlauBlau Records, which is also an artist collective. Hora Lunga's latest release, Wirren (BlauBlau, 2022), is the product of a collaborative artist residency at Dampfzentrale Berne & Südpol Lucerne, and was premiered at Gessnerallee Zurich. Otherworldly drones and chamber music, feverish free jazz, and serene soundscapes provided by a vast ensemble make it an ode to shared improvisational sessions. 'WIRREN' is passionately described as chamber music for anarchists and social media addicts, sleepwalkers and day thieves, social romantics, and post-structuralists; for those who are drowning in everyday life, for the superstitious and control-obsessed, for everyone who can read a map and for everyone who can't read a map. The music reflects this, with each track taking the listener on a journey through a range of moods, from introspective and contemplative to more joyous territories. Hora Lunga weaves together a tapestry of sound that speaks deeply. In this mix, Hora Lunga draws inspiration from their latest album, infusing it with their signature style of weaving together a diverse palette of sounds. With acute attention to detail, Hora Lunga creates a sonic landscape that explores the depths of emotion and expression. Tracklist: Hora Lunga - Réduit Vanessa Amara - Pescado Nicolas Jaar - Vanish Drew McDowall - Agalma VI Coby Sey - Night Ride Pan Daijing - Dictee Noémi Büchi - Nothing Is Artificial Lolina - Fast Fashion More Eaze, Claire Rousay - same Space Afrika, Florence Sinclair - Meet Me At Sachas KMRU - mood Kelman Duran - Freddie King Junge Eko - Funghi Magici Hora Lunga, WIRREN - WIRREN 7

Our Next mixtape lands from the Spanish composer, cellist, singer and producer Yamila, with a unique mix inspired by her last album and a soulful vision inside her art. Dancing between electronic and analogue music, tradition and experimentation. Yamila's artistic practice "looks over the precipice of pure emotion", which couldn't be more accurate. That passion and soulfulness manifest in many (if not all) forms of expression. In her most recent album, Visions (UMOR REX, 2022), Yamila revealed her most intimate catharsis. The album evokes the hallucinatory powers of music. Like an ancient herald, she announces the profound feminine mystique while crossing epic melodies full of pleasure and pain. The album is a journey that prodigiously unites baroque accents, Spanish folklore, such as flamenco, and contemporary electronic music. Pain and glory, lacerating religiosity, feminism cauterized by power, and hallucinations as a source (or pretext/tool) to be heard. All these elements were very present in the Spanish Baroque, one of the most inspired creative epochs in the Mediterranean country, especially in literature, painting and architecture, but in a society lacerated by profound religiousness, poverty and injustice. Yamila's piercing gaze has the fierceness of those who dared to challenge the established powers of the time. Her voice and music –sometimes torn and others buoyant– can resemble the score for a biblical passage (i.e. visions of the Apocalypse), for they are overflowing with physical ecstasy and sounds one can touch. 'Visions' is composed of different forms and rhythms. Blending aural chiaroscuros with contemporary electronics, Yamila exhibits a profuse aesthetic with her music that calls for a look at the far past with romanticism and nostalgia. The mix she has prepared for us she tell, es un viaje compuesto integramente por mí, es una mezcla de temas del disco visions, con paisajes entrelazados, de lugares que visité mientras compuse el album (The mix I have prepared for you is a trip composed entirely by me, it is a mix of tracks from the album visions, with intertwined landscapes of places I visited while composing the album). Tracklist: 1-Landscape 1 2-Visions VII 3-Landscape 2 4-Visions I 5-Landscape 3 6-Visions IV 7-Landscape 4 8-Visions II