Curious combinations of dry East Midlands vocals with mutant computer electronics by Dane Law...
“Gary Myles (Of Habit, Spoils & Relics) and Adam Parkinson (Dane Law, Quantum Natives) combine microphone, objects and computer in their first collaboration, Empty Gesture. Unsettling ambience is struck through with Of Habit’s monotone, almost demented spoken voice. Dane Law’s jittering software recycles and accumulates, offering patterned beats and digitally crusted soundtrack. It’s both welcome and unwell. Data everywhere and yet nowhere, just passing through us, warming.
Merge sort takes advantage of the ease of merging already sorted lists into a new sorted list. It starts by comparing every two elements (i.e., 1 with 2, then 3 with 4...) and swapping them if the first should come after the second. It then merges each of the resulting lists of two into lists of four, then merges those lists of four, and so on; until at last two lists are merged into the final sorted list.
Of the algorithms described here, this is the first that scales well to very large lists, because its worst-case running time is O(n log n). It is also easily applied to lists, not only arrays, as it only requires sequential access, not random access. However, it has additional O(n) space complexity, and involves a large number of copies in simple implementations.”
Twysted post-techno/noise torque from Chafik Chennouf, owner of Amsterdam’s Leyla Records, and Japanese techno explorer Katsunori Sawa
“Rapid conglomerations of noise-techno, death industrial and musique concrete rear their ugly selves over the six tracks of "For The Mimics'.
After a long period of collaboration Chennouf and Sawa-san release a seamless collection spun through their vast knowledge of the previously mentioned genres and their studiously detailed work as individual musicians on Leyla, Weevill Neighbourhood and Voidance.
They are joined by David Foster (HUREN, Teste, Ontario Hospital) on the closing track Inner Scars, barely a touch of ointment following the earlier onslaught.”
Founding member and co-creator of ‘Aiwo rec.‘ DJ Normal 4 delivers Second Circle’s eleventh release to date with the EP ‘Exoticz’ .
"Raised close to Düsseldorf in the Ruhr Area, Normal 4 grew up amongst a landscape of dusty factory skeletons and abandoned machine complexes in a formerly thriving industrial conglomerate. Bringing his signature sound of broken industrial dreams mixed with escapist rave fantasies, Normal 4 delves into the archives with two tracks ‘Kalaidoka’ and ‘Aeo’ recorded around 2011/2012, alongside a new track ‘La Arabia’.
Produced at Altstadt Studio Mülheim an der Ruhr, with Normal 4’s good friend Anke Preuß on guitar and vocals, ‘Aeo’ is given the remix treatment by Phillip Otterbach on the ‘Aeo (Ottertasia Mix)’. On the B side the synth freak out ‘Kalaidoka’ is followed by ‘La Arabia’ which rides the breaks into a dusty moonlit desert rave."
Penultimate, 5th Stage of The Caretaker’s ‘Everywhere At The End of Time’ series charting severe levels of musical/mental deterioration and sensory detachment through four extended, smudged and hallucinatory side-long pieces.
As we near the end, ‘Stage 5’ sees our protagonist enter a near-permanent state of confusion and horror. Mirroring the endemic deterioration of dementia’s latter phases, were pulled through the most extreme entanglements in the series so far; repetition and ruptures, barely maintaining a connection to waking life and a sense of self.
In the most classic sense, we become witness to an abandonment and dissolution of ego, as the mulch of bygone ‘78s totally loses itself in a way that connotes misfiring synapses failing to properly relay information at advanced levels of the disease.
It feels as though our skull is being scraped out, uncovering hellish layers of accreted sensation and mulched imagery, occasionally recognising calmer patterns, only for them to fray into the ether before it’s possible to parse and dwell on them.
At this point it’s also perhaps worth pointing out the uncannily profound synchronicity between the timelines of ‘Everywhere At The End of Time’ and Brexit, which both started in 2016 and are due to wrap up in spring 2019. It should be no stretch of the imagination to read into their parallel progression from nostalgia and historic/collective amnesia, to progressive dementia and complete obliteration of (the) sense(s).
Breathless dance music for robots, produced on SuperCollider by Forces for Berlin’s ace Conditional label
Taking cues from Boston Dynamics prototype ‘dog’ bot, and the strange empathy humans feel towards a military creation that will probably kill you one day, Forces flips that idea on its bonce to posit and answer the question: “why can’t we make robots to rave and dance instead of fight our wars?”
Across nine tracks Forces supposes a music that would drive robots to the most dazzling feats of acrobatic expression, and likewise the more daring humans on the dancefloor. The results range from what sounds like double speed flashcore to next level takes on the hyper funk of VHS Head and the disruptive patterns of Rian Treanor.
We’ve genuinely wondered why the fuuck nobody has ever designed a dancing avatar that reacts in realtime to rhythm. We’d love to see what such a thing would do to this music.
Another warm funk gust from early ‘80s Holland, courtesy of the butter smooth Richenel. Check for the swanging ‘Rap Apocalypse’, the stark soul burn of ‘It Takes Time’, and the arcade game funk of the title cut!
“Music From Memory return with a further six tracks from Dutch musician Richenel. Continuing with recordings taken from his debut album 'La Diferencia’, originally released in 1982 on the cult Amsterdam cassette only label Fetisj, the tracks on Music From Memory’s second EP ‘Perfect Stranger’ includes alternate takes drawn from Richenel’s personal copy of the album alongside a further composition which didn’t make it onto the original Fetisj cassette.”