Step on up, come one, come All! All are welcome (and required) at All’s Fair – a Fair where every tit has its tat. All’s Fair, in love and war, serves the needs of All, whether pliantly or peremptorily.
A carnival of topsy-turvy exchange, All’s Fair provides the circus – though you may pay dearly for the bread.
Featuring alto sax.
The Necrophile Humingbird Netlabel presents Spiriting Away by REfugEEs From Beyond.
“Naturecore for Postpunk Lovers”
Improvisation recorded live the 18th October 2024 at the Cave Heaven in Foucherans.
Members :
Master of Ceremony : Psyché Pelik
Guitar Hero : McClintic
Disc Jockey : Yoshiwaku Mushotoku
“European leaders can’t find money to avoid the climate change but they can find billions for the war defense ? Well, send them on the battlefield !” Mother Earth.
A few days after the session we went mushroom harvesting in the forest, McClintic found the antlers of a deer, which you can see on the cover. It felt symbolic to me, as here in Franche-Comté, hunters and nature lovers alike have been protesting against the National Forestry Office’s mandate to kill so many deer. The supposed reason for this mass culling is the price of oak wood; the deer damage young oak shoots, so the office aims to eradicate them.
This album is dedicated to activists like Paul Watson, who protect animal species against the cruelty of humankind.
Special thanks to someone who passed away this year for her everlasting kindness, we use her soundsystem for the voice.
Transition Transmission
by Charles Rice Goff III
1 Of Pomp And Pulpit
2 I Was Saved By God To Make America Great Again
Process:
Goff produced the recordings presented in this collection from unrehearsed improvisations recorded on January 20, 2025, during the second inauguration of American President Donald John Trump. Using a variety of sound technologies and musical instruments, Goff augmented and embellished the audio feed from Pacifica Radio (KPFA, Berkeley, California) live, as it was being broadcasted. No recorded materials were added nor deleted from the pieces presented here.
“Of Pomp And Pulpit” was captured and mixed on a 4 Track cassette tape. It features political speeches from senators Amy Klobuchar and Deb Fischer, invocations of deities from Timothy Dolan and Franklin Graham, and the swearing of Trump and Vice President James David (JD) Vance by Supreme Court Justices Brett Kavanaugh and John Roberts.
“I Was Saved By God To Make America Great Again” was recorded and mixed on computer software. Donald Trump is the exclusive speaker in this piece, sprinkled with occasional commentary from the Pacifica broadcasters who covered the event.
There is no authorized interpretation of this presentation.
No artificial intelligence was employed in molding this presentation.
All performances, editing, production, cover art, etc. by Charles Rice Goff III.
Instrumentation:
Korg R3 Vocoder/Synthesizer
Micromoog Analog Synthesizer (original 1977)
Yamaha VSS-30 Sampler/Synthesizer
Stylophone
Le Mega IR 1 Internet Radio
Merchsource Sound Generator
Diane The Mannequin Hand
Ibanez DM 1000 Digital Delay
Yamaha FX 500 Effects Unit
Boss RC 20X Loop Station Loop Duplicator
Tascam 424MKIII 4-Track Cassette Recorder
Software:
Cool Edit Pro II Multitrack Recorder
Audacity Multitrack Recorder
Several Plug-In Audio Sound Effects
Copyright 2025 by Taped Rugs Productions
www.tapedrugs.com
……………
Some are keen to declare how things ought to be,
But often neglect that which they do not see.
It’s easy to care about nearby brethren,
And hard to accept that All are kin.
Featuring improvised clarinet and reverb.
The creation process of “Sandía”, my new album, began to take root shortly after the Social Outburst in Chile, a moment that marked a profound turning point in our society. Then came the Covid-19 pandemic, which altered everyone’s lives on a global scale, and finally, during the last months of composition, the painful reality of the Palestinian genocide was added to the long list of horrors we have witnessed in recent times. The echoes of that violence continue to reach us, and what began as a personal project has inevitably taken on a much deeper dimension.
Throughout this process, I always had a phrase by David Bowie in mind, which accompanied me while working on the music:
“I think most artists feel a lot happier discussing the process of what they do, rather than what the hell it means. I know so many painters who title their works after they’ve done them, which is a real giveaway.”
Bowie’s words resonate deeply with the creation of “Sandía”. In my case, the music emerged from an abstract process, driven by emotions, aiming to transform experience into sound rather than concept. It was a journey of discovery, not so much about knowing what I wanted to say, but about how I wanted to feel it. The titles, as Bowie suggests, came at the end. They were chosen not as a direct interpretation of the work but as a reflection of the emotions contained within the songs, and perhaps as a mirror of a reality that moves me to the core.
The “Sandía” (watermelon) is a complex symbol, full of nuances. As a fruit, its sweetness represents the freshness of life, yet it also embodies the contradictions and fragility of our existence. In this case, it stands as a symbol of the Palestinian flag, of struggle, resistance, but also of hope in humanity. In a world where destruction and suffering seem to be the norm, I want to believe that, as a species, we can still keep our hearts sweet—an act of humanity in the face of horror.
At a time when technology allows us to witness suffering in real-time through our screens, music, and artistic creation, in general, becomes a refuge—a way to make sense of the indescribable. “Sandía” is not just a sonic testimony to these times but also an invitation to reflect on our capacity for change, empathy, and resistance against the irreversible.
Thus, “Sandía” is not just an album. It is a cry of humanity amidst the chaos, a call to not forget what truly matters: to care for and love one another, no matter what the world tries to impose upon us.
This work seeks, more than to explain, to feel. I don’t know exactly what it means, but I know what it makes me feel. And I hope that, upon listening, you can also find a resonance with the moment we are living in.
Pablo Flores
(Granada, España. February 2025)
Dormance are
Sobria Ebrietas sobriaebrietas.bandcamp.com
iIliaque liaque.bandcamp.com
Iliaque promotes the potential of Creative Commons (CC) licensing through his choice of sources and samples.
Our label was founded on the principle of DIY so we are pleased to promote the use of Creative Commons licensing.
‘Calluna’, a previous collaboration between Sobria Ebrietas and Iliaque released on TCFSR can be found here tcfsr.bandcamp.com/album/calluna
Dormiens Vigila: Be vigilant while sleeping
On the threshold to falling asleep, we become aware of our self.
While focusing on the slowly evolving sounds, we get aware of something else within us, which in turn is listening to us.
The enables us to reflect on our outward character, while being presented with images of our inner personality.
Thus, the act of listening consciously also contains a creative, personal impulse, which can enrich our lives.
The premise is clear – the axioms, agreed. Deductions follow, but induction is lacking – the conclusion is missing.
Featuring synthesizers (including synthesized flute and acoustic guitar), drum machine, electric bass, piano, and backing vox.
released February 22, 2025
WDX’s approach to music highlights ingenuity and dedication to pushing the boundaries of conventional genres. Improvising with edited field recording loops, a bassline generating synth and an array of outboard effects, shows a unique and captivating style that incorporates musique concrète, improvised industrial sounds, and percussions from everyday objects. This creates unique compositions arising from a commitment to using only found sounds and field recordings that transport the listener to new and surreal environments. This approach focuses on the creative process while experimenting with different sounds and effects to create dynamic and engaging sets.
His second album on Mahorka, “Turn It Off And On Again”, named after our favourite IT department advice, was made using sounds of his outboard equipment being, erm, turned off and on again. Lots of clicks and reverb/delay trails with the usual huge bass lines. The track names are cases that ICT have dealt/not dealt with.
Mastered by Jack Chuter – www.attnmagazine.co.uk/mastering/
Everything else by Dave Webb – linktr.ee/wavedebb
The Wave Debb Radio Show – nrbc.io/show/the-wave-debb-show/
Spikes and soul, they do not counteract – sometimes spikes are needed to transact. Sadly, because when one expects, they gird, to feel yet protect.
Featuring strings, drum kit, upright piano, double bass, acoustic guitar, birds, organ, and effects.
The Necrophile Hummingbird Netlabel presents Cultural Strains by Spore Designers.
“Dark Synthetic Music for Human Synthesizer”
Spore Designers are : HOMO | OresteS
When everything is possible, why do we make certain choices instead of others?
Experimenting with art—like music—is one of the most inspiring and transcendental things to do, at least for me. When you open new paths, traveling through unexplored lands, you are not here to plant a flag and colonize. Instead, you are drawing maps so that younger pioneers coming after you can reach these deeper places in the unknown and, in turn, open new paths themselves. Perhaps, just as Coil amongst many others did for us.
It’s more like opening your eyes, witnessing the light of a new day awakening. This expanded field of possibilities is a kind of call to all imprisoned musicians to break free from their cages.
Spore Designers is what happens when HOMO Met OresteS, but this music didn’t pop out of nowhere… In fact, it’s as if A Symbiotic Experience, rADio eNd, and Invisible Illusion form the basis of a triangle, and we are digging a channel through its center, leaving another dimension behind.
The music from Sequencing Life and Cultural Strains comes from the same source : the very first session I did with a sequencer—a Korg SQ-1. But each exists at different stages of evolution. While working on the tracks, refining and expanding them, I truly grasped the meaning of “spore”—how they can unfold, expand, mutate, and act like an endless spring, nearly infinite. Though, more often than not, infinity is simply the limit of our perception.
I wouldn’t say it’s exactly the same with other projects, but this one feels different—especially in the way rhythm is processed. It opened so many doors. It seems HOMO found the same approach I used in OresteS to emulate rhythm—thinking beyond fixed structures, outside any predefined framework. Not a mere pattern, but something closer to a pulse—like the play of raindrops, the wind drawing with tree branches, fire biting into matter, or the earth shaking through the bones.
We have a truly open horizon, free to go anywhere we like.
Now, let’s listen and see what happens in the next evolution.
Maybe you have a slight feeling of déjà vu ?
Imagine what it’s like to live in a world where most people imitate, instead of hybridizing, or even simply creating.
Poem on track 3 by Morne http://www.horsnorme.org/MONTREALEATOIRE/archaosesoterique.htm
Click. Click click. Click hold… click. Click, drag, release. Click click click. Click.
Featuring piano, synth, drums, organ, and choir.
Marc Lardon: bass clarinet and electronics
Andreas Glauser: Manipulated Generators, MOOG Sub Phatty
Mastering: Marc Lardon & Andreas Glauser
Artwork: Marc Lardon
All Tracks
Recorded at ML Studio Bad Ragaz
Recording: Marc Lardon
Painstakingly prepared, one by one – inevitably proceeding the preceding. The oven inducts (in a different way), to ensure each is evenly heated en route to their destination. The process balances uniqueness and uniformity, resulting in both a dietary delight and danger – cookies, by induction.
Featuring synthesizer, bell, flute, clarinet, strings, harp, drums, muted trumpet, and effects.
