You are the reason I believe this Reality is such a waste.
You believe the euphoria about a lie you are special.
You become the noise in the music of the universe.
You remain the same fantasizers of nice and fuck.
I wish you all be dead.
Part 8 out of 8 from Joy of Creation.
If you keep making music about discovery, we will make the Reality in which you live so miserable, you will not have any joy in exploring it.
The spawn of an alter-ego for this euphoria infested world of liars, to feed it a mandatory supply of garbage to make them fuck off, in order to have time for what makes it worth the effort.
The album is trying to disguise itself in what this Reality prefers and completely fails.
Part 7 out of 8 from Joy of Creation.
Released December 14, 2024 as free (cc) digital download and limited cassette edition.
It has been almost 30 years since Mantris shared music with the world. Together with Christoph Waelkens he was the driving force behind house outfits The Black Sun and Brown Hardware Inc. Their creative connection led to three consecutive releases in 1992 on cult label Elektron. A productive music career was forecasted, but Mantris vanished into thin air. Until early 2020…
I’m So Many People, his ambient masterpiece debut on Mahorka, encapsulates the idea that we all play various roles throughout our lives. A journey unfolds from darkness to hope. Compared to his earlier albums, this one is even more focused on sound progression, fused with melodies and chords. Anatoly ‘Tokee’ Grinberg has done an excellent job of comprehending and mastering this music to bring out the full range of the sounds generated.
“The album’s journey mirrors our own, from the masks we wear to the ultimate acceptance of our true selves. The journey to the deity is a personal one, and not everyone may complete it.”
Composed and produced by Mantris
Mastering by Anatoly Grinberg
Cover design by Mantris
Luneta Freedom Jazz Collective is an experimental jazz group from Manila, Philippines. Their first studio album “Ethos”, was recorded and released in 2015, followed by “Inland Empire” in 2017. In 2021 the project debuted on Mahorka with their third album, “Slaves and Masters”.
“Mga matang pumipikit sa langit” (translates to “Eyes closing to the sky”) is their fourth album and second on Mahorka, released December 7, 2024
“Mga pinagbabatayang kaisipan at paniniwala tungkol sa pinakapuso ng kalikasan ng tunay na nandito at umiiral, na nagsisilbi namang pinakasahig ng iba pang mga kaisipan at paniniwala.”
The album as a whole is grounded on the profound engagement with the foundational ideologies and convictions concerning the nature of that which genuinely exists and prevails, serving as the primary basis for all subsequent thoughts and beliefs that underpin human thought and belief. Offering a nuanced perspective, each moment delves into different facets of human cognition, reality, and perception, mirroring how foundational ideologies about reality shape and are shaped by these elements.
Luneta Freedom Jazz Collective are:
Hamzah Nubia – Guitar
Rahiem Tashan – Percussion
Althea Segunda Katigbak – Keys
Akilah Marasigan – Sax
Dustin “Xenokrates” Bones – Bass
Maleeq Ras Nashiem – Drums/Theremin
Artwork by Maleeq Ras Nashiem
Noisy and chaotic experiments with where the music starts in the presence of sounds.
Material which is not preferred is the definition of noise. What makes music become noise? When it plays something that is not expected?
What if nothing is being expected, but it is just an experiment of things that did not become music yet? A by-product of exploration of how to explain an idea, before it has manifested.
Part 5 out of 8 from Joy of Creation.
Refreshed from a year’s meditation and fuelled by a lethal combination of extra strong coffee and those lotus biscuits with the cream in the middle, Neko, the premier act to emerge from Bristol’s thriving Japanese language post rock/electronica micro scene (population 1) are back with “Windfall”, their second EP, following on from their highly acclaimed 2023 debut “King Louie”.
Like most second releases, it’s a more mature collection of songs than its predecessor (fewer songs about 5 a side football, more songs about complicated IT jobs and desperate attempts to avoid middle aged spread) that sees the band, now with vocalist Yuka Suzuki as a full time member, polish and develop their distinctive sound.
Teaming up again with producer Dom Mitchison, the EP’s four tracks are a vibrant melting pot of styles and ideas. Yuka Suzuki’s ethereal vocals are the one constant, through the dreamy “Stack Overflow” and “Kleshas” to the moody guitar lines and Donna Summer style synths of “Almost Forgotten”. The slow-building title track “Windfall” brings the EP to a pounding, cathartic conclusion.
The band will be undertaking a short tour towards the end of November to promote the release, with dates in Cardiff, London and hometown Bristol currently pencilled in. The “Windfall” EP is available for listening on Spotify and other music streaming services, while officially released on Shoredive Records (on CD) and Mahorka (cassette).
The Mahorka Edition cassette includes a whole exclusive B side of spectacular remixes of the original EP tracks by Asshole Galaxy, Tawdry Otter, Brainquake, popon and Suzuki.
Released November 22, 2024
P&L 2024 under exclusive license to Mahorka and Shoredive Records
Written and performed by Neko, 2024
Lyrics by Yuka Suzuki
Recorded and Engineered by Dominic Mitchison @ Humm Studios, 2024
Mastering of the original EP tracks (Side A) by Shawn Joseph @ Optimum Mastering, 2024
Mastering of the remixes (Side B) by Weldroid, 2024
Neko:
nekoneko.bandcamp.com
facebook.com/nekonekoband
instagram.com/nekonekoband
youtube.com/@nekobanduk
Asshole Galaxy: mahorka.org/artist/asshole-galaxy
Tawdry Otter: suitablybizarre.bandcamp.com
Suzuki: soundcloud.com/suzuki
popon: soundcloud.com/popon_tonichan
Brainquake: brainquake.bandcamp.com
An experiment with functions the composition and sound design take in communicating the idea of music.
All of the tracks share the same lead melodies and most of the patterns, but they use completely different samples.
Which part of the music remains the same? The ideas or the ways they are perceived? If the perception is different, how do you know the ideas were the same?
Part 4 out of 8 from Joy of Creation.
Hybrid Rain and Liquid Paper’s music is a unique blend of experimental and avant-garde styles. With James Hill’s expressive trumpet melodies and Hans Catstrup’s innovative soundscapes, the music explores unconventional sonic territories. It’s a journey through abstract textures and spontaneous compositions, merging organic and electronic elements for a truly distinctive auditory experience.
Released October 26, 2024 as free (cc) digital download and beautiful limited Digipak CD edition.
Hans Castrup – Electronics, tapes, field recordings, studio
James Hill – Trumpet
Carla Worgull – Digital processed voices on track 3
Martin Englert – Mastering at Elektromos Studios
Trumpet recordings at TCAB Studios by James Hill Recorded 2023.
Images by Hans Castrup
Artwork design by Ivo Petrov and Angel Draganov
An exploration trying to answer a curiosity-driven question – what distinguishes a combination of sounds from music?
Why do we like certain tracks and why do we make them like that in the first place? Experiments with engagement in music, to find out why the enjoyment that comes from listening has nothing to do with the joy itself.
Throughout the album, it becomes apparent that it has something to say. It is a communication.
Part 2 out of 8 from Joy of Creation.
The starting point of musical discovery, using the signature step sequencer of Fruity Loops 3.
Quirky and weird experiments with sounds, with no intent to tell anything at all. A fun activity for a five year old, having no other purpose than enjoying the endless ways to experiment with samples and composition.
The album develops the idea of engagement in music out of enjoyment, which turns the fun activity into something meaningful.
Part 1 out of 8 from Joy of Creation.
Released September 21, 2024 as free (cc) download and beautiful limited edition digipak CD.
“This, our second album, is a collection of synthesized short pieces.
Whether you deem them abstractions due to their strange harmonic contents, or figurative of strange places, is up to you. The key word here is “atmosphere”. They convey no message, they were not created with any intent.
In saying what they’re not, we’re saying they are pure imagination at play. They deal with mental images and perceptions, before language creates order – and falsehoods – out of the plasma of free association.
During their making we never discussed them, bar a few technical points ; never defined them, never worded anything. We never ever mentioned we were actually “doing” them, and really discovered them afterwards.
Of course, we will never succeed in saying nothing. We’re subjects. And the very fact we have to write something about it is the heart of the paradox. But at least we can try. We all deserve a good vacation from meaning. There are other forces at play, like sound.”
Following the spectral echoes of “Drifted Vol. 1” (on AFTER AFFECTS REC, France), Wahn returns, debuting on Mahorka, with “Drifted Vol. 2”, a deeper plunge into the abyss where despair looms heavier, yet faint glimmers of hope still emerge like distant stars in an endless night. The soundscape is darker, more cinematic, with grainy textures crackling like fractured memories. Lush, slow-motion atmospheres stretch into the void, embracing the listener in a weighty melancholy, where piano keys occasionally pierce the darkness like fragile rays of light, offering fleeting moments of solace.
In this second chapter, Wahn pushes deeper into the balance between hopelessness and the persistence of light. Cinematic undertones weave through the tracks, amplifying the immersive sense of narrative. The sub-bass resonates like a rumble from the earth’s core, making the body itself an instrument in this journey, grounding the ethereal melodies with a tactile, visceral presence. The ambient realms are thicker, more haunting, yet at times they break open to reveal a brief but tender embrace of warmth. Each track unfolds like a slow, mournful exhale, drawing the listener deeper into an intimate dance of sorrow and fragile hope.
Join Wahn as he continues this odyssey, where textures grow darker, the light more elusive, and the journey more introspective. Drifted Vol. 2 is a cinematic exploration into the profound depths of despair, with sub-bass vibrations and fleeting moments of light that make the experience as physical as it is emotional.
Composed, produced and mastered by Wahn
Artwork : Erwan Charier
soundcloud.com/Wahn
Released September 13, 2024
En “Funeral para todo régimen de creencias” exploro conceptualmente la conexión entre las pequeñas tragedias del día a día, y las grandes tragedias que afectan a naciones por siglos, en un proceso que integra interdisciplinariamente la respiración meditativa, la escucha profunda, la producción sonora, el dibujo y la voz expandida. Mi objetivo es honrar los sacrificios del pasado y reavivar un sentido de compromiso con él.
El proyecto sigue una metodología experimental de producción de hondo carácter interdisciplinar que retoma prácticas e influencias de las pioneras de la música electrónica y digital como Pauline Oliveros y Daphne Oram, y metodologías de creación de artistas argentinas enfocadas en la exploración vocal, como Constanza Pellicci. Además, se basa en la idea de la tesis número 9 que Walter Benjamin escribe en su “Tesis sobre la Filosofía de la Historia”, donde describe al ángel de la historia observando la historia como una gran catástrofe continua.
Sonoramente, habita en la intersección de géneros como la electrónica experimental, música neomedieval, noise, black ambient y dungeon synth. A nivel discursivo, se sitúa en los debates actuales sobre el papel de la memoria en Argentina, un país donde los debates sobre cómo se escribe la historia y el rol del estado en las tragedias cotidianas e históricas están reabiertos. Este proyecto busca contribuir a estos debates desde un compromiso cultural en la creación de sentidos ciudadanos.
El proceso de esta exploración implicó una indagación en técnicas de respiración y movimiento buscando encontrar los lugares del cuerpo en donde habita la voz para producir diferentes gritos y ruidos, entendiendo a la voz como un fluido que emerge del cuerpo en movimientos de contracción y relajamiento. Buscando no ignorar el significado de las palabras que se enuncian, realicé estas exploraciones vocales mientras improvisaba poesía declamada, al mismo tiempo que contemplaba dibujos y grabados medievales.
A través de varias sesiones, identifiqué conceptos recurrentes en las poesías, que luego traté digitalmente para tejer una narrativa sonora. Este trabajo dio lugar a un EP de 17 minutos compuesto por cinco escenas sonoro-poéticas. A nivel sonoro, el proyecto busca hacer dialogar transcripciones modificadas de música medieval y renacentista, marchas militares argentinas, sintetizadores, instrumentos digitales, música electrónica y ruidismo.
released August 29, 2024
“Ideas
between dreams and reality
concrete sounds and head in the clouds
look with eyes closed
listen inside/outside (mental/sight)
I wanted to mix field recordings and more “melodic” sounds, coming from instruments or atmospheres captured here and there
Play on passages, links between exterior and interiority
The sounds from outside: the landscape; the others being like words in the head, “inner melodies”
I tried to mix all this to create an imaginary place
The images came a little later, the tracks just finished, these spaces seemed obvious to me to clarify my feelings” –Philippe Neau
Music, master and pictures by Philippe Neau.
linktr.ee/philippe.neau
Orghanon is the solo venture of Sergio Calzoni, producer and musician active since the nineties in various musical outfits (Act Noir, Colloquio, ILUITEQ).
His 2015 debut “Figures In Slow Motion” (Eibon Records) seamlessly fused trip-hop sonorities with jazz, ambient and glitch elements. It was followed by soundtrack for the theatre performance “F_rankenstein” (2016), the sophomore “Retrospectre” on the cult-boutique Time Released Sound and, after a little hiatus, “Droneworks I-V” (2022) on the Italian label St.An.Da.
While 2023 and early 2024 saw some spectacular output of ILUITEQ (Sergio Calzoni & Andrea Bellucci), August 2024 sees the return of Orghanon with a debut on Mahorka, “Future in Motion”, an album which reconnects with the multifaceted sound that distinguished the first album of Orghanon, but in which the concept of motion becomes more dynamic and accelerated, compared to the static nature and slow movements of “Figures In Slow Motion”
Released August 22, 2024 as free (cc) digital download and beautiful limited edition Digipak CD.
All tracks composed and produced by Sergio Calzoni
Mix and mastering by Sergio Calzoni
orghanon.bandcamp.com
sergiocalzoni@gmail.com
Cover picture courtesy of Lukáš Krása (www.lukaskrasa.com)
Design and layout by Ivo Petrov & Angel Draganov
Executive production by Mahorka
mahorka.org
黄色い歯は嫌だけど、真っ白過ぎても胡散臭いよね
みんなはどんな歯が好き？
銀歯で生えてきた、親知らず
俺はそういうのが好き
Track Listing:
01. エリア feat. ID
02. Merge the lines
03. Steal the Moon
04. kill3baby
05. すごい！町中華ッ！
06. 夜の律 (“Inspired by ELDEN RING”)
07. すこ、うるセイやつら
08. 家系図を見たら
09. 眠たい
10. ちょっと小児科
11. ドレスノエティカ
12. async
Composed and Written by bb cream ljk
“エリア” Written by ID & bb cream ljk, Performed by ID
Vocals on other songs using Diff-SVC, MagicMic, and Synthesizer V
Artwork by 瀬戸一誓
It’s interesting to see how things have evolved over time with this project. With one member leaving and another joining, and the added contributions from another artist, this collaboration has been ongoing for almost a year now. Wilfried Hanrath from Germany, Jon Shuemaker from Virginia and LR Friberg from Sweden made this project come to life. Ahrien, the mysterious rapper from Greenland, has also played a part in this extensive collaboration.
Produced by Wilfried Hanrath, Jon Shuemaker and LR Friberg during 2023-2024.
Artwork and mastering by Origin_Blueprint.
Layout by Aria Argento.
Wusa, formerly known as Band Zoo, has officially adopted its new name – a moniker inspired by the rich history and philosophical teachings of the Khawagaka tradition. Khawagaka itself is a doctrine inscribed on ancient manuscript leaves from the Samasthamarta civilization. The discovery of these Khawagaka manuscripts has unlocked a gateway to delve deeper into the history and traditions that gave rise to this profound teaching.
The Khawagaka doctrine, along with its spoken language and script, was first introduced in the band’s previous album. This latest release delves even further into the origins of Khawagaka teachings and the culture from which they emerged. It also explores the impact of knowledge industrialization and technological advancement on cultural values and traditions.
Wusa’s musical project is part of Rully Shabara’s long-term artistic endeavor centered around the Khawagaka manuscript, which encompasses language, script, belief systems, mythology, philosophy, history, and culture. This ambitious project operates under the auspices of the Khawagaka Historical and Cultural Archives Institute, an independent organization dedicated to tracking, excavating, preserving, and disseminating all findings related to Khawagaka history.
The Wusa music group functions as a division within the Rijmana Council, tasked with interpreting Khawagaka teachings and culture, and popularizing them among contemporary society through modern mediums such as music, film, and other formats. The names of the Zugrafi script and the Zufrasi spoken language were also coined by the Rijmana Council.
