Inscrutable, ineffable, and just beyond our ken. The range of understanding, from without and from within – is not quite up to snuff to grasp all that there is to know. The Right Amount of Purple will illuminate the show.
Featuring something, with effects.
Luka Prinčič recently also known as Prince Lucija (Crucial Pink, ex-Nova deViator and Deviant Funk) created a pile of music for a certain genre-transgressive stage show. On these originals and reworks of various degrees Prinčič is joined by bouquet of members from the collective The Feminalz. The shuffling team of collaborators presents itself in the usually peculiar and ambivalent light on the new productions, stealing melodic and textual images in a mix of instrumental club tracks and lyrically generous songs that function both as performative moments and repeatable musical hooks.
DRAGX̶FUNK is a transgenre mutation, a fluid entity, jagged pop, electro-funk, techno-cabaret, a schlager, and soft alternative, queer to the core, satire and tragedy, sharp and fun indulgence for the dance of bodies and brains, activism and hedonism, which would all like to steal your attention.
DRAGX̶FUNK is pronounced /dɹæɡɑːfʌŋk/.
credits
released December 5, 2024
Luka Prinčič · music, production, arrangment, recording, mix
Maja Delak · vocals and lyrics on Stoj Đoni, Hočem več, and Tossing Lawrence
Nataša Živković · vocals and lyrics adaptation on Lubricate Me and Ljubo
Veronika Valdés · vocals on Handy One
Daniel Petković · vocals and lyrics on Jst ga res ljubim
Leon Marič · vocals and lyrics on Aplauso
Jan Rozman · vocals and lyrics on Minica
Loup Abramovici · vocals on Heaven
The Feminalz · back vocals and co-writing
Josipa Tadić · graphic design
Maruša Hren · printing & usb booklet
Luka T. Zagoričnik, Luka Prinčič · executive production, promotion
Just Start The Funk contains percussion samples and music parts from Michael Jackson’s Don’t Stop ‘Til You Get Enough.
Handy One is based on “Why Don’t You Do It Right” composed by Kansas Joe McCoy, lyrics adapted by Bela Pikalo from “My Handy Man” by Andy Razaf and first recorded by Ethel Waters.
Lubricate Me lyrics adapted by Nataša Živković from “Shave ‘Em Dry” by Ma Rainey
Echoes is based on Olof Dreijer – ‘Echoes From Mamori’
Aplauso composed by José Antonio Farias Mackey as “Esmeralda” originally performed by Javier Rodriguez.
Heaven written and composed by David Byrne and Jerry Harrison
Music initially written for the stage show “Image Snatchers present: Mad Jakale in a Film We Haven’t Seen” by Maja Delak premiered on 9. December 2023 and produced by Emanat.
produced by Emanat emanat.si
released by Kamizdat kamizdat.si
with support from the City of Ljubljana
“Pain recordings” is a complex sound collage that delves into the fragments of memory emerging from personal relationships. Blending electronica, industrial, drone, noise, and bass music, the album offers an abstract and evocative experience, where traces of human connections manifest in structured forms.
This double album plays with the abbreviations M. and J., drawing from Robert Smith’s approach in the track “M” from “Seventeen Seconds”. The song references Albert Camus’ novel “La Mort Heureuse”, where the character Patrice Mersault feels jealous of his girlfriend Marthe’s other lovers, beginning with the phrase Hello image.
The album’s focus is not on raw emotion but rather on the ways memories—fuzzy, distorted, and at times disorienting—filter into consciousness. Each track acts as an autonomous yet interconnected fragment, reconstructing the vestiges of human interactions. Industrial landscapes, deep basslines, and the raw textures of noise create an unsettling atmosphere, where sounds echo past moments, reconstructed and deconstructed in a sonic quest for meaning through drone.
The music of “Pain recordings” embraces a fragmented sonic aesthetic, in which rhythms and melodies emerge and disappear like memories dissolving over time. It’s a work that captures the incomplete and fleeting nature of memory, offering an experience that is as challenging as it is hypnotic. Listeners are invited to navigate these passages of broken sounds and saturated textures, finding their own interpretations in what lingers between the sounds.
Rather than presenting a linear narrative, the album unfolds as a mosaic of sounds that invite reflection on the fragility of memory and how past events are reconstructed in fragmented ways in our minds. “Pain recordings” is, ultimately, an experimental sonic exercise, where relationships and memories become raw material for an exploration that feels as cerebral as it is emotional.
Joan Lavandeira aka randomVOLT
(Barcelona, Spain. December 2024)
Events occur – time passes. What happened still happened, yet enough stillness gives separation. Ideally, this detachment is partial – a boon of timely perspective, allowing appreciation of other things while retaining connection to that which was.
Featuring clarinet.
With over 15 edited releases, the Portuguese artist dgty finally arrives at MiMi Records. He is one of the few national artists who embraces otaku culture and, along with it, blends breakbeat and lolicore to create an experimental sound full of textures.
In this EP/Single with just two tracks, dgty gives us everything: fast and frantic beats, exploring lolicore with distorted, high-pitched voice samples, and the use of loops and glitch atmospheres to create a sense of deconstruction, maintaining a constant tension.
Lolicore EP is the name of this record, and right from the title, we can see the irreverence that reflects the provocative attitude of the music, almost as if it were a sonic transgression.
An EP perfect for fans of experimental electronic music and otaku culture.
Radiovision vs. Earsheltering
EARSHELTERING: 20 years of noise
earsheltering celebrates is 20th anniversary in 2024 with a various artists release as a tribute to RADIOVISION.
Thanks to all artists & friends who supported this project & also EARSHELTERING since 20 years, especially Alkbazz providing a wonderful artwork within short timelines & Françis Baume for Amazing sampling from Radiovision to create interludes between each tracks.
The release is available as a free virtual double disc available on archives & bandcamp(s). Disc 1 is dedicated to Radiovision serie and disc 2 is dedicated to Radiovision Eveil serie.
1 video clips by CorteX is also made available.
Radiovision is an educational program which was launched in 1955, combining a school radio program with a slide show and a booklet. Forgotten today, it was a great success until the 1980s.
The slideshow and booklets were received on request by schools a few weeks before the radio program was broadcast. The colored slideshow pictures were larger and in a higher definition than the television image could offer. Paintings, engravings, manuscripts and old photographs were rendered with a higher quality than television couldn’t reach. It was therefore particularly useful for Geography, History of Arts and Natural Sciences classes.
The teacher had to manually ensure synchronization between images and sounds, triggering the transition to the next slide at each the sound signal.
During the 70s, in addition to the combination of sounds and still images, radiovisions became part of a more complete multimedia system, from an educational and tools point of view, and made up the radiovisual file. Each week, two programs from the “Radio-awakening” series would be associated with the radiovision, developing complementary aspects of the subject dealt with, along with educational documents gathered together in a file (15 to 20 pages of program content analysis, bibliography, texts, photographs, maps, etc.).
From the 1974-75 school year onwards, a flexy 7 inch disk would be part of the package for a few files, and then it developed to become more systematically; in the 80s, audio cassettes took over the flexy 7 inch disk.
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
Igor Levshin – Virtual ANS, Guitar, Upright Electric Senkov Bass
Alexei Borisov – Various Synths, Guitar, Radio
Sasha Zayats – Toy Electric Drums
Kirill Makushin – Voice, Accordion
Music / Performed / Recorded / Mixed : Fake Cats Project, 2024
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.
ENJOY
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.
Calvary, the latest work from the Japanese project Mimamamis, is a deep dive into the abyss of harsh noise, a true auditory calvary that pushes the listener to the limits of sonic endurance.
The album, consisting of just three tracks, brings chronic feedback, massive distortions, and extreme saturation. Each track is an attempt to force the listener to confront the discomfort of repetitive, brutally compressed sounds.
Mimamamis makes no concessions, and the result is a work that approaches the concept of calvary: an unrelenting journey that is difficult to endure, yet fascinating at the same time. In terms of structure, the tracks of Calvary are minimalist, but not in a conventional sense. They slowly build in heavy layers of noise, creating a sense of suffocation and oppression.
In summary, Calvary by Mimamamis is a radical work within the harsh noise genre, distinguished by its ability to provoke discomfort, pushing the listener to confront their own emotional resistance to the brutality of the sound.
Hyakunenme EP is the latest release from Gnyonpix, who dives into the world of chiptune in an innovative and engaging way. Combining the retro aesthetic of 8-bit music with a contemporary production style.
The four tracks are a true journey through time, capturing the energy of classic ’80s and ’90s video games, but with an added layer of sophistication.
While chiptune is often associated with instrumental themes, Gnyonpix incorporates vocals in a subtle yet effective way, as seen in the title track “Hyakunenme,” which also gives its name to the EP.
Hyakunenme EP is an album that captures the essence of chiptune and 8-bit music, offering a true tribute to the digital aesthetic, but with a forward-thinking approach to the future of electronic music.
Fifty Years and beyond since… “El Computador Virtuoso” by José Vicente Asuar.
This album, “TECNOASUAR”, was created to commemorate the 50th anniversary of “El Computador Virtuoso”, an educational album produced by the Sound Technology Research Group of the Faculty of Musical and Performing Arts Sciences at the University of Chile. The project was conceptualized and led by José Vicente Asuar, an acoustics professor at the university, with Víctor Rivera, an Electrical Engineering and Sound Technology student, responsible for the design and implementation of the devices and systems, and Cristian Vergara, a Composition student, contributing to the stylistic development of several pieces. Other students from the Sound Technology program also collaborated at various stages of the project. The album was produced using a PDP-8 computer from Digital Equipment Corporation (DEC) between January and March 1973.
José Vicente Asuar is one of South America’s most important electronic musicians. He created the first computer exclusively for music in Chile (the COMDASUAR) and, in 1958, established Latin America’s first Electronic Music Studio at the Pontifical Catholic University of Chile.
This homage, tribute, recognition, and act of memory celebrates Asuar’s contributions, his unique approach to sound, his way of “interpreting” and teaching, and is dedicated to all who took part in that initial project, especially to José Vicente Asuar and his legacy. The sound-based archival work for this project was realized by music producer Johannes Concha (aka S3T3) and Pablo Castex (aka DJ Castex) between January and March 2023, honoring the 50th anniversary of “El Computador Virtuoso”. We believe in the importance of preserving the sonic heritage of our territory, understanding its impact, and appreciating the far-reaching influence of this achievement, as well as highlighting Asuar’s immense contribution—a vast sonic archive full of recordings and frequencies, inviting us to explore and embrace new sounds.
The development of the COMDASUAR and Asuar’s pedagogical work in music and sound are equally groundbreaking. In his teachings, Asuar connected the musical traditions of Bach, folklore, and popular music, explaining in a didactic way the principal ideas of the theory of sound and acoustics, and placing them within reach of all. Still, Asuar’s work neither began nor ended with “El Computador Virtuoso”; he had already established an extensive career as a professor and composer at the University of Chile. Fortunately, he continued producing material and sharing his knowledge until his passing in 2017.
Pablo Castex
(Santiago, Chile. Noviembre / November 2024)
download album / download flac / donate to zaman international*
release date: October 5, 2024.
Saxophone and objects: Raymond MacDonald
Saxophone and objects: Robert Burke
Double bass: Una MacGlone
Theremin and cello: Jessica Argo
Percussion: David Robertson
Piano: Maria Sappho
Recorded by Murray Collier on April 10th 2024 at La Chunky Studio Glasgow
Mixed and Mastered by Robert Burke
I remember from childhood; my favorite section of a river walk we’d do most Sunday afternoons. The path became stonier, it started twisting, the trees and undergrowth became taller and denser, enveloping the space. I loved the feeling that I was leaving the familiar. I would always imagine that the path itself could decide to change and then I could move to a different river, a new town.
Rob is coming from Australia to stay with me, and we make preparations to record together. Emails and phone calls ensue as I try to confirm where and when to record, and who is available. The dates, times, location and personnel evolve and change, and even on the day itself I am not quite sure exactly who will be there and what instruments will be played. As the day unfolds people come and go as their schedule permits. Surprise appearances are made, and the music ebbs and flows in response to the arrivals and departures and, of course, the banter.
My train was canceled so I find myself in Glasgow for an extra day. I need some clean clothes and more importantly some piano preparations… Off I go to the local friendly hardware man who is baffled by my explanation of looking for things for inside the piano. I find a lovely orange three piece suit in the charity shop. I spill coffee all down the front of said new suit and I dig about in the piano with clothes pegs and steel rods… grateful there are string players with some rosin to share.
Going out to work with my bass is moving down three flights of stairs, making tiny changes in angles, carefully carrying, left hand tracing the wall on the way down. We move together.
My experience of this collaboration feels like an extension of friendship. It began with Raymond through our ongoing musical and research collaborations, then extended to Maria, and more recently to Jessica and Una. I met David on the day of the project! The lead-up was centered around the idea of coming together to create something – improvisation is how we function, and that’s exactly how it unfolded. We improvised every step of the way, from planning to recording. The music we created was entirely improvised, with each of us bringing our shared belief that improvisation lies at the heart of our creative expression. We thrive on the chaos of getting the studio organized and then arriving. Excitement about what is possible. Creating new extensions and understandings of our relationship with one other. Total trust in the music, the process and each other. Is there any other way?
Out of the door, one of hundreds of ritual journeys walking towards the space, not knowing, never knowing exactly how it will be. The walk is time traveling, the space connects to all of the other improvisations, and creative connectivity. The people, the stream of music.
Searching over a bridge crossing the river, a tunnel over the trains, bike over the road, following a feeling and a burrito.
I returned to lachunky, or as I call it “my living room” for what must have been the 100th time. I am used to rehearsing and recording fixed repeatable protest songs for activism… but I was so excited as the room filled with string instruments, synthesisers, saxophones, hardware store contraptions, childrens toys, world instruments and multiple saxophones to play whatever arises – playing the theremin led me to weave my arm over, round and under other players, our limbs tangling like branches, the cables like vines…
From start to finish two constants keep our confidence and spirits high. The friendships that we all share, and our trust in the process of improvisation. The music is improvised, and any situation that arises becomes an emergent feature of our recording and gently folded into the music. We trust this process completely and implicitly. Our friendships not only mean we trust each other with our artistic vulnerabilities and give each other permission to be what we want and need to be in the moment, but our friendships also facilitate the music to flow from the joyful community we are part of. We look forward to and revel in the joy of being together in the music. Improvisation and community are what makes this encounter joyous and rewarding.
Crossing the road, through the tunnel, the cobbles are uneven. On the wall someone has graffitied ‘shaking voices raised together are loud and beautiful’
As I dash off to my new train I realize I have forgotten my purse… another missed train.
