Noise and artwork by Karl Grümpe, 2025.
Everlasting mentor: Rene P.G.
For the loving memory of Maestro Popovski (2008-2025), a comrade, a companion, a surrealist, our beloved cat.
mai12.bandcamp.com
noise.mai12@gmail.com
Limited edition of 23 double floppy disks
Empathy isn’t always what it seems – it might simply be sympathy for the plight of another. Superficially, such efforts are still noble – but a deeper understanding requires genuine connection. Supposed empathy, sometimes ominously, fails to meet this bar.
Featuring piano.
Commencing Tomorrow
by Charles Rice Goff III & Michael LaGrega
1 Uniphonic Dawn
2 Fresh As Copperfield
3 The Way You Wish Them To Live
4 Ever Ever Ever
INSTRUMENTATION:
Goff:
Korg R3 Vocoder/Synthesizer
Yamaha VSS-30 Sampler/Synthesizer
Voice
Stylophone
Artiphon Orba
Boss RC 20X Loop Station Loop Duplicator
JVC TD-W303 Stereo Cassette Recorder
Sound Samples From Random Cassette Tapes
Tascam 424MKIII 4-Track Cassette Recorder
LaGrega:
Moog Matriarch
Oberheim Xpander
E-MU PX7 Command Station
LR Baggs Venue DI Pre-Amp
Fourness Electric Violin
Eventide Space
Mackie VLZ 12-channel Mixer
SOFTWARE:
Cool Edit Pro II Multitrack Recorder
Audacity Multitrack Recorder
Several Plug-In Audio Sound Effects
Amazing MIDI Wave-To-MIDI Converter
Musescore MIDI Scorewriter
Roxio 2011 Sound Recorder
PROCESS:
Goff and LaGrega recorded ninety-nine minutes of unrehearsed improvisations on January 2, 2026, at the Taped Rugs Studio in Kansas City, Kansas, USA. The duo produced four individual recordings during the session, each following its own unique trail of interactive atmospheres and moods. Goff edited these recordings into their current forms between January and February, 2026, cutting the total playing time by roughly half of its original length.
The elements of “Uniphonic Dawn” were recorded first, as a single, digital, monophonic track. Originally intended as a test of the wiring set-up, this piece ended up displaying some considerable interactive artistry between the improvisers. Goff retained its monophonic attributes in his edit.
The other three improvisations were each recorded digitally as well as on cassette tape, through a Tascam 4–Track cassette deck. The cassette recordings broke the instrumentation into tracks that could be edited individually. Staying as true as possible to the ebbs and flows of the original improvisations, Goff removed some of the less compelling materials, moved some other elements forward and backward in time, and sparsely added effects to various bits. No materials from any of the four original recordings were transferred to any of the other original recordings. No new elements were added to any of the original recordings. No artificial intelligence (AI) was employed in the editing of this collection.
THEME (?)
As Goff painstakingly worked to refine these recordings, he became more and more conscious of how they acted together to subtly reveal the rudiments of a metaphorical jumping-off point for a journey into a new beginning. (Of course, this metaphor was conjured entirely by Goff’s imagination, which has often been known to stray from traditional human behaviors.) Goff’s whole “new beginning” idea was reinforced by the fact that this collection of recordings was literally birthed at the beginning of a new year.
Released February 14, 2026 as free digital download and in limited audio cassette edition.
Long before her work was fully seen, Leonora Carrington lived in the margins of Surrealism.
First eclipsed by the figure of Max Ernst, then displaced – geographically, symbolically – to Mexico, where her world finally began to unfold.
A world shared with other insurgent imaginations, among them Remedios Varo. A world stubborn, occult, fiercely lucid.
The Acoustic Cornet takes its title from Carrington’s dark, delirious novel.
A book that asks a dangerous question:
Do “disturbed” women disturb because they are mad or because they hear too much?
The story follows Marion Leatherby. Ninety-nine years old. Almost deaf. Living quietly in Mexico, knitting cat hair, listening to the world fade.
Until a gift arrives: an acoustic cornet.
A ridiculous object.
A revelation.
Through it, Marion overhears what was never meant to be heard.
Her family plotting her disappearance.
Her future sealed inside a retirement home where nothing is what it claims to be.
From there, reality fractures.
Women inhabit houses shaped like igloos, cakes, fantasies.
A false doctor presides like a guru.
A libidinous abbess watches from the shadows.
Architecture bends. Time slips. Staircases multiply.
The institution reveals itself as a cosmological trap.
This album does not retell the story.
It listens to it.
Philippe Petit approaches Carrington’s text as one would approach a signal coming from another frequency.
Fragments. Resonances. Distorted transmissions.
The acoustic cornet becomes a metaphor for listening itself: an instrument that amplifies what society prefers to keep inaudible.
Here, sound behaves like Carrington’s prose.
Absurd, ominous, playful, cruel.
A black farce. An initiation.
An Alice in Wonderland whose mirror opens onto the occult.
The music wanders through hidden corridors, riddles, vertiginous descents. It inhabits the space between lucidity and delirium, between laughter and menace. Nothing settles. Everything listens.
The Acoustic Cornet is not a tribute cast in bronze.
It is a continuation.
An echo.
An invitation to lean closer.
To hear what was always there.
And to accept that once you listen this way, there is no going back.
Composed and produced by Philippe Petit
Cover artwork by Iglika Kodjakova
Things – even great things – are imperfect. But, when considered in context, and in space, they can still be appreciated. Reflections on surfaces, delayed over time, give rise to a variety of perceptions. By seeing the signal in the noise generated by the signal, we acknowledge the signal for both what it is and what it can be.
Featuring flute and effects.
Sometimes, we live. Sometimes, we rush, headlong into the many of the many and the concerns of the lesser and the greater and the in-between.
Sometimes, we live. Sometimes, we speed, from this to that to this again and this other this that was not even a that which we thought of.
Sometimes, we live. Sometimes – we breathe.
Featuring piano and orchestral strings.
Pickups and Porsches, on the same street,
>From the left and the right, in the middle they meet,
One belies labor, and one portrays wealth –
Both reflect life and all that is dealth.
Featuring a pickup, a Porsche, and effects.
About the track:
This composition was created for the “Stop all wars” compilation by “attenuation circuit” netlabel. You can listen to the entire compilation here emerge.bandcamp.com/album/–3
This track contains multiple field recordings such as me and my colleagues ignoring occasional air raid alert or me and my son discussing that air raids and explosions are over.
About the cover art:
I took this picture in Chernivtsi at the beginning of russian full-scale invasion. This was a time when many families were separated and these words resonated in me. The credit goes to whoever wrote this on the wall.
The Third Policeman was recorded live, without any overdubs, using computer, MIDI keyboard, and controller / 2025.
The album is a subtle allusion to Flann O’Brien’s absurdist novel The Third Policeman, reflecting its surreal and enigmatic atmosphere through sound.
There’s something strange – and clearly, not good. Life, stifled. Free expression, caged.
The next chapter is unwritten. Consider picking up a pen.
Featuring clarinet.
Finally, the origin is discovered – the home planet of counterpoint, the source of fugues. It was always implausible that such balanced beauty was chained to one planet – and now we confirm that these semi-symmetric vibrations are at home throughout the universe.
Featuring Bach’s otherworldly organ prelude BWV 649, chromatically shifted and with effects.
The Necrophile Hummingbird netlabel presents Sub Rosa by PIRATE Tapes.
“Mystical Music for Philosophy Lovers”
Recorded live the 28th October 2024 at the Cave Haven in Foucherans.
Guitar Hero : Studio 112
studio112.bandcamp.com
Disc Jockey : Yoshiwaku Mushotoku
yoshiwaku.bandcamp.com
“To think is always to experiment—not to interpret, but to experiment—and experimentation is always the present, the new, what is in the process of becoming.” Gilles Deleuze
Video Art Clip is here
youtube.com/watch?v=TQL3oqwGEX4
Dedicated to those who are changing everything with their wholeheartedly love.
Near, yet far – clear, yet tar. Square choruses roundly abound, whilst reaching angels fail to see. Grasp this – that explorations are manifold, within and without.
Featuring clarinet and effects.
Prior to performance, preparation is peremptory. Scalar approaches, diatonic and chromatic, essentially apply. Yet strange resonances also insert – and are just as necessary.
Featuring synthesizers and percussion.
Symmetry is not always obvious. Something can be symmetrical across more than one dimension – odd, but still beautiful.
Featuring synthesizers, percussion, electric guitar, arpeggiator, and Hammond B3 organ.
Acoustic violin: Dong Zhou
Voice: Vasiliki Stroli reading Joy Sorman, A La Folie in Greek (track 1)
Concept & Time Stretch: Peter W
Original pic by Peter W
:zoviet*france: – Hidden By The Wall (Wind Harp, Walltown Crags) – Peter W/Dong Zhou rework
This track is a reassembly of original field recordings made by :zoviet*france:, and used in their 2021 composition “Hidden by the Wall”. All of the source material was recorded by :zoviet*france:, and then reworked by Peter W for Dong Zhou.
live @ Grubenwehr Freiburg hq, Leipzig, 26.06.25
recording, mastering, photos and design by EMERGE
EMERGE is also & always der Bund des dritten Auges
