Vocals / model in the cover: Mist Spectra
All music composed, artwork collage, vocals only in track 15:
Sábila Orbe – /
track1 collaboration with Innocent Darkness.
track4 collaboration with Innocent but Guilty
track6 collaboration with Black Market Brains
Japanese electronic and improvisational artist TaUYu DeShiI crafts an atmospheric soundscape inspired by a journey through Okinawa’s remote islands.
“MY MEMORY” was created mid-trip, the album blends ambient electronica with fluid improvisation, evoking a sense of movement and discovery.
Soft synth textures and organic sound elements mirror the islands’ mystique, capturing fleeting moments of travel. The music radiates exoticism, not as a concept but as a lived experience.
Fans of ambient and minimal electronic music will find this release immersive—an invitation to drift through sound, just as the artist drifted through the islands.
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
……………
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)
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/
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.
The Necrophile Hummingbird Netlabel presents SEQUENCING LIFE by Spore Designers.
“Electro 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.
Video Art Clip is here https://youtu.be/7s1ZXYiAgS8
[UK]
It has been 20 years since Heitor Alves released under the alias Atom Size Elephant on MiMi Records.
Now he’s back with Undiagnosed, an album made up of two tracks that explore ambient, electronic, and improvised music.
The album, marked by ethereal textures and unpredictable rhythms, reflects the search for clarity in chaos. It is a fusion of structure and spontaneity, offering a reflection on the complexities of both human and sonic existence.
Undiagnosed is an intricate dialogue between technology and human intuition, offering a deep reflection on the complexities of existence. One example of this is the track “into the depths of loneliness,” which has a moment of near silence in the middle… allowing the listener time for personal introspection.
A truly interesting listening experience. A must listen!
Insectorama proudly celebrates its milestone 200th release with a special Various Artists compilation that embodies the label’s deep commitment to dub techno. This landmark edition brings together eight exceptional tracks from a roster of visionary producers: Dubtrak, Depthbarhat, Markus Masuhr, Davor Tosovic, Leopoldolll, Lotech_Hijack, and Narcotic303 (Roman Ridder Remix).
Marking this occasion with a fresh perspective, each track has been reinterpreted and reshaped by Dubree into a set of exclusive edits that breathe new life into the originals. The result is a cohesive yet diverse sonic journey, where atmospheric textures, deep grooves, and hypnotic rhythms merge into a timeless dub techno experience.
A tribute to 200 releases of innovation and underground sound, this special compilation stands as a testament to Insectorama’s enduring dedication to the genre—a deep, meditative space where echoes and reverberations sculpt the future of dub techno.
Dive into the sound and celebrate with us!
![Chang diz – UNFAIR]](https://f4.bcbits.com/img/a2602420901_10.jpg "Chang diz – UNFAIR]")
UNFAIR, is a sonic journey that breaks boundaries, blending elements of electronica, ambient and lo-fi into an immersive experience.
The project captures the essence of modern otaku culture, where digital and physical realities merge. While each track is a sonic landscape that feels both futuristic and nostalgic, they are quite similar, taking the listener on a journey through their most vivid thoughts and memories.
The invitation is extended to explore the fantastic world of Chang Diz.
