Precious things are often hidden. We choose to protect what we treasure by shielding it from prying eyes, and more. To a point, this is rational – but to a broader point, it’s inevitably best to share what we have.
Featuring alto saxophone.
Smell, like sound, permeates a space. But smell is physically inculcated onto and into the substances it reaches, where sound simply bounces off. Imagine experiencing music as a smell, allowing the sound to stay with you.
Featuring bass clarinet.
Coming from opposing directions, seemingly in disagreement – the triads belie tribalism. Within their cozy group the harmony is clear, but when considered in broader context it becomes uncertain. Yet this conflict is illusory – though they duel, the outcome of their combination is in fact a larger and more beautiful harmony than before.
Featuring electric keyboard.
Once upon a time there were two mice. Despite their size, they imagined a world where they could do whatever they wished – where all other forces submitted to their designs. They had this dream quite frequently – essentially, every night.
Featuring metronome and saxophone quartet – baritone, alto, tenor, and soprano.
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.
What’s in a name? That which we call a channel, by any other name would be as off-topic.
Featuring improvised electric keyboard.
“This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before.”
So it goes.
So *something* goes. For now – until it becomes something else. Yet, still – the same.
Featuring bass clarinet, and breathing.
released January 29, 2026
Periodically, things happen. The specifics depend upon whom they are happening to. Regardless, it can be understood as the union of two sets – that which is expected, and that which is not.
The expected is best met with preparation – practice makes perfect, when a thing can be practiced.
The unexpected requires something else – it asks of us a certain height. To achieve what we can, and to go beyond it, even – especially – imperfectly.
Featuring clarinet.
Local optima aren’t – plurality runs counter to true highs. Yet such sweet spots are satisfying nonetheless, and worth indulging in from time to time. Ideals, subjective or otherwise, are still a matter of perspective, and benefit from such reflection.
Featuring electric keys and effects.
A baffle makes all the difference. If baffled, consider – shifted. Though much remains similar, a new perspective offers altered wavelengths.
Featuring overdubbed tenor saxophone.
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.
Hung – over.
…
Perchance, to dream,
with visions of a better.
A better?
Sometimes, stopping is
good –
a suspension of maladaptive behavior.
Sometimes, stopping is.
Featuring clarinet.
A physical device, with keys pushing hammers via levers, was utilized. The relative position and velocity of the hammers was measured via optical sensors, digitally recorded, and wirelessly transmitted. These numerical records were reconstituted via software and samples of previously recorded audio – more numbers.
You are most likely hearing the result after it has been stored and transmitted several more times, and used to trigger very particular vibrations of air molecules via whatever digital audio hardware you have available. Finally, your ear receives those vibrations and converts it back into electrical signals, which are interpreted by your brain in a process that is still largely inscrutable.
You imagine the experience as acoustic, an organic occurrence of natural sound. But the organic experience only happened once, and we are left with this artifact – a very particular arrangement of bytes.
Featuring improvised piano, mediated via many bytes.
Know your audience, know yourself. Introspect, or obsess – a strange loop come unfurled. A journey, a place, a time to face. Now gnawingly, no notes know – yet.
Featuring improvised clarinet.
The Necrophile Hummingbird netlabel presents Mantra Wave by rADio eNd
“Trance music for tribal music lovers.”
This album is just a solo improvisation recorded at the Cave Haven (Foucherans) in 2022.
I would have enjoyed that someone upgraded or transformed it, but maybe it wasn’t necessary.
Sometimes the raw thread is the real fabric.
I coined the term “Mantra Wave” with this album but already in previous albums I was using it when talking about to keep the whole improvisation instead to reduce it to the essential.
I won’t define it here — you can sense it yourself.
Since my first steps with CorteX, I’ve been trying to create psycho-active music more inspiring than the usual standards.
Since the Yoshiwaku shamanoise tracks, I’ve focused on the power of repetition to carry the listener into trance.
Since Multiple Personality 3, with its overlong ritual tracks, we left behind the notion of “standard tracks” to explore durations usually found only in instrumental minimalism, serial music, or certain techno constellations.
Was rADio eNd simply listening to the Earth, amplifying her voice?
Turn off your brain.
Let the wave wake your soul.
I made the artwork without AI, but disliked it because it looked too much like something made by an AI.
So I asked an AI to update it as if it had been made by a human… Well… Then I only kept the statue to edit my artwork.
The circle closes.
Special thanks to the creator of the Longo dance for the Mbouiiiii!!!!! concept — a joyful reminder that one can free body and mind through vibration, breath, and surprise.
About healers, guides, and those who teach freedom
In France, more than ever, many people claim to heal everything with countless techniques, generally for money.
Some may offer better listening than doctors trapped in the machinery of big pharma — doctors who, despite their knowledge, can truly resolve only part of the world’s illnesses.
But many “healers” are only selling illusions, playing with people’s hopes, offering dependence instead of autonomy.
Fortunately, some too much rare ones genuinely take care.
They show not how to rely on them, but how to stand on one’s own feet.
They guide the person back to their own inner tools — until the guide is no longer needed.
This album is dedicated to those who do not heal minds and bodies, nor fix energies,
but who teach each person how to do it themselves…
and to all those who learn alone, quietly, without any master.
Ten years ago – another time. Simpler? Not really. Earlier, and with different players playing a different game. A new player at the time – Jazzaria – now marking its first decennial. May it see decades to come.
Featuring improvised clarinet.
Searching – stumbling. Seeing – staring. Blankly – blinking. Blinding – blitzing. Being – buzzing. Feeling – futzing.
Featuring improvised piano.
