Super limited tape. A narrative-musical work, a Babylonian library in which sound and word give shape to an evanescent sonic space with infinite historical, archaeological, science fiction and future references. Etrusca 3D is a new band that merges two current Audio and visual artists from the 21st Century, Francesco Cavaliere and Spencer Clark. The album is the first to be released by Spencer Clark's label Pacific City Discs, as a subsidiary and in collaboration with Discrepant. Etrusca 3D is the juxtaposition of two imagineers friendship, as Francesco says, 'because I am Etruscan and you (Spencer) are 3D." There is a piece of the future of Etruscan civilization contained within this disc. It is with Spencer's remote viewing of a past and future creative culture and Francesco's birthright that we find a true insinuation of civilizations world body. --- Pacific City, 2021

Tracklisting: A1. O! Look Who’s Out on Parole! - 3:36A2. Listen to Me, Shirley! - 4:20A3. Beneath Discordant Skies - 5:24A4. They’ll be Here Soon - 8:22A5. Hat - 2:19A6. Cut It! + Cherry Blossom Polish - 5:48B1. Empty Vessels - 6:22B2. Amour De Ma Vie - 5:09B3. What’s This Mission All About - 2:32B4. The Fish Needs A Bike - 4:50B5. Enemy Ears + Cherry Blossom Polish - 8:58Saxophonist, poet and puppeteer, Ted Milton, brought his band Blurt to the 4th Tomorrow Festival with an unusual musical scene. He has recited 5 of his poems before the performance. The full set of 19 tracks, including poetry readings, are included exclusively in the special edition of the digital album. --- Ted Milton / 主唱 vocals, 萨克斯 saxophoneSteve Eagles / 吉他 guitarDavid Aylward / 鼓 drums --- 录音 Recording: 曾君 Zeng Jun / 罗绿野 Luo Lvye母带处理 Mastering: 刘英 Liu Ying制作人 Producer: 涂飞 Tu Fei摄影 Photography: 陈悦湘 Chan / 许益铭 Bug @ Dafa设计 Design : 尹思卜 Midori Yin

Preceding a debut album proper for the label due soon, '17 roles (All Mapped Out)’ takes us on a journey from a ringing railroad crossing and domestic rustle, thru quietly glorious inner landscapes and into reverberating x pastoral strings and lambent pads that coalesce to attune the ear to claire’s aural purview with half-heard riffs on friends, life in the digital realm, and the afterlife. Set to the slightest but most transfixing shifts in tone and texture that possess an incredible capacity to bring you to tears, often unexpectedly, her everyday sounds are magnified to gently distort their meaning and heighten their sensuality, effectively glimpsing the firmament from far away in a sort of waking dream gaze. As with claire’s myriad releases during the past few years, her music’s low-key treatise on loneliness, friendship and existentialism has uncannily come into its own this year, appealing to atomised souls seeking connection thru music. This one in particular feels to strongly capture and characterise a mix of fleeting and torpid emotions in a way that evokes the passage of time and the fragile sense of place in the world like nothing else you’ll hear on the scene, like a rare orchid poking out from the crumbling facade of ambient convention. --- Shelter Press, 2021

The first cover and acoustic guitar feedback album by Shanghai guitarist MAI MAI.The first in a series where MAI MAI focuses on the feedback and textures of favourite Beatles song.'It should be a noon of 1997, when I was in the 2nd grade of middle school, I saw the music video of the Beatles “I Want to Hold Your Hand”on MTV channel. A live performance, black and white. It was the first “thriller” The Beatles brought to me.   The second “thriller” was in 1999, when I was in grade one of high school. The day before, I bought the so-called “white album” in a cracked cassette shop. That day I went to attend a kind of “little campus writer seminar” with my schoolmaster and a senior. On my way back home by bike, I began to listen to the double-cassettes. After this “thriller”, I talked with the senior who also loves rock music about grouping a band. But neither of us had learnt or even had any instrument. We just talked about it and thought we were in a band for quite a long time.   In 2001, I was a restudy student in a boarding high school. On the Christmas Eve, I listened to John Lennon and Yoko Ono’s “Happy Xmas (War Is Over)” lying in the bed in my dorm, which was rebuilt from a shower room. I cried out. It should be count as a “thriller” brought by the Beatles, the third one. After that, it never happened again.' MAI mai April, 2016 --- 卖卖 MAI MAI uses: Martin M-38 acoustic guitar Yamaha hs8 powered speaker system Rode NT-5 pair microphones --- Released: Zoomin' Night Released June 1, 2016

In A Bog is a series of electro-ambient vignettes strung together like faded raver beads. Wobbling synths, plastic hand drums, and garbled signals slide in an out of focus. Cockeyed rhythms swirl into mellow atmospherics. Doofy samples bubble up from the bottom of the Internet. Beat Detectives hijack body music, cut it up, slow it down, and put it back together like Frankenstein with arms for legs. --- Goaty Tapes, 2019

Keijo plays Woodie Guthrie's songs. Recorded between April 2019 and October 2020. All instruments, effects & voice by Keijo. --- Ikusiuus Records, March 2021 Edition of 60 copies

"KENMORE / LINDORFF EXCHANGE marks two collaborations from 2009: one pairs New Orleans-based radio producer and DJ Joe Shriner with multimedia artist Evan Lindorff-Ellery, based in Kingston, NY; the other features Lindorff-Ellery and Gary Lindorff, an author and poet living in Vermont. Though performed and recorded independently, these two pieces share a common approach; they are informed by the specific acoustic environments in which they were made and exhibit an ambiguous passion for the liminal space between interior and exterior, both psychologically and literally.The title of KENMORE EXCHANGE refers to two locations on Kenmore Avenue in Chicago. Using a shoebox cassette recorder, Shriner captured various sounds at DePaul University’s Lincoln Park campus. In the basement of a building that has since been razed, he recorded himself playing a persistent F minor chord on one the school's practice room pianos, enclosed by brightly-lit concrete walls and a single window. In Lindorff-Ellery’s airy apartment (five windows total) six miles due north, the two manipulated these tapes along with field recordings Evan made as he biked between the university and his home.LINDORFF EXCHANGE is a document of Lindorff-Ellery and Lindorff's late afternoon, mid-winter experience in a cabin in the Vermont woods. No artificial lights were used in the creation of this aural portrait, and each lighted and diffused section of the cabin became darker as the recording continued; needless to say the objects merged with each other. Somehow, very faint classical music appeared on this recording, and there may or may not have been post-production tape manipulation. What we have is what we’ve got. --- Regional Bears, 2021

'This EP cassette was put together as a footnote to 'Cantus, Descant', a more raw and improvisational representation of the composition process in its early stages. These were actually the very first recordings I gathered when I began working on this record in August of 2017. A week or two before I moved from Canada to LA, I did several recording sessions at Pacific Spirit United Church in Vancouver and Chapelle Saint-Louis in Montréal on two beautiful Casavant organs from 1964 and 1916, respectively. 'Ruminant', from 'Cantus, Descant', comes from the Vancouver sessions and is "thematically" related to the 'Laurus I-III' material here. Nothing from the Montréal sessions actually ended up on the LPs, but I vividly remember recording the 'Accord of Voice I-II' series. I had just returned from six weeks in Europe and went in to do the first set of recordings the very next day at 7 am, before the church opened to the public, and my mind was kind of a mess. 'Accord of Voice I' was the first thing I worked on, it is the seedling of 'Cantus, Descant' even though it didn't make it to the album, and I still perform it for myself sometimes when I'm starting with any particular organ as a way of getting my head in the right place.' -Sarah Davachi --- Featuring the Casavant pipe organs of Pacific Spirit United Church in Vancouver, BC, Canada (ca. 1964) and Chapelle Saint-Louis in Montréal, QC, Canada (ca. 1916) Recorded and performed August 2017 by Sarah Davachi --- Late Music, 2020

Lament & Rejoice is a debut album by a Finnish experimental musician Juho Toivonen.Dubbed on to a 30-year old Hardcore Punk tape found from Toivonen's rehersal room in Pori, the hissing album experiments with continuous sound created either with clarinet, viola, synthesizer and chants - or just with piano and synthesizer.In these two pieces you'll find sounds and energies being emancipated for the purpose of unity.Thank you Charlotte.Performers: 1. Lament - Juho, Saija, Antti2. Rejoice - JuhoArtwork by Dima RabikCassette layout by Kryptinen Käki

Gnarly, ruff cut up sounds from actually cut up flexi discs. Direct to 4 track from Brighton's garbled gonk purveyor Duncan Harrison. No mercy! Released on Robert Ridley Shackleton's Cardboard Club

Olive and Naka's collaboration pairs two musicians working with lo-/mid-fi sonics and modified/self-made instruments. Through extensive recording and touring, the duo has honed a patient aesthetic, allowing each other's sounds to unfold with minimal, sure-footed interactions, akin to moving along a path up the mountain for which this release is titled. Naka's sources here consist mainly of "long loops of sagging/distressed cassette tape winding into and out of similarly distressed portable tape players, with real-time analog processing." Olive uses magnetic pickups and analog electronics. This leads to sounds of uncertain provenance, playfully emerging from a thick analog haze, building toward surprising, subtle crescendos. This is work that results from, and produces, an active semblance of stillness.

Melting Bridge 融化橋 is John Tucker and Pia Hsieh. With one half hailing from California, and the other, Taipei, this peculiar meeting of minds led to the forging of an incredible musical bond.  The Taiwan-based ambient/experimental duo have formed a unique set of sounds from their extensive experimentation with beautiful acoustic Eastern instruments such as the Guzheng, Suona, Dizi and more modern digital tools such Environmental Sounds, Drum Machines, Prepared Electric Guitar and Synthesizers. "The environments we inhabited during the recording process really shaped the sound. Tainan, the original capital city of Taiwan— that houses antiquity in a sonic environment that is both rich with the sounds of Taoist ceremony as it is with internal combustion engines — inspired a balance of religious influence and abrasive textures. Taipei’s polarity to Tainan, as a metropolis that is teeming with fierce energy of expansion and rising as a monolith of modernization produced a sense of conflict and reconciliation." Described as a conflict between tradition and modernity, Melting Bridge 融化橋guides the listener into a continuum of time and space, with the vessel being their incredible 9-track full-length debut "我們從明天來" (We Come From Tomorrow), out now on Evening Chants.  --- Recorded and Produced by Melting Bridge 融化橋 Mastered by Madzine Artwork by Pia Hsieh Design by Jasmine Ho --- Released on Evening Chants

Unreleased material from the one and only Emil Beaulieau, rediscovered after more than 30 years in storage. An entirely chance online interaction with Frans de Waard (Vital Weekly, Korm Plastics, Kapotte Muziek) lead to adhuman acquiring a master tape of unreleased 'Private Performance' extracts recorded in 1988 by Ron Lessard. These tracks were originally submitted to Korm Plastics for inclusion in a series of 7" releases centered around ‘Musique Concrete Composers', but sadly the project was never completed and the recordings have been held in Frans’ archive ever since. Seemingly inspired by the discovery of this tape, Frans took to further digging, emerging with another cassette - an audio letter from Emil to 'Franz' sent sometime during the same era. If the 'Composer Series' material gives us Emil with his more serious, institutional hat on then the audio letter represents him at his most mischievous and wildly roughshod self. Nothing but Emil kicking back at home with his gear, croaking intermittent greetings, questions and the occasional jibe to Frans amidst a sea of jagged loops, twanged junk and destroyed noise. Raw, hilarious, unedited and joyous, the material was too good to remain private and forms the B side of Korm 88 at both Ron and Frans' suggestion. Korm 88 is not just a red-hot slice of classic Emil Beaulieau action - it is a document which reveals new context and insights into the early working practices of an artist who is rightly considered a living legend and pioneer of underground noise as we know it. Adhuman is very happy to release this document from a true personal favourite, inspiration and since 1988 (at least) AMERICA'S GREATEST LIVING NOISE ARTIST.  --- Music recorded by Ron Lessard, 1988 Cassettes provided by Frans de Waard 'Composer Series' cassette digitised by adhuman 'Audio Letter' cassette digitised by Frans de Waard --- adhuman, 2021

"On the 1st of October 2020 I had a dream I was part of something. A late night open mic jam at an under-water jazz cellar, literally a flooded space underground. I set to recreate that experience Home Alone, with what sounds that looked like it. Evidence of those sessions is available online By November I had completed building a version of a machine for accessing the dream. The Dream Machine, however, solved nothing as a bigger parallel problem had simultaneously revealed it to me that such simulation could not replace, or entirely replicate, the corresponding shared experience of Real Life Dreaming. The time was to release what was possible to summon of the Dream Experience, and a CDr was hastily produced and given a limited-edition life of its own. What was supposed to be a relief-like revelation of one near-future utopia, the experience wavered "between unbridled relief and woefully unrealistic optimism" (NMM). On the 17th of December 2020 a Tallinn and Helsinki based online radio station made an entirely baseless and untrue announcement that in 2021, '2021' would receive a Second Life from the seminal Tampere record label Ikuisuus idaidaida.net/episodes/mental-alaska-2020-12-17 Therefore, rather than allowing for the shattering of the Dream Image of a better near-future, the premonition acted as a guide for the Dream Vision from an isolated experiment to a wider world of shared experience, hence hopefully somewhat fulfilling the Dream Prediction itself." - BE, Helsinki, 2021 Boom Edan is Tuukka Asplund.

New live recordings, oriented with only two instruments, viola and frame drums. The album was recorded during a period of many live sessions between 2019 and 2020 with just a Rode nt4 stereo microphone and one of the very first Sony mz md. The sessions were amplified. Maninkari is an instrumental duet combining compositionand improvisation with traditional and contemporary instruments : viola, cymbalum, frame drums, santoor, synthesizers and drums, since 2006. --- Frédéric Charlot - Viola Olivier Charlot - Frame drums --- Ikusiuus Records, March 2021 Edition of 80

Six solo recordings from Aoi Tagami, Li Song and Xiang, three young chinese artists supported and mentored by Zhu Wenbo of Zoomin' Nights to highlight the thriving young experimental scene within China --- Li Song, a native of Xi'an, now living in London, uses his laptop to make improvised music and was active in Beijing's experimental/improvised music scene from 2014-2018. Tokyo-based Aoi Tagami explores songs through the use of her own voice and words. Since 2014 she has been giving performances in diverse locations, from outdoor settings to theatre spaces. Xiang, sound worker, working with field recordings, electronics, improvisation/composition of objects/body, performance based on aural exploration. She lives in Chengdu. --- Released: Zoomin' Night Released: October 2020 Mastered by Xiang Designed by Liu Lu

Leila Hassan and Francesco Cavaliere’s Sea Urchin blow new age kisses and woozy thought bubbles about Egyptian martial arts in a Arabic and Italian over crimped cubist computer dub and ambient styles   Tahtib is food for your mystical post-exotica musical landscape - hand drums played by computers fall with a squelch into the swamp, horses neigh at dub bassists, there’s water everywhere full of urchins and tarot cards and just when you think you need to breathe this record breathes for you. Tahtib’s future ambient glyphs are matched with the rapid-fire staccato "taks” of imaginary tahtib sticks (tahtib is an Upper Egyptian martial art which was enjoyed and practiced by Leila's grandfather Baba Aly). Leila Hassan sings seamlessly between Arabic and Italian (and possibly more) breathing pure soundart alchemy across Francesco Cavaliere’s library of sound effects and textures. You remember Sea Urchin? They added their signature aquatics to Osaka-native 7FO’s 7” for Bokeh back in 2017. The duo of Leila Hassan and Francesco Cavaliere debuted a totally unique expression of ‘library music as future music’ on a series of small run cassettes before their proper debut LP Yaqaza was released on legendary Belgian imprint Kraak (Pan American, Limpe Fuchs, Typhonian Highlife). This caught the ear of Bokeh designer svengali Patrick Savile, who adds his vision to the LP cover. Francesco has also released solo explorations on Hundebiss (Kelman Duran, Lil Ugly Mane) and Edições Cn (Dolphins Into The Future). --- Sea Urchin are Leila Hassan and Francesco Cavaliere Recorded and mixed by Francesco Cavaliere Design by Patrick Savile   ---   Bokeh Versions, 2019

"Growing up means your mental models of the world are more likely to match observable results in the 'real world'. Or to say it differently: Growing up means, your plants are not dying anymore. I am not sure we have grown up quite yet, but maybe embarking on a 25 minute free form improvisation, with the tape rolling, relies just as much on what you know, as trusting the things you do not know yet. Just as much being in touch with the grown-up as the child in you and the partner that joins you on that journey." Daniel Stolle and Erno Taipale met in 2017 at an exhibition of old houses in Hämeenkyrö, Finland. Having similar thoughts about making music they decided to play together. Eventually it happened in autumn of 2020. Two sessions at Daniel's working room produced these improvisations. Opal Satellite's music is mostly calm and sparse, at times creepy, pastoral, kosmisch. It could work as a suitable soundtrack for a breezy summer night when the mist floats upon the moonlit lake surface. Or maybe it conjures your very own images, based on the observable world of the grown up or the free, imaginery of the child. --- Ikusiuus, 2021