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cobs, an essential figure of avant-garde cinema, and I had over-a-decade-long collaboration. We first performed fo his Nervous Magic Lantern project at the Argos Festival in Brussels in 2007. Before flying to Europe, Ken invited me to the top-floor loft on Chambers Street in TriBeCa, where Ken and his wife, Flo, have lived and worked since 1965, to experience a private screening. He turned on the apparatus and the image flashed onto the screen: geometric patterns — something of a Rorschach inkblot — rotated as if in a whirlpool, and three-dimensional imagery pulsed with strong flicker. What was weird was that the images did not adhere to the surface of the screen. They stood out, almost floating, like holograms. Then, my eyes started catching physical shapes in the depth of the abstract patterns such as faces, hands, the surface of an oil spill, and they appeared and disappeared like ghosts or doppelgängers. “How does Nervous Magic Lantern work?” I asked Ken. The inventor's answer was something unexpected: "I don't know! I dreamed it and found it through experimentations then stuck to it. I'm not that technical." Well, he is an artist who creates a phantasmagoria of mystery; let the neuroscientists explain the mechanism. The self-made apparatus contains a spinning shutter, a light source, and lenses set in a wooden frame. Ken inserts his hand-painted circular slides between the light and lenses and moved them gently with his hands. The lenses enlarged a tiny portion on the slide, while the spinning shutter gave the flicker effect. Compared to Ken's other works, which are often filled with unflinching political criticism, the imagery of Nervous Magic Lantern is patently abstract, and it examines how our brain regulates our perceptions. In Jonas Mekas' Movie Journal, Ken once said, “We’re stepping towards a deeper incline, something challenging our notion of the way things are. Something impossible.” Elsewhere he stated, “Eisenstein said the power of film was to be found between shots. Peter Kubelka seeks it between film frames. I want to get between the eyes, contest the separate halves of the brain. A whole new play of appearances is possible here.” Nervous Magic Lantern offers up this sort of play in stunning hallucinations, strange visions dancing on the screen. Ken's request for my music was to play “sounds of daily life.” He explained that the project “is an escape,” and that he felt “guilty not having any messages or reflecting the real world. By using environmental sounds to surround us,” he continued, “I'd like to be rooted in the real world." Around 2014, I noticed that Ken had a sizable collection of cassette field recordings he had amassed over the last several decades. Street noises in Chinatown, conversations with friends, or any sort of uncategorizable sound around him. I was fascinated and decided to use them as a springboard for composing. One of the unique aspects of Nervous Magic Lantern is that the visual stays abstract while the sound is able to adopt meanings or a narrative sense derived from the quotidian sounds. I wanted to emphasize that point and add almost a sense of documentary. More than that, I simply loved the aural depictions of Ken and Flo’s life. Those also trigger my memories with them. Over the years, during summer time, Ken, Flo, and my wife, Makiko, made a habit of going to their favorite restaurant in Chinatown. Other times, Ken and I had morning coffee at a Puerto Rican restaurant just below their loft. Life and art are inseparable, breaking into one another incessantly. Ken is an artist who always envisioned the impossible. I wanted to see if it's possible to present that vision as something universal, something whole, something running through everyone’s life. A soundtrack for life in the depth of illusion. That is perhaps what this album is. This album was recorded as a soundtrack for Ken Jacobs' Nervous Magic Lantern at Spiral Hall, organized by Sound Live Tokyo, on November 3, 2015. It was probably one of our best performances. Before the performance, Ken explained to me the selected slides he uses and the ordering he employs, so that I would better understand the flow. Some slides are black-and-white and some color. For a given performance, Ken selects 10 slides or so. However, he might play with just one slide for the entire show or change the order — there was plenty of room to improvise. On my side, I also had a structure and the order of tapes, quite independent from Ken's visual. But I made the system easy to extend or shorten, duration-wise, in order to respond to Ken's ordering and mood. Lastly, I wanted to mention Flo's role, as she is deeply involved in Ken's creative process; as he says: “This is a mom-and-pop business.” From the first day of working together, she was always there with us and took care of all practical matters. Ken is a dreamer and thinks and works intuitively. But Flo — an exceptionally beautiful woman in and out — is rooted in the real world. Not just a pragmatist, however, Flo advises Ken on artistic decisions. Ken always asks to hear her thoughts, as I did as well. As film critic and their decades-long friend Amy Taubin once described it, "Florence Jacobs is nothing less than a producer of Ken Jacobs' cinema." What a perfect couple, and it was an extremely joyous journey with them!

It has taken me over 50 years to write these words. Since my initial successes in the 1970’s many have urged me to “release” unpublished works from the same period, pieces that featured the VCS3 synths or the amazing Serge (which I regret not having used enough) or pieces featuring soundscapes from my classic environmental composition style. For reasons of persistence and empathy, Lawrence English at Room 40 was the most persuasive; now, nearly 3 years after our agreement, a new publication composed with materials from that inceptive period has come to fruition. While I’m condemned to live evermore in the past, it is the future where I continue to put my remaining creative energies. Nonetheless, in the creation of these 2 “new” works I did all I could to avoid sentimentalism or get buried by my own history and the musical riches of the late 20th Century. Relistening to these forgotten fragments of old tapes included inspiring and useful surprises.

A note from Lawrence English
 In late 1975, Annea Lockwood realised her composition World Rhythms. It represents one of the first creative works exploring the potentials of field recordings in a multichannel setting. It is a landmark work and a composition that, on its 50th anniversary, has gently carried forward over the decades, but arguably now is only starting to come into true focus, and be understood for exactly how revolutionary it was. World Rhythms was a work concerned with a practice of sustained listening into the world, and beyond. It expanded outward from many of the compositions and themes Annea Lockwood had been exploring since the 1960s. It sought to take those learnings and apply them to a new set of terrains and circumstances. Moreover, it suggested a sensing of sound that was drawn from profound curiosity, matched only by patience. In 2019, I reached out to Annea and started a conversation about a revisitation of World Rhythms. My initial proposition was a simple one: a re-issue that was remastered and touched up, reflecting Annea’s thoughts on the piece in this moment. The conversation quickly spun outward though, and before long Annea had asked if I might be interested to revisit the master tapes with the thought that the work could be revived and prepared for performance presentations going forward into this century. On listening to the materials, during the period of restoring the audio from the original master tapes, I was struck by the profound dynamism of the recordings. Each of the sound-fields held an attentive flux, a rhythmic pulse that was breathing. Each one a story of the pulses of the world, and our universe, that spoke to a possible reading of reality that sits in excess of our everyday capacities. A poetics of pulse if you like. Here then is the result of those conversations and also the presentations of the piece that followed - several of which Annea has overseen herself. On this newly rendered imagining of World Rhythms, new relations, listening paths and ways of exploring her sound-fields are brought into focus. The core of the piece remains, a prioritised zone of listening, but emerging from deep within it new sonic formations emerge, a reminder of the dynamism of our energetic world and its surroundings.

For more than six decades, Beatriz Ferreyra has been building worlds out of sound. Born in Córdoba in 1937 and based in France since the early 1960s, the Argentine composer entered the GRM at the invitation of Pierre Schaeffer in 1963, contributing alongside him to the foundational texts and recordings that would define an entire discipline of listening, among them the Solfège de l'Objet Sonore. From 1970 onward she has worked independently, composing in absolute fidelity to her own ear. Issued by Room40, A Distracted God gathers three works that span more than two decades of Ferreyra's practice. As Lawrence English writes in his note for the release, her compositions inhabit a space between the living world and the subliminal zones of the unconscious - new realities forged piece by piece from fragments of places and things we already know, reedited and refocused until they become something we could not have imagined on our own. Material agnosticism is the through line. Tape manipulation and digital transformation sit alongside one another as expressions of a single patient attention, sound followed wherever it leads, freed from its origin and allowed to guide the composer's curiosity rather than be guided by it. It is this indifference to medium, and the lifetime of listening that underwrites it, that lends the work its unmistakable personal quality. Souffle d'un petit Dieu distrait (Breath of a distracted little God), composed in 1987 and revised a decade later, was an IMEB commission. Tierra Quebrada (Broken Land), for violin and electroacoustic music, was written in 1976 on commission from the French State for the A.C.I.C., Paris. Together they form a microcosm of Ferreyra's wholly consuming practice, the work of a fearless, relentless maker for whom the totality of what sound can do remains forever front of mind. Cut at 45rpm for added playback fidelity. Mastered by Lawrence English at Negative Space.

"The Sound Leaves" began as an interactive sound performance and installation based around humans’ impact on the environment and how that impact is altering the sonic landscape of our world. As ecosystems change due to climate collapse, the sound of those ecosystems changes too. "The Sound Leaves" used an amplified collection of autumn leaves to encourage participants to listen closely to how their actions alter the sounds of the fallen leaves by walking on and through them for a period of time. By amplifying these sounds, processing and mixing them live, and playing them back via a set of speakers directed at the installation, the performance heightened the sonic changes participants’ actions create. From that performance, a sound piece by the same name was composed using the recorded sounds with additional instrumentation. It was installed as a temporary exhibition on site at Philbrook Musuem of Art during the winter of 2023, emanating from a grove of oak and elm trees. A year later, as the climate crisis worsened, those same sounds were reprocessed and reconsidered, creating a more ghost-like approach, "In Collapse."

Sampling and processing Asuna's arsenal of toy keyboards, computer music pioneer Carl Stone transforms seemingly throwaway sounds into chattering, plunderphonic memories before batting them back to the Japanese producer for further editing. You can tell that 'Imu Plastos' was developed with live performance in mind. Sound artist Asuna, who's released on 12k, Faitiche and White Paddy Mountain, is already notorious for his "100 Toys" and "100 Keyboards" performances, wherein spirals of cheapo instruments are repurposed to create complex, textured electroacoustic compositions. Stone fits into the chain well; they performed together for the first time in 2024 and Stone worked on the audio in real time, taking mental notes for studio sessions that followed. In a more controlled environment, the duo pushed themselves to rethink the process, reversing the flow so that Stone would create the sound and Asuna would sample. The finished album is a set of improvisations from these sessions that keeps rebuilding and deconstructing itself. Early on, you can still hear the creaky source material, but the first two tracks disappear in a matter of minutes - 'As Aural Consent' is the first substantial production and it's far more mysterious, 11 minutes of ratcheting noises and disquieting squeaks. 'A Salsa Nocturne', meanwhile, is a wind tunnel organ jam that you'd never guess was made using a bunch of kid's instruments and on 'Ulina as Ancestor', the duo burrow deep beneath the earth's surface, searching out eldrich resonances and sublime chaos.

Carlos Giffoni crash lands on Room40 with an ambitious new album of collaborations with Lea Bertucci, Greg Kelley, Mabe Fratti, Zola Jesus, Ben Chasny (aka Six Organs of Admittance) and Sepultura drummer Iggor Cavalera. Since 2010, when Giffoni was a relatively prolific member of New York's nu-noise elite, heading up the No Fun label (and the legendary festival), he's only released two albums: 2018's 'Vain' and 2024's meditative addition to the Ideologic Organ catalog 'Dream Walker'. Giffoni wrote the outline for 'Pendulum' in 2024 and 2025, quickly sending off the sketches to a handful of friends, some of whom he's been working with for decades. Under-sung hero of the New England noise/improv scene Greg Kelley turns up on the title track, for example, and opens up Giffoni's pitchy synth drones with a brassy fanfare that's a million miles away from his work with Nmperign (or on Kevin Drumm's extreme music milestone 'Sheer Hellish Miasma', fr). We don't remember if Chasny ever played No Fun Fest, but he was certainly knocking around at that time. So his contribution to 'Axis', gurgling synth sequences that follow Giffoni's own, close a loop between noise, psychedelic synth music and folk that the nomadic, genre-hopping underground mainstay has been signaling towards for years. And elsewhere, Giffoni sends out the signal to more recent contacts, roping in Guatemalan prodigy Mabe Fratti to offer her touch to album highlight 'Dermis' and tapping the unstoppable Lea Bertucci for some of her immediately recognizable tape manipulations on 'Dos'. Fittingly, it's old hand Cavalera, who's seemingly on a mission to collaborate with the entire scene right now, who plays us out, roughing up 'Whirlwind', Giffoni's muckiest cut in years, with the kind of laptop-bent noise that kept us going back to his Merzbow collab 'Nocturnal Rainforest' last year. Did we mention the whole thing's mixed and mastered by Jim O'Rourke? Well worth a peep.

Recorded in 2007 and 2008, Cursory Asperses was created with cassette tape recordings of water sounds from various rivers, streams, lakes, beaches, and pools, combined with direct to tape instrument recordings from synthesizers, an organ, cello, piano, and bowed instruments. Instead of traditionally mixing these, at the time we were interested in software, using free Mac OS Classic programs such as Audiosculpt and Soundhack. Before we had a DAW, before VSTs, we used non-realtime convolution processing through software, using the water recordings as an impulse for the instrument sounds. The instrument sounds were "arranged" (by adding silence before, during, or after) in layered, visual swathes, to create an audio interpretation of the movement of water and waves, slowly evolving and shifting, for a meditation on deep and focused listening. Opposed to passivity, where sounds become lost in distant tones and layers upon layers are misinterpreted as single, meaningless tones. Or, it's just as meaningless as the passing of water, the flow of rivers - the crashes of sparkling ocean waves, all those sounds that we recognize. The tones are unpolished, left in their fuzzy form, with the high noise crushed into the deep. Behind the swells, and under the depths is a longing, or a lack thereof. It's passing by, no different than it was years before.

When you’re creating something loosely referred to as “art” with another person, you’re mining the depths of minds and experience, searching connections with pasts, each of us producing from a different place. Communication exists as unspoken and simultaneous, more carnal than collaborative, and dwelling rather than saying. We all miss that, wrapped up fantasies of perfectness and lovesick doves. Youth, how fleeting and naive. "Created by commission for the University of California at Irvine as a sound companion for an exhibition of 13 different 14th Century manuscripts. The original pieces existed as 13 different parts for each individual piece of art." Or so the origins of the original release in 2009 on Students of Decay state. What seemed real was a myriad liquor haze, fabrication, or imagination. Embellishment is equivalent to invention, and that moment when you can’t tell the difference between dreams or reality (I surely can’t remember which is which now) is important - and must be noted. I remember pouring over 14th century art, utilizing unauthorized library passes, and being witness to the trajectories of two individuals on divergent but somehow-crossing timelines. Originally recorded in 2007-2009 (?) by Danielle Baquet and Will Long, with backpacked gear, garage photography, sleepless nights and skipped work. I brought the tape and made the loops, she brought the laptop and the pen and paper. Try to look at it like this. Recorded in stereo, then split into two tracks for each left and right channel, reversing one side and adding reverse reverb, and the other long reverb and then reversing. Making each stereo again, then putting back together and blending each left and right together to make a stereo track again. This was an age of hybrid experiments between analog tape loops and digital processing, to render a new path, for better or worse. Somehow this correlated with a pad of scribbled poetry - whether original or quoted (one can never tell), a few random phone numbers, and the omnipresence of long-toed shoes in the 14th century paintings. “How befitting, like Georgia O’Keefe’s flowers.” What all comes down to is this - that sometimes those paths of yours and theirs cross for a time - and only for a time, and in that time, you’re there in that same place. It doesn’t mean that you know the other person, or that you ever will. But maybe, just maybe, you’ll be looking for the same thing at that moment, and that’s what you’ve shared, in many different ways, in different directions; backwards, equivocally.

A note from Cleared Our approach to making records has always involved an exchange of individually created sounds, which are joined together through live improvisation, studio recording, and the use of diagrammatic visual scores. Over the last several years, we have been interested in expanding very small fragments of these discreet pieces of audio into long-form compositions. This process has resulted in a new approach to how we build tracks from the ground up. In this particular workflow, one of us is largely responsible for supplying the main cache of sounds, and the other is responsible for the processing and sequencing of those sounds. As we developed this kind of working relationship, the nature of the material has ventured into a palette that is more electronic. This is perhaps a result of the "collage" aspect of how the audio is arranged inside of a digital environment, as well as our continued discovery and use of new digital processing tools. We are constantly attempting to extract as much as possible out of an initial collection of audio, which typically includes field recordings, synthesis experiments, bits of acoustic instrumentation, and found sounds. In many instances the original sounds are manipulated far beyond their recognizable characteristics, which creates new and unexpected results. We also share a great personal interest in utilizing sounds with different levels of fidelity, as we both enjoy the unique traits inherent in various recording formats. The artifacts and destructive compression of antiquated digital recorders, and the pristine qualities of modern studio technology both contain, in different ways, our own intimate relationships to such devices and spaces. We believe this is reflective of how we associate and remember sound, which is through the peripherals of its delivery. In the context of Cleared, this interest is pursued to further the poetic and gestural features of our music, and to create records that are infused with visual imagery, memory, and the physical environments in which we find inspiration. Lustres is the most detailed and refined output of our studio practice using this method of exchanging sound material. The four tracks present a mood that, for us, is indicative of a kind of rolling celestial atmosphere. Simultaneously, there exists both a subterranean and starlit quality about the music. To us, it is not unlike the imagined terrain of a distant meteor or orbiting asteroid, alternating between the extremes of light and temperature as its path is slowly carved in a dark vacuum. It is music for contemplation and quiet reflection, as these are the states of listening we have come to greatly appreciate in our personal lives, and as the space in which we are most happy to have our music experienced. Lustres is a document being released as we near 15 years of the Cleared collaboration, and we hope it offers listeners a chapter of our story that, while rooted in our past material, advances the core discipline of what we have always pursued as our central theme: Patience.

Meditations is a set of 8 works based on the experience of meditation practice. Music made for both meditation and reflecting the realities of a life of daily practice. The breath, the quietness, the listening, the distracted dissonant and consonant thoughts that pass through. The texts throughout the pieces are fragments of the Buddhist Heart Sutra, the shortest and created from a mixture of traditions and sources, produced long after Buddha's death and meant to be chanted or sung as a ritual and personal meditation. The experience of meditation, so often covered in mythology and one dimensionally peaceful symbols, is in fact a complex set of traditions in all cultures and has roots in indigenous cultures world wide and involves the limitations of thought as well as the quietness of the mind as a source of understanding and health.

The Buddhist teachings that are in focus in this album are in a sense a sequel to the record Rituals of 2015 in that they are adapted as Meditations that cross and combine traditions with any attempt consciously to synthesize them into a new whole. A conversation between traders, in the form here of musicians , languages, sound sources and the peace and struggle of maintaining a real meditational practice and living in the chaos and violence of society as well as accepting the world as it is, with all of the internal conflicts and release and rise of tension.

The musicians on these pieces also are recorded live in a group setting listening to each other with a shared space and character I create and through this listening the connections that form the final piece are made.

The Heart Sutra which I read in the last piece of the 8 is a translation which has been collaged by many schools and cultures that adapted the teachings to their indigenous religions. Most likely first traded along the Silk Roads , and internet of its time 3000 years would have been written in Pali, a pan-asian language and transcribed from Sanskrit and Hindi sources and later translated into Chinese, Japanese, Korean, Vietnamese and eventually Greek, Arabic, Latin and global languages in the 20th century.

The bonus track is a live mix (called a Metta Mix) of a performance and collage of all this material and other new pieces, performed in a virtual avatar world called Second Life for a live audience who listens and. attends in their own avatars, as I stream the concert. This music is closer to my personal experiences of meditation, with a collage of ideas passing through me, returning to the breath or vocal tones , distractions, physical pain , internal quiet, increased listening and sensory focus that moves from imagined , real and virtual connections with the technology. All pieces on this set of recordings are a version of this in some ways, with the mix being something both from me and for those that listen.

Meditations is both a document of practice, past and present and an experience of listening, both personal and the connective mix of us and all the things that are not us.

Following our 2024 self-titled release, Nick and I were compelled to make another record, expanding on the distinctive sound world we have found as the duo Driftwood. Grounded in the unique instrumentation of two microtonally re-tuned pump organs, alongside clarinets and guitars, the sonic landscape of Driftwood has become a welcoming place for us to inhabit together. The distinctive characteristics of these instruments, as well as the challenge of playing multiple instruments simultaneously, have become a frame we've leaned into more and more, trusting the vitality of their combined resonance to lead us further into uncharted paths of improvisation. For our second album, we wanted to incorporate additional elements from each of our solo practices into our sound: modular synth, effects pedals, electric guitar and contact mic’s (because playing two instruments at the same time wasn’t enough for us!) In ‘Maps’, electronics are subtly worked back into the original improvisations, saturating the live instrumentation with bass undertones and signal processing, pushing the sound into more otherworldly realms. Sometimes the pieces hint toward song-like forms, with repetitive guitar ostinatos lulling the music to the edge of familiarity, while other times the drones and harmonies blur, creating the ground from which glimpses of folk-like melodies surface, as if from a long-forgotten dream.

“Elemental View” is a work in six movements by pioneering composer Ellen Fullman for her Long String Instrument and The Living Earth Show. The expansive installation inhabits an industrial sized space with 136 strings, precisely tuned and configured for this multi-movement piece. Listening to the music of Fullman’s singular creation is akin to standing inside a giant musical instrument. The result is a music at once ancient and utterly new, environmental, and folk-like yet orchestral; immersing the listener in a transportive glistening atmosphere. “Elemental View” invites the listener to discover, as if with a magnifying glass, the details of the physics of string vibration itself. Fullman bows the instrument lengthwise with her fingertips while walking, playing multiple strings at once. As she walks, upper partial tones unfold at different rates, in proportion to differences in string length, imparting an undulating wave of continually shifting overtones. The notation for the Long String Instrument contains both temporal indications and spatial choreography, as specific harmonies emerge at distinct locations along the string length. Invention and discovery are at the core of Fullman’s work. To produce percussive sounds on the otherwise drone-based instrument, Fullman designed and fabricated the box bow, shovelette, and shoveler, which play three, six, or nine strings at once. Varying techniques with these tools produce either open ringing tones or closed dampened ones. With their laser focused precision and virtuosic ensemble playing, The Living Earth Show brilliantly executes the rhythmic and harmonic complexity of Fullman’s composition. In the movements “Environmental Memory” and “Concentrated Merry-Go-Round”, Fullman incorporates Travis Andrew’s primary instrument, the guitar. Andy Meyerson and Fullman accompany the guitar in duo playing box bow and shoveler. For “Surface Narrative in Four Parts”, Meyerson also applies his percussion mastery to the santur, a Persian hammered dulcimer. The santur’s unique tuning is derived from the extended microtonal partials of the sequence played by Fullman on The Long String Instrument.

From Justin Broadrick: The theme of this recording is the invisible world, and one's (my) need for it. It's necessary for me, this idea of the invisible world, if I am to function on a daily basis. I find comfort in knowing that this is all not just us here and now, that there's something else around us. That there's something within us, that isn't just this frail skin and bones and the immediate environments we drag ourselves around. I am sure since I was a child, that within me I am many, I am more than this. I surely can't be just this, so I am motivated by the fantasy and/or promise of more...

Quantum mechanics unfolds an intricate realm of limitless possibilities and probabilities, eluding easy definition. It paints a picture of the universe vastly different from our perceptible reality. What captivates me is the lens through which I perceive sound, akin to the principles of quantum physics—I don't merely hear the audible, but rather, I extract elements to construct novel auditory experiences. My profound interest in science, particularly quantum mechanics, originates around 2008-2009 during a resurgence of enthusiasm for string theory, (10-33cm released on ROOM40) hinting at the prospect of a comprehensive theory of everything. The notion of existing within 11 dimensions, as opposed to our familiar four, held a mesmerizing allure. Lacking a background in quantum mechanics intensified the challenge of my exploration, yet I stayed attuned to emerging theories, albeit at a surface level due to time constraints. The advent of the pandemic granted me the opportunity to immerse myself in the intricacies of quantum mechanics, with a particular focus on the bizarre phenomenon of quantum entanglement, which stands as one of the most enigmatic aspects of modern physics, alongside gravity. Embarking on this intellectual journey presented a steep learning curve, leaving me in a state of bewilderment for the initial six months. Yet, amid the confusion, I gleaned a profound insight: the intrinsic nature of probabilities within quantum mechanics means that feeling adrift and perplexed isn't a hindrance but rather an advantage. It becomes a preparation for the myriad possibilities and uncertainties that define this captivating and eccentric realm. Moving forward to 2021 brings me to the four sources of inspiration for the Entanglement project: the fluidity of time, the principle of entanglement, the Copenhagen interpretation and many worlds interpretation. Three iterations have been created so far with visual artist Markus Heckmann: Entanglement AV, Entanglement XR, Entanglement Dome and finally, a fourth one, a series of four albums entitled “ Entangled quantum states”. Finally, I leave you with this quote : ““Bohm believed the reason subatomic particles are able to remain in contact with one another regardless of the distance separating them is not because they are sending some sort of mysterious signal back and forth, but because their separateness is an illusion.”

Parasymbiosis – the ability of two separate organisms to exist closely together I have long pondered the concept of connectedness in relation to life’s existence. The Dalai Lama teaches that destruction of one’s neighbour equates to destruction of oneself. In contrast, modern Western culture has placed the individual at the epicentre of existence – to the detriment of non-humans and humans alike. Ecological Memory influences present or future responses of a community; it is this shared memory that enables organisms, objects and the environment to connect to each other, and to the other. What happens when a community or ecological system loses this memory, this connection? The systems begin to break down; intergenerational memory evolves in rapid short steps, culture and connection becomes unrecognisable. Time speeds up. Yet with the naked eye, the universe reflects slow time. Its very distance provides a sense of stasis. Understanding the night sky could very well be the vastness of time we have forgotten through our ecological memory, our loss of the visible difference between the likes of night and day; non-referenceable and dictated by intangible rhythms that exist beyond the cyclic elements of nature. Through Parasymbiosis I imagined sounds of the inherent connection between the earth and the universe. Contemporary society has rendered invisible the heritage of the night sky and what it teaches us. The wonder and awe it inspires, in its pure, unadulterated form untouched by light pollution and modern satellite activity, has always informed non-human and human life cycles and human culture. In modern times, only 40% of human beings can still see the Milky Way. We have forgotten that the dark sky and the earth reflect each other – they are, as a metaphor, parasymbiotic. The Electric Cristal (EC) features strongly in Parasymbiosis. It is a microtonal, electro-acoustic instrument that has captured my imagination through its deep and fragile resonance created by touching glass rods encased in aluminium. Ceated by Dylan Crismani (AUS) in 2019, the EC conjures vast soundscapes. Electronics exploit the volatile vibrations and random frequencies that the instrument generates.

Folds of water sanctify the river. Tracing soft, cool hands, the tall oak make way for a child who is older now. The moon gives chase, as clouds attempt to climb her. And choiceless, she falls through, further out of sight. An episodic, dreamlike place; Headwater is an invitation to explore what is fundamental to life – as if asking the listener; what, after losing my compass, is the nature of my experience? The headwater is the childhood of the stream – its beginning. And as though banished from the safety, innocence and purity of this place, the individual is carried through rapids, gashed and sawn, calling for the self to be woven again. In these early moments, the poignancy of this venture is felt in droves – a woman lost in the forest trying to find a way out, silhouette skating through light while something approaches, further out of sight. Everyone is thrown out of childhood – hurled into a life to make sense of something which lives on in memory. The mind catches fragments, painted by ink found in the canals of the veins and rivers within – their headwater, the heart. Like tentacles beneath our skin, their message arrives unannounced, while a great struggle embarks to keep them at bay – the clarity of their awareness polluted. After a time, the river is older now. The forest’s foliage has tuned, sculpted and moulded her – so much so, that the water is barely recognisable. But the girl is no fool, and her sensitivity will not be auctioned. Catching glimpses of the headwater – she cries out to the forest and the valley. This time, unafraid of the pain it wears and hides behind, pretending. She sings to the eclipse, crying for the stars and their breath on the river’s back. Calling for the animals, insects and fish - bowing to the scent of the pine in the evening warmth of the air, weeping to the memory of her childhood, she comes alive. Only in such a surrender does the headwater of her tears make itself known, and all that is longed for arise without having ever been lost. Could she really be creating all of it? And like a child with a boundless imagination, be confusing her role in the play with the candid, honest face of life itself? Humility might yet speak – claiming all she has taken herself to be as the leaves and foliage which pollute and fragment the stream. That a quest to return to childhood is an unnecessary one – because the currents which begun at the headwater still contain, at every step of the river, the headwater itself. And that the cries and memories heard starkly through the forest valley have still come from the deepest waterways the body has pronounced. And so, originate in the heart – and are no threat.

Characteristically invisible and inaudible, the wind is made manifest solely by its agency and performance on objects: huge waves crash to shore, sand dunes edge forward over millennia (rumbling as they go), cyclones uproot trees and houses, intergalactic winds confound the planets. On a more modest scale, I’ve been building aeolian instruments since 1979, part of my investigation into the innumerable aspects of the vibrating string. I designed the two recent aeolian instruments heard on this album, the Monolith 2021 and the Tube 2022, with a focus on engaging with the variable windy conditions experienced in central Australia. The bodies of these instruments are flanked on all sides by multiple strings. The 1.25-meter Monolith is made of plywood, with 36 strings of both piano wire and fishing line. The Tube is literally a 2-meter PVC pipe and is fitted with fishing line only. Discrete adjustments can be manually made if the wind shifts or if the operator wishes to engage other adjacent strings, often resulting in microtonal beats. The Monolith is set up with contact microphones cut into each bridge, and the Tube was recorded with air microphones inserted internally. Tuning rational has as much to do with tautness, thickness, and material quality of string as actual pitch when in a state of ‘excitation’ - this violinist’s intuition. These aeolian experiments are ongoing and may go some way to designing an instrument that simultaneously handles both the von Kárán vortex effect and unpredictable wind patterns. The results so far have generated numerous sonic surprises.

Evening Air is the result Loren Connors and David Grubbs’s first trip to the recording studio in the two decades since their first duo album, Arborvitae (Häpna). Arborvitae stood out for its spellbinding, utterly unhurried meshing of electric guitar (Connors) and piano (Grubbs). With this long-awaited return, Connors and Grubbs take turns trading off on piano and guitar, with Grubbs at the keyboard for the two gently expansive pieces on the first side and Connors taking over the instrument for three gorgeous miniatures on the flip, including an album-closing and perfectly heart-stopping version of Connors’s and Suzanne Langille’s “Child.” The album’s wildcard is “It’s Snowing Onstage,” which finds the two locking horns with two electric guitars before Loren blew the minds of all present in the studio by unexpectedly switching to drums. Loren Connors is one-of-a-kind, one of a handful of deservedly storied musical greats gracing us with their presence, and with Evening Air David Grubbs again demonstrates that he’s a stellar musician who also ranks among the most simpatico of collaborators. A cover painting by Connors—another wordless signalling—sets the tone for this most beguiling of seances.

Recorded in 1996, Merzbow’s The Prosperity Of Vice, The Misfortune Of Virtue is one of a series of unique editions from his vast catalogue that reveals a side of his practice often under represented.

During the late 1980s and into the 1990s, Masami Akita was sometimes working on film and theatre music. In this space he created a series of recordings that capture the full scope of his sound worlds.

Given the nature of these settings, his compositional approaches were varied, seeking to create both intensely crushing walls of sound and more spatial, and at times rhythmic, pieces that plot out an approach to sound making which atomises his universe of sound, and uncovered the singular detail that is often consumed in the whole.

The Prosperity Of Vice, The Misfortune Of Virtue is the soundtrack to the theatre piece 'Akutoku no Sakae/Bitoku no Fuko' by Romantica. Based on Marquis de Sades's 'Historie de Juliette ou les Prosperités du vice' & 'Les Infortunes de la vertu’, this recording was originally released with limited distribution and remains one of the lesser available Merzbow recordings.

This edition is completely remastered and contains an additional cut from those original sessions.

A Note from Lawrence English TripleAkuma is the third in a series of essential live documents from Merzbow. The stage and the studio are not the same place, and Merzbow has an acute understanding of this juxtaposition. Whilst the sheer density of the music might be maintained across both spheres, the live experience of Merzbow is truly something that exists as profoundly physical and moreover, overtly performative. Merzbow’s live methodologies draw not just from a saturation of frequency at all levels, but a recognition of how frequency can be used to affect the body. Working at the extremes of both low and high sonic energies, he creates a situation within which the fullness of the body can be tested; the aural body, that of our ears (and importantly our mind’s ear), and the physical one (after all, the body itself is an ear). TripleAkuma, recorded in his hometown of Tokyo, captures a particularly fierce and free performance. There’s a morphic and lava-like quality to the sounds he creates here and the very room itself bares into the recording, adding a certain excessive intensity to the way the sounds carry in space, and time. There is no one exposure that could capture the true force and presence of Merzbow live, but each capture, like this one, deepens our understanding of his truly unique and provocative sonic universe.

Masami Akita is one of the most influential noise artists of our time. Known as Merzbow, Akita has developed a recognisable sound with his harsh, confrontational and abrasive sonic emittance. Lawrence English is a curator of sound, vision and thought. As the founder of Room40, English has released countless records and has worked alongside some of the most notable and adorned sound pioneers of our time – in turn becoming one himself. To coincide with Akita and English’s involvement in issue 02, English compiled a Merzbow Mixtape of hidden gems from Merzbow’s expansive archive.

A note from Olivier I was waiting for the bus to arrive at the stop when the rain started pouring. I quickly escaped into a chapel nearby, and that’s where the idea of this album came to be. Inside the chapel, I was reminded of the scent of Mauritius, where my father was from, and the pillars of dampen woods mixed with the ritualistic frankincense. The rain continued to hit violently on the metallic church roof as the road outside grew overwhelmed with angry drivers, honking their way through, their frustrations echoing through streets of skyscrapers in Hong Kong. They sounded like a piece of nostalgic happening, infusing sounds that I was most familiar with in this sacred architecture. This was when I decided to compose a series of work, featuring eclectic sounds of my city. Also inspired by the late Ryuichi Sakamoto, whom I revere, his exercise of restraint and Eastern philosophy led me to explore the ambience that made up my daily life, experimenting and reconstructing them with familiar instrumentations. In “Tropical Church", you will experience music composed of piano, ambient electronics, shakuhachi, Chinese yuan, guzheng and spoken words, which I think represent my feelings for home — Hong Kong. And to me, home is an old church that harbours a myriad of unspoken emotions, flowing from the West to East. Complex history hidden within the dampen pillars, the sounds of the city and the footsteps of the everyday people that liven up the streets. Most notably in the first track, “I am afraid of”, voice recordings of anonymous strangers were collected describing their deepest fears. I’m most touched by the answers as they’ve shown me the same fears of death, love and being alone we all share.

Through the eye of the pinkish gate... Soft lights... cool evening breezes, toxic fumes, burnt champagne and supper for one... love and longing...disenchantment... and the murky meanderings of Pinkcourtesyphone. It is impossible for us to supply all the recipe ingredients needed for this, the sounds of soured romance, but we can at least dish up the musical setting on a deluxe digital porcelain platter (with a just few hairline cracks)... but only for an hour. A gourmet offering befitting a pall party without compare. Attempts have been made in this collection of recordings, obdurate and diegetic, to express anxiety, always, often, and sometimes. 'Arise in Sinking Feelings', an unmistakable pinkcourtesy mood, simply combinations of magic and memory that spin out within moments before our delighted senses... a fanciful flight of neurosis. No one who is anyone has heard it and even they were met with incomprehension. "A Stunning Blandness!" read the headlines. This album includes a printed insert of inspiration. Use it to gain maximum benefits from your study of Pinkcourtesyphone. Read and imbibe the insert while you listen to the recording. The Room40 Media Institute recommends the ‘Double Sensory’ method of absorbing sonic information. Its consistent use will greatly increase your powers of concentration and retention. Let your feelings sink as you let Pinkcourtesyphone sink in... its secret can destroy you in its unyielding grasp.