silentvision

https://entertainment.ha.com/c/auction-home.zx?saleNo=41181&ic=breadcrumb-entertainment-121913-interior

Anyone who appreciates Looney Tunes should give this a try. https://www.imdb.com/title/tt12818328/

Wonder if it's the track "Imperial Crescent" Track durations per blerp:

1. Reticulum A 2. Hyper Daddy 05:25 3. Fogou 4. Magic Pony Ride (Pt.4) 5. Imperial Crescent 6. Reticulum B 7. Grush 8. Belvedere 9. Raver 10. Windsor Safari Park 11. Hastings 12. Manscape 13. Metaphonk 14. Reticulum C Mike Paradinas, veteran producer and Planet Mu label owner has written a new album called ‘Grush' and it's full of weird bangers that reclaim the 'dance' part of the woeful term IDM. A back-to-first-principles record, inspired in part by the group of artists IDM was coined for; melodic dance music that didn't come out of urban scenes, but interpreted them from a distance. The tracks on ‘Grush’ are all road-tested live favorites developed with feedback from Mike's touring partner and visuals guy ID:Mora (Jan Moravec). It's a detailed and energetic journey which replicates the flow of a live gig. A lot of the tracks have been made in hotel rooms in response to shows, ‘Imperial Crescent’ is named after a Japanese Hotel, as is ‘Belvedere’ in Prague, while some tracks such as ‘Hyper Daddy’ were created specifically to play live. Drums are confidently at the fore here and the album feels like it traces Mike's musical history and interests neatly around his sweetly nostalgic melodies, with atmospheres and structures which twist and turn with a charming softness which contrasts with the tension in the drums. Take ‘Hyper Daddy’s’ spiralling notes and twinkling piano which remind one of early Black Dog or Omni Trio rushing alongside splashy jungle drums, or the aquatic acid footwork of the... more credits releases June 14, 2024 All tracks written and produced by Mike Paradinas. All compositions published by Planet Mu Publishing. Manscape is a remix of Meemo Comma's Cloudscape. Mastered by Beau Thomas at Ten Eight Seven Mastering. Photography and Art by Tyrone Williams. We Are The Music Makers | Volume One by Various Limited Edition 500 Glow in the Dark 2 x LP Vinyl with printed inner sleeves + Extra Grush Cassette. 10 exclusive tracks from the Grush sessions, not available anywhere else. https://planetmu.bleepstores.com/release/450931-ziq-grush

The sinking started to happen on this day in history as well... it was eventually rasied.

That's the one! Wow, fifteen years ago. Only video on their channel.

Anyone have additional info about the video posted years ago of the Yamaha RA-200 playing a portion of, what I recall to be, Last Rushup 10? Sprung to mind recently and never knew if anything was made public. Curious about its legitimacy or source.

1. Only 92 2. Schlesinger 3. The Palace Guard Loop 4. Events Proved Me Wrong 5. When It Turns 6. Round Trip 7. Tennis Rush 8. Dunderhead 9. Down the Line 10. Lost Love and Speak Soon 11. The Palace Guard Loop - No Drums (bonus) London producer Kel McKeown celebrates the release of his tenth album as Kelpe, with a vinyl edition of uncategorisable dance music on Kit Records. Kelpe's work combines live drumming with synthesis and guitars. Like the nine records that came before it, LP10 treads the line between gauzy melancholia and bustling, dancefloor-ready energy. Listening to Kelpe's music can feel like fluttering through a photo album at speed. Familiar faces and locations are revealed, nostalgic scenes assembled then scattered by unruly rhythms and samples. Analogue percussion takes centre stage on LP10. This restless drumming - gear-shifting from hip-hop through to jungle - showcases McKeown's chops as an instrumentalist, while harking back to the scrambled beats that were a hallmark of his early releases. Kelpe has worked closely with the visual artist Nikita Iziev on this record. Inspired by pioneering film director John Schlesinger, the serendipitous geometry of new wave cinema is mapped out in fractured moments across the music and artwork. While the track 'Schlesinger' echoes the bouncing unpredictability of the sleeve, 'The Palace Guard Loop' pours neon fertiliser over fender rhodes jazz keys. Adrenalin reaches its zenith on 'Events Proved Me Wrong', as Kelpe hits his stride for a homespun drum and bass workout. LP10 will be the final full length Kelpe album. We Are The Music Makers | Volume One by Various

These are delectable. Really looking forward to MN-LTH-105. There are copies of the new batch mentioned above still left as of today. 100 of each ... "shipping out on or around April 29, 2024." https://mnlth.bandcamp.com/merch

Please note this is a pre-order item due for release 19th April, 2024 Assai Obi Edition Assai Records Exclusive Japanese Inspired Obi Strip* Green & Red and Black vinyl editions Obi Strip signed by Paul and Phil Hartnoll* Limited to 100 copies of Green & Red vinyl, and 100 copies of black vinyl* 200 copies in total* Hand-numbered* *Exclusive to Assai Records, limited to 1 copy per customer/address. No supply to resellers. Cancellation admin charge £5.00 to resellers. Restricted to UK orders only. https://assai.co.uk/products/orbital-orbital-vinyl-lp-signed-assai-obi-edition-2024

1. Dub Schneider 06:07 2. Dachtekker 05:19 3. Matchpoint 05:46 4. Double Standard 05:56 5. The Bills 05:38 6. Stomp 05:40 7. Small Stone S700 05:34 We Are The Music Makers | Volume One by Various

Full stream went live. We Are The Music Makers | Volume One by Various

1. A Perfect Circle - Kindred 2. Puscifer - No Angel 3. Primus - Pablo's Hippos (featuring Maynard James Keenan) https://sessantalive.com/

https://jlin.bandcamp.com/live/akoma-listening-party

Third time reaching out was a charm. Got this response: Yeah the vinyl was on pre-order and the plan was to ship out in 90 days but we never sold enough. Unfortunately, at this point we're still 24 short on the number needed to press. It doesn't seem like a huge amount but it is too much for me to shoulder myself at the moment. Some other folks have been unhappy about the delay and reported me to PayPal which didn't help either as it reduced the sale number again. I was planning on making a decision at the end of this month that if there still wasn't enough sales then I'd be issuing refunds. However, I'm happy to refund you at the moment and again apologise about this. It's been a bit of a disaster to be honest.

Have attempted to reach out to Ambidextrous Records through bandcamp twice - radio silence.

https://www.instagram.com/p/C4NJwNMo9z5/

Messages from hannah-warprecords [MOD] during bandcamp listening party February 29, 2024. "I’ll be sharing some insight from Squarepusher for each track off of the album. Please enjoy." 1. Arkteon 1 “This piece was performed using a long-scale electric guitar, which I prefer to the regular type as it offers increased clarity and sustain. The sound is a mixture of its piezo and magnetic pickups, recorded through an Eventide H8000 running custom processing, on this occasion just adding some eq and a bit of reverb.” 2. Enbounce “This track started out as a live mixdown of an extensive array of hardware, including a Yamaha CS-80 and a Roland V-Synth XT, with a Roland TB-303 bassline alongside Roland TR-909 and TR-707 percussion. The guitar was then overdubbed using the same set-up as 'Arkteon 1' to provide distortion, whilst also triggering a custom monosynth that adds ring modulation on the string bends. The material is adapted from a piece originally made for my BBC Daydreams soundtrack.” 3. Wendorlan “’Wendorlan' was created on an entirely digital system, a development of what I called System 4, which was used to realise Damogen Furies during 2014. The 'Wendorlan Sunday 16th October' vocal is from a pirate radio advert for a rave at the London Astoria, broadcast in 1993. Towards the end of the video, text appears saying, 'Sung by David Bowie on a sinking raft: "Talisman Red said he thought it was the break into the future."' This describes an event in a dream I had shortly before the video was finished.” 4. Duneray “This tune uses a custom gate-reverb that I put together whilst working on Be Up a Hello. It can most obviously be heard on 'Vortrack (Fracture Remix)' and this piece was recorded not long after that, also using a TB-303 (here in combination with a Roland SH-101 for tonal variety and polyphony). The hardware aspect of the sound sources can be heard clearly at the end once the percussion stops, with the compression-swell bringing up the background noise as the synth notes decay.” 5. Kronmec “Mellotron samples are used in this track with alternate chords being pitched up by a microtonal interval. The monosynth bass sound is a recent iteration of my ongoing part-time efforts to programme a TB-303 copy, obviously building in more flexibility. Anyone who has tried this might agree it's a challenge to approximate the square wave, though it helps to use pitch-correlated variation in the pulse width. In this you can hear the pulse width being pushed towards 0% -- not possible on the original machine.” 6. Arkteon 2 “This piece uses the same set-up as 'Arkteon 1', however, the guitar is tuned differently. It uses the regular E-A-D-G-B-E as a basis, and the top E is tuned at regular pitch -- but down from there successive strings are tuned up by increasing microtonal intervals. This was achieved by putting a g-clamp on the tremolo bridge to force it to remain static at a specific positive deflection. Not convenient for playing, but it worked.” 7. Holorform “This is the oldest track of the set, with the original version recorded in 2018, and subsequently remixed last year. It was put together using the same approach as, for example, 'The Coathanger' from Just a Souvenir. The basic method involves taking an instrumental performance (in this instance a guitar solo) and then adding processing step-by-step, progressing in time, thereby controlling effects in a way far more complex and precise than would be possible live. The persistent notion impelling this approach is how I picture a kind of futuristic sci-fi musicianship.” 8. Akkranen “The starting point of this piece was the famous ravestab used in detuned form on 'Droid' from Torque on No U-Turn, though I didn't manage to retain the minimal approach of Ed Rush & co. Like the other hardware-based pieces it was recorded directly to 2-track, so it was a case of nailing the real-time adjustments all in one go. It uses the same gate-reverb & TB-303 combination as 'Duneray', and, in particular, it was essential to get the filter tweaking right so the reverb stood out at the appropriate moments.” 9. Stromcor “This track was great fun to play at shows and is an unashamed bit of bass-shred, though the studio recording differs in places from how it was performed live. It was recorded using my modified Music Man 6-string bass processed by the same H8000 set-up that was used for the guitar on 'Arkteon 1', this time featuring some ring modulation and a wah effect from an H9 pedal. In the intro a TR-909 can be heard processed through external amplitude envelopes.” 10. Domelash “Like with 'Akkranen', a hint of No U-Turn paranoid minimalism kicks this one off, though, again, it ends up going maximalist. It uses a custom sequencer I put together bit by bit over several years, which is also used on 'Wendorlan' and 'Stromcor'. Amongst other things it enables me to detach sequences from the main tempo whilst retaining control of that detachment, which you can hear clearly on the break programming in the opening section. The custom gate-reverb is also used throughout.” 11. Heliobat “Various bits of hardware were meticulously tuned and programmed for this track, which also features the long-scale guitar of 'Arkteon 1'. An SH-101 can be heard in parts of the melody, and a Yamaha FS1R generates a fair amount of the polyphonic material. The intro section uses a form of pitch intonation such that the major 3rds are (unlike in equal temperament) a whole-number ratio of the corresponding root note.“ 12. Arkteon 3 “This piece uses the same set-up as 'Arkteon 2', including the tuning. I originally intended other instruments to accompany the guitar performance but in the end thought it made more sense as a solo piece. There is also an 'Arkteon 4', but somehow it just didn't fit the album. Despite spending hours varying signal routing, cable configuration and playing position in relation to sources of interference, in the pauses 50hz mains hum can be heard. Along with the other 'Arkteon' pieces, it was recorded in autumn of '22 after a busy summer of playing live shows.”

Catalogue #ZIQ465 per latest Planet Mu email. Post from Tyrone Williams: https://www.instagram.com/p/C32IGwoI36w/?igsh=YnZybDdnZTl2OHl0

https://www.urbandictionary.com/define.php?term=grush

https://www.facebook.com/uziquziquziq/posts/1097207781519753:1097207781519753