d-a-m-o

It seems logical to me, if this is indeed the liveset, some of the Helsinki set attendees will upload it ASAP everywhere and we're all waiting to buy it so...

Same thing, hyped to the max, new AE always feel like Christmas to me.

Maybe they'll just release the liveset on the AE store with free download codes for the Helsinki gig attendees but everyone will be able to purchase it ? would be so fucking dope, Sam, Rodney, pls

damn ! great move from the guys !

Probably between Wu-lu fourth LP and Future Brown big comeback album, same time as the release of the new Lonelady EP produced by Nozinja. That's my guess.

Can't wait to hear what you'll do with Max/msp ! No regret about the monome Grid ? It can be a great controller for a Max homemade sequencer !

As is always the case with Oberman Knocks (London based Nigel Truswell), his new twelve track album Conder-Rhyptik, is very much identifiable as his own unique sound, but this new outing (his eighth release for aperture), sees quite a different arc to both the tracks themselves and as an album overall. Where his 2018 album Trilate Shift was a move away from the hard, metallic and well defined ‘shapes’ of previous releases, Conder-Rhyptik gravitates back towards the more angular, defined, sometimes challenging constructs of his earlier works, but with a broader spectrum of sounds and tempos, ranging from the vigorous Hathmex Kalermatic Extraction through to the much more subdued Mighnonix. Conder-Rhyptik is the result of Knocks’ return to the studio following the work on his first theatre show, SHIT, (produced by Ireland’s international award winning thisispopbaby), which premiered in Dublin back in March 2020 (followed again in 2022, when it reopened following the lifting of COVID restrictions). Although predominantly produced during lockdown, this isn’t an album focused on dealing with the isolation and other subsequent issues experienced during this period, but more an explorative journey into constructs in which to escape to. From the expansive opening track Indrophell’s Nytraphorms, right through to the staccato elements of final track Appradynol Inter-Dyverr, Knocks has further developed his love of arhythmic, abstract sounds to produce an album that is sometimes unapologetically difficult in places, whilst elsewhere seemingly much more simple in mood and form. With a number of acclaimed releases under his belt, there’s still a sense of someone pushing themselves for the pure thrill of sound exploration and the production itself, rather than being focussed on the endpoint of releasing something that might strike a chord with whatever might be fashioanble at the time. This focus is what contributes towards forging his own unique sound. https://aperturerecords.bandcamp.com/album/conder-rhyptik?from=fanpub_fnb

The debut from new splinter alias of Manchester producer, sequencer designer, and Cong Burn label boss John Howes was made entirely on a Nord Modular G2, Elektron Machinedrum, and Monomachine – a rig he characterizes as “an authentic 2006 studio, best listened to on Windows XP Media Player or Winamp.” Paperclip Minimiser’s self-titled full-length collects eight elusively multidimensional constructs of stereo panned synthetics and slithering ambient techno, born of a web of generative patches subjected to improvisational alterations. Taking things further, Howes’ process involves “planting ghosts in the machines,” instilling each element with “some self-correcting behavior in a cybernetic / lo-fi AI / semi-autonomous agent kinda way.” The result is an ambiguous and dynamic hybrid of accident and intention, chaos and control, shuffling through an innerspace wilderness of psychic circuitry. The title alludes to a 2003 thought experiment about the existential risk of artificial intelligence; how even a mundane objective, algorithmically extrapolated, could culminate in catastrophe. Here the notion is inverted, demonstrating the sonic infinities to be mined by “pushing and pulling at the strings” of musical systems. Howes aptly samples a vintage interview with electronic music pioneer Bebe Barron – co-composer of the Forbidden Planet soundtrack – discussing the anthropomorphic potential of randomized audio generation: “We thought of our circuits as actors in a script.” Paperclip Minimiser descends from a similar family tree, coaxed as much as crafted, flickering rhythmic synchronicities glimpsed in a mirage of wires and glass. Those 2 preview tracks are pretty nice

Yes, and Claro really stood the test of time IMO.

Re listening to patchwork 01 and 02 and this is so good, such a talented producer. edit : @Nilany clue about his workflow ? He's working on pure data right ? 100% computer music ? I just listened to all his releases since Beating The Odds and this is top tiers stuff !

Warp is too busy pressing trillions of wu-lu and squid LPs...

Top-Tier 'Chre without a doubt.