kausto

it could be just spaces how v rhythmic stuff

i asked 2 questions: - why you dropped kyma dunno if he answered this cuz i was away, tho i saw some kyma mentions in chat - do you still use virsyn cube (i suspected heavy virsyn cube usage in ecol4 since it sounded like some tracks off draft7.30) he answered that last time he used it in untilted. it is pretty thing but they don't use vsts for a long time now

it made me happy yesterday. i guess it is main IDM of 2022 nominant for now.

sean booth in the style of mark fell

USB MODULAR

more photos of setup pls

SO

Btw last AFX outbreak started with thing like this

Thanks!

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Gescom 'Skull Snap EP' who is who?

I hope this mad old fart will fail soon

I suspect he just wants to destroy everything in Ukraine to make this territory unusable. Same tactic as in Syria. Destroy everything that is humanitarian.

also regarding sunvox usage by Rob i guess 'YJU UX' and 'newbound' were made so

Yeah i suspect they reuse eachothers snippets pretty often. Like 'spaces how v' was claimed to be in production for years and then it clicked some day, kind of.

Rob's authorship of Gantz Graf was confirmed somehow by Sean too in mixlr chat or twitch iirc like 'rob'll beat me if i'll say how he made gantz graf'

virsyn cube

techno of technos

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SERWED III Sampler

With the new SERWED III on Flaty's promising ANWO RECORDS, Flaty and OL set out to explore and celebrate the altered visions of today's mundane futurism with a kind of keen aesthetic intuition that could only be enabled by the vast volume of their listening, production, and teaching experience. Following the first two SERWED albums on Asyncro and West Mineral Ltd., the current fruits of the flourishing long-time collaboration between OL and Flaty comprise an oddly coherent kaleidoscopic set of free-wheeling journeys across varied pseudo-desolate soundscapes full of anomalies and sometimes thrills. Beyond the now seamless blending of the artists' individual styles, a whole bunch of other boundaries get blurred on the record, whether it be between the human and computer data processing algorithms, originality and referentiality, anxiety and euphoria, signal and noise. SERWED III postmodern world is the one where the orbital space is just another littered parking lot, neural networks are appreciated mostly as a source of absurd imagery, and delivery drones are used as designer drug mules. The sonic collection is fittingly complemented by the visuals based on Regula Bochsler's The Rendering Eye, an art project capturing the “erroneous” yet “picturesque” renderings found in the 3D world of Apple Maps.