Hector Meinhof has written a book that is both beautiful and cruel. His poetic prose and the doom-laden pictures from his extensive collection of vintage photographs have bled into one tortured, corporeal unity. All these pictures have played a significant part in the writing of Three Nails, Four Wounds. Meinhof has used a tableau of chosen images to keep the narrative flowing, each chapter being concentrated around a specific set of photographs. This is the illustrated scripture for the new dark ages, it will be read and beheld again and again - Martin BladhOn the outskirts of a small town, on top of the mound called Wolf Hill, lay the insane asylum. It was a neo-gothic edifice made of brick, with long winding corridors and a hundred and eleven rooms: sterile rooms, electric rooms, padded rooms, interrogation rooms with one-way mirrors, a kitchen, a large dining room and a photographic studio in the attic.In conjunction with the asylum there was a small chapel, a mortuary, staff quarters and a barn. Behind the barn, beside a forest of spruce and fur, the patients’ cemetery stretched itself across the north side of the mound. It was as though the area had been struck by a peculiar curse. Strange incidents kept occurring, acts of insanity, abuse of animals, unexplained disappearances.

For her first album releases as a soloist, nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her LP, "Shaking Studies," is a collection of iterative cello performance that foregrounds shaking as a generative subject. In addition to an arsenal of techniques for registrable shaking, Hamann’s conception of the term emphasizes micro and macro pulsing, including tremors, vibrato, wolf tones, and complex partial activity. Hamann begins with a sphygmological reading of the pulse of her cello, inciting it to shake audibly and visually as a symbiotic basis for determining the rate of her own left hand’s tremor and consequent direction of resonant frequencies. Following a thorough harmonic investigation of her shaking practice in two parts, she directs us to look outwards, combining beating chordal structures with electronics and recordings of real world shaking. From inner pulse to more macrocosmic quaking, Hamann’s alternative conception of shaking rejects measurement and regularity, order and control, instead alluding to a more responsive and intuitive mode of convulsive sounding. Judith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged in a discourse based project, ‘Materialities of Realisation.’ She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O’Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. Her recorded appearances include Tashi Wada’s Duets, Graham Lambkin’s Community, Alvin Lucier’s Illuminated By The Moon, and Gossamers, with Rosalind Hall. released October 30, 202. Blank Forms EditionsAll music composed by Judith Hamann in collaboration with the cello.

David Wojnarowicz’s In the Shadow of Forward Motion was originally published in 1989 as a limited-run zine/catalog to accompany an exhibition by the artist at P.P.O.W gallery. Despite its meager print run of just 50 copies, the publication has garnered a legendary status, and for good reason. In it we find Wojnarowicz’s writing and visual art—two mediums for which the artist is renowned—sitting side by side for the first time, playing off each other in equal measure. We glimpse the artist’s now-iconic mixed media works, with motifs of ants, locomotives, money, tornadoes, and dinosaurs, juxtaposed with journal entries and other texts that examine historical and global mechanisms of power symbolized through the technology of their times. Wojnarowicz uses the fractured experience of his day-to-day life (including dreams, which he recorded fastidiously) to expose these technologies as weapons of class, cultural, and racial oppression. The artist’s experience living with HIV is a constant subject of the work, used to shed light on the political and social structures perpetuating discrimination against not only himself, but against women and people of color, who faced additional barriers in their efforts to receive treatment for the illness. Rooted in the maelstrom of 1980s art, politics, religion and civil rights, the book provides a startling glimpse into an American culture that we have not yet left behind. Félix Guattari provides an introduction. David Wojnarowicz (1954-1992) was born in Red Bank, New Jersey. Wojnarowicz channeled a vast accumulation of raw images, sounds, memories and lived experiences into a powerful voice that was an undeniable presence in the New York City art scene of the 1970s, 80s and early 90s. Through his several volumes of fiction, poetry, memoirs, painting, photography, installation, sculpture, film and performance, Wojnarowicz left a legacy, affirming art’s vivifying power in a society he viewed as alienating and corrosive. His use of blunt semiotics and graphic illustrations exposed what he felt the mainstream repressed: poverty, abuse of power, blind nationalism, greed, homophobia and the devastation of the AIDS epidemic. Wojnarowicz died of AIDS-related complications on July 22, 1992 at the age of 37.

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  

Gaël Segalen came to play at les ateliers claus end September 2018 on the acousmonium that was built for one day. We have fond memeries of this day and are happy to share the archival recordings. French sound artist Gaël Segalen aka IhearU has been an activist and musician for twenty years, with a very diverse background in sound and education. A graduate of electroacoustic composition, she releases solo and duet albums (Erratum, Frm-at, Firecracker Recordings labels), runs workshops, designs commissioned pieces, composes for visual works. She is also co-founder of Polyphones, a Parisien network dedicated to women in musical experimentation. Focused on polylistening, dissonance and new music, she manages to transpose the complexity of the world into electroacoustic and polyrhythmic soundscapes, bruitism and ‘DFR’ (Danceable Field Recording) compositions. This concert was an organisation of Sweet Spot, Q-02 & les ateliers claus Recorded, mixed and mastered by Christophe Albertijn

"Beatriz Ferreyra came to play les ateliers claus 25th September 2018. She presented 3 compostions on the acousmonium Beatriz worked as a member of the Group of Musical Researches (G.R.M), under the leadership of Pierre Schaeffer, contributed to Pierre Schaeffer’s book « Traité des Objets Musicaux » participated to the records realisation from « Solfège de l’Objet Sonore » by Pierre Schaeffer. Since 1970 she is a free composer 1. Siesta Blanca (White Siesta) - 1972 - In Memoriam Astor PiazzollaFor Siesta Blanca I chose excerpts from Astor Piazzolla’s tangos and recorded sounds of an electronic organ. After transformation, these sounds could materialize the extreme sensation of cold and heat. 2. L'Autre ... ou le chant des marécages - 1987I was deeply impressed with Blaise Cendrars’s paradoxical personality, his terrifying « Double » which strips itself with an naked extreme and sadistic cruelty in his book « Moravagine, It was impossible for me not to record the depth of my feelings in a brutal and wild vocal composition 3. L’autre rive – 2007Inspired by the Bardo Todol (The tibetan book of death) this piece have been composed with percussions and some electroacoustic sounds." --- all compositions by Beatriz Ferreyra.recorded and mastered by Christophe Albertijn at les ateliers claus