'Mentos Gulgendo (1)' is the Nowacka sisters' consuming Slip debut: a mercurial set for transfigured organ and voice, shaped to shudder, creep, or take flight. From the rough, anchored sound of a Unitra Estrada 207 AR organ, Antonina and Mila alchemise 6 nagging, fearful pieces, which alternate between burrowing, prickly beds of processed instrumental sound and more spacious sighs, buoyed up by dancing, full-blooded vocals. The Polish duo's careful ear for the grain of the organ - sometimes allowing it to sink in, more often urging, pressuring it onwards - makes for a magnetic, addictive listen. 'Mentos Gulgendo' is a new project by Antonina Nowacka and Mila Nowacka, who make possessed, hallucinatory sound and visuals as WIDT, most recently in a wild, unnerving collaboration with German producer Christoph De Babalon for Bocian in 2018. --- Music composed, performed and recorded by Antonina Nowacka and Mila Nowacka at the Family Allotments "Kaloria", using a Unitra Estrada 207 AR organ. Mastered by Filip Marcinkowski Artwork by Masia Debska --- Slip Imprint, 2020

French artist Eduardo Ribuyo aka C_C is known for more than 10 years for his unique blend of bass-heavy, dub-infused industrial breaks and his long several hours hypnotic performances. A quiet strength of the french underground, he released on labels such as Small But Hard, Da! Heard It Records, Zamzam Records, Fougère, Krut, and Thirdtypetapes (which he co-founded). Shortly after moving to the french countryside a few years ago, he found a renewed inspiration through the use of a more restrained setup, whom limitations he uses, to create uncanny landscapes where his craftsman mastership is transcended by the innocence and the freshness of a fierce beginner. Gentianes And Myrtilles is documenting the beginning of this process, resulting in this collection of twelve mind-altering disorienting miniatures.

Hailing from Amiens, a city which has produced some of France’s most radical and unique experimentation since the 2000’s, Terrine is Claire Gapenne (Me Donner, Headwar) solo project. From her debut as a solo guitar noise project, Terrine slowly morphed into hypnotic abstract electronic improvisations, whose tense and collaged atmospheres still maintain a mesmeric sense of playfulness. A true iconoclast in the tradition of French luminaries such as Jacques Thollot and Jacques Berrocal, Terrine draws inspiration from the fierce spirit of free jazz and the uncompromising rawness of industrial music. Armed with a drum machine which she’s playing like others would a trumpet, Terrine seems to have quietly formed a highly nuanced reading of electronic music history in her own unique yet empirical manner. In the 20 minutes that this album spans the shadows of Pan Sonic, Carla Bley and Annette Peacock all make appearances amidst field recordings that evoke the sonic palette of an early Chantal Akerman film. These influences all somehow manage to seamlessly fuse together and produce a corrosive yet romantic soundtrack to the madness of our times.

"Alarmante", an oscillating and electrified ride, carried by a dub love and a few eardrums ticklings, conveying the dance to whoever or whatever that would feel to in the merry assembly. Doing so Tresque takes distance with its original formula to turn more abstract by accumulating layers of raw pulses all from circuits in feedback (mixer, spring reverb, filter, tube preamp). Made in Brussesl + Geneva 2021 K7 (Limited 100 hand-numbered tapes edition) released by THIRDTYPETAPES

Live at the Petersham Bowling Club was recorded in January 2023 when Warm Currency supported the great Maxine Funke. This offering includes tracks from Returns, our 2022 album on Horn of Plenty, and some unreleased material. We jettisoned our regular keyboard to grapple with the bowling club's cracked piano.

Tom Mills is an electronic musician based in London. In addition to his solo work he plays Theremin in the group Bobhowler with Alicia Gardener-Trejo and Andrew Woodhead and also played on the album ‘Improvisers Inside Electronics’ alongside Antonio Acunzo, Tony Hardie-Bick and N.O Moore. --- Tom Mills /  electronics --- Mastered by Rashad Becker at Clunk Photograph by Tom Mills Design by Earshots

Commissioned for an artist residency at the Mahler & LeWitt Studios in Spoleto, Italy, the Sacro Bosco tape explores various themes from the region’s holy mountain of Monteluco (Latin: lucus - a wood sacred to Jupiter), and its myths of saintly protection.Taking form as an installation in Piazza della Genga during a full moon, over 50 hand-drawn talismans invoking the spirits of the surrounding forest and beyond were nailed to the walls to create a 'universal sacred space'.Whilst the use of protective paper talismans (ofuda/fulu) is typical to Daoist practice, Sacro Bosco attempts to observe and unify the local collective religious beliefs of Catholicism and the Pagan god Jupiter. Inspired by a tale about the patron saint of Spoleto, Pontianius, and how in 1703, on his feast day, earthquakes affected the entire region of Italy, save Spoleto.This is a limited run of 50 cassette tapes - each wrapped in one of the original talismans - inked in black and cinnabar (as historically vermilion was regarded as the colour of blood, thus the colour of life), depicting the emblems and living spirits of wild boars, snakes, and trees in the surrounding forest. --- --- Self Released, 2022

Don't test the waters; a gut-rigged amalgam of disengaged tape remedies, mouth whiplash and last-limb electronics. --- TracklistA1 untitledB1 untitledB2 untitled --- Regional Bears, 2021

Belgium's Knotwilg Records delivers a heavy duty dose of DIY and out there bangers in celebration of live events they ran between 2016-2019, showcasing frequent collaborators and close friends. Snippets of live sets from favourite Belgian venues such as Les Atellier Claus and Brasserie Atlas plus some exclusives that weren't recorded. --- Mastered by Christophe Albertijn Compiled by DJ Klakke Soirée Knotwilg I at Les Ateliers Claus 14/05/2016: Tracks 14, 16 & 17 are all exclusive since recordings got lost Soiréé Knotwilg II at Les Ateliers Claus 02/06/2017: tracks 6, 8, 9 and 15 live from that night Knotwilg at Donk: 06/07/2018: Track 3 live that night Knotwilg Festival 2019 at Brasserie Atlas: 13/04/2019: livetracks 2, 7, 10, 11,12, 13 and 18 Réveil Kortemark: 01/11/2019: no recordings were made: 1 & 4 are exclusive tracks K-Group recording (track 5) at Les Ateliers Claus on 9/11/2019 during a short weekend playing Claus and Grambacht. --- Released April 4 2020, Knotwilg Records

Truly spannered churned out gunk from the mind of Duncan Harrison. Could possibly be the best Duncan Harrison release to come out in the last 12 months --- Regional Bears, 2021

"KENMORE / LINDORFF EXCHANGE marks two collaborations from 2009: one pairs New Orleans-based radio producer and DJ Joe Shriner with multimedia artist Evan Lindorff-Ellery, based in Kingston, NY; the other features Lindorff-Ellery and Gary Lindorff, an author and poet living in Vermont. Though performed and recorded independently, these two pieces share a common approach; they are informed by the specific acoustic environments in which they were made and exhibit an ambiguous passion for the liminal space between interior and exterior, both psychologically and literally.The title of KENMORE EXCHANGE refers to two locations on Kenmore Avenue in Chicago. Using a shoebox cassette recorder, Shriner captured various sounds at DePaul University’s Lincoln Park campus. In the basement of a building that has since been razed, he recorded himself playing a persistent F minor chord on one the school's practice room pianos, enclosed by brightly-lit concrete walls and a single window. In Lindorff-Ellery’s airy apartment (five windows total) six miles due north, the two manipulated these tapes along with field recordings Evan made as he biked between the university and his home.LINDORFF EXCHANGE is a document of Lindorff-Ellery and Lindorff's late afternoon, mid-winter experience in a cabin in the Vermont woods. No artificial lights were used in the creation of this aural portrait, and each lighted and diffused section of the cabin became darker as the recording continued; needless to say the objects merged with each other. Somehow, very faint classical music appeared on this recording, and there may or may not have been post-production tape manipulation. What we have is what we’ve got. --- Regional Bears, 2021

'I met SUGAI KEN a few years ago in Tokyo, outside the Dommune radio studios. His personality and music, a very special brand, touched me. His music is a coded vision of a dream world. A trade that is progressive yet traditional - in the most positive sense of the word. Recently out of the blue, Sugai San sent me a collection of personal field recordings he made of folklore groups and public performances in Tokyo, Toyama, Kanagawa, Kyoto, Tottori, … The close listener already knows that Sugai San’s aesthetics speak of a great knowledge of these performing arts. An open invitation: “the traditional local performing arts in the 21st century intrinsically conceive “fragility” as they are vulnerable to extinction. The Japanese local performing arts that appear in this recording is no exception, endangered by the declining birth rate and aging population which are typical to the country. (SUGAI KEN)” I bring the original recordings into conversation with new elements (corresponding field recordings and or additional percussion and strings, performed by Antwerp musicians Jeroen Stevens and Roman Hiele) like a ‘monomane’ - tr. imitating – sound game. But when i throw these old and new figurines together on the podium, the objects immediately disappear in the cracks of the stage wood. Thus only the understament of the suggestion remains. And relentlessly the significance of every movement now becomes a question. Furthermore, what’s in focus? The manipulation? Or the content? Or are we zooming in on the aspect of archiving ~ preserving? Dubious. In KAGIROI – tr. heat haze - people coexist for a moment severely carved in time like a high contrast still of dancing flames. When you bring this composition home, it will never boil yet merely evaporate. And when you gaze at the clouds of condensed droplets inside your own darkness, on a soft volume, You complete our puzzle.  . -Lieven Martens --- SUGAI KEN - field recordings, liner notes Lieven Martens - collage, additional sounds and field recordings Jeroen Stevens - additional percussion Roman Hiele - double bass, mastering Kohei Oyamada - liner notes translation Jeroen Wille - artwork --- Edições CN, 2021

Page 29 and Page 44 are part of an iterative text-sound project Hopkins began in 2018. In this ongoing project, text generation software is used to repeatedly alter a page of text. Each alteration is collated in an expanding document that he uses to inform recordings and performances. The pages were read, but not a great deal was said.Flakes 1 and Flakes 2 are collages made from test signals and found audio fragments from Australian television between 1974 – 1979. Anticipating the broadcast, but nothing begins. ---Recorded and assembled in 2021 on Gadigal and Wangal land.Mastered by Renato Grieco.Artwork by MP Hopkins.

Collage for found text 2018-2020 Voice – Claire Bloom, Daffy Scanlan, Duncan Harrison, Josh Peterson --- Regional Bears, 2021

Objects at Hand is the result of an ongoing collaboration between Dirty Electronics (John Richards) and T M Shaw.   Just before lockdown in 2020 Richards and Shaw finished a tour, Points of Failure, which involved building performance-installations in various venues across the UK. These environments, made up of DIY devices and found objects, were constructed in response to the performance spaces, and consisted of sound, light, smell, smoke and other sonic processes.    Objects at Hand was recorded retrospectively in remote locations and then edited and mixed as a memory trace and document of the sounds, physical spaces and objects encountered on the tour.   Action, uncontrollable instruments, unstable systems, performative failures, reimagined affordance of objects, playing with resource, improvising inside electronics, assembling and disassembling sound devices, architectural features are folded into this performance document.   Richards and Shaw see their work as a form of ‘cybernetic wayfaring’, improvising with materials, feedback and new situations, as they continue, and repeat.  --- 1. Praxis [4:34] - coil, circuits, feedback, motors, metal sink, tin can, transducer 2. Imposed_Adjacent [4:35]- rubbing motor, interjections, radical nails, tin can, voice, large glass vessel 3. Opus 25 [3:48] - sparkler, filtered noise/whistle, hacked speak n’ spell, vowels, tin can, Tesla coil 4. Thinking in Time [5:35] - boat, creeky platform, gated noise, thrupenny synth, spring reverb feedback 5. Temporary Needs [7:18] - disposable cameras, large capacitor discharge, circuits, AM radio, prepared speakers, spark gaps 6. newCorpus [1:59] - travel, flights, hotel, coil, Dictaphone, large speech corpus, pd patch (disorderly jukebox --- Opal Tapes, 2021

Mind bending spoken word from the weird brain of Eric Schmid.  Released 2020 by Regional Bears

"Stumbling into the Age of Loneliness I carry cloudy glass bottles to the edge of the Pacific. After 100 years in dirt beneath San Francisco they breathe fresh ocean air, fill with the energy of breaking waves. Microphones inside, ear to conch, I hear shadows: scurrying, wing flaps, chirps and chatters, whimpers and bellows. So many creatures, once emerged from the sea, now gone. How many vessels would the disappeared fill? What is the weight of a lost species? I make an offering of listening to help me carry all these ghosts we made." ⟶ Cheryl Leonard Life through the computer. We all have had to grapple with it over the past year, as we attempt to wring as much meaning, intimacy, experience and variety as we can from our shiny boxes of electronics. Concerts, plays, ballet, meetings, dates, dinners, coffees and conferences all became just a click away. Some of us cocooned ourselves in soundscapes lost, from old streams from noisy bars, to recordings of natural locations we could no longer get to. It was by turns revelatory, empty, full, sad and comforting. In Schism’s title track Cheryl E. Leonard treats us to her own imaginings of the world within her laptop; a pulsating, flickering, stuttering morass of coil pick up recordings, set amid the co-mingling of crickets, squirrels, birds, bats, and sounds played on natural-object instruments. She asks: “What does it mean when our mediating technologies have both the power to connect us to and distance us from the ecosystems we are part of?” Certainly this is a question which predates the pandemic, but it is one which we grapple with now with a set of new knowledges which speak to both the possibilities, and the shortcomings of a life lived digitally.In addition to her laptop recordings Leonard also turns to mics placed inside bottles to render the second piece on this release, Eremozoic. In the context this simple gesture takes on new resonances; a separation, enclosure, limitation which captures and reverberates particular tones, while missing others entirely. When I think of the computer in this era, I think of it like this, it exists as both echo chamber and conversation; alienation and hope. I think many of us have felt the last year, a little like life was lived inside a bottle. With this release Leonard reminds us of what we lost during the pandemic, but more profoundly what we might lose more permanently as we continue into the climate crisis. - Kate Carr --- Composed, performed, and recorded by Cheryl E. Leonard Mastered by Thomas Dimuzio at Gench Studios   Liner Notes by Cheryl E. Leonard Words by Kate Carr  Artwork and design by Juliána Chomová  Stone composition and photography by Ester Sabik  Risograph print by Kudla Press  Photography by Zoltán Czakó Dedicated to Patty Chen-Wei Liu Released by mappa as MAP026 in 2021

Unreleased material from the one and only Emil Beaulieau, rediscovered after more than 30 years in storage. An entirely chance online interaction with Frans de Waard (Vital Weekly, Korm Plastics, Kapotte Muziek) lead to adhuman acquiring a master tape of unreleased 'Private Performance' extracts recorded in 1988 by Ron Lessard. These tracks were originally submitted to Korm Plastics for inclusion in a series of 7" releases centered around ‘Musique Concrete Composers', but sadly the project was never completed and the recordings have been held in Frans’ archive ever since. Seemingly inspired by the discovery of this tape, Frans took to further digging, emerging with another cassette - an audio letter from Emil to 'Franz' sent sometime during the same era. If the 'Composer Series' material gives us Emil with his more serious, institutional hat on then the audio letter represents him at his most mischievous and wildly roughshod self. Nothing but Emil kicking back at home with his gear, croaking intermittent greetings, questions and the occasional jibe to Frans amidst a sea of jagged loops, twanged junk and destroyed noise. Raw, hilarious, unedited and joyous, the material was too good to remain private and forms the B side of Korm 88 at both Ron and Frans' suggestion. Korm 88 is not just a red-hot slice of classic Emil Beaulieau action - it is a document which reveals new context and insights into the early working practices of an artist who is rightly considered a living legend and pioneer of underground noise as we know it. Adhuman is very happy to release this document from a true personal favourite, inspiration and since 1988 (at least) AMERICA'S GREATEST LIVING NOISE ARTIST.  --- Music recorded by Ron Lessard, 1988 Cassettes provided by Frans de Waard 'Composer Series' cassette digitised by adhuman 'Audio Letter' cassette digitised by Frans de Waard --- adhuman, 2021