Resonator

00:00 Resonator Spot
00:31 Toxe – Red Eye
02:30 Simon Scott – Holme Fen Posts II
06:10 Daphne Oram – Contrasts Essconic
08:20 Max Syedtollan – State Holiday
09:43 MMMD – Iron curtain
13:58 Stefano Pilia & Valerio Tricoli – Cantor Park I
18:56 Malvern Brume – Pacing the Hollow Path I
22:41 Kode9 & The Spaceape – Ghost Town
25:22 Batu – Built On Sand
28:29 Melvin Gibbs – Future Blues
30:50 Ryuichi Sakamoto – Bathroom
34:43 Alfred Wegener Institute, Helmholtz Center for Polar and Marine Research – Seismic shooting (Airgun exploration for oil and gas)
36:22 RETE – ΗΧΩ
39:20 Philip Samartzis – Station
42:04 Jim O’Rourke, Eiko Ishibashi, Joe Talia – Patrick
48:25 Julien Ottavi – Voice Laptop
50:18 Civilistjävel! – Louhivesi (ft. Cucina Povera)
53:17 Speakers Corner Quartet – fix (feat. Tirzah)
55:45 Oliver Coates – Night
58:16 The Strange Girls – Lyric

Toxe.
The Story Of Leonora (OST) is the seventh edition of PAN’s Entopia soundtrack series. The first original score by Toxe, the album accompanies a short film of the same name by Clemens Stumpf and Cleis Vandam. Serving as an extended version of the original score, the new release from Toxe additionally presents audio yet unheard by viewers of the film. Created in 2020 between Berlin and Amsterdam, The Story of Leonora is released today as a 10track album and a limited edition sliding puzzle designed by Emir Timur Tokdemir.
https://toxe.bandcamp.com/

Simon Scott.
‘Long Drove’, the title of Scott’s first edition for Room40, is a location in the Fens close to the home of British composer, multi-instrumentalist and mastering engineer Simon Scott. It is the connective pathway between two nature reserves, called Holme Fen and New Decoy, and both sites are part of a habit restoration project called The Great Fen Project and is close to where Scott grew up as a child. This area first became a location of compositional inspiration over a decade ago, when Scott created ‘Below Sea Level’ on 12k (later reissued on Touch). His return to the Fens has produced a number of new works, presented here on ‘Long Drove’, that are intimate sonic narratives of place and rural trauma.
https://room40.bandcamp.com/album/long-drove

Daphne Oram.
Daphne Oram is best known for her design of her Oramics system, and also for co-founding the BBC Radiophonic Workshop in 1958. At the time of writing, the only easily available piece of music by her on CD has been the 8 minute long ‘Four Aspects’. There was also a 7” EP from 1962 on HMV, released as part of the ‘Listen, Move and Dance’ series that was specifically designed to help children dance. Although the short pieces on this record are very basic it could be argued that this was the first ever electronic dance record!
https://daphneoram.bandcamp.com/album/oramics

Max Syedtollan.
Morbid gimmicks, throwaway polaroids, creaking piles of last season’s rubbish – Max Syedtollan rakes through the detritus on Disposables, his new album for 33-33.
Languishing in the opiated wake of a freak accident (awaiting major surgery for a shattered radial head) Syedtollan confronted tedium with a reinvention of his artistic process, a sprawling and unhinged stylistic U-turn that casts aside classical intricacies in favour of a homemade, back-to-basics approach the composer terms “decomposition”.
https://bandcamp.33-33.co/album/disposables

MMMD.
MMMD are constantly forging their deep monolithic sound, bringing together low frequencies, inter-modulations, dark textures, and distant folk nuances through custom made instruments.
https://mohammadsound.bandcamp.com/album/sidiroun-parapetasma

Stefano Pilia & Valerio Tricoli.
After their long tenure in experimental collective 3/4HadBeenEliminated (Häpna, Die Schachtel, Black Truffle) the two musicians reunited for ‘Cantor Park’ a new voyage that heightens their previous experience of instrumental improvisation, electroacoustic techniques and contemporary psychedelia. Inspired by the work of German mathematician Georg Cantor and his theorization of the infinite, the album was recorded for the influential Bologna cultural organization Xing during the second pandemic lockdown with an unusual setting: Pilia playing live with his collection of modulars and guitars and reacting to Tricoli’s revox tape machine dense manipulations.
https://improvedsequence.bandcamp.com/album/cantor-park-imp079

Malvern Brume.
Brume’s practice is something akin to audio collage, a layering of sounds each with a strong sense of time and place but nevertheless otherworldly and disorientating. The title, Pacing The Hollow Path, was initially the name of a collaborative piece between Brume and Wes Knowler which ended up on the cutting room floor. However the discarded text from the collaboration, which focussed on the act of walking – Brume’s principle obsession, came to inspire this record.
https://teethrecs.bandcamp.com/album/pacing-the-hollow-path

Kode9 & The Spaceape.
Collaboration between Kode9 (Steve Goodman) and The Space Ape (Stephen Samuel Gordon)
https://hyperdub.bandcamp.com/album/five-years-of-hyperdub

Batu.
Bass music / Techno producer from UK. Runs Timedance label.
https://batutimedance.bandcamp.com/track/built-on-sand

Melvin Gibbs.
Melvin Gibbs is the renowned bass player and producer from Brooklyn who’s vast resume includes playing with Sonny Sharrock, John Zorn, The Rollins Band, Dead Prez, Caetano Veloso and Femi Kuti amongst others. A solid resume, no doubt, but what is Gibbs doing on Editions Mego?
Behind the scenes, those who know Gibbs knew that amongst all this he was also tinkering away at another form of music, one which skirts around the border between music and sound design. The Wave is the first release that reveals this side of Gibbs’ creative output to those outside his inner circle.
https://music.melvin-gibbs.com/album/anamibia-sessions-1-the-wave

Ryuichi Sakamoto.
Ryuichi Sakamoto was a Japanese composer, record producer, and actor who pursued a diverse range of styles as a solo artist and as a member of Yellow Magic Orchestra (YMO). With his bandmates Haruomi Hosono and Yukihiro Takahashi, Sakamoto influenced and pioneered a number of electronic music genres.
Sakamoto began his career while at university in the 1970s as a session musician, producer, and arranger. His first major success came in 1978 as co-founder of YMO. He concurrently pursued a solo career, releasing the experimental electronic fusion album Thousand Knives in 1978. Two years later, he released the album B-2 Unit. It included the track “Riot in Lagos”, which was significant in the development of electro and hip hop music.
http://sitesakamoto.com/

Alfred Wegener Institute, Helmholtz Center for Polar and Marine Research.
Seismic shooting is used for exploring the seafloor for oil and gas deposits. It involves ships travelling along the ocean blasting soundwaves through an airgun. These sound waves echo back and are captured by hydrophones. This process can be harmful to marine life.
https://audioboom.com/posts/8231547-seismic-shooting-airgun-exploration-for-oil-and-gas-recording-1

RETE.
“Ακινησία” is RETE’s third complete album.
‘Ακινησία’ LP (greek word for immobility), comes into a period of great mobility for RETE. This paradox scheme is best described through Vasilis Liolios’ words in two tracks of the release, narrated by Savvas Metaxas.
https://grannyrecords.bandcamp.com/album/-

Philip Samartzis.
Atmospheres and Disturbances registers the changes in high altitude ecologies caused by increasing global temperatures. The composition is based on field work undertaken at the High-Altitude Research Station at Jungfraujoch, Switzerland where for four weeks I deployed various recording devices around the station, and in the surrounding alpine environment to register natural, anthropogenic and geophysical forces. The project provides new encounters of an endangered alpine environment to enhance the way we perceive and engage with notions of place, community, and environmental dissonance.
https://room40.bandcamp.com/album/atmospheres-and-disturbances

Jim O’Rourke, Eiko Ishibashi, Joe Talia.
Recorded live at Super Deluxe, Tokyo 13/01/2019. Jim O’Rourke – bass, electronics & Eiko Ishibashi – piano, flute, electronics & Joe Talia – drums, electronics
https://joetalia.bandcamp.com/album/patrick

Julien Ottavi.
Julien Ottavi is part of a generation of audio artists to emerge in the 1990s that indicated some of the directions that music and sound art are taking.
While at art school, he organized a series of concerts, bringing international artists from the experimental scene to Nantes, drawing touring musicians to movements happening outside of Paris, which became not just a destination but a nexus for collaborations.
https://scatterarchive.bandcamp.com/album/consume-2

Civilistjävel!
There isn’t much to go on other than the soundscapes when it comes to Civilistjävel! What is rumoured to be a figment of the pre-internet era tapping into a similar consciousness as Biosphere, Chain Reaction or early Fax +49-69/450464 is ultimately left up to second guessing. For the average listener crossing paths with the project, a steady run of small-run, minimally packaged LPs has cemented Civilistjävel! as a leading force in the dub techno/glacial drone scene of present.
https://civilistjavel.bandcamp.com/album/fyra-platser

Speakers Corner Quartet.
The quartet is Biscuit on flute, Kwake Bass on drums & percussion, Raven Bush on violin, and Peter Bennie on bass.
https://speakerscornerquartet.bandcamp.com/album/fix-feat-tirzah

Oliver Coates.
Oliver Coates is a cellist, a composer for film and an electronic music producer.
https://olivercoates.bandcamp.com/album/aftersun-original-motion-picture-soundtrack

The Strange Girls.
Early and mostly previously unreleased recordings from Dunedin’s The Strange Girls, a band that initially consisted of Clayton Noone, Kaaterama “Motty” Morehu and Jon Arcus. The Strange Girls existed on and off from 1999 up until Motty’s passing in 2019 and left behind a peculiar trail of gems scattered around on a myriad of limited lathe cuts, cassettes and CDrs. It’s OK To Be Happy focuses on the trio era – Jon Arcus left the band in 2002 – and starts at the very beginning with ‘Satan’, the first song at the first gig they ever played. Ten tracks of atmospheric bummer folk/downer rock with that unmistakable lo-fi Root Don Lonie For Cash anything-goes approach, carefully sequenced into something that feels like the album that never was rather than just a compilation.
https://discreetmusicgbg.bandcamp.com/album/its-ok-to-be-happy