Resonator

00:00 Resonator Spot.
00:28 Richie Culver – Bedsit.
02:32 Steve Roden, In Be Tween Noise – Corner.Wood.Fuzz.
04:00 Zoe Efstathiou – Dodone.
08:50 George Katsanos – Dreaming.
12:10 Daphne X – writing white letters.
15:20 John Eckhardt – Freedom Song.
18:59 Broadcast – Follow The Light.
20:30 Alyssa Moxley – City Replica Souvenir.
25:14 Blod & Shadow Pattern – On The Path.
27:24 Aeson Zervas – untitled 5.
31:16 Atte Elias Kantonen – ioi – Weeping.
34:23 Six Organs of Admittance & Shackleton – Spring Will Return-Oliver’s Letter.
40:46 Viv Corringham – February. (Streets and Carl Schurz Park, NYC)
44:00 Bruno Duplant – 1 Écouter les Fantômes, Pt.1.
47:37 Chris Abrahams, Mike Cooper – Waiting For Otis.
52:14 Posset – Rubber Whiskey Decisions.
53:48 Ulla & Ultrafog – Jesses Car.
57:05 Pavel Milyakov – the thrill. (feat. Yana Pavlova)

Richie Culver.
Richie Culver (born Hull) is a multidisciplinary artist working in painting, music, performance and photography. He graduated from the Royal Collage of Art in 2023 on the MA painting programme.
https://soundcloud.com/richieculver/sets/hostile-environments-1

Steve Roden.
Every sound on this recording was generated by rubbing, bowing, plucking, and scratching a 1943 moulded plywood leg splint designed by charles eames. some of the sounds were recorded directly to tape, others were manipulated and processed electronically. no other objects, instruments, or sound generators were used in the making of this recording. the eames splint has always been considered an icon of ingenuity and modern design. after appreciating it’s visual qualtities for a few months as it hung on our living room wall, i decided to take it down and try to explore it as an ‘instrument’. i used my hands, mallets, brushes, and a violin bow.
https://room40.bandcamp.com/album/splint-the-soul-of-wood

Zoe Efstathiou.
In the core of the album’s creation, lies my fascination with unveiling the piano overtones by harnessing the properties of complex systems, which emerge when competing oscillations of strings interact with room acoustics, microphone placements, the piano’s pedals, and its soundboard. Through long forms, incremental gestures, and nuanced timbral artifacts, the album aims to distort the perception of time and invite an introspective experience of multiple and expanded temporalities.
https://zoeefstathiou.bandcamp.com/album/edge-of-chaos-solo-piano

George Katsanos.
George Katsanos is a pianist, multi-instrumentalist and composer, based in Athens, Greece. He is member of the synth duo Incirrina and works together with numerous musicians and songwriters in Greece. He also makes music for films and theater. In his personal projects, he loves creating minimalist sound spaces, often balancing between absolute silence, repetition, and a “sculptural” approach to making sound.
https://submersionrecords.bandcamp.com/album/yuki

Daphne X.
Daphne Xanthopoulou (she/they) is a Barcelona-based digital artist who explores the worldbuilding force of sound through critical listening practices of care, where technology is used to repair our sense of kinship with the material world. Their collaborative and solo installation work has been showcased at festivals like Sónar (2024), Ars Electronica (2021, 2024), Manifesta (2024).
Their music has been released on labels including Paralaxe Editions, tssstapes, Exiles, with their albums receiving acclaim from The Quietus, A Closer Listen, Bandcamp Daily (2024, 2021). In addition to their sound work, they have published essays, poetry and fiction on imprints such as Urbild Editions and aglimpseof.
https://hardreturn.bandcamp.com/album/the-frost-of-time

John Eckhardt.
Seeking to combine scope with depth, John Eckhardt is constantly involved in the creation of new music and has both collaborated with a wide spectrum of artists and created his personal brand of solo projects. He worked with many composers including Helmut Lachenmann and Pierre Boulez, top new music groups such as Ensemble Modern, Klangforum Wien and musikfabrik, improvisors from Evan Parker, Elliott Sharp, Peter Brötzmann and Peter Evans, to today’s new blood in a wide field of today’s music.
https://johneckhardt.bandcamp.com/album/48k

Broadcast.
Spell Blanket comprises songs and sketches drawn from Trish’s extensive archive of 4-track tapes and MiniDiscs. The recordings lay the groundwork for what would have been Broadcast’s fifth album, offering a window into Trish and James’ creative process during the post-Tender Buttons period from 2006-2009.
https://broadcast.bandcamp.com/album/spell-blanket-collected-demos-2006-2009

Alyssa Moxley.
Alyssa Moxley seeks to access and share the emotional resonances and embedded memories of locations through sound. She transforms field recordings through composition, performance, and shared listening practices. Her works include installations made with physical radio, sound walks, sculptural interventions, multi-channel compositions, improvised solo and collective performances, research in ethnomusicology, and collaborative soundtracks.
https://ctm-editions.bandcamp.com/album/chronotopia-echoes

Blod & Shadow Pattern.
In their latest transatlantic collaboration released through Forlag For Fri Musik, Blod and Shadow Pattern from Canada merge their distinct sounds with surprising synergy. Recorded during the winter of 2024 across Gothenburg, Sweden and Hamilton, Ontario, Canada, this project sees Gustaf Dicksson’s introspective lo-fi folk intertwined seamlessly with Nathan Ivanco’s raw and experimental concrete music.
https://discreetmusicgbg.bandcamp.com/album/midnite-blues

Aeson Zervas.
Properly deep and mysterious future-primitivism on the debut recordings from a reclusive artist about whom we know almost nothing except that they hail from the Mesolongi region of western Greece. Uncanny ambient chamber spectres are the order of the day, with a sound that could have been conjured decades or just weeks ago – who knows – giving something like The Caretaker processing crates of rebetika instead of the usual ballroom dirges.
https://heatcrimes.bandcamp.com/album/s-t

Atte Elias Kantonen.
Atte Elias Kantonen (b. 1992) is a Helsinki, Finland -based sound designer, sonic artist and composer working mostly in the fields of experimental music and contemporary performing arts. The aim of Kantonen’s sounding discipline is to sculpt sound into delicate forms that are constantly affected by a kind of mutant nature encompassing a variety of tones – ranging from glassy to organismic, earthly to ethereal.
https://superpang.bandcamp.com/album/no-catalogue-number-tracks

Six Organs of Admittance & Shackleton.
In full aural/metaphysical alignment, Shackleton’s bass heavy cosmic dread and Six Organs’ ritual folksong revel and delight in their massed collage as they become Jinxed By Being. Unfolding small details into a massive space, and then into further lines of dimensional space, they transit at will through our hemispheres with enervating motility, reearranging the definitions of our psychedelic/ritual/transcendental music libraries.
https://samshackleton.bandcamp.com/album/jinxed-by-being-2

Viv Corringham.
In Soundwalkscapes Corringham again invites us to join her as she encounters her surroundings using her voice and body. In listening we move with her through five journeys in New York State, and one in London. On these walks we hear multiple, and overlapping versions of space itself. We listen to the polyphony of multiple voices, overlapping, merging, and clashing, and encounter the aural traces of other bodies and other species moving, breathing, chirruping, rustling, stamping, shuffling and banging.
https://flamingpines.bandcamp.com/album/soundwalkscapes

Bruno Duplant.
My music is intended to be narrative and fictional. I do the same in my practice of photography and writing. I never try to transcribe reality. This doesn’t interest me in any way. What, on the other hand, interests me, fascinates me, is, as in Écouter les fantômes, to create a sound fiction with the aim of trying to transcribe a phantasmagorical, ancestral and secret universe which has always been fascinated and/or frightened us.
https://cronica.bandcamp.com/album/couter-les-fant-mes

Chris Abrahams & Mike Cooper.
It’s this musical whisper that is amplified on Oceanic Feeling-Like, as Italian based musician Mike Cooper and Australia’s Chris Abrahams unite for the first time to create what can only be described as a picturesque horizon of melodic ocean swell.
Stretching out horizon-wide, Oceanic Feeling-Like is generously coloured with Cooper’s unique guitar approaches and Abrahams distinctive piano motions. Both musicians bring with them a wealth of technique and improvised flare that is brought to bear over a series of island-like compositions, that eventually form an unusually divergent sound archipelago.
https://room40.bandcamp.com/album/oceanic-feeling-like

Posset.
Idiot-broth slurp and muscled-thumbed twitching from Dictaphone’s tweediest goof. Voices within voices.
https://posset.bandcamp.com/album/another-forever-tomorrow

Ulla & Ultrafog.
Fizzing thru the aether like a half-remembered dream, Ulla and Ultrafog’s collaborative debut is a surreal shimmer of imploded shoegaze-y guitar riffs, thick subs and lassoed vocals. Like an especially dissociated strain of hypnagogic pop, its sequence of trace recollections netted into a syrup of entrancing and half-speed ambience
https://motionward.bandcamp.com/album/it-means-a-lot

Pavel Milyakov.
Pavel Milyakov is an electronic artist and music producer from Moscow, whose contributions have seen him rise as a formative figure of Russia’s electronic music scene.
Summoning the pseudonym Buttechno for his extensive research and hyper-focused framing of rhythm-based music, he has performed at venues such as De School, Bassiani and Berghain.
https://buttechno.bandcamp.com/album/enthropic-vision