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Interview: Telephone Explosion / Morning Trip

We are now broadcasting on n10.as radio each month. Watch our instagram for show times.

Telephone Explosion records has been releasing high quality music since 2007. Starting off with a focus on local garage rock, the label has expanded in the years since to include new music and reissues, spanning ambient, post punk, folk, and hard-to-categorize music of all kinds.

The label is an expression of the collective taste of founders Jon Schouten and Steve Sidoli, and Jon stopped by to deliver us a special guest mix of music he’s listening to, and to talk about the label’s history, and their new venture with imprint Morning Trip.

Telephone Explosion Bandcamp Telephone Explosion Instagram Telephone Explosion site Morning Trip Bandcamp

So the label started as a garage rock label, and I feel kind of a kinship to you because you have pivoted into a more open-format and outsider music label rather than sticking to the sound you started with. Yeah, I mean I feel it's what you're into at a time. I think the label is this physical record, documenting our movement through music as enthusiasts. And like even though it started, like you said, as a garage rock label and it was really genre-focused, that's the world we were in, that's the music all of our friends were playing, and that's the music that we were playing. I don't know if it was too much of one thing or something, but we grew out of it. We just wanted to be able to do anything we felt like, without being limited to a genre. We're at a point now where I feel good that we can do anything. Our next record is a free-jazz record, and that's our first jazz record.

I remember when you did the Steve Roach reissue — actually it was the Bruce Haack that started it. It surprised me and made me pay closer attention to the label. How did you get to that place? Yeah, I mean we were just fans of Bruce Haack. Bruce started the whole reissue side of the business for us. We did Electric Lucifer 2 which was our first ever reissue, and it's a bit of a weird one to start with because it wasn't Electric Lucifer 1, but that's the album that we gravitated to, and we got in touch with Ted who passed a few weeks ago, unfortunately. We didn't even know if there was a market for reissues, which, sitting here today [laughs] it's such a funny thing to think. That started it. I think we did a couple-a-year for a few years. But that led into us doing four albums by him. We just did Preservation Tapes which is an archival projects that we did last year. And then getting into Steve Roach, again it was just we discovered that album and had a conversation with him that was going on probably about a year, and trying to figure out how to do it. Eventually it just came together. But I mean Structures From Silence, again, it's just such a pivotal album for me. When I discovered it, I was like "this is insane, this music is so deep."

Tell us about some of the choices in the mix. Well I mean, I'm going to obviously highlight the Laraaji & Lyghte track Celestial Realms, because that's one half of the first release of the new imprint that we're doing which is called Morning Trip with a friend of ours Dave Nardi. It's a new imprint that we launched this year that we'd been working on for the last half year, and it's dedicated to experimental and ambient reissues. So Celestial Realms is a pretty obscure cassette-only release from I think '85 that Laraaji did with Lyghte who is a guitar player and his name's Jonathan Goldman. It's two tracks that are 23-minutes-ish apiece. It's kind of based in Laraaji's tonal palette, which is zither and bells, and Lyghte is playing guitar over top of it. You can't even tell it's guitar for the most part; it's just this beautiful ambient voyage that is perfect for background music. Perfect if you just really want to zone out and pay attention and get into an expansive piece. Yeah it's it's it's a fun listen, it's a trip, you know? It's a morning trip.

Yeah, let's talk about Morning Trip, how how did it come about and why did you want to do an imprint? Yeah I mean we wanted to do another imprint just because of capacity issues for Steve and I. Steve works full time, I'm freelance, and I work on this more. But still it's a lot of work to put out records. And we wanted to be doing more, so it just made sense to find the right person to do an imprint with, a separate imprint. We're facilitating Dave's vision and helping him with it, but it's purely you know curated by Dave. So yeah, we want to do more, we want to do something different and grow, and Dave has impeccable taste that's very much in line with where we're going.

How do you divide the labour up in a reissue imprint, between having the vision and executing? Yea, it's very collaborative. Dave presents ideas and we talk about it and we look at the details of it because obviously the reissue climate is like kind of insane right now. You know you'll stumble upon people, you'll find them, you'll e-mail them, communicate with them one way or another, and they'll be maybe paranoid that you found them, and they've left music for one reason or another, and maybe it brings up something in their past where they don't necessarily want to revisit that. And then there's other people that were maybe a bit more successful when they were doing music, and the music industry has changed so much that they're extremely unrealistic in terms of the finances of repressing you know 500 or 1,000 albums. So it's just kind of unpredictable.

Yeah I find it interesting, owning a label in 2019 seems as challenging as ever. Having been around for a little while, is it more challenging than ever, or are there just new modes of behaving? For us it always feels new because we're always pushing into new territory and trying to grow. We don't really know, I mean the label started as like a cassette-only label 10 years ago, we weren't really participating in the proper music industry, and it still feels like we're learning as we go. Every year feels like there's more successes and there's more challenges, and they're different. They change with the times. And everyone's always afraid of this vinyl boom coming to an end, and it always feels like it's kind of on the horizon but it never is. So there's a little bit of fear involved I guess.

So if you were starting from scratch in 2019, would you do cassettes again? Would you do digital? I think we would be kind of where we are today. I think offering a physical product is still really, really important. It gives people something to connect with, and I connect with it personally. It supports artists on the road, and it helps us diversify your revenue streams. You're not going to make pretty much any money [laughs] off of Spotify. I feel like everybody knows that. But Spotify, for us, and kind of the digital realm, we treat it more like marketing. It's marketing that kind of pays us vs. us to paying into it. Like if somebody sees a review or their friend posts something cool on Instagram and then they go to check it out, the first place they're gonna go to is Spotify and if it's not there then they're gonna go "OK, next."

Alright, give me another favourite moment from the mix. I'm going to go with Terry Riley and Don Cherry - Descending Moonshine Dervishes. I'm a huge Terry Riley fan, and this isn't a real album, this is a bootleg live session, I think it's from '75, There's a couple versions of it kicking around. When I heard this it just floored me. There's no other way to say it. It's classic Terry Riley, crazy arpeggiate-y micro-tonal organ riffage with this beautiful Don Cherry trumpet over top. And to me it's the perfect combination of two people coming together for a project. I'm kind of sad that maybe it wasn't released properly or whatever, but I also like the fact that it's kind of obscure and live and very of-the-time that these guys just got together, probably didn't rehearse, and jammed it out live and recorded it, and I'm just happy that exists.

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Interview: SlowPitchSound

Just a quick note to say that we are now broadcasting on n10.as radio each month. SlowPitchSound is our first guest, January 18th at noon ET.

SlowPitchSound is a unique voice in the experimental music scene of Toronto. I first met Cheldon when I saw his performance at Mutek, and I loved the unique way that he blended sampling, turntablism, and space in his own improvisational way. In the years since, I’ve admired how consistent and detailed his productions are. Very pleased to have him submit this month’s guest mix.

https://slowpitchsound.bandcamp.com/ https://www.instagram.com/slowpitchsound/ http://slowpitchsound.com

The mix has a lot of urban elements, the sound of the city. Toronto transit seems to feature as a thread through it. It’s part of creating a world for my listeners to really get immersed in. In this case I just wanted to share a little slice of home.

Your music has a strong sense of spontaneity that makes me think improvisation plays a part in your process. Improvisation and spontaneity do play a huge part, it’s pretty much at the root of the majority of my work. I’m all about taking what some might view as mistakes and flipping them around. I feel like I’ve actually eliminated the thought of a mistake in my head and just end up surfing sounds. Just going with the flow and see where the sounds end up taking me.

You recently did a piece called Alternate Forest that had an environmental theme. Are you an environmentalist? Nope, I’m not. I’m a scifi-turntablist who is concerned with the state of the planet I call home and I’m trying to bring awareness through my art.

That piece included a collaboration with a dancer. How do you like to approach collaboration? I enjoy collaborating very much. It definitely takes patience and openness but the results can be really amazing. I’ve been collaborating with Lybido for about 4 years now and it’s been really cool. Our work is heavily improv based and after performing together for a while now, we’ve build up great chemistry.

It seems more than ever that music-making today is something that people do alone. The trend is towards solo artists and away from bands. I like it all, they’ll all give different results in the end. I’ve done a wide variety of events, with people, solo, in a gallery, in a theatre, in a barn. The list goes on. Every gig is different and I love it that way. For me it’s just about being as prepared as possible for whatever artistic adventure lays ahead.

Your work incorporates field recording and also turntablism. How do you approach the various stages of creation? Do you do a lot of field recording? I do have a bit of a formula but like any good magician I don’t wanna giveaway too much lol. I will say that the number 333 is a big part of it. I like thinking about layers, dimensions and space. Scratching is definitely part of the secret ingredient. It’s the thread that brings my music to life and it’s a skill that has taken me over 20 years to develop. I do a lot of field recording and I love creating new places and scenes with sound designs.

How much sampling of records do you do? How much do you draw from the traditions of turntablism and also sampled production? I sample a lot and I really challenge myself to work the samples way beyond recognition. I feel like the way I sample is a evolution of the kind of sampling I was influenced by back in my golden era hip hop days. I decided to go deeper and found a way to really integrate turntablism and beat making in a non hiphop way if that makes any sense at all.

Are there pieces of gear that you find you wouldn't be able to work without. or that you find yourself recommending to others? (A type of turntable, plugin, smartphone app, or field recorder for instance) I can’t do without a turntable, field recorder, drum machine and effects machine. Having a turntable and being able to scratch really gives me an edge for sure, it’s the instrument that brings my sound to another level. It keeps things from not feeling flat and turns my songs into living creatures. I find that when making electronic music it’s a good thing to add some kind of tactile instrument to the mix, something a little more analog or acoustic maybe.

What inspires you while you work? I’m really a fan of scifi and fantasy films so I draw a lot from there. When I’m creating I like to imagine that I’m making a score.

The last track on this mix is one of your collaborations with Shikha Sehgal, who seems to be a go-to collaborator. I love working with Shikha we’ve been friends for many years, our collaborations have felt so effortless in a way, I would just play her some tracks, she would pick and write something before I wake up the next day. That’s how freak show and robotic rain cells happened. Myself and Shikha actually have a new collaborative project called "eastwood discovery". We're dropping an EP in the near future.

Do you have a hidden pop / r&b impulse within you? I definitely do. It’s all about soul for me and I think it’s very important when it comes to making experimental music… at least my style. I like to get as weird as noisy as possible but still want to move the mind body and soul together. The sounds of Hip Hop, Reggae, calypso, funk and r&b are a part of me because of my roots but I have a passion for transforming and exploring frequencies.

I always love the way your music is so detailed. How do you make sure that the details get heard? What's your favourite setting for a listener to listen to your work? The awesome thing about adding all the layers in a crafty and detailed way is that it allows my music to transform with every listen depending on what environment it’s being taken in. For the absolute best results I would say headphones or a setup that includes sub bass speakers.

Here’s what a fan had to say about that :) “These sounds give my heart and brain the similar satisfying feeling of getting my backed scratched, or head massaged, by a friend or lover. SlowPitchSound’s tone and rhythm are top notch. Best experienced with good headphones with your full and undivided attention."

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Guest Mix: La Plimbare

episode links

iTunes/Podcast Link Soundcloud Mixcloud Spotify

La Plimbare put out one of the most interesting debuts of the year with her collages of field recordings from her vacation at the beach in Romania. I'm very excited about this artist, she has a great ear for the beautiful and mysterious that we hear in the world around us. Once these field recordings have made it through her filters, they're beautiful, but they start to reflect the frantic and conflicted world around us.

I'm so happy to present La Plimbare as our second guest mix. It's a refreshing mix of moods that will surprise you and tug your heart strings.

Her album was recently reissued on the wonderful ACR.

Your album is built on field recordings. Tell us a little bit about your approach and why you choose to work this way? I’ve never created music. But then I got a recorder and it felt like getting your first camera and I started recording whatever sounded interesting, out of sheer fun, from crows and rain to the echo of the sea between the tetrapods or vendors on the beach. I thought I’d give these sounds a second life so I combined them and the result was impressive for me. It was something new, like a painting made of sounds. I think sound is so powerful, it goes directly to the heart, so this is why I choose to work with field recordings. I just have to be quiet and listen.

What is it about field recording that is interesting to you? That the environment somehow dictates the final result and the thing that finding new sounds means moving a lot. You’re never out of ideas.

How do you take a piece of sound and create a work from it? I fall in love with certain sounds, I throw them in the same project and I look out the window while I listen to them and I move them around trying to give them some meaning together. Sometimes I also play with a Volca or a sequencer and I make some accidental ambient haha.

What inspires you while you work? Looking out the window. I live in a neighborhood in Bucharest called Titan and it’s like a titan: big, tall block of flats, like matchboxes on matchboxes and during summer it’s really epic – green and sunny, during winter it’s depressing – the trees are leafless and I get to see in my neighbors’ apartments. In a weird way, this view is always inspiring. And I’m also inspired by explorers. I like explorers. Going to the North Pole or the Chimborazo by themselves. I think about that a lot.

This album was made very quickly. It feels like a snapshot of a time. Does the element of speed or improvisation play into it? I think I improvised a lot, yes. I was just discovering the wonders of sound editing and I spent a lot of time just trying out different things, exploring all you can do with a piece of reality to distort it. I mostly recorded the material in Constanta, my hometown at the Black Sea, at the end of summer, when the atmosphere starts to cool off and the city starts to feel like a ghost town.

We just had a guest mix from Those Who Walk Away, who in some ways is a noise musician, playing with field recordings and layering production techniques. But he works as a “composer”. One of the fun parts of noise music is that we have the freedom to work outside of musical norms. Is there a mode of musical artist that you relate to, whether it be producer, composer, fine artist, etc? I used to listen a lot to Chris Watson, then I discovered Felix Blume and the two artists inspired me. I think I like this “naturalistic” approach precisely because I don’t consider myself a musician, I just hear things, I like how they sound and I think “hey, something nice can come out of this, let’s see”.

What role does photography play in your artistic practice? I like the silence of the photos. I look at them and it’s so quiet. And when I listen to recordings a picture pops immediately into mind. They complement each other.

Your mix includes Romanian artists and you mentioned in our correspondence that that was important to you. What is the local music scene like where you live? I live in Bucharest which sometimes can be called a “vibrant city”, as they say in touristic descriptions of south eastern European capitals. The music scene is quite wide, everything for everyone, but unfortunately people don’t go so much to small concerts, there’s always the same bunch of people who attend the obscure gigs.

Tell us about Romanian music. There’s lots of great projects, from funny absurd rock-trap bands, to math rock, artsy techno or local ambient, modern classical musicians from the 70s and 80s, Ottoman music, sad lautareasca (the music made by fiddlers), drone... It’s quite vibrant and unexpected if you dig a little.

Why was it important to represent your country in the mix? Because there are many great projects that deserve attention and a concert in a crowded place and many dedicated musicians who love making music.

Tracklist

Joe Colley – Lonely microphone (Side A) Coil – Batwings Nicolae Brînduș- Phtora I (Duration) F E B R A – nei Roberto Musci – The ups and downs of chewing gum Environments – remix of a remix of a remix Psychic TV – Clouds without water

The above links are to available music stores. Support artists, buy music.

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Guest Mix: Those Who Walk Away

episode links

iTunes/Podcast link Soundcloud mixcloud youtube spotify

For the November broadcast we have our first guest mix, coming from Those Who Walk Away, the alias of Winnipeg-based composer Matthew Patton.

Patton's curatorial and compositional work have brought him into contact with a long list of prestigious names, many of which he has included in his mix.  

Constellation Records released Patton's "The Infected Mass" album last year. The record has a claustrophobic stillness, building a sprawl of sound from field recordings, strings, choir, "ghost strings" and "ghost choir", and real sampled recordings from the cockpit of a plane going down.

The record really stuck with me as something that pushed into beautiful but also unsettling territories, and I'm very pleased to have Matthew take us away into some songs that he has been listening to lately.

Some words from Matthew follow below. 

Tracklist

Brian Eno – Excerpt from Daniel Lanois’ movie "Here Is What Is” Otto Totland - Steps Maarja Nuut & Ruum - Kuud Kuulama Hildur Gudnadottir - People Get Faces Ian William Craig - The Last Wesbrook Lament Low - Poor Sucker Sigur Rós - Hrafntinna Jónsi & Alex - Boy 1904 Johann Johannsson - The Cause of Labour is the Hope of the World (The Miners Hymns) Angelo Badalamenti - Dark Space Low Knut Nystedt - Immortal Bach Johann Johannsson - Orphic Hymn Otto Totland - North Way

How did Those Who Walk Away come into being? Those Who Walk Away seemed to always exist in varying forms. It was always myself and the music that I created. But I didn't want to be the face of anything, I wanted to disappear, so I made myself into a group to include all of the different musicians that I was, and am, working with. It became something real when Constellation wanted to release my music.

How did you approach this mix? I look to be overwhelmed by art. Certainly initially, all I care about is the emotional connection. Its the same with people. All the great ideas come afterwards. So I put together pieces of music that deeply moved me that I had been listening to recently. Several tracks included the work of friends and musicians that I know or have worked with which is always important to me, the personal connection. The super personal is even better, elevating the everyday almost banal details of each of our individual lives to the mythic.

Matthew Patton Those Who Walk Away

Brian Eno – Excerpt from Daniel Lanois’ movie "Here Is What Is” I've spent a little time with Daniel Lanois at his studio.  I love what Brian Eno says here in Dan's movie "Here Is What Is"

Otto Totland - Steps I love Deaf Center and saw their only show ever in North America in New York.  Otto Totland's piano solos are simple, clear, and very moving.

Maarja Nuut & Ruum - Kuud Kuulama An amazing Estonian violinist.  From her new record on FatCat's 130701 imprint.

Hildur Gudnadottir - People Get Faces I've worked with the amazing Icelandic cellist Hildur Gudnadottir.  But I've always absolutely loved her voice.

Ian William Craig - The Last Wesbrook Lament Fellow Canadian Ian William Craig.  This is my favorite track of his off the new record.

Low - Poor Sucker I've seen the band Low several times.  They are from nearby Duluth, Minn., city of bridges and I am obsessed with the beauty and design of bridges.  Low's new album Double Negative is their most progressive and most different, they take their own lovely songs and degrade them beautifully.

Sigur Rós - Hrafntinna Every time I listen to this I wonder to myself how it is even possible that human beings could actually create music this beautiful and this moving.  Sigur Ros changed my life.

Jónsi & Alex - Boy 1904 Earlier this year I presented the world premiere live performance with film of Alex Somers and Bill Morrison's "Dawson City: Frozen Time" a work of astounding beauty and decay.  I've seen Jonsi, Alex, and Paul Corley's Liminal project live in LA and London as well.  Paul worked on "The Infected Mass", my first CD with Constellation, which is an actual Requiem Mass.  This piece is usually part of their show and is one of the most beautiful pieces of music I've ever heard.

Johann Johannsson - The Cause of Labour is the Hope of the World (The Miners Hymns) Johann Johannsson was a good friend.  I presented his first show ever in North America in 2006 and the last world premiere of his life, "Orphic Hymn", the week before he died.  We would meet up in Iceland, New York, Toronto, LA., or wherever.  We also worked with many of the same musicians in Iceland.  His music was so moving to me from the first moment I ever heard it, it just took the world a little time to catch on but his brilliance was so obvious right from the beginning.  He was one of the kindest, most gentle people, I've ever met.  We always talked about books first, something we both deeply loved.  When I was last in Iceland this summer I made a pilgrimage to his gravesite with composer Hilmar Orn Hilmarsson.  His site is in a place that is kind of hidden away and out of town.  Going there quietly meant a lot to me.  I miss Johann, everyone I know misses him, and the world misses him.

Angelo Badalamenti - Twin Peaks 2017 - Dark Space Low For me,this was the single most astounding moment in the new Twin Peaks series.  The end credits. 

Knut Nystedt - Immortal Bach An amazing immersive piece of music.

Johann Johannsson - Orphic Hymn See my thoughts on Johann above, every word applies here as well.

Otto Totland - North Way See my thoughts on Otto Totland above.

And for anyone who wants to know more about Those Who Walk Away, this radio piece from NPR is nice — New Sounds #3970: With Matthew Patton

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October 2018 — 40mg To Freedom

episode links

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Tracklist

Yamaneko - Oslo House Sunrise 4K Becky Gelke - What I Meant Becky Gelke - Noise in Every Sea Becky Gelke - Awoke 36 - RM Nimbus 93 Slow Tide - Eerie II Lunaria - Water Mind Dominic Coppola & Zen Zsigo - Roseate Slow Tide - Chasing Spring Of - Rake Vendor (unreleased) Slow Tide - Crickets and Fireworks Andrew Sherwell - Ektenia 04 v4 Khotin - Levi's Synth Dear, Black Gold - Periphery I. ntrLpr Polygon City - Piano Unfair Yamaneko - Second Encounter

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September 2018—The Glow (Radio Pure Episode 7)

episode links

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TRACKLIST

Of - Upright OCA - HeavenCent la plimbare - acasă (Rui P. Andrade Rework)   7FO - Moment la plimbare - mlaștina la plimbare - se lasă iarna FARWARMTH - vantawhite Domiziano Maselli - Remains Dominic Coppola - Leaving So Soon Sébastien Wright - Façades of Lime øjeRum - sewn birds Lee Gamble - Girl Drop 

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cicada rhythms

july 9, 2018

made in toronto

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partially recollected conversation

june 5, 2018

made in toronto

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painted objects made real (radio pure episode 4)

painted objects made real

new episode of radio pure.

may 9, 2018.

made in toronto and vancouver.

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New song from my “Telephone Love” series, a series of pieces of music made on my smartphone while travelling for work. 

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Happy Easter.

This one is an ambient show to blow off steam from Mercury retrograde. Some soothing sounds, some pillowy, and some other things a little more loud. Enjoy :)

Tape Sounds – How Is Your Day Going Christina Vantzou – Some Limited and Waning Memory Sienna Sleep – 98 Tape Sounds – Warp Day Tape Sounds – Fairy Fungi Tape Sounds – White Ghosts Biosphere – Hilsondis Denis Morin – Riley Net Data Dialect – Sky Steppes Dialect – The Rain At The Right Time Of feat. Owen Lyons – ? (Forthcoming) tidecruise – shadows, and not Poemme – Tadpoles Of feat. Owen Lyons – The Old City (Les Miserables) (Forthcoming) Rafael Anton Irisarri – Sonder

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Radio Pure Bonus Episode

A Meditation On International Women's Day

The first experimental electronic artist that really turned my head was Delia Derbyshire. I heard about her through a forum about music and downloaded an album. I put it on and didn’t understand it. I didn’t like it at all. I think I meant to turn it off. For whatever reason, I didn't turn it off. And I have this memory clear as yesterday of some time later the work “Dreams” began (which is excerpted in the episode). I remember stopping what I was doing to notice how intensely I loved the sound I was hearing. It wasn’t clear to me why, exactly, but I felt it very deeply.

Despite this beginning, when launching Radio Pure recently, I was acutely aware that it’s so much easier to find music from white men to put into an ambient show. The lion's share of the attention seems to go to a lot of men. But I wanted to question my own bias, and the bias of the media and record labels, so I have started to broaden my research and POC artists to make sure that I don’t follow the same paths.

Anyway, it’s International Women’s Day and I just think it’s a pretty good excuse to make a special episode to celebrate some old favourites and some new-to-me stuff. Women have been foundational to ambient and experimental electronic music since the very beginning, and I'm not sure we've always celebrated and appreciated this enough.

I hope you enjoy this episode as much as I enjoyed making it!

P.s. The inclusion last episode of Suzanne Ciani’s “Concert at Phil Niblock’s Loft” helped transition into this episode, and frankly is the omission I feel the strangest about here. That piece is perfection and Suzanne is amazing.

P.p.s. Leave a comment and share if you have any other finds that you feel strongly about, I am certain there is a ton of music in this vein I haven’t found yet.

Tracklist Wendy Carlos – Spring (excerpt) Éliane Radigue – Islas Resonantes (excerpt) Laurie Spiegel – East River Dawn Joanna Brouk – Majesty Suites, Entrance of the Queen of Winter Dawn Caroline K – The Happening World (excerpt) Delia Derbyshire - Sea Laurie Spiegel – The Unquestioned Answer Pauline Oliveros, Stuart Dempster, Panaiotis – Suiren Wendy Carlos – Winter Out-take Alice Damon – Waterfall Winds Delia Derbyshire – Spaceship Interior Alice Coltrane – Jagadishwar

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Radio Pure Episode 2 — This month's episode focuses on new release and re-issued music from Pendant, Vanessa Amara, Dedekind Cut, John B. Mclemore, Stars of the Lid and Suzanne Ciani.

1VVQ by Pendant 220-03-2017 21-12-2016 06-02-2016 by Vanessa Amara 3Tahoe by Dedekind Cut 4Be Little With Me by Stars of the Lid 5John B.'s Dark Spring (Inspired By Carl Michael Von Hausswolff) by Tor Lundvall & John B. McLemore 6VPL Call by Of 7Bad Lands by Of 8Concert At Phil Niblock's Loft by Suzanne Ciani

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Radio Pure Episode 1 — From @istolethesoulfm's first pop up.

Tracklist – Jesse Futerman – Gem (of version) Bibio – Branch Line Loscil – Helluland of – Todd's Breakdowns (edit of Todd Edwards – Winter Behavior) Ahnnu – Return of junkman Ahnnu – Two squares India Jordan – See Four Martin Sole – Tangled Delia Derbyshire - The Delian Mode Danny Wolfers – Lunch Rain Kara-Lis Coverdale and LXV – Grigori in Jakarta Delia Derbyshire – Liquid Energy (Bubbling Rhythm) ??? – ??? Kara-Lis Coverdale – Grafts (excerpt) Fhloston Paradigm – Live on Star's End (feat. King Britt) (excerpt)