Donna Summer, Electronic Music Legend dies at 63

Donna Summer, Discomusic legend passes away today at age 63.
With Giorgio Moroder she created some of the most ground breaking proto techo music that came out of the 70s.  New Order even sampled the beat for 'Blue Monday' off the track 'Our Love' .
Donna Summer is mainly not associated with electronic music history but she should be.  The album 'Bad Girls' in particular, the last 3 tracks are some of the catchiest electronic dance music productions that Moroder was ever part of.  'Sunset People' especially is one of the catchiest songs i have ever heard.
Please enjoy ths Donna Summer selection of very ahead of it's time electronic disco music from the late 70s

new good music summary

Not Breathing - Dude Ranch

"new not breathing ep w/ three tracks by dave wright & karl white - with meat beat manifesto remix of 'current' - enjoy"







Not Breathing - The Desert Masters

A change in direction for Not Breathing, coming off of Christy Cores we have more distorted drones and less beats this time around. The black metal influence is strong here. Highly recommended







Seacrypt - A Momentary Rift

new synth pop album featuring members of Nommo Ogo, female and male vocals with a nice mixture of analog drum machines, modular and fm synthesis

the Cremation of Care... Live Electronic Music v/a

new digital only compilation featuring live recordings by Brian Albers and exclusive tracks from Wisp, Xanopticon, Kush Arora, Thee Source Ov Fawnation, Fluorescent Grey, Exillon, Identity Theft, RMS, Terminal 11, Brian E, Scuzi & William S. Braintree

DONATE $15 towards the comp on bandcamp and get a CREMATION OF CARE TSHIRT

sizes: Sm, Md, Lg, Girls Lg, XL, XXL (very limited on anything past L)

colors: BLACK, HEATHER GREY, GREY, TAN, BROWN

please specify if you donate $15 or more which size

and color shirt you want and put your address in the paypal message box, if you live outside of the united states a donation of $20 is required for extra shipping.

The Cremation of Care festival took place on September 23rd and September 24th of 2011 at RecordLabelRecord's very own underground venue, Zool in Oakland, California. It featured hour long performances by every artist featured on this compilation as well as DJ sets by DJ Brindlespork (wobbly) DJ John Yoo and DJ Paul Wolfowitz.

For the first time ever RecordLabelRecords had gathered every person in the collective it could on the north american continent. At the end of each night the performers took place in a ritual where they burned an effigy of a live human child.

credits

released 13 January 2001

Brian Albers for the wonderful audio recording method of stereo room mics + direct board feed (all but the last 4 tracks were recorded by Brian)

Laurie Kirchner for logistically planning and making arrangements

Celeste aka Spacecat photography for the flickr sets

Jynx and Barret for the excellent live sound rig

Heather Campbell for poster design

Sam Buchanan for the Owl design for the tshirt and front cover

Jonathan Bernbaum for the psychedelic barrage of visual projections

Flora Powell for running our bar.

Jay Fields for promotional help and ideas

Pselodux 'Emergence'

One of the artists that i wanted to get on 'Electric Carpets', Pselodux, has released a new album
'Emergence'
About a year ago he had a logo created for his project






I knew it looked familiar and that from his forum postings he was into Sega Genesis music. At first i thought 'Shadow of The Beast' maybe, but it turned out it was based off the software company Psygnosis

'Emergence' pays homage to artists like Harmonia and Vangelis but infused with a highly skilled prog rock and IDM sensibility.
Intricate high tempo jammy drums make occasional appearances. Think of IDM in the Team Doyobi sense. A lot of 80's throwback and chiptune music i hear is almost too rooted in it's origins. The modern twist people usually throw on it is a hyper compressed punchy production. Here on Pselodux's Emergence he doesn't just pay homage to or mimicking these genres of the past but builds on them, taking them into new territories. Some of it reminds me (i say reminds me lightly, this is not wonky) of Rustie or Hudson Mowhake but with the bombastic instant payoff held off in favor of a more satisfying build up. If you would prefer a taxidermic recreation of 80's soundtrack music, this album is not for you, but if you're in the mood for something more playful and personal go to his bandcamp page . Stream the entire release below

Dredged up from the archives 1996 'Please Do Not Buy This Recording' cassette

Fluorescent Grey – Please Do Not Buy This Recording
Label:Not On Label – none
Format:Cassette, Album
Country:US
Released: 05 May 1996
Genre: Electronic, Non-Music
Style: Abstract, Noise, Experimental

The very first florescent grey recording (it was spelled florescent until 1998). Recorded in the garage of the house i grew up in using a karaoke stereo system, a bunch of turntables and 80's/90's children's musical toys. This has never been heard outside of a handful of people and after listening to it you will understand why. Check out Side 2 as well.

Side 2 'PLEASE DO NOT BUY THIS RECORDING' cassette 1996 by Fluorescent Grey
Side 1 "PLEASE DO NOT BUY THIS RECORDING" cassette 1996 by Fluorescent Grey

Splice Today writes article about Occupy Oakland field recording

i put together a 10 minute field recording of my own experience getting tear gassed by the police on Nov 3rd, 2010 in Oakland, Ca. When i put it together i knew it was an emotional listen but i thought mainly because i was there to experience it. Turns out that people who were not there listened to it and were deeply effected by it.


Occupy Oakland Tear Gassing 11-2-11 (Field Recording) by Fluorescent Grey

http://www.splicetoday.com/politics-and-media/these-are-the-sounds-of-our-injustice

Splice Today wrote this interesting article about it here

Inauspicious at first, the audio linked above—a recording taken during an Occupy Oakland tear-gassing on November 2, 2011—betrays little of what is to come in its opening seconds, and seems somewhat reminiscent of my experience all those years back. Voices ring out conversationally and confrontationally; there’s a communal crackle in the air; police scanners squawk, feeding a sort of fractal noise-rock ambiance into the mix; a reporter files a television piece about the occupation, or maybe someone listens to a television piece a reporter filed about the occupation; a robotic voice instructs the assembled to vacate the area immediately in a bored, less-than-urgent monotone that’s lost in the vortex of competing sonics. “They ain’t got no weapons, man,” a youth shouts. Little does he know. Then, a minute in, the going gets slightly hairier. The loudspeaker warning drones on. Muttered conversations bleed into the battering of drums and ragged chants rising almost inchoate from the guts of the protest. Then the tear gasses erupt, and the mood shifts ever so slightly, and the palpable buzz and crackle of a massed, anticipatory crowd gives way to a gradually escalating hysteria.

This is hard to listen to, for several reasons. First: it just doesn’t seem as uncomfortable as a recording of peaceful protestors being tear-gassed should sound; there’s a washed-out, tinny tone to the chanting, as if the recording we being made from a distance, and this has the effect of making the listener feel removed, emotionally, from the Constitution-stomping nature of the police action and subsequently leading the listener to feel bad for feeling that way.

Second: people are suffering on this recording, but so many of their voices are so faint, see, including the woman yelling because her friend is having an asthma attack because of the gas, all of which feels like a too-neat metaphor for why the Occupy movement has to exist at all.

Third: people start swearing, which is disconcerting in social situations.

Fourth: did you notice that expressions of suffering are outnumbered by impassioned collective sloganeering? The humanity of that, and the knowledge that all of these people probably joined hands and shut their eyes tight and sunk their minds into chain-linked declarations of unity and equality in the face of gallons of noxious chemical gas, gives one great pause, and underlines the point that all of us should really be out there with them, that contributing books and money and unquantifiable online support isn’t really enough.

Fifth: given the intractability of our financial and political institutions, I fear that this may be our future—one that makes street corner dust-ups over beer-soaked 20s look like chump change.

Fibrous Emerald Tendrils Part 1-4

Free download if you type 0.00 for the amount
unreleased/outtakes from 2002-2007 from the Lying on the Floor Mingling with God in a Tijuana Motel Room & Gaseous Opal Orbs sessions. Parts 1-4

Fibrous Emerald Tendrils 1
http://fluorescent-grey.bandcamp.com/album/fibrous-emerald-tendrils-1

1. Nanotamper 2004
2. Swampmulch 2003
3. Fauxlarynx 2005
4. Stoneridge with Self-Made Robot 2005
5. I Am A Photograph Of My Own Driveway with Kossak 2003

Fibrous Emerald Tendrils 2
http://fluorescent-grey.bandcamp.com/album/fibrous-emerald-tendrils-2

1. Rainbow Jamboree with Brian English & Mike Crowley 2004
2. Elephant Seals 2005
3. Spread Laser 2004
4. Who Said Fruity Loops Was Only For Pussies? 2003
5. Artificial Sun 2006
6. Chaykin, Knight 2004
7. Iridescent Worms 2003
8. Vectrex Pop 2006


Fibrous Emerald Tendrils 3
http://fluorescent-grey.bandcamp.com/album/fibrous-emerald-tendrils-3

1.Luke Vibert Has Diphtheria 2006
2.Netherrealm Step 2007
3.Technology (Reaktormix) vocals by N4SA 2005
4.Ghost of Max Roach 2004
5.Luke Vibert Has Leprosy 2006
6.Feedbeat 2004
7.Max/MSP Is For Re-Inventing The Wheel with POWMOD 2003
8.From The Edges Of My Visual Perception Frame I Feel The Entities Trying To Grab Me 2007
9.Verge 2005
10.Zebes Dub 2006
11.Devine Envy 2004
12.Turquoise Tile Grinder 2003

Fibrous Emerald Tendrils 4 (COMING SOON)

Candle Labra - Live @ Zool ++ free download

new album by me under a new alias, Candle Labra. The Download is Free if you type '0.00' for the amount. this album was entirely made with synthesizers. no samples or 'real sounds' of any kind were used

Media Roots TV catch up

New episodes of Media Roots TV, some i i was involved in, like the Nader interview. My sister Abby did an amazing job of capturing the now historic moment in occupy Oakland  (3rd video down) when the police unleashed a fury of tear gas and flash grenades

Media Roots Radio catch up

New episodes of Media Roots Radio i was involved with

Media Roots Radio - Interview with Trevor Paglen, Experimental Geographer, Artist & Author by Media Roots Media Roots Radio – Interview with Former Senator Mike Gravel by Media Roots Media Roots Radio – Occupy Wall Street, Divide & Conquer, Medical Marijuana by Media Roots Media Roots Radio - White House Hypocrisy & Spin, Democrats' Wars, Fake Terror by Media Roots

RecordLabelRecords .01 - .08 HD videos from Zool in Oakland

HD Videos of RecordLabelRecords nights @ Zool , a venue brought to you by RecordLabelRecords in Oakland, CA (make sure to go to the youtube page to activate 1080p quality for each video)

Fluorescent Grey

Xanopticon

NegativWobblyLand

Mike Dunkley

Jacob Jarnigon

Thomas Dimuzio

Wobbly

Brian E

Kossak - You Forgot To Kick It CD (RLR23)

Kossak - You Forgot To Kick It  CD RLR23

the upcoming CD on RecordLabelRecords is the debut album by Lucas Patzek aka Kossak. Longtime
RecordLabelRecords partner and collaborator finally comes from behind the curtain to showcase his skills as a sound designer and strange electronic music beat producer.

early ordering is available now for CD/digital versions of Kossak's debut work.
stream/buy link

Kossak - Karmaliuk Posse (You Forgot To Kick It RecordLabelRecords23) by Fluorescent Grey Kossak - Little Black Clouds (from You Forgot To Kick It RecordLabelRecords 23) by Fluorescent Grey

RecordLabelRecords and Zool featured in the East Bay Express

EastBayExpress cover on Underground Venues in Oakland

RecordLabelRecords, Zool, Katabatik, and Lana Vornina all made the cover story of the Eastbay Express

from the article...
" .........When the legendary Bay Area experimental band Negativland decided to unveil its new project, NegativWobblyland, to its fans in August, it didn't try to book a show at an established club like Slim's or Bottom of the Hill in San Francisco. Instead, it decided to play at "Zool," a space that doesn't advertise, have a cabaret license, or is known to the general population. Located in an industrial section of West Oakland, the live-work warehouse occasionally hosts live music and only advertises its shows via word of mouth, Facebook, an e-mail list, and judiciously distributed fliers.
"It was lower pressure for us," explained Negativland's Mark Hosler, reasoning that the new band is an all-improvised instrumental project using homemade electronic noise-makers. "They're very silly sounding," he said of the devices. "It was hilarious and fun."
"It kinda reminded me of warehouse shows we used to do in the early-Eighties — set up in an art gallery or basement with no stage. But now you have social networking."
Zool is one of at least seventeen underground warehouses and houses in Oakland right now that host live music..."

NegativWobblyLand

Check out the rest of it here

Dalglish - Benacah Drann Deachd CD Release (RecordLabelRecords/HighpointLowlife)

new RecordLabelRecords / Highpoint Lowlife  split release, 'Banacah Drann Deachd' by Dalglish. A track appears in the upcoming Wiretapper compilation with artwork by Mark Fell (Wiretapper comes with subscriptions to the Wire Magazine)
    
digital/CD purchasing & full previews of the new Dalglish CD in semi low quality are available here

"It is a tremendously complex album that many will abandon after the first try (the start, with “25.6.2010”, cosmic and sweet, doesn’t sound like it - but the electro-acoustic interpretation of Mark Fell’s idiom on “8.4.2006” does, whilst the volcanic ambient of “5.8.2001” spits out glitches as if they were burning stones). However, if you keep trying, it grows on you. In a braver world, or maybe on Mars, this would be an instant classic. Here, on the third rock from the sun, we settle for “experimental record of the year”
- Javier Blánquez of Playgroundmag

"listeners are left to piece the picture together, with only Douglas’s sonic collages as guide. As things stands, these are quite powerful triggers, from claustrophobic environments (3.9.2004, 30.12.2007, 7.3.2008) and fragmented textures (5.8.2001, 7.3.2009) to more austere (13.6.2003, 10.7.2005, 7.3.2009) and almost peaceful sequences (25.6.2010, 8.4.2006, 6.8.2002). Despite the intensely mechanical aspect of the music, their is something very organic about these tracks. In that, Benacah… is often reminiscent of Autechre, especially in how Douglas manages to generated strong emotions from such deeply electronic approach, a feat made even more striking by the overall sombre aspect of the record."
4.3/5
- The Milk Factory 

"Anyone who has fond memories of IDM’s heyday will get something out of this oil-spraying, machine-massaging look at what the appliances in your house do after dark. Beats get broken up into binary code, synths hits your speakers like sheets of static, and unexplained flying samples maintain a suffocating sense of dread. If someone ever figures out how to translate Philip K. Dick’s fiery prose for the screen again, this’d make a suitable soundtrack"
-Self-Titled Daily

 "This sombre, endlessly fascinating album is already set to become one of the year's cult favourites, having already earned a glowing full-page review from The Wire to sit alongside nuff props from the deep end of the electronic underground. We've been struggling to categorise it, which is praise in itself, but it's safe to say that it will appeal to fans of deepest avant-techno and hauntology alike, and of course those like us who've been dreaming of a fusion of the two. It evokes nothing so pungently as a stroll down a desolate beach with nothing but the black dog of depression for company, but at the same time there's such beauty and complexity to behold that it is, in the end, a totally life-affirming experience.. e. Dalgish puts percussion sounds to textural rather than a time-keeping use; just as you think you've identified a beat pattern it dismantles itself before your very ears and is subsumed back into the foggy, forbidding ambience from whence it came. It really is a mind-blowing trip, suggesting MR James' Whistle And I'll Come To You if soundtracked by T++, SND, Pole and Rhythm & Sound. Albums like this really don't come around very often, the kind that really mess with your sense of time, space and being. Honestly, this is one of the most intellectually engaging AND emotionally resonant works of electronic auterism we've encountered in recent times, and it comes with our highest recommendation."
- Boomkat

Full song downloads
Dalglish - 7.3.2009 (from Benacah Drann Deachd RecordLabelRecords26) by Fluorescent Grey Dalglish - 3.9.2004 (from Benacah Drann Deachd, RecordLabelRecords 26) by Fluorescent Grey

Jerry Goldsmith Synthesizer/Electronic only mix by Fluorescent Grey

There are only a handful of electronic or synthesizers musical acts associated with film and movie scores. Clockwork Orange and The Shining's Wendy Carlos comes to mind as does Tangerine Dream's memorable scores for Risky Business and The Keep. One brilliant composer who is heavily revered in the world of orchestral film music, yet rarely mentioned amid discussions of electronic music is Jerry Goldsmith. Goldsmith began as an auteur who strived to emulate the likes of Bernard Hermann and later he become a workhorse for Hollywood.

In time he started experimenting with exotic instruments and tried weaving them into a traditional orchestra aesthetic. Two years before Delia Derbeishire made the legendary "synthesizer" (which really was tape splice cutups, not synthesizer) theme for Dr. Who, Goldsmith had incorporated a Hammond Novachord into his theme song for Voyage to the Bottom of the Sea (the last song in this mix).

In the 70s Goldsmith was already beginning to toy with synthesizers, but he didn't make a fully synthesized score until the film Logan's Run. His use of strange instruments and synthesizers make brief appearances on some of his earlier scores such as Star Trek the Motion Picture, but when his collaborations with Joe Dante peaked (Goldsmith became Dante's right hand man akin to Spielberg's use of John Williams), electronic elements were incorporated into almost every score he made from 1981-87. The results were profound: the samples from Gremlins, Explorers, Psycho II, Poltergeist, Outland in this mix exhibit a mystical hybrid of classical symphony and synthesizer music that has never been replicated since.

We went Goldsmithing for electronic music and this is what we found, so kick back and enjoy a relaxing journey of nostalgic childhood treats from none other than Jerry Goldsmith.

Media Roots Music - Goldsmithing For Electro Orchestrations by Fluorescent Grey by Media Roots

Scuzi - AM EP, Free Download from RecordLabelRecords

AM EP by Scuzi

or download/stream here on the RecordLabelRecords website

Mike Dunkley - Corpus Clock LP vinyl has arrived! RecordLabelRecords

RecordLabelRecords is proud to announce the long awaited debut LP by dsp/visual artist Mike Dunkley, Corpus Clock. People have recently started to exclaim 'idm is back!'... maybe it had something to do with the arrival of Phonecia's Demissions, but all we can say is the rumors are true.
Corpus Clock is a fully fledged intricate glitch fest intertwined with muddled beauty, granulated ambiance and unashamedly idm in it's origins. This is not merely an exercise in trickery, it is full of wonder and hallucinations. Reminiscent of a short lived psychedelic era of electronic music. Murky glimpses of Coil and Sun Electric can be heard. Passages call to mind a strange hybrid of Quaristice and Simon Posferd's more restrained work. All the tracks have 2 minute previews in 128kbps quality. The digital version will be available 1 month from now. Vinyl is limited to 250 numbered copies featuring full color artwork by Mike Dunkley. Click Here to preview or order now

William S. Braintree, Kcinsu, Fluorescent Grey live @ Lipo Lounge, San Francisco

[SF] House of Meats Record Release Party William S. Braintree, Fluorescent Grey, Kcinsu

Saturday, July 23rd 9pm-2am.

The Li Po Lounge
916 Grant Street
San Francisco, CA

$5

9pm - Doors open

10pm - Kcinsu
http://soundcloud.com/kcin​su

11pm - Fluorescent Grey

12am - William S. Braintree
http://www.soundclou...iam-s-braintree

Fluorescent Grey live @ the Division of Labor Festival, San Francisco

All evenings
Doors 8:00, show 8:30 pm
Buy a festival pass for $36 Co-curated by Sarah Bernat, Eilish Cullen, Terrance Graven, and Honey McMoney
Design by Bert Bergen + Grant LaValley


Friday, July 22, 2011
$11
Bronze
Cliff Hengst
Copy Lake
Eric Svedas
Honey McMoney
Jonah Susskind
Scott Hewicker
DJ Tristes Tropiques
DJs Nihar/Riegler of Warm Leatherette


Saturday, July 23, 2011
$12
CHRISTRAPER SINGS
Fluorescent Grey
Lana V--Granny Z
Nao Bustamante
Phatima Unclear
Phillip Huang
DJ Mick Nasty
DJ Myles Cooper

Division of Labor playfully examines experimental music, sound, performance, and DJ culture, bringing together distinctive artists and uniting diverse audiences from within The Lab’s innovative creative community and beyond. For the past 16 years, the Lab has occupied the Redstone Building—a landmark encapsulating a specific history of union organization and labor strikes. Division of Labor is inspired by the Redstone building's rich history and coincides with our annual juried exhibition, A floorless room without walls. The gallery ceiling serves as both site and subject of A floorless room without walls.

Featured artists include a wide range of local and national performers divided under one roof (The Lab's historic ceiling).

RecordLabelRecords .04 Monthly in Oakland , CA Saturday July 30th

come join us with the Edomites, Bouche Mandela, Candle Labra, DJ Paul Wolfowitz at Zool (751 3rd st, Oakland, CA) on Saturday July 30th 9:30 PM - ???am, $6 at the door

Media Roots: Interview With Fluorescent Grey

This is by far the nicest and most in depth interview i've ever done about Record Label Records, my own stuff, my ideas and a bunch o other shit
click here to read the interview

Media Roots radio : new episode myself and Abby Martin

Media Roots Radio - Weinergate, Election Kick-off, Net Neutrality, Police's "War on Fun" by Media Roots

my new favorite song and i've just singed him to RLR, shit's awesome

Media Roots: the Bin Laden death hoax radio special

Media Roots Radio - Bin Laden's Death: Government Propaganda, CIA Ties, Mindless Nationalism by Media Roots

abby and i break down the mindlessness of american citizens and how easily they fall prey to propaganda and claims of bogeymen's death with absolutely no evidence

Fluorescent Grey: Antique Electronic / Synthesizer Greats 1955 - 1984 pt 1

artist: Fluorescent Grey
catalogue no.: ACP077
release date: 15.03.11

1. Dacca Thermotensile Loony Smut Syst
2. Baba Rube Drone Lions
3. Ice Age Fire Loving Zool; Troy
4. Ramadan Greek Winter Trek (aka Coricidin)
5. Chicken Hypnotism
6. Abc Condom Motorist = Trunks Tony
7. Juanita Ciardelli
8. Basal Metabolic Rate Niggle Vishnu; Intr. Slur
9 . Cinema Isn't Soul Sorn
10. Gomez Childs Shult
11. Gunner McRagburn
12. Dead Pink Sphere Pussy Envy
13. Leaf-Laden Amber Hued GUI
14. Abaca Cede, Love to Lie......... Iris Truly
15. Johnny Rocket-Ball
16. Endless Saccharic Acid Deed... Every Show Oozy
17. Calcium Cyclamate: Eighteen Helix Horn Worms
18. Arcjet Penhorn
19. Applebaum Watersnake
20. PPink Sun, Venial Gypsies
21. Where From Tape Deck Ked
22. Would You Say I Have A Plethora Of Piñatas?
23. Rick Santorum Smokes Salvia Divinorum
24 .Abadox
25. Québécoise Italo
26. Pierce Molten Dog Rose

download release in Wave, Flac or Mp3 format here

27. The Acroplane Guide to Electronic Music Mix

Fluorescent Grey - The Acroplane Guide To Electronic Music by Acroplane on Mixcloud

In early 2010, what would eventually become Antique Electronic Synthesizer Greats was simply a concept for a live set. Fluorescent Grey, aka Robbie Martin, cut almost a thousand tiny samples and loops from works dating from 1955 to 1984, limiting his sources to strictly electronic and/or synthesized recordings. His rules allowed for non-synthesized compositions (e.g., Delia Derbyshire's tape cutting based tones) as well as synthesizer audio of any kind, including the Hammond Novachord. And far from simply a stolen sample collage, or meta-mash-up project, Robbie wanted to allow the mix he composed to preserve and highlight the eras' best sounds in a comprehensive backdrop. Some of those painstakingly found and excised snippets may be all but indiscernible to most, while some tease with their familiarity (Depeche Mode bass drum? YMO hi hat?), and some are nakedly in homage (synth lines from Vangelis, Giorgio Moroder). All are as playful as the puzzling track names, one of the most obvious of which are pieces that re-imagine the sound of John Carpenter's best synth-centric movie scores. From the uneasy sounds of horror to the sweet spot of vintage synth-pop and industrial, to the brief satisfyingly bizarre vocal cameos by Alan Vega and a Spanish industrial/noise outfit, it runs the gamut of its chosen time period exhaustively.

One might wonder, why stop at 1984? or 1983 (the original cutoff)? In all honesty, the cut off year was first altered to make one Zoviet France record eligible. But why is it so important to draw the line in the early 80's when many classic and important electronic albums came out between 1984-1990, Skinny Puppy's Bites or DJ Pierre's Acid Tracks. The answer is simple, until 1984 most music that was 'electronic' relied primarily on synthesizers. Around mid-1983 romplers/samplers become par the course. The techniques sent waves through the electronic music production circles and arguably diluted the powerful earlier sound of acts like Tangerine Dream and Kraftwerk (ie electric cafe). Maybe most notably, the Klaus Schulze album 'Dig it' that proclaims the death of a analog on it's opening track. Additionally the rules were not set yet, before rave culture took hold there was a more playful less specific purpose to it all. Lending itself automatically to a more varied feel.

Given the uncannily nostalgic or modern moods evoked, it can be all too easy to forget that the entire mix is comprised solely of an endlessly rotating roster of up to 15 isolated loops, all at least a quarter of a century old, some twice that age. On some songs, you could imagine a DJ dialing into the sounds of AFX or Mr. Oizo, an amusing stunt for some of the source material sounds unmistakably dated in a way that has yet to be retrofetishized. Proto-electronica futurism captured in Chris Carter's sequences or Morton Subotnick's Autechre-like FM synth splatters, works that indisputably sound futuristic in their own right. Dated or not, the novelty factor of an overwhelmingly corny synth brass sample is sometimes too good to resist, making it nigh impossible to prevent that old fashioned sound from antiquing the whole mix.

This pastiche is offered up in both a mix and an individually tracked album for maximum utility. Use the cover art and the hidden messages contained herein as a resource for your own Antique Electronic Music search. Please feel free to identity the samples sources on the comments for Mixcloud on the comments section for this page.

"Perhaps within the next hundred years, science will perfect a process of thought transference from composer to listener. The composer will sit alone on the concert stage and merely 'think' his idealized conception of his music. Instead of recordings of actual music sound, recordings will carry the brainwaves of the composer directly to the mind of the listener."
- Raymond Scott, 1949

Fluorescent Grey with Scuzi - Dunzo

Fluorescent Grey with Scuzi - Dunzo by Fluorescent Grey new track live jam with me and scuzi, edited down from 20 minutes of live electronic music down to 4

Media Roots Radio 10: The Egyptian Revolution: Puppet Dictators, Media Coverage

Media Roots Radio- The Egyptian Revolution: US Response & Coverage by Media Roots

In this episode Abby and Robbie talk about the Egyptian Revolution: US puppet dictators, coverage in this country compared to coverage during Iran's "green revolution", the causes of unrest and the tactics being used by Mubarak to try to stifle the revolution. Special guest Laurie Kircher comes on to weigh in on the subject during the broadcast.

The above timeline is interactive. Scroll through it to find out more about the show's music and to resources mentioned during the broadcast. To see a larger version of the timeline with clickable resources go to the soundcloud link below the player. If you would like to directly download the podcast click the down arrow icon on the right of the soundcloud display.

Media Roots Radio- The Anthrax Attacks, From The Memory Hole by Media Roots
This is a special episode of Media Roots Radio about the events of 9/11 & Anthrax. In this edition, Abby and Robbie Martin continue the discussion from the previous 9/11 episode, and break apart the official government and corporate media narrative of both attacks by discussing the foreknowledge, government complicity, and gross inconsistencies regarding every aspect of the events.
Please check out Part 1 of our 9/11 discussion which dovetails into the Anthrax attacks from Part 2
The above timeline is interactive.
Scroll through it to find out more about the show's music and to resources mentioned during the broadcast. To see a larger version of the timeline with clickable resources go to the soundcloud link below the player. If you would like to directly download the podcast click the down arrow icon on the right of the soundcloud display.
This radio show airs on shortwave radio Sundays at 6pm central time, following the Alex Jones show. The frequency is 9.350 MHz.
For more information go to www.MediaRoots.org

Breaking Apart the Official 9/11 Coincidence Theory

Media Roots Radio- Breaking Apart the Official 9/11 Coincidence Theory by Media Roots

This is a special 2 hour 20 minute episode of Media Roots Radio about the events of 9/11. In this edition, Abby and Robbie Martin aka Fluorescent Grey introduce how their political awakenings were prompted by 9/11, and break apart the official government and corporate media narrative of the 9/11 attacks by discussing the foreknowledge, government complicity, and gross inconsistencies regarding every aspect of the events. The show then delves into the aftermath: the psychological manipulation of the American psyche and the significance that this event continues to have in our nation and world.

The above timeline is interactive. Scroll through it to find out more about the show's music and to resources mentioned during the broadcast. To see a larger version of the timeline with clickable resources go to the soundcloud link below the player.

If you would like to directly download the podcast click the down arrow icon on the right of the soundcloud display. To hide the comments to enable easier rewind and fast forward, click on the icon on the very bottom right.

This radio show airs on shortwave radio Sundays at 6pm central time, following the Alex Jones show. The frequency is 9.350 MHz.

Listen to last week's episode about the TSA, Israel, Palestine, and features an exclusive interview with aid flotilla survivor Dr. Paul Larudee, or another broadcast about Psyschedelic Drugs, the CIA, LSD, DMT, the DEA, Lucid Dreaming and Consiousness.

Fluorescent Grey track 'Tubal Cain' From the fall Katabatik comp featured on new Sutekh mix

Download or Stream Mix HERE

Symbiosis 73 - Sutekh - Tracklisting

01
Madlib "Afritonic Pt.1" Medicine Show #3: Beat Konducta in Africa (Madlib Invazion/Stones Throw) 2010
http://www.stonesthrow.com/madlib
02
Matthew Herbert "Alex Duwe" One Club (Accidental) 2010
http://matthewherbert.com/
03
Atom(‚Ñ¢) "Im Rausch Der Gegenwart I" Liedgut (Raster-Noton) 2009
http://www.raster-noton.net/
http://www.discogs.com/Atom-Liedgut/release/1628492
04
Feadz "Liisborg Error" People Numbers Money Business (Ed Banger) 2009
http://en.wikipedia.org/wiki/Feadz
05
Fluorescent Grey "Tubal Cain" Katabatik Kollektion Fall 2010 (Katabatik - compilation) 2010
http://www.katabatik.org/ (full compilation downloadable for free)
06
Plastikman "Hypokondriak" Artifakts BC (M_nus) 1998
http://www.plastikman.com/
07
Utu "Synchronia" N428 (Plus8) 1993
http://www.kenishii.com/
08
Xhin "Blade Moth (tool)" Plexis/Blade Moth (Meerestief) 2010
http://www.xhin.com/
09
The Bug "Skeng (Autechre Remix)" Ninja Tune XX: Volume 2 (Ninja Tune - compilation) 2010
http://www.ninjatunexx.net/
10
LV & Untold "Beacon" (Hemlock) 2010
http://www.hemlockrecordings.co.uk/
11
Ramadanman "Bass Drums" Future Bass (Soul Jazz Records - compilation) 2010
http://www.myspace.com/ramadanman
12
James Blake "Sparing the Horse" (Hemlock) 2010
http://en.wikipedia.org/wiki/James_Blake_(musician)
12
2562 "Who Are You Fooling?" Unbalance (Tectonic) 2009
http://bleep.com/index.php?page=artist_details&artistid=5747
13
Mark Fell "Ideation (6)" Ten Types of Elsewhere (LINE) 2004
http://www.markfell.com/wiki/
14
Bruce Haack "Noon Day Sun" Farad: The Electric Voice (Stones Throw) 1979/2010
http://www.brucehaack.com/
15
IBM 7090 Computer "The Second Law (Max Mathews)" Music from Mathematics (Decca) 1962
http://reaktorplayer.wordpress.com/2009/12/08/music-from-mathematics-ibm-7090-1962-album/
16
David Tudor performs "Proiezioni Sonore (1955-56) by Franco Evangelisti" Piano Avant-Garde Recordings 1956-60 (Hat Hut)
http://www.lovely.com/bios/tudor.html

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