Notices by Rasmus Fleischer (rasmusfleischer@tldr.nettime.org)

Yesterday I got up early, biked a couple of miles to a lake in the forest, to have both a rave and a swim. Then I biked back home and recorded this Sunday mix:
https://soundcloud.com/rasmusfleischer/man-angrar-aldrig-ett-rejv-del-2
("You never regret a rave", as stated in the title, is a variation of a Swedish saying about never regretting a swim.)
#idm #breakbeat #dubstep #electro #techno

Listening to [lurmix 002], a five-jour dj set by the LUR collective, recorded at the social center Cyklopen (southern Stockholm) this May, adventurous and highly eclectic, or as LUR puts it themselves, "scandinavian moodcore silly dance music"
https://on.soundcloud.com/jUzbO4bNVSqvFPOzHF

Here's a new mixtape, it's fun and fast, 80 minutes of mostly #jungle, #footwork, #hardcore and even a little bit of #psytrance; may also contain traces of Spice Girls and Aphex Twin.
https://soundcloud.com/rasmusfleischer/man-angrar-aldrig-ett-rejv-del-1

TRACKLIST

🇬🇧 Liebus – Whispering Jackets
🇪🇬 3Phaz – 3P Type Beat
🇪🇬 Hassan Abou Alam – Te3ebt
🇨🇵 RAVL – Pondering My Orb
🇨🇴🇪🇸🇧🇷 BZZHOUND x Clementaum – BOTA DURO
🇨🇵 Amor Satyr – Rebola
🇪🇬 Hassan Abou Alam – Basha ft. Ziad Zaza, Ismail Nosrat & Aly B
🇪🇬 Hassan Abou Alam – Zein
🇨🇦 Sorcery – Soft Lithography
🇻🇪🇨🇴 WOST – Yamilet Mi Amor (fast dembow edit)
🇦🇷 YA1000 – VEN BAILALO XTC

recorded between 02:00 and 02:30 at a small, free open-air party south of Stockholm in the middle of July 2025.
It was the first half of my set, which turned out to include lots of tracks by Egyptian as well as Venezuelan producers.

https://soundcloud.com/rasmusfleischer/orhem2025
#techno #dub #rave

Nelly Quist's interpretation of "Madre de Deus" – recorded as an electronic live improvisation – goes in a very different direction: somewhere between raw, atmospheric noise and industrial techno. When you listen carefully, you will notice how even the most distorted sonic textures are crafted from the original recording of Vox Vulgaris, with its two different types of bagpipes.

https://voxvulgaris.bandcamp.com/track/madre-de-deus-nelly-quist-remix

Nelly Quist, is a sound artist and DJ based in Stockholm who has previously released an album on the label Adventurous Music.
https://⁦nellyquist.bandcamp.com/⁩
https://⁦www.soundcloud.com/nequist⁩
https://⁦www.instagram.com/nelly.quist
https://⁦adventurousmusic.bandcamp.com/album/vivid-echo⁩

#medieval #music #techno #ambient #noise

It opens with XTC in the XIV, a group which began as an electronic music project working with sampled recordings of early vocal polyphony, but has since transformed into an actual choir, looping fragments of medieval music.

On this EP, they interpret Vox Vulgaris' ritualistic jam around Madre de Deus. This gives a hint of the methods used and the sounds to expect from XTC in the XIV's debut album "Salve Regina", to be released by Supertraditional in October 2025.

https://voxvulgaris.bandcamp.com/track/madre-de-deus-xtc-in-the-xiv-interpretation
#medieval #music #choir #vocal #electronic #acapella #ambient #ambientmusic #earlymusic

Today we (Vox Vulgaris) release the first in a series of unique EP's, "Late Music for Early Humanoids", with some dozen other artists remixing or reinterpreting the songs from Vox Vulgaris' latest album, "Early Music for Late Humanity".

This first batch consists of three tracks, exploring different paths to ecstasy, encompassing a wide range of slownesses and speeds.

1. Madre De Deus (XTC in the XIV interpretation)
2. Madre De Deus (Nelly Quist remix)
3. Actus I-IV (1177 Curadux Mixtura)

https://voxvulgaris.bandcamp.com/album/late-music-for-early-humanoids-pt-1

You can download the EP for free if you do wish.
Read more about the ideas behind the reinterpretations at our Bandcamp page.

#medieval #music #earlymusic #latemusic #electronic #ambient #techno

"Late Music for Early Humanoids, pt 1" will be released digitally this Friday, July 11th.

Warner Music cutting costs in order to "future-proof" their business model.
While at the very same day, Warner Music also announces a giant investment in acquiring the copyright to existing music.

The shift is clear: from record label to financial portfolio, from the production of new music to the endless capitalization of old music. It's called future-proofing.

https://thequietus.com/news/warner-music-group-announces-plans-to-cut-annual-costs-by-300-million/

"Post-Music with Subwoofers as Instruments: A New Approach to Bodily Composition"
by Stefanie Egedy with Holger Lund
https://www.ctm-festival.de/magazine/post-music-with-subwoofers-as-instruments-a-new-approach-to-bodily-composition

The first EP in the series "Late Music for Early Humanoids" – with some dozen other artists remixing/reworking Vox Vulgaris – is getting ready for release.

Tracklist:
1. Madre De Deus (XTC in the XIV interpretation)
2. Madre De Deus (Nelly Quist remix)
3. Actus I-IV (1177 Curadux Mixtura)

I only took 1 photo at Fusion this year – a shadow selfie, last night at the calm camping area.
#FusionFestival #fusion2025 #fusion_festival_2025 #NoPhotosOnTheDancefloor #shadowselfie

Listening to Andreas Tilliander's & Goran Kajfes' beatuful collaboration on their new album "In Cmin".
https://andreastilliandergorankajfes.bandcamp.com/album/in-cmin
#ambient #jazz #dub #trumpet

Brussels Declaration 2025:
Building Global Solidarity With #Ukraine.
https://ukraine-solidarity.eu/the-brussels-declaration-deadline-for-amendments-march-4-2025-2400cet-vote-on-amendments-and-final-text-of-declaration-march-8-2025-1900cet

"We stand united in our unwavering support for Ukraine’s military and civilian resistance against Russia’s brutal invasion. ...
We also align with the struggles of Ukraine’s workers, trade unions, feminist movements and ecological and LGBTQ+ activists."

@konkrit I'm not really sure, but I guess there could be a variety of different scenarios where they could softly and gradually transform NTS until they could make a profit (not necessarily on the pure basis of music rights). Would love to hear some more qualified speculations!

So apparently NTS Radio has secured some kind of loan with Universal, which is already a minority owner. So even if Universal does not currently control NTS, it might be a matter of time. That's truly sad, given the current importance of #NTS as a global, independent music institution.
https://networknotes.motiveunknown.com/p/exclusive-universal-tightens-its

https://www.reddit.com/r/NTSradio/comments/1kf6h9e/nts_radio_pledges_all_of_its_assets_as_collateral/

@Nickiquote Swedish cinemas are the offering autism-friendly screenings. With certain features (i.e. no ads) which perhaps should be presented as just "friendly".
https://www.filmstaden.se/tillganglig-bio/autismvanlig-bio/

"This dissertation examines the dynamics of Black Open Access, a pirate-driven phenomenon, addressing inequities in academic publishing through shadow libraries and text piracy."
https://www.diva-portal.org/smash/record.jsf?pid=diva2%3A1953321&dswid=1680 📖
Zakayo Kjellström (Umeå University): "Black open access: shadow libraries and text piracy"
#piracy #openaccess #shadowlibraries #mediapiracy

Shawn Reynaldo, "The Trouble with 'Tribal'"
https://firstfloor.substack.com/p/the-trouble-with-tribal

"An artist might use a preset called 'Sleng Teng' or pull a few drum sounds out of a sample pack that’s been branded as 'dembow', but doing so doesn’t require any real engagement with the genre, its history or those who represent its current brain trust. In that context, who knows where the sounds even came from in the first place? It’s not like there’s some internationally recognized certification of musical authenticity
...
Using a catch-all word like 'tribal' may not be fashionable at the moment, but more politically and culturally palatable alternatives with a similar level of utility have yet to emerge. (Saying something like 'global rhythms' might be more socially acceptable, but it’s still patronizing and offers little in the way of additional accuracy.) Encouraging listeners to increase their knowledge levels and be more exact in their descriptions is admirable, but who’s going to do that teaching? The music press once would have been the obvious candidate, but it’s steadily losing relevance and actively struggling to survive.

Considering the frequency with which all of dance music is still described as 'EDM' or just 'techno', the chances of the average punter learning to distinguish between the drum patterns of batida, singeli and merengue are not great."