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The inchoate dirge of  a cerebral redress towards the firm in the belly - intrigue stained & sensed
am - Iwako 09:55
Iwako arched on the warm temple steps and then resumed her soft slump,  Idle, unbothered and poorly sketched. When did people stop getting referred to as ‘normies’, she mused drowsily, and where the hell have they all gone? A soft metallic thump peeled across the courtyard, dislodging a cloud, which tilted like a snoozing train.
Lockdown, a world away from everyone. More time and space than anyone was used to. Suddenly quiet. It had an effect on me by the fact I couldn't talk and socialize and so made me think more about myself, giving me more time to myself and to my own projects. Lockdown was the change itself.
I think the last 12 months have given me a chance to come to terms with relaxation, something I've never been particularly comfortable with before. I loved the peace and quiet during lockdown last year- the lack of cars on the road. The main event of the last 12 months however was a rekindling of enthusiasm for this weird art/music business after a fallow period of a strange  few  years.
Much has changed. I recently relocated from Jackson, Mississippi to Cork, Ireland to pursue a master’s degree. I have been locked down most of the time, but I’m grateful. I like it here. It’s a nice change. Many new friends have been made and many new and excited things have been learned. Best of all I have lots of time to do field recording and “studio” recording. I think this is worth celebrating. This track was recorded in January 2021 during the beginnings of another lockdown here in Cork just after a brief moment of freedom during Christmas. Originally recorded for a release of mine titled “Ten Gate Dream.” When piecing the album together I decided that this track somehow did not fit with the rest, yet I still liked it as a stand-alone piece. I am glad it will now be in good company. -Nicholas Maloney nicholasmaloney.com blanketswimming.bandcamp.com
Fuck it. Its over. The 20th century is finally over. Capitalism has proved to be useless in the fight for life. The ‘greatest nations on Earth’ fare worse than ‘shithole countries’. God will never recover from the hatred perpetuated in His name. His systems of dominance, seen for what it is. His name is Tyranny. Supremacy. Genocide. The 21st century has finally arrived. See Her as Kali.
I had a dream where there was a residue over everything and you couldn't move quickly. People would vote a village strongman to push a path to the airfield, where he would decide a word to say out loud. If people said the word, they would be able to "make wolf", which meant they could take an animal-shaped tunnel to safety.
I bought the harp in 2020 to mark the beginning of my reinvention as a music therapist. Half way through year 2 of the training now, and it is WONDERFUL!  When people get together to play music together, wonderful and amazing and miraculous things can happen!!
Hi Campbell here's my contribution for Psy 2.. I'm looking forward to the compilation, and very keen for your thoughts on this piece. I'm wondering if it should have a trigger warning, and or a parental advisory, as I use speech samples and the audio of George Floyd's murder, and the coroner's report as delivered at Chauvin's trial... If justification is needed, the lyrics of the song CTRL ALT DEL [or control alt delete] are asking if given that a cop can kill a man in broad daylight, or a mother is accidentally shot in a drive by, or in this country a man can walk into a Mosque and open fire, isn't it time we as a world hit the reset button in our approach to eather, .."a place where we don't see colour, where we just see me and you" ... The piece is styled similarly to last year's, as me walking around Mornington with jandals on is a backing track, except this time, there are no birds or children playing, just traffic noise... Hope you like it, and or want it on the comp... Best, darryl
Despite Japan’s early success in containing the pandemic, progress has stalled and the current infection rates are as bad as at any stage in an ongoing crisis that has been devastating for the country’s live music scene, with venues scapegoated as potential superspreader sites and ordered to restrict their opening hours during successive states of emergency, yet not provided with the financial support they need to keep their heads above water. When the pandemic hit, I was very lucky to have recently moved into (and largely be able to work from) a new home in a semi-rural suburb of western Tokyo, with access to ample greenery in which to roam whenever the fancy takes. To capitalize on this (and compensate for the lack of gigs), I have been experimenting with outdoor-friendly pedal and recording setups, and this improvisation was boshed out early on the morning of March 1, in front of our local “koinobori” carp streamers, hung out each spring to pray for children’s healthy growth.
The Pandemic was the best of Sydney until after five cancelled flights we finally set foot again in the anti-viral volcano, Whakaraupō. Four old friends in the Cellar Studio join in the relentless pursuit of finding an accidental signal in the noise. Death Horse is but one branch trajectory of the Psi of Psi where Ψ(Ψ) ≡ ∅ in the void of our shared Psi-solation.
Change has mostly come in the form of expression and self preservation.  Having relocated, i have had to learn to be properly alone and found my art reflects the sense of searching. A new form of tension coupled with pastoral release.
My most important change for the last year is focus on simplicity of things. If you can't control what you have used to control, you should accept things as they come. The simplest is the best, take it easy. Probably it reflects in my music somehow though I'm not sure.
Life in smalltown Featherston hasn't changed that much since the pandemic, but the outside world changed dramatically around us. Lockdown arts culture became more introverted and online, as people who live in cities weren't going out to events in them either. I've stuck to home recording recently, and also bought a clarinet and a drum pad - so included them in this track to help fit the theme.
During Lockdown One, there seemed to be a lot of lip-service based around the notion that we, as a species, could use this time as a springboard for better things. Instead, we are seeing a proliferation of used face-masks dumped in the most scenic of locations. So, well done, us!
Since lockdown in 2020, I moved away from the city to Falcon Bay to live under my dad's house to look after him. I spend a lot of time in my studio. Life has changed completely. I gave up working full time after deciding what was important to me.
Just a few things has changed, but it changed me a lot... I've been recording much music, doing my own rules. Searching for myself, in the eternal solitude of nature. Sometimes trying to being a genius. Sometimes just being less ignorant.
Flinging sound files digitally across town and cracking the occasional can in a park are still our current mode of comfort n composition here in Tokyo, as the soft lockdown endures and the approaching ‘Lympics still threaten to run rings around common logic, necessity and wishes. Aotearoa, Whānau, travel bubbles and the cool-headed care of a crisis well handled, all feel like a world away, despite Zoom hoons and cream egg care packages. Compilations like this one remind us of the continued importance of community, diversity ,voices, resistance, weirdness and hope. Cheers to Campbell, and all who sail with him x
The world post Lockdown is one in which permission has been given to exist at a slower, more reflective pace. Presenting opportunities to truly appreciate what it means to be able to get away as a whanau, the luxury of making a beach-side tiny whare your whare, irrespective of how long you get to stay there.
“Not much changed, little stayed the same.”
Changes: I’ve taught middle school math remotely from my dining room since last September; had to learn a completely new way to teach effectively to kids who were participating through laptops from miles away. We bought a house in the country, far from everything/everyone… and I discovered that I’m absolutely comfortable spending time with no one except my wife indefinitely. Writing and recording music this year felt fantastic, stress-free… I think that the music I’ve made during Covid has been better than anything I’ve done in the past 20+ years. Despite the sheer terror of the pandemic, my personal experience coping with it has been just fine. - HS “Private Performance #3” written/recorded at the Sun Room (Ashburnham, MA), April 2021
My brain is physically wired so that I experience change all of the time - it changes, and changes again, and changes again, and when it does, my whole life is affected. The changes sometimes hurt, sometimes empower; make me small and curled up or vast and invincible; whisk me to an alternate universe; make me mark my body; are brutal and silly; sudden or creeping; short or forever; and some people react by loving me and some by hating me. This tune is about these brain-change effects, so correspondingly, some people will love it and some people will hate it.
The last year has taught me that movements come from within, and they probably don't come without the time to reflect, process, reorganize, and ultimately turn learning into love. Embrace the paradox: beauty can exist within pain and hurt, collective growth can take place through the witnessing and awareness of oppression, and discovery can rise out of the moments when you feel there is nowhere else to turn and that you've exhausted all choices. Suffocate the false dichotomy by loving and loving even more.
Green again, in between waking and sleeping, the ravine reaches upward to the sun. Concrete white, then placid yellow, until one last ember is doused by a pinpricked cloak. Further out, in nascent galaxies, a nameless monument, suspended in the abyss.
So end of last year I was given 90 days notice for the large open space I had been renting 15 years situated in the neighbourless industrial area which had played host to countless jams, gigs and other events. Just when I thought 2020 had thrown all it's punches I was in a situation were I thought the nightmare of  living in the pokey suburbs beckoned but fortunately the gods smiled and landed me an even larger space (even if in the suburbs). Unfortunately this came at it's own cost as my cat Mo and best friend was run over soon after moving in which was a huge blow and the final nail in the 2020 coffin. I guess what I've learned is nothing is permanent covid or no covid and life will keep dishing out challenges and difficulties regardless and it is up to us to either sink or swim and to try capture the moments worth remembering. This recording is a combination of the last recordings made and first at the two residences in question.
Everything changed in my world. From the country I was living in, to the people I was spending time with and obviously my ability to tour and make a living.  I missed being able to use the studio with my band and create and that really was hard on my mental health.  I have since started playing shows again, and am reinvigorated that I am able to connect with fans, friends and family once again. This song was released in the lockdown features my friends The Weeping Willows and I hope to bring it to people live very soon with a tour on the horizon in both NZ and Aus.
The all is mind; the universe is mental Nothing rests; Everything moves; Everything vibrates. Everything flows, out and in; Everything has its tides; All things rise and fall.
we spent the first lockdown in march 2020 doing demolition work (in isolation) in our future home - since then my studio has moved from the second floor of our old home to the sauna building of the new one. it made for a chilly working winter, but a quiet and comforting place to wait out the remainder of the pandemic. these sounds, perhaps, illustrate that anticipation.
This has been a year for finding out what's most important in my life. Also for finding out who my true friends are. A very challenging year, but still a good one in many ways.
The isolation of the COVID age has only cast more eldritch glow upon an ever-present entropy for us, the masked darkness lurking in the decline and ruin of a gilded age. A sense of unreality and surrealism was already there in ghostly margins in the age of mass shootings and facial recognition, and the doubling down of many into a desperate, cognitively-dissonant sociopathy was not, frankly far to fall. COVID and its attendant horrors have underlined to us the importance of continuing to rough draft plans for a new hegemony to be layered atop one’s fading outlines, one where we treat our landscape and its creatures with dignity rather than carelessness, and where humanity and fulfillment are valued significantly, and well above capital and power brokering. - Nonconnah
2020-21.  Heavy manners.  Country life.  A bout of extreme mental illness.  A small fiscal windfall. Playing to the world from my loungeroom. (Thanks Byron and Ted) 2 cars. Doug. The giant collie.
Over the last year I have been mourning the loss of a very close friend, Peter Stapleton. Most musical things I have done over the previous 17 years had been with him - playing ad recording music, organising festivals and gigs, and watching live music. It has left a large hole in me, which I am gradually filling back up with the help of family, friends and music.
Abrupt, temporary serenity…  besieged by chaos, cruelty, ignorance and disaster...
in denial of slowly being boiled again.
Three words symbolize the past year for me: elasticity, focus, and gratitude. Time itself has seemed stranger, more elastic, and less predictable than before. I have embraced a slower pace of life and also found an increased ability to focus my thinking without the usual distractions and social responsibilities. I am more grateful than ever for health, family, friends, and a sense of hope for the future.
What has changed? Probably plenty but it feels like it has been a year of stasis. Suspended animation but with *accelerated* ageing. I did, however, buy an organ and recorded this piece of 10-thumbed kosmische music, which is not something I've really done before. SMOKERS PLEASE - Backyard Visitors Ben Spiers - organ, oscillators, guitar. Recorded 13 January & 20 April 2021 in Oxford, UK. --------------------------------
Things react, interact and kick back - melodies, harmonies, catastrophes, patterns of familiarity and patterns of disruption. Things coexist, exchange and rearrange what was to what will be. Things impossibly small, like a virus or a moon around a distant but nearby planet, own place, and wait holding influence, till interaction demands interaction. Song: Left Hand Down Performer:
Squidboat Label: skirted Records Recorded:
March 2021
the last year has seen me thoroughly insulated from global happenings on my remote island home; the biggest change here is that consumer items have become exponentially more accessible via online shopping. Doh.
Re-examining priorities and largely slipping back into automaton behaviours but with a twinge of desperate guilt about it. Looking out across a globe in flames but carrying on day by day without any of the pain or restrictions the 99.9 % are suffering, should be happiness but is remote strangeness. Humanity diced a million ways Rubber Banana Studios, Highland Park, Wellington, NZ 6012 Artist: Steve Dean Song: where e to steve dean and the The Ductile Green Vegetables (fea ACD FT NP DCB RB) - where me to DGV featuring Almost Cosmic Dudes Nobby Penes Rubber Banana Deaf Chazza Brown stevencharlesdean@gmail.com
i learned that even though we may not be present in nature. the flowers still grow, the trees still shed, and life goes on without our eyes watching it. the answer was always yes - the falling tree still makes a sound even though no one heard it fall
I fought from the age of 19-47 to be a professor, and I lost that dream in December of 2019. 2020 brought about the weirdest year ever, but it also led me to become a full time musician and record label owner. The inbetweeness of it all was my sequential layover.
Have graduated from oggling dogs at parks to regular dog-human contact. Used to grow ivy & clematis on the springs of a gutted mattress in a concrete yard, now ripping out ivy seedlings & planting native clematis in the garden. Nose was black inside & lungs were clogged, can breathe again.
I was in New Zealand / Aotearoa when the French president decided on the first lockdown in France. He spoke on TV about a war against the virus. To come back was kind of weird with all the economy blocked and absolutely no people outside. Since one year, we have periods of lockdown / curfew / no lockdown but you couldn't tell the difference. Sometimes you need a paper to be outside, sometimes not. And for a month, it's another lockdown but this time people are encouraged to go outside ! I live in absurdity.
The world of personal interactions has constricted and that of virtual interactions expanded – as though we needed that as a culture! Vulnerabilty and uncertainty (perceived or real) seem magnified. The act of music creation for me seems now to focus on internal states and spaces – the minutae of small sounds, and intimate interactions, and the inevitable chance elements that come with impromptu recording in a busy family home.
Another year with limitations. Furlough and whatnot, it hasn't been the most interesting year, but we've gotten through it with other random projects and lazy days. As for a lot of others, we fell into the trap of doing some home improvement and started renovating the kitchen. A process of sanding down the floor and doing layers of heavy duty paint on the floor forced us out of the house, and ended up doing something very exotic: Staying at a hotel for a weekend and popping back home for another layer of paint every 16 hours. My contribution is a (barely tweaked) field recording from the hotel. The stay was surreal. With no other guests there than us, it was an experience taken out of a movie. We easily got bumped up to a larger room. Room 522 had a huge bathroom with a tub, which is of course is very much appreciated. The bathroom also included the loudest ventilation I've ever witnessed. This is the hommage to staying at hotels. The joy, the relief, the annoyance, the frustration. Life. 
We've moved back to New Zealand, and we now live in a house we own in a small town. It's been strange to have this happen in the middle of COVID-19, because this was always going to be a time of disruption for us anyhow. I'm loving building my new life.
I live in Kansas, near the vast prairie of the Midwest United States, where early pioneers set off for the unknown territories of the west. I have taken solace and hope from long walks in nature reflecting on how daunting journeys through difficult terrain often end with untold beauty and joy. My piece, Westward in a Covid Wagon, is meant to evoke the chaos, confusion, restlessness, beauty and calm optimism for the future experienced on a walk in an unknown landscape. Joe Godek/Vatican City Runaways
never did the exterior beckon to us more than our interior in the realm of the modern pandemic the introvert is ruler


What a year. What a world. And what-the-actual-fuck?!


released June 1, 2021


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