Friday, 11 July 2025

OPN032 : Domenico Solazzo's PaNoPTiCoN / @ La Cigogne

 

Cover art by Domenico Solazzo


Number 32 in the PaNoPTiCoN series

Improvised and recorded live at La Cigogne, Brussels, Belgium, May 25th 2008

Line up:

Olivier Catala (bass)
Pascal Dalmasso (electric guitar)
Antoine Guenet (keyboards)
Daniel Palomo Vinuesa (soprano saxophone, ewi, effects)
Domenico Solazzo (drums, direction)

Digital release on the 18th of July 2025.

Track listing:

1: Isadora
2: Three or Four of Five and Six
3: In The Land of Grey Colours
4: Be Brave
5: Eastwind
6: Weather Stone
7: Westwind
8: Brick
9: Your Fetish Shirt

Itunes, Spotify, etc.:


And on Bandcamp:

Friday, 4 July 2025

OPN031 : Domenico Solazzo's PaNoPTiCoN / @D.N.A. ...Again!!!

 


Cover art by Domenico Solazzo


OPN031: Domenico Solazzo's PaNoPTiCoN / @D.N.A.  ...Again!!!

It Panopticon summer again... 10 weeks, 10 releases that will definitely close the chapter of this mega band which saw almost 60 musicians from the various Belgian scenes improvising under the leadership of Domenico Solazzo.

Number 31 in the PaNoPTiCoN series

Improvised and recorded live at D.N.A., Brussels, Belgium, April 5th 2008

Line Up:

Christophe Bouquelle (electric guitar)
Olivier Catala (bass)
Antoine Guenet (keyboards)
Bruno Nobi (alto saxophone)
R.E.D.A. (turntables)
Jan Rzeswki (soprano saxophone)
Domenico Solazzo (drums, percussions, laptop, loopstation)

Digital release on the 4th of July 2025.

Track listing:

1: Almost a Year Part One
2: Almost a Year Part Two
3: Say John
4: Hard Rain
5: Psychonauts
6: 01100101101001
7: The Ring
8: Angustia 
9: Gato Koba
10: Amish Skimish

Itunes, Spotify, etc.:


And on Bandcamp:

Friday, 27 June 2025

ODG221 / Tulpa Twin / Relay Station 33

Cover art by Jake Wayman


ODG221: Tulpa Twin / Relay Station 33

Tulpa Twin is an ambient project started in 2022; with it’s first ep “Trial Seasons” seeing release in early 2023. Since “Trial Seasons” the project has seen well over a dozen releases. Music from Tulpa Twin has been featured on Grey Clay Radio, NTS Radio and an upcoming short film. Select tracks from the project are often performed live during sets from the Dungeon-Synth side project Altdahn. This newest offering is inspired by minimal atmospheric music and field recorded soundscapes. Thematic influence for the record stems from the phenomena of “Number Stations” and the mystery that surrounds them.

Jake Wayman aka Tulpa Twin

Digital release on the 27th of June 2025.

Track isting:

1: Relay station 33
2: Intercept 37891
3: Deep mountain outpost
4: Far away tower
5: Data center in the forest
6: Transmission through the storm

Itunes, Spotify, etc.:


And on Bandcamp:

Tuesday, 24 June 2025

OMT017 : Shabaaz Mystik / Moto na yo

 


Cover art by Antoine Richard 


OMT017 : Shabaaz Mystik / Moto na yo

Moto Na Yo (Your Fire) is the first single from Shabaaz Mystik new album "Graine," which will be released in September 2025. 

He invites us again to share his vibrations and energy through this track, to keep our Fire and celebrate life. Over an intoxicating beat, his flow rhymes in his native Lingala language. 

The universality of the music is there, the fruit of a "Graine" where love is the ultimate substance. 

'Moto na yo batela y'a Ngo makassi Ko ti ka y'a ngo te': 'It's your fire, take care of it, don't let it go out.'

Digital release on the 24th of June 2025.

Track listing :

1; Moto na yo

ITunes, Spotify, etc. :

https://bfan.link/moto-na-yo

And on Bandcamp :

Friday, 20 June 2025

OJP082 : Ken Ueno / Sonic Calligraphies I - V

 


Cover art by Kei Kei


OJP082 : Ken Ueno / Sonic Calligraphies I - V

Five long tracks from Ken using only his voice, a megaphone and the sound of an inside old tank. Approaching the lightness of the air...

Ken says: 

"In October 2018, at the invitation of Leilehua Lanzilotti, I performed at the TANK Center for the Sonic Arts, in Rangely, Colorado. It is a unique and mystical space – originally built around 1940 as a railroad water-treatment tank, this seven-story Corten steel structure was relocated to Rangely in the 1960s for a fire-suppression system. However, the shale foundation couldn’t support its weight, leaving the tank unused—but the bowed floor created remarkable acoustics. In 1976, sound artist Bruce Odland discovered its extraordinary reverberation, and it quietly became a secret haven for experimental musicians.

Being a metal tank with a high ceiling, the space offered a uniquely resonant performance environment for me and my megaphone. My shaped-feedback tones sustained so long that I could fade in and layer new tones over decaying ones, each with staggered half-lives. It felt like painting with watercolors—tones blending and bleeding into one another, then being absorbed into the sonic canvas. 

The space itself became the instrument, and I was both inside it and a part of it. I shaped vowel-like gestures within my mouth to articulate specific frequencies, and because these physical gestures within my mouth were vowel-like (though these shapes don’t belong to a specific language), I had the sensation that the relationship between these gestures and the resultant sounds were like Cy Twombly’s lines - gestures that play between the liminalities of gesture, and calligraphy – Sonic Calligraphies I-V."


Ken Ueno:

A Rome Prize and Berlin Prize winner, Ken Ueno is a composer, performer, sound artist, and scholar. Leading performers and ensembles worldwide have championed his music. His piece Shiroi Ishi, written for the Hilliard Ensemble, remained in their repertoire for over a decade, with performances at venues such as Queen Elizabeth Hall in London and the Vienna Konzerthaus, and was broadcast on Italian national radio, RAI 3. Another work, Pharmakon, was performed nationally dozens of times by Eighth Blackbird during their 2001–2003 seasons. A portrait concert of Ueno’s work was featured at MaerzMusik in Berlin in 2011.

As a vocalist, Ueno is known for his bespoke extended techniques and has performed his vocal concerto with major orchestras including the Boston Modern Orchestra Project, Warsaw Philharmonic, and Lithuanian National Symphony Orchestra. He has collaborated with Ryuichi Sakamoto, Ikue Mori, and Du Yun, and maintains ongoing projects with artists such as Kung Chi Shing, Viola Yip, Matt Ingalls, and Karen Yu.

Ueno’s sound art installations have been exhibited internationally, including at Art Basel, the Taipei Museum of Modern Art, and the New Vision Arts Festival. His large-scale work Daedalus Drones, a fence-labyrinth with a nest of flying drones, premiered at the Asia Society Hong Kong in 2021. In 2024, he was a featured artist at Noise Fest, curated by the West Kowloon Cultural District, and the featured guest composer at the Takefu International Music Festival, where the Arditti String Quartet premiered his string quartet, alongside a chamber concerto for bass recorder performed by Tosiya Suzuki. A 2025 highlight was his appearance at the A Bunch of Noise festival in Shanghai.

Ueno is currently a Professor at the University of California, Berkeley. His writings have appeared in the Oxford Handbook, The New York Times, Palgrave Macmillan, The Drama Review (TDR), Ethics Press, and Wiley & Sons. His bio is included in The Grove Dictionary of American Music.
www.kenueno.com

Recorded at TANK Center for Sonic Arts by recording engineer Greg Heimbecker and assistant recording engineer Samantha Wade. Mixed by Anthony Yeung Ngor Wah.

Cover art by Kei Kei

Composed and performed by Ken Ueno (extended voice with megaphone).


Digital release on the 20th of June 2025.

Track listing:

1: Sonic Calligraphies I
2: Sonic Calligraphies II
3: Sonic Calligraphies III
4: Sonic Calligraphies IV
5: Sonic Calligraphies V

Itunes, Spotify, etc.:


And on Bandcamp:

Friday, 13 June 2025

OUI053 : Max Devereaux - Dave Rothenmaier - Jason Wietlispach / Warthogs

 


Cover art By Max Devereaux


OUI053: Max Devereaux - Dave Rothenmaier - Jason Wietlispach / Warthogs

Max Devereaux has never met Jason Wietlispach or Dave Rothenmaier, and he’s not even sure how Wietlispach ended up on his Facebook friends list. But when Wietlispach posted a selection of his favorite LPs, those posts appeared in Devereaux’s feed, sparking an instant connection over their shared musical tastes. That moment ultimately led to the creation of Warthogs.

Once the possibility of remote collaboration was established, Wietlispach set up in his Wisconsin-based home studio, working alongside Rothenmaier. Together, they recorded five improvisations with Rothenmaier on drums and Wietlispach on saxophone and vibes. The files were then sent to Devereaux in California, who quickly added his guitar improvisations. Within two days, the record was nearly complete.

For Devereaux, the mixing process was all about creating a cohesive sonic space where each instrument could shine. The goal was to make it sound as though everything had been recorded in the same room, while still preserving the distinct power and focus of each instrument.

When it came time to find a label, Devereaux knew exactly who he wanted. He reached out to Off—record label, who, after hearing the second round of masters (the first were rejected by both Devereaux and Wietlispach), enthusiastically agreed to support the project.

Though Devereaux has never met Rothenmaier or Wietlispach in person, they share a common bond—they’ve all, at one point or another, called the Milwaukee, Wisconsin area home. This shared experience has fostered a unique understanding, one that translates beautifully into their collaboration, even with the physical distance between them. You can hear it clearly on the record.

What gives Warthogs its distinct sound is the unique blend of performances. Rothenmaier remains cool and collected throughout, never losing control, and keeping the entire ensemble moving forward.

Wietlispach weaves in and out, decorating the corners and edges of the tracks, almost serving as a narrator, commenting on the sections. Devereaux, on the other hand, is completely untamed, his flurry of textures and activity rarely taking a breath, even in the quieter moments.

Together, the trio strikes a unique balance that mirrors the unprecedented era the world finds itself in. In these uncertain times, we must turn to equally unconventional forms of music to express our thoughts, fears, anger, and sadness.

Max - Pic by Hiro Ugaya

Max Devereaux is an artist, musician, and filmmaker from Milwaukee, WI. He has been very active in the arts for around 15 years. He is currently based in Southern California.


Dave

Dave Rothenmaier is from Racine, WI. His family will attest he's been banging on stuff since he was “this tall”; he's been active in various Milwaukee music circles for 20 years or so.


Jason

Jason Wietlispach is an improvising musician, artist, classical radio DJ, and recording engineer from Milwaukee, Wisconsin. He has been playing and recording music for over 35 years in Chicago and Wisconsin.

Produced by Max Devereaux, Dave Rothenmaier and Jason Wietlispach
Mixed by Max Devereaux
Electric guitar - Max Devereaux
Drums - Dave Rothenmaier
Saxophone, Vibes - Jason Wietlispach
Recorded in Wisconsin and California, USA

Digital release on the 13th of June 2025.

Track listing:

1: ارتجال
2: hoʻopono
3: doğaçlama
4: ইম্প্রোভাইজেশন
5: sự ngẫu hứng

Itunes, Spotify, etc.:


And on Bandcamp:

Friday, 6 June 2025

ODG220 : Therese / Lowshift

 


Cover art by Therese



ODG220 : Therese / Lowshift

The sound and musical pieces that make up Lowshift were specially designed for an event named Esperiancia Society Mall in 2022. Good luck finding any trace of it on social media: there's almost none. This is intentional. Therese likes mystery, a certain discretion, and covering tracks.

Thus, Lowshift is said to belong to the Haunted Dark-Pop genre. However, upon listening to the work and searching for a flattering comparison, it's mid-80s Coil that first comes to mind. Haunted, agreed, then. Dark too, although... Pop, however, remains to be seen. Rest assured, Lowshift is nevertheless significantly less scabrous than what the British band offered at the time. And above all, much more feminine.

Behind the idea of Therese, presented as a synthetic entity with two brains, we indeed find Éliane Blaise (aka æfv) and Emmanuelle de Héricourt (EdH). On Low Shift, the duo faithfully recreated their 2022 live performance, recording it under conditions identical to the original show. It's a sonic journey, ranging from darkly contemplative passages to more melodic, even cheerful compositions.

After training with Chris Watson, the undisputed Master of field recording, Éliane Blaise began releasing her compositions in 2013. Since then, she has released several records and developed a plethora of sound installations.

Among her most notable projects are Drowned Mermaids (2020) on the Nostalgie de la Boue label, with profits donated to AIDS charities; as well as Edjmal Moodegi (2023) on MMLI. She has also composed electronic pieces related to the Planet Energy project by Yann Toma, who is both an artist and an observer at the UN.

With Elise Pierre, Emmanuelle de Héricourt co-founded the Lentonia Records label in 2008, dedicated to women in music production. Her first record, Morgen, was released in 2003 on the Intikrec label in Japan. Her latest album, Doomed Alizé, dates from 2022, on the Powdered Hearts label.

In the meantime, she has continuously produced musical works and sound installations, including the "poste electro" (electro station) at the Philharmonie de Paris. The most recent, Vacuum (2025), in which Éliane Blaise also participated, is a virtual reality experience inviting the public to create hybrid sound monsters.

Ready for the sound world of Therese? Immediate boarding.

These meticulously crafted sounds are a facsimile of a live act
performed in 2022 at the Esperancia Society Mall.
Recorded in 2023, mixed in 2024, and mastered in 2025 in Paris.

Therese is a cluster of æfv and EDH


Digital release on the 6th of June 2025.

Track listing:

1: Her dark Light
2: Paranoid Void
3: Lynch's Tape
4: Golden Intro
5: Itcher Eyes
6: Massive Spectral

Itunes, Spotify, etc.:


And on Bandcamp: