https://youtu.be/gCLsxLL08QE?si=wZZiQ2Ox2on45UmY

New upload video und ich muss noch zum Zahnarzt 🙂

#synth #dawless #jamsession #experimentalmusic #rhythm #synthesizer #musicchannel

#special What's This Called? #radioshow for #FreeformPortland! To air when needed but you can listen now at the link below!

#ExpunkimentalMusic #protometal #heavypsych #classicmetal #dronemusic #SpaceRock #Noise #noiserock #heavyrock #experimentalmusic #postpunk #progrock #psychedelic #AvantGarage #postrock #stonerrock #doom #freeform

#listen #Anytime:

https://whatsthiscalled.net/2026/05/04/hot-heavy-evergreen/

Thank you @[email protected] for the studio assist today.

Slightly intimidating, adjusting from purely MIDI composing to working with a classically trained collaborator, and mixing modern VSTs with traditional classical guitar - a fast-moving, all arpeggio piece at that, too! (Kapsberger's Arpeggio Tocatta)

Can't wait to do more experimental, improvisational takes on other classical pieces with the same guitarist.

#SoundDesign #ExperimentalMusic

Angine de Poitrine Play “Fabienk”

Listen to this track by mysterious papier-mâché donning math rock geniuses Angine de Poitrine. It’s “Fabienk”, a cut from their second record straightforwardly titled Vol. II. That record and the band have been boosted into the stratosphere at the time of this writing, in large part thanks to a video feature courtesy of Seattle’s KEXP which captured the imaginations of music fans and musicians alike. The video of the two musicians with self-applied monikers of Khn (guitars, loops) and Klek (drums) Poitrine playing their music live in the studio is notable if only because it shows it’s possible to play music this complex between just two musicians. And what a joy it is to watch them do it as we try to figure out what the hell we’re hearing—and seeing!

Seeming to share a single musical brain between them by now, the duo have been playing music together since the dawn of their teenage years, and for two decades since. The Angine de Poitrine concept came out of a joke during their days playing live shows on the local scene in their native Quebec. With back to back sets booked at one point, they needed to break things up and add a bit of variety. Instead, they added A LOT of variety by becoming a whole new band with a very high concept approach to showmanship to match their idiosyncratic music.

The elaborate costumes and polka dot motifs arranged in equidistant and, on close examination, triangular arrangements, was only the start. There’s also the invented language of mewls, squeals, clicks, and drones, plus the sounds that seem to parody the wordless cadence of smalltown Québécois voices that are as much of a musical influence as anything else. This is not to forget the triangular hand gestures they make on stage, which they encourage—successfully!—the audience to emulate.

Then, there’s Khn’s double-necked guitar and bass hybrid constructed by local Quebec luthier Raphaël Le Breton. Based on Khn’s design, the instrument’s guitar and bass components are fretted to allow notes between the notes as they are usually measured in the Western chromatic scale. Angine de Poitrine have made the term microtonal into a household word by now by reminding music fans that there are more than just 12 notes to write songs around.

The style of the music can be comfortably defined as progressive rock, with King Crimson and Primus certainly being key influences one can hear right away. But James Brown is in there, too. So are any number of musical traditions of the Far East and Middle-East that draw upon a different set of notes and scales beyond traditional Western notation. The band blur the lines between melody, texture, and rhythm on this track particularly. There’s a definite emphasis on pure groove in places here to hook the ear and excite the feet, even if a lot of the tune is punctuated by odd and irregular phrasing and complex polyrhythms.

The microtonal set up and compositional mindset allows the band to pull from a broader spectrum of possibilities as applied to melody and riffs. This is not to mention the complex and irregular rhythms the two musicians work within, somehow turning complexity into accessibility even over the course of a single song. They do all this while being as weird as hell in the best possible sense.

Rock musicians being weird is nothing new. Since Screamin’ Jay Hawkins emerged from his coffin, Ziggy Stardust appeared on Top of the Pops to freak out/enthrall a nation, Parliament Funkadelic first landed the Mothership, and Peter Gabriel donned his Slipperman costume with Genesis, there have been plenty of rock acts who were willfully, wonderfully, and grandly weird. Angine de Poitrine come out of a proud tradition in that way. But this being the 2020s, there are a few important factors to consider that make the interest in this band so notable.

One of them is the time it took for the duo to become what they are. It seems like a simple thing. But when you jam with someone for two decades starting from your formative years as teenagers even before you make a record, the results speak for themselves. They can’t be exactly replicated, mass produced, or generated by AI. This is true even if no one ends up experiencing them beyond a local scene or even outside of a rehearsal space. Those results only come about based on the personalities, rapport, influences, developed skills, and ambitions of the people involved. These factors are entirely unpredictable. The trouble is, allowing for artist-driven processes and the time it takes to nurture them is the exact opposite of how the music industry operates today.

Music industry decision-makers in our era want an instant payoff controlled by them, not by the artists. They want something that provides the hallmarks of what they know will sell as a certainty. They don’t want to invest in anything mired in idiosyncrasies and unpredictable factors. They want faces they can sell, too, complete with racial and gender biases built right in. Papier-mâché masks and weird non-vocal squeals against microtonal music that doesn’t follow the standard four-to-the-floor beat and 4th-5th-minor fall-major lift chord structure isn’t what makes the cash register jingle—or so follows the received wisdom.

That essential factor of time over decades the two musicians took to create a whole universe of sound between them before they shared it with the world has very little to do with anyone’s standards or expectations outside of their own. And being from a place as far outside of any music industry bastion as it’s possible to be is another factor that undercuts expectations, and makes the success and attention Angine de Poitrine have achieved to be unlikely as measured by any conventional standard. This suggests that their talent, as extensive as it is, is not the deciding factor to the attention and interest that’s focused on them right now.

This suggests other interesting and significant factors besides. One is that the viral nature out of which their success germinated was largely reliant upon timing—a factor that no one can control. It makes you wonder how much talent we’ve missed over the years with so few channels to success, too many biased gatekeepers, and too many checkboxes to determine which musicians and writers should become visible enough to affect where music itself can go, and how music can evolve as a result. It turns out that music is a bigger beast than many pop and rock fans were led to believe, and its limitations have always been illusory.

Perhaps most significantly, the music of Angine de Poitrine suggests a simple but very powerful nugget of truth: weird is good. Weirdness challenges our expectations and conventions. It can alienate people. But it can also open up vistas of possibilities as to what we’re looking for in art of all kinds. Weirdess can be liberating in that way for musicians and listeners alike.

Angine de Poitrine are an active band today. You can learn as much about them as they’ll let you know at anginedepoitrine.com.

Watch the band play on KEXP, a performance that brought them all the attention.

To get deeper into why such weird music is not alienating, but extremely compelling instead, check out how the band’s use of loops and microtones plays a trick on our brains to get that effect, with this video from Oliver Gearing.

For more on the social implications the band have suggested, read this article by Scott Santens that posits, among other very good points, that Angine de Poitrine provide a template to an argument in favour of Universal Basic Income.

Enjoy!

12-Hour Airplane White Noise Ambience

https://makertube.net/w/7jJuRrj93puKdxAfMjeymL

THE TIME IS UPON US!

Lovers of #darkAmbient and #experimentalMusic rejoice! A new episode of Disturbing Dreams is up for your listening pleasure.

I had a blast putting together my last guest episode, plus I had a good bit of additional music lined up, so Pete and I agreed another was in order!

Strap on your favorite pair of headphones (you know the ones) and enjoy an hour-long journey from the jagged heights of experimental down into the foggy depths of dark ambient

https://www.audiointerface.org/shows/disturbing-dreams/20260504/

Released today 42 years ago:

🇬🇧 The Cure "The Top" – 1984

An eclectic and unpredictable album where Robert Smith pushes the band’s sound into more psychedelic and experimental territory...

My favourite is "Give Me It".

#thecure #robertsmith #80smusic #psychedelicrock #alternativerock #experimentalmusic #ukmusic #vinylcommunity #vinyl #music #vinylrecords #nowspinningonvinyl #nowspinning #nowlistening

On today's new episode of The Tonearm Podcast, saxophonist and composer Caroline Davis joins us to discuss 'Fallows', her debut solo album. Davis recorded the twelve-track set entirely alone during an artist residency at Ucross, Wyoming, using prepared saxophone techniques and an Organelle processing unit.

The conversation covers the making of the album in close detail: aluminum cans dragged across a saxophone bell, hand-built drum sequences assembled through Pure Data patches, and the ancestral figures — Steve Lacy, Geri Allen, Thich Nhat Hanh, and Connie Crothers — whose presence Davis summoned throughout the sessions.

Don't miss this particularly fascinating episode: https://podcast.thetonearm.com/caroline-davis-the-saxophone-reimagined-in-the-fallows/

#Jazztodon #Saxophone #CarolineDavis #ExperimentalMusic #Ucross