Experimental project releasing an album every month featuring a new collaborator. project Experimental releasing album an every featuring month a collaborator new. Experimental album month collaborator.

Greg Debicki, aka Woulg, is a powerhouse of ingenuity, skill, and experimentation. His work challenges and pushes the edges of what is already perceived as impossible, but without sacrificing his own undeniable and irresistible groove. His sample and plug-in choices (including all the devices he has made and you can get on his bandcamp!) are very precise, but unexpected and extremely poignant in his sound. Woulg is gonna take over the world! "equivalent to the sum of six and seven; one more than twelve, or seven less than twenty" is a multi-faceted study in interlocking time signatures and ciphers. March 2018 equivalent to the sum of six and seven one more than twelve or seven less than twenty

Finally, opening the balcony door to my studio isn't painful, it's nice!! As Ora does what she calls 'turkey singing', I provide an ambient, albeit ominous, landscape for her turkey to explore. Claiming she doesn't play violin well, Ora proves herself wrong, extracting opalescent wails from her violin. Together, we harmonize our sighs, moans, cries of sadness still lingering from the darkness that is February in Montreal. Together, we find a comfortable place within this bitter nostalgia, making sure to remind ourselves and you, dear listener, to laugh in the face of fear! To laugh in the face of anxiety! To laugh in the face of a music scene where the musicians know the least about what's going on! To laugh in the face of pre-apocalyptic late capitalism! And while you're laughing, record it, reverse it, paulstretch it, warp it, heck, try a resonator (my fav is berlin) and see if it still resonates with you. Featuring the musical and post-production prowess of Ora Cogan February 2018 twelfe

Throughout the high frequencies (sorry/not sorry) and classic rock jokes, it's undeniable: Piper Curtis is a serious musician. For one, taking electro-acoustics in university is badass af, and two, Piper is serious about experimentation, and knows how to do it really well. . Track 1 is a study in Hz: Piper generated sine waves of 60 Hz, 600 Hz and 6000 Hz. I generated sine waves of 40 Hz, 400 Hz and 4000 Hz. We then played with the levels of each wave, and later on in the track, I add a 4 Hz wave that soundn't be audible (to humans at least) but as I increase its level the undertones of the two waves interacting come out in a "wHopwHopwHopwHop". Track 2 is us playing with samplerates, specifically 8 Khz. We attempt to sing at that frequency, and in a way, glitch the recording. "A fun and exciting trip to the mountains ends abruptly" is set to the percussion of Piper and I trying pretty hard to break a nalgene water bottle. It didn't break. By the end of the album we were getting pretty nostalgic and bratty, so we went way back and ran vocals through her childhood fisher-price tape recorder, doing kareoke over things that sounded like springsteen. Then this one banging track that sounded nothing like springsteen came on, and we danced. more info on subharmonics featuring the experimental genius of piper curtis January 2018 twelfe

A N N E O M S O T I A L G I A n. nostalgia for a time you've never known n. 1770, "severe homesickness" (considered as a disease), Modern Latin (cf. French nostalgie, 1802), coined 1668 by Johannes Hofer, as a rendering of German heimweh, from Greek algos "pain, grief, distress" (see -algia ) + nostos "homecoming," from PIE *nes- "to return safely home" (cf. Old Norse nest "food for a journey," Sanskrit nasate "approaches, joins," German genesen "to recover," Gothic ganisan "to heal," Old English genesen "to recover"). Transferred sense (the main modern one) of "wistful yearning for the past" first recorded 1920. 0/1 = the new that comes from in between December 2017 0/1

As with every puncti session, one of the symptoms of on-your-feet recording/collaboration is this sense of comfortable playfulness, this almost incessant willingness to push the idea further, wrestling (depending on your ability to meditate by playing music) with the hesitation that it's the wrong move, that another idea, potentially-yet-to-arrive, is going to swoop in and take the show, and you won't be able to grasp it. I say live without that regret. Explore all the ideas, whether it ends up becoming a six hour meditation to ".., kipper come!", or a three second rhyme you needed to say aloud. Pick up that piece of paper you just walked by and look at it like you want to! Read the article that you scrolled by but looks interesting! Listen to this album if you like childhood pets and stuffed animals! In all seriousness though, 999 is a representation of the many facets and explorations of Brett Howie: at times beautifully melodic, at times carnivalesque (both literary and literal), at times hypnotic, but always playful. with Brett Howie November 2017 999

On one of the last sunny sundays of 2017, I meet up with Claire Guimond, a quiet, poignant, brilliant, not-as-shy-as-before astrophysicist by day and musician by night. We stroll down to Parc Jeanne-Mance, specifically to its south-western corner, and I laugh because I had forgotten about tam-tams AND sunday families at the park. Our instruments, (vertical pipe xylophones) are located within a small child playground, and their smaller counterparts (vertical regular xylophone) adjacent, in a smaller-small child playground. The children ended up doing half of our melodies, and trying to make it clear to the parents that I was recording their families, we wholly embraced this inter-generational collaboration. After exploring fence creaks, we allowed the children to enjoy the public instruments unfettered and take a walk through tam-tams. By the LARPers, we smoke and watch a guy taking a picture of a guy taking a picture. The children and adults fight squarely, with finesse and very little hesitation. Everyone seems compassionate to each other. Also, most of their gear looks pretty authentic from a distance. featuring the wonderful genius of claire guimond October 2017 o o

Our oldest and dearest friends are the ones that know our true selves, the selves that sometimes we forget about as we're seeking out new experiences. Nyssa Brown is my grounding force. Anyone who has the pleasure of interacting with Nyssa is been touched by her ingenuity and excitement. As she is a polymath, it is difficult to nail down one specific thing that Nyssa does best, but if one had to choose, I would have to say it's her ability to inspire. SAVAN features Nyssa and I in our natural habitat: communicating via multiple channels, rehashing old jokes, and syncopating our whispered dialogues with percussive punctuation and at times hypnotic, at times abrasive (like anemoia) melodies. with THE ONE AND ONLY NYSSA BROWN September 2017 SAVAN

As one of those rare musicians who seem already to emit on their own a consonant cacophony, Jean handles any instrument or constraint like an extension of himself. Punctun acts as a film score for film yet to be made. At times channelling ASMR (the bubbles on "the more the perrier" are perrier), at times conjuring the shipping yard behind Gavin Elster in Vertigo, these soundscapes are open to interpretation and application. "Crate" and "grape" feature us exploring the beautiful fallibility of imposing constraints, like playing a piano and djembe without making their respective sounds. If you would like to use this album as a score to your film, please email with Jean-Sebastian Audet August 2017 punctun

To define "self-care" is to me an ambiguous objective, yet imperative for progressive and ever-improving survival in a seemingly pre-apocalyptic landscape. Flive is a study in forced relaxation; July 2017 was the most intense month of my life, but also the most beautiful and influential. In times of intensity, it is all the more important to make space for meditation, for self-care, whether it's through revisiting the timbre of your childhood, shaking your keys like they're on fire, playing with all the instruments you can find in the kitchen, forgetting whether water lapping a shore or cars are outside, and mimicking rain as you go the wrong way. recorded at home thanks umbrella you really came in handy! July 2017 flive

David Kleiser is a whirlwind of ideas, activity, and indescribable, infinite talent. He starts by showing off this sneaky trick of playing the guitar and the drums with drum sticks, which imo is an easy button to sound like sonic youth ahah! Exploring our immediate environment, we decide to put my phone into the freezer and smack whatever we can find on the door for percussion. As it plays one track as it records our percussive second one, the reverb of the freezer is utilized. Under the cymbal bell of audio hallucination we ruminate, we discuss, we argue, we screech. We hold fire in our teeth and pursed lips, that feeling of power; "it has no name and so we call it", and then sometimes it doesn't answer, so we text it instead. June 2017 for