Eril Fjord
A live recording built with synthesizers, effects and electric guitar. Krisztián Pető lets abstract rhythms and small electronic gestures develop as a continuous performance.
Collections Original
Original
Recordings
Private archives, field recordings and performances by the artists themselves.
An artist’s own archive can reveal a different history from the one carried by released albums. A studio test, an unfinished piece or a performance preserves a decision while it is still being made; a field recording preserves the place and time to which the artist gave their attention. These contributions let us hear work beside the published discography, and sometimes the material from which that discography grew.
These recordings place the contributors’ own work at their centre. Private material from Dalglish, EVOL, Deaf Center and ENA sits beside live electronics, hardware improvisation and Moniek Darge’s recordings of everyday and sacred spaces. The collection distinguishes an uninterrupted performance from an edited studio session and a sequenced archive. Each offers a different account of how a recording was made.
In this selection
20 recordings / 2011–2025 Eril
Aaron Martin
Fifteen of Martin’s own compositions, including rare studio material and performances from Amsterdam’s Dwars Festival. Cello, other live instruments and restrained electronic processing form a continuous portrait of his work.
Lasse Marhaug
An exclusive hour-long studio work rather than a selection of other artists’ records. Marhaug develops noise, drone and small internal changes into a sustained composition.
Obtane & Giuliano Palmieri
An original semi-live collaboration recorded in Zoagli in 2012. Baudazzi and Palmieri build an electronic and field-recording foundation, integrating and manipulating a small number of records by Atrax Morgue, Developer and Monoton.
Dalglish
Seventy-eight works made between 2000 and 2012, unpublished when this contribution appeared, become one unstable, densely layered recording. The scale of the private archive is important, but so is the way Chris Douglas puts those separate experiments into motion together.
Šarūnas Nakas & Alla Zagaykevych
Nakas and Zagaykevych adapt Ziqquratu for this contribution. The work began as an instrumental composition in 1998; this version carries its structure into a digital setting with live electronics and mixing.
Geistform
Geistform reworks nine of his own compositions in a live recording, allowing improvisation to change the pre-composed pieces. Samplers and sequencers meet a modified Korg MS20, other analogue synthesizers and effects, making this a document of his hardware process as well as his own music.
EVOL
Studio tests, discarded edits and live fragments from 2009–2014 are joined through a split-channel technique. These recordings, unreleased at publication, expose the working material behind EVOL’s computer music and turn the archive itself into a new piece.
Polar Inertia
Recorded especially for the journal at 112 BPM, this performance was edited from a long night of studio improvisation. The newly connected equipment and unhurried session give the recording a precise place in the duo’s developing practice.
Ben Vida
Vida’s nine compositions trace recordings by Conjunto De Tambores Batá De Amado Diaz Alfonso through MIDI mapping, turning existing rhythms into control signals for a modular synthesizer. The recording gives those traced rhythms a newly synthesised form, carrying the instability of his earlier hand-played percussion traces into a digital process.
Honzo
Honzo’s public debut live recording reconstructs his own compositions in real time. Recorded in his home studio, it moves between anxiety, release and shifting states of attention.
Deaf Center
Twelve recordings from 2003–2010 open the paths beside the duo’s albums: unfinished work, alternative versions and material from live shows. Unreleased when published, they make a substantial companion to the discography through their own sequence and internal relationships.
Sofheso
Two live cuts prepared for the journal become a single recording. Tohru Iioka uses the session to explore new recording techniques through finely divided rhythms and changing textures.
Moniek Darge
Recordings from 1984–2014 trace Darge’s own listening in public, domestic and sacred spaces, including her collaboration with Eric De Visscher. Her refusal to cut up or heavily process existing pieces gives this archive its particular form: places and compositions are allowed to keep their own acoustic lives.
Julien Bayle
Parasites Compressor begins with an unpatched modular system and develops in one take, without automation. Bayle builds its rhythmic logic from crossing low-frequency oscillators and amplified electrical noise; the process of connecting and directing the machines becomes the piece.
JK Flesh
Recorded live at Avalanche without overdubs or post-processing. Broadrick reworks stems from his own tracks with live machines, chopping, slowing and dubbing the material into a hybrid DJ/live performance.
Ewa Justka
An exclusive live recording made in London in 2017, where analogue pulses develop into fast, unstable rhythmic structures. Its place here rests on the performance itself: a sustained document of Justka working with sound and machinery in real time.
Sote
A selection of Sote’s own compositions, developed across two decades and reshaped through synthesis and electro-acoustic techniques. Recordings of santour, tar and setar meet his electronic processing.
ENA
A sequence made from ENA’s own material, recorded from 2018 up to this contribution’s 2019 publication and unreleased at that point. It opens a concentrated view of his studio language, where abstract atmospheres retain the physical memory of drum and bass.
DYL
A live studio recording made entirely from DYL’s unreleased material and recent experiments. Dub-like spaces, slow rhythms and 170 BPM passages share one continuous performance.
Presented in original publication order. References to unreleased work describe its status when the contribution first appeared.
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