Month: November 2023

Next radio broadcast on ResonanceExtra FM: Sunday 26th November – 8.00 to 10.00pm

Posted on by Spirit of Gravity

Gravity Waves and the Spirit World

Sunday 26th November 2023 from 8.00 to 10.00pm on ResonanceExtra FM, DAB radio or online at extra.resonance.fm/

This month’s show include 3 long pieces by our friends with short interludes by interesting strangers, plus an hour of tracks by Yeongrak.

First hour: Think Twice & AR Goddy Presents Yeongrak – everything should be easy (r) / Volunteers 5 (commotions) / yeyawng (waste gardeng) / fm vent (big time broken spine) / i dont fuck with, vocal cords speech patterns linguistics tongues language families s (nervegate nerveatgutogglegate) / swollen target (everyone that sauces yauces) / ground experiments (everyone that sauces yauces) / ape rottin’ (mouth mouth) / eye212121 (e) w/ cueenmask (e) / a event comes once a adfhj (big time broken spine) / rotten mound (commotions) / genes (animal protein) / cork your own creations (different weak friend every day) / radio & laptop computer & video phone is hidden in marsh1 & marsh2 near the ATP (cold brain black pineapple) / beesting (about the deepest I travelled in bed)
Second Hour: Spaghetti Blacc – Serac Collapsing Capital / Paul Khimasia Morgan – Negative Impacts / Yosuke Tokunaga – FL OORS / ascsoms – Machine Spores / Spaghetti Blacc – Decoy / Left Hand Cuts off the Right – Rotator Starts

“yeah the hider

yongrak activeates that dark breath in my ‘chest wall’
oozing (weezing) out like speaking the leaking spout

the gammar is taken off
gamma takeoff
grammes
the darkness of game

decomposition and clay retrieval

smuggling clairty in rotoscopic lava

“atrocios”

”-itis’ (disease idea)

so heavy you cuold never lift it and then it rushes your blending (flenders II) (HURLY IFLENDS)

did i give you rotten mound permissions

Bask in this knowledge bath
Basking like shark
“bath” (graey water)

talk about ‘beaks’ ‘mouth’ ‘melt’ ‘weak’

head carve
and each slice reveals hendred four new old worlds

Martin relegation hile filve

VORE spacial Em rotery

every word is subject to change, every word is subject to chance, every word is under the scent, every word is under the weight of it and under the bed, under the hill running under us like deep savage sewer
every word is in “quotations” every word is in vocalic choke hold, vocalic colic, vocalised rize and local rice

“nerve gaga”
harry ‘Plotts’
Yerng Woosh

It sounds like waste with an attention to science
It sounds like haste with slowness alliance
It sounds like taste of ceffalize nevermine

garstly expediency
running through lanes hooting
moola lanes

There is a sense of biology a nervous biologeme a biology of language
might sound silly might sound defunct but I’m rolling around
I’m rolling around in the callous victim of cartoon idea
the fallus whip
little metal script
high tide my life scrolls past
tiddle war happy leggo tiddle war
flipping to them

the body of the name and the name of the body
and so much can happyen in twenny secons
fortey naine seconds hellish remainder plain stark fish flinger

tcker tape acknowlegesys the remidner that truth remains in the length
up and down, left and right, through and through
long through my team of loose screw tighten and rubbish them the men the you
I’m led by a string of socking sound that extends beyond my many men like 50 cent
Hundred bags forteen bags the ninestyle rags the hyper ‘sags’
the usage of quotation the talking the station I’m generation I’m generating elocquation
electriquaytion

and is junking through the pile even really necessary
thats i what find mytself asking to myself
hard back dust sack must

all emerging from the darkness
nothing in the light
the dark is the hot light
this is language disbanded from the mouth mouth
language got hunted down lang dspreay

and now i want to tell everyone “shitu p” if they tell me the AI, the after space the last city in the world and The alien is getting me, i tant to tell them ‘lose you’ if you tell tme this is technology at the end, this is the game, this is ‘Japan’ i tell tehm ‘goodbye’ take the piss mate. this is not the thought from that place this is more than you could ever imagine. its within the crux and the plex, hunting from the beginning and never finding. Indle spiralling into the thicket stash. Hilling the running the lung got caught on the brush.”

End of blub

The October edition of the Spirit of Gravity Radio show is available on the ResonanceFM Mixcloud page:
www.mixcloud.com/resonanceextra/gravity-waves-and-the-spirit-world-mohammad-adam-remember-glaciers-22nd-october-2023/
This month’s show features a dark mix from Mohammad Adam, as invited by new guest editor Think Twice, plus an hour’s worth of live, generative ambience by Remember Glaciers.

Final re-release on the Spirit of Gravity BandCamp label: Green Door

Posted on by Spirit of Gravity

In the last of our re-releases following our 20th Anniversary in 2021, the Green Door compilation is available today. Released to mark the start of our tenure at the Green Door Store in Brighton in February 2012, it features tracks from Gravity members inspired by the popular hit tune of that name.

Stream or download here: spiritofgravity.bandcamp.com/album/green-door

Thursday 2nd November at the Rossi Bar: Karl M V Waugh / Rashamon / Cour’en

Posted on by Spirit of Gravity

Karl M V Waugh: Hypnodrone osmosis + video meditations
Rashamon: Soul diving temperamental pre-apocalyptic mannerisms
Cour’en: Feminist noise EBN fusion

Karl M V Waugh presents a new Audio Visual project especially for The Spirit of Gravity.
Music | disillusiondotdotdot (bandcamp.com)
Following his album of social anxiety skewed Acid Pop (the cheekily titled ‘A Return to Form) and his whopping great mix album shortly after (‘A Form to Return’), Rashamon has been busy burrowing away at a more refined sound for his next project.
Trying to stay one step ahead of himself and beginning with ‘Cringe’ releasing on 31st October, the direction spins towards more legitimate songs in the dancehall.  Having dabbled with vocals on previous tracks ‘Sudden Moves’ and ‘Honey Monster’, Rashamon has retreated behind the flourishing beats and bobs in order to conduct AI to express his thoughts on the weight of a generation in this pre-apocalyptic world.
For his live sets, however, he will be veering more into the experimental on the go remixing and introducing the world to embryonic tracks from the next album alongside updated old favourites.  Expect breakbeats and bedlam, bleeps and whistles and scintillating dives into retro Futurism as Rashamon continues to plough forward with the seeds of what came before.

Cour’en (the apostrophe is a London “t” or glottal stop) is an act 35 years in the making, born of a mutual love for noisy pop and raucous electronic music. Cour’en mix raw vintage synthesisers with words & extreme guitar strangling to sum up their lives so far. The result is a blend of spartan Electronic Body Music, Noise Rock & feminism.

Hosted by our very own DJ Cheesemaster

Chris [Symmetrical Forces] creates live visuals for each performance using his own lo-fi footage, dusty VHS tapes and obscure videos from the internet to create futuristic images from the past overlayed with out-of-reach memories and vague fragments of lost visions.

The Rossi Bar is a small grade II building, and they are restricted with how they can improve access for anyone with mobility issues. The live music venue is located in the basement, which can only be accessed by a short spiral staircase. More accessibility information and images of the venue are in this document:
spiritofgravity.com/site/wp-content/uploads/2022/10/The-Spirit-of-Gravity-at-The-Rossi-Bar-for-audience-members.pdf

If you can’t make it to the Rossi Bar, you can now live stream all of our gigs on our new Owncast platform at stream.gravitons.org/.

“The Spirit of Gravity: making experimental music a threat again – since 2001”

Thursday 2nd November 2023 | 8pm – 10.30pm | £5 (cash only)
Downstairs @ The Rossi Bar
8 Queens Road, Brighton, BN1 3WA

Monotron bridges

Posted on by Spirit of Gravity

November 2023
The Rossi Bar

Cour’en start with laughter, and then whistling, slowly out of nothing a two note bassline starts to form,  drum machine follows, a fizzing distorted organ and Louise’s voice through loads of delay. Thoughts Collide, shouting “Broken!”, an organ solo. Brief. Back to words again and pitch bent organ and end. Some banter. The second song starts on an altogether more buzzing tip, they turned it up and the volume gives an energy to the bass. The organ this time is used for slicing punctuation. An evil guitar solo, feedback and screwdriver fuzz. Back again to words. Then everything stops into delay and guitar feedback “Wot-ot-ot-ot?”. Next one starts on bass drum, then a moodier bassline, less buzz. A spooky organ riff as it’s just after Halloween, the guitar played with an electric toothbrush this time. It drops down to drums and voice for the final voice and stop. The next one starts with an indistinct bass and strident rhythm. The bass suddenly bursts into a pinging acidy burble. The guitar on this one a filthy deep churn. Filtering synth, another one burbling. An exchange of heckling and a proper full throttle bouncing bassline, the vocals come in before the drums, “Who the fuck are you?”, a nice B52s fuzz organ riff. A guitar burst channelling Andy Gill then down to a bassline stomp to end. The last song starts with a rubber band bassline, and a weird CZ101 backwards detuned riff that warps into a modulating drone during the verses. The weird riff to end into reverb and noise and laughter.

Karl M V Waugh next up. A very different type of set, sound-tracking an op art video he’d made. “Watch this, don’t watch me”. A buzzing drone murks up out of the silence, modulating deep layers building up under it. A higher buzz sneaks in, slowly the sound develops, thickens. Still builds nothing lost, more layers; more, more layers. Nothing lost, the top layer warps out into a top buzz. Constantly shifting. A delayed keyboard clanging riff. Still building. A big Tardis modulation enfolds everything as it sweeps into existence. There’s a sound like someone struggling to shut down a feeding back 500w Marshall stack in the dark warehouse next door. It floats along like this for a while, then continues to build as a sea-swell roar swoops in. A synthetic pterodactyl can be heard over this as everything reaches the peak. I can’t see the visuals properly from where I’m sitting, God knows what’s going on there. The storm breaks into fierce acoustic winds that batter the room. Eventually it the wind dies and the bass drone slopes back in, the sea recedes and a nasty buzz envelopes everything. A distant choir, the bass splits into a thrumming bass and circular saw. There’s a lost swirl of synth and slowly everything mushes up into white noise then back down to the buzz to wind out as a single drone from a long lost set of pipes.

Finally we have a new set from Rashamon; vocals he promised us, but the lack of a mic wasn’t promising. The first track starts with what sounds like a recording of Christmas heard coming from a mall. The bass drum kicks in a marching beat, Monotron delay, staccato synth ping. A high melodic line filters between the beats and the rest of the rhythm kicks in.  Some pads before it finally breaks down for the bassline. A nice heavy filter on that. And to make up for the lack of basslines to this point we get a second and a third. A female vocal comes in, ah, its pre-recorded, its provenance unknown, we’ll find out. Hooky, mind. Some synth spirals and what sounds like the chorus and another breakdown into some squelch. Some nice little flourishes of the Monotron, it’s easy to go overboard with the filter and delay, so it’s nice to see it used in such a restrained fashion.  This is pumping. The next starts with an old style breakbeat, booming away in the largest room. Ratchets down sparse drums and a melodic mid synth line and Monotron squelch swoop. It builds up around that, layers of pads and drones, sirens, bells. No vocals on this one, just layers of dark intensity. The next one starts with a nicely modulating squelching arpeggio. Drums and whistling drones gather around. Pointillist synth lines complement it and a rolling beat gathers momentum, an interlocking track of total dynamics, suddenly it shifts and we get a melodic line over a popping rhythm. Again this one just turns into a driving stomper of interlocked rhythmic parts. The final track starts with a voice from a film, a classic bit of Rashamon, something about Halloween and Christmas, a bit funny a bit dark. The final track starts with a monster beat, not so fast, big, jingle bells like some 1990 hardcore tune from before the race to 180bpm began, the bassline is melodic rather than pulsing, swooping under another female vocal, bells, counterpoint it.  Again its intensity to the max, unsettling.