This audio-visual mix by Most Dismal Swamp presents a view from everywhere; an enmulched vision from the multiplex anchorhold of some cursed swamp angel.
Most Dismal Swamp is a mixed-reality biome, an art project, a forecasting laboratory, a long tail, a transitional ecosystem, a party, a bad dataset, a curatorial MMORPG, a cursed studio, and a record label.
In the three verses of ‘Nofoozi’ (undercover), Tardast shares his personal experiences as an immigrant and as an atheist in Iran, whilst at the same time exploring the experiences of political prisoners in Iran through a lyrical narrative structure that resembles an interrogation
Nofoozi was Filmed and directed by Tardast, Tom Doubtfire and Bryn
009 - Iceboy Violet - Babel
Babel is the soundtrack to a video game that was never finished, the echo of an idea. It is a rumination on eco-futurism and the dangers of destruction for the sake of progress.
It is a long form track that cycles, hinting at the eternal processes of creation and destruction as well as humanities enduring inability to learn from its own mistakes.
Our greed and our irreverence for nature are the ingredients of our own destruction. The phallus of Babel will always fall.
008 - Clemency b2b fruit b
Long distance back to back DJing - a dancefloor soundtrack created by frequent collaborators separated by inter-city moves.
Clemency and fruit b initially interfaced as Negative Midas Touch and Blood Sport in early 2016, amalgamating their respective noisey and rhythmic output in a series of intense and relentless live performances. Later becoming residents at Sheffield’s Hybrid Vigour Club, the duo were formative peers for each other’s early DJ sets.
Following moves to Manchester and London the following year, Clemency and fruit b began forming a “long distance b2b” mix - passing a file back and forth to emulate their creative relationship before it was interrupted by distance. Adding and mixing a song at a time, the pair have created a fast and fun dancefloor soundtrack touching on a variety of club genres, bottling components of ballroom, gqom and grime alongside familiar pop.
Swan Meat has provided us with a poem which is as beautiful sonically as it is rich in the imagery it conjures, accompanied by creaking sinister string sections and seething, pulsating swells of noise that hint at some heady dystopia lurking just below the surface of our submerged consciousness.
The interview by Gribs centres around Swan Meat’s use of voice and poetry in their work, a refreshing detour from many of the currently published interviews that the already well established artist has done… Read on for musings on the musicality of words, the intricacies of recording and Yankee candles.
This datastream builds a chain of interpretations, each track a reaction to the last - a reflection of the way information moves; incremental changes add up to form new ideas. This datastream contains all the points between A and B.
This is an ongoing project, new interpretations will be added as they are created. Stay tuned.
005 - Sam Ridout
Some sounds in tension: the sound of the voice; gendered conceptions of the sound of the voice; unintended, bodily vocalisations; intimate voices, intimate things; the sound of things, of objects; the sound of the object-voice.
004 - Gribs
This short datastream sees its creator pay homage to one of their idols. It reflects on the subtle thought processes that permeate the act of rehearsal; the acutely calibrated relationship between mind and body, intense somatic problem-solving, and the meditative synchronicity of vocal and sonic feedback with bodies in motion. In absence of the visual, it encourages us to practise kinaesthetic empathy, and consider whether the aural can convey the texture, gravity and intention of the physical.
The music responds to the relentless and idiosyncratic clarity of the voice, emphasising its dynamic qualities to offer the listener a spatially delineated picture of an event otherwise unseen.
Music and instructions are provided. The rest is up to you
003 - TAYSTII - Clangistan Vol. VIII
Clangistan Vol. VIII is a continuation of the series’ key inspirations: spontaneity and variety. Like some of its predecessors, it’s a concept-driven creation.
The theme of Clangistan Vol VIII is humour, in many of its multifaceted forms and guises. The experience aspires towards comedy through selections, juxtapositions and timing, coinciding with comments on: foley without visual or contextual cues, blends culture vs. mashups culture, the ageing of music and how it can be revisited in the modern day, warped nostalgia and psychedelia, ‘outsider’ perspectives and creations, subversion of social attitudes to contemporary music, sidestepping and exaggerating artistic intentions, active listening vs. passive listening, and interrupting the musical canon.
001 - MICHAELBRAILEY
MICHAELBRAILEY is a composer and producer based in Manchester, working in the territory between electronic music, performative technology, multimedia and live instruments. He is also the curator of VIRTUALLYREALITY, an event series dedicated to the championing and commissioning of new and compelling electronic and acoustic music from composers and producers alike.
His inaugural mix for our datastream series covers vast ground, from field recordings, through experimental acoustic and electronic composition, to exploratory club music and unapologetic subterranean bangers blended with glittering pop acapellas.