Collision/Detection v9 by Sone Institute

Released: 14.04.13

The wondrous sonic experimentalist that is Sone Institute presents Collision/Detection v9 aka DeathBeat.

Sone Institute is the home of Roman Bezdyk, mercurial curator of two out there albums, Curious Memories(2010) and A Model Life (2012), and a collaboration with Dollboy, The Sum and The Difference. His Collision/Detection EP is the soundtrack to 1983 horror classic DeathBeat.  Hell has a new beat. It is called death…

(1983) Film Synopsis.
Where Sex, horror and vinyl collide on turntables of blood and bodily fluids.
“You know you are dying for it… and you will baby”
“I call her Sister Sledge, Sister Sledge hammer” as the cold
steel pulverized her wretched smiling, sluttish face.
“…Blood spewed from the soft opening like milk from a mesmerized baby’s mouth.”
Hell has a new beat. It is called death…
The year is 1983 and DeathBeat, New York’s finest nightclub is celebrating its 1st birthday.
What could go wrong?
Housed in the beautiful Gothic Smoking Dog building.  Once home to the experimental asylum for sexually deranged and monstrously violent patients way back in 1953.
Today also happens to be the 30th anniversary of the 78 patient’s horrific termination by its very own deranged medical director – mercilessly hacked to pieces one by one while under the influence of the drug Kajja. The dead souls of the patients now pray in their fear sodden death chambers never to be woken to the rotten earthly pleasure that brought them here in the first place. Or, to the sick flesh pursuits of their hell flamed desires.
Kajja’s main side effect is to induce a relentless throbbing pulse wave of 69 beats per minute (bpm) in patient’s / users skulls, due to a psychic irregularity and sonic displacement of 69 bpm. Induced by DJ Beak’s double groove sensual pleasure DJ set, tonight hell will manifest itself in DeathBeat Discothèque.
They have returned for one final dance.
Why and how they have returned, earth dare not comprehend.
For what?
The revellers can only scream inside their putrid, vile brains and beg for their pointless, Godless lives to be extinguished.
1. DeathBeat 1 (Main title sequence)
Hope and affluence reign in the club of distinction. Money, sex and power are the new Gods. Man is his own master- the supreme being of all. DJ Beak reigns untouched with his blend of double groove frottage scratch technique.
2. Unguarded Circle of Flesh (Decapitated head sequence)
The first set of heads and mutilated genitals are discovered rotating at 45 rpm on the gold plated Technics 1210’s, but the beat goes on…
3. Flesh Dance (In a state of perpetual arousal)
Chased by institutionalized reincarnations of lascivious inpatients, they attempt to fornicate with the big hair styled and shoulder-padded patrons of the club. Unfortunately their idea of climax always ends in death…
4. DeathBeat 2 (Film end title sequence)
The Club lights continue to flash. A muffled beat relentlessly throbs. A lone female’s voice sobs. Trembling like a demented gerbil in the corner of the dance floor. The camera pans across the dance floor which drips in blood, seminal fluids, tears, half eaten brains and fear induced piss.
The revolution will be digitalized.
Let the process begin!
The End.

Isnaj Dui – Collision/Detection v8

Standing somewhere between neo-impressionism and electronica, Isnaj Dui (real name Katie English) conveys a minimal yet capturing sound using electronically manipulated flutes and homemade instruments. She writes of the Collision/Detection EP:
When trying to find a starting point for the EP I found that some of the given samples fitted into quite definite blocks – gloomy, glitchy, plastic, tonal etc. I initially tried dividing them up, envisaging four tracks based on the general feel of the samples used.
Then my computer broke. So I started again.
Having divided the samples up once again, albeit slightly differently, I assembled a rough base for each of the tracks, adding flute, bass flute, dulcimer and electronics to echo or contrast the samples.  Some lent themselves easily to the addition of melodic motifs, others were more based on the layering of sounds or rhythms.  Many of the samples have been left relatively untouched, save some cutting and splicing.
Cited as a distinct voice, taking the flute away from its pastoral image whilst maintaining its unique mellow sound, English has released several critically acclaimed albums including 2010’s Protective Displacement (Rural Colours) and Unstable Equilibrium (Home Normal, 2009). She has appeared at venues such as the National Portrait Gallery and Union Chapel in London and has received extensive play on Radio 3’s Late Junction and BBC 6 Music.
As a classically trained flautist, English has also studied electroacoustic music, alternative tunings and Balinese gamelan. Working without laptop processing, English uses the pure tones of concert and bass flutes alongside homemade dulcimers and electronics to create immersive yet restrained textures that weave in and out of each other.
As well as her solo work, Katie plays in littlebow, The Doomed Bird of Providence and has collaborated live and on record with Orla Wren, Hybernation and The Owl Service amongst others.
‘Absolutely gorgeous music and a big recommendation for followers of [Home Normal] and good music everywhere.’ – Boomkat
‘…an oft-beautiful exercise in sensuous tone-painting that, in seemingly effortless manner, not only distinguishes itself from the competition but establishes Isnaj Dui as a distinctive artistic voice.’ – Textura
‘Deeply inspiring music from a very, very special place’ – Nils Frahm