On the 13th and 14th of April, the iconic Rich mix will host the Crux AV Festival. This weekend-long event promises a diverse programme of audiovisual performances, workshops, and jam sessions that will leave you inspired and captivated.

As the sun sets on Saturday and Sunday evenings, the stage comes alive with a lineup of both emerging and established artists showcasing their audiovisual talents.

During the day, the festival offers a range of workshops and talks for those looking to dive deeper into the world of audiovisual arts.

Whether you're a seasoned artist or a curious beginner, there are opportunities to participate in open-mic-style electronic music performances or join in on Sunday jam sessions.

The festival truly caters to all levels of interest and expertise, making it a must-visit event for anyone passionate about the intersection of music and visuals.

's show, there is something for every art enthusiast to enjoy.

 will lead a workshop on Immersive Sound. Renowned for her electrifying performances, she has become a prominent figure in the electronic music scene, captivating audiences worldwide.

 a project by the Disability Music charity Drakemusic.org will be hosting a "taster session." Designed as a platform for both Disabled and non-disabled musicians, technologists, and makers to share practices and delve into innovative accessible instruments, this event offers a unique opportunity for collaboration.


The one-hour DMLab session will feature a performance by award-winning artist 

, followed by a panel discussion on accessibility in music. Joining Elizabeth for the discussion will be artists John Kelly and Andre Louis.

Don't miss out on the chance to attend the Crux AV Festival, a hub of creativity and inspiration.

https://richmix.org.uk/events/crux-festival-of-audiovisual-performing-arts/

Trip Through Audiovisual Arts: Discover the Crux AV Festival

Mark your calendars for April 13th and 14th to experience the Crux AV Festival. We list our picks and how to get tickets.

When I was a kid I didn't know anything about Delia Derbyshire or the BBC as I grew up in Italy. But, I knew for sure that I was intrigued by the Doctor Who theme track and still I am.

Delia Derbyshire was a genius. She had a knack for both mathematics and music and her career has been consistent and in line with her aspirations, but with many difficulties for the same old reason: she was a woman. Delia was born in Coventry, England, in 1937.

Her early education at Coventry Grammar School and Girton College, Cambridge, where she earned a degree in mathematics and music, set the foundation for her illustrious career.

In 1959, she was denied a position at Decca Records because of her sex.

She didn't give up, so Delia took a detour to work for the UN in Geneva before returning to London to work for music publishers Boosey & Hawkes.

In 1960, she joined the BBC as a trainee studio manager. Her talent and dedication saw her excel in this role and joined the fledgling Radiophonic Workshop.

This marked the beginning of what is still referred to as the Golden Age of the Radiophonic Workshop.

Delia's contributions at the Radiophonic Workshop were revolutionary. 

As the sole member with advanced music qualifications, she brought an innovative approach to sound and music production, leaving a lasting impact on her colleagues. Her iconic creation, the Doctor Who theme, remains one of the most recognisable TV themes to date, crafted in 1963 in collaboration with Grainer. However, bureaucratic hurdles at the BBC hindered Grainer's attempt to credit Delia as a co-composer, as the workshop's anonymity was preferred by the organization.

Delia's Style at The BBC Radiophonic Workshop

She blended both tangible sounds from real objects and recorded sounds through the use of 

techniques. Delia harnessed real-world objects like bells, bottles, and clocks from the BBC Radiophonic Workshop's eclectic collection. One standout discovery was the resonant chime of an old industrial metal lampshade, a cherished found sound.

Beyond physical objects, Delia explored the electronic test equipment inherited from other BBC departments. In the absence of synthesizers in the early 1960s, the Workshop ingeniously crafted a "keying unit." This contraption comprised calibrated signal generators tuned to musical notes and an octave keyboard fashioned from keys salvaged from a dismantled piano.

Delia's resourcefulness extended to magnetic tapes, where she expertly synchronised machines manually during mixing or used a remote control box for simultaneous starts. The recorded sounds, once captured on tape, became the building blocks for her compositions. Delia's creativity soared as she manipulated these sounds, employing techniques such as cutting and splicing the tape to unlock a myriad of exciting possibilities.

1965: How DELIA DERBYSHIRE made the DOCTOR WHO theme I Tomorrow's World I Music I BBC Archive

Her on-screen credit finally came with Doctor Who's 50th-anniversary special, The Day of the Doctor. Delia's initial arrangement remained the main theme for the first seventeen series, spanning from 1963 to 1980. However, subsequent re-workings over the years didn't sit well with her, as the only version she approved of was the original composition.

Delia's talent extended beyond the confines of the Radiophonic Workshop. She was called upon to create music for drama and documentary programmes, science, arts and educational programmes, and her abstract style was well-suited to these tasks.

Her work with Barry Bermange 1964–65 on the four Inventions for Radio is perhaps the best instance of her intuitive way with soundscaping. It was a series of collages of people describing their thoughts on dreams, belief in God, the possibility of life after death, and the experience of old age, voiced over an electronic soundscape.

She also collaborated with renowned composers such as Sir Peter Maxwell Davies, Roberto Gerhard, and Ianni Christou, doing sound treatments of their orchestral music. She was also an assistant to Luciano Berio at the 1962 Dartington summer school.

Despite facing criticism at the Workshop, (she was told that her music was 'too lascivious for 11-year-olds' and 'too sophisticated for the BBC2 audience) Delia found other avenues to express her creativity. She worked in film, theatre, 'happenings', original electronic music events, pop music and avant-garde psychedelia. She also encouraged the establishment of private electronic music studios like 

She left the BBC in 1973 and worked briefly at Hodgson's Electrophon studio where she contributed to the soundtrack to the film The Legend of Hell House.

She also composed a score for Yoko Ono's short film Wrapping Event, but unfortunately, the copy of the film with the soundtrack got lost.

She stopped creating music in 1975 and worked, in different places such as a bookstore and an art gallery.

She then back to music in 2001 providing sounds used as source material to 

Sychrondipity Machine (Taken from an Unfinished Dream

), a 55-second track for the compilation Grain: A Compilation of 99 Short Tracks, released by Dot Dot Dot Music. She died before the release and was credited in the compilation.

Sadly, her latest years were difficult as she struggled with alcoholism. She died of cancer, in July 2001, when she was 64.

Delia Derbyshire's talent still resonates and influences the music industry. Her works are still broadcast on radio and TV, and she is often credited and covered by many bands from Add n, Sonic Boom, Aphex Twin, The Chemical Brothers and Orbital.

Here at Artcore, we strongly believe in inclusivity and we value female and non-binary talents; upload your music 

Female Pioneers of Electronic Music - Delia Derbyshire

We continue our learning journey about the female pioneers of electronic music with Delia Derbyshire, the great British trailblazing composer.

In our staff picks series, we'll be highlighting tracks that stood out to us, either because we loved them, they introduced us to something new or they pushed a boundary that needed pushing.

This is our selection for February. We hope you find something in the list that resonates with you. 

Hard techno with rapid-fire vocals and acid reece synths.

Deep, glitchy psy-trance, full of distorted stabs and disorienting burbles.

Soulful chillout electronica. Just beautiful.

UK garage as seen through the eyes of Frank Zappa - Moody vocal samples from the man himself, and a progressive, experimental feel.

I'm a sucker for good original breakbeat music, and this track has a bit of everything

Bouncy tech house with an old-skool vibe.

Crunchy, downtuned progressive metal with orchestral elements. Slayer guitar riffs over Fear Factory-style drumming.

Soulful liquid drum and bass combining echoing vocals with driving breaks and synthy leads

Artcore Picks February

A selection of hand picked tracks from our editorial team  - this month curated by Dan Howe.

We felt a profound disappointment upon learning that Iklectik had been forced to close its doors on January 20. Every visit was greeted by the warm smiles of Isa and Eduard, the wonderful hosts who cultivated a community centred around experimental music.

Located in the heart of Waterloo, Iklectik was not only a hub for outstanding experimental artists and live performances but also a haven where people of all ages gathered in its beautiful garden chatting and sharing their passion for sonic exploration.

The venue's closure is a stark reminder of the homogenisation process that is sweeping across London and other major cities worldwide, where generic chains, new buildings and supermarkets are replacing unique cultural spaces. And that's very sad.

Over its ten-year existence from 2014, Iklectik hosted an impressive array of events, including over 1700 shows, 21 festivals, and 23 fundraisers, drawing in more than 60,000 visitors. It transcended from being merely a venue, evolving into a nexus where education, research, and creativity converged. Isa and Eduard are proud of their collaborations with both emerging and established international artists, universities, record labels, and technology organizations.

While Iklectik may have closed its doors, hope remains. Isa and Eduard refuse to yield, embarking on new and promising ventures despite the setback. They have two new projects on the horizon: THE ART LAB and THE NOMADIK PROGRAMME.

THE ART LAB aims to establish a unique, purpose-built creative hub, fostering collaboration among experimentalists from diverse disciplines.

This hub will serve as a home for artist residencies, R&D programmes, and workshops, becoming an incubator and accelerator of creative partnerships. The goal is to leverage the ART LAB to broaden opportunities for artists of all levels, offering essential access to AV tools, listening resources, shared workspace, a library, and a specialized bookshop.

THE NOMADIK PROGRAMME, on the other hand, will see Isa and Eduard hit the road, collaborating with various venues in London, the UK, and beyond, to organise events and host live performances.

However, these ambitious projects come with a cost. Isa and Eduard have launched a crowdfunding campaign to raise 

 to cover rent and deposit for the ART LAB space for the first six months, soundproofing and building setup costs, running costs, production costs for the NOMADIK programme, and residencies and workshops.

As Isa and Eduard put it "This is more than a fundraising campaign; it's a call to action. Your contribution will not only help save IKLECTIK, it will be a vital asset in the future of experimental art, preserving a cultural legacy for generations to come."

So, let's rally behind Iklectik and help bring these projects to life. Every donation, no matter how small, can make a difference!

Let's ensure that the spirit of Iklectik lives on, fostering creativity and pushing the boundaries of experimental music.

Iklectik Closed: A Loss for Experimental Music; But is There Still hope?

The iconic hub of experimental music in London, Iklectik, has shuttered its doors. Join us in supporting its creators through their crowdfunding efforts. Click here to find out how you can contribute.

Founded by Russ AKA Cellar, after 2 decades of love for the Drum & Bass scene and finally taking the dive into realising a long time dream to be part of the scene Interstellar Audio was born, with great support from Twelve Step Audio, Zante, Vibe, Jinbu and more, Interstellar has grown into an emerging force dedicated to the soulful and deep sides of Drum & Bass.

Nottingham U.K but our mission is global, our core team includes people from 3 corners of the U.K, New Zealand & Sweden.

One of the main goals of IA is to form a global community of creatives and friends all supporting and pushing each other to reach their goals, if our artists have dreams of releasing on top tier labels then we will do everything we can do to help them realise those dreams. IA is also committed to recognising the value of artists and our processes are all geared with the belief that Artists should be the first to get paid, not the last, and we are walking a long and challenging road to ensure we realise those ambitions.

Our charity release, Frontiers Volume 1, just out recently which has received an incredible amount of support from the scene and even been included in the Hospital Records Podcast as well as played on GeorgeFM in New Zealand. Frontiers is a diverse compilation featuring artists from around the world, united in the mission for peace.

It’s a compelling compilation featuring an eclectic mix of artists, each contributing their unique sounds to support the Ukrainian Red Cross Society's mission to protect lives and alleviate human suffering. The artists on this record share a common goal – to break down barriers and borders through the power of music. Frontiers Vol. 1 is not just a collection of tracks; it's a collaborative effort to bring solace in troubled times and places.

Frontiers will be an annual project supporting various causes and we are already planning Volume 2!

In our first year we have released over 70 tracks from more than 35 artists all across the world, spanning from the most deliciously soulful liquid all the way up to hard hitting and high energy tracks. We use a distributor to reach all the mainstream stores and streaming sites but we also independently publish to Artcore and similar platforms as we believe in as short a supply chain as possible.

We ran 3 events in 2023, including a summer celebration, the IA Garden Party which was a free event that showcased IA artists and Resident DJs. The focus for 2024 is to create a recognised brand that people know will be an intimate event with immaculate vibes no matter where we throw it or who is on the bill. We have 3 events in the works for Q1 2024 and some big plans for later in the year.

Where would you most like to put on a show?

To host an event outdoors on a mountain top would be my dream.

People that push the scene forward and are just nice people, particularly Steve BCEE of Spearhead records, Degs of the Hospital Podcast, Peter Piper from Overview and many more.

Rizzle! Doing his own thing and I'm here for it.

Receiving plays on GeorgeFM's liquid lowdown show of Jinbu's release with us earlier this year was a total honour and real nice surprise. We also had plays on the Hospital Records Podcast and 4 of our tracks made it to BBC Introducing in 2023.

So many artists, but to name a few of my top priorities right now, Inigma, Maykors, Archangel, Thread, Rizzle.

We took IA to Mountain Bass festival earlier this year to play on the mountain tops supporting artists like Keeno, Degs & Etherwood and also play our own events with our label team, artists and residents on line ups.

How does DJing fit into your production world?

I think these days they have to go hand in hand, to be a professional DJ you must be a successful producer also, particularly in the DnB scene.

I made a bootleg of Toca's Miracle that's an Amen break riot and never disappoints.

It's an artist first platform that's poised to pick up where Bandcamp will leave off


Visit Interstellar Audio's Label Page on Artcore

Frontiers Volume 1 - proceeds to Ukrainian Red Cross Society,

Interstellar Audio

Nottingham based Drum & bass label Interstellar Audio talk about their ambitions and their recently released Frontiers compilation, the proceeds of which will go to the Ukraine Red Cross Society.

Time is running out to join the Artcore Early-Bird program!

Early-Birders get a discounted commission rate of 7% until AT LEAST the end of March 2024.

There will also be additional surprise perks for so we highly recommend that you join now!

You've got until 20th December to 

Time is running out!

Become an Early Bird member and get a discounted commission rate of just 7% until AT LEAST the end of March 2024. 

This is our selection for November. We hope you find something in the list that resonates with you. 

Offish & Forgiven Soul - World in Crimson

Dark, menacing tech-step drum & bass in the style of Break, or early Ed Rush & Optical.

Moody, atmospheric drum & bass of a style similar to Dom & Roland, with large kicks and multiple repeating snares.

Groovy psy-trance with undulating acid leads and female vocal samples.

Strong techno beats merge with the acid bass lines of the Roland 303

Hard dubstep beats - worth including simply for the inclusion of the memetastic Emotional Damage sample

Moody hiphop beats, with atmospheric piano loops. Perfect for aspiring MCs looking for well-produced beats.

Funky, groovy techno with lots of glitchy sound effects.

Hard techno is not usually my thing but I did like this one. Groovy bass lines, acid synths and strong kicks livened up with some fun breakbeats.

Driving, relentless psy-trance with spooky samples and glitchy stabs.

Playful electro-acoustic "folktronica". Nice melodies that sound like pleasant background music. Could see this being used for video games, advertising, etc.

Artcore Picks November

Elevation Sessions is a new community focussed event series brought to you by the Elevation London team. It's a platform that welcomes up and coming DJs and producers to showcase their talents.

With a semi-open decks format, they invite community members to take the stage alongside the label's resident headliners. If you've been yearning to play your tunes to an appreciative crowd, this is it!

This series is all about building connections. Whether you're an aspiring artist, a seasoned DJ, or just someone who loves melodic progressive house and techno, 'Elevation Sessions' is the perfect place to network, share your passion, and discover new opportunities within our Elevation London family.

We're all about melodic progressive house and techno, ranging from the chill vibes of All Day I Dream and Monstercat Silk, to the energetic pulses of Anjunadeep and Afterlife. Stay on brand, and you could be our next star.

https://go.elevationlondon.com/elevation-sessions-dj

To attend, tickets are only £5 + booking fee. This is an advance ticket-only event with no tickets on the door. Grab yours at 

https://www.skiddle.com/whats-on/London/The-Kings-Head-Members-Club/Elevation-Sessions-by-Elevation-London/36734116/

Artcore are proud to support grass roots events for up and coming artists, bands and DJs.

Elevation Sessions

Elevation Sessions on Dec 1st is a new community focussed event series for up and coming DJs and producers to showcase their talents. Apply by the 19th November for a chance to play alongside resident DJs.

The Demo Drop presented by Artcore and Through the Mill is a great opportunity for aspiring music producers.

Steve Kelley (Sublease, PokerFlat, Celestial), Tom Burnell (founder Artcore) and Mark Allin AKA Riigs (Zerothree, Manual Music, Londam) will be listening to your music production demos on the Tileyard Gallery club system and providing live feedback.

Sign up is free but seats are limited to 10 exclusive places available, jump on it now!

If you want to participate and have your demo reviewed, you'll need to book your space and bring your track on USB on the day.

It's a unique chance to get valuable feedback from experienced professionals in the music industry. If you're interested in this opportunity, make sure to secure your spot and prepare your demo for submission.

https://www.eventbrite.com/e/the-demo-drop-tickets-748449752357

Demo Drop starts at 4pm and is followed at 7pm by Through the Mill 2 . A great night of live and DJ sets at the same venue! 

https://www.eventbrite.co.uk/e/677911831537?aff=oddtdtcreator

Demo Drop (London Fri 17th November)

The Demo Drop on Fri 17th November at Tileyard London is a great opportunity for aspiring music producers to get their demos heard and critiqued by industry professionals. 

A rich history of talented women has helped shape the world of electronic music. From the early days of synthesizers to the present-day digital revolution, these fearless female pioneers have defied societal norms and pushed boundaries, paving the way for future generations. 

Artcore wants to pay homage to the female pioneers so let's dive into the untold stories of these trailblazing women who have made their mark on electronic music!

We start this journey with Johanna Magdalena Beyer

Born in Leipzig, Germany in 1888, Johanna Magdalena Beyer lived most of her life in the US. She had an innate talent for composition and quickly became a prodigy in her own right. Despite facing numerous challenges as a female composer in a male-dominated industry, Beyer persevered and left an indelible mark on the music world.

She is notable for her innovative and avant-garde compositions, particularly for her use of percussion instruments. Beyer's work often explored unconventional sounds and techniques and she was influenced by the ideas of the European avant-garde. Her compositions were characterized by intricate rhythms, unconventional harmonies and a fearless exploration of new sonic territories. Despite her innovative approach, Beyer's work remained largely underappreciated during her lifetime.

Her most famous work "Music of the Spheres" was composed in 1938, marking the pioneering moment as the first known work scored for electronic instruments by a female composer. 

It is not known which instruments she was expecting to perform the composition, but the Electric Weasel Ensemble (a group from the Bay Area) realized her vision and recorded the Music of the Spheres on analogue synthesizers.

If it had been performed in the 1930s, the track could have been played on 

Unfortunately, it never saw the light. When she proposed a show with Music of the Spheres as soundscore to the Guggenheim Foundation, it was rejected.

This composition, inspired by the celestial bodies and their harmonious movements, pushed the boundaries of traditional music and paved the way for future experimental composers. For many years this beautiful recording uniquely represented Beyer to the world. 

It wasn't until recent years that Beyer's genius began to receive the recognition it deserved. Music historians and enthusiasts have delved into her extensive body of work, unearthing hidden gems that showcase her unparalleled talent. Her compositions have been performed in prestigious concert halls around the world, introducing a new generation of music lovers to her extraordinary talent.

Regrettably, during her lifetime, Johanna Magdalena Beyer faced a lack of recognition. Consequently, her remarkable work often slipped under the radar, leading her to sustain herself as a piano teacher.
Her innovative compositions continue to inspire and challenge musicians today, reminding us of the importance of recognizing and celebrating hidden talents.

This marks the debut article spotlighting one of the pioneering women in the world of electronic music. Stay tuned for the upcoming piece, where we'll delve into the remarkable contributions of Delia Derbyshire.

Artcore is on a mission to discover hidden female talents. Ladies, show your artistry and share your music

Female Pioneers of Electronic Music - Johanna Magdalena Beyer

We pay homage to Johanna Magdalena Beyer, the first in a series of articles highlighting female pioneers in electronic music. 

As a child, my first instrument was a toy keyboard that I was provided with in 1990 / 1991 if I remember correctly. I never really wanted to learn (or cared about learning) to play an instrument, by the way. I know almost nothing about music theory and I’m fine with that; my relation to sound, noise and music has always been a spiritual and magical one, so to speak. Between 1994 and 1999 I started “producing” some Dungeon Synth / Dark Ambient-oriented stuff and then I did almost nothing in this field until 2011 / 2012 when I started making waves of sound that, as far as I can say, range between Harsh / Rhythmic Noise (Wall) and Minimal Soundscapes. I’ve been pretty intense between 2017 and 2022; at present (fall 2023) I’m re-chewing and enjoying the material I jotted down in that period while making it “cleaner”, perhaps in view of future reissues.

Born and bred in Liguria, mostly based in mid-northern Italy and nomadic occasionally; when possible.

What's the music scene like in your area?

I don’t know anything about the music scene in my area, but I doubt there’s one and my time to check things out is very limited. In the Nineties, I was mostly close to the Black Metal environment, then, in my undergraduate life, I got into Underground Rap and Techno territories, while still remaining interested in all kinds of extreme sonorities. I’ve been out of everything for more than ten years now, so I really don’t know.

What was your journey into music/production?

I’ve always used what I had at hand to do something that I felt the necessity to do at that moment. No other choice. In the Nineties I had a toy keyboard and a tape recorder, now I have a laptop and a pair of headphones. My journey has obviously always been one with my life; still today, sound and sound meditation make my life more bearable during hard times, and more fulfilling during good times.

Tell us about your creative and production process and studio setup

When “something” (thoughts, sensations, emotions, feelings, perceptions, memories, whatever), get stuck in my head for some time, I turn on my laptop (an Asus Vivobook S510U right now); then I open either [a] Hydrogen 1.1.1 or [b] Audacity 2.4.2, and wear my headphones (Sony MDR-7506 right now). If I open [a], I’m almost certainly going to lay down rhythmic textures and patterns that, after being mixed and mastered with [b], end up being Techno / Rhythmic Noise-oriented tracks. If I directly open [b], I’m almost certainly going to generate sounds, tones, and noises that, after being mixed and mastered with [b], end up being Harsh Noise / (Dark) Ambient-oriented tracks. That depends on my mood exclusively. Cover artworks are made with Gimp 2.10.32. I just try to translate that “something” I was talking about into sounds, images, and words (the titles I bind to tracks and albums). But, the main thing about my creative and production process is, I think I’m just a vessel, I have no illusions of creation; if anything, I’m the one that is created.


What's your favourite of your own tracks and how did it come about, is there a story behind it?

I’m actually tempted to be banal and shy away from the question by saying that I love them all. Anyway, I recently remixed, remastered and digitally reissued the “Encrypted Inception” album, so I’ll pick the opening track off that one, “Sole Survivor”; we are all “sole survivors”, as we are the result of the one and only sperm that made it to the egg. Another one could be “Silenic Wisdom”, off the “Veterans of Void” album; see below for a piece of story about this track title. Almost all my tracks have no lyrics, thus their titles are all they have to say on the verbal level; at the end of the day, conceptually speaking everything I come up with in this field relates to events that I’ve personally experienced myself, but I try my best to make it possible for those interested to relate to them on a deeper level, hence in my formulas you can find references to any kind of human knowledge and wisdom, as well as to art and folklore.

At present, everything I make in the world of sound is digitally released under the banner of CoMa Recordings, which is always me.

Which label would you most like to release on?

I don’t cherish any big dreams, it’s too late for that. I consider specific offers exclusively. Of course, when it comes to marketing art, only two things matter: integrity and money.

With anyone who is on my same wavelength when it comes to what really matters. The result should necessarily be something like a whole that is more than the sum of its parts.

If you could choose any location/venue in the world to play a gig, where would you perform?

The list would be too long, and would not necessarily include only musicians and noise-makers. However, my major influences and inspirations have one thing in common: at some point in my life they happened to cease having a mere entertaining or formative value (assuming they ever had one) in order to become driving forces and instruments of my personal growth. In extremely rare cases, I had the good fortune and honour to meet some of them personally, and hang out for longer or shorter periods; most of the time, they’ve died before I could meet them, or even before I was born; some I haven’t met yet, and, I’d like to believe, some are yet to be born. Then, there are non-human sources of inspiration as well.

Who are you enjoying listening to lately?

To tell you the truth, lately I listen a lot to my stuff. The latest electronic music albums I’ve been listening to recently happened to be Suicide’s eponymous album (1977) and Plasma Pool’s “I” (1996), and for some mysterious reason I really liked the last Metallica album, so I’ve been digging into their back catalogue as well.

I don’t go out to dinner, I’m a takeaway guy.

If you were a food, what food would you be?

You should ask someone that knows me, but I can tell you that right now I’d really like some smoked salmon with garlic sauce, and slices of black bread, and a big pomegranate juice.

If it’s really broken, you can’t fix it. (If you can fix it, it’s not really broken).

I thought that it was cool to have my own label to release my own works, at least digitally, and I had in mind this “acronym pun”, you know, between the two starting letters of the name Contra Maerorem’s words and the word “coma”, hence CoMa Recordings...

Who would you like to have on your label?

Anyone who is on my same wavelength when it comes to what really matters.

I don’t DJ. It’s definitely not my cup of tea.

What question would you ask yourself and what would be your answer?

«An ancient legend recounts how King Midas hunted long in the forest for the wise Silenus, companion of Dionysos, but failed to catch him. 

When Silenus has finally fallen into his hands, the King asks what is the best and most excellent thing for human beings. Stiff and unmoving, the daemon remains silent until, forced by the King to speak, he finally breaks out in shrill laughter and says: ‘Wretched, ephemeral race, children of chance and tribulation, why do you force me to tell you the very thing which it would be most profitable for you not to hear? The very best thing is utterly beyond your reach: not to have been born, not to be, to be nothing. However, the second best thing for you is: to die soon.’» (F. W. Nietzsche, The Birth of Tragedy and Other Writings, Cambridge University Press, 1999, p. 22-23)

Visit Contra Maerorem's Artist Page on Artcore 

Contra Maerorem

Italy based electronic/noise/darkwave producer Contra Maerorem talks us through his setup, his journey through sound and meditation and deeper musings.