Disquiet

Shelly Knotts provides little context for her track titled “Live Code May 15.” There’s just a handful of hashtags confirming it is a #livecoding performance, and an #improvisation, and though the bouncy tones make it clear, confirms it’s #electronic — more specifically a work on #supercollider, the realtime audio programming language. It’s a gentle piece, its slight shifts and variations on a simple melodic component lending it to repeat play. At 15 minutes, it can fill an hour easily. For a live coding piece of this length, it is fairly free of mishap. From about 6:08 to 6:12 there is a glitchy stutter that seems out of place with the rest of the performance, and may in fact be an error, and later on for one or two moments a note in the main riff seems to falter. But otherwise it’s a seamless, daydreamy recording.

Track originally posted at [soundcloud.com/shelly-knotts](https://soundcloud.com/shelly-knotts/live-code-may-15). Knotts is based in Newcastle, England. Per her bio, she is pursuing a PhD in “Live Computer Music” at Durham University “with a focus on collaboration in Network Music.” More from her at [shellyknotts.wordpress.com](https://shellyknotts.wordpress.com).

There is no embeddable code for the new collaboration between Zimoun, best known for his minimalist cardboard and metal sound installations, and Richard Garet, an artist whose work also often involves sonic environments. It’s a single track, posted on the website of the label Leerraum, [leerraum.ch](http://www.leerraum.ch/). To listen, click through; it’s currently the topmost entry. It’s a low level texture of physical machines running some routine procedure, slow motion noise like things rubbing slowly against each other. Old gears. Ruined grooves. Broken devices. It is, I imagine, the byproduct of one of Zimoun’s phenomenal installations, in which a post office’s worth of cardboard boxes, or a startup’s worth of ping pong balls, or an orthodontist’s worth of wires, combine to create a low-fi generative patterning. The installations are always compellingly stark. Here we can only hear them, and ponder what engineering has produced this most minimal of technos.

Zimoun has been posting new videos of late at his [vimeo.com/zimoun](https://vimeo.com/zimoun) feed. Here are some of the most recent ones. Watch them once. Then close your eyes and turn up the volume:

More from Garet at [richardgaret.com](http://www.richardgaret.com/) and Zimoun at [zimoun.net](http://www.zimoun.net/).

Machine Woman is the name under which Russian-born Anastasia Vtorova makes a pulsating range of slow industrial music. Her SoundCloud account has long-form exlorations, podcast material, and remixes. One highlight is “Paris,” which dates back two years. It’s a hard, simple piece, a range of clanks heard through thick static, the seeming routine of the motion masking a complex interplay of rhythmic grace notes. In the closing minute, the beats disappear, leaving a haunting, sullen, distant voice to fill the sizable void.

Track origianlly posted at [soundcloud.com/machinewoman](https://soundcloud.com/machinewoman/paris). Her *Pink Silk* album was realeased on [Tesla Tapes](https://teslatapes.bandcamp.com/album/machine-woman-pink-silk-2) this time last year.