AF034 – Buttress O’Kneel – Compop 9.2: PostCoreCore

Compop 9.2: PostCoreCore

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After her triumphant “core” series was wrapped up with the invention of “corecore”, Buttress was determined to be the first to go beyond it. So, while others were still trying to come to terms with the concepts behind “corecore”, she created the mind-bending new genre “post-corecore”. Not only does this album apply the tools and strategies developed in the “core” trilogy to works by artists such as Yes, Rihanna, Madonna, and the B-52’s, but it again extends the “core” genre with the inclusion of heart-breaking MOR ballads, stretched noisescapes, drone-based live material, and her infamous Windows-cracking track that was used to close the documentary “Steal this Film II”. Interwebmegalink-approved.

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AF033 – Buttress O’Kneel – Compop 8.1: CoreCore

Compop 8.1: CoreCore

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The final in her “core” trilogy, “CoreCore” again revels in the grunting syncopation of breakcore, but mixes it with an altogether softer touch. As well as the classic Public-Enemy-meets-the-Seinfeld-theme opening track, O’Kneel incorporates several of her more psychedelic-drone live tracks (created with a CDJ and a buncha guitar pedals). Although, there’s still plenty of filthy breakcore (including the cookie-monster-metal-mashup “C is For Satan”), this final in the “core” trilogy sees her wrapping up the series with a focus on what breakcore can become, rather than what it already is.

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AF032 – Buttress O’Kneel – Compop 7.2: MemeCore

Compop 7.2: MemeCore

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Following on from the broken shitcore of Compop 6.66, Buttress gives us the second in her “core” trilogy; a meme-splicing dadaist culture-tweaking album that straddles both the worlds of breakcore and mashup, to create something truly unique. With several tracks blending together to create longer pieces (“aural meme-couplets” as she calls them), this album draws its sources from the likes of Skyhooks, the Pussycat Dolls, and Shakira. To accompany the frenetic and sometimes-painful breakcore tracks, she intersperses them with pure mash tracks like “Get One Thing Right” (where she simply places J-Lo and Amerie over each other), and ends with an insane live drone track, recorded live at Black Lotus’s “ArseCore”, 2006.

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AF031 – Buttress O’Kneel – Compop 6.66: ShitCore

Compop 6.66: Shitcore

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O’Kneel’s first deliberate foray into the ubiquitous “distorted-and-cut-up-amen-break” genre known as “breakcore”, this album sees her applying it to as many unlikely and inappropriate sources as possible: Radiohead, the Beatles, even Peter Allen. As well as trying to reinvent breakcore as a pop phenomenon, she simultaneously makes her beats filthier and more jarring, creating what she dubbed “shitcore”. Not only does this album cover the entire gamut of her shitcore techniques (a style she never fully manages to shake off on any of her albums to follow), but it contains the dancefloor-shaking pop sensation “No Bananas”, as well as four bonus live tracks from her megadistorted “MONO” recordings of 2004.

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AF030 – Buttress O’Kneel – Compop 5.3: HyperPop

Buttress OKneel - Compop 5.3: HyperPop

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After her explorations into bastard pop (her previous two albums were “Bastard Pop” and “MegaBastard”), Buttress wanted to return to the minutely-sliced memetic Frankenstein-techniques she had honed so well on her second Compop release “MegaMegamix”, but with an ear more attuned to artists like Squarepusher and Aphex Twin. As she describes it, she “wanted to push bastard pop into the shape of drum-n-bass, or something”, using artists like Beyonce, Gwen Stefani, the Black Eyed Peas, and Kelis as source material. Both poppy and jarring, both revolutionary and sentimental, this may be her most iconic and unique recording to date.

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AF029 - Wake Up and Listen - Thoughts Flash

Thoughts Flash

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Thoughts Flash comprises two hallucinatory tracks from Wake Up and Listen’s unreleased debut album. Recorded in the late 1990s, the album featured a number of studio recordings, as well as edited excerpts from WUAL’s long-running radio show on 2MBS-FM. The technique of condensing extended radio improvisations into relatively short pieces, as on these two tracks, suggested a fruitful direction for the duo, however Bertram and O’Neill spent the following years focusing on other projects, with WUAL continuing primarily as a live act (their 2001 mini-album Mustard Keanu notwithstanding). WUAL’s recorded archives are nevertheless extensive, and it is likely that more material will be published on their website as well as on future Alias Frequencies releases.

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AF028 - Lucas Darklord - Handheld Apocalypse

Lucas Darklord - Handheld Apocalypse

Selections from Anthologies 2 & 3

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These selections represent a sample of individual works, experiments and never-to-be finished pieces produced between 2005 and 2007. Some pieces mark the beginnings of failed projects or redundant tangents, whilst others came to be for unknown reasons. All compositions are intended for most appropriate use in managerial meeting rooms, excecutive boardrooms, vaults, darkness, at volume and with influence. It is advised that this composition be played in all work places both before and after work each day. This music is without genre and is Dark Corporate Techno, Dark Grinding Corporate Ambience, Dark Corporate Art Core and 21st Century All Family Punk. As such it is intended for consumption by all, and so it should be. Music for Everyone. If you listen, you’ll hear that Lucas Darklord is pleased that you are.

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AF027 – Lloyd Barrett & Paul Forbes-Mitchell – Humming through Schizophonic Air

Humming through Schizophonic Air

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The pieces on this album were created using a specially designed system code-named “Habitat”. Autonomous artificial agents feed on live and prepared sound and vision, excreting their own mutated variations which are then collected and presented for listener edification. The process is the culmination of combined research by Paul and Lloyd in the construction of a live electro-acoustic audiovisual engine that draws from both academic and underground practices. All material presented was originally generated live and has been edited only to remove fatty excesses.

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AF026 - Buttress O'Kneel - Dear Fellow Australians: An Independent Inquiry into Australian Values

Buttress O'Kneel - Dear Fellow Australians

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Buttress O’Kneel initiates an independent inquiry into what it means to have ‘Australian values’, when the hystory of the country is based squarely on invasion, genocide, abusing the needy, institutionalised racism, and lies. This is the album Australia needs to have, but is too scared to listen to.

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AF025 - Lucas Darklord - Asmoir

Lucas Darklord - Asmoir

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These are the sounds received from our first interdimensional probe, Asmoir. This probe is exploring unknown and unheard somewheres, elsewheres. Whilst much of the data received from the probe is proving to be, for the time being, nonsensical, auditory recordings are proving to be of interest. It is not known if these recordings are accurate representations of the ‘sound’ in these locations.

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