https://daily.bandcamp.com/lists/agf-poemproducers-discography-list > With her “poetry editions,” Antye Greie-Ripatti builds connections between women's words across time and space. # AGF/poemproducer’s Electronic Feminist Histories [LISTS][1] AGF/poemproducer’s Electronic Feminist Histories By [Andra Nikolayi][2] · February 19, 2021 ![[AGF/poemproducer’s Electronic Feminist Histories/0023766597_0.jpeg]] Photos by Inkeri Jäntti, Lumi C Ripatti, Tobias Schult ‘’For me everything comes from the voice first. I have no formal music education, so for me it was always singing aloud,” [Antye Greie-Ripatti][3], aka AGF, says over a video call from her studio on Hailuoto, the island in Northern Finland where she lives with her husband Sasu Ripatti (aka [Vladislav Delay][4]) and their daughter. The East German artist has been exploring big themes—politics, ecology, feminism, identity—in a musical career spanning over three decades. Voice has always been a creative thread for Greie-Ripatti, from her days as a vocalist in German techno-pop group [Laub][5] and her group projects like the Hai Art children’s choir to her later electronic poetry work. “When electronic music came around in the ‘90s, basically the first Björk album, was when I thought ‘Oh, wait, I can do that!,’” Greie-Ripatti says. She taught herself everything from sound synthesis to playing keys and programming beats for Laub, and has gone on to a prolific solo career. “At some point, I decided to make solo work,” she says. “It was kind of motivated because a lot of journalists didn’t believe that I was programming synths and doing production work. They would always see me as the singer. That was the reason why I stopped singing, because I wanted to be recognized as a producer. “ Her production style has moved over the years from sharp, glitchy IDM to techno deconstructionism, crossing hip-hop and many other genres and subgenres on the way. Voice remains her main instrument, but now it’s chopped up, looped, sampled, and otherwise metamorphosed through various digital production techniques. Language is also ever-present, from abstract electronics punctuated by spoken words on _[Westernization Complete][6]_ and the vocal repetition set to elastic beats on [_Dance Floor Drachen +_][7] to dissonant explorations of drones, silence, distorted voices, and disembodied club kicks on [_Kon:3p>UTION to: e\[VOL\]ution_][8]. In 2010, she started exploring a new composing methodology through a series she calls “poetry editions,” which she uses to retell the stories of women through history, country by country. Most of the material she uses comes from literary texts, but she also includes philosophers, theoreticians, political activists, and other types of thinkers—even mythological figures. “I have to make them all the same way—I start with the first poem I can find, in a specific language, by a woman. So that is the method. Then I follow the Christian timeline until \[the\] current day and use the most radical sounds I can find to retell those lives,” she says. ![[AGF/poemproducer’s Electronic Feminist Histories/AGfsauna-vladislav-delay.jpg]] Photo Vladislav Delay The series’s five iterations so far have unearthed feminist histories focused on [Germany][9], [Finland][10], [Japan][11], [Russia][12], and now [Greece][13]. Each record has been developed in collaboration with local artists, musicians, and poets. Greie-Ripatti always starts with a lot of reading, mostly various poetry anthologies, before engaging with each subject. She often gets in contact with local artists through the wide-ranging [female:pressure][14] feminist network, as well as using her own shows or artist residencies in each country to further her research. Especially on the field, she would talk to anyone who might yield new results, from local hotel staff to scholars. Because of the scale of these projects, she applies for artist grants and other types of funding to make them possible. Each country’s specificities are reflected in her sound choices, from field recordings to processed traditional instruments. “They are not necessarily solo records,” she says. “On the German record there is a piece with [Ellen Alien][15], and she recites this [one party poem][16] on top of a very normal Berlin techno beat, which I would normally never do! I was thinking of electronic music \[in\] a more conceptual way on these records. Looking back, what I like most about these collections is that I had the freedom to do the craziest shit.” Since these are collaborative records that don’t necessarily reflect just her individual style, she didn’t feel the pressure to deliver what people would expect to be an “AGF record,” leaving more room for experimentation. Except for [_Gedichterbe_][17]—the first record in the series, which is in German—all of the poetry editions use English translation. “In these projects the focus is to introduce these texts \[from forgotten writers\] to the world,” she says. “We don’t know about Greek or Russian women writers because we know the English ones, so my focus is to put their lives into a form of understanding for everyone.” She emphasizes the importance of using the authors’s names as track titles, in an effort to bring a new form of visibility to these women. Her new album, [_arachnesound_][18], explores a potential Greek feminist history. Despite having more connections in the country than on past projects and institutional support from the Onassis Foundation, finding notable women who fit with her mission proved shockingly difficult. “In this edition, there was this ancient Greek \[literary\] stuff which we all know about like Sappho, the lesbian poet, but then nothing!,” she says. “For more than a thousand years there was nothing, I didn’t find one Greek woman’s name. There was almost no one between year 1 AD and the 1800s. And that was shocking to me, like ‘What has happened in that time?’ There is literally nothing! I asked maybe five scholars and everybody was just shrugging. How can you be shrugging?“ She began digging deeper and her relentless curiosity yielded a handful of results that made it onto the record—women both mythic and real, from Hypatia of Alexandria to synth pioneer [Lena Platonos][19]. Throughout the process, Greie-Ripatti remains critical of her approach, careful not to bring a colonial mindset to her historicizing. “I’m hoping to bring something into these languages, into these spaces. It’s almost like a stranger comes and picks up on the beauty of a place you can’t even see anymore because you’ve been there for so long,” she says of her outsider’s perspective. Here are some of our favorite records from her discography. ### _[Kon:3p>UTION to: e\[VOL\]ution][20]_ ![[AGF/poemproducer’s Electronic Feminist Histories/a0169061210_16.jpg]] [ ![[AGF/poemproducer’s Electronic Feminist Histories/0009845342_2.jpg]] ][21] ![[AGF/poemproducer’s Electronic Feminist Histories/a0169061210_16.jpg]] ![[AGF/poemproducer’s Electronic Feminist Histories/a0169061210_16.jpg]] [Kon:3p>UTION to: e\[VOL\]ution][22] [AGF][23] 5. the radical self feat. Kubra Khademi 00:00/03:30 1 greim69 00:10 / 00:58 2 vast + limitless 00:10 / 00:58 3 greim93 00:10 / 00:58 4 time {if 1+2 = you} 00:10 / 00:58 5 the radical self feat. Kubra Khademi 00:10 / 00:58 6 age of pitch feat. Klein 00:10 / 00:58 8 botn feat. Sonic Wild Code 00:10 / 00:58 9 dis dance 00:10 / 00:58 10 capita-lis-monster feat. Angela Dimitrakaki 00:10 / 00:58 11 reason: 544 00:10 / 00:58 12 hollows 00:10 / 00:58 [![[AGF/poemproducer’s Electronic Feminist Histories/0009845342_2.jpg]]][24] _Kon:3p>UTION to: e\[VOL\]ution_ is a good place to start with AGF’s catalog. It has a strong post-club feel as Greie-Ripatti juxtaposes IDM sonics, aggressive club beats, and granular synthesis with vocal loops and abstract field recordings. The accompanying text for the release almost reads like Rick Owens [show notes,][25] a word-collage cyberpunk poem—“adult-hollow-hood. transformation capa-cities. the radical self. the internetness and our potential to become cyborgs. pitch, shape, colour & tone.” “Time {if 1+2 = you}” is the album’s most playful track, with a pitched-up vocal sample reminiscent of [PC Music][26] set against a teasing, distorted beat with cavernous club potential. “The radical self” is a collaboration with Afghan artist [Kubra Khademi][27], who narrates her experience of the [Kabul performance][28] that sent her into exile over a track that evokes the moment’s tension with sharp, metallic synths, and trembling bass. ### _[SOLIDICITY][29]_ ![[AGF/poemproducer’s Electronic Feminist Histories/a0941348202_16.jpg]] ![[AGF/poemproducer’s Electronic Feminist Histories/a0941348202_16.jpg]] ![[AGF/poemproducer’s Electronic Feminist Histories/a0941348202_16.jpg]] 1 MOSQU-ito 00:10 / 00:58 2 LUXEMBURGism 00:10 / 00:58 3 FUN-gi 00:10 / 00:58 6 MIGration 00:10 / 00:58 7 WATER-ROR 00:10 / 00:58 9 MYCOrrhizosphere 00:10 / 00:58 In 2016, Greie-Ripatti started toying around with [the sonification of mushrooms][30], inspired by the work of “radical mycologist,” [Peter McCoy][31]. She delves into the mycelium universe by exploring not only their sonic possibilities, but the theoretical implications of mushrooms’s rhizomatous interconnectivity as a “metaphor for political activism in the age of the Internet.” _SOLIDICITY_ further develops these ideas through a series of conceptual compositions on the fringes of the dance floor. This time the vocal elements take a step back in favor of disparate noise, processed field recordings, and beat fragments—ludic opener ‘’MOSQU-ito” turns Finnish mosquito samples into a [Xenakis][32]\-meets-club piece, and the nervous speed-techno track ‘’MIGration’’ uses bird cries that sound awfully human. ### _[DISSIDENTOVA][33]_ ![[AGF/poemproducer’s Electronic Feminist Histories/a0697243456_16.jpg]] ![[AGF/poemproducer’s Electronic Feminist Histories/a0697243456_16.jpg]] ![[AGF/poemproducer’s Electronic Feminist Histories/0013330535_2.jpg]] ![[AGF/poemproducer’s Electronic Feminist Histories/a0697243456_16.jpg]] [DISSIDENTOVA][34] [AGF & VARIOUS][35] 16. Galina Rymbu 1990 feat AGF 00:00/13:52 1 Ekaterina Urusova 1747-1816 feat Katia Reshetnikova 00:10 / 00:58 2 Anna Bunina 1774-1829 feat old Russian oven door 00:10 / 00:58 3 Zinaida Gippius 1869-1945 feat KPT 00:10 / 00:58 4 Elena Guro 1877-1913 feat Lovozero 00:10 / 00:58 5 Emma Goldman 1869-1940 feat AGF 00:10 / 00:58 6 Alexandra Kollontai 1872-1952 feat AGF 00:10 / 00:58 7 Anna Akhmatova 1889-1966 feat Angelina Yershova 00:10 / 00:58 8 Marina Tsvetaeva 1892-1941 feat Gubaidulina 00:10 / 00:58 9 Nadezhda Mandelstam 1899-1980 feat AGF 00:10 / 00:58 10 Olga Berggoltz 1910-1975 feat Lydia Kavina 00:10 / 00:58 11 Elena Shvartz 1948-2010 feat Katya Rekk 00:10 / 00:58 12 unknown Russian astronaut 1961 feat AGF 00:10 / 00:58 13 Anna Politkovskaya 1958-2006 feat AGF 00:10 / 00:58 14 Anna Gorenko (Carp) 1972-1999 feat Olga Nosova 00:10 / 00:58 15 Nadezhda Tolokonnikova 1989 feat rawkate 00:10 / 00:58 16 Galina Rymbu 1990 feat AGF 00:10 / 00:58 _DISSENTOVA_ is the poetry edition dedicated to Russia, and Greie-Ripatti had a really tough time doing the research she needed to do for the album. “I worked very hard to get all my connections—really, to get anybody—to talk to me. I don’t know if they were afraid or if they were suspicious of me or they didn’t like \[me\], I have no idea. It was _so_ hard. I was sometimes despairing,“ she says. _DISSIDENTOVA_ may have been challenging, but the result is one of the most strikingly beautiful of the poetry editions. Some pieces are abstract and meditative, like “Anna Bunina 1774-1829 feat old Russian oven door,” which uses Bunina’s 1813 poem “Poverty is no sin” over a field recording that might as well be a tribute to “[Variations pour une porte et un soupir][36].” Others feature tightly-coiled acid beats, like “Nadezhda Tolokonnikova 1989”—dedicated to the [Pussy Riot][37] member, in collaboration with techno producer [rawkate][38]. “Galina Rymbu 1990” is also a standout; Greie-Ripatti recites Rymbu’s incisive poem “Sex is a Desert” over a richly-textured, sleek beat with a hip-hop feel. ### _[Extinction Stories][39]_ ![[AGF/poemproducer’s Electronic Feminist Histories/a2101130471_16.jpg]] [ ![[AGF/poemproducer’s Electronic Feminist Histories/0021899274_2.jpg]] ][40] ![[AGF/poemproducer’s Electronic Feminist Histories/a2101130471_16.jpg]] ![[AGF/poemproducer’s Electronic Feminist Histories/a2101130471_16.jpg]] [Extinction Stories][41] [Extinction Room][42] 2. Ivory-billed woodpecker (Campephilus principalis) 00:00/07:34 1 Babakoto / Indri (Indri indri) 00:10 / 00:58 2 Ivory-billed woodpecker (Campephilus principalis) 00:10 / 00:58 3 Huia (Heteralocha acutirostris) 00:10 / 00:58 4 Dodo (Raphus cucullatus) 00:10 / 00:58 5 The large blue (Phengaris arion) 00:10 / 00:58 6 Catalog numbers 00:10 / 00:58 7 Kihansi spray toad (Nectophrynoides asperginis) 00:10 / 00:58 8 San Martin titi (Plecturocebus oenanthe) 00:10 / 00:58 9 Sulu hornbill (Anthracoceros montani) 00:10 / 00:58 10 Kākāpō (Strigops habroptila) 00:10 / 00:58 11 Lord Howe Island stick insect (Dryococelus australis) 00:10 / 00:58 12 Bearded vulture (Gypaetus barbatus) 00:10 / 00:58 13 Crested honeycreeper / ʻākohekohe (Palmeria dolei) 00:10 / 00:58 14 Siberian crane (Leucogeranus leucogeranus) 00:10 / 00:58 15 Hopeless Hyper-forest (cut) 00:10 / 00:58 16 Tristan albatross (Diomedea dabbenena) 00:10 / 00:58 17 Kāhuli (Achatinella apexfulva) 00:10 / 00:58 18 Yellow-tailed woolly monkey (Lagothrix flavicauda) 00:10 / 00:58 19 Golden toad (Incilius periglenes) 00:10 / 00:58 [![[AGF/poemproducer’s Electronic Feminist Histories/0021899274_2.jpg]]][43] In the same collaborative storytelling spirit of the poetry editions, _Extinction Stories_ uses a similar text-and-field-recording formula from a completely different conceptual viewpoint. This score was originally composed for Romanian choreographer [Sergiu Matiș’s][44] complex performance piece “[Hopeless][45],” which featured an “Extinction Room,” a multi-channel installation with recordings culled from the [Macaulay Library of Extinct Animals][46]. In this stereo re-imagining of the piece, Greie-Ripatti reworks texts from the original show and commissions an international group of artists and friends to interpret them. On “Ivory-billed woodpecker (Campephilus principalis),” writer [Lisa Blanning][47] reads the story of the extinct bird over audio recorded by Cornell University ornithology professors Arthur Allen and Peter Paul Kellogg in April 1935, while the insect sounds on “Lord Howe Island stick insect (Dryococelus australis)” are distorted and reworked in a melodic texture akin to granular synthesis. ### The Lappetites _[Before the Libretto][48]_ ![[AGF/poemproducer’s Electronic Feminist Histories/a3573572726_16.jpg]] [ ![[AGF/poemproducer’s Electronic Feminist Histories/0015895189_2.jpg]] ][49] [ ![[AGF/poemproducer’s Electronic Feminist Histories/0015895189_2.jpg]] ][50] The Lappetites was an international electronic improvisation supergroup founded by [Kaffe Matthews][51], with Greie-Ripatti, [Eliane Radigue][52] and [Ryoko Akama][53]. Their debut album remains an iconic example of modern avant-garde music, using playful vocal improvisation (‘’Tzungentwist”); deep drones and spoken word (‘’Stop No. 394 Falkirk Street”); and an ingenious deconstruction of song, traditional instruments, and electronic samples (“Aikokuka”) among its many innovative tools. Using spatial sound, varied electronic textures and vocal explorations, the group forged a unique sound that sounds just as fresh today as it did in 2005. Matthews, Greie-Ripatti, and Akama [continue to perform][54] as The Lappetites when the circumstances permit. ### _[Westernization Completed][55]_ ![[AGF/poemproducer’s Electronic Feminist Histories/a4001352230_16.jpg]] [ ![[AGF/poemproducer’s Electronic Feminist Histories/0009845342_2.jpg]] ][56] ![[AGF/poemproducer’s Electronic Feminist Histories/a4001352230_16.jpg]] ![[AGF/poemproducer’s Electronic Feminist Histories/a4001352230_16.jpg]] [Westernization Completed][57] [AGF][58] 11. contemporaryWESTERNIZED 00:00/04:56 1 LETSmakeOURownMOVIES 00:10 / 00:58 3 PRIVATEbirds 00:10 / 00:58 4 ReFail 00:10 / 00:58 5 Chorizon 00:10 / 00:58 7 MYpatch 00:10 / 00:58 9 POEMproducer 00:10 / 00:58 10 youSTOP 00:10 / 00:58 11 contemporaryWESTERNIZED 00:10 / 00:58 13 letsGO! 00:10 / 00:58 [![[AGF/poemproducer’s Electronic Feminist Histories/0009845342_2.jpg]]][59] “My whole musicality is very connected to voice,” Greie-Ripatti says. “Voice has been the main instrument from the beginning.” On _Westernization Completed_, she delves into the relationship between language and sound in English. “Language is the most exciting form,” she recites on “POEMproducer,” the title of which she ended up taking on as a second artistic alias, and which contains the blueprint of her later work—spoken word collages, layered abstract electronic sounds, and the occasional rhythmic structure.  There are many brilliant moments on the album, like “ReFail,” a hip-hop-IDM hybrid about life in the online world, or the gorgeous autobiographical piece “contemporaryWESTERNIZED,” which has Greie-Ripatti recalling her own autobiographical story of growing up poor in East Germany while questioning her relationship with capitalism; she sets this personal and political reflection against a melodic groove of distorted keys. ### _[arachnesound][60]_ ![[AGF/poemproducer’s Electronic Feminist Histories/a0697522039_16.jpg]] ![[AGF/poemproducer’s Electronic Feminist Histories/a0697522039_16.jpg]] ![[AGF/poemproducer’s Electronic Feminist Histories/0023329563_2.jpg]] ![[AGF/poemproducer’s Electronic Feminist Histories/a0697522039_16.jpg]] [arachnesound][61] [AGF & Various][62] 2. Blackathena feat Reine Linda Nyongo 00:00/03:14 1 Arachne feat Ismini Samanidou 00:10 / 00:58 2 Blackathena feat Reine Linda Nyongo 00:10 / 00:58 3 Cassandra feat Savina Yannatou 00:10 / 00:58 4 Sappho of Lesbos ≈ 600 BC feat Maria Arapoglou 00:10 / 00:58 5 Myrtis of Anthedon ≈ 500 BC 00:10 / 00:58 6 Korinna ≈ 500 BC 00:10 / 00:58 7 Arete of Cyrene ≈ 500 BC 00:10 / 00:58 8 Ptolemais ≈ 330 feat Anna Stereopoulou 00:10 / 00:58 9 Hipparchia of Maroneia ≈ 320 BC 00:10 / 00:58 10 Nossis ≈ 300 BC 00:10 / 00:58 11 Leontion ≈ 300 BC 00:10 / 00:58 12 Anyte of Tegea ≈ 300 BC 00:10 / 00:58 13 Hypatia of Alexandria ≈ 370-416 AD feat Nicoleta Chatzopoulou 00:10 / 00:58 14 Kassiani ≈ 800 AD 00:10 / 00:58 15 Pamphile of Epidaurus ≈ 1 AD 00:10 / 00:58 16 Anna Komnene 1083-1153 00:10 / 00:58 17 Aganice Ainianos 1838–1892 00:10 / 00:58 18 Kallirhoe Parren 1861-1940 00:10 / 00:58 19 Irene Kountouris aka Raika 1901-1936 00:10 / 00:58 20 Maria Polydouri 1902-1930 feat Maria Papadomanolaki 00:10 / 00:58 21 Melpo Axioti 1905–1973 00:10 / 00:58 22 Rita Boumi-Papa 1906-1984 00:10 / 00:58 23 Domna Samiou 1928-2012 00:10 / 00:58 24 unknown Vlach women 00:10 / 00:58 25 Katerina Anghelaki-Rooke 1939-2020 00:10 / 00:58 26 Katerina Gogou 1940-1993 00:10 / 00:58 27 Eleni Varikas 1949 00:10 / 00:58 28 Lena Platonos 1951 00:10 / 00:58 29 Ioanna Zervou 00:10 / 00:58 30 Katerina Iliopoulou 1967 00:10 / 00:58 31 Dimitra Ioannou 1967 00:10 / 00:58 32 Eftychia Panayiotou 1980 00:10 / 00:58 33 Konstantina Korryvanti 1989 00:10 / 00:58 34 Marianna Karakoulaki 1989 00:10 / 00:58 35 Hermaphroditus 00:10 / 00:58 36 Kymopoleia 00:10 / 00:58 Despite the trouble Greie-Ripatti had putting _arachnesound_ together, the Greek poetry edition turned out rich with layers of meaning and reference. Greie-Ripatti composed “Hypatia of Alexandria ≈ 370-416 AD,” inspired by the eponymous philosopher and mathematician killed by a Christian mob, “along her lifeline, like a very quiet dedication to her life and her brutal murder,” together with Greek sound artist [Nicoleta Chatzopoulou][63]. It’s a poignant, meditative piece, which merges melodic drone passages with dense walls of sound. On “Blackathena,” Congolese artist Reine Linda Nyongo recites a poem collaged from Martin Bernal’s book of the same name, while “Sappho of Lesbos ≈ 600 BC” uses Maria Arapoglou’s traditional kitara playing to create new abstract sounds. “Lena Platonos 1951” is a short abstract piece of looping and overlaid vocals dedicated to the Greek synth legend. The album’s accompanying booklet and animated film make it the most ambitious endeavor in the series thus far. [1]: https://daily.bandcamp.com/lists [2]: https://daily.bandcamp.com/contributors/andra-nikolayi [3]: https://agf-poemproducer.bandcamp.com/ [4]: https://vladislavdelay.bandcamp.com/ [5]: https://laub.bandcamp.com/ [6]: https://agf-poemproducer.bandcamp.com/album/westernization-completed [7]: https://agf-poemproducer.bandcamp.com/album/dance-floor-drachen [8]: https://agf-poemproducer.bandcamp.com/album/kon-3p-ution-to-e-vol-ution [9]: https://agf-poemproducer.bandcamp.com/album/gedichterbe-2 [10]: https://agf-poemproducer.bandcamp.com/album/kuuntele [11]: https://agf-poemproducer.bandcamp.com/album/a-deep-mysterious-tone [12]: https://agf-poemproducer.bandcamp.com/album/dissidentova [13]: https://agf-poemproducer.bandcamp.com/album/arachnesound [14]: http://www.femalepressure.net/fempress.html [15]: https://www.ellenallien.de/ [16]: https://agf-poemproducer.bandcamp.com/track/ada-christen-1839-1901-champagner-1-3-ellen-allien [17]: https://agf-poemproducer.bandcamp.com/album/gedichterbe-2 [18]: https://agf-poemproducer.bandcamp.com/album/arachnesound [19]: https://daily.bandcamp.com/hidden-gems/lena-platonos-gallop-review [20]: https://agf-poemproducer.bandcamp.com/album/kon-3p-ution-to-e-vol-ution [21]: https://f4.bcbits.com/img/0009845342_20.jpg [22]: https://agf-poemproducer.bandcamp.com/album/kon-3p-ution-to-e-vol-ution [23]: https://agf-poemproducer.bandcamp.com/ [24]: https://f4.bcbits.com/img/0009845342_20.jpg [25]: https://www.youtube.com/watch?v=su4mf6hmo18 [26]: https://daily.bandcamp.com/label-profile/pc-musics-dizzying-future-pop-catalogue-comes-to-bandcamp [27]: https://www.ericmouchet.com/gem/kubra-khademi/?lang=en [28]: https://www.theguardian.com/world/2015/mar/12/afghan-artist-armour-street-harassment-walk-kubra-khademi-kabul [29]: https://agf-poemproducer.bandcamp.com/album/solidicity [30]: https://poemproducer.com/mycelium/ [31]: https://mycologos.world/pages/founder [32]: https://karlrecords.bandcamp.com/album/persepolis [33]: https://agf-poemproducer.bandcamp.com/album/dissidentova [34]: https://agf-poemproducer.bandcamp.com/album/dissidentova [35]: https://agf-poemproducer.bandcamp.com/ [36]: https://fresques.ina.fr/artsonores/fiche-media/InaGrm00012/pierre-henry-variations-pour-une-porte-et-un-soupir.html [37]: https://en.wikipedia.org/wiki/Pussy_Riot [38]: https://mabu-beatz-radio.com/rawkate/ [39]: https://extinctionroom.bandcamp.com/album/extinction-stories [40]: https://f4.bcbits.com/img/0021899274_20.jpg [41]: https://extinctionroom.bandcamp.com/album/extinction-stories [42]: https://extinctionroom.bandcamp.com/ [43]: https://f4.bcbits.com/img/0021899274_20.jpg [44]: http://www.sergiumatis.com/ [45]: https://www.berlinartlink.com/2019/02/08/aesthetics-of-disaster-a-preview-of-sergiu-matis-hopeless-at-radialsystem/ [46]: https://www.macaulaylibrary.org/ [47]: http://lisablanning.com/#/ [48]: https://staubgold.bandcamp.com/album/before-the-libretto [49]: https://f4.bcbits.com/img/0015895189_20.jpg [50]: https://f4.bcbits.com/img/0015895189_20.jpg [51]: https://daily.bandcamp.com/features/kaffe-matthews-interview [52]: https://en.wikipedia.org/wiki/%C3%89liane_Radigue [53]: https://anothertimbre.bandcamp.com/album/dial-45-21-95 [54]: https://lappetites-blog.tumblr.com/ [55]: https://agf-poemproducer.bandcamp.com/album/westernization-completed [56]: https://f4.bcbits.com/img/0009845342_20.jpg [57]: https://agf-poemproducer.bandcamp.com/album/westernization-completed [58]: https://agf-poemproducer.bandcamp.com/ [59]: https://f4.bcbits.com/img/0009845342_20.jpg [60]: https://agf-poemproducer.bandcamp.com/album/arachnesound [61]: https://agf-poemproducer.bandcamp.com/album/arachnesound [62]: https://agf-poemproducer.bandcamp.com/ [63]: https://www.nicoletachatzopoulou.com/ #clipping