Hi all,
My fifth chapter of the Subvert Central official fanzine series will come out this year. At this point though, I don't know when. I'm currently collecting pieces of information into the Open Office PDF Creator setup, with the same design as TDD Chapter 2 & 3.
This is a call for reviewers, artists and labels to get involved with their own tracks, reviews and ideas. Either PM me on this forum, or email muttley_subversion at hotmail dot co dot uk. Or of course, you can contribute to this thread's preparatory narrative.
Various perks, including:
1. http://www.muttley.kapsil.net, my server has amassed over 1 million downloads of aggregated music download content since 2006 (thanks Kapsil!)
2. A corresponding audience of 700,000 base visitors a day, through whatever means on the SC blog - http://www.subvertcentral.blogspot.com
3. Feel part of a movement and creative device, the concepts being born from creative operations
4. Promotion for your cause and inclusion in an essential digest of subversive music.
Whenever I have turned my hand to doing these fanzines - the only PDF-only fanzines of their kind I know of - the results have defied time. Slight bias there.
But anyway, feel free to reply, ignore, abuse as you choose. 
Cheers
Mick Buckingham (Muttley SV / Foci's Left / The Dastardly Diaries / Dastardly Exposure)
Muttley Wrote:This is a call for reviewers, artists and labels
I'm none of these anymore
Would you like to review something again, or are you ruling yourself out early?
Muttley Wrote:Would you like to review something again, or are you ruling yourself out early?
again? have I reviewed something before then? 
You did 3 reviews for TDD 2 in 2007: Scorn, Miles Davis and Cabaret Voltaire. The concept was what could be played in its IChiOne all-nighter audio program. The sound collage lasted over 10 hours.
This zine is about idiosyncrasies that go beyond the physical experience, so you could theme 3 guest reviews this time on that.
(Putting words in your mouth)
Muttley Wrote:You did 3 reviews for TDD 2 in 2007: Scorn, Miles Davis and Cabaret Voltaire.
Did I? I'll have to go back and check those then
So you should. Do you need a handy direct download link, or can you take the initiative to search http://www.kapsil.net/muttley yourself?
(You might find some other forgotten gems over there)
Edit: the server seems to be down at the moment. 
TDD Chapter 5 – Dynamic Encounters With The Ultramundane – Diagnosiness (NO)
I started TDD Chapter 5 in 2012. At this time I had entered into mental hospital for the first time (hopefully the last), where I refused to wallow in misery. I had stream-of-consciousness exercises: poetry every day, recording on the music studio in my second placements' piano, with singing, which saw a coy review in Nightshift, Oxford's music magazine when I sent it in as a cheeky demo. What's important is during this time I was flexing a type of disconnect from my usual surroundings, and magnifying presence of what goes beyond physical perception. In music this can be the warmth of bass; it can also be the affection of another, like a hug, for example. This between-and-transcending states reality, I would find out, is called the ultramundane.
The ultramundane, when I traced a line, through spirituality, philosophy, music and science, produced moments of fleeting numbness and elation combined inside me, as if I had touched on something from another universe. In Carlos Castenada's "The Art Of Dreaming" humans are referred to as "luminous eggs", placing a regular structure on their energy potentials. The point of TDD 5, then, is to centre this approach to consciousness with thoughts on music, what exists past the physical realm, and entertain notions of energetic boundary-testing with what the content of this type of music is.
From the gravelly growls of black metal to the soothing afterhours-ness of ambient, to the eerie menace of techno or the lonely desert at midnight emptiness of electronica - tumbleweeds blowing here and there in revision of the terms used to describe everything ad infinitum – TDD Chapter 5: Dynamic Encounters With The Ultramundane has been in the works until it ceases to exist. I hope you enjoy this trip through a hazy alternative universe.
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How much more exciting can things get? 
Muttley Wrote:How much more exciting can things get?
![[Image: icon059.gif]](http://www.subvertcentral.com/forum/images/smilies/icon059.gif)
An excerpt from "The Art Of Dreaming" by Carlos Castenada, P.3 helps to elucidate on the benefits of perceiving energy from a more direct standpoint, and this thought can apply to how we perceive it in music.
"What would it mean to me to perceive the energetic essence of things?" I once asked don Juan.
"It would mean that you perceive energy directly," he replied. "By separating the social part of perception, you'll perceive the essence of everything. Whatever we are perceiving is energy, but since we can't directly perceive energy, we process our perception to fit a mould. This mould is the social part of perception, which you have to separate."
"Why do I have to separate it?"
"Because it deliberately reduces the scope of what can be perceived and makes us believe that the mould into which we fit our perception is all that exists. I am convinced that for man to survive now, his perception must change at his social base."
Some thoughts and ideas on how sound can be ultramundane...
1. Sound exists as a universal notion that can transcend mundanity and extremity.
2. Underexposed completeness arises from information overload. This quality is counteracted when music is perceived as transcendent.
3. Transcension is hence a favourable attribute of music production, for it carries with it the messages and internal meanings of the creators.
4. The "creators" intercept ultramundane, subconscious frequencies from their environment, such as: weather, comfort to work, comfort to relax, general wellness, exaggeration potential of a certain internal emotion.
5. Internal emotions become exaggerated as an expulsion of the energy Castenada and don Juan speak of. They are porous of our intentions.
6. What enacts a porous nature is the result of the ultramundane, since the ultramundane is the only state-between-states that captures a essence.
7. Essence is the important emergence of all of this. But at the same time, whatever is not captured in essence is also ultramundane, as essence is only what has crystallised enough to be a coherent whole.
8. The remains are not physical. Hums, for example, can be the leftover remnants of a battleground.
9. We battle to see a connection from what is not put in front of us, the same as some people can't see further than their own elbow.
10. To achieve synchronicity with the ultramundane we need inner acknowledgement that it exists to start with, then for the distinction to be made between what can be felt as sound waves and what can be perceived as experience.
As a tracklist of signifiers, it's transcendent enough, but as a title and symbol: "Ultra Obscene" / "ultramundane", no. To be ultra obscene would be quite tunnel vision as an outcome. It involves being anti-establishment and aggressive, which trades hands with physicality, or near-physicality. Ultramundanity on the other hand is completely beyond physical perception, and as a description, doesn't fit your criteria.
Small update: I have written 9 music reviews for various sites and exclusively for the TDD 5: Dynamic Encounters With The Ultramundane zine, weaving in the theme of ultramundanity.
If any possible reviewers would like copies of the content so they can see what kind of material their work is placed with, send me a reply to [email protected].
Thinking of placing a small charge for the reviews and theories section, thinking £2 via Paypal for the content .zip, to A) cover some of the time I spent writing all this out, and B) ultimately wheedle out who REALLY wants the content. The audio clips are not charged for, as I'm not infringing copyright or making a living off someone else's music. The clips will be offered for free as part of the zine, and all come from my music collection, and ALL have been paid for by me.
What do you think of this Statto? 
"Breathing apparatus for music"
I've reassessed my standpoint on charging for the article I had in mind - it will just be for this, "The Somatic Applications Of Drones", a specialised thinkpiece.
The Dastardly Diaries (c.2006) Chapter 5 - Dynamic Encounters With The Ultramundane - extract
'the shift from deadlock has always been a primal somatic response, a tension/release relationship where more breath is required just as humans physically and creatively respire. for drones, making coffee turn gold roast is as much about how it's represented sonically as it is stoically. if it's the latter: tucked away, making less noise than the midrange and higher frequencies, there's a paradoxical deadlock that happens to listeners who become 'sound fatigued'. sonic fatigue can be nourishing, obviously - just like a nap, sleep or rest, the brain's neocortex (built millions of years ago when man was mere mammal) is given time to freshen up. the recalcitrant optimism bias appropriated from somatism - taking in a situation in notion towards mindfulness (which has exponentially spread in popularity since the rise of the recession) enables people to spend more seconds on what drives them, rather than what tires them. at the same time, it's inner working with the limbic system - somatism's structural diopsy for emotional response - channels its energy further closer to rounded thoughts, and optimistic outcomes.'
1. the ultra-mundane is equivalent to a type of Spanish el duende; in that it goes beyond everything before to project otherworldliness.
2. as objects are set in motion, so the ultra-mundane invades the transient zone. expansions/contractions become regular. origin can cease.
3. flying a kite with a sword - precarious and always in danger of cutting the string - this is the ultra-mundane nether regions; sensitivity loop.
4. the ultra-mundane sometimes cannot be accessed because people deny. sounds fly by, unless there is designation to engage in its omnipresence.
5. ultra-mundane notions pedal a lucid dream driver, like in a computer, a composite solenoid made of man made materials, reshaped by nature.
6. the ultra-mundane, often involving static and formlessness, revolves around adjacent complicity; often niggling factors without full clarity.
7. this feat-based schema of the dogma behind the ultra-mundane existence is a privilege unto itself; the state thrives on self-respect and esteem.
Normal hum, enacting the idea of a drone, is no "real" idea of ambient music. It is soulless. It is gravity. Down or up?
Like a drone, a drone has no brain. It has no idea what it said previously. Because it just is. Because it has no...memory?
Yes, that's it. Thankfully, music has less ability to harm us than virulent destruction does. Music can be torture.
As much as human monitoring behaviour and split personality opportunism can act as manipulation, what all this "human", is a
lack of profit in exercises that sidestep the norm, that treat humans. Because good humans do not want lucrative proliferation.
What I am talking about and setting up is the idea of musical bureaucracy being untarnished by idiocy. Ambient hums, drones and
sibilance should not be shot through with soullessness. The lust/infatuation/love triumvirate is never answered by fake tries.
Neither is mediocrity to be applauded when robotic-ness is something humans want to do the furthest to get away from altogether.
So, having said all that potentially negative stuff, how does the overall content of this record weigh up in line with decency? Luckily this is one of the more memorable, for the right reasons, and stoic releases of the last six months thus far. While
endless sound cloud streams can confuse, and Spotify and band camp can irritate for their fiddly-ness, this is a diamond. The most "solid" thing about the tracks are their overlapping construction, their use of layering, and their timekeeping. The
weakest tracks even do not plummet anywhere near kitsch structures and android blandness. This is peaceful, ennui, oasis.
My favourite track is track five, "Part-Time Romantic". It is quite subdued yet exudes a furry-coated love and meticulous feel.
There is a nice shimmer about the opening notes of this album. Harmonies drift into crevices eschewed by normative hum. This is
the lie of ambient. On the other side of the tracks...confuse. On the other side of the coin...noise. On the different turn of
the ear...annoyance. Circumventing parochial structures as to become anti-religion, multi-faith, and just like Buddha, "awake".
This is a nice piece of art to wake up to. It's also great for sleepy times when we all need some comfort from the real world. This is compliance in music to me. A sense of weightlessness without dread, tittering without unease...the terminator, broken. We live in a cosmopolitan era full of confusing atrocities. These plague the media, the bias media becomes strong, the lens is drugged, the drug of the unconscious mind and being a yes-man, rather than being a quiet, wise man or woman, is blurred beyond recognition. Care is trodden into the ground, lives get ruined...with this release, I found time, to put structure, working against chaos.
Isn't that what we always wanted out of departures, after all?
by Mick Buckingham
www.fluid-radio.co.uk
the ultra-mundane, I find, compares under no rigorous testing. time stands still.
time standing still applies humans to react to the natural world. the ultra-mundane causes people to become afraid of the dark.
as the hip hop act atmosphere counter, "life's too short to be afraid of the dark / and, we don't stop after making a mark".
"wag your tail, with a lot less bark / put the costume angst away / I was born on the edge of the razor blade".
it's all tied to the truth of the inorganic beings. ghosts in the machine. negative machinations from the aether. all the dirt humans leave behind. souls are not ultra-mundane, they are multiverses upon multiverses. they have multi-lingual schema, essential goodness towards nature around them. as long as they are not ghosts (inorganic beings) to start with. but that ghostliness is easily countered by making the distinction between "just people" and "just humans". just humans are true to you and "it" = marriage. marriage is broken by lack of attention. lack of attention requires time and space. formatively, it is time and space itself.
henceforth, we can say the ultra-mundane is time and space. and, what we choose to do with our souls is dictated by what our souls do with dark matter.
"dark matter" is another way of saying "the exploration of 'time and space'". and the story begins with dark matter = darkness...darkness, my friend, is the ultra-mundane.
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