lundi 20 juin 2022

PURPLE CIRCLE (The French Dissection) on Wrong Revoution



Limited double CD-r 

In May '21 i recorded the 16 tracks that became PURPLE CIRCLE. They came about during an intense 2 day session of spontaneous linear composition where each new track directly informed how the next would take shape. The purpose was to avoid being swayed by over-considering either the music or the lyric/vocal. In other words, to be true to myself and my art. 

The album was quickly constructed and released and during this process i had the thought that it would be good to pass the tracks on with the idea that they were the first part of a CO-WRITING collaboration. With this in mind i contacted ANTON MOBIN (we'd been threatening to do a collaboration for some time) and ED END (who i've been collaborating with on his various projects since 2020). 

What i wanted was to give both ANTON & ED free rein to interpret the tracks as they wanted with the idea that when they'd finished i wouldn't change or add to what they'd done. In this way it seemed the balance between my work and their work would be equal and their collaboration would be as co-writers rather than remixers or 'hired help'. 

ANTON & ED both approached the project very differently, so from the first 8 to the second 8 tracks there's a real shift in mood and intensity. The work both of them put in is really quite special and they have helped create something wholly unexpected and original. 

An added bonus was that once my original music and vocals were removed entirely from the finished pieces there remained stand-alone instrumentals that were simply too good not to release! 

So here it is, 32 tracks and nearly 2 hours of PERFECT WRONGNUSS to blur the edges and palpitate the senses, all served up in the usual lovingly handmade package. 

All hail The French Dissection! 

Pete Hope

samedi 29 janvier 2022



UnPublic #79


For the 79th edition of unPublic on Sunday January 23rd, with X° = 1 [Anton Mobin, Blenno Wurstbrücke, Emmanuel Rébus and Harold Schellinx], we went underground in the French city of Orléans, where down in the deep damp dark, on a low stone table that used to be a spot of reunion for the large groups of persons that in former times found a hiding place there from the evils of this world, we performed a cassette tapes-only ritual (in the style of uP 13), celebrating the release on the UK Steep Gloss label of the first volume of our "The Art of K7".
(The cover pic was shot by Rébus)

samedi 13 novembre 2021

X°=1 by "The Art Of K7" vol.1 on Steep Gloss


X°=1 by "The Art Of K7" volume 1

Released on November 2021 on Steep Gloss

X°=1 are Har$ (Harold Schellinx), Emmanuel Rébus, Blenno Die Wurstbrücke & Anton Mobin playing cassettes.


Recorded at La G, Paris, May 2015. 
Mixed by X°=1, 2021 

Cover collage by Blenno Die Wurstbrücke with Hey Noh 

Track selection by Ross Scott-Buccleuch for Steep Gloss 

Dedicated to Lou Ottens (1926 - 2021), inventor of the audio compact cassette 

Inside photo by Arthur Chambry 

mercredi 13 octobre 2021

CURE & MOUND on New Wave Of Jazz


Released on 13 october 2021 

Anton Mobin : prepared chamber 

Martina Verhoeven : piano

Performed, recorded, mixed and mastered at the Sunny Side Inc. Studio, Anderlecht (Belgium) on February 16th 2020. 

Sleeve notes : Guy Peters

Layout : Rutger Zuydervelt

nwoj0046 Anton Mobin & Martina Verhoeven - 
Cure And Mound

Hearing Cure And Mound for the first timeyou might think there was something distressing going on in the studio, as these recordings are throbbing with a restless and almost physical agitation. It made me think of one of Steve Lacy’s interviews. Lacy, an amiable man by all accounts, and esteemed by his peers, repeatedly described jazz and improvised music as dissident and often intense by nature. The same for the musician’s relation to the instrument: “You have to have a certain warlike nature and a kind of thirst for violence, in a way. I think you must spend some time in your life doing that. You don’t have to do that all of your life but you have to beat it up for a while to get to the bottom of it, to tame it. Otherwise you’ll never tame your instrument. It’ll always be out of control. You’ll be at its mercy, subsequently.”

While there’s no violence going on here, this recording does feel like one of those ‘no holds barred’-sessions. It has its moments of rest and quietness, when the interplay dissolves into a minimalist haze of dream-like pitter patter, but the overall impression is one of tension and turbulence. To some degree it can of course be attributed to Anton Mobin’s prepared chamber, his ‘analogue compendium of possibilities’, as I referred to it in the liner notes to Close | Quarters, his album with Benedict Taylor on this label. The ultra- deep growls, somewhat reminiscent of the beating of a mammoth’s heart, are spectacular. Add to that the screeches and hums, wobbly waves, countless jittery effects and puzzling moans, and you are at the mercy of a relentless sound generator.

The beautiful thing is that Martina Verhoeven matches him step by step. Not by copying or attempting a kind of excessively brutal physicality, but by approaching the piano with a similar openness, eagerly exploiting the possibilities of inside playing, the fondling and manipulation of strings and wood, combined with an equally unconventional treatment of the ivory. To Cecil Taylor, the piano itself sounded like an orchestra, and occasionally, something similar seems to be going on for Verhoeven. The piano is an instrument she inhabits, turning the 88 tuned drums into a generator for rhythm, shapes, turbulence and a sheer endless provocation of sounds and ideas.

Add it all up, and Cure And Mound might be one of the most demanding releases in the NWOJ catalogue. There’s the physical density of the interaction, the otherworldly sounds and the intimidating length. You need some spare time and have to clear your head before delving into such an amount of information. But... once you are willing to invest the effort, you are in for a whirlwind of thrills that makes the sheer joy of producing wild and wondrous sounds utterly tangible. It is nice to get a reminder of how exhilarating this kind of music can be.

Guy Peters

lundi 4 octobre 2021

[blank tape compilation] vol. 3 on Steep Gloss


■ is a blank cassette compilation (volume 3 in the series). 

C40 limited edition on STEEP GLOSS 

The 10 artists were asked to submit an audio piece, with a duration of no more than 4 minutes, utilising blank tapes as the sole sound source. The pieces were then combined, top-to-tail, exquisite corpse style, to create a gestalt, resulting in the two distinct side long pieces presented here. 

The artists were also asked to submit a 'blank' image, leaving the interpretation of which up to them. These images were then incorporated into the double-sided panels serving as the art accompanying the tape. 

"Nothing, I suppose. Just darkness. Absolute night." 
Paul Bowles

Further listening from the contributors: 

Andrew M. Jarvis 


Christopher David 


Rinus Van Alebeek 

Anton Mobin 

Karen Constance 

Hardworking Families 

Gustavo Torres 

Daniel Vujanic

dimanche 15 août 2021

unPublic ARS-EN RÉ


ARS​-​EN​-​RÉ, 6 AUGUST 2021

Har$ (Harold Schellinx) & Anton Mobin

Un-public Thursday early afternoon session on August 6th 2021, at 46° 12' 47.35" N, 1° 30' 28.76" W, facing the salt marshes between the Quai de la Chabossière and the Chemin des Gâtines a little outside the center of the village of Ars-en-Ré on the French island Ré. With Anton Mobin (dictaphone, iPhone, found sticks, tractor, bicycle and other metal things) and Har$ (dictaphones, Teenage Engineering, found sticks, tractor, bicycle and other metal things)

dimanche 4 juillet 2021

H.A.K. fête ses 20 ans !


Fondé en 2001 par Benoit Hixe et AxDelbor, H.A.K. Lo-Fi Record a pour objet, puisqu'il en faut un, de favoriser la recherche et la promotion de créateurs et de créations sonores au dehors des marges définies par le marché, et autour de différents types de production (disques audio, CD ROM, DVD, organisation et participation à des manifestations artistiques, édition, création de site Internet…). H.A.K. Lo-Fi Record est une structure dirigée par des artistes dont le projet est artistique, avec l’objectif fondateur d’accès à la culture et notamment à la création artistique telle qu’elle est garantie par la loi.

Article 27 de la Déclaration Universelle des Droits de l’Homme du 10 décembre 1948 :                   « Toute personne a le droit de prendre part librement à la vie culturelle de la communauté, de jouir des arts et de participer au progrès scientifique et aux bienfaits qui en résulte. Chacun a le droit à la protection des intérêts moraux et matériels découlant de toute production scientifique, littéraire ou artistique dont il est l’auteur ».

Enfin H.A.K. Lo-Fi Record est un groupe à géométrie variable conjuguant les rapports de distance et de proximité. Les projets du groupe tendent à réunir, la plupart du temps autour d’une thématique et à travers des auto-productions, des personnes d’horizon et de formation différentes (musiciens, acteurs, plasticiens, enseignants, journalistes, artistes vidéastes, graphistes, dessinateurs…) selon la nature des projets, les disponibilités et le temps de chacun. A son apogée au début des années 2010, le collectif comptait plus de 80 membres actifs a travers le monde.

H.A.K. Lo-fi Record est un label de productions indépendantes qui comptent 268 réalisations discographiques sur tous les supports audio existants ; digital, cassette, compact disque et disque vinyle.

Pour célébrer cet anniversaire, une délégation lyonnaise, avec dans ses rangs le fondateur du mouvement, rejoint l’équipe orléanaise historique pour librement improviser l’aprés-midi. Puis, en soirée, ciné-concerts sur grand écran !

Programmation Lives (Aprés-midi)


Ayato (guitares) & Vincent Lemaire (batterie, percussions)

MUTORI (20 Minutes, rock psyché)

Guillaume Gaborit aka Benoit Hixe (batterie) & Julien Mouton (guitare)

BRU EXTENDED (30 minutes, poésie concrète)

Victor Jorge (voix), Paul Laurent (magnéto à bande) & Anton Mobin (chambre préparée)

EVARISTE CHAMPION (Solo clarinettes)

Programmation Ciné-concerts (Soirée)

Équipe orléanaise

Ayato (guitares) & Vincent Lemaire (batterie, percussions)

Victor Jorge (basse), Paul Laurent (magnéto à bande) & Anton Mobin (bruitages)

Équipe lyonnaise

Evariste Champion (clarinettes)

Guillaume Gaborit aka Benoit Hixe (batterie) & Julien Mouton (guitare)


Maya Deren : Meshes of the afternoon - 14’ - (1943) 

Équipe orléanaise

Hans Richter : Rythmus 21 - 4’ - (1921) 

L’équipe au complet 

Mahine Rouhi : Le granier - 15 ' - (2007)

Equipe lyonnaise

Norman McLaren : Caprice en couleur (7'48") (1945) 

L’équipe au complet 


Dessin, affiche : Jérémy Corvillo

vendredi 30 octobre 2020




Anton Mobin & Harold Schellinx

an Electronic Cottage release now available here:

You can also find it at the EC Index page at Bandcamp:

« Principe d'Intersection » 

These 24 'lullabies for a sick world' were composed and recorded (in the months August, September and October) of this so dramatic year 2020 by Anton Mobin and Harold Schellinx. They were made in pairs, using what they call the 'intersection principle', a working method that resulted in these 2 x 12 highly personal compositions, all in the respective authors very own style, that, however, pairwise have a 'melodic' overlap -their intersection- and the exact same duration. 

Think of these intersections as the spines of a species of two-winged creatures, where each wing corresponds to one of the two corresponding pieces. But as the creature may flap and fold its wings, there is, as a consequence a third dimension: you may collapse each pair into a third one, the mix or union of the two ... 

For more information see the pdf file that comes with the digital download, or visit

Our pairing by initiator and curator Hal McGee for the production of a 2 x 30 minutes sound work as part of the Electronic Cottage ‘Split’ project was an unexpected but very nice surprise. We know each other well, and—as partakers in the small Parisian under-world of cassetteurs and electroacoustic improvisors—have had the pleasure of performing and recording together on many occasions over the past fifteen years or so.

And even though the idea of the EC-Splits prohibits sonic and musical collaboration in the usual sense of producing a joint work, it was clear from the start that both of us wanted very much the eventual result to be a dual and/or complementary expression emanating from some basic, unifying idea. The same story, but told in two different ways. 

It also was clear from the very start that if there were to be a story, if the music was about something other than itself, that other could be no other than related to our personal living and experience (in Dutch: be-leving) of these utterly weird and dystopian times. 

It also went without saying that each of us was to hear the other’s version and way of telling the story only at the very end, with all composing, recording and mixing finished and done. These constraints and desires almost instantly led us to formulate a simple idea and rule for our collaboration.

We baptised it « principe d’intersection » — the intersection principle. intersection double helix

Here is how it worked.

We composed and recorded the Split in an alternating chain. Anton did his first, then I did my first. I then did my second, after which Anton did his second. Then Anton did his third, and me my third… and so on, descending like along the double helix of a musical DNA ... And on each level, the one of us who’s turn it was to do the first piece of that level, would forward his piece’s—we called it—melodic track to the other, who then would start composing and recording hispiece for that level taking into account precisely this code from the other's piece. Without, however, using the received track literally as part of the recording. In practice that meant: importing the track as part of the multitrack for a piece, but muting it—or at the very least almost all of it—in the mix.

This then are the intersections in which our individual pieces overlap, and which therefore—pairwise—have the exact same duration (which basically is that of their intersection)...

You can see each of the intersections as the spine of a two-winged creature, where each wing corresponds to one of the two pieces. But as the creature may flap and fold its wings, there is as a consequence a third dimension: you may collapse each pair into a third one, the mix or union of the two...

We did not beforehand agree on any particular limits for the duration of the pieces in each of the ‘levels’, but quite naturally these turned out to stay within the time-bounds of, say, the average popsong: the shortest is 1’32”, the longest 3’36”, and in the end we had 24 of them: 2 x 12.

Anton started our working chain. He sent Harold a first intersection on August 12th, and we continued the realisation of our Split consistently and with near clockwise regularity. Harold sent Anton the twelfth and final intersection on October 21st. We finished work on the audio part the weekend of October 24th, little more than a week before the project’s ultimate deadline.

As to the instruments and other means used in the composition and recording of the pieces, there were no restrictions other than the practical one, being that all was done with what each of us had available at his home. 
Anton’s compositions make use of all of the instrumental vocabulary that he disposed of in his studio at home in Orléans, and I, apart from the piano and Korg MS20, on this particular occasion also dusted off guitars, vintage organ, toy piano...

split collage

The pieces in Anton’s strand of our ‘double helix’ together form a highly dynamic collage of music and sounds, angular, spiky, and full of surprises, in an atmosphere that is unmistakably pandemic, with whirling corona-infected absurdist grooves that continue to emanate from his rich palette of provoking, challenging as well as amusing and at times headache-provoking sonic (ánd rhythmic) processes. The twelve compositions also feature members of his family, speaking, singing, screaming, and playing the beatbox, piano, guitar or, quite notably, a jumping rope. It gives his work a touch of a juvenile sense of humour that nicely transcribes the situation of these months of living-all-together through a global pandemic.

Several of Harold’s pieces feature vocal recordings that recount stories within the story. There is a preacher woman reading from the bible to the vast emptiness that surrounds her on the Place d’Italie, someone’s softly singing on the subway, a man remembers himself, speaking on a tape found in London many decades ago, and Harold’s extremely drowsy self tries to capture, on his cellphone’s dictaphone, the essence of a pandemic dream in which a masked man sitting in the corridor of a deserted building instructs him to take the path that’s to his right. These make for some of the steady strokes, lifelines in a brittle grid of music built from fleeting melodies, random notes and wavering chords played on many different instruments, in all sorts of ways. From the flute that tries to copy the blackbird that during the days of the Parisian lockdown for many, many weeks continued to come loudly sing early mornings in his backyard, via fuzzed electric guitars, the acoustic one that someone sometime one day left behind in his home, the piano, an electric organ, a viola, saxophone, real and software synths, on to parts played and recorded on a Switch game console, with the instruments that can be had in Nintendo’s Animal Crossing video game, one of this pandemic’s big capitalist-escapist hits.

trans collage

Bits of Harold’s piano playing originally were improvised and recorded around and along to the clapping, clanking, shouting and banging at the daily corona-ritual that also in his neighbourhood people performed on their balconies and in opened-up windows for a couple of minutes every evening starting at eight, from the first to the last day of the French corona lockdown, when this practice came to a sudden end. His twelve pieces start ánd end with a recording of a such ritual.

Together these 24 pieces (the number, indeed, is significant) are our modest offering, a gift of music from and for a sick world.

Orléans-Paris, October 25th 2020

Anton Mobin-side


side-Harold Schellinx

Bonjour ! .1
Supersupercon .2
Looka Ma What ? .3
Faked Echo .4
Approchez ! .5
Ropamuffin .6
A Sweet Smell of Shit .7
Non! c’est beau .8
On recommence! .9
Conform .10
Onlyno .11
C’est fini ! .12

[ A — horns ]
[ H — prepared piano ]
[ A — electric guitar ]
[ H — flute ]
[ A — electric guitar ]
[ H — acoustic guitar ]
[ A — piano ]
[ H — 8 bit ]
[ A —noises, piano, guitar ]
[ H — toy piano ]
[ A — bass ]
[ H — uP-ACNH bells ]

1. Bonjour !
2. Methodology
3. Seigneur Eternelle
4. Backbird
5. Man met een Mondkapje
6. Alles Lijkt op Iets Anders
7. In those Days
8. Spectrum
9. Pression des Marchés
10. MicaHellSon
11. Doors Shut
12. You Know

" VOL. #1" with Andrew Sharpley


"VOL. #1"
Andrew Sharpley & Anton Mobin
C53 limited edition on STEEP GLOSS
digital on Test Recordings

Andrew Sharpley : computer, mix

Anton Mobin : prepared chamber

For some years now, I wanted to make an album using the macro/HD sounds of ASMR videos, which seemed like an obvious source material for a kind of semi-improvised Musique Concrète or sound-collage, but after several false starts, I could never really find a way in until a chance meeting with Anton Mobin led to this collaboration. 
The close-focus tactile quality of Anton's sounds, and the clarity of detail, gestural precision and openness of his playing seemed like a good retort to the hermetic audio-fetishism of the ASMR videos, and opened a door for me to an easy, natural way of working, like a kind of 'audio-essay' or 'drawing with sound', a half-way house between the musical and the visual. It seems like an interesting place to be. 
- A.S, 08.09.2020