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Ahead of the Meakusma Festival 2019 Don't DJ and NWAQ did an artist residency developing new music together from scratch. Their resulting performance at the festival was a mesmerising descent into the artistic perspectives of two singular artists active in off-kilter club music.Some of the eight tracks on this record were recorded live at the festival while others were recorded during the residency. All
dwell in distorted and eccentric bliss and play around with rhythmic arrhythmic and post-rhythmic tension.

Type “Was Joan of Arc” into Google and the suggested endings for this statement give you an accurate gauge of her place in pop culture: “Catholic” / “a nun” / “canonised” / “a prophet” / “French” / “a witch” and so on. Related questions to “What were Joan of Arc’s last words” on the info-sharing site Quora include “Was Joan of Arc bisexual” and “Was Joan of Arc simply crazy?” Everyone seems to agree this person was burned at the stake in 1431, but beyond that, Joan’s narrative is an enigma. It is this lack of definition that the production duo Pillow Queen harnessed for their second release, Burn Me Up. Inverting the image of the devout Christian girl, the Joan who stands as this record’s heroine was a heretic, a transvestite, most definitely a dyke and a hot femme-top at that.

Opening up the A-side, the title track is a call— a battle cry, but also a summoning. In a time of need one calls upon their patrons and elders from history; a DJ beckons and gathers dancers to the floor; prayer and sweat go hand and hand. A traditional Irish bodhrán drum beats out the first rhythms, joined by a steamy vocal sample that gets caught, chopped, and soon “Burns Me Up” is pumping along with organ chords and distorted keys. Pivoting away from the 4/4 format, “Submission” is a textured, downtempo slow-burner, with close-mic’d vocals from Vani-T and the D. Tiffany’s deft drum programming. When the choral pads come in, there’s an echo of the 1990s German worldbeat project Enigma, with its Gregorian chants and flutes laid on top of lounge beats—here, though, the chorus is stripped of kitsch, only driving the track deeper into a mood.

If Burn Me Up’s sequence of tracks is read as a kind of narrative, they seem to tell the story of Joan’s last moments. “Burn Me Up” is, frankly, heat—aggressive, the high-end crackles and the bass puts a pyre under one’s feet. “Submission” is like an exhale, a giving-in to death’s grip; there is, along with the sensuous tread, a melancholy. It only makes sense that one flips the record to “Resurrection”, which rolls in a tremolo’d wail of pitched vocals for 30 seconds before a kick drum begins the 141-BPM march. The percussion is central here, as the track shifts between polyrhythms like a range of resuscitations, varied heartbeats. “Salvation” closes the record, again dialling back the tempo to the deep nod of dub. To no surprise, the scene of redemption here is not one of sunlit cherubs—the church bell sample tolls one strike every few measures of bass-throb and shadow, while Vani-T intones, “Then he lay down and died”. Death can be salvation to some; living as many selves, living in contradiction, is a saving grace to many more.

Midnight Operators is back with its second release, which is also the first vinyl to be released on this imprint. Dominik Marz has his label debut with a solid four-tracker, delivering his signature blend of Avantgarde House and Indie Dance.

A1

Dominik Marz blends melancholic arpeggios and gloomy pads with a rock-solid groove to what is the title track of his four-track vinyl debut on Midnight Operators.


A2

A driving baseline and howling synths already are a match made in heaven, but Dominik Marz manages to take the track up a notch when he brings in distorted leads together slightly shuffled percussion.



B1

Dominik Marz opens with straightforward percussive and melodic elements immediately catch the listeners' attention, only to surprise him when he intertwines these with another harmonic layer and triplet rhythmic elements.



B2

This track comes with wonky pads and a haunty aura, slowly building up tension and eeriness. Dominik Marz manages to maintain this particularly blood-curdling atmosphere, despite the backbone of a catchy groove and steady baseline.

Superlux Records continues its release schedule this December with a debut EP from Taymor Zadeh. The four-track Life Goes On EP includes three originals from the UK-based artist, as well as a special remix from One Records co-founder, Subb-an. Speaking on the production process behind the EP, Taymor describes how “ Life Goes On was made using a tb303, roland mc505, a 909 which I borrowed from a good friend, some vocal samples from old tape recordings and a load of imagination.”

The A Side gets underway with Bubbleworks , and Taymor’s “imagination” is plain to see. It’s a no-nonsense club-ready cut, with thick hats and an up-tempo lead bassline residing next to an array of bubble-sounding pops throughout. That same late-night feel continues into Life Goes On , as eerie vocals flitter between pulses of acid and punchy, whip-like drums. On the B Side, Gekula takes the lead. Fast-paced with clear minimal influences, we’re graced with eight minutes of dancefloor-geared delight as distorted voices reside atop a driving kick-hat backbone, before Subb-an’s remix continues in the same vein, taking us deep into 5 AM territory with glitchy synths and plenty of dark, low-slung percussion.

With an ethos of quality over quantity at his core, Taymor Zadeh has carved out a bespoke sound within the electronic music sphere. In recent times his releases have been welcomed by Stephane Genacia’s Highpath Records as well as Luca C’s See Double imprint, a testament to his keen ear for production. Berlin-based Subb-an is a leading figure in the UK minimal scene. As co-founder of One Records, 2020 has seen the label celebrate ten years of releases with a two-part vinyl sampler, including tracks from the likes of Anna Wall, Matthew Johnson and more besides.

Four Flies are proud and honoured to release the first vinyl reissue of Bruno Nicolai's outstanding original score for GEMINUS, a 1969 Italian TV mini-series directed by Luciano Emmer and starring Walter Chiari, Alida Chelli, and Ira von Fürstenberg.

Originally released under Italian label Gemelli, Nicolai's soundtrack has been remastered from the original master tapes and comes in a glossy, tip-on style jacket featuring the restored original cover artwork, as well as extended liner notes by film critics Francesco Cesari and Roberto Curti.

Bruno Nicolai composed and directed an eclectic score that brings together different music genres and influences, from 60s beat, psych, and progrock to baroque and experimental music. He did not hesitate to mix classical forms and structures with new instruments andremarkable, eccentric arrangements.

In 'Giano' (Janus), the interplay between a distorted electric guitar and a hypnotic harpsichord creates a strange, somewhat troubling ambience.

The delicate, celestial voice of Edda Dell'Orso leaves its unique emotional imprint on the most lyricalpiece in the soundtrack, 'Tema Barocco' (Baroque Theme).

The main theme 'Il cielo cade' (The Sky Is Falling) features a luxurious arrangement and stunning orchestration enhanced by enchanting vocal harmonies sung by 'I Cantori Moderni di Alessandroni'.

In other pieces, such as 'Larve' (Larvas), 'Il sognatore' (The Dreamer), 'Eclisse di luna' (Moon Eclipse), 'Visioni' (Visions), 'Catacombe' (Catacombs), and 'Notti romane' (Roman Nights), expressive and experimental solo passages played by instruments such as the vibraphone, sitar, harmonica, or percussions, contribute to the sombre, mysterious atmosphere of the score as a whole.

Sutja Gutierrez is back on Lumière Noire. The finesse of his productions and his implacable stage performances have given him a special place within the Parisian label. In 2017, he released the EP "The Legend of Time" and one year later, he appeared on the compilation From Above with his track "Allodoxaphobia". He comes back here with an LP entitled PHYLAX SOCIETY, which confirms that Sutja Gutierrez is indeed an artist in his own right. Phylax means guardian in Latin, and the album’s title is directly inspired by the “Phylax Society”, a group of people who, in the late 19th century, wanted to create the ultimate canine breed, but who due their lack of consensus failed and dissolved. Later on, an ex-member eventually bred the very first German Shepherd. On this heartfelt record, as emotional as it is catchy, the artist deals with the feelings that come after the loss of a loved one, chiefly nostalgia and melancholia. The result is an ardent record where crooning is sincere and never a posture. The artist’s lo-fi psychedelic pop trademark oozes in every track of this album. Many of these songs feature his vocals, often doused in ethereal echoes or even shrewdly chopped and distorted in a way that reminds us of the great musique concrete experiments of the past. A DIY approach sometimes indebted to punk and post-punk music, all mixed with a vast variety of traditional pop instruments such as guitar, bass, electric keyboards and real drums, but also drum machines, synth bleeps, found sounds and other strange but fascinating samples. EMPTY FLOWER POTS, which was released as a single ahead of the LP, is definitely one of the album’s standout tracks. This catchy mid-tempo song is the perfect entry point into Sutja’s finely twisted world. A world in which you can find that particular balance between nostalgia and optimism. Oh, life is great, what is life? Life is death. . he sings. It is one of those songs that stays in your head for a while. Do not let the idea of alternative pop fool you, it is quite impossible to listen to any of these songs without reacting in some way or another through moving, dancing or thinking, regardless of the tempo or meaning. I’M DIGGIN’ might be the perfect example of this. Deceptively simple and far removed from dance music, this rock-infused number will not only have you singing along instantly, but you will also find yourself dancing and responding accordingly to the energetic mantra of this song... I'm digging for the truth, I am so diggin' into it. Truly, the dance floor is never too far, sometimes quite blatantly and sometimes in a more oblique fashion. Another case in point is PHYLAX SOCIETY, the eponym track which closes the album, a song in two parts, where a slo-mo club groove carries Sutja’s trademark singing to yet another level of uniqueness, with his surreal soundscapes, twisted melodies and everyday life sounds. An ode to humanity and an homage to the ones who are risking their lives every day in the mediterranean sea. It is rare to encounter an album which is immediately satisfying on one hand but also reveals more and more beautiful secrets with each listen. PHYLAX SOCIETY is clearly one of those special albums.

Nasser Baker’s talent precedes him. A handpicked protégé of Dennis Ferrer, the blossoming talent is now carving his own niche in the house space. His ascension continues today with the release of ‘Tribes Of The Metronome,’ marking his DIRTYBIRD debut.

“Tribes Of The Metronome” uses sputtering bass and distorted vocals to make its impact, maintaining a consistent, yet driving pace that keeps energy levels high from start to finish. “About You” sees Baker laying on the heavy grooves, with a reverberated bassline, off-kilter synths, and crisp hi hats joining together with its vocal elements for a tech house piece with a classic flair. Both have been sought-after set weapons for Claude VonStroke, making their release particularly exciting for the DIRTYBIRD flock.

Beyond his work with Dennis Ferrer, Nasser Baker’s keen ear for house has been recognized by plenty of industry greats. His ‘Say Something’ EP on Circus was an instant hit, receiving remixes from the likes of Paul Woolford and Rebūke. Nasser’s work has also appeared numerous times on Objektivity, and recently, he was tapped by Green Velvet for an EP on Relief. It’s clear this young producer is here to stay!

Geistform, also known as Raffael Espinosa, is the producer behind Pi Electronics record number 10.

After almost three decades of music making, he delivers a 5 track-EP fusing influences from techno, electro and '90s IDM. Four of the tracks can be found in the vinyl edition, while the 5th is a Bandcamp digital exclusive. Listen now to Geistform's multifaceted characteristic production style: from breakbeat informed dark percussion and his unique 'radioactive' riffs, to his very own Detroit techno drive, dressed in rhythmic noise aesthetics. PI10.5 is a slower burner with emphasis in the chaos brought by its distorted baseline themes - to be found only on the Pi Electronics Bandcamp page.

We met Franck Vigroux for the first time years ago at Berlin's Berghain during a soundcheck. At that time he performed with Mika Vainio, with whom Vigroux often worked together.

The first track on »Ballades sur lac gelé« dates back to that time. It was created under the impression of this collaboration and friendship with Mika Vainio. This album is dedicated to him.

Vainio's oeuvre is also significant in connection with the history of raster, so it was only logical and our wish to release this album by Franck Vigroux.

With the beginning of the corona pandemic, Franck Vigroux took up this early material again, he continued to formulate it and completed the present album »Ballades sur lac gelé«. The title already defines the theme of the ballad, a "song/poem with very minimal structures" (quote Vigroux).

"Ballade" is also a play on words with the French word "balade", in this sense a ramble, a ramble over a frozen lake. The reduced, cool structures reflect this. But at the same time, under the surface, the (often distorted) sound carpets steadily increase to immense power. Like ice that grows and tectonic forces that have to erupt, glacier-like.

Vigroux is very skilled at creating music in this minimalist setting. The intertwining of very few musical elements creates a kind of soundtrack that is multi-layered and at the same time universally intelligible.

»Ballades sur lac gelé« will be released on June 26th, 2020 as a digital pre-release exclusively on our sites. The physical formats, i.e. CD and vinyl, can be pre-ordered. The official worldwide release date will be announced at a later point in time.

Green Vinyl

'2016 - My Generation”?: a momentous comeback for Mirwais, two decades on from his classic “Production” album.
It all started in 2016 with an idea Mirwais had for a music video to promote his upcoming single ?“2016 - My Generation”?.
The idea led Mirwais and co-founder of graphic design studio H5/creator of the Oscar-winning ?“Logorama”? animated short
Ludovic Houplain? ?to work together on a fascinating ten-minute short entitled “?My Generation?”.
Since its 2017 release, the film “?My Generation?”, produced and scored almost liturgically by Mirwais, made the rounds of
festivals, winning several prizes worldwide.
It presents itself as a backwards travelling shot during which all of our pop culture moment’s gimmicks collide at 100 km/h:
sex, the net, art, politics, sports, stocks, big pharma and big porno – from Hitler’s speeches to Trump’s contemporary
analogues.
Flash forward to 2020, and it is this very six-minute ?pop-litical ?critique of our era’s societal excesses that Mirwais chose
as the music video for his new single ?“2016 - My Generation”?, set to be released during the coming fall’s American
presidential election.
A sonic deflagration that heralds a new album from one of Madonna’s most iconic collaborators, succeeding, two decades
later, the now-classic ?“Production”?. A punchy, percussive single poised between hard techno and electronic disco,
sprinkled with choirs and distorted, psychedelic synths ?“2016 - My Generation”? is a dance floor-ready opus bearing
Mirwais’ inimitable signature. This way of mixing genres, of conjugating past and future, and of making pop experimental
and vice-versa, cements Mirwais’ reputation as one of times’ most singular composers.

Part 2 of the compilation series sees the journey evolving, this time with a more upbeat affair. Not much has changed in terms of selection, as we continue to draw inspiration from the wider world, we bring to you the sounds of artists originating from Argentina, Japan, Netherlands, Portugal, Brazil and the UK. Beyond the restrictions of this physical realm, let you ears nourish the mind & soul as they traverse the world for you…

Argentinian resident Silvio Astier introduces us to the record with the aptly named ’Santa Maria del Buen Ayre’ - the former name of his hometown Buenos Aires. Easing us in with a wonderfully atmospheric piece, carefully mixing simple percussion patterns with his own well-crafted luscious guitar work.

Next up, we have Japan native/Berlin resident Kotoe continuing the flow of downtempo sounds that slowly settle us into this compilation. ‘Ondami’ conjures up images of a distant dream… the floating vocals and echoing chimes capable of drifting the listener to a place of blissful escapism.

The tempo is turned up a notch for the last track of side A, provided by UK born folklorica maestro El Buho. Renowned for his love of merging the traditional and natural sounds of South America with modern electronica, ’Swifts’ certainly ticks those boxes with an added touch of dance-floor-ready groove.

Portuguese native duo Oxhala continue to push the sounds on the flip side into heavier territory. ’Earth Spirit’ builds from an amalgamation of stomping tribal drums, hypnotically playful keys and distorted vocals, channeling the listener to our innate primitive spirit - this is one for the body & mind.

Dutch party-starter Mytron’s contribution ’Oil’ provides the fuel for the party as he turns to fast-paced conga rhythms, cowbells and elephant trumpets. These exotic sounds bounce along with ever-persistent energy to create the soundtrack to a hedonistic carnivalesque celebration of all things wild.

If you haven’t already peaked with the previous offering, Brazilian native El Peche wraps things up nicely with track ‘Rastro De Fogo’ (ft. Mari Branco). Tripped out vocals phase in and out as the track is dominated by a tight bassline before delicate keys bring in a softer element to finish.

Tape / Cassette

Longstanding collaborators & Bay Area based experimental duo Kush Arora & Lucas Patzek aka Only Now & Orogen return with ‘AVULS’, the project’s sophomore release.

Building on the unearthly, black hole transmissions and creaking, exospheric ambience of their self-titled debut, Only Now & Orogen present an abyssal, elemental broadcast from another unchartered extra-terrestrial zone. Remote and astronomical yet tied to a newfound sense of rhythmic structure, ‘AVULS’ navigates a course through inverted beat-led frameworks, surging detonations of sub-bass, and severely turbulent, monumentally scaled soundscapes.

Amidst this large, slow-moving cyclone of sound sit fragmentary emergences of choral voices and Gregorian chants; a distant, esoteric presence within dense eruptions of attritional noise and infinite recesses of low end.

In harsh, pointillistic detail and through infernal surround sound, Only Now & Orogen channel dub, noise and power electronics, evoking a distorted, ritualistic inflection on the Voyager Golden Record; a mass of tectonic motion and friction; a storm in deep space.

B•O•M is the fifth album by freak electronic producer NCHX (NOCHEXXX). A percussive planet of acid-techno, UK bass, house and electro-phonk, hosed down with a chemical wash of post-dubstep and UK bleep contaminants.

Departing with a tube station screech, HUNTING HIDES signals a lone defender’s ride through the underground - trace amounts of musique concrete dart around the tunnel walls, while sub-low cushions the rumble. ENTERCOL is perfect 3am mix fodder; saturation hot-points push beneath a middle eastern theme, whilst SEVENTH GUN TERRITORY is pure rapid-fire bongo bizness - a concrete terrain punctuated with corrugated metal grids and moving shadows: distorted poly-metered brutalism! CYBERTUSH is the perfect OST to a club littered with vape pens, while B-Boi bots flirt with promiscuous A.I.

Arguably the most fierce cut is TEFLONTUAN - an ode to NCHX’s favourite pro Antuan Dixon - the Deathwish skater lands bolts with the illest of steeze. Side-chained 303 squelch rattles alongside x0x sequenced drums as wavetable pads float above kinked rails. A nights gallop over city curbs. The LP signs off with LOCATION SCOUT, a SpaceX sample-return mission heading back to earth with a fistful of deep house red planet crumble.

“A dance floor’s dream and a mixing engineer’s nightmare” - Resident Advisor

Repress

René Pawlowitz presents himself in many different forms; whether it’s as Head High, EQD, Wax, WK7, The Traveller or more recently as Hoover - he consistently, and without any fuss or hype - produces some of the most effective, quality techno you can find on the planet. The Shed alias is usually reserved for his best work.

With this in mind, it really is a special event to announce this amazing new EP from Shed on Tectonic, showcasing 3 distinctive and highly effective techno cuts.

‘Try’ takes a broken-beat techno rhythm for it’s spine - reminiscent a little of the 2008/9 dubstep/techno crossover period. Tension is set with dissonant elements pulsing around swooping subs until we are saved by the heroic pads that ease in, building ever upwards to a lush finale. Close your eyes and be transported back to the rave.

‘Box’ is a darker, more percussive affair - claustrophobic and industrial. 130bpm 4/4 distorted kicks set the stage as frantic drum machine hats and claps crash about heavily reverb’ed ghostly samples.

Lastly we come to ‘Sweep’, a hypnotic bleepy roller with a bass heavy presence. As the riff loops up and over, drums build and a dissonant synth part creeps in. The not-quite 4/4 kick drives you ever forward with a gentle stumble as rattling hi hats flair about over head. Great finish to a great EP.

‘Evolve’ is the first full length album from composer, music producer and violinist Vito Gatto, a concept album that guides the listener on a one-way journey through the various phases of an imaginary evolutionary process. Gatto graduated in Violin from the Milan Conservatory of Music, his research starts from the unconventional application of a classical background into both making music in the studio, and live performances. For this work, Vito decided to put himself in a restricted composing and technical environment; all the arpeggiated sounds on the album are made from one single violin note that Vito sampled. He transforms the same note throughout the entire album, using the different treatment of this micro sample and the arpeggiator programming as the construction of a mutating and evolving structure. The album is Instinctively executed, almost improvised, and elements like distorted bass lines, hardcore inspired percussions, whistles and alienating string melodies represent unexpected alterations. Vito decided to keep these instinctive additions clean from excessive control as a representation of the beauty of the unpredictable. The album track list is an expression of evolutionary phases. From the minimalistic piano piece ‘Decomposition’ to ‘Quiete’ which expresses the state of calm after a shift has occurred, ‘Nostalgia’ and ‘Stasi’ represent a hazy trance like state. Vito challenges the listener to ask questions like ’am I in the right place? Is this who I set out to become? Do I have to keep evolving, or should I try to regress?’ ‘Evolve’ creates continuous connections between traditional and experimental music, creating dialogue between classical instruments and industrial techno, ambient, noise and de-constructed sounds. The Album will be released in both digital and vinyl formats via NeMu, a fresh new label founded by Vito Gatto himself. The label will focus on experimental projects based on the exchange between acoustic, concrete and electronic sources. The Artwork is part of ‘Jewels’, a series of ceramic sculptures by Benni Bosetto, courtesy of the artist and ADA Project, Rome

'Ianua' is the stage name of Filippo Midali, a 360 degrees electronic musician that sweeps primarily from techno, electro, breaks, jungle to Chicago footwork with a stable contamination from HipHop culture and scratch, the art of vinyl manipulation.

The self-titled album, his debut album, fully represents this, moving from track to track between various musical genres. The name 'Ianua', 'door' in Latin, comes from the idea of the multiverse and inter-dimensional doors; this is depicted on the cover, on which the front represents the door distorted by the journey through space and time and the back, together with the titles, the sketches and formulas of the presumed door- building scientist.

We all know anything released on Mystic Quantum is worth buying for the cover art alone, and this mightily impressive return of Legowelt is certainly no different. Beautiful on the inside and out, it's packed with the kind of delicately detailed soundscapes we've come to expect from the revered producer, who proves every bit of the musicality we associate him with across seven very good tracks.

'Squirrel' is perhaps the exception to the rule, its frustrated and distorted rumbling breakbeat and chain-gang high-hats cry out for some monster or other to be fed through the arrangement. On the whole, though, this is far from club stuff, opening on the lush bleeped harmonies of 'Once At The In & Out Burger Academy', closing out on 'Vesper Sprites'' mysterious, breathy refrains and metallic percussive accents, by way of the cinema-worthy piano piece, 'Meekian Lovedance'. Enough to keep you going until next month's album.

Shift Imprint gives a warm welcome to one of the best producers and DJs ever to come out of the UK, nothing more, nothing less than Mr. Allen Aubrey!
The sixth cut of the label is composed by four original tracks fueled by dark, noisy, foggy, groovy, distorted jazzy and funky vibes, accurately named as the “Sleeze Funk EP”, no other title could do the job better.
So, here’s an invitation to transcend the mundane and expand your thoughts deep into the raw sound of the British maestro, Aubrey.

Best before 2021 is a compilation of break tracks bringing together producers from different emerging electronic music scenes. Paris, Geneva, Tbilissi & Saint Petersbourg’s finest underground artists presenting what they do best : Sexy disco samples, low, distorted 808 basses & kicks marked with rolling break loops.

This collaboration hits a new step in the Sample Delivery catalog aiming to open up the label by showing diverse artists from across the globe.

If you haven’t heard of SD before, you can’t miss on us this time. Grab your copy and run that shit worldwide. Peace, Stay Safe

When Upset The Rhythm released Normil Hawaiians’ lost album ‘Return Of The Ranters’ back in 2015, the band members got back in touch with each other after a 30 year break and starting playing music together again. Out of this the group played a launch show for the album and followed that up with more concerts, including an appearance at Supernormal, a residency at the Edinburgh Festival, gigs at Cafe OTO and supporting Richard Dawson in London too. They even recently toured Greece in support of having all three of their renowned exploratory post-punk albums finally back in print.

Throughout this time, Normil Hawaiians revisited their original songs for these live performances. However for a group always so interested in evolving their sound and seeking nuance, it comes as no surprise that they shirked the idea of a faithful retread of old material in favour of reimagining their songs. The group experimented by pushing their songs into new inventive dimensions, still progressive at heart, but now imbued with a cosmic uncanny. A cinematic, even pastoral approach that was always quietly present has come to the fore. The quaint weirdness of folk song, the humanity of communal practice and the group’s ecological mindedness have all found a place in Normil Hawaiians’ current sound world. With this conducive atmosphere brewing, the band’s first new songs in decades started to emerge.
Being far-flung across the UK, the Family Hawaii encamped to Tayinloan, a small village on the west coast of the Kintyre peninsula in Scotland with the intention of recording new music. They set up their own studio in an isolated, windswept house overlooking the sea and started the tape rolling. Noel Blanden from the band explains how the spirit of the location was such an inspiration to the group during this initial recording session: “Our time immersed in the place and the unique energy it generated in us allowed us to write ‘In The Stone’. It goes right back to our first album, this need to document experience before it passes over and eludes us. We were grabbing at the musical ether and letting it shape itself through the band.” From loose, improvised sessions and reflective periods of listening in Tayinloan, Normil Hawaiians captured the moment. ‘In The Stone’ is a motorik thrill of distorted guitars, locked rhythms and morphic resonance. Guy Smith is joined by Zinta Egle on vocals, skilfully sharing lyrics informed by Alan Garner and Nigel Kneale’s ideas around recurring events being linked to place and historical artefact;  a kind of residual haunting known as ‘Stone Tape’ theory. In keeping with the context of the song, sounds from several previous live recordings of the track were woven into its present being. Flipside ‘Where is Living?’ is a decidedly more delicate affair of questioning lyrics and eerie traces, droning strings and impressions smudged. This resultant 7” is a tantalising glimpse of Normil Hawaiians now, an echo from the past, an echo from the future.