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Black Truffle is thrilled to announce ViewFinder / Hide & Seek, a new release from acclaimed American experimental composer David Behrman, presenting recordings made in collaboration with Jon Gibson and Werner Durand between 1989 and 2020. Last heard from on Black Truffle as part of the collaborative art song/live electronics madness of She’s More Wild, these recordings find Behrman continuing the pioneering work in interactive electronics that have established him as one of the major living experimental composers.

Side A presents excerpts from two live realisations of Unforeseen Events (1989), the fourth in a series of pieces focussing on the interactions between instrumental performers and responsive software. Like the classic earlier works in the series, On the Other Ocean (1977), Interspecies Smalltalk (1984) and Leapday Night (1986), Unforeseen Events is an “unfinished composition” in which a computer system listens for and responds to specific pitch cues from an instrumentalist. Performed by the composer on electronics and Werner Durand on soprano saxophone in Berlin in 1989, the first realisation immediately ushers the listener into an environment of long soprano notes, lush, sustained synth harmonies, randomised percussive interjections and distantly burbling arpeggiated patterns.

The 1999 realisation recorded in New York with Jon Gibson on soprano shows how much room for the instrumentalist to affect the course of the music exists in Behrman’s interactive pieces, in which, as he notes, ‘performers have options rather than instructions’. Beginning in a roughly similar area to the version with Durand, this later recording eventually becomes substantially more active, as polyrhythmically layered arpeggios and percussive patterns respond to fast chromatic lines and dynamic phrases from the saxophone, moving Gibson in turn to respond with cycling figures and moments of extended technique that touch on the soprano languages pioneered by players like Steve Lacy and Evan Parker. Yet even at its most active, the lack of conventional forward movement in the music allows it to retain what Behrman’s friend Jacques Bekaert called its ‘fragile tranquillity’, as episodes of activity appear only as momentary disruptions of an underlying calm.

On the B side, we are treated to a new collaborative work from Behrman and Werner Durand, building on the 2002 installation work ViewFinder, in which a camera detecting physical motion triggered changes to electronic sound. The piece presented here is a long-distance studio construction, recorded by Behrman in the Hudson Valley and Durand in Berlin, offering up an expansive duet between Behrman’s lush, gliding synth tones and the alien, untempered tones of Durand’s invented and adapted wind instruments. Presented in a stunning gatefold sleeve with art from Terri Hanlon, archival photographs and new liner notes from Behrman and Durand,ViewFinder / Hide & Seek is an essential release showcasing the continuing vitality of a legendary figure in experimental music.

Zenith Volt/ zēneTH vōlt: 1.Galaxy driven woke melodies for your thoughts and drive 2. Ethereal calibration against gravity burdened life

On TIMEKEEPER, Zenith Volt says: I am so inspired by the thought that at this very moment in time, our heels are stepping out of a past to be left forever in exchange for an unwritten future. The album TIMEKEEPER holds an amalgam of this heaviness and hope throughout. Each instrument, melody, and message has a self-reflective undertone. Speak from the heart, embrace the strange, and keep a clear head. While the past and future are overall inspirational waypoints, they are specifically stylistic ones as well. Timekeeper has a heavy retro/futuristic synthesizer tone and feel. Arpeggiating pulse and forward motion stitch each track together forging ahead through time itself.

Pulling sounds from retro and futuristic palates, Zenith Volt constructs an ethereal reality, attuned to the openness, enormity and unpredictability of the expanding universe; and the unknown that ever lies ahead.

In the afterglow of her acclaimed 2020 album Silver Ladders, Los Angeles-based harpist Mary Lattimore returns with a culminating counterpart release, Collected Pieces: 2015- 2020. The limited-edition LP features new and previously unreleased material, Bandcamp-only singles, and other obscurities alongside standouts from her 2017 tape Collected Pieces. Beyond the vinyl compendium, an expanded tracklist on the cassette/digital version brings more of Lattimore's archives together for the first time. Lattimore has described the process of arranging these releases as akin to "opening a box filled with memories," and here that box continues to populate, accessible for both the artist and fans. Evocative material separated by years, framed as a portrait of an instrumental storyteller who rarely pauses, recording and often sharing music as soon as it strikes her. Seemingly in constant forward motion for the last five years since her Ghostly debut, Lattimore glances back for a breath, inviting new chances to live in these fleeting moments and emotions; all the beauty, sorrow, sunshine, and darkness housed within. Opening the cassette version is "Mary, You Were Wrong," which mirrors an author's bout with a broken heart. "It's about how you have to keep on going even if you make some mistakes," she says. The bittersweet refrain cycles throughout, a little brighter every time, slowly, like the way time tends to heal. Unreleased track "Sleeping Deer" came together during Lattimore's artist residency on a cattle ranch in Wyoming. She remembers, "a small deer whose mother I think had been run over by a car would hang out in the yard. I called him Lollipop and would leave vegetable scraps out." Lollipop returned daily to eat, rest, and wait for more. The music this vision inspired is patient and droning, with light plucks giving way to deeper, vibrating tones, permeating with a sense of anticipation. Next is a newer single, "We Wave From Our Boats," which she improvised after walking her neighborhood during the early days of lockdown in 2020, and shared on her Bandcamp. "I would just wave at neighbors I didn't know in a gesture of solidarity and it reminded me of how you're compelled to wave at people on the other boat when you're on a boat yourself, or on a bridge or something. The pull to wave feels very innate and natural." The heart of the track is a somber loop, over top which Lattimore's synth notes ruminate, each a gentle shimmer of optimism in the most anxious and absurd of days. Also recorded in 2020, "What The Living Do" is inspired by Marie Howe's poem of the same name, which reflects on loss through an appreciation for the mundane messiness of being human. The echoed, slow-marching track has a distant feel to it, as if the listener is outside of it, watching life play out as a film. "Princess Nicotine (1909)" scores actual footage, a dream sequence Lattimore imagined for J. Stuart Blackton's surreal silent film Princess Nicotine; or, the Smoke Fairy. She adopted the same approach for "Polly of the Circus," explaining it was the name of one of the old silent films discovered in permafrost in the Yukon featured in the documentary Dawson City: Frozen Time, "the only copy that survived and it kind of warped in the aging process." A trove of pieces are collected here, most recorded in the moment, just Lattimore and her Lyon and Healy Concert Grand Harp, contact mics, and pedals. Like her most affecting work, these songs showcase Lattimore's gifts as an observer, able to shape her craft around emotional frequencies and scenes. Her power as a musician is rooted in how she sees the world: in vivid detail, profoundly empathic, with deep gratitude for nature and nuance.

Limited Edition 2 x LP vinyl with 13 remixes and more than 78 minutes of music, comes in gatefold double colour sleeve with exclusive photographs from the film, extensive liner notes and japanese style OBI strip. The score for a film by Oscar winning director Dusan Vukotic 'Visitors From The Galaxy' from 1981 (FOX001LP) was remixed by 11 artists from 9 countries. All original tracks from Visitors From The Galaxy (alternative titles: Gosti Iz Galaksije; Monstrum Z Galaxie Arkana; Gaeste Aus Der Galaxis; I Visitatori Della Galassia Arcana; Goscie Z Galaktyki Arkana; Los Visitantes De La Galaxia) are arranged, composed, conducted and produced by Tomislav Simovic. This compilation includes additional screen sounds from the unpublished tapes of composer Tomislav Simovic also featured in Dusan Vukotic film. With courtesy of Tomislav Simovic estate artists were given complete creative freedom to remix, reinvent and re-imagine the futuristic soundscape of first science-fiction film in Yugoslavia that was scored in analog, abstract, electronic and synthesised music. Alen & Nenad Sinkauz, Ali Renault, Anatolian Weapons, Credit 00, Drvg Cvltvre, Goran Vejvoda, Heinrich Dressel, Repeated Viewing, Security DJ, Tapan and Timothy Fife got the sounds from Tomislav Simovic score and embarked on a musical journey that had no rule or predetermined direction or genre; it was only their creativity inspired by Visitors From The Galaxy sound that led them to a new pieces, more or less experimental, abstract or dance floor friendly. The diversity of music goes wide and deep, it is modern and made by the stars of today paying homage to a composer who always retreated in being a star. As the remix projects of this kind are still very rare and include famous names like Ennio Morricone, Steve Reich or Peter Thomas Orchestra, Tomislav Simovic is now finally, one might say, at home.

The Stooges are widely considered one of the greatest rock bands of all time and this comes across loud and clear on director Jim Jarmusch’s critically acclaimed documentary film ‘Gimme Danger’. GIMME DANGER: MUSIC FROM THE MOTION PICTURE is a 14-track collection curated by Jarmusch and Stooges frontman Iggy Pop, with a focus on the group’s first three albums. It includes The Stooges’ classics ‘I Wanna Be Your Dog,’ ‘1969,’ and ‘Loose,’ along with rarities ‘I Got A Right,’ ‘I’m Sick of You’ and ‘Asthma Attack,’ and songs by MC5, Iggy Pop’s pre-Stooges combo The Iguanas, & more. It’s one of those rare soundtracks that appeals both to the most discerning fan and also as an introductory to those less familiar.

Quentin Tarantino’s WWII film “Inglourious Basterds” was released in 2009 to both critical and commercial acclaim. The movie won multiple awards including an Academy Award, BAFTA, Screen Actors Guild and Golden Globe and, like all of Tarantino’s movies the soundtrack played a pivotal role. QUENTIN TARANTINO'S INGLOURIOUS BASTERDS: MOTION PICTURE SOUNDTRACK – which itself was nominated for a Grammy Award – is a mixture of score from legendary Hollywood composer Ennio Morricone and a selection of quirky rare tracks, amongst them David Bowie’s theme from the 1982 film Cat People. It will be available on blood red translucent vinyl.

For Andy and Edwin White, the brothers behind Orlando’s Tonstartssbandht, a song is a living, breathing thing. Through constant touring, the Whites’ songs both take shape and change shape, becoming something a little different every night as they explore the possibilities inherent within them. With time, attention, and intention, these songs—long, languid, full of open musical questions and temporary answers—become distinct objects, and the process begins again. On Petunia, Tonstartssbandht’s 18th album and second for Mexican Summer, they bring us to the earliest moments of this process, showing off a barn full of hatchlings already decked with splendid plumage. Using little more than a 12-string guitar and a drum kit, Andy and Edwin weave together the gentle headiness of Laurel Canyon and the sweaty pacing of Cologne; like a gyroscope, its constant motion produces the illusion of stillness—and that stillness gives it a sense of intimacy and introspection, something that’s further illuminated by the new emphasis placed on the brothers’ vocals. It allows the quiet wisdom of the lyrics—what Andy self-deprecatingly calls “generic broad platitudes that I still think resonate when I say them”—to slip in almost unnoticed, delivering their emotional truths while preparing a feather bed for you to collapse into. “All roads will lead to the heart of town, when you’ve been running too long,” he sings in the album’s opening moments. “Being at peace only slows you down, but you’ve been running so long now.” If Petunia feels like a journey in the direction of peace, that, too, is a reflection of how it was made—the entire thing was written and recorded in Orlando in 2020, rather than pieced together in spurts over the years. This is an album built on level ground that shows what can happen when the artistic environment is stable, even while the world’s environment is anything but. Petunia is not Tonstartssbandht’s definitive statement on these songs, because how could it be? But it is a portrait of Andy and Edwin White at home in Florida, an artfully staged landscape rich in detail, its winding passages and airy environment waiting to be explored.

Over nearly 20 years, Howlin Rain may have become the quintessential independent American rock ’n roll band: a steam-spitting Hydra of cranked guitars, kicking asphalt dust through a kaleidoscoping travelogue of desert motels and dives, volleying forth transmissions of sci-fi poetry from the blacktop veins of this cracked and aching country.

Now, in America 2021, capping these strangest and sorest of times, the band returns with The Dharma Wheel, a six-track, 52-minute dive into a joyous fantasy realm of exaggerated present.

“I wanted The Dharma Wheel to be a portal from our everyday world, the one from which you stand on hard ground and hold the album in your hands and peer into the artwork, and into another universe,” says songwriter, guitarist and vocalist, Ethan Miller. “You enter into that universe with your eyes and ears and mind and take a ride through free-form meditation on these ideas — from big, fundamental concepts about our existence right down to the grease that rolls down the arm of a pulp novel killer as he eats a gas station hot dog in an old Dodge in an alleyway.”

Lyrically, Miller has completed his evolution into a mushroom-plucking Whitman of the West, singing outlandish tales in a topographic blend of Humbead’s Revised Map of the World and an inverted U.S. where downtrodden bodhisattvas roam the back streets and moonless country roads.

“Down in Florida swamps, run by nature’s law, standing in the water, Eden gone. Two men loading rifles, beasts making time, they shot a boy from an orange tree and watched the colored birds take flight, watch the colors as they soar and dive.” — ‘Under the Wheels.’

The band, Jeff McElroy (bass, backing vocals), Justin Smith (drums/percussion, backing vocals) and Dan Cervantes (guitar, backing vocals), again sounds hardwired into Miller’s vision, building tracks that swagger and sway in response to his verse. Lending a hand this time around is the legendary Scarlet Rivera (Bob Dylan’s Rolling Thunder Revue) on violin, and the endlessly inventive Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun) on keys.

Songs were shaped via the blast furnace of endless gigs, then recorded often mere hours after the band slipped the stage.

“The captured sonic fact about this record is that it’s the sound of a band that rehearsed this material a lot and put a ton of work into its construction and was on the road a lot and recorded on days off in the tour schedule,” Miller says. “In some cases we were on stage on Saturday night playing these songs at quarter-to-2 in the morning and by Noon the next day we were sipping coffee in the studio playing them for the machine.”

Rivera’s violin is the first sound heard as the album dawns on the instrumental “Prelude.” Soon, the band joins, twirling the theme into a psychedelicized awakening. “Don’t Let the Tears” brings the boogie, with MacDougall’s madcap synth work and wah-wah guitars showering 70’s glitter upon a parquet dance floor of the mind. “Under the Wheels” and “Rotoscope” center the album with taut, compositional epics populated by murdering drifters and fuzz pedal explosions. The blue hour comedown of “Annabelle” meditates upon the weariness of lost love, with Rivera again amping the heartache via her violin strings.

“In the evening the trains go by, and shake the dust from dirty walls, sometimes I feel like a spider in an old mason jar, who threatens only convex light from down the hall. I’ve been lost to the world since the photos of the black hole, landed on my desktop screaming, perhaps the all and nothing all-in-one is just too much to take, for particles and matter that never found their way.” — ‘Annabelle’

The record closes with the 16-minute title track, a multi-movement suite which cycles from Crazy Horse-meets-Traffic jams through colossal, mass-moving funk stomp, eventually cresting and washing into a sing-along gospel lament.

The Dharma Wheel is an album of great depth, and one steeped in good vibes: a rich, glistening world of the ultra-vivid. As illustrated in Arik Roper’s cover art, the grand dharmachakra has been set in motion, churning off the California coast.

“We were trying to build a world big enough that the imagination won’t go soft on you after just a few listens and where our love for this music, and music in general — along with a good dose of audacity — create a magic carpet ride through the world of The Dharma Wheel,” Miller continues. “In pursuing that I think we also managed to make a record that has a lot of joy in it: the joy of playing music, the joy of experiencing music, the joy of storytelling and poetry, the kind of singular joy and extended ecstatic moment that only a real ‘band’ can express in just that way.”

And it’s this joy, this exuberance and dedication to the lines of cosmic expression — all centered in the exalted art of the everyday — that constructs the heart of the record. At its core, The Dharma Wheel is the triumph of a working band, a transmission from a never-paused before arriving for our strange, bruised, spectacular now.”

Over nearly 20 years, Howlin Rain may have become the quintessential independent American rock ’n roll band: a steam-spitting Hydra of cranked guitars, kicking asphalt dust through a kaleidoscoping travelogue of desert motels and dives, volleying forth transmissions of sci-fi poetry from the blacktop veins of this cracked and aching country.

Now, in America 2021, capping these strangest and sorest of times, the band returns with The Dharma Wheel, a six-track, 52-minute dive into a joyous fantasy realm of exaggerated present.

“I wanted The Dharma Wheel to be a portal from our everyday world, the one from which you stand on hard ground and hold the album in your hands and peer into the artwork, and into another universe,” says songwriter, guitarist and vocalist, Ethan Miller. “You enter into that universe with your eyes and ears and mind and take a ride through free-form meditation on these ideas — from big, fundamental concepts about our existence right down to the grease that rolls down the arm of a pulp novel killer as he eats a gas station hot dog in an old Dodge in an alleyway.”

Lyrically, Miller has completed his evolution into a mushroom-plucking Whitman of the West, singing outlandish tales in a topographic blend of Humbead’s Revised Map of the World and an inverted U.S. where downtrodden bodhisattvas roam the back streets and moonless country roads.

“Down in Florida swamps, run by nature’s law, standing in the water, Eden gone. Two men loading rifles, beasts making time, they shot a boy from an orange tree and watched the colored birds take flight, watch the colors as they soar and dive.” — ‘Under the Wheels.’

The band, Jeff McElroy (bass, backing vocals), Justin Smith (drums/percussion, backing vocals) and Dan Cervantes (guitar, backing vocals), again sounds hardwired into Miller’s vision, building tracks that swagger and sway in response to his verse. Lending a hand this time around is the legendary Scarlet Rivera (Bob Dylan’s Rolling Thunder Revue) on violin, and the endlessly inventive Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun) on keys.

Songs were shaped via the blast furnace of endless gigs, then recorded often mere hours after the band slipped the stage.

“The captured sonic fact about this record is that it’s the sound of a band that rehearsed this material a lot and put a ton of work into its construction and was on the road a lot and recorded on days off in the tour schedule,” Miller says. “In some cases we were on stage on Saturday night playing these songs at quarter-to-2 in the morning and by Noon the next day we were sipping coffee in the studio playing them for the machine.”

Rivera’s violin is the first sound heard as the album dawns on the instrumental “Prelude.” Soon, the band joins, twirling the theme into a psychedelicized awakening. “Don’t Let the Tears” brings the boogie, with MacDougall’s madcap synth work and wah-wah guitars showering 70’s glitter upon a parquet dance floor of the mind. “Under the Wheels” and “Rotoscope” center the album with taut, compositional epics populated by murdering drifters and fuzz pedal explosions. The blue hour comedown of “Annabelle” meditates upon the weariness of lost love, with Rivera again amping the heartache via her violin strings.

“In the evening the trains go by, and shake the dust from dirty walls, sometimes I feel like a spider in an old mason jar, who threatens only convex light from down the hall. I’ve been lost to the world since the photos of the black hole, landed on my desktop screaming, perhaps the all and nothing all-in-one is just too much to take, for particles and matter that never found their way.” — ‘Annabelle’

The record closes with the 16-minute title track, a multi-movement suite which cycles from Crazy Horse-meets-Traffic jams through colossal, mass-moving funk stomp, eventually cresting and washing into a sing-along gospel lament.

The Dharma Wheel is an album of great depth, and one steeped in good vibes: a rich, glistening world of the ultra-vivid. As illustrated in Arik Roper’s cover art, the grand dharmachakra has been set in motion, churning off the California coast.

“We were trying to build a world big enough that the imagination won’t go soft on you after just a few listens and where our love for this music, and music in general — along with a good dose of audacity — create a magic carpet ride through the world of The Dharma Wheel,” Miller continues. “In pursuing that I think we also managed to make a record that has a lot of joy in it: the joy of playing music, the joy of experiencing music, the joy of storytelling and poetry, the kind of singular joy and extended ecstatic moment that only a real ‘band’ can express in just that way.”

And it’s this joy, this exuberance and dedication to the lines of cosmic expression — all centered in the exalted art of the everyday — that constructs the heart of the record. At its core, The Dharma Wheel is the triumph of a working band, a transmission from a never-paused before arriving for our strange, bruised, spectacular now.”

DeLaChaud is the home and record label of krewcial.

A young veteran in the game, krewcial released solo albums on PlayItAgainSam and UK’s BBE in the early 2000’s. With longtime friend Lefto, he sampled jazz’s greats for a beatdriven album on the legendary Blue Note label. He's also released records on Nervous, Lumberjacks In Hell, We Play House, Mysterious Works, Midnight Riot and GAMM.

krewcial's DJ-sets reflect his broad musical tastes: centered around disco and house and adding touches of latin, funk, boogie, hiphop classics and afrobeat anthems into the mix. As long as it’s soulful and keeps the dancefloor in motion, there’s a chance he’ll play it. He has shared decks with disco legend John Morales, Marcel Vogel, Mr Mendel, Lefto, DJ Suspect, Mr. Leenknecht and opened for Hiatus Kaiyote, Sergio Mendez, Angie Stone, Cassandra Wilson, Common, Jill Scott, and many many more.

Grammy nominated soundtrack “School of Rock: Original Soundtrack” accompanies the film of the same name. The film stars ‘Jack Black’ playing a struggling rock star turned music teacher, teaching a class of 13-year-old musicians to play rock and roll music. The classic rock soundtrack features artists; AC/DC, The Clash, The Doors, The Who, Black Sabbath amongst others. Most notably the soundtrack includes Led Zeppelin’s “Immigrant Song”, which had previously always been denied permission to appear in films. This version will be pressed on double orange vinyl.

Starring James Fox as a British gangster on the run who finds refuge in the home of reclusive ex-rock star Mick Jagger, Donald Cammell and Nicolas Roeg's PERFORMANCE is one of the great cult movies of the 1970s. The film's soundtrack, produced by Jack Nitzsche for Warner Bros., is equally noteworthy. Needless to say, the Rolling Stones connection is strong; the Jagger-sung single "Memo From Turner" was co-written with Keith Richards, and vocalist Merry Clayton (famous as the duet partner on "Gimme Shelter") appears on three tracks. Several up-and-coming WB artists also make key contributions, including Randy Newman (the raucous "Gone Dead Train"), slide guitar virtuoso Ry Cooder and Little Feat leader Lowell George. Like the film itself, the PERFORMANCE original motion picture soundtrack offers a fascinating glimpse at one of the most exciting eras in rock.

Cult American ambient label Past Inside The Present looks to New York City-based composer Christina Giannone for her new full length Glazed Vision, which is pressed to nice heavy 160 gram pink vinyl. This is her third full length following 202's The Faint and a collaborative work also last year, and it is another development of her dark, heavy, drone fulled ambient landscapes. These are lo-fi, foggy tracks that hang in mid air and make you feel like you're doing the same as only the most subtle of shapeshifting chords brings a sense of motion. It is bleak yet beautiful and never less than hugely absorbing.

The new instrumental project of guitarist Jim Fairchild (Grandaddy / Modest Mouse / All Smiles / Grace Meridian,) and songwriter/composer Jacob Snider, Small Isles inhabits a rare hypnotic twilight between motion picture music and incandescent cosmic folk.
At once a love letter to film soundtracks and a meditative balm for our troubled times, ‘The Valley, The Mountains, The Sea’ was recorded by Fairchild on a bare-bones mobile rig while on tour with Modest Mouse. It was recorded in the cracks of time between soundchecks and performances, from city to city, in darkened hotel rooms and over-lit backstage dressing rooms, giving the album a sense of intimacy, of stolen time and weary after-show solitude.

“Sympathetic Magic” is the new surprise album from Portland’s indie-rock outfit Typhoon. The album is scheduled for a surprise release on January 22, 2021. This is the band’s first new music since the release of their critically-acclaimed fourth LP Offerings in January 2018, followed by extensive touring across North America, UK, and Europe.
“The songs are about people - the space between them and the ordinary, miraculous things that happen there, as we come into contact, imitate each other, leave our marks, lose touch. Being self and other somehow amounting to the same thing.” – kyle / Typhoon
“This marks a major moment of growth for Typhoon. An album born from reckoning and upheaval, the experience is fraught with heavy sentiments and dark themes that are explored in a graceful manner. Sympathetic Magic is one of the band’s most personal and intimate albums yet. Each track is crafted with purpose, further carrying on the message Morton is trying to share. The album came as a surprise, but the love for it was guaranteed, and Typhoon has yet again proven their talents are to be lauded.” – Atwood Magazine

Ben Bertrand weaves transverse waves into otherworldly compositions. He embodies the singular motion of these melodic and harmonic forms in order to draft new sonic possibilities freed from the laws of the physical plane. Pulsating at the kernel of Ben Bertrand’s musical universe are vivid dreams generating the fabric of these tapestries. Dokkaebi is deeply familiar yet refreshingly unknown, like a comforting whisper from your subconscious. It gently drifts into perception, glistening like the sun sparkling off a glacier gliding along the edge of your vision.

Deep listening to these tonal sculptures is enriching. By opening oneself to their deliberate unfolding, you will discover new principles for sound organization far afield from common modes of operation. The gradual, rhythmic progression of his compositions are ever-shifting grains, which upon thoughtful contemplation, reveal astonishing worlds. Bertrand’s music is constructed from blueprints drafted with honest intentions aspiring to bring humans closer to a sense of wonder.

Ben Bertrand welcomes each listener to discover his music anew from their own perspectives. It is infinitely in time with your time. These are the ripples in the wake of successive revolutions of universal evolution. Dokkaebi is an example of musical expressions adapting to the contours of the human psyche through gentle reflection of multiplicity. They are sounds reshaping themselves to suit the contours of each individual’s subconscious—sonic entities projected simultaneously as molecular and holistic.

Dokkaebi is an oceanic expression softly set in motion by honest aims that echo and grow. Ben Bertrand beckons you to listen up and look in. There is great reward in this generous flow.

Ben Bertrand was accompanied by Christina Vantzou, Geoffrey Burton, Indré Jurgeleviciuté, Echo Collective: Margaret Hermant & Neil Leiter, Otto Lindholm.

LIMITED BLUE WITH BLACK SPLATTER VINYL +DL CODE

Gestural Abstractions is the third full-length album from post-shoegaze duo Winterlight. After an admittedly difficult gestation for their second album The Longest Sleep Through the Darkest Days, this new album developed organically and somewhat swiftly from the moment the pandemic lock-down was initiated.

This mandatory seclusion allowed Tim Ingham to sit with his guitar or at the piano and play uninhibited. With daughter and bassist Bel returning home from university, her presence galvanized the creative process, which resulted in the duo writing their first song together: In Solitude. It is a song in which there is very much an equal display of Tim and Bel's influences and songwriting styles.
Gestural Abstractions is a focused dynamic collection of works teeming with expressive confi- dence; An upliftingly shimmering shoegaze leaning post-rock gem.

There’s a fundamental truth that Los Angeles musician and songwriter Lexi Vega embraces on Mini Trees’ debut album Always In Motion - time keeps moving forward, for better or worse. The consequences of this perpetual motion spark this latest collection of relatable indie-pop songs that acknowledge our collective anxiety about life’s improbability

Heidi Fial's Trio Kontrapunk spielt spröden, cineastischen Instrumentaljazz in Tiefen-schürfender Besetzung. Zwei Kontrabässe tanzen mit- und gegeneinander, unverschämte E-Gitarrenklänge setzen den Kontrapunkt, eigenwilliges Schlagzeug trägt und tanzt gleichermaßen mit. Nach ihrer jahrelangen Tätigkeit als Live Stummfilm Musikerin formierte Heidi Fial im Winter 2020 in Folge einer Kooperation bei der Viennale mit Tobias Pöcksteiner und Chris Pruckner das Trio Kontrapunk. Unzählige bei Filmvertonungen gesammelte Soundskizzen, aus Improvisation entstandene Instrumentalstücke und auskomponierte (Film)musik werden in einem Projekt vereint und laufend - quasi bei jeder musikalischen Zusammenkunft - erweitert. Das musikalische Spektrum bewegt sich zwischen Jazz, Desert Rock und barockem Kontrapunkt. Die aus diesen ungleichen Elementen resultierende Harmonie öffnet dem individuellen Kopfkino alle erdenklichen Türen. Ihr im Sommer 2021 erscheinendes Debut Album A MOTION PICTURE (Konkord Records) ist der Soundtrack zu einem imaginären Film über die (allzu aktuelle, aber keineswegs neue) Angst vor Ungewissheit und Vergänglichkeit und den Mut, sowohl kreative Lösungen zu finden als auch unaufdringliche, schlichte Schönheit zu umarmen. Das Album wurde live auf einer 16-Spur Bandmaschine von Chris Janka auf dem original Mischpult aus dem historischen Saal des österreichischen Funkhauses in Wien aufgenommen, analog gemischt & gemastert. Es ist eine Liebeserklärung an den Zauber des unverfälschten Moments.

After 2 quiet years, Mélodies Souterraines strikes hard! A very soft opus under the sign of Europa and its Japanese reflections. Influencing the direction of "K/L" - Miyako Koda's 'Sleep In Peace' (prod. Haruomi Hosono) defined the color of the following 40min. new wave comp. Incl. music by Electrodelia, Andy Rantzen, Jan Schulte, Zmatsutsi, Tolouse Low Trax or rare-as-teeth hit 'Analyze' by TASE... Probably the most sophisticated record of the series: In-motion, elegant, nocturnal. 300ex + insert & art by french underground graphic group Bazooka.