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Hilary Woods' artistry is one of rare emotive reach. Her minimalist and compositional finesse combine with densely layered atmospheric instrumentation and dreamlike vocals to create music rich with both delicacy and intensity. The Sunday Times hailed her early solo recordings as "a revelation."After the release of two critically acclaimed EPs, Woods spent 2017 writing and recording songs on an eight-track in an abandoned flat she was living in at the time. Layering piano, synth, tape machine, field recordings, vocals, drone, unadorned beats, and old string instruments, these songs culminate in her debut solo LP Colt. Straddling the acoustic and electronic worlds, Colt is an intensely personal journey through grief, abandonment, and mutating love. Woods navigates this journey with a lyrical potency that cuts through stark piano, sensuous synth work, and textural acoustics. Somewhere between Marissa Nadler, Grouper and Julee Cruise, these songs evoke both the anguish of their content and the ecstasy of their craft.

The album is the proverbial musical journey, made to be listened to from beginning to end, then flipped over for another spin.

SONLIFE is an 8 track LP that spans genres from Downtempo to Jazz, and is an amalgamation of live instrumentation, field recordings and samples. A lot of the tracks on the album started out as very simple ideas; repetitive, single, distorted loops - “very odd and rough ideas conjured up in the middle of the night in my early twenties”. He originally imagined the project being an experimental solo project in 2015, trying out new sounds and genres. The tracks were back under wraps for a few years when he took a break from making music, and when he returned, they were all reimagined with a brand new life.

The album has heavy influences from the likes of Massive Attack, “Black Sands”-era Bonobo, Portico Quartet and the more dance orientated musicians such as Overmono and Mount Kimbie.

Lovers Grain and The Quiet feat James Mollison
Piecebypiece features Plumm

*LTD BLUE VINYL* Having cut her teeth as part of dream pop band Snakadaktal then as half of Two People, Melbourne’s Phoebe Go solo break out has seen her discover her own voice and potential, a process that has been both daunting and liberating for her. Her self-released debut, the Player EP, opened the world to Phoebe’s vulnerable, sincere and gut-wrenchingly honest songwriting; posing questions about her career, relationships and existence, yet still emerging with heartfelt hope for the future. A word-of-mouth success when released late last year, the likes of NME, Notion, Wonderland, triple j Unearthed, Double J and Under The Radar have already sung her praises. Having just wowed audiences at The Great Escape, her Player EP is finally getting the vinyl release outside Australia it deserves, being released by tastemaker label Dalliance Recordings (Gia Margaret, HighSchool, Francis of Delirium, lilo). Formats Available: Limited edition (300) 12” Blue Vinyl with a lyric sheet and an exclusive track ('To Love Me Now’).

Omnivore Recordings Reaching For The Stars:Trios/Duos/Solos mit elf weiteren, bisher unveröffentlichten Aufnahmen.

In den Trios spielen Henry Grimes (Thelonious Monk, McCoy Tyner, Sonny Rollins) und Kalil Madi (Freddie McCoy, Mongo Santamaria - sowie Hasaan's Metaphysics) sechs Titel ein (vier davon erschienen in ihren Studio-Versionen auf The Max Roach Trio Featuring The Legendary Hasaan).

Hinzu kommen drei Songs mit der Sängerin Muriel Gilliam, alias Muriel Winston, und zwei Solo-Porträts des Meisterpianisten. Produziert von der Grammy®-prämierten Produzentin Cheryl Pawelski und dem ASCAP-prämierten Autor Alan Sukoenig, enthält Reaching For The Stars ein neues Essay von Pianist, Komponist und Autor Ethan Iverson. Wie bei den früheren Veröffentlichungen von Omnivore Hasaan Ibn Ali wurde auch diese Sammlung sorgfältig restauriert und von dem mit dem Grammy® ausgezeichneten Toningenieur Michael Graves gemastert.

Diese Sammlung ist ein weiterer Einblick in die bisher ungehörten Aufnahmen von Hasaan Ibn Ali, dessen verschollene Aufnahmen beweisen, dass er nach den Sternen griff und sie alle berührte.

Bas Jan return with a polished and poignant collection of perfectly-crafted pop songs that retains their authentic indie edginess. 'Back To The Swamp' is a heady tussle between their incorrigible DIY ethics and new responsibilities. Serafina Steer, Charlotte Stock, Emma Smith and Rachel Horwood cast an examining eye over modern times, lost love, Tarot intuition and long days in an everyday swamp. Awash with lush chorale effects, orchestral hewn loops, pin sharp electronic beats and sublime harmonies. Back To The Swamp is filled with thought-provoking stories, it's a reflective worldview. It's a polished and poignant collection of perfectly-crafted pop songs that retains their authentic indie edginess. These new studio recordings feature more accomplished pop production; filled with cerebral one-liners that pluck at the senses. And, there's a nod to an eclectic mix of influences; The Pet Shop Boys, Lizzy Mercier Descloux, Kate Bush, Heaven 17 and Jon Hassell by way of Brian Eno. Witches, Tarot readings, road signs, Salt-N-Pepa namechecks and a river all cried out, welcome to the swamp_ "Beautifully fractured art-pop" MOJO

Marbled Vinyl

First music in 10 years from cult favourites Dark Dark Dark.
B Side is a solo cut from the bands lead vocalist Nona Maie Invie.
10” EP limited to 500 in UK/EU.

Fans of contemporaries Weyes Blood (of which DDD multi-instrumentalist Walt McClements is now a full-time member) and Angel Olsen (in whose live and studio band Invie is now a staple) will find much to love in these songs, as well as the b-side, Invie’s solo piece, “For Now” which, not unlike Invie’s 2017 solo release under the moniker IN / VIA, makes use of seamlessly interwoven piano and swelling, liquid synthesizer.

Invie sounds a bit like an alternate dimension Sharon Van Etten here and elsewhere. The three song set has the understated intensity of Nick Cave’s The Boatman’s Call and the promise of emotional liftoff that characterizes Kate Bush’s The Sensual World. 

Dark Dark Dark’s rich history is punctuated by house shows and train hopping; touring as support for The National in Portugal;
playing both the National and TV on the Radio’s ATP Festivals, and years of indefatigable coast-to-coast U.S. touring. It’s a
history rich with recordings, including a pair of celebrated full-lengths produced by Tom Herbers (Low, The Cactus Blossoms),
three EPs, and a feature film score. Now, ten years later, –– surprise –– a new 10” single.

In 2013, when Dark Dark Dark released the What I Needed EP, anyone might have guessed it was a bridge between the previous year’s lauded LP Who Needs Who and the next big venture. The band had closed out 2012 as part of Australia's touring Harvest Festival, during which they stepped up to fill an unexpectedly vacant slot much later in the day, enchanting thousands of unsuspecting festival goers. Alas, after that, the band went silent.

The release of these new songs is certainly delightful and perhaps startling, as is the promise of more solo work from singer Nona Marie Invie. On the gorgeous and stately “Didn’t I Try,” Invie’s voice is elegant as ever, couched in the familiar sounds of Marshall LaCount’s distorted banjo and Mark Trecka’s rolling drums. The loping and haunted “Something Was There” follows –– a staple of Dark Dark Dark’s live sets in the last year of their touring.

Considering this band's history, their distinctive and dramatic sense of identity, this music is really and truly for fans of Dark Dark Dark.

LP - 180 Gram Grey Marble Vinyl / Handnumbered Edition limited to 300 Units Prodigious multi-instrumentalist Nate Wood joins the indefatigably creative partnership forged in New York City by Gilad Hekselman and Will Vinson. Urban Myth is a powerful, diverse but unified set of recordings that combines elements of jazz with pop accessibility and the directness and honesty of folk and delivers a new surprise at every turn. The Jazz Mann gave Trio Grande four stars and wrote about them "The sound of three huge individual talents coming together to create something that is even greater than the sum of its parts."

Spirit of Sundaze Ensemble (SOSE) is the latest evolution from London based DJ / producer, label and party series Secretsundaze. Sitting at the intersection of live music and electronic music innovation, leading contemporary musicians reimagine, record and perform a selection of tracks which have been foundational across Secretsundaze’s 20+ year history, embracing a myriad of influences from Balearic to synth pop to Brit funk.

EP 1 opens with their first single, a re-imagination of Photek’s seminal ‘Mine to Give’. Featuring Wayne Snow on vocals and garnering wide support from the likes of BBC 6 Music heads Gilles Peterson and Nabihah Iqbal, through to NTS and Worldwide FM tastemakers including Zakia, Moxie and Colleen ‘Cosmo’ Murphy, the tempo is slowed and explored in a more synthy 80s production style.

Next is their take on Joyce Sims’ (RIP) ‘Come into My Life’, moving the original Mantronix production into a more contemporary UK / Street Soul / Balearic territory.

The B-side sees them take on beloved Phil Asher (RIP) production, Nathan Haines’ stunning ‘Earth is the Place’, a classic Secretsundaze record if ever there was one. Featuring the vocals of Cherise, the SOSE version is a dance floor ready update which will appeal to all lovers of proper deep, soulful-leaning house music, one for the heads.

Closing the record is a flip of Wbeeza’s ‘Coast Spotting’. Featuring synths from the excellent Hinako Omori, this one goes in with an extended late night transcendental electronic / jazz rework with the original’s looped lead line modulating throughout the piece.

Leading musicians feature on the record including Myele Manzanza (Theo Parrish, Sound Signature), Lewis Moody (Zeitgeist Freedom Energy Exchange), Nikos Ziarkas (Theon Cross, Chelsea Carmichael), Oli Savill (Basement Jaxx), and Johnny Brierley (Fofoulah).

Following their debut sold out show at Southbank’s Centre Queen Elizabeth Hall, the Ensemble next take to the London stage at the iconic EartH Theatre, Dalston on September 21st for an EP launch party as well as a headline open-air concert at Las Dalias, Ibiza as part of Beat Hotel on September 30th.

All in all, an impressive debut showcasing the breadth and scope of this exciting new live project from Secretsundaze founder James Priestley, one to watch.

"Acts of Light" ist eine Fuge, die aus neun langsamen, hypnotischen Klageliedern besteht. Auf ihrem dritten Album lehnen sich Woods' Experimentalismus und Klangforschungen an die Intimität und Zärtlichkeit dieser intuitiven Komposition an. Nach ihren Erkundungen von Gefühlen und Körperlichkeit durch Klang, die in ihrer 2021 erschienenen EP "Feral Hymns" gipfelten, ist "Acts of Light" ein beunruhigendes, persönliches Angebot an Wildnis, Verlust, Abwesenheit, Mysterien und höchste Liebe. Verletzlichkeit, Erhabenheit und Offenheit, hervorgerufen durch Drone, Noise, Synthesizer, Kontrabass, Field Recordings und sakralen Chorgesang, bilden das private Ritual. "Acts of Light" ist ein klangvolles, reichhaltiges und gewichtiges Lamento, das sowohl unterirdisch als auch abgründig ist, während gleichzeitig seine detaillierten Ranken verborgene Formen erwecken, die bei jedem Hören aus dem Schatten hervortreten. Texturaler Staub und gesprenkeltes Licht bewegen sich hier langsam und ausladend durch einen klanglichen und sensorischen Übergangsritus, bei dem Woods' bewegende Kompositionen uns das Gefühl vermitteln, mit dem ganzen Körper empfangen zu werden. Geschrieben, aufgenommen, gemischt und produziert über einen Zeitraum von zwei Jahren zwischen der Westküste Irlands und Dublin, nahm Woods die Chorsänger des Palestrina-Chores in der Pro Cathedral Dublin auf, zusammen mit den Stimmen des Galway City Chamber Choir. Die Streicher wurden von Jo Berger Myhre in Oslo aufgenommen, während die Feldaufnahmen nomadisch auf ihren Reisen durch den Nordwesten Spaniens entstanden.

Following on from the warm reception to Hell Yeah and Music Conception reissuing Calm's cult Before album, the labels have come together once more to offer up a reissue of the Japanese master's highly sought-after long player Moonage Electric Ensemble. The hard-to-find original has been given an all-new mixdown from original stem files and then re-mastered by Calm himself, and the double LP will also come with a bonus 12" featuring his very own Daydream Dubs plus an obi-strip and original artwork by FJD.

The blissful yet soul-stirring Moonage Electric Ensemble, which landed first in 1999, was Kiyotaka Fukagawa's stunning sophomore album and the one that kept the bar high following his debut Shadow of the Earth. It investigated all new worlds of future jazz, ambient and downtempo and has since become a cult classic that often fetches three figures on secondhand markets. He has released over 18 albums since including Before which was reissued in 2022, though Moonage Electric Ensemble remains a favourite with those who enjoy the most accomplished and innovative sounds from the first wave of chillout.

This escapist charmer opens with the suspensory synths and piano keys of 'Unseen Small Steps' featuring spoken words from Dan Gamble, then 'Light Year' has gently tumbling rhythms and shimming synth moving about the soothing mix. 'Noon At The Moon' brings gorgeously fizzing future jazz drums and mellifluous piano playing full of subtle joy, and 'The Other Side Of The Moon' then layers up melancholic chords and chunkier rhythms that are detailed with gorgeous persuasive details and mystic flutes. 'Tsukiyo' is a new age charmer with paddy hand drums and romantic interplay between sax and trumpet, 'Between Worlds' is an ambient interlude with distant winds blowing and intimate whispers from Gamble before closer 'Authentic Love Song' rides on dusty trip hop breaks as lazy piano chords melt the heart and Gamble serves up another aloof monologue.

This is another welcome reissue of a sublime album that is not only one of Calm's finest but also a true gem in the wider world of downtempo music.

The first release in a new catalog series dedicated to the 7" . Here are two reworks produced between Italy and the United States, inspired by Italian cosmic atmospheres of the late 70s: “Cascades” by Stephen Schlacks (1978) and “Pulsazioni” by Filippo Trecca (1979).

“Cascate Emozionali Volume One” is a tribute to these two composers, and to all others that, just like them, have created immortal melodies and atmospheres. This project is also a work of sound archeology, of careful research of the synthesizers and the sounds that have given life to the original versions, here reproduced with a contemporary luster, honoring their original essence.
This music is a container full of emotions, of nostalgia for an era that no longer exists, of faded memories that are suspended in the cosmos, of moments that we miss. All of them connected to our childhood, our family, to our loved ones, and to the objects that were there all along, like the “Selene” chair of Vico Magistretti, redesigned for the cover by French illustrator Alexis Jamet.

Music to remember.

Multidisciplinary artist GAIKA returns with a new track titled “LADY” featuring bbymutha from his forthcoming album, Drift out on September 8th.

Thrashing drums and droned out guitars take immediate effect on “LADY” but it’s the two mavericks' electrifying chemistry that is the driving force of this track. Enlisting KIDÄ (Yves Tumor) on production with additional contributions from Azekel (Gorillaz) and Max Winter, alternative rock and audacious rap come crashing together as GAIKA and bbymutha flex their lyrical prowess, unapologetically expressing their devotion to their lovers on this twisted, feverish affair.

Newly signed to Big Dada Recordings, home to Roots Manuva, Yaya Bey, Kae Tempest, Brian Nasty and more, GAIKA jumps back into music with new invigoration after delving into work as a composer to unveil Drift - his most expansive work to date. The visionary invites listeners on a high-speed journey where love, pain, brutality and beauty collide to produce a vivid and provocative cinematic masterpiece. The sonic universe of Drift is the most stylistically accurate representation of GAIKA’s personal tastes to date, stitching musical influences past and present such as Prince, Wu Tang Clan, Massive Attack, John Coltrane, Pink Siifu and A$AP Rocky to land on a gritty, distorted sound pulsating with an unwavering, formidable energy that’s disruptive yet timeless.

Drift is 14 tracks of nostalgic escapism, a shape-shifting body of work with hip hop and club music cultures at its core, as those simply run through the veins of GAIKA. Analogue and retro in feeling, Drift’s psychedelic feel is formed by incorporating 90s grunge, dark wave, post-punk and alt-rock into its tapestry. It’s a representation of his heritage and environment, featuring calypso steel pans to gospel vocals, reverberating dub to frenetic rap and elements of sound design taken from recordings of the real world. GAIKA’s music transcends borders and his nomadic nature means he simultaneously belongs and doesn’t, his music cannot be confined to just one genre and this unique new record further cements him as one of the most progressive artists of our time, telling the tale of modern day renaissance man driving away from the economic hierarchy he doesn't believe in.

GAIKA endeavoured to create a waking dream by constant participation in communal art making, removing the separation between art and life, his imagination and community and breaking the boundary between real life and any spectacular representation of it. He set up a number of situational arts facilities in the heart of London including shows at ICA, 180 the Strand, Now Gallery and as the world reopened, created pop up galleries, studios, exhibitions and raves with the intention to enhance the experience of real life by dreaming. To achieve this coherently and authentically the process became akin to a form of psychological examination of memories made before music “mattered” to GAIKA - before becoming commodified, individualised and his name capitalised.

Drift became the term used to describe the creative happenings in these spaces and the name for the collective of people who made this record. GAIKA is the central writer and composer working closely with KIDÄ on production and a group of classically trained musicians with contributions from Azekel, Charlie Stacey, Brbko and The Narrator over an extended period of time where they recorded music late into the night, night after night.

There was one irrepressible Chicago club act that refused to be replaced by any DJ's sound system. Maxx Traxx (and Third Rail before them) were a scene unto themselves in the early 80s, happening live on-stage five-plus nights a week somewhere in the 312. Their two LPs, both recorded in 1982, are a sheer energy ride almost too explosive to be captured by studio tape. And yet these two stone classics would remain unanswered by a city as it moved determinedly toward the motorik sound of house. Hop the turnstile and move with this complete document of Chicago's last great club band told in detailed text, newly revealed photos, and complete studio recordings painstakingly remastered. AVAILABLE IN LIMITED EDITION LAKE MICHIGAN TEAL VINYL!

Get Up! ist ein moderner Blues-Klassiker in der großen, aber allzu seltenen Tradition der Zusammenarbeit von Künstlern auf einem ganzen Album. Harpers zwölftes Studioalbum, das 2013 bei Stax Records erschienen ist, vereint Gospel, Roots, Country und R&B. Die fließende Chemie zwischen den beiden Künstlern trägt dazu bei, dass sich sein vielschichtiges Werk wie nie zuvor entfaltet. Harper, Musselwhite und die Band (Gitarrist Jason Mozersky, Bassist Jesse Ingalls und Schlagzeuger Jordan Richardson) spielen diesen intensiven und emotionalen Song-Zyklus mit sparsamer Härte.

Get Up! wurde von Harper produziert, wobei der Tontechniker Sheldon Gomberg, die Bandmitglieder und der GRAMMY©-prämierte Roots Musikproduzent Chris Goldsmith als Co-Produzenten fungierten. Das Album erreichte Platz 27 der Billboard 200 Charts und debütierte auf Platz 1 der Blues-Album-Charts. Das Album wurde mit einem GRAMMY© für das beste Blues-Album ausgezeichnet und ”You Found Another Lover (I Lost Another Friend)” wurde mit Gold zertifiziert.

Das Album erscheint als Vinyl.

Zur Feier des 15-jährigen Jubiläums von 'The Hawk Is Howling' erscheint am 22. September 2023 ein brandneues 2LP Remaster des Mogwai Albums auf weißem Vinyl, auf den Tag genau fünfzehn Jahre nach der ursprünglichen Veröffentlichung des Albums. Das Album wurde von Frank Arkwright in den Abbey Road Studios neu gemastert.

Das ursprünglich 2008 veröffentlichte 'The Hawk Is Howling' wurde mit Andy Miller in den Chemikal Underground Studios aufgenommen und von Gareth Jones im Castle Of Doom Studio abgemischt und stellte eine Rückkehr zu den rein instrumentalen Wurzeln der Band dar. U.a. enthalten auf dem Album ist auch die Single 'Batcat'.

Miyuki Omura's "Thats Me" EP is one serious piece of work!

A heavy dose of Industrial Hardcore Techno that sucks you in, chews you to bits, spits you out and leaves you craving for even more sonic abuse.
"That's me" is a 3 track EP filled to the rim with emotional distorted sound design heavily influenced by Miyuki's deep love for traditional Dutch industrial hardcore,
while also heavily flirting with schranz techno and UK infused breakbeat culture.
She perfectly blends the power of industrial hardcore with the grooves, textures, and functionality of "Techno" to her tracks.

"That's Me EP" by Tokyo based artist Miyuki Omura is sophisticated, diverse, creative.. But most importantly.. Hard As Nails!
An impressive PRSPCT debut by an impressive lady!

Oblako Maranta is the collaboration between Radial Gaze and A-Tweed. The duo has already released several tracks in different compilations by Samo Records, Electric Shapes, Playground Records, as well as their debut EP “Maranta Kicks” on Duro.

In their new EP “Trance Beckenbauer”, the St-Petersburg-based Radial Gaze and Rome-based A-Tweed produced 4 original tracks that finely blend the sound of each artist, where slow tribal techno meets acid weird disco.

Starting off with the title track “Trance Beckenbauer”, Oblako Maranta brings us through a cinematic voyage, paced by percussive wonders and catchy bass lines, hypnotizing the listener from the first kick on. The atmosphere is dark, trippy, beautifully loved in an analog synth “duvet”. With that feeling of timelessness, “Trance Beckenbauer” sounds like the perfect fit for the next Blade Runner´ s soundtrack.

Next on the tracklisting is “Putos Mosquitos”, a tune that gives a feel of crossing a jungle full of wild life, with weird acid patterns on repeat, groovy percussions, and that sense of limitless adventure as the track plays on.

“Congarella di Luna” is a bewitching tune blending a mesmerizing melody with dreamy pads, finely arranged as the drop brings the energy down before reaching its paroxysm: an irresistible melodic pattern that will leave no one still on the dancefloor.

The fourth track “Analog Garbage” ´should bring any human being on the planet to an ecstatic state as it infuses that energy that makes you move fast and forward, without looking back. Indeed, “Analog Garbage” is driven by a fat bass riff and a kick-drum that tirelessly hammers the pace, while acid melodies are raining as the track unfolds. And there is that drop…

The EP is completed with first-in-class remixes by Inigo Vontier and Zillas on Acid, who reworked “Putos Mosquitos” and “Congarella di Luna”, respectively.

Artwork by Danish artist Christoffer Budtz.

Folk duo lilo's ascent continues with second EP, I Don’t Like My Chances On The Outside. Having met at school aged 11, Christie Gardner and Helen Dixon’s friendship runs over a decade deep. Starting out with homespun recordings and YouTube covers, by the time they moved to London in their late-teens, they had an unshakeable creative bond that forms an incredible bedrock for them to flourish from. Their exceptional debut EP Sleep Country (Practise Music) came out in late-2021. Taking cues from alt-folk and classic country, it showed a maturity and dexterity that belied their years. As Loud & Quiet said of the band in a recent interview, "what sets them apart from their contemporaries is a real understanding of Americana-influenced folk’s lineage as a genre. Think Emmylou Harris’ soul bearing and the pitchperfect vocal glide of Karen Carpenter." New EP, I Don’t Like My Chances On The Outside, is a truly brilliant follow-up that underscores that we're no longing talking about promise with this duo. Working with producer friend Joseph Futák, they're now firmly in their stride, deftly counterbalancing delicate moments and harmony-led pop highs across a full-bodied band sound. Their lyrics speak for their generation too, encapsulating the panic, anxiety and love of twenty-somethings at a time of great uncertainty; from single 'Settled' where the financial realities of needing to move back in with your parents to the sheer relief of ending a relationship on 'I Don't Love You Anymore' and 'Just A Thought's failing attempts to pull a friend away from a bad person ("It's your hill to die on," they warn), nothing is off the plate.

Sounds While Waiting documents the latest organ works by composer and musician Ellen Arkbro – following her phenomenal debut, 2017's For Organ And Brass, and the more recent CHORDS. Recorded at a centuries-old church in Unnaryd, Sweden in June 2020, these pieces reveal the enchanting qualities of sustained harmonic sound, how patterns of listening dissolve and emerge as textured space. On opening track "Changes," long radiant tones ebb and flow like divine breaths, while "Leaving Dreaming" builds with dynamic tension to unlock a subtle, otherworldly ambience.

As the composer states in the sleeve notes, "These recordings are traces of something I have come to love to do in large resonant spaces, which is to set up sustained chords on multiple organs and then move slowly through the sound. The instruments are usually far apart, which makes for the emergence of large fields of continuous change, spaces of harmonicity that can be passed through layer by layer and which contain within them points of both clarity and overwhelming complexity. The organ pipes are tuned and retuned, though sometimes I leave them just as they are. What I'm searching for is the moment when a particular kind of sounding texturality is revealed – it is rough, focused and yet strangely transparent."

Arkbro composes for acoustic instruments, for synthetic sound and for combinations of both, including music for orchestra and smaller chamber ensembles and large scale installation works. She currently performs in Catherine Christer Hennix's Kamigaku ensemble, and she previously studied with La Monte Young and Marian Zazeela. Recommended for fans of Sarah Davachi, Eliane Radigue and Charlemagne Palestine.