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Compound X launch new limited edition vinyl label CX BLACK, with four innovative tracks that set an immediately high standard.

Compound X is DAR and DULUM, both progressive and dedicated journeymen, their visions melting psychedelic rock and deconstructed techno to deliver a forward-thinking take on electronica. Their innovative sound first debuted in April 2020 on Distopic Utopia Records, and a live debut is scheduled for Dark Mofo festival in Tasmania, Australia, this June. The act's dynamic range and genuine sound artistry are what set Compound X beyond the status quo, something that’s clearly displayed with this latest release.

The opener 'Sending Me Signals' is dark and thrilling techno. The blistering synths bring fizzing energy to the hammering kicks, while tortured voices add extra layers of eeriness. There is haunting paranoia to the unsettling voices that loop in the background of 'Gone 2 Far.' The drums are again brilliantly brutal, and the whole atmosphere is utterly arresting.

The synths on 'Asexual Orgasm' sound as if fired from a machine gun with caustic textures, scraping hits, and dehumanised vocals add up to a wall of intense techno noise that will disorientate all dance-floors. Finally, 'Ancient Sentient' is a slightly more spacious cut with buzzsaw synths, undulating rhythms, and distorted bass that makes for maximum impact.

Orange Vinyl

Casey Spillman returns to LOCUS with his four-track ‘Summer Dreaming’ EP.

A favourite amongst the FUSE family and an artist who embodies the label’s sound and mentality throughout his productions and sets, London’s Casey Spillman continues to grow and evolve as one of the hottest talents within the capital. After his ‘Bit More Raggo’ EP on LOCUS in 2020 provided four heavy slabs of dancefloor ammunition for the likes of Skream, Samuel Deep and Varhat, he returns to close October with a quartet of fresh cuts across his ‘Summer Dreaming’ EP.

‘Get Upper’ sees Spillman opt for a powerful combination of warping bass licks, infectious vocals and sturdy kicks, while ‘I Know’ offers up a restless bass-heavy shuffle beneath dubby textures as moody harmonies contrast against evolving leads. The B-Side houses title track ‘Summer Dreaming’, delivering swinging percussion beneath glitchy electronics and trippy atmospherics, before closing with an ode to FUSE’s original home of 93 Feet East across ‘Good Morning Ninety Free’ – a classy cut weaving dusty deep chords amongst taut drums and sweeping synths.

Pilgrimage of the Soul is the 11th studio album in the 22-year career of Japanese experimental rock legends, MONO. Recorded and mixed - cautiously, anxiously, yet optimistically - during the height of the COVID- 19 pandemic in the summer of 2020, Pilgrimage of the Soul is aptly named as it not only represents the peaks and valleys where MONO are now as they enter their thirddecade, but also charts their long, steady journey to this time and place. Continuing the subtle but profound creative progression in the MONO canon that began with Nowhere Now Here (2019), Pilgrimage of the Soul is the most dynamic MONO album to date (and that's saying a lot). But where MONO's foundation was built on the well-established interplay of whisper quiet and devastatingly loud, Pilgrimage of the Soul crafts its magic with mesmerizing new electronic instrumentation and textures, and - perhaps most notably - faster tempos that are clearly influenced by disco and techno. It all galvanizes as the most unexpected MONO album to date - replete with surprises and as awash in splendor as anything this band has ever done. MONO began in Japan at the end of the 20th Century as a young band equally inspired by thepioneers of moody experimental rock (My Bloody Valentine, Mogwai) and iconic Classicalcomposers (Beethoven, Morricone) who came be fore them. They have evolved into one of the most inspiring and influential experimental rock bands in their own right. It is only fitting that their evolution has come at the glacial, methodical pace that their patient music demands. MONO is a band who puts serious value in nuance, and offers signi ficant rewards for the wait. "glacial, metallic, all-consuming post-rock" - Stereogum ,Stunning, eloquent, emotionally gut-busting" - Pop Matters "it's the kind of album that's best played start to finish (and best played loudly), and that can truly suck you in and transport you to another world if you do so." - Brooklyn Vegan

Diving into the archives of Alter Ego - the Italian experimental ensemble of Manuel Zurria, Paolo Ravaglia, Aldo Campagnari, Francesco Dillon, Oscar Pizzo, and Eugenio Vatta - Die Schachtel is thrilled to present Microwaves, a never before released body of recordings of works composed by Atli Ingólfsson, Giovanni Verrando, Yan Maresz, and Riccardo Nova, made with Pan Sonic (Mika Vainio and Ilpo Vaisanen) in 2005. Resting at the outer reaches of avant-garde chamber and electronic music, the LP’s blistering structures, tones, and textures - plowing forward with frenetic energy - remain radical and ahead of their time, more than 15 years after they were first laid to tape.

A modular chamber ensemble with a pointedly anti-academic approach to music, over the course of its activities - running roughly between 1990 and 2010 - Alter Ego developed a devoted following among some of the most forward thinking voices in experimental music, all the while collaborating widely with artists spanning a vast range of practices and disciplines, including Robin Rimbaud, Philip Jeck, Matmos, Gavin Bryars, Andrew Hooker, William Basinski, David Moss, Alvin Curran, Terry Riley, and near countless number of others.

Alter Ego’s diverse activities can be understood as interventions with the disposition toward formality within contemporary chamber music, often pairing themselves with artists working well beyond their own context as a means to develop highly original interpretations of a specific composer’s work. In 2004, this process led them to instigate a collaboration Pan Sonic, the Finnish duo of Mika Vainio and Ilpo Vaisanen, pioneers of a remarkably distinct form of rhythmic, experimental electronic music, and regarded by many as one of the most visionary and irreverent projects working in the field during the '90s and 2000s.

Initially conceived with Fausto Romitelli in 2004 before being sidelined by the composer’s untimely passing the following year, Microwaves acts, in part, a remembrance in sound, featuring four works by some of his closest friends, the composers Atli Ingólfsson, Giovanni Verrando, Yan Maresz, and Riccardo Nova. Each composition, Ingólfsson’s Snap, Verrando’s Harmonic Domains #3, Maresz’s Link, and Nova’s Thirteen13x8@Terror Generating Deity, have roots in a pallet of samples and fragments drawn by each composer from existing works by Pan Sonic. Upon completion, these compositions then entered into a collaborative process between Mika Vainio and Ilpo Vaisanen (Pan Sonic) and Alter Ego (Manuel Zurria, Paolo Ravaglia, Aldo Campagnari, Francesco Dillon, Oscar Pizzo, and Eugenio Vatta), and were performed collectively by both groups during an extensive tour that year.

Distinct and free-standing, while operating as a seamless whole, the four works encountered across the album’s two sides - built from the sounds of flute, clarinet, violin, cello, piano, electronics, and further treatments - present an engrossing intersection between electronic and acoustic sound that diverges from most standing conceptions of electroacoustic music. Each composer’s carefully rendered structures rise and fall within the startling, conversant interplay between the two groups, finding perfect balance - between the frenetic and restrained - in what can only be regarded as one of the most striking and singularly unique expressions of contemporary chamber music realized during the 2000s.

Vast in scope, visionary in concept and artistry, and sonically engrossing, Die Schachtel is thrilled to present these never before heard recordings from the archives of Alter Ego. Microwaves is available on black vinyl, in a limited edition of 350 copies.

With ‘Harmonizer’, his first album in two years, Ty Segall glides
smoothly into unexpected territory, right where he likes to find
himself. Responding to the challenge his new songs gave him: a
synth-tastic production redesign, Ty kicks back with bottom-heavy
creativity, dialling up a wealth of guitar and keyboard settings to do
the deed.
 ‘Harmonizer’ is a glossy, barely-precedented sound for him, and
truth, it enraptures the ear - but in Ty’s hands, the sound is also a
tool that allows him to cut through dense undergrowth, making for
some of his cleanest songs and starkest ideas to date.
‘Harmonizer’’s production model couches tightly-controlled beats
in thick keyboard textures, with direct-input guitar signal whining
and buzzing purposefully from left to right.
 The Freedom Band appear all over the record, but often one at a
time, their contributions leaving a distinctive footprint on the
proceedings wherever they appear. Operating in this airtight
environment with an eye towards precision, feel, and explosive
mass, Ty’s crafted a formidable listening encounter - and once you
get between the lines, the need to know more grows more
compelling with every song.
 The first recording to be released from Ty’s just-completed
Harmonizer Studios, ‘Harmonizer’ benefits from a collaboration
with Cooper Crain, who co-produced the album with Ty. The Venn
diagram of these guys unites them in DIY/punk dyed-in-thewooldom; Ty’s propers you know, but Cooper’s own unique
journey in rhythm, minimalism and DIY (as heard on his
productions with CAVE, Bitchin Bajas and Jackie Lynn) mines the
depths around Ty’s peerless vocal attack and aid in the latest
chapter of his never-ending search for unfathomably corrosive
guitar sounds.
 Bursting with transcendent energy, ‘Harmonizer’ is an extension of
the classic style of ‘Emotional Mugger’ and ‘Sleeper’, revisiting the
lonely days and loathsome nights of the alienated, grown-upwrong soul, to make it all right in the end.

With ‘Harmonizer’, his first album in two years, Ty Segall glides
smoothly into unexpected territory, right where he likes to find
himself. Responding to the challenge his new songs gave him: a
synth-tastic production redesign, Ty kicks back with bottom-heavy
creativity, dialling up a wealth of guitar and keyboard settings to do
the deed.
 ‘Harmonizer’ is a glossy, barely-precedented sound for him, and
truth, it enraptures the ear - but in Ty’s hands, the sound is also a
tool that allows him to cut through dense undergrowth, making for
some of his cleanest songs and starkest ideas to date.
‘Harmonizer’’s production model couches tightly-controlled beats
in thick keyboard textures, with direct-input guitar signal whining
and buzzing purposefully from left to right.
 The Freedom Band appear all over the record, but often one at a
time, their contributions leaving a distinctive footprint on the
proceedings wherever they appear. Operating in this airtight
environment with an eye towards precision, feel, and explosive
mass, Ty’s crafted a formidable listening encounter - and once you
get between the lines, the need to know more grows more
compelling with every song.
 The first recording to be released from Ty’s just-completed
Harmonizer Studios, ‘Harmonizer’ benefits from a collaboration
with Cooper Crain, who co-produced the album with Ty. The Venn
diagram of these guys unites them in DIY/punk dyed-in-thewooldom; Ty’s propers you know, but Cooper’s own unique
journey in rhythm, minimalism and DIY (as heard on his
productions with CAVE, Bitchin Bajas and Jackie Lynn) mines the
depths around Ty’s peerless vocal attack and aid in the latest
chapter of his never-ending search for unfathomably corrosive
guitar sounds.
 Bursting with transcendent energy, ‘Harmonizer’ is an extension of
the classic style of ‘Emotional Mugger’ and ‘Sleeper’, revisiting the
lonely days and loathsome nights of the alienated, grown-upwrong soul, to make it all right in the end.

Lily Konigsberg, Mitglied der beliebten Art-Rock-Band Palberta, lässt auf die Zusammenstellung ihrer frühen Solo-Aufnahmen mit dem Titel "The Best of Lily Konigsberg Right Now", die hauptsächlich aus Bandcamp- und Soundcloud-Veröffentlichungen stammen, nun ihr erstes richtiges Album folgen. Der Titel "Lily We Need To Talk Now" stammt aus einem Text, den sie vom Produzenten des Albums, Nate Amos von der Band Water From Your Eyes, erhalten hat. "Lily We Need To Talk Now" ist eine charakteristische, eklektische Sammlung von Popsongs, die in manchen Momenten an die gitarrengetriebene, punkige Atmosphäre ihrer Arbeit mit Palberta, an Dinge wie Sheryl Crow aus der Mitte der Achtziger und sogar an The Cure angelehnten Post-Punk erinnert. Ein Album, an dem Konigsberg seit 2016 langsam gearbeitet hat, indem sie die Songs im Laufe der Jahre überarbeitet und neu aufgenommen hat. Die elf Tracks umfassende Sammlung ist ihr erstes richtiges Album und durchweg eingängig, wie viele ihrer poppigen und klaren Indie-Rock-Songs, die sie in den letzten Jahren zu einer festen Größe im New Yorker Underground gemacht haben. Ihre Stimme dreht und wendet sich und umspielt ihre cleveren Wortspiele auf neue Art und Weise; es gibt Anklänge an Power-Pop, Pop-Punk und Downtempo-Introspektion, alles gespickt mit augenzwinkernden Ostereiern des Humors. Sie wird von vielen ihrer langjährigen Mitarbeiter unterstützt: Andrea Schavelli, mit der sie 2017 die Split-Scheibe "Good Time Now" veröffentlichte; Matt Norman, mit dem sie seit Jahren im Avant-Pop-Duo Lily And Horn Horse zusammenarbeitet; Paco Cathcart von The Cradle, der ihre 2020er EP "It's Just Like All The Clouds" produzierte; und Nina Ryser, mit der sie im gefeierten Art-Punk-Trio Palberta spielt. Aber es ist ihre Zusammenarbeit mit Amos, die die bemerkenswertesten Neuerungen mit sich bringt.

25 Sekunden Zeit zum Luftholen gönnen einem LYGO ganz am Anfang ihres neuen Albums, bevor "Schockstarre" losbricht, danach bleibt nicht mehr viel Zeit zum Atmen. Für 42 Minuten reißt "Lygophobie", das dritte Album des Bonner Trios, das inzwischen komplett in Köln lebt, mit. Aber es hätte ganz anders kommen können: Mit ihrer letzten Tour im September 2019 verkünden sie eine Pause auf unbestimmte Zeit - nicht etwa, weil sie sich auflösen wollen, nein, einfach um die letzten Jahre mal wirken zu lassen und Platz zu schaffen für den ganzen Kram, für den man sonst neben der Band kaum Zeit hat. Drummer Daniel nutzt die Auszeit, um sich ausgiebig mit Musikproduktion zu beschäftigen und ermöglicht es LYGO so, selbst Musik im Proberaum aufzunehmen. Neue Songs und Texte entstehen schneller denn je, denn im Jahr 2020 gibt es plötzlich wenig anderes zu tun, als zu schreiben. Die Songs des Albums entstehen letztendlich alle in einem 16qm großen Proberaum und werden auch dort aufgenommen. Wer schonmal einen LYGO-Song gehört hat, wird sich auf "Lygophobie" schnell zurecht finden. Hier muss auch nichts neu erfunden werden. Das Magische an Punkrock ist und bleibt doch, dass man auch mit nur einer Gitarre, Bass, Schlagzeug und klugen Texten diese große, komplexe Welt ein bisschen verständlicher machen kann. Wenn auch nur für drei Minuten am Stück. Doch natürlich haben LYGO seit "Schwerkraft" von 2018 auch Neues ausprobiert. In "Kommentarspalte" vertonen sie YouTube-Comments von Schlafgestörten und wagen Midtempo, in "Ufer" gibts endlich ein Gitarrensolo, "13 Stunden Schlaf" wird von einem Klavier eröffnet. "Lygophobie", das ist nicht etwa ein verunglücktes Wortspiel über die Angst vor sich selbst als Band. Es ist ein Begriff, über den LYGO zufällig stolperten: Es ist die übermäßige Angst vor der Dunkelheit. Und obwohl sich die Dunkelheit in all ihren Facetten durch das ganze Album zieht, ist "Lygophobie" alles andere als eine pessimistische Platte. Sie beschreibt eher den Weg zurück ins Licht, wie ihn auch die Artworks zum Album visualisieren. Das ist Punkrock, der so nonchalant zwischen AZ und Clubbühne reinknallt, dass man sich endlich wieder dran erinnert, warum einem diese Musik die Welt bedeutet. Die LP kommt mit schwarzem180 Gramm Vinyl, Gatefold Klappcover aus schwerem Coverkarton. Außerdem liegt der LP ein Download Code bei.

Domino are immensely proud to announce the signing of my bloody
valentine, with new physical editions of the band’s seminal catalogue
being made available. ‘Isn’t Anything’ and ‘loveless’ have been
mastered fully analogue for deluxe LPs and also mastered from new
hi-res uncompressed digital sources for standard LPs, with each
being made available widely for the first time ever. Fully analogue
cuts of ‘m b v’ will also be available on deluxe and standard LPs
globally for the first time.
my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields,
Deb Googe and Colm Ó Cíosóig, are widely revered as one of the
most ground-breaking and influential groups of the past forty years.
During an era in which guitar bands denoted, at best, a retroclassicism, not only did my bloody valentine sound unlike any of their
contemporaries, the band achieved the rare feat of sounding like the
future.
The second my bloody valentine album, ‘loveless’, was released in
1991. Musically, it took an unexpected leap forwards, standing ahead
of anything released at the time. Shields and the band moved further
towards a music of pure sensation, creating textures and tones that
could be felt as much as heard; with ‘loveless’ the band created an
album that overwhelmed the senses. ‘loveless’ is widely considered a
flawless whole and rightly regarded as a masterpiece; a 1990s
equivalent to ‘Pet Sounds’, ‘In A Silent Way’ or ‘Innervisions’, a record
constructed by exploring the edges of what a recording studio is
capable of. It is a record best experienced as a whole, in one sitting -
a listening experience like no other and unmatchable in its sonic
brevity.

Repress!

DJ Plant Texture drops his weirdo breakbeat house trilogy 'Lloyd goes To Mars' a warped lo-fi house brain melter. Added jungle and downtempo mixes complete side A. On the flip Simoncino offers up 3 sublime remixes, Acid, Dub and Bonus Beats!

Rhapsodia (2018), 17'

(2 movements and 1 interlude)

Dedicated to Marceline Lartigue

Created in the composer's own studio. T

echnical collaboration: Jonathan Prager


Battements solaires (2008), 17'35

Music for Patrick Bokanowski's film.

Produced in the Kira BM Films studios

Production: Kira BM Films with ARTE France and CNC contributions

Best Film Award, 2009 EXiS Festival Seoul (South Korea)

Michèle Bokanowski's art is one of densities, much like the density of a given colour, a given depth. Her sound textures are, indeed, profound, both in the space occupied by their frequencies and the sharp temporal trail they leave behind. Here lies the composer's immense talent that finds the right development for each sound, letting it blossom before altering it, adapting the musical structure to let the sounds "be", even if it sometimes means returning to the most basic form, such as a loop. This is a sign of great honesty and artistic sensitivity; able to stand back and let the music become music. It is the most radical, the most accurate gesture of composition. The two pieces on this record, dissociated in time, both in their approach and destination, nevertheless reflect, each in its own way, Michèle Bokanowski's highly singular and insightful musical intuition.

François Bonnet, Paris, 2020

In March 2020, the Omakase team decided to gather some producers, musicians and singers they knew around a collective project, having the large electronic music spectrum as principal axis. From this idea was born, a few months later, a multiple opus, varied, rich of textures, shapes and influences going from trip-hop and bass to ambient, breaks, beat, house, lo-fi and jungle. This compilation, first record of the label, regroups several talented artists from the modern electronic
music scene who try to question sounds of today and tomorrow.

Proc Fiskal's second album sees a reorientation of the source elements of his music. Where ‘Insula’ fed off samples of the ramblings of his friends and sounds of his hometown, ‘Siren Spine Sysex’ is laden with an inner voice of sampled Gaelic, Irish and English folk music, contorted and imbued into the futurist body of modern pop; the ghostly anima image of the female folk voice and the lamenting wheeze of the accordion rub against the rush of icey 808s and angles of Grime. Joe Powers’ family history is in folk music, with several of his forebears active in the Scottish Folk revival of the 1960s. It's this cultural baggage - the Caledonian Antisyzygy of the earnest folk tradition he was raised in – alongside the modernist dance music he makes, that brings a personal element to the album. The music of ‘Siren Spine Sysex’ examines dance music as folk music, re-routing them both comparatively, with the wordless emoting of chopped and screwed Gaelic vocals leading to joyous pop songs like ‘8 Mgapixel See Thru Phone’ and 'Leith Tornn Carnal’. Though fast and detailed, ‘Siren Spine Sysex’ feels relaxed and pastoral at times, its edits and drums sensual, swelling, and reactive to the music, its textures influenced by the tinny 16 bit flutes, strings, and wacky scores of gaming soundtracks.

Lana Del Rey’s highly anticipated eighth studio album, Blue Banisters, set for release on 22nd October and featuring the previously released songs 'Blue Banisters,' 'Wildflower Wildfire' and 'Text Book.'

Cinema' is a brilliant snapshot of both artists working together in unison, with Fabrice providing his trademark 'high tech funk & soul' sound alongside Wolfgang's keen, tried and tested ability to fuse clever pop inspirations and catchy vocals through the use of robotic mechanics. Perfect music which balances the headphones and dancefloors on the horizon.
Five versions are on hand with the EP, including the original version of 'Cinema,' a French version of the original, as well as a remixes from Detroit's Ectomorph, UK Electro kingpin Carl Finlow, and Dutch synthesis maestro Versalife aka Conforce.
The original version of 'Cinema' is a gorgeous slice of sonic wizardry designed for exploring the borders between underground electronic club music and pop sensibilities. Catchy vocals play alongside a multitude of synth textures, coexisting perfectly in a melodic mélange equally as pleasing to the ears as the dancing feet. Catchy and clever vibes in equal doses.
Detroit legend Ectomorph's 'Sinema Mix' strips away the main elements and twists the original into an analogue heavy, heads-down drum workout saturated with carefully calculated effect manipulations to the vocals. Equal parts trippy and relentless, the remix is a broken beat workout designed to melt minds, fully ready for a dark concrete warehouse when permissible.
Electro legend Carl Finlow (Random Factor / Silicon Scally) delivers an interpretation of the original which stays loyal to the playful pleasantries of the original version. The signature bouncy, staccato-tinted grooves from Mr. Finlow are at center stage, with the UK producer fully embracing the original vocals and musical elements. A crisp, clean and precise remix, just as expected.
Versalife (aka Conforce) brings his beloved Dutch electronic style to higher levels with his take on the original, fully utilizing (what feels like) each and every one of his favorite machines from within his studio. Aggressive, quickly moving mischief is the name of the game with his remix, complete with sharp, attention- grabbing synths stabs and punchy, powerful drum programming.
!

Having played a key role within the fabric of the label since its
inception, Singaporean label Darker Than Wax are very proud to
present “Distant Dancefloor”, the debut album from original family
member Kaye.
Pondering the infamous Charles Mingues quote “Anyone can
make the simple complicated. Creativity is making the
complicated simple.” Kaye expertly crafts eight cuts of nononsense dancefloor heaters, pulling no punches as he channels
his love of Jazz chords and club shaking sounds into one
cohesive and irresistible package.
First single ‘Right For Me’ (due for release 1st September) dives
headfirst into proceedings, with chopped vocals samples
punctuating a driving rhythm section, punctuated by soaring
synth strings. Second single ‘All I Need’ (due for release on 29th
Sept) sees icy synth stabs plunging into a deep sea of percussive
sounds as captivating keys melody weaves itself through the
track’s roots.Sharing the stage are remixes by Jun Kamoda, Cain
and Ricky Razu, flipping the originals to almost unrecognizable
beasts in their own right. The deeply swung drums, off kilter
chord progressions and astral textures of ‘Distant Dancefloors'
meld together into a heady brew, intensifying the lament for lost
moments of nocturnal transcendence, which were so notably
missing from the past year.

Clear Vinyl

Side A begins with Veil of Secrecy, its darkness bubbling up from the depths of a strong bass groove, loaded with rich textures and quirky shifts. Psyk offers his hypnotic trademark on the remix, a stripped down feeling with skillful changes to provoke the mind.

Side B begins with Deep State, its intensity gripping immediately due to its lavish percussion, off-kilter leads and unrelenting rolling bass driving the masterly arrangement. The Fourth Branch marches an eerie minimalism into bass oblivion with an abundance of lush atmosphere and well timed changes.

We recognize that now is a difficult time in society across the globe and especially to our dance music community where the impact is still unknown, however because of this, we believe it is more important than ever to share a common bond and a love for techno.

Hidden proves again its strength in consistency and quality with another hard-hitting four-track EP by label boss, Deepak Sharma.

The release is tough, gritty, dark and reflective of both the times we live and the artist involved: Deepak Sharma's heavy, rolling and sobering originals are paired with a somber, powerful remix with subtle movements by Psyk.

Grey Marbled Vinyl

VARIÁT is the new experimental metal one-man band of Ukrainian artist Dmytro Fedorenko. Through dissonant noise poetry, corrosive synthesis, and subtle seeds of interiority and folk song, VARIÁT creates a sound world of austere urban psychedelia, invoking themes of primitivism and mysticism within the volatile currents of a contemporary digital era.

Conceived in 2020 as a provocative creative outlet, VARIÁT is founded on ideas of transgression, reinvention, and liberation, the consequence of observing prescribed artistic boundaries and pursuing new depths of aesthetic freedom. The project began as an exploration of new recording techniques: metallic materials used as percussion and channelled through blown amps, toms played with a hammer, drilled cymbals, raw, dimensional textures produced from found objects.

For the project’s debut album ‘I Can See Everything From Here’ a library of recordings rooted in musique concrète initiated countless sessions of seismic, discordant guitar noise and overloaded detonations of low end. Synthesizers calibrated and treated to sound like traditional instrumentation, rhythms of deluge and disarray. Compositions constructed with an intent to preserve their original modality; the chaotic spark of their inception.

The artwork created for ‘I Can See Everything From Here’ is an aquarelle (watercolour) painting, an ink-based projection which mirrors the sound of the album with dense, fragmentary shades of black and extensive tendrils of detail. A microcosmic depiction of the graphic power that defines ‘I Can See Everything From Here’.