Electronic / Experimental

Diva of the diode’ Suzanne Ciani pairs up with Jonathan Fitoussi on ‘Golden Apples Of The Sun’, a whirring homage to W.B. Yeats and celebration of the timeless beauty of Buchla, Moog and EMS synthesisers. Recorded largely in Bolinas, California overlooking the Pacific Ocean, the waveforms of the modular synths share the hypnotic ebb and flow of the water, coaxing the listener into a buoyant trance. The term ‘Golden Apples Of The Sun’ is taken from Yeats’ poem ‘The Song Of Wandering Aengus’, which Ciani recites in full on the title track, turning his dreamlike imagery into almost extraterrestrial yearning

You Always Will Be is the new album by artist Dylan Henner. The follow up to 2020's well received 'The Invention of the Human', the new record touches on themes of nostalgia & longing for times passed; innocence yielding hardships and vice versa; ageing; the soul; life changes; parents and children; loss; love. Dylan says: "The piece tells the story of a single life, from birth to death. I've been thinking about the passage of life a lot recently as I lost all four of my grandparents but celebrated the birth of my daughter all within a short period of time. The brevity and preciousness of being really hit me." The vinyl release consists of a ~ 40 min piece split across two sides, while the digital release features extended versions of the music in that piece, making up 10 individual tracks. Anyone that purchases the full album from our bandcamp will be credited with the ~ 40 min piece automatically. Mastered by Rashad Becker Artwork designed by Dimitri Erhard

ZZK Records presents Mito y Comadre’s Guajirando, a journey into the reinvention of traditional Venezuelan music For years the ancestral riches of the folklore, culture and traditions of the indigenous peoples of Latin America have withstood the passing of time and the different impositions and trends of an increasingly globalized world that seems intent on pushing them into oblivion. Their fight to stay true to their roots and preserve their legacy means there is more and more interest in sharing these treasures with the world. Guajirando comes from this interest in finding recognition in our roots. This is the debut record from Mito y Comadre, the Venezuelan synth-pop and electronic roots group who with these nine previously unreleased songs take us on a journey through the sights and sounds of their country. The fusion of electronic sounds pays homage to a rarely explored music, one that is profoundly rooted in the territory, creating a dialogue between native percussions and rhythms such as the quitiplás, the malembe and the quichimba of Barlovento, the macizón and perra of the Caribbean coast, the calypso of the heartland, the flauta guajira and the gaita oriental, among other instruments. Backed by machines, electronic elements and the production of Grammy winner Christian Castagno (Bomba Estéreo, Systema Solar, Iggy Pop, Arcade Fire), they seek to bring visibility to these traditional rhythms with contemporary tendencies, creating a visionary fusion that places them on the scene as one of the most promising proponents of experimental Venezuelan music today.

My Strong Will is a new album of "Ethiopian Classical Music" by Girma Yifrashewa. Recorded with Bulgarian musicians and the Sofia Philharmonic Orchestra in Sofia, Bulgaria, the album is a return to where Yifrashewa completed his own conservatory training in the late 1980s and early 1990s, across both sides of the fall of Communism. Guided by Yifrashewa's piano, these chamber works bring the music of Ethiopia into a Western Classical format, uncovering meditative and emotional new vistas for both traditions.

Volume II is the second offering of orchestral navigations from Flore Laurentienne, the vessel of Canadian composer Mathieu David Gagnon. A passage along the St. Lawrence River's waters, Flore Laurentiene employs a palette of synthesizers, clarinets, and ensemble strings on Volume II to illustrate and illuminate the river's flow as swirling, serene melodies and vibrant vignettes. Limited edition blue vinyl includes a printed insert and a high quality, multi-format digital download.

Unfortunately, passed away last year, and as a result, it became a posthumous work, but a masterpiece suitable as a true monument of a new era that connects to the horizon of Cosmicche Musik (= ambient music) -Ambient-New Age has appeared! Brooklyn's Experi is the latest album by Pauline Anna Strom, a naturally blind female electronic musician based in the Bay Area, who has made a mark in the history of synthesizer music. A dignified release from the great mental sanctuary ! Strom who lost his eyesight tragically early due to complications of premature birth. After spending his childhood accustomed to a lot of classical music and moving to San Francisco, he was inspired by New Age music radio station Hearts Of Space, Klaus Schulze, Tangerine Dream and Brian Eno. To be fascinated by such electronic music. The outstanding view of music, which can be said to be the prototype of the early OPN ~ Flying Lotus, which was drawn in the works left in the 1980s, is still unabated even after being updated to the present age, and it is something unique to this person, and I still heard it. You can even hear the feeling that there is no music here and there. You will be amazed at the glitchy and unusual sound field of the leading single "Marking Time", but it is also a serious masterpiece full of quiet and crystal-like minimal new age!

The Medicine Singers groundbreaking debut LP on Stone Tapes, produced by Yonatan Gat, embodies decades of musical genres influenced by Native American music, offering what Pitchfork called a "vivid new context for the sound of the powwow drum, highlighting the debt that rock music owes to Native American music." This monumental album connects experimental music and traditional powwow in previously unheard ways, acting as a guided tour de force, taking listeners through the many different musical styles with roots (still being discovered) in Native American music. From psychedelic punk to spiritual jazz, from minimalism to electronic music. Their live show is the stuff of legend – the Medicine Singers set up, often in-the-round with the audience encircling the band, and go into a trance-inducing set where the walls between band and spectator, as well as between psychedelic rock and shamanic chants, are blurred. Or in the words of Canada’s Exclaim Magazine “the border between audience and performer had all but been dissolved by the sheer power of music. By letting the audience in on the action, [Medicine Singers] evoked a type of bodily experience that transcended mere observation.” Bridging multiple dimensions of sound, on their debut LP Medicine Singers expanded into a remarkable supergroup that also includes ambient music pioneer Laraaji, Thor Harris and Christopher Pravdica of Swans, “No Wave” icon and former DNA drummer Ikue Mori, trumpet player jaimie branch and guitarist/producer Yonatan Gat. Half a decade after the spur-of-the-moment story of how the musicians first met and unraveled their sound on an unsuspecting audience during SXSW 2017 when Gat saw Eastern Medicine Singers play on the street and invited the band to spontaneously join his show – the collaboration between the musicians reaches a climax with this breathtaking debut album as Medicine Singers, helping pave the way to this year’s rising wave of Native contributions to experimental music – shining a spotlight on guest vocalists representing indigenous nations from outside of the Northeastern Woodland tribal area. “Where else can you get all these different native people singing together on an album?” Jamieson asked. “On this album you have east, west, north and south all coming together. That’s why we say it’s medicine.” iframe style="border: 0; width: 350px; height: 472px;" src="https://bandcamp.com/EmbeddedPlayer/album=3001077196/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless>Medicine Singers by Medicine Singers

Jamila Woods has a voice and lyrical sensibility that transcends generations, and so it makes sense to have this lush and layered album that bounces seamlessly from one sonic aesthetic to another. This was the case on 2016's HEAVN, which found Woods hopeful and exploratory, looking along the edges resilience and exhaustion for some measures of joy. Her new album, Legacy! Legacy! is the logical conclusion to that looking. From the airy boom-bap of "Giovanni" to the psychedelic flourishes of "Sonia," the instrument which ties the musical threads together is the ability of Woods to find her pockets in the waves of instrumentation, stretching syllables and vowels over the harmony of noise until each puzzle piece has a home. The whimsical and malleable nature of sonic delights also grants a path for collaborators to flourish: the sparkling flows of Nitty Scott on "Sonia" and Saba on "Basquiat," or the bloom of Nico Segal's horns on "Baldwin." More than just giving the song titles the names of historical black and brown icons of literature, art, and music, Jamila Woods builds a sonic and lyrical monument to the various modes of how these icons tried to push beyond the margins a country had assigned to them. On "Sun Ra," Woods sings "I just gotta get away from this earth, man / this marble was doomed from the start" and that type of dreaming and vision honors not only the legacy of Sun Ra, but the idea that there is a better future, and in it, there will still be black people.  Soul music did not just appear in America, and soul does not just mean music. Rather, soul is what gold can be dug from the depths of ruin, and refashioned by those who have true vision. True soul lives in the pages of a worn novel that no one talks about anymore, or a painting that sits in a gallery for a while but then in an attic forever. Soul is all the things a country tries to force itself into forgetting. Soul is all of those things come back to claim what is theirs. Jamila Woods is a singular soul singer who, in voice, holds the rhetorical demand. The knowing that there is no compromise for someone with vision this endless. That the revolution must take many forms, and it sometimes starts with songs like these. Songs that feel like the sun on your face and the wind pushing flowers against your back while you kick your head to the heavens and laugh at how foolish the world seems.

The poetry of the human voice encounters the magic of contemporary electronic musical technology. Heart, mind and spirit, conveyed by the word, are augmented and altered, enhanced and embraced, by electronic sound. “Air from Air” is a collaboration between Japanese vocalist/producer Dove and American electronic duo Georgia. This singular partnership is a collection of audio poems in which words breathed by Dove are modified and expanded, cradled and celebrated, syllable by syllable and phrase by phrase. Georgia thoughtfully highlight Dove’s voice, transforming breath and air through the ether of circuitry, dismantling meaning, yet paradoxically revealing new meaning, both verbal and musical. Part of the magic here is that Japanese-speaking listeners will find clouds and constellations of meaning in these atmospheres, while those who do not understand Dove’s native language will nevertheless find pure pleasure in these same atmospheres. While some listeners may perceive it as a brand new extension of the attempts of contemporary music pioneers to explore the possibilities of human voice sound in sound art and electronic music, “Air from Air” will be rather a foray into the unexplored territory of new music, yet difficult to be named, extended into modern bass music and other fields. Available on LP and DL. Vinyl edition disc is made of environmentally friendly new material BioVinyl. Cover art by Sakura Kondo.

C.G. Roxane (Jake Orrall) 's new cassette album from London's The Trilogy Tapes.

C.G. Roxane (Jake Orrall) 's new cassette album from London's The Trilogy Tapes.

Aaron Anderson & Chris Hontos with Leonard King, William Statler, Chris Farstad and Eric Timothy Carlson. Mastered by Jack Callahan.

Ominira's owner Kassem Mosse a.k.a. DJ Residue's casette album released from The Trilogy Tapes. Features over 20 minutes drone ambient/experimental soundscape of surrealism.

LTD stock from The Trilogy Tapes !! Adam Badí Donoval is the founder & curator of Warm Winters Ltd.

Seoul duo Salamanda arrive on Wisdom Teeth with their latest and most focused LP yet: 'In Parallel' - a vividly textural and immersive record that brings a new level of clarity to their typically psychedelic, expansive approach. Since arriving in 2019, the pair - comprised of friends Uman Therma (aka Sala) and Yetsuby (aka Manda) - have been fast at work mapping out their elaborate, dream-state sonic world - prolifically honing their sound across four albums and over a dozen singles to date. Across their already-extensive discography the pair have established a few key calling cards. Mallet instruments and tuned drums play out playful music-box melodies; thick washes of gaseous ambience invoke otherworldly or ancient soundscapes; buried fragments of found sound and manipulated vocal are layered, giving their otherwise synthetic compositions a warm sense of first-person narrative. Ambient and Reich-school minimalism are the music’s most obvious sonic touchstones - yet the pulse of contemporary club and pop music have never been totally out of earshot. All of these themes come in to play here - but 'In Parallel' signals a step well beyond Salamanda’s work to date. Since 2022’s 'ashbalkum' (released on Wisdom Teeth alumni Tristan Arp’s label, Human Pitch), the duo have toured extensively: at classical institutions like London’s Kings Place as well as DIY club dens like Manchester’s White Hotel, all via a series of globally renowned festivals like Mutek, Nachti and Dekmantel. Their creative set-up has grown steadily alongside to incorporate a whole suite of new machines, processes and perspectives, taking their music in bold new directions in the process. The clearest development here is in the duo’s use of vocals - a shift that has been slowly taking place over their last few records, but that comes to a head on In Parallel. The album’s lead single 'Homemade Jam' is the closest the duo have come to writing an all-out pop track: its buoyant beat and autotuned vocals sounding like something SOPHIE and Charli XCX could have written after a particularly potent batch of mushroom tea. It’s a razor-sharp slice of alt-pop that offers a mouthwatering first look at what happens when Salamanda’s sprawling, unbridled creative energy is distilled right down into something concentrated and polished. At other points their sonic explorations lead them to embrace a more upfront approach to rhythm, skirting closer than ever before to the dancefloor in the process. The meandering drums and vocal chops on 'Paper Labyrinth' are underpinned by a firm 4x4 pulse, while the dembow groove of 'Tonal, Fluid' would feel right at home in a Nick León or DJ Plead set. 'In Parallel' is a record about connection, and the warmth and nostalgic simplicity of friendship is felt vividly throughout. Its title refers to the harmony the duo have found between them as friends and collaborators - and sonic parallels are traced throughout the record as testament to this. Motifs come and go before reappearing at later points: take, for example, the melody underpinning ‘Sun Tickles’, which returns in a different key and tempo on album closer ‘Mysterious Wedding’. Parallel lines are traced between each artist and through their music, linking back to their past and pointing ahead to the future. Only Salamanda know where these will take us next.

Dear gourmets of audio-aesthetic rapture, dear sound poets, please welcome - Pop Ambient 2024. Twenty-four. Twenty-four can be divided by two, four, six, eight, twelve and itself. If something can be divided by itself, it is not really divisible. Truthfulness knows no formulas. Beauty knows no formulas. Beauty saves the world for no reason whatsoever. “Beauty is a promise that beyond mediocrity there is something where calmness reigns. Beauty calms the nerves. Beauty is not a good intention but a fact. Beauty is provocation, rigor, responsibility. And beauty has its price”. In addition to the official version of Pop Ambient 2024, there will be an art/music edition limited to 10 pieces, consisting of an exclusive mini bonus album (vinyl dubplate) from Blank Gloss, in combination with 10 individual fine art print artworks by Veronika Unland. The edition will be available via kompakt.fm/art exclusively on November 24th, 2023. Ladies and Gentlemen please welcome, Pop Ambient 2024

Black Truffle is pleased to announce Tender Membranes, the label’s first release from Swedish-Finnish sound artist and electro-acoustic composer Marja Ahti. Active for a decade in the Finnish underground music scene, in recent years Ahti has developed a distinctive approach to patiently unfolding electro-acoustic constructions, documented on a string of solo releases and collaborative projects with Judith Hamann and her husband Niko-Matti Ahti. Working with concrete and instrumental sounds, field recordings, and electronics, Ahti favours neither disjunctive collage nor monolithic consistency; rather, her work is composed of organically unfolding sequences of details and textures, which, as she says, ‘can stretch out or cut fast as long as they have a sense of inner stillness’, a sense that she connects to moments of heightened attention in everyday life. Tender Membranes consists of four lengthy pieces, partly inspired by the image of the senses and mind as membranes allowing for the passage between inner and outer spaces, sensation and its causes, creating a world. Ahti’s unhurried pacing encourages this sense of listening as an opening or surrender to sound, which can often create the impression that the listener is moving through a space zooming in on details. The opening Shrine (Aether) exemplifies this aspect of Ahti’s approach: a bell clears the air with a single long tone, followed by the ambience of outdoor spaces, crackling electronics, an archival recording of a horsefly on a windowpane. Dozens of these moments, varying in length, density, and intensity, move past the listener’s attention, momentarily brought into focus then slipping away. Like those of the masters of the French musique concrète tradition, Ahti’s sounds are not often recognisable, though they might suggest proximity or distance, open environments or closed spaces, the urban or rural, day or night. In Ahti’s work, we do not encounter spectacular metamorphoses à la Parmegiani but rather a state of ambiguity where the listener is often unsure what is organic and what is inorganic, where the careful productions of the synthesizer might end and sounds discovered in the environment begin. What Ahti calls her ‘poetic way of experiencing and organising the familiar and the unfamiliar’ is sustained throughout Tender Membranes, but each piece has its own character. On Dust / Light, human presence is more overt, as what appear to be whispers, singing, and distant speech thread between high frequencies, untraceable drips and pops, and metallic shimmers. In all this there is a melody that you can sing and to which you may dance makes more prominent use of musical instruments, gaining a sombre beauty from half-buried piano chords and organ tones. On the closing Oh Fragrant Witness, a delicate cloud of subtly bending pitches is repeatedly disrupted by a resounding, almost ominous mass of low tones, at once a strange detour from much of what has gone before and an almost classical finale. Arriving in a sleeve reproducing contemporary Finnish photographer Sini Pelkki’s fragmented visions of the everyday, Tender Membranes is a balm to reawaken tired ears.

Black Truffle is pleased to announce Down On Darkened Meetings, the first solo release on the label from the quietly prolific Giuseppe Ielasi. Recorded at Ielasi’s studio in Monza outside of Milan over two days in February 2022, the seven pieces presented here continue the renewed exploration of the guitar that marks much of his solo work over the last few years. Emerging in the late 1990s as an improviser working primarily with prepared acoustic and electric guitars, the instrument became less prominent in his work over the next decade, ceding to loop-based constructs that would eventually split into abstracted takes on club music and hip-hop (including his work as Inventing Masks), on the one hand, and spectral electroacoustic explorations (such as the stunning triple disc 3 pauses), on the other. Returning to the guitar in recent years, he has approached the instrument as a source of shimmering metallic glissandi (Five Wooden Frames) or as the vehicle of elegiac double-tracked lines that feel almost like Frisell playing Feldman (The Prospect). Here the focus is on electric guitar filtered, looped, and splayed out into fields of irregular echoes through a bank of pedals.

Like many of Ielasi’s releases, Down On Darkened Meetings is structured as a set of short untitled pieces (here ranging between two and six minutes in length) that single-mindedly explore a single instrument or source throughout. The opening track immediately introduced the distinctive timbral world of fizzing, heavily filtered tones, chiming harmonics, and woozy looping bass figures inhabited throughout. At points it becomes near impossible to trace these sounds to the strings of an electric guitar; at others, as on the final two pieces, the instrument is unmistakable, as Ielasi builds up his shifting loops from snatches of almost unintentional sounding half-playing that give these closing tracks a hushed, private atmosphere reminiscent of Tolerance’s Anonym. While the repeating chords and hanging melodic figures present on many tracks call to mind earlier Ielasi classics like Gesine and Untitled, here the music feels less meticulously constructed than played: Ielasi’s lyrical guitar lines obscured by a battery of effects at times come across like a dilated take on the outer-fringe fretwork of improvisers like Henry Kaiser and Raymond Boni, and the muddy, asynchronous fields of pops and hiss at times wander into areas reminiscent of the hand-played dub techno of Vladislav Delay’s Multila.

Like much of Ielasi’s work in recent years, these seven pieces perform a delicate balancing act: between abstraction and immediacy, austerity and abundance. Imbued with Ielasi’s distinctive lightness of touch, considered approach to pacing, and subtly psychedelic approach to the stereo field, Down on Darkened Meetings is a major new work from a quiet master of contemporary experimental music.

Where is Agartha? What is the specific region in which it lies? Along what road, through what civilizations, must one walk in order to reach it?.’ Saint-Yves d’Alveydre in 1886 Agartha, the debut full-length album by Japanese producer Wata Igarashi, is a mysterious, divine thing. Named for the mythical secret kingdom, understood as a complex maze of underground tunnels, perhaps designed by Martians who colonised the Earth tens of thousands of years ago, it’s a similarly mystical, perhaps even cosmic trip – but this time, exploring an inner, deeply personal cosmos. Beautifully detailed and bustling with rich incident, it takes Igarashi’s music to new places, which still retaining his unique sonic imprimatur; in this respect, it’s perfectly at home with Kompakt, a label that’s always encouraged artists to make the visionary music they need to create, to take risks and make sideways steps into uncharted territory. An eloquent producer and DJ, Igarashi has been releasing techno for eleven years now, appearing on such imprints as The Bunker NY, Delsin, Midgar, and Time To Express; he has also self-released his productions via his WIP net label. Throughout, Igarashi has consistently explored his unique approach to techno and electronic music, one that’s eloquent and poised, even when it shifts into more psychedelic terrain; he’s a master at balancing the sensual and the functional, and he has an unerring ear for the right texture, the right tone, at the right time. He brings all of this into Agartha, his most thorough-going expression of self to date. For Agartha, Igarashi had a strong concept he wanted to explore. Visualising specific scenes from an imaginary film based on the titular secret kingdom, he created soundtracks for those scenes, spending time during the pandemic in his studio, working away carefully at the ten tracks here. Given his background in creating music for television and advertisements, Igarashi is well-placed to explore the marriage of the sonic and the visual in such intimate ways, but freed from commercial concerns, he let his imagination run riot. He also drew on a rich palette of musical influences – techno is in there, of course, but you can also hear the smoky, improvised jazz of the likes of Miles Davis (to whom the album’s title is an indirect nod), and the minimalism and systems music of Steve Reich. The latter is particularly pronounced on the gorgeous, beatless drift of “Floating Against Time”, where an arpeggiated sequence lingers, lovingly, around your ears for nine blissful minutes, coasting across swooning drones and waves of ambient noise. “Ceremony Of The Dead”, originally composed as part of a Sony 360 Reality Audio spatial sound concert, is a deep pass into systems composition, with various patterns overlaid and interlocking, before a wordless vocal rises from the depths, a gorgeous counterpoint to the swarming textures that gather across the track. On the other hand, tracks like “Burning” and “Subterranean Life” nudge toward Fourth World territory, painting deluxe dreamscapes of uncertain provenance; the title cut is an abstract drift-world, Igarashi painting an alien tableau dotted by shape-shifting creatures. Agartha’s conceptual framework means that everything on the album sits perfectly together; listening to it in one sitting is a dizzying, lush experience. Its imaginings of inner landscapes recall, in some respects, the nautical, aqueous mythologies of the Drexciyan universe, though from different perspectives. But the result is Igarashi’s own creation, a deluxe, enchanting trip through the visionary Agartha of this unique producer’s cinematic mind’s-eye.

Berlin party series and label AWAY Music continues its limited vinyl series called "Reissued", dedicated to re-releasing iconic cuts from the vast collaborative catalog of Move D & Pete Namlook. The third instalment "Reissued 3", which follows the series' first two EPs from previous years, features again some exceptional pieces that were previously only available on CD.

Recorded Live in Italy in October 1985 and mastered directly from the old dusty cassette, here's a previously unheard Steve Lacy recording from a rare duo appearance with pianist Martin Joseph, a little known yet fascinating British musician who had worked with Harry Beckett, John Surman, Ian Carr, Tubby Hayes among others, and who later became a regular presence on the Rome mid 70's creative Jazz scene. This recording gives us an opportunity to listen to the soprano sax giant in a repertoire not frequently found on his other duo recordings with pianists. The set list includes some of Lacy's finest compositions like "Prospectus", "Flakes" and "Coastline", plus Thelonious Monk's classic "Bemsha Swing" a tribute to Monk's visionary mastery where Joseph's contrapuntal response to Lacy's angular lines leads the music towards a multidimensional space, a quality to be found throughout the whole album, This is a wonderful discovery! and a significant addition to Lacy's discography and legacy. Contains printed inner sleeve with archival photos and extensive liner notes by two Italian soprano saxophone specialists Roberto Ottaviano and Eugenio Colombo, and pianist Martin Joseph himself.

Industrial music pioneers and chaotic art terrorists Throbbing Gristle came together in 1975 in Kingston Upon Hull, a formerly industrial city then in the midst of a long spiral of decline. Very Friendly, aka The First Annual Report is the legendary ‘lost’ album the quartet recorded in 1975 as the group morphed out of its COUM Transmission beginnings, the shocking title track an epic confrontational dirge recounting the brutal Moors murders of Ian Brady and Myra Hindley; elsewhere there are minimalist electronic deconstructions, episodes of distorted anti-music and droning chants of disturbing obscurity. In other words, essential TG!

Written and produced by Laurel Halo
Mixed by Cole MGN
Mastered by Jason Goz at Transition

Laurel Halo - Piano, synth, vibraphone, guitaret, vocals
Eli Keszler - Drum kit, dumbek, glockenspiel
Max D - Cowbell (Jelly)
Klein - Vocals (Sun to Solar, Jelly)
Lafawndah - Vocals (Jelly, Syzygy)
Michael Salu - Vocals (Who Won?)
Craig Clouse - Wurlitzer (Who Won?, Syzygy, Like an L, Do U Ever Happen)
Julia Holter - Cello (Do U Ever Happen)
Michael Beharie - Electric guitar (Moontalk)
Diamond Terrifier - Tenor saxophone (Arschkriecher, Who Won?)

“Sun to Solar” lyrics adapted from “Servidão de Passagem” by Haroldo de Campos (Something Else Press / Primary Information)

This recording was made at and with the support of the Curtis R. Priem Experimental Media and Performing Arts Center, Rensselaer Polytechnic Institute, Troy, NY.

Album design by Bureau Mirko Borsche
Photography by Phillip Aumann