MUSIC

One of the most notorious hatemongers in movie history is Captain Ahab from John Huston’s 1956 classic Moby Dick. His manic monologues cast a spell on generations of viewers. Berlin based musician and sound artist Jan Jelinek has now turned the voice of Ahab into a musical instrument. 

Faitiche presents Jan Jelinek's soundtrack for SEASCAPE – polyptych, an audio-visual software developed in collaboration with Canadian new media artist Clive Holden in 2022. SEASCAPE – polyptych is based on image and acoustic source material from Moby Dick. While Holden works on manipulating film sequences, the voice of Ahab plays a central role in Jan Jelinek’s soundtrack. The dynamic volume and tone of the captain's speech control a synthesizer system that turns Ahab's voice into ten abstract soundscapes.

In this production the voice gives the impulse and controls things but is not the sound of spoken word itself that we hear. Only occasionally can snippets of speech be heard so that syllables or sounds are recognisable. Instead we hear compositions made of hissing, soundscapes and eruptive sounds. The atmosphere is dark and sinister. Still every piece has a clear sonic structure and follows an understandable dramatic composition. This music is abstract but not overwhelming. Quite the opposite, SEASCAPE – polyptych is an invitation to listeners to let themselves be carried by the stream of sonic events. Although part of a media art work, the soundtrack can be enjoyed without any of this connecting superstructure. It works with no previous knowledge. But what happens when one does know that it’s the sonic waves of a human voice that is controlling a network of synthesizers?

If you want to hear Ahab, you will hear a choir of Ahabs in every piece of sound. The subliminal threatening as well as the conjuring Ahab. Finally the Ahab who whips up his crew and tears them with him into their downfall. The majestic „on the quay now, waiting and watching“, the oppressive “drawn towards the whirlpools center” - they are all music as well as sonic discourse.

Antigone is a chilling look at our already-alternate reality, coming from inside Eiko Isibashi’s own head. Her band brings a wide array of sounds and moods, shading pop, funk and jazz, ambient, electronic and musique concrète in a bittersweet latticework. Interlocking her new songs in seamless long-play flow with the compositional ambitions of her acclaimed soundtrack work, Eiko’s expressions are epic and intimate. 2025 will never be the same!<iframe style="border: 0; width: 350px; height: 406px;" src="https://bandcamp.com/EmbeddedPlayer/album=507708664/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://eikoishibashi.bandcamp.com/album/antigone">Antigone by Eiko Ishibashi</a></iframe>

BJ Nilsen returns with True than Nature, a collection that elevates everyday and environmental sounds through subtle electronic manipulation. Focused on the intrinsic properties of sound itself, the album draws attention to often-ignored sonic phenomena—industrial hums, echoes, labour, and material textures—transforming them into abstract, shifting soundscapes.

By withholding details about source locations and techniques, Nilsen encourages listeners to engage without preconceived anchors, allowing meaning to emerge through deep listening. Titles are left deliberately open-ended, offering symbolic cues rather than fixed narratives. The result is a contemplative, perception-altering experience that blurs the line between the known world and imagined sonic possibility.

Based in Amsterdam, BJ Nilsen has worked since the early 1990s across music, theatre, film, and sound design. His long-standing interest in field recording, environmental acoustics, and the psychological dimensions of sound has led him to explore both natural and industrial terrains, including recent studies of Arctic mining regions and urban soundscapes.

Nobody brings the ruckus quite like the Japanese. IKKII records invited Masaya Ozaki & Kaito Nakahori to join forces with visual artist Erwan Morère to create a hazy landscape of distorted violins on one of 2017’s most trying ambient noise efforts. Mythologies is limited to 300 copies, all fitted with beautiful hand-made artwork. Highly recommended for those who love drones in all colors of noise.

Marionette presents Mélodies pour Clairons, the debut album by multidisciplinary artist Ioa Beduneau. Based in the South of France, Ioa’s world is rooted in creation - building intricate self-playing installations and handmade DIY electronics. His practice is driven by a desire to connect, challenge, and open up dialogues around disability and other social constructs. Proudly identifying as a disabled artist who is attuned to how our bodies interact with the world, Ioa brings a fresh and inimitable perspective to electronic and electroacoustic music.

On Mélodies pour Clairons, Ioa contemplates lifeforms using modular synths, channeling principles of physical modeling and bioacoustics. Ideas begin on paper and evolve into sound, forming an abstract yet intentional sonic ecosystem. Clairons refers both to a musical instrument and to a loved one with whom this music was shared, serving as a kind of sound diary during the stillness of the pandemic. The movement of air, pressure, resonance, and the physical properties of the clairon (a medieval trumpet) are reimagined and manipulated on this album, resulting in impressionistic and deeply moving compositions with poetic sensibility. Organic ASMR tones, synthesized bird calls, and pirouetting melodies of pipes and bells score an imaginary biodome where chaos and harmony coexist. Striking and singular, these works embody the kind of boundary-pushing music that defines Marionette.

"Special thanks to my parents, my brother Saty, and Clairon for their unconditional support. And to Jean Love for the music research we used to share. " - Ioa Bedunea

Shadowing the swarming, boiling liminality of 'Croon Harvest' and 'Sub', 'The Vestige' unbalances Italian electroacoustic veteran Guisseppe Ielasi's subtle guitarwork with Manchester-based composer Jack Sheen's phantasmic post-'Automatic Writing' room tones and temporal irregularities.

Good one, this. It doesn't work on paper; the two artists' methodologies diverge significantly, with the Italian guitarist working in a more isolated fashion, while Sheen is best known for his ensemble work. But they're both drawn to sounds and forms that drift just out of focus - "mysterious, liminal musical material" in Sheen's own words - and that's the starting point for 'The Vestige'. They began by shuttling recorded material back and forth, Sheen using acoustic stems from his recent projects and Ielasi dubbing sketches with his guitar, and then polished up the ideas at Ielesi's studio in Monza, just outside of Milan. And there's an intentionality to this material that followers of either artists will recognize. Engineering the material so it's almost unrecognizable, the duo create a sequence of thirteen untitled tracks that represent the purity and allure of sound itself. Attempting to imagine this sonic liminality - a sound that's between realms, not quite music, not quite noise, not quite acoustic, not quite electronic - they blur the spectrum, creating a depth of field that's constantly captivating.

And although the album won't surprise anyone who spent time poring over 'Croon Harvest', the inclusion of Ielesi's delicate instrumentation widens the material and crumples some of its textures. On 'V7', we can hear those same Sheen-patented steam hisses and boiling whistles, but 'V9' sounds like that baton's been passed to Ielesi when his string-powered microsounds get treated with the same lopsided EQ processes. Both artists manage to mold their sources into impressions, where the texture of the sounds is more important than the aesthetic character. Just clap yr ears around the gamelan-like mid-range guitar twangs on 'V11', or the decaying brass that animates 'V12'. If you're fascinated by sound's plasticity, this one's for you.

Soundtrack to Cyprien Gaillard’s new stereoscopic film, Retinal Rivalry (2024), is an entrancing journey through Germany’s urban landscape and its layers of historical and social significance.

Don't let the name mislead you! The enigmatic M. Zalla is one of the numerous aliases of the italian maestro Piero Umiliani who, during his period of fascination for psychedelic and electronic atmospheres, started to compose a good number of musical portraits dedicated, as the title reveals, to the problems of his time. We are at the beginning of '70 and italians are worried by mafia, terrorism and social conflicts: so it has sense that the music choosen to represent this anxious problems has a sperimental nature; dark and disturbing, a sort of unicum in the long and extremly productive Umiliani career. And if, in 2015, titlesas “Mondo in Crisi”, “Problemi Sociali”, “Azione Sindacale”and “Mafia Oggi” sounds still sadly actual, it's even more surprising find that the music of “Problemi d'Oggi” (Today Problems) is projected on the future, sounding still alien and uniques. The record presents a various styles: Pink Floyd atmospheres (or Braen's Machine if you prefer...) and compositions characterized by a wide use of drum machines and synthetizer (MOOG and Sinthy). We just have to listen to the opening track “Produzione” to give sense to the words of Sean Canty (Demdike Stare) that defines it the first techno/trance track of the history; but between the grooves of this vinyl it's easy to find intuitions that many other artist and musicians – from Residents to Aphex Twin and Four Tet – will be able to catch during their carrers. So “Problemi d'Oggi” is released in 2015. Perfect timing!

After previous sonic impressions of Unguja and Borneo, Gonçalo F. Cardoso continues his meditative travelogue on island life with Impressões de Várias Ilhas, released via Discrepant. This third chapter draws from time spent across three archipelagos in Macaronesia—Azores, Cape Verde and the Canary Islands—melding field recordings with synthesis to explore the hazy border between real experience and remembered sensation.

Cardoso’s diaristic approach captures the resonance of water caves, black beaches, lagoons, and small-town life, processed into impressionistic vignettes that feel both intimate and unreal. These aren’t grand postcard statements but subtle, atmospheric sketches—never lapsing into sonic tourism but instead conjuring fleeting, liminal states.

From the gentle waves and echoing tones of ‘Bufadeiros de São Vicente’—not far removed from Beaches & Canyons-era Black Dice—to the eerie ambience of ‘Noite em Rabo de Peixe’ and the musique concrète-leaning unease of ‘Rãs em Xoxo’, Cardoso moves between warmth, strangeness and nostalgia. The closing ‘Salinas de Pedra Lume’ becomes a quiet epic, full of cracked recordings and spectral tones—less a travel document than a haunted reflection on place, memory and disappearance.

This collection, featuring seven pieces from 2011 to 2015, celebrates Noah Creshevsky's 70th year with a fittingly life-affirming and masterful verve. An award-winning composer who has studied with Nadia Boulanger and Luciano Berio, he began composing electronic music in 1971, using the power of circuitry, tape and then digital technology to create a "hyperreal" musical world in which recordings of human performers, both vocalists and instrumentalists, are juxtaposed and recombined in compositions which span eras, cultures and genres. His use of expanded musical palettes arises from an aesthetic of inclusion, guided by an open spirit and an expansive musical sense. The combination of the emotional power of human performances with the precision of computers create real-beyond-real super-performances of surprising control and virtuosity, resulting in a hypothetical and yet very real music, full of drama, humor, and tenderness. This CD, Creshevsky's second release on EM, following the 2004 "Tape Music" compilation, gives ample evidence of both his mastery of digital technology and his profound, empathetic musical instincts. His ability to use the computer to highlight the gifts of human performers is displayed on every track, including a piece which focuses on Japanese vocalist Tomomi Adachi.

+ Standard jewel case. 8P booklet.
+ Liner notes in English and Japanese by composer, critic and independent scholar George Grella, Jr.

The second volume of Invisible Inc’s 10-year anniversary celebrations has landed, hot on the heels of the scorching first volume.

Where Volume 1 focussed on the dub-style, electronic and ambient side of the label’s output, the second volume leans towards the ‘psych’ side of the label.

As has been a consistent pattern with the label in its decade of existence is its ethos of releasing new and exclusive tracks as well as releasing on vinyl pre-existing tracks that only ever saw the light of day in the digital realm. This compilation is no different. Alongside exclusive new material from Anna vs June, E Ruscha V, Banda Magnética, Exotic Gardens, Kanot and a Coyote remix of Sordid Sound System we also have for the first time on vinyl two tracks by Hena and Futurum that went somewhat under the radar first time round and really deserved to be shared with the wider world.

Returning to the unreleased oeuvre of the master of cybernetic sound Roland Kayn, frozen reeds hereby unveils a new high watermark for longform electroacoustic composition, unfolding across 15 CDs in a luxurious gold-stamped boxed set. Big tip! In 1970, Roland Kayn began a decades-long period of research, development and creation at the Instituut voor Sonologie in Utrecht. In the mid to late 90s, he retired, relocated to the Dutch countryside, and began to realise new electronic works at Reiger Recording Studio – his modest home facility. “I finally came to the conclusion,” Kayn would later point out, “that I no longer needed studios to construct my own electronic music.” The working methods Kayn arrived at individually – without the room-filling synthesisers, mixing desks and signal-processing equipment of Sonology at his disposal – saw him turning his own career into a cybernetic process. From the hours of recorded sound amassed in prior decades, he began processing and assembling a mountainous quantity of new music. His works of this period are focused on reabsorbing and recontextualising his life’s work to produce yet another series of utterly alien landscapes. From his retirement until his death in 2011, Kayn was wildly prolific, leaving an archive of dozens of finished electronic pieces. Earlier source material is often re-sculpted using the technology Kayn had available to hand, while other techniques such as sampling radio broadcasts or the plunderphonic quotation of others’ works occasionally intercede. No notes accompany any of this music – no word of explanation or expression of intent. Only the works and their titles remain, the latter often simply deepening the mystery. Their durations range from around 20 minutes to almost 18 hours. ‘The Ortho-Project’, presented here in its 14-hour entirety, is among the longest. At this scale, Kayn’s music is perhaps at its most immersive; the listener senses they are being invited to envelope themselves in a rich environment of diverse timbral physicality rather than a programmatic work. This is simply electronic music as you have never experienced it before. With Jim O’Rourke applying his signature restorative touch to the audio, and Robert Beatty taking his cryptic cybernetics-inspired artwork several steps beyond the label’s previous Kayn box, ‘The Ortho-Project’ (2007) – in its 14-hour entirety – finally sees a fitting release.

    
Entering its 26th year of activity, the morphing, Los Angeles based experimental outfit, Sissy Spacek, joins Shelter Press with Entrance, among the project’s most captivating outings to date. Encountering the duo of John Wiese and Charlie Mumma joined in various configurations by an incredible cast of collaborators - Tim Barnes, Marco Fusinato, Aaron Hemphill, Brad Laner, Katsura Mouri, Ralf Wehowsky, and C Spencer Yeh - collectively transformed into a series a deeply intimate and delicate gestures of musique concrète, Entrance radically repositions the possibilities presented by group improvisation outside of time and place.

Founded at the end of the last millennium, the Los Angeles based project, Sissy Spacek, initially emerged from the knotted, fiery context 1990s American noise and grindcore, producing sheets of visceral sonority that quickly set the scene on its head. Going through numerous evolutions, before eventually settling as a duo of John Wiese and Charlie Mumma - joined by a rotating and often recurring cast collaborators - over the last 25 years the band has continuously entered states of evolution that have defied the expectations of its own context, seeding the sonic extremes noise with subtle and sophisticated approaches to free improvisation and musique concrète.

Fiercely positioning its efforts within the outer reaches of contemporary experimental music, while resisting the constraints of a singular sound or proximity, Wiese regards Sissy Spacek as being primarily centred around the practice of musique concrète and the pursuit of extremes. From its earliest releases - collage treatments of material gathered from the band’s full throttle practice sessions - the project’s conceptual framework has continuously evolved within a deeply engaged process of experimentation, not only reworking tactical approaches, but also definitions and perception regarding the location and action of their work. In recent years, this has led to an increasingly varied and diverse output. Percolating within, is a thread marked by a striking sense of delicacy and intimacy, driving forward while doubling as an unexpected challenge, in real time, to perceptions connected to the band’s past. Entrance is the most recent of these.

Embarking upon the four compositions that comprise the finalized four sides of Entrance, Wiese and Mumma enlisted longstanding collaborators, Tim Barnes, Marco Fusinato, Aaron Hemphill, Brad Laner, Katsura Mouri, and C Spencer Yeh, as well as new initiate, Ralf Wehowsky (of the seminal German electronic noise collective P16.D4), requesting a contribution of sounds from each, determined by a general set guidelines that dictated certain qualities the given sonorities, while allowing for the expression of each player’s distinct creative voice. The sets of resulting recordings were then chopped, harvested, manipulated, and reassembled as the four tape compositions that make up the album - Web Of Unfolding Appearance, Figure Of Reflected Light, Trancher And The Inheritors, True Dimension (From The Opaque - Spike) - each blurring the lines of authorship and clear creative proximity in remarkable ways.

Where historical gestures of musique concrète tend to draw upon non-instrumental sound sources - regarding its sonorous material as raw elements, unburdened by inherent meaning or association, to be transformed and imbued with musicality - Sissy Spacek turns this position on its head. Entrance comprises works of musique concrète that not only draw upon instrumental sound sources, with all their possible meanings or associations, but also individual characters and personalities of their players, crediting each resulting piece to its respective configuration of contributors.

As such, Entrance is an effort of sound collage defined by a rare sense of intimacy and humanity: four pieces that often take on the resemblance of group improvisation, but have, in fact, been assembled outside of time and place. Bent under the ever-present hand of Wiese’s tape treatments and manipulation, each of the album’s four compositions unfurl startling states of sonic abstraction and percolating texture, marked by a striking sense of hard-shifting structure, that culminate as tense, driven manifestations of ambient music: scrapes, squeals, rattles feedback, rolling drums, bouncing tones, whispers, bent electronics, electric artefacts, and seemingly everything else under the sun, configured into immersive, sublime mediations in sound from the most improbable events. 

A Colourful Storm proudly presents remastered first-time vinyl and digital editions of Lone Capture Library’s modern-day DIY environmental masterpiece, All Natures Most Mundane Materials.

“Environmental”, you say? Well, this certainly wasn’t recorded for dinner party ambience nor was it commissioned by Harrods. But it does document a haphazard wander through the English countryside, feeling the air and the earth, detaching oneself from confinement while attempting to make sense of it all.

Its protagonist is Rory Salter, London's restless improvisor extraordinaire, who has contributed to dozens of solo and collaborative releases in an ecosystem centred around his Infant Tree private press, as well as recordings for Bison, Alter and MAL. Under his Malvern Brume alias, he is responsible for some of the most enchanting sides of contemporary concrète that has graced our ears, each record a dérive, revealing beauty and curiosity within London’s urban banality. And while we’d argue that Lone Capture Library applies this approach but instead seeks the peculiar within the pastoral, there, too, lies a certain hermetic recklessness, with its unique disruptive details and discarded sonic bric-a-brac permeating the air.

“I'd walked from Swindon to Avebury and back, which is about a 21-mile round trip. I'd been a muppet and did the whole thing down the A4361, which is not a road suitable for walking on - there was a lot of jumping into the hedges to avoid lorries. Turned out, there was a really nice walk across the fields I could have done instead. But maybe that sums it up quite well. Instinctive and very impulsive. The day following, I was at home and recorded it in single takes, improvised and straight to the tape. There was a good deal of significance for me in walking to the stones, passing the Hackpen Horse, being in the landscape and dealing with some brain rot after being stuck in a house, anxious and depressed. There was a sense of freedom and detachment. It was all about the materials of the earth and the body and fucking the brain off for a bit - just wanting to move between places. I dunno, it's all very cliché.”

A certain post-peak revelry and shaky fidelity of memory triggers and recall underlies Sebastian Carghini’s subtly trippy debut bow for topo2, the label run by erstwhile Dekmantel programmer Bert de Rooij and home to upsammy and Windu.

With a compelling poetic quality Carghini seduces us deep into hypnagogic states of mind with the mercurial ephemerality of his ‘Ramble’ album, an idealised iteration of the peculiar, subtle sound he’s developed over the past decade for the likes of Second Sleep, enmossed/Psychic Liberation, and Total Stasis. 

Leading on in the steps of upsammy’s gently febrile ‘Strange Meridians’, and the featured flows of ‘Juxtapose’ by Wind, the 11-part suite chases a frayed thread of memory looping logic thru processes that appear to uncoil and re-stitch the strands into forms of smudged dub tech and decayed electronica shades away from Actress’s iridescent greyscale, the Peak Oil x False Aralia dubtech soul axis, or even the sounds Andy Stott’s machines make when he’s not listening. 

    
Entering its 26th year of activity, the morphing, Los Angeles based experimental outfit, Sissy Spacek, joins Shelter Press with Entrance, among the project’s most captivating outings to date. Encountering the duo of John Wiese and Charlie Mumma joined in various configurations by an incredible cast of collaborators - Tim Barnes, Marco Fusinato, Aaron Hemphill, Brad Laner, Katsura Mouri, Ralf Wehowsky, and C Spencer Yeh - collectively transformed into a series a deeply intimate and delicate gestures of musique concrète, Entrance radically repositions the possibilities presented by group improvisation outside of time and place.

Founded at the end of the last millennium, the Los Angeles based project, Sissy Spacek, initially emerged from the knotted, fiery context 1990s American noise and grindcore, producing sheets of visceral sonority that quickly set the scene on its head. Going through numerous evolutions, before eventually settling as a duo of John Wiese and Charlie Mumma - joined by a rotating and often recurring cast collaborators - over the last 25 years the band has continuously entered states of evolution that have defied the expectations of its own context, seeding the sonic extremes noise with subtle and sophisticated approaches to free improvisation and musique concrète.

Fiercely positioning its efforts within the outer reaches of contemporary experimental music, while resisting the constraints of a singular sound or proximity, Wiese regards Sissy Spacek as being primarily centred around the practice of musique concrète and the pursuit of extremes. From its earliest releases - collage treatments of material gathered from the band’s full throttle practice sessions - the project’s conceptual framework has continuously evolved within a deeply engaged process of experimentation, not only reworking tactical approaches, but also definitions and perception regarding the location and action of their work. In recent years, this has led to an increasingly varied and diverse output. Percolating within, is a thread marked by a striking sense of delicacy and intimacy, driving forward while doubling as an unexpected challenge, in real time, to perceptions connected to the band’s past. Entrance is the most recent of these.

Embarking upon the four compositions that comprise the finalized four sides of Entrance, Wiese and Mumma enlisted longstanding collaborators, Tim Barnes, Marco Fusinato, Aaron Hemphill, Brad Laner, Katsura Mouri, and C Spencer Yeh, as well as new initiate, Ralf Wehowsky (of the seminal German electronic noise collective P16.D4), requesting a contribution of sounds from each, determined by a general set guidelines that dictated certain qualities the given sonorities, while allowing for the expression of each player’s distinct creative voice. The sets of resulting recordings were then chopped, harvested, manipulated, and reassembled as the four tape compositions that make up the album - Web Of Unfolding Appearance, Figure Of Reflected Light, Trancher And The Inheritors, True Dimension (From The Opaque - Spike) - each blurring the lines of authorship and clear creative proximity in remarkable ways.

Where historical gestures of musique concrète tend to draw upon non-instrumental sound sources - regarding its sonorous material as raw elements, unburdened by inherent meaning or association, to be transformed and imbued with musicality - Sissy Spacek turns this position on its head. Entrance comprises works of musique concrète that not only draw upon instrumental sound sources, with all their possible meanings or associations, but also individual characters and personalities of their players, crediting each resulting piece to its respective configuration of contributors.

As such, Entrance is an effort of sound collage defined by a rare sense of intimacy and humanity: four pieces that often take on the resemblance of group improvisation, but have, in fact, been assembled outside of time and place. Bent under the ever-present hand of Wiese’s tape treatments and manipulation, each of the album’s four compositions unfurl startling states of sonic abstraction and percolating texture, marked by a striking sense of hard-shifting structure, that culminate as tense, driven manifestations of ambient music: scrapes, squeals, rattles feedback, rolling drums, bouncing tones, whispers, bent electronics, electric artefacts, and seemingly everything else under the sun, configured into immersive, sublime mediations in sound from the most improbable events. 

The 5-CD set ‘The Way of Raku’ is a grand experiment that shatters conventional musical concepts. Electronic music and soundscapes merge, inviting the listener's consciousness into an infinite universe. With this work, composer Eloa pursues the ‘path of sound’ and opens up new horizons of aural experience. In this work, the composer Eloa combined Western musical traditions with Eastern thought to create a unique musical world.

The Way of Music is not just a musical work, but a meditative experience that takes the listener's consciousness into the abyss. It encourages the flow of time, the expansion of space and a dialogue with the self.

‘The Way of Raku’ eschews any visual elements and appeals solely to the sense of hearing. The listener is immersed in a flood of sound, weaving his or her own story.

‘Halos of Perception’ releases on November 3, 2023 with a hyperreal film in collaboration with Chinese-Malaysian Australian video artist Tristan Jalleh. Drawing from Lerkenfeldt's field work and electroacoustic practices, piano, cello and tape loop arrangements light up lost chambers and underground histories in a patchwork of reflective musique concrète, instrumental composition and surreal cinema. The artist's sophomore LP on Shelter Press spotlights underground networks opening questions of reality, virtuality and perception through oral traditions, experimental AV composition and diary-like vignettes.

This album, crafted entirely within a subharmonic framework and meticulously processed through tape manipulation, stands as Concepción Huerta’s sharpest work to date—undoubtedly her most abrasive, intense, and exhilarating. Her signature remains intact: a practice deeply rooted in drone, musique concrète, and hauntingly visceral textures—a kind of soundtrack that evokes powerful, image-driven narratives.

Conceptually, Huerta’s sonic vision evokes an image of open veins, not human veins, but those of the earth itself, the open veins of Latin America. These nervures are, in truth, rivers of lava; fury transmuted into fire coursing beneath the land until it erupts. The album is, in a way, a reflection on dispossession, resource extraction, and colonization. But beyond being a historical commentary—one that some might relegate to a forgotten past—it is also a reminder of the present, of how these practices persist in contemporary, postmodern guises.

It serves as both a tribute to the literary work of Eduardo Galeano, one of the most influential voices of Latin American leftist thought, and a howl from the Lacandon jungle in Mexico, resonating with the Zapatista struggle, the resistance of the Guaraní people in Paraguay and Argentina, and the voices of Indigenous communities across Latin America.

In the 16th century, a book titled Visión de los vencidos (The Broken Spears) was published in Mexico, compiling Nahuatl texts that presented the unofficial history, the account of the defeated. Concepción Huerta’s album El Sol de los Muertos (The Sun of the Dead) is not a call to action nor a reactionary manifesto, but an invitation to reflection, a historical reexamination. It urges us not to accept the official narrative at face value and serves as a warning, to remain vigilant and, within our capacities, resist the resurgence of fascism and colonialism in all its modern forms.



Originally named „Merz“, this album should have been Merzbow's first vinyl release, but never came out on vinyl. So actually "Yantra Material Action" is „Material Action 1“, recorded in 1981 - with sticker and insert

The clear vinyl version is only available in the limited 99 copies boxset "artefAKTs from the Early Japanese Experimental Noise Music Scene"

Presenting our second look at the music of Roger Doyle and Operating Theatre, a little known proto synth-pop act and experimental theatre group that he led, what you have here is a remastered and repackaged collection of two very different sides of this project. In reverse chronological order the second disc contains music from the United Dairies release of 1979 – ‘Rapid Eye Movements’. Experimental tape work heavily influenced by the French school of music concretists and recorded at various points during the 70s in Finland, Holland and Ireland, although it is most certainly a Roger Doyle solo record the label ran by Nurses With Wounds John Fothergill decided to release it under the group name for reasons now lost to the fog of time. After this a volte-face towards a more accessible sound, coming via his friendship with future Hollywood actress Olwen Fouéré and her connection to the theatre. It also featured the vocals of a young Spanish immigrant Elena López- bucking the 80’s trend by moving to, rather than, from Dublin. With Fouéré adding the theatrical element to the group (an almost essential part of any early 80s synth act) alongside pulsing synths, brass, a vocoder and the electro acoustic production talents of Doyle himself, it was the first time a Fairlight sampler was used in an Irish studio setting and gives a prescient but alternative take on the new wave sound that came to dominate the charts soon after. Doyle’s work on the newly released Fairlight sampler had brought him to the attention of U2’s Bono who had seen a feature about his sampling experimentations and reached out to him for piano lessons. This led to a deal on the bands embryonic Mother records for what Doyle calls his first “popular song” - Queen of No Heart - which alongside “Spring is Coming” made up the backbone of the EP which was released some years later (1986) on the Mother Records label. Established by U2 in 1984 and initially intended to launch Irish bands, many of the acts – including this one – were subsequently unhappy about the label’s haphazard approach to releases and lack of promotion. The record was released as a die cut 7 inch with the two main tracks and a 12 inch EP with additional tracks – ‘Part of My Make-Up’ / ‘Atlantean’ / ‘Satanasa’. The Mother experience was for Doyle and the rest of the group a frustrating one with no promotional plan and no tour. After that Operating Theatre as a quasi pop project ‘just kind of fizzled out’ says Doyle. Doyle, the musical maverick at the heart of the act, continues to produce to this day and has released 30 albums. A frequent collaborator we round out the record with a remix from another Irish outsider - Morgan Buckley of the Wino Boys.

Arranged (#1,#3,#5), composed (#2,#4,#6) by Tomonao Koshikawa Mastered by Taku Unami Cover image generated using the pattern generation software “Pré-Colombiano #1” by Andrei Thomaz, based on a pattern found in a pre-Columbian textile from Inca culture, Peru　　　 Layout designed by Graphic Potato ata 002 ---------------------------------- -Cassette and tape sleeve are made from recycled materials. -We would like to donate 30% of the profit raised from the digital sales of this work to the institutions which deal with the protection of environment and other global/social issues. We know that it is very very tiny amount but anyway our world consists of very tiny existence of individuals and we believe that actions should start from that level.