The Sprawl
Distorted Nude is Glenn Dick's new project after Find Hope In Darkness, marking a decisive shift from a wholly computer-based practice to one centred on electric guitar. The Sprawl is a single composed track built from improvised sessions with guitar, effect pedals and laptop, drawing on the Belgian underground's long tradition of droning post-rock. The piece flows between dark melancholic drone and more transcendental zones, holding the listener through patient, slow-burning architecture.
Shade Of Impulse
Crijns's first album for the label, in which he coins the term 'N-bient': ambient understood as the meeting point of nature (here, water) and acoustic instrumental writing (passages by classical ensembles). Several classes of material collide and combine - mechanical sound-fields, natural ambient, electronic textures, ensemble passages - folded into surreal, layered textures. An electro-acoustic music whose abstract elements pull the listener inward while the surface holds quiet.
![dp[a] + hsh](https://cdn.soundohm.com/data/products/2022-03/Petrovic_DpaHsh_CD_01-jpg.jpg.500.jpg)
dp[a] + hsh
Petrovic's debut album bringing together two previously separate projects. dp[a] takes dysprosody - a rare speech disorder marked by unconventional shifts of pitch, volume and rhythm - as a model for an alternative grammar of expression. hsh, commissioned for a Dansmakers Amsterdam dance duet, takes its title from the Moroccan haschoema and addresses social control and the silencing of women. Glitch-inflected computer music as ethical and linguistic inquiry.
Parkustomnie
First documentation of an improvised session by Jean-Luc Guionnet (church organ) and Miguel A. García (electronics) recorded at the Conservatorio Jesús Guridi in Vitoria-Gasteiz in 2016. Across two pieces, the duo plays the dynamics of the electroacoustic field itself: the work is calibrated so that playing it at different volumes produces materially different listening experiences, with the threshold of audibility used as a compositional parameter. Particularly quiet, post-reductionist.
Bombinate
*2022 stock. 200 copies limited edition* After releasing Indite at Moving Furniture Records (April of 2015), the first one with MFR but the band’s second album, Haarvöl began a series of conceptual, somehow interconnected projects, restricting the boundaries of the sonic ambience to a very concise one. This long process gave birth to three albums, each one having a very particular sonic approach but knitted in a personal Haarvöl sound idiosyncrasy, which gives the trilogy a thread that intertwi…
ABC 1-6
Score for indeterminate ensemble by Swiss composer Stefan Thut (2012), here realised by Cristián Alvear, Cyril Bondi and D'Incise. The piece is governed by three categories of sonic material - 0 for faintly coloured noise, 1 for amalgam of noise and pitch, 2 for pure pitch - circulated across six pages and as many rounds in an ever-shifting structure of repetition and turn. A rigorous taxonomy of sound material in the lineage of Wandelweiser and post-Cage indeterminacy.
Artefact
First album under the Codespira1 alias by Stockholm-based composer Mattias Petersson, trained in electroacoustic composition at the Royal College of Music. The project began as a vehicle for one-take electronic performances built around SuperCollider patches and a modular system, here extended into longer structures. Artefact unfolds as an articulated drone modelling the subconscious cycle of memory and resonance: a continuous tonal field where small events trigger gradual reconfigurations.
Waanzintraan
Second album for the label, composed in China where van Huizen was based. Waanzintraan extends his investigation into what he calls 'the harmony of noise': not noise as genre signal but as aesthetic and visceral material, deployed within often consonant frames. The piece weaves processed field recordings from Shanghai and Xi'an into a sustained electronic discourse of contrasts, where harsh and resonant matter coexist within a unified compositional logic, on the ambient-noise threshold.
Indite
Composed during 2014, Haarvöl's second album consolidates the Portuguese trio's writing practice: a non-hierarchical compositional grammar where analogue, digital and electronic sources sit on equal footing, threaded with field recordings as structural rather than illustrative material. The trio favours density over experimentation for its own sake, building rigorously detailed cinematic textures whose internal consistency works through resonant correspondences rather than repetition.
Locked So Tightly In Our Dreams
On his first physical release, Glenn Dick steers Find Hope In Darkness away from the broken-beat and post-rock textures of his earlier digital work, redirecting it toward sustained drone form and the darker reaches of ambient music. The writing favours long, slowly modulating tonal masses over event-based gesture, working with low-register density, harmonic ambiguity and the gradual erosion of timbral edges. Dark ambient and isolationist drone treated as immersive interior.
Cheophiori
Recorded in a single late-night session in 2005 - electric guitar by Alasdair Satchel processed live by Ruaridh Law (TVO) through AudioMulch - and first issued as an elusively limited CD-R on Diesel Combustible. Here remastered to cassette with an added Orphax remix. The music sits on the threshold between drone and live processing: feedback and slow textural beds opened up through computer-assisted transformation, weighing organic warmth against an abstract, unstable foreground.
De Tragedie Van Een Liedjesschrijver Zonder Woorden
Drawn from material composed between 2005 and 2007 and revised through 2010, the first standard CD under the Orphax name. Sietse van Erve's writing rests on minute compositional detail: slow-shifting drone fields that drift between long-tone minimalism, isolationist soundscape and lo-fi experimental ambient. A deepening of Orphax's investigation into psychedelic, mind-altering atmosphere through reduced means, where harmonic stillness and slow textural accretion carry the structural weight.
Of What Once Was
A fifty-five-minute diptych. The opening piece transposes Yves Klein's Monotone Symphony (1949) onto solo electric guitar: a sustained drone on the pitch D, where variation arises only from durational shape and the changing morphology of resonance. The closing piece, live-improvised, marks Machinist's move beyond guitar-drone toward wider sonic terrain. Across both runs the same inquiry: spatial field recording against non-spatial computer tone, mediated by guitar amplifier as resonating body.
Play Cat's Cradle
Built entirely from a single acoustic source - a rare zither-family instrument of 114 strings, with eleven chromatic chord banks switchable between major, minor and suspended-fourth voicings via semitone levers, plus three octaves of plucked melody strings. Across two impromptu sessions, Sandy's playing is processed live by Rose: long sympathetic resonances, prepared techniques and varied attack points open a suspended landscape between minimalism, drone and modern classical.
Dream Sequences Volume 1 Orphax Reframed
First compilation in a series where other musicians reframe pieces from Orphax's ongoing Dream Sequence cycle, an open-ended sequence of experimental ambient and drone works. Haarvöl, Jos Smolders and Rutger Zuydervelt (Machinefabriek) each take a different Dream Sequence as point of departure, returning quiet contemplative re-readings that fold their own languages into the source. A study in remix-as-translation across the Dutch and Portuguese electronic-experimental axes.
Trees in General: and the Larch
Tip! ** 200 copies ** Matthew J. Saunders’ Twilight Sequence takes a title for this stunning 12” from the natural history series of books by John Hammerton called “Outline of Nature in the British Isles”. This track came about as the result of Merseyside promoters/record label “EmotionWave”, run by Neil Grant (Lo Five) putting out a request for submissions of 20 minute audio/visual pieces to be played in a marathon charity telethon aired online just before Christmas 2020. When “Trees in General:…
Haunted Bedrooms
Jilk are a UK based collective of musicians, fusing a bewildering collage of home-found sounds with the ambient soundscapes of washy synths, exquisite strings, insect-like clicks and cuts, and huge gorgeous waves of all encompassing experimental noise. Collaboration and open minded exploration are at the centre of all that they do.A year on from their debut release for Castles In Space, Jilk present their new album; “Haunted Bedrooms”. Eight diverse tracks exploring themes of rebellion, protest,…
Prairie Spells, A Ribbon Wove
*63 copies limited edition* "Prairie spells, a ribbon wove" is the outcome of a long-distance collaboration between Lightning White Bison (Adam Parks, also of Timber Rattle) and Drekka (Mkl Anderson), who at the time of its culmination were in eastern Czechia and central Indiana respectively. The four 11-minute tracks are a sonic document of the exploration and reconciliation of geographic disparity, the distance between the places in which the collaborators each found themselves in a time of i…
Great / Most Secret c/w The Miracle
If you saw Pillars and Tongues perform anytime during 2008 - 2010, the set you heard was likely comprised of two long songs. They are called “Great / Most Secret” and “The Miracle.”
Grieve
*50 copies edition* "Drekka's debut full-length, "Grieve", was release on August 24th, 1996. This was the day of my friend Phil Perry's funeral and the first copy was buried with him. Phil was one of the earliest and most enthusiastic supporters of my initial attempts towards making music, always honest and constructive when I was failing and always encouraging when I was making progress. Today, on the 25th anniversary of its release, I am unsure how I feel. I have created a body of work from th…