★Moving Furniture Records

First studio meeting between two figures long circling each other in the Dutch experimental scene. The structure is itself a kind of mirror: Spiegeling is Machinefabriek's remix of Orphax's De Eerste Dag, Reflectie is Orphax's twenty-minute remix of …

Second album by DNMF, the duo formed between Machinefabriek and the Dutch droning free-jazz combo Dead Neanderthals. Across some forty minutes Smelter develops a highly dynamic amalgam of metal, drone and dark ambient, the heaviness of the Neandertha…

Two long drone pieces built around recordings of improvised saxophone. The first is a seventeen-minute work derived from material James Fella sent Orphax in 2006: multi-layered and roughly cut, with non-harmonic multitones colliding in the room and e…

Caveman is a document of Stamou's live practice: two complete extracts of solo improvised performances using his 'portable electroacoustic studio'. The setup combines acoustic instruments (prepared zither, reeds, recorders, objects) with handmade ele…

Two long-form pieces forgoing melody and rhythm in favour of pure texture. René Aquarius works in a register adjacent to Thomas Köner's darker drone music: a metallic sheen distributed across slowly shifting masses, gestures held to the minimum, ever…

Originally released by Ghent's Dauw tape label in 2016 and quickly sold out, here reissued on CD with two new interpretations added. The original is a pair of eighteen-minute pieces: Dwaal layers orchestral washes against radio static and erratic noi…

Cinema Perdu turns the spaces of Amsterdam Centraal Station - the roofs, the three access tunnels, the IJ-passage - into compositional material. The everyday sonic vocabulary remains constant (announcements, suitcases, conversation) but is reshaped b…

BJ Nilsen's first LP for the label, departing from his field-recording practice. Recorded during a Fall 2017 residency at Willem Twee Electronic Music Studio in Den Bosch, the five pieces document improvised sessions on modular synthesizers, tone gen…

An unusual collective release: Comes and Aldinucci composed their two pieces in complete isolation, exchanging neither studio time nor materials, but both worked from the same Nietzschean opposition - the moral codex of the Christian church against t…

Second album in Haarvöl's trilogy, picking up where Bombinate left off. Where the earlier work announced its sonic intention (bombinate, to hum), Peripherad Debris turns toward the conceptual periphery and to remnants of what has already been said: a…

A remix/recycle project by Preliminary Saturation (Steffan de Turck and Wouter Jaspers) built entirely from Jos Smolders's Textures and Mobiles (CONV, 2004), an album originally derived from a strictly limited palette of DTMF and CCITT telephone tone…

Bas van Huizen's third album for the label, and the point at which he turns explicitly toward the minimal and the ambient after the visceral noise of Kluwekracht and Waanzintraan. Kulverzuchter is hazy, ambiguous and understated: textures toned down …

Follow-up to There Was Hardly Anybody There (Spina!Rec, 2016). Belorukov moves once again away from improvised saxophone toward electroacoustic studio composition. A central role is taken by Boris Shershenkov's reconstruction of the Variophone, a 193…

Final work in a trilogy (Sketches, Drawings, Paintings) marking Philipp Bückle's return to music after closing his Teamforest project. Recorded in 2014 across Copenhagen and Dortmund, the album combines a visually organic sensibility with experimenta…

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 di…

An exercise in musique concrète in the Luc Ferrari sense: not soundscape, not reportage, but the deliberate assemblage by montage and superposition of recorded sequences drawn from disparate origins, composed into a continuity that functions as sonic…

Imanishi's first album for the label, presenting eleven miniatures built from small sounds drawn from his immediate environment: paper, objects, radio, field recording, microphone. The work is abstract in vocabulary but warm and slow in effect, a del…

Two compositions built on what van den Broek terms parameter canons of sine wave generators. The canon, classically a counterpoint device producing imitations of a line after a temporal offset, is here transposed onto pure electronic material: custom…

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…

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, commiss…

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 com…

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 electroaco…

*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 bo…

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 …

Mens and Kouw have worked together since 2001, when their first album emerged from the clicks 'n cuts vocabulary via raw mixer feedback recorded to minidisc and broadcast live on Amsterdam's Radio 100. The duo has since migrated into tonal and timbra…

Cinema Perdu is Martijn Pieck's solo vehicle for what he calls 'soundtracks without movies': field recording as compositional starting point, layered with synthesizers, contact-microphone material and other electronic sources to reconstitute the feel…

Recorded in Bad Zwischenahn in early 2016 as two live performances captured to a Zoom H4 - small Eurorack case, mixer, a couple of guitar pedals - Trübhand is built around long, slow modulations and resonant structures that rise and fall trying to fi…

Two pieces of multitrack composition built from sustained tones on solo acoustic instruments - a 'Jubel Töne' zither in the first, a 'Hohner Organetta' chord organ in the second - each extended through real-time electronic processing (feedback loopin…

"I hear atmospheres, sound shapes, gestural narratives, spectral trajectories, stochastic rhythms and phasic space when I encounter an environment rich in sonic phenomena. But in order to be open to this meta-sensory information, I must first get my …

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…

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 conson…

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 …

Inspired explicitly by Eliane Radigue's Vice Versa..., Orphax records two source pieces in AudioMulch using nearly identical virtual modular settings, varying only a single parameter, and then sculpts the resulting material in Reaper into two strict …

Frans de Waard's first full CD under the Modelbau alias, a project built around a deliberate constraint: cassettes, small synthesizers, guitar effects, microphone and amplifier, with little or no computer involvement. Four Squared Wheel was captured …

Orphax's second proper CD, built from a live performance at the Bimhuis in Amsterdam (a STEIM evening shared with Yannick Franck and Thomas Köner) mixed and edited together with a parallel home recording into one continuous work. Sietse van Erve draw…

Atsusaku is the collaborative output of Gareth Davis (Oiseaux Tempete, Scanner, Elliott Sharp, Machinefabriek etc) and Japanese noise mastermind Masami Akita aka Merzbow. A massive wall of sound over two tracks that moves from the shifting low-end st…

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 structur…

A four-movement work probing the reciprocal interference of sound and space. The source material is reduced to elementary sonic primitives - sine waves, white noise - then physically degraded through tape manipulation to generate pulses, beats and em…

Poetic Infomercial Experimentalism is a musical piece, consisting of two parts, that arose after Tapage (Tijs Ham) and Espoir (Roald van Dillewijn) found that no one else had ever tried to write it before. Since they both had a strong feeling that th…

Recorded in Athens in July 2014, the second album by 300 Basses extends the trio's move from free improvisation toward fixed composition. The investigation here turns on minimal but precisely framed actions: the beating patterns generated by long ton…