★Moving Furniture Records

Bas van Huizen is a Dutch artist based in Xi'an, China. He mainly uses guitar, voice, found objects and computer to record work that ranges from beat based electronic music under the moniker Basi Goreng to more abstract works under his own name. In 2013 he added another pseudonym to his discography with an experimental noise album by Shoganai. In addition to music and sound art Bas van Huizen is also active as a video artist creating animation, music videos, live visuals, and video installations…

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.

Sound art titan Rutger "Machinefabriek" Zuydervelt teams up with unpredictable metal-tinged jazz combo Dead Neanderthals here for two lengthy tracks on this new LP. As you would expect from a combination of two such unusual acts, this LP is a perplexing mixture of ambience, noise, rock and jazz. There are two pieces here, on side A is 'The Thing on the Doorstep' and overleaf we've got 'The Colour Out Of Space'. Broadly speaking side A errs towards the dark ambient side of things while side B vee…

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.

200 copies. September 2022 I had a short tour in the UK with a couple of performances. One of them was at the beautiful venue Cube Cinema in Bristol during the Echoic Memory evening with Scanner. For this performance, I composed a new work, in which I further explore the perception of time. It follows much in the line of my previous works Embraced Imperfections and Less Is More. Not only because of the live performance, but also in atmosphere and mood. Yet, at the same time is even more dreamy, …

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.

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.

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.