★Moving Furniture Records
Haarlemmerhout
Polack returns to the park in south Haarlem made famous by Nicolaas Beets's Romantic 1839 novel Camera Obscura, and uses it as the field for an exercise in urban escapism. Local recordings (pigs from the petting zoo, birds migrating north from Africa) are torn apart and rebuilt with layers of synthesis and electronics, blurring the line between unprocessed source and synthetic counterpart. Field-recording ambient in the lineage of Chris Watson, but tilted toward romantic synthesis.
Cuspa Llullu
Second collaboration between Anla Courtis and Daniel Menche, recorded across Portland and Buenos Aires. Two side-long pieces traverse a kaleidoscopic sound labyrinth: Side A moves through metallic, multi-layered corridors in constant mutation, Side B opens outdoors and gradually visits a sequence of interior regions toward a final climax. The sound material is treated as living, vibrating matter rather than inert sample, a study in frequency-as-organism on the drone-noise threshold.
Vlakverdeling
Cinema Perdu's third album for the label, extending his investigation of human impact on landscape after Interventions in a Landscape and Amsterdam CS. The material here is drawn from trips through the Frisian polder, where the strict demarcations of the Dutch countryside change atmosphere with weather and light but above all with the geometric clarity of human marking. Field recordings are read as abstract forms and colours, then translated back into new compositions.
En De Stilstaande Tijd
Continuation of the same piano source material used on the Piano Music 7-inch, here developed into a long-form work. Orphax takes a postcard he bought in a Spanish village in 2001, while studying geology, as imaginative axis: the tranquillity of small houses, church and sand road as a place where time appears to stand still. The album builds organ-like, slightly dissonant tonal fields whose slow evolution renders that frozen-time atmosphere as patient, quiet, nostalgia-saturated ambient drone.
States
States grew from a live-electronics setup developed by Tijs Ham (Tapage) in 2016: analogue feedback routed through digital manipulation to form a self-balancing, self-generating chaotic system, capable of producing its own deep melodic and textured material once the performer steps back. The 2017 sessions at Steim with bass clarinetist Gareth Davis insert a reed voice into this recursive system, opening it to spacious interplay between acoustic gesture and the autonomy of the patch.
Assemblée, Relâche, Réjouissance, Parade
Two compositions on the social and ritual function of music, drawn obliquely back into the experimental frame. The first piece, L'Anglard de St-Donat, takes a Central-French mazurka recorded from Alfred Mouret as its hidden source, building solid drones and recurrent structures from bowed and struck metal objects with quasi-melodic counterpoint. In Le désir the strategy inverts: detuned organs provide the rigid harmonic context within which bowed metal sticks are tuned.
Broken Landscapes
Follow-up to Atsusaku (2016) by Gareth Davis (bass clarinet) and Merzbow. The earlier theme of mechanical compression is here extended into a meditation on the fears of mechanisation in the natural environment: North Sea wind farms, Southern Californian industry, the survival of animals in overrun habitats. Three tracks of impenetrable manipulated field recordings against saturated bass clarinet midrange and Merzbow's analogue/digital crossfire, with brief recognisable voices flashing through.
Winter Trilogy / The Big Fall
The Winter Trilogy and The Big Fall trilogies were realized between 2015-2019 in the Netherlands and implemented into a sequence of live shows during the same period. Both inspired by cultural sonic imprints, the Winter Trilogy (computer & accordion) and The Big Fall (computer & analogue synthesizer) explore the potential and the antitheses between analogue versus digital while expressing a personal view of particular rural landscapes.
The Hex of Light
Long-form duo work by Jon Wesseltoft and Lasse Marhaug, ongoing since 2008 as an investigation into psycho-acoustics and the phenomenology of sustained sound. The Hex of Light, recorded in 2013, consists of two stringently close-knitted pieces built around microtonal frequency interaction and slowly unsettling shifts; each gradually blooms within its own sonic time, exposing binaural beats, ghost overtones and microscopic tonal motion. Trance-inducing drone in the most rigorous sense.
Not Knowing
Costa Monteiro's fifth solo accordion album, and the one in which he deliberately reverses his earlier recording strategy. Where previous works placed microphones almost inside the instrument to foreground materiality, structure and deconstruction, Not Knowing instead treats the accordion as an object in space, with the architecture of the recording room becoming essential to the work. The result blurs the limits of identification, holding the instrument's identity in productive uncertainty.
Horizontal Alliances, Vertical Conflicts
Nine years after Play Cat's Cradle, Rose and Sandy return to the same ecclesiastical source - here an auto-harp from the same convent - for a second extended collaboration, again played and processed live. The album divides into nine spectral bands functioning as strings to be stopped, muted or amplified, and reads the intervening years as a shift from devotion and idealism to entropy and conflict. The acoustic body remains, but its overtones now turn cold, shrill, fractured.
Fean
**200 copies** Fean started as a musical artist-in-residence project in a little church in the Frysian village Katlyk. The group consists of Jan Kleefstra, Romke Kleefstra, Mariska Baars and Rutger Zuydervelt (Machinefabriek), who also form the quartet Piiptsjilling. For Fean they are accompanied by Belgian guests Annelies Monseré, Sylvain Chauveau and Joachim Badenhorst. The Fean project gets its inspiration from the ecological decay of peatland in the Dutch province Friesland and in other part…
Spaces
**200 copies** "Spaces is a series of compositions based on recordings in museums. Each work builds on a binaural recording of the environmental sounds a museum and each has been processed based on different concepts. The approach for processing and adding of electronic sounds was inspired by an artwork that was hanging in the museum space. So space and artwork form a unity. As a composer and mastering engineer I am extremely sensitive to the sounds around me. But I’m also a keen visitor of muse…
Obscurum per oscurius
The Latin title - 'explaining the obscure by means of the more obscure' - frames a collection of drones composed by Kouw across an extended period, in which the initial moments of inspiration are deliberately obscured in the final material. Long-form ambient drone work, mostly close to alien stillness with the occasional submerged rhythmic emergence, the album positions itself in the alchemical lineage where the act of explanation projects further mystery into what it claims to clarify.
Siticidelhous
Companion volume to Parkustomnie, drawn from the same 2016 sessions at the Conservatorio Jesús Guridi in Vitoria-Gasteiz. Guionnet (church organ) and García (electronics) again use volume as a compositional variable: the music is engineered so that at low playback levels the performance feels restrained and exquisitely subtle, while at high volume entirely new sonic strata emerge in overwhelming detail. Electroacoustic improvisation that turns the amplifier into part of the score.
Dead Beats
Dead Beats: A new composition by American avant-garde composer Alvin Curran for Dutch pianist Reinier van Houdt, brought together with the first ever recording of Inner Cities No 9 '9-11-01' The piano has always been at the core of Alvin Curran's oeuvre. Granted, you'd expect a statement like that from the liner notes to a collection of his piano pieces. In this case, however, he's said so himself, in a candid interview with sound artist Andrew Liles: "It’s the focal point and kind of a totem fo…
Terreng
Long-form duo work between Balázs Pándi (percussion) and Jon Wesseltoft (electronics), shaped as an open landscape of contrasts articulating space in both time and depth. The two players alternately trade and merge their instrumental identities, generating zones of improvised openness alongside densely constructed electroacoustic narrative. The vocabulary moves between quiet, ritually framed rhythmic space and saturated information, held as deliberate counterweights.
Breach
Zeno van den Broek's most aggressive work for the label, framed around chaotic systems and the energetics of protest and riot. Sine waves, noise and grid logics from his architectural-conceptual practice are pushed into pitch-black metal-electronic territory, with polyrhythmic structures driving the buildup and release of accumulated tension. A formal study of chaos that retains his rigorous minimalist vocabulary while shifting it into visceral, high-energy mass.
2
Second half of a two-part album by Mens and Kouw, recorded live in studio in December 2014 and following directly from the first volume. The two long-form pieces extend the duo's pursuit of precisely tuned analogue synthesis: deep, warm drone fields that gradually disclose, to patient listening, a rich substructure of resonances, artefacts and slowly shifting collages of texture. Material that resists time as event-based articulation and proposes it instead as immersive sonic sculpture.
Piano Music
Two short pieces built from piano recordings made by Orphax at De Ruimte in Amsterdam Noord during summer 2017. The 7-inch marks a deliberate break with his usual drone vocabulary, foregrounding more openly melodic ambient writing and treating the piano as the primary voice rather than as raw material. One of his most personal works to date, dealing in textural terms with closure, regret and the slow effort of moving on.