Moving Furniture Records super sale
Field Reports
First collaborative album by Philipp Bückle and Martijn Pieck (Cinema Perdu), grown out of their shared track for the Moving Music compilation. The vocabulary fuses field recordings with heavily treated modular synthesis to construct what the artists call a fictitious urban landscape on the other side of the door. Seven pieces unfold as a soundwalk through a city that does not exist - landmarks, brief encounters, machine sounds, muffled hallways - shot through with provisional sparks of light.
48 Hours
Third release in the MFR Contemporary Series. The Vonnegut Collective combines a recording of Thomas Adès's Piano Quintet (2000) - a dense, time-warping work requiring forty-eight hours of rehearsal - with a new commissioned piece by Tullis Rennie built around that process. Rennie's score interweaves rehearsal recordings and player interviews with improvised realisations of his own graphic score for the quintet, plus trumpet and electronics. Contemporary classical with embedded documentary.
Choosing Freedom
Second solo album by Gagi Petrovic, mastered by Jos Smolders. The pieces are performed on GEST, an instrument Petrovic designed himself with STEIM: a light-sensor interface that translates hand gestures breaking light beams into commands for a granular-synthesis environment built on audio recordings. The album frames itself as an exit from arbitrary expectations of what music should be, foregrounding intuitive performance and indeterminate structure within a precise compositional architecture.
Vauville
Debut album by the young Belgian composer Ryan Van Haesendonck, mastered by Stephan Mathieu. The pieces grew from a week spent on the quiet beaches of Normandy, then continued in Brussels after his move from Antwerp. The vocabulary combines field recordings of church bells, improvised organ sessions, urban recordings of the new city and saxophone passages by Silke Bull, layered into eight short pieces. Cinema-informed ambient on the theme of solitude and self-preservation.
Soleils Noirs
First in a series of collaborations between artists already on the label. Bruno Duplant on church organ, Alfredo Costa Monteiro on synthesizer, composing remotely a single long-form piece. The vocabulary moves between mass, flow and slow combustion: tonal accumulation that the artists frame in alchemical terms as an athanor of doubt and dream, a continuous sublimation that renews itself. Slow drone built across the organ-synth axis, mastered by Duplant.
Foliage
Foliage is a long-form graphic music score by Elliott Sharp, consisting of eighty risograph prints offered as abstract instructions open to any number of realisations by any instrumentalist or ensemble. Sharp works in the lineage of post-1945 graphic notation but with a contemporary twist: the score was produced by routing his own conventionally written music through graphics editing software, distorting, layering, inverting and blurring it until notation explodes into retinal artwork.
Worn Tape
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 deliberate counter-position to bombast. Its strength lies in the precision with which discrete, unspectacular materials are placed within reduced frames, locating the music in the lineage of Japanese onkyō and post-Schaefferian micro-concrete.
Paranon
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-programmed sine generators allow exact control of phase shift, interference and frequency drift between initial wave and successors. The resulting beats, difference tones and spatial events expose the physical richness of pure sound.
Dedans / Dehors
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 narrative. Meirino and Duplant arrange and contradict their sources so that the listener has to construct the story: recognition of materials and interpretation of their succession become themselves part of the compositional event.
Paintings
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 experimental composition, the titles functioning as discrete sound paintings spanning warm September evenings, rainy days, a seascape, a wedding. Mastered for vinyl by Stephan Mathieu. Ambient drone abstraction grounded in figurative diaristic detail.
Nobody Ever Escaped From There
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 1930s photo-electrical instrument by Evgeniy Sholpo that produces sound from cut-out discs recorded as optical film tracks, prized for its instability and colour. These are layered with field recordings, samples and synthesis, weighted to the low end.
Moving Music - Sounds From the Rocking Chair
Compilation that grew out of the label's December 2019 crowdfunding campaign. Twenty-four musicians contributed across sixteen tracks, mixing solo pieces with ten new collaborations (TVO & Jos Smolders, Radboud Mens & BJ Nilsen, Kouw & Petrovic, and others). The set holds together with surprising consistency across modular composition, minimalist ambient drone and electroacoustic experiment, functioning as a cross-section of the label's network at a precise moment.
Ridge Of Humming Spoils
Final volume of Haarvöl's trilogy. After the noisy beginning of Bombinate and the move toward the periphery of Peripherad Debris, the trio arrives at the frontier as a psychoanalytic empty signifier: an edge that holds both interior and exterior. The album is built from what they call 'whispering remains', material left behind by previous compositional decisions, here treated as a vantage point looking both backward and forward. Drone microsound at the limit of the project's own grammar.
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.
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.