THRILL JOCKEY - Forced Exposure

$14.50 PREORDER RELEASE DATE: 6/20/2025

"Metallic Life Review is the sound of two people who have collected field recordings of metal objects from around the world for years of their lives together, collaging their magpie hoard into rhythmic patterns, sometimes writing melodies and basslines, but sometimes just letting sound be sound. Patient gathering yields to ADHD editing. Painstakingly made but blink and you'll miss it. Is it music or is it noise? It is without a doubt exceptionally beautiful music wrought from metal detritus. By employing the strong contrast between a harsh industrial clatter-fest and a sweeter melodic dimension that acts as a deliberate counterforce, Matmos created an album that is utterly delightful. A 'life review' is a phrase used to describe the psychological phenomena reported by people who have survived near death experiences: the sense captured in the phrase 'my life flashed before my eyes.' Metallic Life Review is a kind of compressed fast-forward of Matmos' career with a sonic parade of the metallic objects from their lives. The sounds on the album were captured over the entire length of the existence of Matmos as a band. Metallic Life Review features Susan Alcorn's pedal steel, Owen Gardner's glockenspiel, Thor Harris' drumming, Jason Willett's (Half Japanese) guitar, and Jeff Carey's aluminum cans, which were melted, molded into custom aluminum rods, and then bowed and struck. The most dramatic difference from any previous Matmos album is that side two was recorded 'live in the studio,' ala Throbbing Gristle's Heathen Earth. For the first time on recording, Matmos capture the evolving, shifting, slithering dynamic that happens when they play live and let patterns emerge out of chaos and then collapse and then re-form. Their playful blend of compositional brilliance and improvisational playfulness meld perfectly, truly capturing ecstatic moments in a way that can only happen live. Metallic Life Review is a love story transmuted into sound, the result of a life filled with curiosity and powered by boundless exploration. Matmos have again made something spellbinding, brilliant and emotionally resonant.

"The two men of Matmos are living rebukes to the idea that conceptual art is somehow scary and inaccessible. When they decide to make a track out of the sounds of a breast implant or a cow uterus, they're challenging themselves not just to use those noises, but to make them sound funky and fun." --Pitchfork

"Drew Daniel and Martin Schmidt have been making music together for so long, and that their music has been so consistently good for so long really is remarkable." --The Quietus, album of the week

$25.00 PREORDER RELEASE DATE: 6/20/2025

LP version. "Metallic Life Review is the sound of two people who have collected field recordings of metal objects from around the world for years of their lives together, collaging their magpie hoard into rhythmic patterns, sometimes writing melodies and basslines, but sometimes just letting sound be sound. Patient gathering yields to ADHD editing. Painstakingly made but blink and you'll miss it. Is it music or is it noise? It is without a doubt exceptionally beautiful music wrought from metal detritus. By employing the strong contrast between a harsh industrial clatter-fest and a sweeter melodic dimension that acts as a deliberate counterforce, Matmos created an album that is utterly delightful. A 'life review' is a phrase used to describe the psychological phenomena reported by people who have survived near death experiences: the sense captured in the phrase 'my life flashed before my eyes.' Metallic Life Review is a kind of compressed fast-forward of Matmos' career with a sonic parade of the metallic objects from their lives. The sounds on the album were captured over the entire length of the existence of Matmos as a band. Metallic Life Review features Susan Alcorn's pedal steel, Owen Gardner's glockenspiel, Thor Harris' drumming, Jason Willett's (Half Japanese) guitar, and Jeff Carey's aluminum cans, which were melted, molded into custom aluminum rods, and then bowed and struck. The most dramatic difference from any previous Matmos album is that side two was recorded 'live in the studio,' ala Throbbing Gristle's Heathen Earth. For the first time on recording, Matmos capture the evolving, shifting, slithering dynamic that happens when they play live and let patterns emerge out of chaos and then collapse and then re-form. Their playful blend of compositional brilliance and improvisational playfulness meld perfectly, truly capturing ecstatic moments in a way that can only happen live. Metallic Life Review is a love story transmuted into sound, the result of a life filled with curiosity and powered by boundless exploration. Matmos have again made something spellbinding, brilliant and emotionally resonant.

"The two men of Matmos are living rebukes to the idea that conceptual art is somehow scary and inaccessible. When they decide to make a track out of the sounds of a breast implant or a cow uterus, they're challenging themselves not just to use those noises, but to make them sound funky and fun." --Pitchfork

"Drew Daniel and Martin Schmidt have been making music together for so long, and that their music has been so consistently good for so long really is remarkable." --The Quietus, album of the week

$27.00 PREORDER RELEASE DATE: 6/20/2025

LP version. Blue color vinyl. "Metallic Life Review is the sound of two people who have collected field recordings of metal objects from around the world for years of their lives together, collaging their magpie hoard into rhythmic patterns, sometimes writing melodies and basslines, but sometimes just letting sound be sound. Patient gathering yields to ADHD editing. Painstakingly made but blink and you'll miss it. Is it music or is it noise? It is without a doubt exceptionally beautiful music wrought from metal detritus. By employing the strong contrast between a harsh industrial clatter-fest and a sweeter melodic dimension that acts as a deliberate counterforce, Matmos created an album that is utterly delightful. A 'life review' is a phrase used to describe the psychological phenomena reported by people who have survived near death experiences: the sense captured in the phrase 'my life flashed before my eyes.' Metallic Life Review is a kind of compressed fast-forward of Matmos' career with a sonic parade of the metallic objects from their lives. The sounds on the album were captured over the entire length of the existence of Matmos as a band. Metallic Life Review features Susan Alcorn's pedal steel, Owen Gardner's glockenspiel, Thor Harris' drumming, Jason Willett's (Half Japanese) guitar, and Jeff Carey's aluminum cans, which were melted, molded into custom aluminum rods, and then bowed and struck. The most dramatic difference from any previous Matmos album is that side two was recorded 'live in the studio,' ala Throbbing Gristle's Heathen Earth. For the first time on recording, Matmos capture the evolving, shifting, slithering dynamic that happens when they play live and let patterns emerge out of chaos and then collapse and then re-form. Their playful blend of compositional brilliance and improvisational playfulness meld perfectly, truly capturing ecstatic moments in a way that can only happen live. Metallic Life Review is a love story transmuted into sound, the result of a life filled with curiosity and powered by boundless exploration. Matmos have again made something spellbinding, brilliant and emotionally resonant.

"The two men of Matmos are living rebukes to the idea that conceptual art is somehow scary and inaccessible. When they decide to make a track out of the sounds of a breast implant or a cow uterus, they're challenging themselves not just to use those noises, but to make them sound funky and fun." --Pitchfork

"Drew Daniel and Martin Schmidt have been making music together for so long, and that their music has been so consistently good for so long really is remarkable." --The Quietus, album of the week

$14.50 PREORDER RELEASE DATE: 5/23/2025

"Emptyset, James Ginzburg and Paul Purgas, explore both spatial and physical properties of sound; specifically the perceptible boundaries between it and noise. They have produced installations for Tate Britain and the Architecture Foundation in London. Emptyset's new album Dissever continues their exploration of the histories of 20th century electronic sound and media. Dissever delves into the intertwined evolution of cosmic rock, minimalism and electronic music, viewed through their prospective dreams and overlapping technological ambitions. Premiered at Tate Modern as a live performance, Dissever was part of the exhibition Electric Dreams, a large-scale survey of the global history of art and technology. The resulting album is astoundingly sublime, rich with sonics that are as thrilling and immediate as they are singular and dense with complexity. The compositions across Dissever draw threads from pioneering production methods emerging in parallel across the late 1960s, considering the cross talk between these fields and their radical intentions to carve out the future from differing paths, traversing the mystical and modern, while incorporating elements of the transformative, hypnotic, expansive and transcendent to define new principles within sound. The arrangements, performed live and captured in single takes, emerged across a series of sessions at long term collaborator Mat Sampson's recording studio in Bristol. This process revisited early hardware, spatial and multitrack recording techniques to create a dynamic body of material that could look back to these foundational musical forms and converge them through the lens of a reimagined timeline, cultivating a transmission from 1969 to the present and a sensory bridge to the past."

"Emptyset are in a class by themselves when it comes to excavating brutality out of silence." --Pitchfork

$25.00 PREORDER RELEASE DATE: 5/23/2025

LP version."Emptyset, James Ginzburg and Paul Purgas, explore both spatial and physical properties of sound; specifically the perceptible boundaries between it and noise. They have produced installations for Tate Britain and the Architecture Foundation in London. Emptyset's new album Dissever continues their exploration of the histories of 20th century electronic sound and media. Dissever delves into the intertwined evolution of cosmic rock, minimalism and electronic music, viewed through their prospective dreams and overlapping technological ambitions. Premiered at Tate Modern as a live performance, Dissever was part of the exhibition Electric Dreams, a large-scale survey of the global history of art and technology. The resulting album is astoundingly sublime, rich with sonics that are as thrilling and immediate as they are singular and dense with complexity. The compositions across Dissever draw threads from pioneering production methods emerging in parallel across the late 1960s, considering the cross talk between these fields and their radical intentions to carve out the future from differing paths, traversing the mystical and modern, while incorporating elements of the transformative, hypnotic, expansive and transcendent to define new principles within sound. The arrangements, performed live and captured in single takes, emerged across a series of sessions at long term collaborator Mat Sampson's recording studio in Bristol. This process revisited early hardware, spatial and multitrack recording techniques to create a dynamic body of material that could look back to these foundational musical forms and converge them through the lens of a reimagined timeline, cultivating a transmission from 1969 to the present and a sensory bridge to the past."

"Emptyset are in a class by themselves when it comes to excavating brutality out of silence." --Pitchfork

$27.00 PREORDER RELEASE DATE: 5/23/2025

LP version. Blue color vinyl. "Emptyset, James Ginzburg and Paul Purgas, explore both spatial and physical properties of sound; specifically the perceptible boundaries between it and noise. They have produced installations for Tate Britain and the Architecture Foundation in London. Emptyset's new album Dissever continues their exploration of the histories of 20th century electronic sound and media. Dissever delves into the intertwined evolution of cosmic rock, minimalism and electronic music, viewed through their prospective dreams and overlapping technological ambitions. Premiered at Tate Modern as a live performance, Dissever was part of the exhibition Electric Dreams, a large-scale survey of the global history of art and technology. The resulting album is astoundingly sublime, rich with sonics that are as thrilling and immediate as they are singular and dense with complexity. The compositions across Dissever draw threads from pioneering production methods emerging in parallel across the late 1960s, considering the cross talk between these fields and their radical intentions to carve out the future from differing paths, traversing the mystical and modern, while incorporating elements of the transformative, hypnotic, expansive and transcendent to define new principles within sound. The arrangements, performed live and captured in single takes, emerged across a series of sessions at long term collaborator Mat Sampson's recording studio in Bristol. This process revisited early hardware, spatial and multitrack recording techniques to create a dynamic body of material that could look back to these foundational musical forms and converge them through the lens of a reimagined timeline, cultivating a transmission from 1969 to the present and a sensory bridge to the past."

"Emptyset are in a class by themselves when it comes to excavating brutality out of silence." --Pitchfork

$14.50 PREORDER RELEASE DATE: 5/23/2025

"Thalia Zedek's considerable body of work demonstrates a clarity of vision, a singular performance style, and an expansive range. Her ability to deliver raw emotions through her vivid stories of loss and hope, strife and triumph is unmatched. Zedek has long been a melodic songwriter in a series of heavy bands. That contrast, alongside her distinct blend of both direct and poetic lyrics, allows her to sing of the most difficult of life's moments in ways that are both elevating and devastating. Out and proud her entire career, Zedek never hesitates to speak truth to power. The Boat Outside Your Window finds Zedek contemplating absence and distance, with songs as spirited as they are profoundly moving. The band is guitarist and vocalist Zedek, bassist Winston Braman, and drummer Gavin McCarthy (Karate), now joined by newest member, pedal steel guitarist Karen Sarkisian. On The Boat Outside Your Window, Sarkisian's counter melodies and oblique augmentations created with non-traditional tools like an ebow, add an otherworldly quality to songs. The grit of Zedek's guitar and drive of Braman and McCarthy are met with synth-like swells and more harmonic density. The album features guests Nancy Asch (percussion) and Beth Heinberg (piano) whose subtle touches are added to 'Shoes' and 'Aliyah.' The record was recorded with Andy Hong, mixed by Seth Manchester, and mastered by Sarah Register. Throughout the album, Zedek deftly uncovers how external realities manifest in internal worlds. Zedek's mastery of songwriting is on full display on The Boat Outside Your Window. Her unique musical voice remains potent and pointed. Cultivating her sound with purpose and an unflinching view of humanity, Zedek's words and music are both invigorating, and capable of deep emotional complexities. The Boat Outside Your Window is Thalia Zedek reaching new heights, reinforcing her status as a peerless songwriter and voice.

"Ms.Zedek's songs (are)... more hard-nosed, delivered... in a raspy voice that backed by the band's folk-rock, sounded surprisingly like Bob Dylan's." --New York Times

"she has rediscovered the energy that defined her work with Uzi, Live Skull, and Come, pouring imposing defiance into ten rocking cuts." --The Wire

"This is someone getting better at something they were already incredible at." --The Quietus

"her voice sounding like a cross between Nico and Patti Smith? musically she spans pedal-steel-laden country rock, punk menace and string-driven Velvets drones." -- Uncut

$25.00 PREORDER RELEASE DATE: 5/23/2025

LP version. "Thalia Zedek's considerable body of work demonstrates a clarity of vision, a singular performance style, and an expansive range. Her ability to deliver raw emotions through her vivid stories of loss and hope, strife and triumph is unmatched. Zedek has long been a melodic songwriter in a series of heavy bands. That contrast, alongside her distinct blend of both direct and poetic lyrics, allows her to sing of the most difficult of life's moments in ways that are both elevating and devastating. Out and proud her entire career, Zedek never hesitates to speak truth to power. The Boat Outside Your Window finds Zedek contemplating absence and distance, with songs as spirited as they are profoundly moving. The band is guitarist and vocalist Zedek, bassist Winston Braman, and drummer Gavin McCarthy (Karate), now joined by newest member, pedal steel guitarist Karen Sarkisian. On The Boat Outside Your Window, Sarkisian's counter melodies and oblique augmentations created with non-traditional tools like an ebow, add an otherworldly quality to songs. The grit of Zedek's guitar and drive of Braman and McCarthy are met with synth-like swells and more harmonic density. The album features guests Nancy Asch (percussion) and Beth Heinberg (piano) whose subtle touches are added to 'Shoes' and 'Aliyah.' The record was recorded with Andy Hong, mixed by Seth Manchester, and mastered by Sarah Register. Throughout the album, Zedek deftly uncovers how external realities manifest in internal worlds. Zedek's mastery of songwriting is on full display on The Boat Outside Your Window. Her unique musical voice remains potent and pointed. Cultivating her sound with purpose and an unflinching view of humanity, Zedek's words and music are both invigorating, and capable of deep emotional complexities. The Boat Outside Your Window is Thalia Zedek reaching new heights, reinforcing her status as a peerless songwriter and voice.

"Ms.Zedek's songs (are)... more hard-nosed, delivered... in a raspy voice that backed by the band's folk-rock, sounded surprisingly like Bob Dylan's." --New York Times

"she has rediscovered the energy that defined her work with Uzi, Live Skull, and Come, pouring imposing defiance into ten rocking cuts." --The Wire

"This is someone getting better at something they were already incredible at." --The Quietus

"her voice sounding like a cross between Nico and Patti Smith? musically she spans pedal-steel-laden country rock, punk menace and string-driven Velvets drones." -- Uncut

$27.00 PREORDER RELEASE DATE: 5/23/2025

LP version. Clear vinyl. "Thalia Zedek's considerable body of work demonstrates a clarity of vision, a singular performance style, and an expansive range. Her ability to deliver raw emotions through her vivid stories of loss and hope, strife and triumph is unmatched. Zedek has long been a melodic songwriter in a series of heavy bands. That contrast, alongside her distinct blend of both direct and poetic lyrics, allows her to sing of the most difficult of life's moments in ways that are both elevating and devastating. Out and proud her entire career, Zedek never hesitates to speak truth to power. The Boat Outside Your Window finds Zedek contemplating absence and distance, with songs as spirited as they are profoundly moving. The band is guitarist and vocalist Zedek, bassist Winston Braman, and drummer Gavin McCarthy (Karate), now joined by newest member, pedal steel guitarist Karen Sarkisian. On The Boat Outside Your Window, Sarkisian's counter melodies and oblique augmentations created with non-traditional tools like an ebow, add an otherworldly quality to songs. The grit of Zedek's guitar and drive of Braman and McCarthy are met with synth-like swells and more harmonic density. The album features guests Nancy Asch (percussion) and Beth Heinberg (piano) whose subtle touches are added to 'Shoes' and 'Aliyah.' The record was recorded with Andy Hong, mixed by Seth Manchester, and mastered by Sarah Register. Throughout the album, Zedek deftly uncovers how external realities manifest in internal worlds. Zedek's mastery of songwriting is on full display on The Boat Outside Your Window. Her unique musical voice remains potent and pointed. Cultivating her sound with purpose and an unflinching view of humanity, Zedek's words and music are both invigorating, and capable of deep emotional complexities. The Boat Outside Your Window is Thalia Zedek reaching new heights, reinforcing her status as a peerless songwriter and voice.

"Ms.Zedek's songs (are)... more hard-nosed, delivered... in a raspy voice that backed by the band's folk-rock, sounded surprisingly like Bob Dylan's." --New York Times

"she has rediscovered the energy that defined her work with Uzi, Live Skull, and Come, pouring imposing defiance into ten rocking cuts." --The Wire

"This is someone getting better at something they were already incredible at." --The Quietus

"her voice sounding like a cross between Nico and Patti Smith? musically she spans pedal-steel-laden country rock, punk menace and string-driven Velvets drones." -- Uncut

$25.00 PREORDER RELEASE DATE: 4/25/2025

"BIG|BRAVE's preternatural instincts and depth of skill as musicians are on full display on their most naked and austere record to date, OST. The trio entered the studio with broader concepts and themes in mind, but no preconceived music. The overarching concept was to make a film score for a film that had yet to be created, to use minimal instrumentation, or more specifically not their standard band instruments, and to improvise within these parameters. 'Although this record could stand on its own, we envisioned it being paired with moving images, which introduced a fresh and exciting way of working,' notes guitarist Mathieu Ball. In addition to forgoing their usual instrumentation, they notably built their own. Ball created a stringed instrument using piano strings simply called 'The Instrument.' This instrument ended up becoming a central figure to the OST's sound. Guitarist/vocalist Robin Wattie adds: 'The strings Mathieu used for his instrument came from a discarded piano thatch that had been laying around in the hallway of my tattoo studio for ages.' The instrument's presence is felt throughout the record as a conductive element amplifying the album's earthly, grounded nature. OST was fully written and recorded in the studio. The band was free to enter the live room and record a take with whatever instrument was at hand. Once they had a good foundation for a song, Ball, Wattie, drummer Tasy Hudson and even engineer/producer Seth Manchester would each build on it, layering takes, from instrumental improvisations to abstract vocals, until they felt it was a completed piece. Wattie's voice seamlessly blends with the instrumental flourishes made from 'The Instrument,' a Wurlitzer, prepared piano, synths and a very limited amount of electric guitar. Additionally, there is a sprinkling of flute by Melissa Guion (MJ Guider). The performances of each player are tactile and ardent, even at their most subtle and effected. Following OST's completion, BIG|BRAVE contacted director/ visual artist Stacy Lee to visually score the record. Director Lee and BIG|BRAVE, having previously collaborated, had established an artistic understanding which allowed BIG|BRAVE to give Lee no instruction, no limitations: the creative process synthesized across film and music. Select screenings with live performances are in the works."

"one of the most punishing and prolific bands in the contemporary avant-metal landscape" --Pitchfork

$27.00 PREORDER RELEASE DATE: 4/25/2025

Clear color vinyl version. "BIG|BRAVE's preternatural instincts and depth of skill as musicians are on full display on their most naked and austere record to date, OST. The trio entered the studio with broader concepts and themes in mind, but no preconceived music. The overarching concept was to make a film score for a film that had yet to be created, to use minimal instrumentation, or more specifically not their standard band instruments, and to improvise within these parameters. 'Although this record could stand on its own, we envisioned it being paired with moving images, which introduced a fresh and exciting way of working,' notes guitarist Mathieu Ball. In addition to forgoing their usual instrumentation, they notably built their own. Ball created a stringed instrument using piano strings simply called 'The Instrument.' This instrument ended up becoming a central figure to the OST's sound. Guitarist/vocalist Robin Wattie adds: 'The strings Mathieu used for his instrument came from a discarded piano thatch that had been laying around in the hallway of my tattoo studio for ages.' The instrument's presence is felt throughout the record as a conductive element amplifying the album's earthly, grounded nature. OST was fully written and recorded in the studio. The band was free to enter the live room and record a take with whatever instrument was at hand. Once they had a good foundation for a song, Ball, Wattie, drummer Tasy Hudson and even engineer/producer Seth Manchester would each build on it, layering takes, from instrumental improvisations to abstract vocals, until they felt it was a completed piece. Wattie's voice seamlessly blends with the instrumental flourishes made from 'The Instrument,' a Wurlitzer, prepared piano, synths and a very limited amount of electric guitar. Additionally, there is a sprinkling of flute by Melissa Guion (MJ Guider). The performances of each player are tactile and ardent, even at their most subtle and effected. Following OST's completion, BIG|BRAVE contacted director/ visual artist Stacy Lee to visually score the record. Director Lee and BIG|BRAVE, having previously collaborated, had established an artistic understanding which allowed BIG|BRAVE to give Lee no instruction, no limitations: the creative process synthesized across film and music. Select screenings with live performances are in the works."

"one of the most punishing and prolific bands in the contemporary avant-metal landscape" --Pitchfork

$29.00 PREORDER RELEASE DATE: 4/25/2025

Double LP version. "What happens when you combine SUMAC, a band that uses the volume, distortion, and guitar-centric approach of metal to make music that has the malleability of jazz and textural exploration of noise with Moor Mother, a poet and sound artist that has deconstructed hip hop to a point where it's less about rhyme and rhythm (though obviously both are present in her work) and more about oratorical cadence and power? The Film is an album that takes attributes of both artists' work and finds common ground in shifting musical patterns, and expressive force. The record is a musical thumbing of their noses at the more traditional approaches of their respective fields, an innovative, powerhouse of an album. The Film's moniker speaks to the fact that it is conceived and delivered as a complete album, a full story or narrative. Moor Mother puts it best: 'The idea is to create a moment outside of the convention. This is a work of art. Thinking about the work as a film, instead of an album or a collection of songs. This task is impossible in an industry that wants to force everything into a box of consumption. You won't understand or get the full picture until the artwork is completed. This work is developing and is requesting more agency within the creative process.' The Film does have clear themes running throughout -- again Moor Mother expounds: 'the themes are universal in nature -- land -- displacement -- the climate -- human rights and freedoms -- war and peace -- the idea of running away from the many violent forces and horrific systems of man and empire.' Heavy, holy, hypnotizing -- beyond existence, beyond the fettered constraints of normality, past the false notions of the indoctrinated disguised as the organic, planets form; the detritus of cosmic stuff merges into galaxies, into something that can sound like it's populated by suns. The Film is just such a work, a nebulitic collaboration between SUMAC and Moor Mother. The Film was recorded at Studio Litho in Seattle with Scott Evans. The album includes appearances by guest vocalists Kyle Kidd, Sovie, and Candice Hoyes."

"like self-perpetuating obstacle courses in hell. Ricocheting between formidable doom and barbed improvisation, Sumac sound preternaturally belligerent." --Pitchfork, 8.4 Best New Music

"her music sustains a constant, complementary tension between the hushed, folkloric mantras and defiant Afrofuturist litanies she shares, her sound drawing freely from noise, jazz, blues and beats while respecting the practice of each mode." --The Guardian

$14.50 PREORDER RELEASE DATE: 4/25/2025

"What happens when you combine SUMAC, a band that uses the volume, distortion, and guitar-centric approach of metal to make music that has the malleability of jazz and textural exploration of noise with Moor Mother, a poet and sound artist that has deconstructed hip hop to a point where it's less about rhyme and rhythm (though obviously both are present in her work) and more about oratorical cadence and power? The Film is an album that takes attributes of both artists' work and finds common ground in shifting musical patterns, and expressive force. The record is a musical thumbing of their noses at the more traditional approaches of their respective fields, an innovative, powerhouse of an album. The Film's moniker speaks to the fact that it is conceived and delivered as a complete album, a full story or narrative. Moor Mother puts it best: 'The idea is to create a moment outside of the convention. This is a work of art. Thinking about the work as a film, instead of an album or a collection of songs. This task is impossible in an industry that wants to force everything into a box of consumption. You won't understand or get the full picture until the artwork is completed. This work is developing and is requesting more agency within the creative process.' The Film does have clear themes running throughout -- again Moor Mother expounds: 'the themes are universal in nature -- land -- displacement -- the climate -- human rights and freedoms -- war and peace -- the idea of running away from the many violent forces and horrific systems of man and empire.' Heavy, holy, hypnotizing -- beyond existence, beyond the fettered constraints of normality, past the false notions of the indoctrinated disguised as the organic, planets form; the detritus of cosmic stuff merges into galaxies, into something that can sound like it's populated by suns. The Film is just such a work, a nebulitic collaboration between SUMAC and Moor Mother. The Film was recorded at Studio Litho in Seattle with Scott Evans. The album includes appearances by guest vocalists Kyle Kidd, Sovie, and Candice Hoyes."

"like self-perpetuating obstacle courses in hell. Ricocheting between formidable doom and barbed improvisation, Sumac sound preternaturally belligerent." --Pitchfork, 8.4 Best New Music

"her music sustains a constant, complementary tension between the hushed, folkloric mantras and defiant Afrofuturist litanies she shares, her sound drawing freely from noise, jazz, blues and beats while respecting the practice of each mode." --The Guardian

$32.00 PREORDER RELEASE DATE: 4/25/2025

Double LP version. Pink color vinyl. "What happens when you combine SUMAC, a band that uses the volume, distortion, and guitar-centric approach of metal to make music that has the malleability of jazz and textural exploration of noise with Moor Mother, a poet and sound artist that has deconstructed hip hop to a point where it's less about rhyme and rhythm (though obviously both are present in her work) and more about oratorical cadence and power? The Film is an album that takes attributes of both artists' work and finds common ground in shifting musical patterns, and expressive force. The record is a musical thumbing of their noses at the more traditional approaches of their respective fields, an innovative, powerhouse of an album. The Film's moniker speaks to the fact that it is conceived and delivered as a complete album, a full story or narrative. Moor Mother puts it best: 'The idea is to create a moment outside of the convention. This is a work of art. Thinking about the work as a film, instead of an album or a collection of songs. This task is impossible in an industry that wants to force everything into a box of consumption. You won't understand or get the full picture until the artwork is completed. This work is developing and is requesting more agency within the creative process.' The Film does have clear themes running throughout -- again Moor Mother expounds: 'the themes are universal in nature -- land -- displacement -- the climate -- human rights and freedoms -- war and peace -- the idea of running away from the many violent forces and horrific systems of man and empire.' Heavy, holy, hypnotizing -- beyond existence, beyond the fettered constraints of normality, past the false notions of the indoctrinated disguised as the organic, planets form; the detritus of cosmic stuff merges into galaxies, into something that can sound like it's populated by suns. The Film is just such a work, a nebulitic collaboration between SUMAC and Moor Mother. The Film was recorded at Studio Litho in Seattle with Scott Evans. The album includes appearances by guest vocalists Kyle Kidd, Sovie, and Candice Hoyes."

"like self-perpetuating obstacle courses in hell. Ricocheting between formidable doom and barbed improvisation, Sumac sound preternaturally belligerent." --Pitchfork, 8.4 Best New Music

"her music sustains a constant, complementary tension between the hushed, folkloric mantras and defiant Afrofuturist litanies she shares, her sound drawing freely from noise, jazz, blues and beats while respecting the practice of each mode." --The Guardian

$29.00 PREORDER RELEASE DATE: 3/21/2025

LP version. "Manchester's Gnod and New York's White Hills stand as titans of psychedelic and space rock. Together they bend the very notions of what rock can do, seemingly suspending our sense of time. Their alchemical chemistry and a fateful session at the Dropout Studio in Camberwell gave rise to the legendary, ongoing series of records under the moniker Drop Out. The records became an influential and sprawling series of extended pieces that remain touchstones of contemporary psychedelia. Having been called 'absolutely essential,' 'best I have heard -- ever,' 'A masterpiece,' the Drop Out series finally gets its definitive edition. Drop Out III is a wholly new iteration of Gnod and White Hills' collaboration, the 'director's cut,' if you will. Drop Out III is replete with sounds recorded in the 'Drop Out era' that have never been heard before. The album features a cornucopia of expanded versions of essential songs complete with new arrangements, mixes, and instrumentation. Classics like 'Run-A-Round' and the eponymous 'Drop Out' maintain their motorik drive and fizzing melodies with a new shine. The set also features a full LP of pieces never before included on vinyl, including the beautifully serene 'Air Streams' in its original droning arc. The album comes with a download of a full album's worth of bonus material, all crafted around the Drop Out era. White Hills' 'Decorating Time' showcases the depth of the band's subtlety, rich with minute turns and a twist of psychedelic ambience. 'Nothing NEU! Under the Sky' captures the invigorating pulse and dynamics of Gnod's live performances. Together, this expansive body of work epitomizes the sense of possibility each band exudes, and the potency of their expertly crafted brand of Transatlantic psychedelia. 15 years after the series began, Drop Out III is an essential album for lovers of contemporary psychedelic rock, a testament to the power of this collaboration."

"Gnod have been one of the constants, part of our sonic firmament...one of our most cherished groups." --The Quietus

"White Hills' nods to giants like Hawkwind, but their scope is wide and their execution is steely and precise" --Pitchfork

$14.50 PREORDER RELEASE DATE: 3/21/2025

"Manchester's Gnod and New York's White Hills stand as titans of psychedelic and space rock. Together they bend the very notions of what rock can do, seemingly suspending our sense of time. Their alchemical chemistry and a fateful session at the Dropout Studio in Camberwell gave rise to the legendary, ongoing series of records under the moniker Drop Out. The records became an influential and sprawling series of extended pieces that remain touchstones of contemporary psychedelia. Having been called 'absolutely essential,' 'best I have heard -- ever,' 'A masterpiece,' the Drop Out series finally gets its definitive edition. Drop Out III is a wholly new iteration of Gnod and White Hills' collaboration, the 'director's cut,' if you will. Drop Out III is replete with sounds recorded in the 'Drop Out era' that have never been heard before. The album features a cornucopia of expanded versions of essential songs complete with new arrangements, mixes, and instrumentation. Classics like 'Run-A-Round' and the eponymous 'Drop Out' maintain their motorik drive and fizzing melodies with a new shine. The set also features a full LP of pieces never before included on vinyl, including the beautifully serene 'Air Streams' in its original droning arc. The album comes with a download of a full album's worth of bonus material, all crafted around the Drop Out era. White Hills' 'Decorating Time' showcases the depth of the band's subtlety, rich with minute turns and a twist of psychedelic ambience. 'Nothing NEU! Under the Sky' captures the invigorating pulse and dynamics of Gnod's live performances. Together, this expansive body of work epitomizes the sense of possibility each band exudes, and the potency of their expertly crafted brand of Transatlantic psychedelia. 15 years after the series began, Drop Out III is an essential album for lovers of contemporary psychedelic rock, a testament to the power of this collaboration."

"Gnod have been one of the constants, part of our sonic firmament...one of our most cherished groups." --The Quietus

"White Hills' nods to giants like Hawkwind, but their scope is wide and their execution is steely and precise" --Pitchfork

$32.00 PREORDER RELEASE DATE: 3/21/2025

LP version. Orange color vinyl. "Manchester's Gnod and New York's White Hills stand as titans of psychedelic and space rock. Together they bend the very notions of what rock can do, seemingly suspending our sense of time. Their alchemical chemistry and a fateful session at the Dropout Studio in Camberwell gave rise to the legendary, ongoing series of records under the moniker Drop Out. The records became an influential and sprawling series of extended pieces that remain touchstones of contemporary psychedelia. Having been called 'absolutely essential,' 'best I have heard -- ever,' 'A masterpiece,' the Drop Out series finally gets its definitive edition. Drop Out III is a wholly new iteration of Gnod and White Hills' collaboration, the 'director's cut,' if you will. Drop Out III is replete with sounds recorded in the 'Drop Out era' that have never been heard before. The album features a cornucopia of expanded versions of essential songs complete with new arrangements, mixes, and instrumentation. Classics like 'Run-A-Round' and the eponymous 'Drop Out' maintain their motorik drive and fizzing melodies with a new shine. The set also features a full LP of pieces never before included on vinyl, including the beautifully serene 'Air Streams' in its original droning arc. The album comes with a download of a full album's worth of bonus material, all crafted around the Drop Out era. White Hills' 'Decorating Time' showcases the depth of the band's subtlety, rich with minute turns and a twist of psychedelic ambience. 'Nothing NEU! Under the Sky' captures the invigorating pulse and dynamics of Gnod's live performances. Together, this expansive body of work epitomizes the sense of possibility each band exudes, and the potency of their expertly crafted brand of Transatlantic psychedelia. 15 years after the series began, Drop Out III is an essential album for lovers of contemporary psychedelic rock, a testament to the power of this collaboration."

"Gnod have been one of the constants, part of our sonic firmament...one of our most cherished groups." --The Quietus

"White Hills' nods to giants like Hawkwind, but their scope is wide and their execution is steely and precise" --Pitchfork

$25.00 IN STOCK

"More Eaze and Claire Rousay's collaborations are effortlessly joyful; their music evoking the warmth and respect they have for each other. Their bond goes back to their youthful hometown of San Antonio, Texas where they played in country outfits and noise rock bands respectively. More Eaze (the moniker of violinist/multi-instrumentalist Mari Maurice) and Rousay have spent the past decade pushing boundaries, standing together at the vanguard of genre-shattering music that thrills and surprises with its vulnerability and creativity. no floor weds their prowess as sound designers and masterful skills as composers with their skills as acoustic instrumentalists. Eschewing the auto-tune inflected pop-psychedelia and found sounds of their previous collaborations, no floor is collage music as pastoral melancholia, a lush tour into their own version of Americana. On no floor the pair created their own elaborate sound world. 'It was a conscious choice to spend a lot of time making fucked up sounds and then figuring out how they could be beautiful in another context,' notes Maurice, 'With this record I had no idea what Claire would do on each track, and we were both trying to match each other's 'freak' in terms of sound design.' Rousay's ostinato guitar patterns and acoustic strums swim through tides of Maurice's pedal steel. Glitching electronics burble in dynamic fits as dramatic strings add waves of tension and release. No Floor's pieces are atmospheric, living biomes that breathe and grow with each passage, rewarding close listens with the revelation of its emotional core. The five tracks that make up No Floor were named for seminal bars in the pair's shared history, or as the duo humorously refer to them, 'Pillars of our debauchery.' No Floor is an introspective reflection on the emotional turmoil of youth as much as it is a celebration of a camaraderie forged in that turmoil. The album exemplifies the duo's shared skills in unearthing new and exciting sound arrangements, evoking the warmth and affection of their friendship and musical fearlessness."

"Pop at its most fragile, attenuated and surreal." -New York Times, Best of 2024

"The whole album flows like Brian Eno's Another Green World through the ears of a big Pedro the Lion fan." -Rolling Stone, Best of 2024

$27.00 IN STOCK

Red color vinyl version. "More Eaze and Claire Rousay's collaborations are effortlessly joyful; their music evoking the warmth and respect they have for each other. Their bond goes back to their youthful hometown of San Antonio, Texas where they played in country outfits and noise rock bands respectively. More Eaze (the moniker of violinist/multi-instrumentalist Mari Maurice) and Rousay have spent the past decade pushing boundaries, standing together at the vanguard of genre-shattering music that thrills and surprises with its vulnerability and creativity. no floor weds their prowess as sound designers and masterful skills as composers with their skills as acoustic instrumentalists. Eschewing the auto-tune inflected pop-psychedelia and found sounds of their previous collaborations, no floor is collage music as pastoral melancholia, a lush tour into their own version of Americana. On no floor the pair created their own elaborate sound world. 'It was a conscious choice to spend a lot of time making fucked up sounds and then figuring out how they could be beautiful in another context,' notes Maurice, 'With this record I had no idea what Claire would do on each track, and we were both trying to match each other's 'freak' in terms of sound design.' Rousay's ostinato guitar patterns and acoustic strums swim through tides of Maurice's pedal steel. Glitching electronics burble in dynamic fits as dramatic strings add waves of tension and release. No Floor's pieces are atmospheric, living biomes that breathe and grow with each passage, rewarding close listens with the revelation of its emotional core. The five tracks that make up No Floor were named for seminal bars in the pair's shared history, or as the duo humorously refer to them, 'Pillars of our debauchery.' No Floor is an introspective reflection on the emotional turmoil of youth as much as it is a celebration of a camaraderie forged in that turmoil. The album exemplifies the duo's shared skills in unearthing new and exciting sound arrangements, evoking the warmth and affection of their friendship and musical fearlessness."

"Pop at its most fragile, attenuated and surreal." -New York Times, Best of 2024

"The whole album flows like Brian Eno's Another Green World through the ears of a big Pedro the Lion fan." -Rolling Stone, Best of 2024

$25.00 IN STOCK

"Wrekmeister Harmonies, the duo of JR Robinson and Esther Shaw, are sonic shape shifters with expansive ideas. From special performances to collaborations the band have worked with David Yow (Jesus Lizard) Ryley Walker, Ken Vandermark, Bruce Lamont, Mark Solotroff, Sanford Parker, Jamie Fennely (Mind Over Mirrors), The Body, Mary Lattimore, Olivia Block, Jamie Stewart (Xiu Xiu), Chris Brokaw, Fred Lonberg-Holm, and Thor Harris (Swans). Inspired by artists such as Glenn Branca, Rhys Chatham, and Lou Reed, the duo approach each album as a new sonic adventure. Flowers in the Spring was born of deep, careful listening as much as composing. It explores music as a meditative practice with a focus on microtonal shifts and intersectional overtones. Robinson explains: 'It's the subtle movements within and without, the fine threads of sound, loud or quiet, interior or exterior that become valuable.' Limiting himself to just four mixer channels on each piece; precisely layering guitar and electronics, intently listening and manipulating either the intensity or the duration of each loop to yield unexpected interactions, moments of beauty as well as dissonance." Flowers in Spring emerges from fizzing distortion, hewing monolithic slabs of drone from the rock face while electronics push through fissures. 'Fuck the Pigs' uses layers of noise as it metaphorically shifts into the depths of winter, arctic winds howling while the guitar scars like frost across a windowpane. In contrast 'A Shepherd Stares Into the Sun' is pure light and heat, overwhelming in its sheer celestial enormity. 'Flowers Variation" was born of nature's microscopic subterranean movements in its primordial gloom and buzzing synth pads. Each track holds multitudes of micro sonic details coming together to form the album's expansive ecosystem."

"an immensely rewarding listen that takes both his band -- and the hybrid genre he's helping invent -- to new heights." --Pitchfork

"Robinson's musical vision is as naturally imposing on a recording as you imagine his grey-bearded, urbanshaman -- with-knuckle-tattoos-appearance would be in the flesh."- The Quietus

"Intense, genre-defying" --Brooklyn Vegan

$27.00 IN STOCK

Pink color vinyl version. "Wrekmeister Harmonies, the duo of JR Robinson and Esther Shaw, are sonic shape shifters with expansive ideas. From special performances to collaborations the band have worked with David Yow (Jesus Lizard) Ryley Walker, Ken Vandermark, Bruce Lamont, Mark Solotroff, Sanford Parker, Jamie Fennely (Mind Over Mirrors), The Body, Mary Lattimore, Olivia Block, Jamie Stewart (Xiu Xiu), Chris Brokaw, Fred Lonberg-Holm, and Thor Harris (Swans). Inspired by artists such as Glenn Branca, Rhys Chatham, and Lou Reed, the duo approach each album as a new sonic adventure. Flowers in the Spring was born of deep, careful listening as much as composing. It explores music as a meditative practice with a focus on microtonal shifts and intersectional overtones. Robinson explains: 'It's the subtle movements within and without, the fine threads of sound, loud or quiet, interior or exterior that become valuable.' Limiting himself to just four mixer channels on each piece; precisely layering guitar and electronics, intently listening and manipulating either the intensity or the duration of each loop to yield unexpected interactions, moments of beauty as well as dissonance." Flowers in Spring emerges from fizzing distortion, hewing monolithic slabs of drone from the rock face while electronics push through fissures. 'Fuck the Pigs' uses layers of noise as it metaphorically shifts into the depths of winter, arctic winds howling while the guitar scars like frost across a windowpane. In contrast 'A Shepherd Stares Into the Sun' is pure light and heat, overwhelming in its sheer celestial enormity. 'Flowers Variation" was born of nature's microscopic subterranean movements in its primordial gloom and buzzing synth pads. Each track holds multitudes of micro sonic details coming together to form the album's expansive ecosystem."

"an immensely rewarding listen that takes both his band -- and the hybrid genre he's helping invent -- to new heights." --Pitchfork

"Robinson's musical vision is as naturally imposing on a recording as you imagine his grey-bearded, urbanshaman -- with-knuckle-tattoos-appearance would be in the flesh."- The Quietus

"Intense, genre-defying" --Brooklyn Vegan

$14.50 IN STOCK

"Jules Reidy's sublime music maps the human experience in glittering constellations of sound. The guitarist is a driver of Berlin's fertile contemporary music scene. A wide-eyed imagination combined with technical mastery guide each work in Reidy's extensive catalog, from solo guitar albums and collaborations with innovative peers, including recent works with claire rousay, Oren Ambarchi, Andrea Belfi, and Sam Dunscombe to major commissions from JACK Quartet and Zinc & Copper. The songs of Ghost/Spirit collectively convey an astral sense of yearning and wonder, pushing towards transcendence. The album charts a deeply personal journey with love, spirituality and transformation expressed in fractal guitar figures, ethereal vocal vapors and rippling microtones. Reidy's guitar approach unlocks the tonal and textural possibilities of the instrument from their use of alternate tunings and astute processing. The maximalist melodics of album opener 'Every Day There's a Sunset' are bolstered by rumbling bass samples from Andreas Dzialocha, Reidy's collaborator in the duo Sun Kit. On 'Satellite,' cello samples from Judith Hamann stretch out through the cosmos, orbited by spiraling finger-picked guitars, while stacked trombone chords echo out into the ether. Thundering drum samples from Berlin metal mainstay Sara Neidorf push the album to ecstatic peaks on 'Every Day There's a Sunrise,' fragmented rhythms breaking apart in the atmosphere. Field recordings of the Berlin S-Bahn recur throughout the album, another endless cycle of leaving and returning that shuttles beneath the album's whirling tones. Ghost/Spirit captures the inherent power and agency in choosing to offer yourself up to the universe and let go, ego death and prayer rendered in incandescent sonics. Reidy's inimitable skill as a guitarist, producer and composer is on full display, and when combined with the intensity of experience, the resulting album is a remarkable work of art.

"Jules Reidy is another musician transforming the capabilities of an instrument, in this case the guitar -- somewhere between Vini Reilly, Glenn Branca and Kevin Shields." --The Guardian

"You grasp for names that might fit Reidy's elusive emotional register, searching in vain for an affective Rosetta Stone. The music feels both warmly familiar and uncomfortably alien; therein lies its power." --Pitchfork

"Like looking through a tinted window then trying to adjust to the world's normal colours. It's brilliant." --The Quietus

"[Their] music offers an intricate sonic tapestry of fingerstyle guitar, found sounds and spectral electronic drone." -- Crack

$25.00 IN STOCK

LP version. "Jules Reidy's sublime music maps the human experience in glittering constellations of sound. The guitarist is a driver of Berlin's fertile contemporary music scene. A wide-eyed imagination combined with technical mastery guide each work in Reidy's extensive catalog, from solo guitar albums and collaborations with innovative peers, including recent works with claire rousay, Oren Ambarchi, Andrea Belfi, and Sam Dunscombe to major commissions from JACK Quartet and Zinc & Copper. The songs of Ghost/Spirit collectively convey an astral sense of yearning and wonder, pushing towards transcendence. The album charts a deeply personal journey with love, spirituality and transformation expressed in fractal guitar figures, ethereal vocal vapors and rippling microtones. Reidy's guitar approach unlocks the tonal and textural possibilities of the instrument from their use of alternate tunings and astute processing. The maximalist melodics of album opener 'Every Day There's a Sunset' are bolstered by rumbling bass samples from Andreas Dzialocha, Reidy's collaborator in the duo Sun Kit. On 'Satellite,' cello samples from Judith Hamann stretch out through the cosmos, orbited by spiraling finger-picked guitars, while stacked trombone chords echo out into the ether. Thundering drum samples from Berlin metal mainstay Sara Neidorf push the album to ecstatic peaks on 'Every Day There's a Sunrise,' fragmented rhythms breaking apart in the atmosphere. Field recordings of the Berlin S-Bahn recur throughout the album, another endless cycle of leaving and returning that shuttles beneath the album's whirling tones. Ghost/Spirit captures the inherent power and agency in choosing to offer yourself up to the universe and let go, ego death and prayer rendered in incandescent sonics. Reidy's inimitable skill as a guitarist, producer and composer is on full display, and when combined with the intensity of experience, the resulting album is a remarkable work of art.

"Jules Reidy is another musician transforming the capabilities of an instrument, in this case the guitar -- somewhere between Vini Reilly, Glenn Branca and Kevin Shields." --The Guardian

"You grasp for names that might fit Reidy's elusive emotional register, searching in vain for an affective Rosetta Stone. The music feels both warmly familiar and uncomfortably alien; therein lies its power." --Pitchfork

"Like looking through a tinted window then trying to adjust to the world's normal colours. It's brilliant." --The Quietus

"[Their] music offers an intricate sonic tapestry of fingerstyle guitar, found sounds and spectral electronic drone." -- Crack

$27.00 IN STOCK

LP version. Red color vinyl. "Jules Reidy's sublime music maps the human experience in glittering constellations of sound. The guitarist is a driver of Berlin's fertile contemporary music scene. A wide-eyed imagination combined with technical mastery guide each work in Reidy's extensive catalog, from solo guitar albums and collaborations with innovative peers, including recent works with claire rousay, Oren Ambarchi, Andrea Belfi, and Sam Dunscombe to major commissions from JACK Quartet and Zinc & Copper. The songs of Ghost/Spirit collectively convey an astral sense of yearning and wonder, pushing towards transcendence. The album charts a deeply personal journey with love, spirituality and transformation expressed in fractal guitar figures, ethereal vocal vapors and rippling microtones. Reidy's guitar approach unlocks the tonal and textural possibilities of the instrument from their use of alternate tunings and astute processing. The maximalist melodics of album opener 'Every Day There's a Sunset' are bolstered by rumbling bass samples from Andreas Dzialocha, Reidy's collaborator in the duo Sun Kit. On 'Satellite,' cello samples from Judith Hamann stretch out through the cosmos, orbited by spiraling finger-picked guitars, while stacked trombone chords echo out into the ether. Thundering drum samples from Berlin metal mainstay Sara Neidorf push the album to ecstatic peaks on 'Every Day There's a Sunrise,' fragmented rhythms breaking apart in the atmosphere. Field recordings of the Berlin S-Bahn recur throughout the album, another endless cycle of leaving and returning that shuttles beneath the album's whirling tones. Ghost/Spirit captures the inherent power and agency in choosing to offer yourself up to the universe and let go, ego death and prayer rendered in incandescent sonics. Reidy's inimitable skill as a guitarist, producer and composer is on full display, and when combined with the intensity of experience, the resulting album is a remarkable work of art.

"Jules Reidy is another musician transforming the capabilities of an instrument, in this case the guitar -- somewhere between Vini Reilly, Glenn Branca and Kevin Shields." --The Guardian

"You grasp for names that might fit Reidy's elusive emotional register, searching in vain for an affective Rosetta Stone. The music feels both warmly familiar and uncomfortably alien; therein lies its power." --Pitchfork

"Like looking through a tinted window then trying to adjust to the world's normal colours. It's brilliant." --The Quietus

"[Their] music offers an intricate sonic tapestry of fingerstyle guitar, found sounds and spectral electronic drone." -- Crack

$14.50 NOT IN STOCK

"Midori Hirano and Brueder Selke's debut album Split Scale unites two artists who share both inimitable skill and depth of expression. Pillars of Berlin's new music community and globally lauded composers, they each share a background in classical tradition while practicing on the cutting edge of modern music. Split Scale is an elegant emotive ambient album built primarily from pianos and cello and electronics. After tracks on Longform Editions and the creation and curation of the Q3Ambientfest, this power pairing should be an immediate hit with fans of quality ambient or minimal modern music. As Brueder Selke, the polymath duo brothers Daniel and Sebastian Selke's interdisciplinary partnerships are vast and include classical institutions like the Hamburg Elbphilharmonie and Filmorchester Babelsberg. The brothers have additionally been working as musical directors of the Schaffrath Chamber Orchestra and curating their own festival Q3Ambientfest which has featured the likes of fellow artists such as Laura Cannell, Mabe Fratti/Resina, Jules Reidy, Grand River, Yair Elazar Glotman, and now-collaborator Midori Hirano. Midori Hirano's mastery of sound sculpting has put her in high demand as a composer for film and television, including recent soundtracks for All or Nothing, Tokito, and a documentary on the Premier League, alongside astounding collaborations with artists including Hprizm of Anti Pop Consortium and Ilpo Väisänen of Pan Sonic. In addition to her own composing, Hirano has remixed the likes of Robot Koch and Rival Consoles. Split Scale, the group's first album together, follows a series of live collaborations. The artists chose a simple concept, following a western scale from beginning to end, and from this created a suite of sublime, synesthetic soundscapes and cinematic movements. The vivid tapestry of sound and color is luminous and emotive.

"at once familiar and odd, with the ineffable quality of a dream" --Time Magazine on Midori Hirano

"they explore texture -- creaking strings, bashed wood, triple stopping -- over minimal one-chord drones with a horror-movie intensity." - The Guardian on Brueder Selke