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Utility Fog


Your weekly fix of postfolkrocktronica, dronenoise, power ambient, post-everything improv... and more?
Sunday nights from 9 to 11pm on FBi Radio, 94.5 FM in Sydney, Australia.
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Playlists are listed with artist name first, then track title and (remixer), then [record label]. Enjoy the links.

Sunday, 31st of March, 2013

Playlist 31.03.13 (9:08 pm)

Pretty big show tonight, with some mutant drum’n’bass descendents from Demdike Stare and associates, some amazing drones, and experimental indie sounds.

LISTEN (AGAIN or for the first time) via the link at the bottom, subscribe to the podcast, or stream on demand from FBi (best if you’re connected)!

Father Murphy is an Italian trio mixing everything from contemporary classical to black metal, which makes it no surprise that our favourite Marseillais, Philippe Petit, is into them. His remix here comes from a connected 7″ and CD set of reworkings on the ever-adventurous Aagoo label.

In the incredibly fecund Italian experimental scene, Giuseppe Ielasi‘s name is one that stands out. Among a disturbing number of new releases this year already, he’s started a series of beautifully-packaged CD miniatures, with semi-randomly-generated not-quite-found-sounds. I love the not-rhythms of the slapping micro-percussion sounds here.

In more accessible territory we have a beautiful extended piece from offthesky, dreamy washes and subtle beats. I hear there’s a new release from his less droney Juxta Phona alter ego coming on Nomadic Kids Republic – can’t wait.

In more gritty drone, we have a stunning EP out from Sun Hammer. He loves his bass, and even connects it with “Bass” music, albeit without beats and barlines… His signature waves of distorted bottom end are here, along with textured spectral drones and muffled spoken samples. It’s quite short and quite immersive.

Next up, a big special on a couple of artists on the Boomkat-affiliated Modern Love label. Andy Stott lives in a more 4/4 world than I usually visit, but despite the regimented kick drums of his normal, house/techno-derived, fare, the production is so stunning that I was totally sucked in to his album and EPs of the last couple of years. It turns out that he actually makes more upbeat breaks/post-drum’n’bass style beats under his female alter ego Andrea, and has released a few 12″s with Millie, the alter ego of Miles Whittaker, one half of Demdike Stare (and also MLZ and one half of Pendle Coven).
Whittaker too comes from more of a techno background, and Demdike have tended to be a little too oppressive and repetitve for my ears, but there’s a strain of hardcore/drum’n’bass/dub/dubstep through their work which surfaces now and then, along with the dark and thrilling production, which I’ve tried to draw out tonight.
Most excitingly there’s a distinct love of classic jungle and distorted breakbeats which can be heard in the mysterious releases under the Hate / Unknown Artist guise (another Modern Love affiliated label, along with the Daphne label which released the Millie & Andrea collaborations). There’s tightly swung post-dubstep beats on the one hand, and also slowed-down jungle of an early ’90s flavour. Then again, the first Demdike 12″ of 2013 features a long track with crazily distorted amen breaks, and now we have Whittaker’s debut album as Miles, which takes the more beat-oriented Demdike sound, mixed with the viciously-EQ’d Andy Stott-style production, and then on a couple of tracks again references jungle’s breakbeat science (albeit from a weird angle). Pretty thrilling stuff…

And so we get to some “real” jungle, from Finland’s amen king Fanu, who keeps the d’n’b faith like no other right now. If you’re into drum’n’bass at all, you should be following his podcast.

A few weeks ago I played a couple of tracks from the excellent EP from Vacant Lake, which is the solo project of Beres Jackson from the now not-solo Karoshi. You should really check out the EP – lovely lsuh ambient electronica with clicky beats.

Sample Minds is a project from Sydney luminary Mashy P, taking in his love of world music and dub, not quite dubstep but somewhere near there, with some pretty epic vibes to it.

And finally, Kell Derrig-Hall has most recently been doing the singer/songwriter indie/country thing with The Singing Skies, but before that he and his partner Lia Tsamoglou (also singer-songwriting as Melodie Nelson) were a much-loved experimental synth duo Moonmilk. On Kell’s new SoundCloud under his own name, a couple of tracks have just appeared which are in the vein of wandery simple synth stuff, like sitting on the porch with your Casio in the afternoon. Very pretty. And I finished with Seaworthy‘s stunning rework of The Singing Skies from last year. Yes.

Father Murphy – Diggin’ the bottom of the hollow by Philippe Petit [Aagoo]
giuseppe ielasi – (or a set of models) track 11 [self-released]
offthesky – Through The Lines [SEM label]
Sun Hammer – Incantations IV [Sun Hammer Bandcamp]
Sun Hammer – Incantations I [Sun Hammer Bandcamp]
Andy Stott – North To South [Modern Love]
Millie & Andrea – Temper Tantrum [Daphne]
Hate / Unknown Artist – Human Resources [Hate]
Hate / Unknown Artist – Pretty Boy (GFTUA Mix) [Hate]
Demdike Stare – Collision [Modern Love]
Miles – Lebensform [Modern Love]
Miles – Archaic Thought Pattern 1 [Modern Love]
Demdike Stare – Mnemosyne [Modern Love]
Fanu – Daggers (feat. Emily Bowlan) [Fanu Bandcamp]
Vacant Lake – Release [available from SoundCloud]
Sample Minds – River of Lights [unreleased/SoundCloud]
Kell Derrig-Hall – Roof of Trees [unreleased/SoundCloud]
The Singing Skies – A Message From The Cliffs (Seaworthy remix) [Preservation] {free download from SoundCloud}

Listen again — ~ 106MB


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Sunday, 24th of March, 2013

Playlist 24.03.13 (9:04 pm)

A bit of everything on tonight’s Utility Fog. LISTEN AGAIN via the link at the bottom, subscribe to the podcast, or just stream on demand (the only stereo option – sorry!)

Trent Reznor’s How To Destroy Angels project with his wife Mariqueen Maandig and his movie soundtrack collaborator Atticus Ross releases their album this week, following an EP which perhaps wore its Nine Inch Nails derivation a little too strongly – although even then it was a different beast. On this album Maandig is not saddled as much with Reznor’s distinctive vocal melodies, and in particular our opening tack tonight, “Ice age”, showcases the sweetness of her voice over a kalimba-like melody, with some nicely sinister drones coming in at the end. It’s got enough NIN in there to satisfy us, mind you. Definitely worth a listen!

Really nice seeing UFog fave Machinefabriek turning up on The Notwist‘s Alien Transistor label. His recent interest in analogue synths continues, with some nice subtle drum machine beats in the mix too. New vistas (vergezichten) for Rutger? Well, straight drone has only ever been part of what he does, but I think his recent stuff has been particularly strong.

Then we had a couple of excellent local repeats from last week (er, not the same tracks, same releases) from the fantastic new Chris Abrahams and the beautiful experimental electronic opera of Textile Audio.
So then from Sydney we head down to Adelaide, with a trio of longtime musical experimenters X-E-S, featuring Louis Burdett, Patrick Kavanagh and Anastasia Mano. This track is a trip through dark and exotic electronic territories.

UFog fave Fieldhead did put out an album last year, but it’s been a quieter time for him of late, so it’s nice to hear a new remix (although I suspect it’s not actually that new), and of a much more recent fave no less, Matthew Collings. This comes from a new online compilation, Wrong Weather Forecast #2, available to download for free from the, erm, fashion blog? clothing store? …place, follow the link. There’s some great tracks there, including the Alien Transistor-affiliated Saroos remixing New York indietronic band Life & Limb.

Wonderful to have a new glitch-pop album from the great Uwe Schmidt aka Atom™, who’s been exploring more esoteric territories of late. HD continues his relationship with raster-noton, with punchy, skittery beats and processed vocals of various sorts, with everything chopped & skewed into funk, r’n’b & technoid rhythms. As is his wont. Nobody does this quite like Atomâ„¢ does, as he has for many years in his remixes and his own releases. I wanted to take us back to his 1999 album Pop Artificielle under the lassigue bendthaus (aka lb) moniker, a whole album of cheeky-yet-reverent covers, given the perfect(ly silly) “My Generation” cover on the newie, with Pete Townshend’s classic stutters replaced by digital glitches. (And as I played the Bowie cover, it’s worth mentioning how surprisingly excellent the new David Bowie album is… who’da thunk it!)

A Canadian now based in France, Total Normal makes very listenable and slightly weird collage music, kind of like Lemon Jelly or early Ninja Tune. The new album might be just what you need to bounce you through your afternoon. The last track I played samples liberally from a track by one of my favourite bands, Tin Hat Trio, whose violinist Carla Kihlstedt features frequently on this show. Not the kind of thing most people would recognize, but it was pretty weird for me to be hearing these slide guitar chords recontextualized like this!

Penultimately, we heard three tracks from the latest Wire Tapper CD, the 31st, appearing with April’s issue of Wire Magazine. There’s always good stuff on hand, but this one seems to be one of the better recent compilations. We had looped and effected electric guitar fingerpicking from Christopher Cordoba, lovely ambient from the Buddha Machines’ Christiaan Virant, and electronically-mediated minimalist composition from Italian experimentalist Emanuele de Raymondi.

And finally, another remix from the wonderful Inch-time, this time by English duo Piano Interrupted, and I’ll certainly be checking out more from these guys…

How To Destroy Angels – Ice age [Columbia]
How To Destroy Angels – The wake-up [Columbia]
Machinefabriek – Vergezicht 1 [Alien Transistor]
Chris Abrahams – Stabilised Ruin [Room40]
Textile Audio – Searching [Wood & Wire]
Textile Audio – Of Hymn [Wood & Wire]
X-E-S – Paramythi [Digital Penetration]
Matthew Collings – The Sailor In The City Is Buying up Time (Fieldhead remix) [Wrong Weather]
Life & Limb – Before the flame (Saroos remix) [Wrong Weather]
Atom™ – Pop HD [raster-noton]
Atom™ – My Generation [raster-noton]
lb – ashes to ashes (digital spacepop repliceviant) [Form & Function]
Atom™ – The Sound of Decay [raster-noton]
Total Normal – Better Tell Me John [Total Normal Bandcamp]
Total Normal – Driftwood [Total Normal Bandcamp]
Total Normal – Hugo Nine’s Dog Blacky [Total Normal Bandcamp]
Tin Hat Trio – Bill [Ropeadope]
Christopher Cordoba – The Static And The Swerve [Supple Pipe via Wire Magazine]
Christiaan Virant – Metropolis Waltz [courtesy Wire Magazine]
Emanuele de Raymondi – BV6 [ZerOKilled Music]
Inch-time – The Sun Myth (Piano Interrupted mix) [Mystery Plays Records]

Listen again — ~ 106MB


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Sunday, 17th of March, 2013

Playlist 17.03.13 (9:05 pm)

What a line-up we have tonight! Benoît Pioulard retrospective, Graveyard Tapes (Matthew Collings and Euan McMeeken), amazing new Chris Abrahams, Textile Audio‘s opera-meets-electronica, another small retrospective with cellist Julia Kent, and the experimental cello & electronics of Nick Storring.

As per usual, you may want to listen (again?) via the podcast or download at the bottom, or get the full stereo streaming experience at FBi.

Canadian artist Benoît Pioulard aka Thomas Meluch has featured on this show for the last half a decade or so, mostly via his albums for the much-revered Kranky label. While he’s an accomplished songwriter, he’s always been interested in lo-fi drones, field recordings and processed sound, and jumps between these genres on most of his albums. The new one is slightly less on the lo-fi tip, but still features some gorgeous drones as well as his most catchy and perfectly-formed songwriting yet – other, perhaps, than his extraordinary work last year as Orcas, a duo with sound artist Rafael Anton Irissari whose self-titled album was one of last year’s highlights.
He’s also done his fair share of remixes, and one I caned in 2011 was his radical rework of a Vieo Abiungo.

On the same label as Vieo Abiungo comes an album from new duo Graveyard Tapes, featuring recent favourite Matthew Collings and Euan McMeeken of The Kays Lavelle, who runs the excellent mini50records out of Edinburgh. We’ve heard some of Colling’s songwriting on his extraordinary album Splintered Instruments, from which we heard another cut tonight, but Graveyard Tapes centres on McMeeken’s vocals and lyrics, with music, instruments and production from both. There’s piano, clarinet and many other instruments, along with crackling drones and even crunchy beats on some tracks. It’s a lush album and the deluxe CD packaging looks pretty great too.
As well as hearing from Matthew Collings’ recent solo album, we heard a few from his previous, more ambient project sketches for albinos.

The Necks‘ pianist Chris Abrahams is releasing his third album on Room40 this week, and it continues the experimental nature of the last two. It’s probably his best yet, challenging though it is. His beloved Yamaha DX-7 features (I believe), along with piano of course, field recordings, insane metallic crashing sounds, glitchy cut-ups… yep, a bit of everything.

Sydney-based opera singer Eve Klein has long had a passion for combining opera, contemporary classical and electronic music, which she does under the name Textile Audio. After some compilation appearances and the earlier Pomegranate EP, the full album The Pomegranate Cycle has finally been released on Stuart Buchanan’s Wood & Wire label. These beautiful sounds have also been given life as part of a stage work, first for laptop, opera singer and dancer, and now involving a “networked midi orchestra”.

As you may know, I collect cellists. As a cellist myself, I’m interested in people using the instrument in every way imaginable. I’ve been folliowing Julia Kent‘s work for a few years; I was never familiar with Rasputina, the band that both she and Zoë Keating were in (although not at the same time) (and as an aside, I was lucky enough to support Zoë at the Basement in Sydney on Friday night), but as well as having a couple of previous albums and some EPs, Julia Kent can be found playing cello with such luminaries as Antony & the Johnsons, and Michael Gira’s Angels of Light. Not a bad résumé. Her lush music is usually made from many multi-tracked celli (plural of cello, don’t you know), but she’s not shy of adding in some subtle beats, found sounds and occasionally other instruments. I was very pleased to see her selected among the remixers (albeit doing a cover) in Amon Tobin‘s massive box set last year too.

And we finish with Canadian cellist, composer and experimental musician Nick Storring, whose work I’ve been meaning to check out for some time. I ordered a pile of stuff from the experimental label Entr’acte (whose packaging I’ve admired for years), and among them was Nick’s 2011 album Rife, which almost ridiculously perfect matches my interests – cello, granular electronics, warped sounds, almost-beats, and finishing with a twisted but beautifully melodic piece, it’s a bit of a hidden classic. Nick’s also a collaborator, who’s worked with Aidan Baker/Nadja among many others, and is a member of indie band Picastro.

Benoît Pioulard – Excave [Kranky]
Benoît Pioulard – coup de foudre [Kranky]
Benoît Pioulard – ragged tint [Kranky]
Benoît Pioulard – lasted [Kranky]
Benoît Pioulard – Gospel [Kranky] {under talking}
vieo abiungo – drowsy salted morning (benoît pioulard remix) [Lost Tribe Sound]
Orcas – Carrion [Morr Music]
Benoît Pioulard – Florid [Kranky]
Graveyard Tapes – Gravebat [Lost Tribe Sound]
Graveyard Tapes – Insomniac Dawn [Lost Tribe Sound]
Matthew Collings – Crows [Fluid Radio/Matthew Collings Bandcamp]
sketches for albinos – kids with no energy [nothings66/sketches for albinos Bandcamp]
sketches for albinos – haruki [sketches for albinos Bandcamp]
Chris Abrahams – Strange Bright Fact [Room40]
Textile Audio – Inside [Wood & Wire]
Textile Audio – Ripping [Wood & Wire]
Julia Kent – Kingdom [Leaf]
Julia Kent – Tempelhof [Important/Julia Kent Bandcamp]
Julia Kent – A Spire [Julia Kent Bandcamp]
Amon Tobin – Surge (Cover by Julia Kent) [Ninja Tune]
Julia Kent – Flicker [Leaf]
Nick Storring – Outside, Summer is Bursting at the Seams [Entr’acte]
Nick Storring – artifact 2 [Entr’acte]
Nick Storring – Artifact (I) [Entr’acte]

Listen again — ~ 111MB


Sunday, 10th of March, 2013

Playlist 10.03.13 (9:18 pm)

Much postrocky goodness tonight, and some indietronica, electronics and post-noise techno to round things out. Yep. Dig it.

Look folks, you should never miss a ‘Fog. You can always LISTEN AGAIN – there’s a link at bottom, a podcast to subscribe to, or best of all you can stream on demand at FBi for the full stereo experience.

I’ve been a fan of Mice Parade since 1998, released on one of Fat Cat‘s earliest 12″s. Originally the solo project of the anagramatically-eponymous Adam Pierce, it was such a great example of the multi-tracked self-recorded musician, and fulfilled the potential of postrock as live-performed electronica (among other things), with brilliant drum’n’bass-informed live drumming, dinky keyboards, vibraphones along with acoustic guitar and myriad instruments from around the world. Adam Pierce also played with his friend Dylan Cristy in The Dylan Group, following a similar path but very much driven by the vibraphones and marimbas.
Adam also ran the label Bubble Core Records, releasing these two bands and various others, but his relationship with Fat Cat was such that a few years later he had basically become Fat Cat USA, increasing the audience for that very important label. Mice Parade lives on as both a live and recorded band with Cristy and various others, and has umpteen releases under its belt, but after widening its scope somewhat once it became a live act, it hasn’t changed dramatically for years now. The new album’s pretty nice but probably lacks the excitement of the early exploratory releases, so I played a few highlights from their history tonight.

Sydney’s Prop were no doubt highly influenced by Adam Pierce’s music, but sadly stopped before they could realise their potential, as Kim and Julian from the band formed the rather insanely successful Presets. Such is life!

So, sticking with the jazz-informed postrock or folktronica or whatever you want to call it, we have a lovely remix of Inch-time from earlier this year by Australian artist Tristan Coleman, and a track from his debut EP on Inch-time’s Mystery Plays Records. There’s strings and clarinets on the EP as well as jazz drums and electronic pop – a versatile and talented artist.

Back to the brilliant new Spartak single I featured last week, we heard Icarus taking it into their abstract d’n’b territory, and then Inch-time himself with a reverent version that just slightly emphasises the electronic pop elements.

The highlight remixer from that EP was Canberran Reuben Ingall, who appears tonight in more abstract form with glitchy pianos, from a split cassette with Transmissions, who works a lot with illegal sampling and collage but here turns in a great piece of doomy electronic loops an sparse beats.

As with many noise artists of late, Prurient has gravitated towards various types of acid and techno, toning down the distortion and, frankly, screaming, in favour of lush, dark synth melodies and drum machine beats. It’s quite beautiful, if a little disqueting.

Autechre‘s new album Exai came out early digitally as per usual, a month and a bit ago, but physical hit this week, and I’ve been listening to it again since I received my lovely double CD pack. I actually really liked their album and, er, other album (released as an EP) from 2010. This one’s a double CD (or quadrupal LP!) and to be honest I’m not convinced it needed to be. There’s only one or two great tracks on the first CD, while the last 3 tracks at least are stone cold Ae genius. So, if you’re sampling it, definitely don’t give up early, or maybe just start with CD2 :)

Nickolas Mohanna had a droney synth album on Sydney’s Preservation back in 2011, but his first and now new album on Low Point show a wider remit, albeit still pretty much on the drone tip – but with synth drones fading into contemplative bass guitar and then clanging bells on these two tracks, it’s pretty varied and evocative stuff.

Mice Parade – listen hear glide dear [Fat Cat]
The Dylan Group – Bittersweet [Bubble Core Records]
Mice Parade – My Funny Friend Scott [Bubble Core Records/Fat Cat]
The Dylan Group – Towers of Dub [Bubble Core Records]
Mice Parade – satchelaise (Nights Wave EP version) [Bubble Core Records/Fat Cat]
Prop – Landing [Silent Recordings]
Inch-time – Night Falls (Tristan Coleman mix) [Mystery Plays Records]
Tristan Coleman – Good Money [Mystery Plays Records]
Spartak – Catch/Control (Icarus remix) [hellosQuare Recordings]
Spartak – Catch/Control (Inch-time remix) [hellosQuare Recordings]
Reuben Ingall – kitchen [Reuben Ingall Bandcamp]
Transmissions – Uranium Glass (Demo) [Reuben Ingall Bandcamp]
Prurient – Through The Window [Blackest Ever Black]
Autechre – deco Loc [Warp]
Autechre – YJY UX [Warp]
Nickolas Mohanna – Cascade / Down Yonder [Low Point]

Listen again — ~ 109MB


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Sunday, 3rd of March, 2013

Playlist 03.03.13 (9:05 pm)

Tonight we ranged from indietronica through ambient and beats to cello looping, noise and drone, with a side order of postrock. Just the usual, then.

If you missed out, do not fret: you can LISTEN AGAIN (for the first time!) – link at bottom, podcast to subscribe, or stream on demand at FBi for the full stereo experience.

Here at Utility Fog Towers we’ve been following the work of Spartak since the beginning – if not before, as Shoeb Ahmad’s hellosQuare Recordings (which is now co-run by his other Spartak half, Evan Dorrian) have been with us since we were only a couple of years old.
Spartak started as a pretty experimental venture crossing postpunk, postrock, processed drones and elastic drumming. Their newest release sees them reingesting material that had been slated for release under the Savages moniker – they’ve decided that it’s all Spartak after all, so now we have an incredibly beguiling piece of indietronic pop, catchy and musically challenging all at once, and accompanied by some first-rate remixes. Icarus, Inch-time and newcomer Deaf Cat all feature with excellent interpretations, but it’s Reuben Ingall who wins this round, extending his incredible work from last year with a piece that refits the song with stark guitar strums and glitchy textures before gradually mutating back into its pulsing electronic origins.

Kate Carr‘s new album featured quite late in last week’s show, so we have another beautiful cut up nice and eaerly, with subtle guitar textures and field recordings.

From Perth, we have two tracks from an EP by Katie Campbell aka Catlips, who I discovered collaborating with y0t0 recently. A very varied release, with r’n’b-inspired vocals on some tracks, as well as idm beats. Great work.

Russia’s Oceania put out one of my favourite EPs last year, and they’re now back with the follow-up, again featuring the mysterious N on additional vocals on some tracks. It’s techno/post-dubstep/post-r’n’b that could be the lovechild of early James Blake and Various Production… if you want a really awkward way of describing it. Great beats and genuinely evocative songwriting.

And Objekt has put out some of the most compelling beats also in the techno/post-dubstep crossover area, and his latest side from a split 12″ on Bleep‘s new Green Series imprint keeps up the quality.

Now London-based Israeli musician Guy Gelem takes us from the electronic beats to cello looping and other more experimental sounds, with two tracks from his new Eighteen Minutes EP on the excellent Edinburgh label mini50. It seems to me like his best work yet, following on from some excellent compilation tracks last year.

Oliver Barrett released one of UFog’s albums of the year in 2008 under his Bleeding Heart Narrative moniker. Bleeding Heart Narrative then became a full-blown band, complete with songs and lyrics, and then sadly split up last year; but meanwhile, Oli had moved his solo work over to Petrels, continuing the drones, tribal percussion, noise elements and occasional singing. So it’s great to have a new mostly-solo album from Oli!

Next up another stone-cold awesome track from Matthew Collings‘ album wot I ravend about (a little) last week. With some nice clarinet textures in there along with indie songwriting mojo and drone & post-rock influenced arrangements.
Speaking of drone & post-rock, I also came across a fantastic EP from Collings in collaboration with the wonderful Talvihorros, shimmering drone-informed shoegaze.
From Talvihorros we heard an amazing track which I missed last year, from his split album (not a collaboration) with Damien Valles on Textura, plus a gorgeous piece from Audio Gourmet‘s second Hidden Landscapes fundraiser compilation.

And finally, utterly sweet and musically compelling, Heather Woods Broderick decided to do a cover of one of the excellent tracks her bro Peter Broderick put out last year, and we’re all the winners.

Spartak – Catch/Control [hellosQuare Recordings]
Spartak – Catch/Control (Reuben Ingall remix) [hellosQuare Recordings]
Kate Carr – Untitled (dreams of Hawaii) [Flaming Pines]
Catlips – Dumpling [Catlips Bandcamp]
Catlips – Ethnicity [Catlips Bandcamp]
Oceania feat. N – Black [7even Recordings]
Oceania – Mantra [7even Recordings]
Oceania – Strange People [7even Recordings]
Objekt – Shuttered [Bleep Green]
Guy Gelem – Search, Find, Keep [mini50records]
Guy Gelem – Upper [mini50records]
Petrels – Trim Tab pts 1 & 2 [Denovali]
Petrels – Trim Tab pts 1 & 2 [Denovali]
Bleeding Heart Narrative – bhn [Tartaruga]
Petrels – Time Buries The Door [Denovali]
Matthew Collings – Pneumonia [Fluid Radio/Matthew Collings Bandcamp]
Talvihorros/Matthew Collings – ten drops [Hibernate]
Talvihorros – From Within A Hollow Body (Part 1) [Textura]
Talvihorros – Etude VIII [Audio Gourmet]
Heather Woods Broderick – Outside In Here [Peter Broderick website]

Listen again — ~ 105MB


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