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    Olli Aarni – Nielu

    Mastered by Taylor Deupree. Limited to 150 LPs, comes with a two-sided insert and download code... The quality of Olli Aarni’s music has remained remarkably high given his consistent output over the last five years for labels like Preservation, Cotton Goods, and Dauw. Often working in the cassette format and primarily composing extended, gorgeously textured drones, Aarni’s new album, Nielu, is one of his first releases on vinyl and a kind of culmination of the sound he has crafted for years. Even in the context of such an impressive discography, Nielu is noteworthy and Aarni considers it to be his personal definitive ambient album. The hallmarks of Aarni’s prior work—exceptional attention to texture, ghostly looped figures, enveloping sound fields—are especially immersive on Nielu, which, in his native Finnish, can be translated as “vortex,” “throat,” or “swallowing”—all appropriate imagery here. Taking inspiration from the harsh weather conditions of Fennoscandia, both side-long pieces are enveloping compositions that reward close listening but, even more, invite surrender to wide washes of sound. Evocative and sometimes, bleak, Nielu is fundamentally beautiful and grows more emotionally engaging the louder it is played.
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    Ned Milligan – Nature Always Needs Improving

    This album is limited to 100 copies on black vinyl. Comes with a double-sided color insert... Ned Milligan now presents his new album, Nature Always Needs Improving, building on the momentum generated by his admired third LP, Continental Burns. Echoing that album’s mode and structure, Nature Always Needs Improving offers a handful of tender, minimalist pieces before giving way to a spectral side-length conclusion. The deep intimacy of the album is enhanced by its process—primarily recorded outdoors on porches or in yards—and by the unpredictable interaction of incidental sounds with traditionally musical sound sources, especially resonant chimes.
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    Tatiana Alamartine – Searching

    Digipack CD Album with 2 Bonus Tracks included... The first of a new series named Acoustic Collection at VoxxoV Records. The creation of the album Searching began in the Conservatorio di Musica Giovan Battista Martini in Bologna, Italy, during a six month residence in 2014. The rest was done in two months in Lyon. Tatiana Alamartine worked with a famous Bosendörfer piano, a rare and prestigious Viennese instrument. This piano is unique and has a powerful and melodious tone. The pianist Rainer Keuschnig will even say that "Bösendorfer is authentically Viennese, because it presents all the various aspects of the Viennese personality which expresses itself in the eye which smiles or cries". This famous piano was the one used by numerous famous composers, including, Franz Liszt and Charlemagne Palestine for his album Strumming Music. Tatiana's album follows the tradition of solo piano albums with wintry tones while also having a colored and warm composition at the same time. Classical music lovers who liked Vora by Rauelsson or Winter Musik by Nils Frahm will surely be delighted with Searching by Tatiana Alamartine. The themes’ diversity makes this album complex yet approchable. In many ways, this album sounds like a collection of compositions mixing improvisations and interludes, a brilliant achievement of a three years musical ressearch diary.
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    Norman Westberg – The Chance To

    Comes housed in LCR's a lovely hand-printed letterpress packaging with CD wrap and digital collage cover by K. Craig... Many listeners to Westberg’s solo recordings have noted the depth and subtlety of his compositions and these four tracks are no exception.They have a rare ability to echo both the clarity of minimalism and the maximal intensity of the best overdriven rock bands. Opening track ‘Andrea F’ is a case in point, moving from clashing overtones to an almost-choral central section before introducing pitched bass tones that move the track into a new realm. There are moments elsewhere that have an unsettling quality, but the patience and care taken with the sounds ensures the album as a whole retains a warm humanity rather than moving into alienating territories. Fundamentally, there is always a lightness of touch to Westberg’s compositions.
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    DR – Field Recording Meets Sound

    DR is the project of German sound artist Dominic Razlaff.
 The idea of his third official album was to create sounds which support the field recordings recorded in 2017 in his town (Braunschweig, Germany). To create the sounds/textures he used Novation’s Xio Synthesizer and a ukulele with granular synthesis. The result is an emotional album of 15 tracks, a special soundtrack for the winter arriving.
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    Bill Seaman – The Epiphanies

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    The Epiphanies sees Bill Seaman in fine fettle, driving along phosphorescent-lit roads marked by the heavy dew of mystery and slow-to-develop intrigue. Delayed secrets are now only coming to light. The setting sun is the glorious backdrop as The Epiphanies coasts along a deserted road, its dark road-trip music glinting like the lightless, metallic chrome of the car’s body. A pack of coyotes come out to play, and further down the road some lusty, post-jazz musings at a local bar hint at dark dislocations. Nothing is right – the neon sign is too bright and things are a little off-kilter. Reality slips slowly away, like water through the fingers, drained as if from the last bottle of whiskey, until it can’t be grasped at any longer. The sick, cloying perfume of cigarette smoke hangs in the air like a tired apparition. The lingering, too-wide smile of a cute bartender with a string of strange tattoos along her back and an old episode of Tiny Toon Adventures (circa 1990) rather than the latest game from the NHL graces the television’s pulpit, adding to the subtle sense of dislocation, and the music only gets darker, its dying light duelling with the fading sunset. The headlights are a lonely splash of colour at two in the morning, and as the music enters the long hours a velvet-smooth carpet of asphalt spreads out before the listener, the unfolding ambient textures helping to shape a smooth, virgin-pure road. Dark wet trees and swaying branches are illuminated as the car drives through an eerie, sleeping town, with nothing but a slumping, somnambulant piano strolling up and down the dark, leaf-strewn sidewalk. Distant notes seem to croon into the space, somehow filtering in through the dead radio that needed replacing months ago, luring you into its monochromatic musical world. You are the first visitor. You are also the last. There isn’t any other traffic…
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    Sontag Shogun + Moskitoo – The Things We Let Fall Apart / The Thunderswan

    Pre-order: release date 15.11.17... 'An utterly affectionate and adorable aural apparition, ‘the things we let fall apart’ emerging frosted and fragile, delicately sculptured in thawing ice tones, the symphonics delicately shy eyed and whispered are breathlessly beguiled by a graceful neo classical hush, the effect really is entrancing as it is teasingly brief, sitting somewhere between a very youthful Mum and Smile Down Upon Us. ‘thunderswan’ over on the flip is expressed with the kind of poise and musical poetry that shimmers and twinkles to those early post YMO outings from Ryuichi Sakamoto, its minimal toning sweetly gathering to blossom into caressing cinematic crushes dappled in surrendering sepia hazes, a most exquisite and rarefied thing of bewitching beauty.' - The Sunday Experience (Mark Losing Today)
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    Ghost and Tape – Vár

    Heine Christensen (the man behind the ‘ghost and tape’ moniker) and I have been friends for a number of years now, and I’ve been a fan ever since I discovered his first self-titled release for Akira Kosemura’s superb Schole label quite randomly in a record store in Tokyo while admiring the artwork. I ended up buying this based on the art alone, and immediately went back the next day to buy the only other album I could find by him, ‘Home’. The music of ghost and tape is deeply intricate, and so careful is he in the work he does, this marks only his fourth studio album since his debut back in 2010. I’ve always admired people who take their time with their music for they appreciate the finer details and seem to understand music as a timeless quantity. This is a sadly rare quality now as things come and go, but in line with Home Normal’s ethos is a belief that truly lasting music must in its very nature have a certain timelessness that transcends whatever maybe ‘in’ at a particular moment in time.
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    £20.00
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    Steven Kemner – Gradation Movements

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    You can’t predict the weather. Sometimes, life throws something at you. When it does – not if but when - hopes and expectations lie like shattered spokes. Is it fate, destiny, or circumstance? No one knows, but paths can change when there’s a sudden shift in the weather, and something that once seemed so sure and stable starts to become the opposite: uncertain and unfair. Promises peter out as a drop of rain appears. You have to stop and change course. A natural disaster plunges normality into desolation, and the same is true of our longed-for futures which so often disappear into the ether. Disappointment ensures: inclement weather. You can’t prepare for it; the hurricane warning arrived too late. Steven Kemner recently went through such a change: “I needed to move away from everything that I loved to a place I had no desire to go. This change complicated music, life and a sense of belonging”. - Steven Kemner Like the changing of the weather, ironclad clouds can appear from out of nowhere, eclipsing the sun with blackened totality, and the deep, roiling textures within the music of Gradation Movements are full of rain and turmoil, of leaving and moving on. The slow swells and hard-fought movements are indicative of clouded spells which obdurately block out the blue hope of the sky like a cruel shield. Coated in sleek silver, the notes shadow the steps of the people below. Rainy season stalks the soul; it doesn’t seem to matter where the notes walk, because the cloud always follows, indiscriminate with its downpours of rain and its trident spears of lightning. Rainfall is needed in order to grow, and that includes us. The rainy spells can make us stronger, helping us to rise up in troubling times…but too much of it, and we drown. The cirrus patterns and the cycling of the wind may be hard to understand – we may never understand – but they still have a purpose. The purpose may seem obscure, but it’s there. There’s a strong energy at work within them, and troubled times often reveal things that, in hindsight, we later come to appreciate. When sunlight fails, the music’s tones lie hidden in a shroud of slow mist. The clouds don’t always disperse. You can’t predict the future - you just have to roll with it until you finally come to terms with the strange weather.
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  • £13.00
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    Sub Loam – The Unfolding Map (3 x 3″)

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    We’re off on another orienteering journey of elevations, contours and terrain with Sub Loam. This three disc set is housed in recycled kraft boxes and contains individually cut raised relief maps of these islands for outdoor pursuits you might have one day. Disc one : Elevation, A Map Unfolding And Simultaneous Apprehension Of A Pineapple Mayweed – An Experiential Topography Of Concrete Sensations Disc two : Grid And Contour – A Linear Abstraction Disc three : Terrain Condensed, Congealed Mud, Soil Stamped and printed on corona 160g (100% post consumer waste, de-inked) & Atlas 160G (50% Post consumer waste)
    £13.00
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    Bruno Sanfilippo – Lost & Found

    Lost & Found is the latest album from Sanfilippo. The artist takes four songs that were once buried and lost in other collections, curating them together to create a new sound and feel. This reimagination allows the listener to discover each piece, as if for the first time. The songs have the power to pull memories from us, of either real or imagined experience and the ethereal sounds are, at once, familiar and an exploration. This transformation invites the listener to experience Lost & Found as an act of losing and finding something again.
    £10.00
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    Max Ananyev – The Way to the Ocean

    "I wanted the music to immediately immerse the listener in a new state, but without relying on all the usual techniques composers often make use of in the ambient acoustic genre,” says Max. “In the measured style of my playing, I’ve tried to put across the core idea of the ambient genre – a change in the listener’s state, the transition from thought to contemplation and the perception of time.” "Max Ananyev keeps things to the essentials on the subdued intimate moods of “The Way to the Ocean”. Arrangements possess a meditative quality to them ... The usage of silence further adds to the appeal of the album..." – Beach Sloth
    £7.00
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