Haruki is the pseudonym of composer/sonic artist Boris Snauwaert from Ghent, Belgium, who creates sonic environments through the precise, meditated amalgamation of a diverse variety of sounds, both musical and non-musical. In any given track Haruki combines any or all sound sources; field recordings, acoustic instruments, acoustic noises, found samples, sampled instruments and so on.
Now that we have that covered, we may as well talk about the album itself right? Well the truth is, this bio really does cover the work of Haruki rather well, as ambiguous as it is. Haruki’s work is so open and various, its hard to keep up but keep up I have and been a fan of his work for a long time now. Falling is probably the deepest NKR release to date, maybe one of the deepest records to emerge in a long time. Lots a bass instruments are used such as tuba, double bass, and the ilk, alongside some circuit bent keyboards, piano, stomp boxes, field recordings, among other things. This gives it a wonderfully organic feel and development, and unlike a lot of laptop-based music, its much more live sounding, perhaps an appropriate background being a seedy Brussels bar (I do love Brussels at night). Haruki continues to push open the envelopes around him in the broodiest of ways.
“Whilst Haruki may occupy the same general musical territory as offthesky, there are a few distinctive points of separation, as the guttural bottom end of opening track ‘Shrinking Cities’ makes abundantly clear. The strident and visceral ‘When To Stumble and When To Fall’ also moves into a much more cinematic and (in places) noir-ish sphere. The humming bass tones give this release a weighty punch, and any of the four pieces could sit alongside releases of any exponent of restrained dark ambient with dignity. “So, Now We’re Even’, despite its vindictive name, is a more emotionally even piece – less oppressive than some that precede it, doing a good job of clearing the sound palette before rumbling closer ‘Tall As Tails’”. – Fluid Radio
Extremely limited numbers available: For all intents and purposes, Grand Salvo is the work of singer-songwriter Paddy Mann. Grand Salvo’s debut album, 1642-1727, and its follow-up, River Road, earned him rave reviews and a solid following at home and beyond for his stark, sensitive and beautiful songs.
After a spell living in Europe, Paddy returned to Australia and began work on another album he’d dreamt up while away, A set of songs that acts as a children’s storybook, the album became cursed with too many recording problems and Paddy decided to shelve it. While that project will eventually see the light of day, its plagued nature ironically became the motivation for The Temporal Wheel.
As a sort of pantheist, or at least an artist who finds great stories hiding in the vast visual subtleties of nature – Subtle Trees is a classical music collage as much as it is an homage to classical music. It’s core is created through sounds gathered in the owl hours by sampling ancient instruments whose cores were derived from the trees of nature. These sounds were layered like lichen on an ancient pantheistic sculpture.
Age of Insects is the result of a series of visits made by Mark and Laura to Stephen’s studio in Virginia between May 2009 and January 2010.
The three improvised around common interests in analog electronics and digital manipulation, field recordings and instrumental performance practice. These recordings presented here feature only minimal editing and post-production, with a primary intent of capturing shared moments of listening and response.
The titles refer to extinct insects—the imagined hum and flutter of their calls, flight and communication.