I first came across Marihiko Hara’s work in 2007, with his ‘Cesura’ release on the excellent Italian net-label – Zymogen. It really drew me in more than most other work that was doing the rounds at the same time. It had the sort of organic details and attention to beautiful subtle developments that I had only really heard in offthesky and Nicolas Bernier before (both label mates on Zymogen I should add). It became my soundtrack to that year and an album I returned to almost daily during the winter months. After this I followed Marihiko’s work carefully, from his rather fantastic 2009 ‘Icon’ release on Cotton Goods to his recent ‘Prosa’ collaboration with Tomas Phillips on Tench Records.
I’m not entirely sure when we first got in touch or who instigated it, but its been a few years now and seeing Marihiko’s evolution and careful development has been a joy to behold. He then completely flummoxed me when asking if I would consider releasing a heavily beat-led record. My only prerequisite was that the beats were made organically, not just some obvious drum machine or sample. Marihiko’s request came at a time when both Ben and myself really wanted Home Normal to push on from its comfortable surroundings that so many labels, artists and possibly listeners for that matter, wish to reside – and keep things evolving, changing and as such more meaningful for us. After averaging 10 or so drone demos a day at the time, the initial mixes for Credo were sent. I was in England in this period with Ben, tieing up the latest Home Normal work. I recall that we were actually driving to pick up packing materials and decided to make it a demo listening time and that we would do ‘blind’ listens. At some point in the journey, Credo was put on and the car journey ended up being far longer as we wanted to do repeat listens. Amongst excited expressions over just how much we loved the record, was a mutual agreement that this was exactly the kind of music we wanted to put out, and exactly the kind of music which needed to be heard by one of the most talented young producers around today. – Ian Hawgood
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.
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.