Raoul Hausmann - Poèmes Phonétiques (Kaon, 1978 (1997 reissue))

*** the artwork featured is the original release ***

1 R.L.Q.S Varie En 3 Cascades 23:28
2 Phonemes (15:58)
2a BBB
2b FMSBW
2c K Perioum
2d Offeah
2e Oiseautal
2f Cauchemar
2h Vali Tali
3 Interview Avec Les Lettristes 7:06
4 Soundreel 4:18

... real history is written with the beautiful item by Raoul Hausmann, key figure of the DADA scene. Two long pieces recorded by Henri Chopin (himself a legend) and two short pieces recorded in 1959...
Kaon

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Daniel Menche - Blood Forest (Trickhouse, 2010)

Daniel Menche's sound is a bridge. One made of stone, bone, blood and wire. It is solid enough to build eons of civilizations upon, yet high enough off the floor of the canyon to give you the chills should you peer over the edge.

With performance tools such as contact mics adhered to self constructed instruments, or more famously, his own body, Daniel sculpts systemic waves found within and brings them pulsating, shaking, and exploding into our audible state. His live performances constitute some of the most physical music being performed today. At his most intense, you will feel as if the piece is about to pulverize you, while he leaves just enough breathing room for you to witness it happen to yourself.

What we have here though is another aspect to his well-honed craft. Assembled from field recordings made in the Pacific Northwest, Daniel carefully brings out the rhythm and spacial textures of the region's natural settings and presents us with an iconic piece that spans the awe of the raw forest and the reassembled/re-purposed contemporary age.

Walk fully onto the bridge. Take a look over the side.

Eric Jordan, Trickhouse Curator

little reminder: Daniel Menche just released "Silver Hell" cassette on Banned Productions so order it...

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David Velez - Vacío Retórico (Audio Gourmet, 2010)

1 Division 1 06:12
2 Division 2 07:51

David Velez is a Colombian sound artist whose work focusses on the use of field recordings, dealing with textures, landscapes and objects. His work has been released on labels such as Test Tube, Ripples Recordings, Mandorla and Rain Music among others and he is also a staffer on the field-recordings based label Impulsive Habitat.

Currently residing in Bogotá, David is taking a Master in Fine Arts where he is focusing on sound installations. Through this ongoing Master David developed the idea towards art that in some places rhetoric is more important than the actual work itself and this concept gave the title to this release.

'Vacío Retórico' is as good an example you're likely to hear of the kind of high quality field recordings based sound work that David Velez is renowned and respected for; it is a sheer pleasure to have an artist of his calibre grace our catalog.
Audio Gourmet

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Mirror - Solaris (IDEA Records, 2002)

1 Solaris 41:33

Andrew Chalk and Christoph Heemann, the core members of Mirror, have churned out countless expensive, gorgeously packaged LPs in highly countable numbers (typically under 400). The duo’s strategy has baffled me almost as much as it’s put me off, because their atmospheric music could easily find a much wider audience than the cabal of record collectors who are seduced by the bogus romance of self-imposed scarcity.

Solaris departs from Mirror’s usual MO; it’s their first CD (albeit one packaged in a lovely LP-styled sleeve), and it’s not a limited edition. The differences don’t stop there. Previously Heemann and Chalk have maintained a certain musical density and continuity by relying on drones, but Solaris is quite sparse; although it’s not improvised in real time, it sounds more like AMM than Thomas Koner.

Long clarinet tones, isolated prepared piano notes, and metallic reverberations mark a trail through the album-length piece’s empty spaces. Signal processing magnifies and warps individual sounds so that the woodwind sounds like a wind tunnel, tiny taps become echoing steps, and small scrapes become furry with static.

The change in material doesn’t lead to a diminishment of returns. Solaris goes beyond mere prettiness to sharpen one’s senses in a way that once again reminds me of AMM. Here’s hoping this record does so well that Mirror have no choice but to reissue their entire back catalog to the masses in all formats.
Dusted Reviews

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Vanessa Rossetto - Bookpacking 2 (Compost And Height, 2010)

I sell books for a "job," so I pack books every day. This summer I began recording myself working over a period of several weeks. At various times throughout, mostly toward the beginning of the recording period, I wore headphones while working so I was made even more aware of the sounds I was making in the course of my daily activities. Immediately it began to affect the gestures used and the speed with which I was going about my tasks. I began to think more and more about the specific sounds I was making while still being able to maintain a productive work flow. In turn, I began to think about all the sounds I was making whether I was working or not, whether I was recording them or not, and about the rhythm of labor in general.

This piece was edited down from many hours of recordings in Texas in August and September 2010. While it is edited, there are no additions; no parts that were not recorded during the process of working. Some days it rained and some it did not.
Vanessa Rossetto

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Achim Wollscheid - In Your Necessary Ear (Bad Alchemy, 2001)

1 First
2 Last

Comes with issue 38 of the Bad Alchemy magazine.

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Spiracle - Sacrifice + Phosphorus (Octpia, 1998 (2000 reissue))

1 Masticate Shrine 3:00
2 Gratified Lungs 6:09
3 Evil Organs 8:26
4 Evacuation 8:38
5 Galactic Bladder 5:31
6 Fire Eater 5:11
7 Sacrifice 11:15
8 Phosphorus 7:27

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Lionel Marchetti - Portrait D'Un Glacier (Alpes, 2173m) (Ground Fault Recordings, 2001)

1 Portrait D'Un Glacier (Alpes, 2173m) 28:40

"Tape-music composer Lionel Marchetti seems to be most comfortable when creating short works. To his credit are two 3" mini-CDs (on the Metamkine label), one split CD with RLW (on Selektion), only one full-length album (on Intransitive), and now, a brief 28-minute work. It is far different from the complex tape-splicing Marchetti has become known for, a rather more sedate and deliberately paced collage made from footsteps walking through wet snow, metallic clanking (perhaps of hiking equipment?), and occasional voices murmuring or calling to each other. The events within the piece are small ones, and an understated calm prevails as the overriding mood of this trip up Mont-blanc to le Glacier de Tre la Tete in France. One steady tone modulates quietly behind the main events, a musical ground to offset the concrete documentary aspects of the piece. These finally come to the fore for a beautiful finale of long high tones; an airplane flies overhead, and we arrive at the top of the mountain. The duration is an excellent compositional decision, concisely implying (rather than demonstrating) distance and remoteness." Howard Stelzer

"Some of the best concrete, environmental works you could hear, weaved location recordings I guess from the Alps, adorned with sound sources that come from far away to the left or right occasionally. You are always travelling, there's always movement, seamlessly, calmly, not sudden switches of environment, but a steady flow of change and new characterization. I like the use of one time sounds that don't get repeated. You want to click back and hear it again but then some other current scenario is making your mind work by then. These works are great, not since some of the best Eric La Casa or the Liminality comp have I been transported so completely. The wind, the crunch of snow underfoot, the bent branches left behind, the far away hail of a fellow trekker." Manifold Records

Lionel Marchetti has blended field recordings with electronic drones and other sounds to create an incredibly dramatic recording. Recorded on the Glacier de Tré-la tête on Mont-Blanc, in France, at an altitude of 2173 meters we hear low rumbles, creaking, water splashing and sounds of footsteps crunching the icy surface all appearing out of the silence. Voices in the distance...a small propeller rescue plane overhead?

Portrait d'un Glacier is a Series I release which puts it in Ground Faults quiet category. While most of the CD is relatively quiet, there are moments at the middle of the CD where things get a little nerve wracking. It's very cold, dark and dramatic.

This is one of those CDs that is great to drift asleep to in a darkened room only to be awaken by the sudden "events" that occasionally happen.
Ground Fault Recordings

"I used to hike mountains, (the Alps), and the first time I descovered the Glacier "Tré-la tête", on Mont-Blanc, in France, with my friend Bruno Roche, I realized that we met a strange "vivacity". This glacier is coverd with stones, on 5 "kilometres" at less. It's a sort of desert where it's possible to see, on the floor, near our feet, a strange blue eye looking at us, saying : - do you want to know more about my face ?"...

In "Portrait d'un glacier (Alpes, 2173m)", I tried to find beauty of the mountain when it is abble to give us an incredible geomorphic entity as the glacier ; I tried to represent the breath of who is walking in a such beauty, dealing, in that way, with more than only his human condition - "the most difficult area" - ; but with not forgetting this idea of "panic" i can feel when mountain is danger too, archaicism i can feel under my feet, and sometimes should distruct me only with a breath..." LM

Glacier de Tré-la tête (2173m)

Ce matin, réveillé vers cinq heures

couleurs métalliques et vertes
lumière, force
tournoiement de l'esprit projeté
psychisme, sécrétion
lente humeur animale

soudain sonore

aurore en montagne

intelligence.

Lionel Marchetti

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Jonathan Coleclough - Makruna · Minya (ICR / Siren Records, 2004)

1 Makruna 38:20
2 Minya 29:37
3 Makruna Coda 1:53

From all the UK drone meisters (I never understood why they are called 'meisters', but anyway), I think Jonathan Coleclough is one of the best, with a most diverse catalogue of music available. In this new CD, a split release between ICR and Siren, he offers two very lengthy tracks that take his sound a little bit further. Whereas
until now, much of his music was multi-layered aspects of similar sounds, here he extends his already richly layered sounds by multiple, different layers. In "Makruna" there is an ongoing deep, repeated bass sound, embedded in stretched out structures with, as icing on the cake, various field recordings of water and rain.
Changes are there, but as usual with this kind of music, the developments are slow. However, as said, Jonathan is a meister, and he knows how to keep the listeners attention and prevents from leaping into boredom. "Minya" is not unlike his older work, as here too he works with multiple layers of similar sounds, but unlike his
previous work, his sounds are more upfront, more present. Sharply mixed, with lots of attention for colour and detail. Quite a blast!
Vital Weekly

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Difondo - Habitat (La Bèl Netlabel, 2010)

1 Bioma
2 Cuore di tenebra
3 Koto sun
4 Muta
5 Habitat
6 Senza ferro
7 Resilienza
8 Addio mio concubino

This work starts from two improvisation sessions recorded in the first part of 2009 and then edited on the computer in spring 2010.Using the metaphor of “habitat” to give the title to this album comes from the desire to imagine the sound space as a dimension in which the musical processes are ideally considered at the same strength of the typical developing and connection processes in nature.For this reason every piece has to be seen as closed in itself, as a specific habitat, but at same time contributing, as a jigsaw part, to create an immersive listening dimension.In a wider sense the term “habitat” refers to a music vision which John Cage would define “ecological” in his ideal effort to consider all the aspects of the sound field as belonging to nature without genre distinction or, may be better, as “a whole game of his elements”.The emphasis given to the term “habitat” takes us to dedicate this work to the celebrations linked with the ONU’s choice of declaring 2010 as the “Year of the Biodiversity”. This as an ideal support to the reflection on human life considered in its essential relationship with the environment surrounding us, our habitat indeed.
La Bèl Netlabel

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Dead Voices On Air - Abrader (G.R.O.S.S., 1994)

A1 Concretion 16:38
B1 Vaerglas 9:55
B2 Hafted Maul 6:44

sold out but an extended version can be bought here
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CEZAR - Vol. 24 (Isolationism Records, 2010)

1 #0248 (6:53)
2 #0249 (8:23)
3 #0250 (4:31)
4 #0251 (24:41)
5 #0252 (7:00)
6 #0253 (16:29)

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Jos Smolders - Textures & Mobiles (CONV, 2004)

1 Texture 3 8:38
2 Mobile 1 (CCITT) 3:52
3 Texture 2 (49-50-51 Hz) 10:10
4 Mobile 6 3:03
5 Texture 5 (75-100-150-200 Hz) 7:26
6 Mobile 3 (DTMF) 8:35
7 Texture 4a (Risset-Texture) 5:55
8 Texture 4b 8:02
9 Mobile 2b 2:26

Known as six years co-editor of Vital Magazine and as founder/owner of Earlabs.org, Jos Smolders is active in the underground electronic scene since early 80's. Founding member of the renowned Dutch electroacoustic ensemble THU20 (which also features Roel Meelkop and Peter Duimelinks, both of Kapotte Muziek and Goem), his music was released on cassette, LP and CD. He now works as a sound designer and composer in Tilburg (The Netherlands). "Textures and mobiles" is his latest work. Based enterely on pure sine waves and mobiles tones, the CDr has a really nice flow in the pieces and can easily meet as one of the best composed works of Jos Smolders. It has the Jos trademark all over it, despite the fact that he limits himself to just pure sine waves. One hour of introspection with minimals elements.
CONV

Jos Smolders might be more known these days as the driving force behind the Earlabs site, a true online goldmine for electronic music,both old and new, but many forget that he is also a composer in his own right and for a very long time. He earliest releases were released on cassettes on labels such as Midas Music (where are the
CDR re-issues, please?) and Korm Plastics. Then he produced two more than excellent LPs in the early nineties, and some more conceptual works for CDs on Staalplaat. Those are more 'create your own thing with this'. Jos Smolders is also part of the never really ceasing to exist group THU20 (who are preparing for a new project next year). Since some time Jos Smolders is back at composing music himself, and
for no other purpose than to create beautiful music. On 'textures And Mobiles', the first CDR release from Con-V, otherwise known as an online label, Smolders finds his inspiration in two visual artists. For the textures he is inspired by the paintings of Mark Rothko and the mobiles by the mobiles of Alexander Calder, using CCITT ringtones (mobiles getit?) as sound sources. Of the nine pieces, five are from
the texture series, and here Smolders uses static tones that are similar but not the same to create a richly varied elegant tapestry of sound. The sounds glide and pass by, move gently through space. The connection to Rothko is indeed present, and musically it relates to the work of Alvin Lucier. The mobiles are shorter tracks of
shorter sounds that sound unlike anything those annoying ringtones I hear on the street or in the train. Maybe bythemselves the 'Mobile' pieces aren't that convincing, but they form an interesting counterpoint to the longer 'Texture' pieces, which if only present on this release, would maybe a bit too much also. Now the balance is just perfect. Moving along the lines of his previous release 'Music
For Kalx.com' (on ERS Records), this is a more than excellent release. For those who love Lucier, Asmus Tietchens and 12K, this is definetely a must have.
Vital Weekly

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Anton Mobin - Floating Wood (Green Field Recordings, 2010)

1 Floating Wood 20:00

Devises used for field recordings:

-Hydrophones
in The washhouses of Avaray and in the river called Le Lien (Cher / France)

-contact microphones
Buried in the sand in Le Croisic (Bretagne)
A bottle-boat Immersed in the sewers of Paris

-Nagra Ares M2
For all the recordings in location (France)
the wind in Crozon-Morgat (Bretagne)
Flys in Le Croisic (Bretagne)
Animals in the Zoo de Vincennes (Paris) : monkeys & birds
Ducks around the Serpentine in London and around the Spree in Berlin
sound effects in all these locations

Calm and surrealist nothing is real in the composition which combines Improvisation & Field Recordings.

For all the improv part Anton uses a handmade Prepared Chamber in wood, using its natural reverb, associated with many metal elements like springs and a home made calimba build with a trap of pigeon.

This meditative sound art composition is contemplative, very languishing melody at the rate of the nature and reveal numerous sound effects in forest produced by my own movements ; Bough, shock of pebbles, crushed leaves...

This composition by Anton Mobin takes part of his serie of recomposed soundscape, with âMicro-Climatâ released by Konkretourist netlabel.
Green Field Recordings

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Darren Tate - Formation (Fungal, 2005)

1 Formation 40:09

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Classwar Karaoke - At Philosoph. (Classwar Karaoke, 2010)

1 At Philosoph. 28:18

Made by Adrian Beentjes, Anthony Donovan, Arturo Ortega, Bryan Lewis Saunders, Colin Johnco, Hopek Quirin, Igor Jovanovic, Jaan Patterson, Laura K. Tattersall, Kidderowski, Pixyblink and Thomas Fernier.

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Ryan Gregory Tallman - I Swore I Heard Snow (Isolationism Records, 2010)

1 Washed Iron
2 Sewn Danish
3 Hair Meadow

Ryan Gregory Tallman (b. 1977) is an electro-acoustic composer, noise artist, sound experimentalist, multi-instrumentalist and improviser. Tallman’s primary compositional focus is the manipulation and exploitation of the inherent resonant frequencies of acoustic spaces—rendering his work site specific and experiential. As a graduate from the Master of Fine Arts in Electronic Music and Recording Arts program at Mills College, Tallman studied under Fred Frith, Pauline Oliveros, Maggie Payne, Chris Brown, Roscoe Mitchell, and Zeena Parkins.
Isolationism Records

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Jim Haynes - Eraldus / Eravaldus (Elevator Bath, 2008)

We love picture discs. The may not sound the best, but they look so amazing. Especially with the right images embedded in that there vinyl. We all definitely have a little treasure trove of picture discs that we hang on to just because they're so goddamn beautiful. It's just a bonus when the music is good too. Especially when the music actually benefits from the limitations of the picture disc format.
The latest release from our very own Jim Haynes is the inaugural release in Elevator Bath's newly launched picture disc series and they couldn't have chosen better. For those of you who have never seen Haynes' artwork, he rusts things (as he always so reductively describes his process), but the truth is he coaxes impossible textures and patterns from chemicals and metals, often letting nature determine much of a pieces final look. And they are simple amazing, deep oranges and browns, streaks and smears, strange shapes where metal has rested on other metal, drips and layers where the chemicals have pooled or allowed to shift, inconsistencies in the metal revealed after having some of it's surface eaten away. The process is almost as amazing as the outcome, but needless to say, Jim's pieces are total industrial-wasteland-decay eye candy.
The two images chosen for this picture disc are no exception. And knowing that some of Haynes' music was also created utilizing the process of rusting, it's nice to think that the sounds within are in fact produced from chemical and metal interacting, the picture disc the literal visual analogue to the resultant sounds on the recording. But the sounds here are way too lush and varied to be produced so simply, so the images are left to spin, only somewhat removed from the sounds to which they are linked.
Eraldus / Eravaldus is probably Haynes' most varied and lush recording to date, whether on his own or with sound artist Loren Chasse in Coelacanth. The chirping of birds and the rustling of leaves, underpin what sounds like an airplane passing overhead, but the sound remains, too static to be an airplane, soon revealing itself to be manufactured, gradually melodies take shape, bits of glitch and little shards of electronic interference surface, tiny little sonic events pepper the slow shifting rumble. But those little sonic events eventually blossom into thick streaks of high end, which not soon after transform into strange scraping and whirrings. The rest of the record drifts from mysterious soundworld to mysterious soundworld, dark dronescapes rife with clicks and hiss and grit, like a recording of some swamp late at night, gritty landscapes of reverbed percussion, blurred into droney smudges, smeared static becomes long expanses of slow shifting sound, that slips effortlessly from corrosive to shimmery and back again. Quite nice!
Aquarius Records

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Juanjo Palacios - Borde Litoral (Green Field Recordings, 2010)

1 Playa (4:15)
2 Liquerique (5:44)
3 Musel (3:59)
4 Barco (5:14)
5 Amarres (5:35)
6 Puerto (3:09)
7 Desembocadura (7:14)
8. Pedrero (6:26)

Borde Litoral is a sound tour for the littoral of Asturias-Spain. The field recordings have been realized in concrete places of the coast (beaches, ports, cliffs, river mouths…) and have not altered with any type of processing. This work was made between may and september of 2010. Juanjo Palacios: Field recordings and artwork.

Juanjo Palacios is a sound artist and field recordist from Asturias-Spain. His works have been published in the labels alg-a and miga, among others and included in different compilations. He has realized workshop of sound creation and field recordings; designed sound ambiences; and live performed at several festivals and art centres.


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Wehwalt - Lacrima Christi (DNA Production, 2010)

"Lacrima Christi" is an unreleased album that has been originally recorded live in 2004 at the music festival in Jamet Hall at Saint-Herblain, France.
This enhanced version was out as ultra-limited self-released cassette (10 copies).
"Lacrima Christi" is influenced by long period of excessive alcohol consumption (in particular famous Italian wine) and by author's atheist conviction.
DNA Production

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Arnold Dreyblatt - The Sound Of One String (Table Of The Elements, 1998)

1 Nodal Excitation (Solo) 7:20
2 E-Bow Blues 3:07
3 Nodal Excitation (Excerpt) 4:47
4 March Of The Nodes In Formation 5:55
5 The Odd Fellows 4:22
6 Propellers In Love 10:47
7 Damping Influence 5:35
8 Die Luftmenschen 5:35
9 End Correction 6:50
10 Music For Small String Orchestra 13:43
11 Dirge Relations 5:14

Live and previously unreleased recordings: 1979-1991, including classic works like Nodal Excitation, Propellers in Love, etc. Dreyblatt's music focuses on the harmonic possibilities of stringed music and heightened sound awareness and this is an important and supremely pleasurable sound document of his works. Includes music for various combinations of prepared double bass, miniature princess pianoforte, hurdy gurdy, pipe organ, French horn, trombone, violin, percussion, electric guitars, electronics, cimbalom, tuba, voice, etc.

Arnold Dreyblatt is a major contributor to American minimalism; yet his efforts to date, like those of fellow composers Rhys Chatham and Tony Conrad, have been conspicuously underdocumented. The tracks compiled on The Sound Of One String range from early solo performances to digital studio recordings of Dreyblatt's full ensemble; together these comprise the first comprehensive retrospective of a remarkable, twenty-year career.
Table of the Elements

The Sound of One String may be (Dreyblatt’s) best album. It’s a collection of recordings from the late 70’s to the early 90’s, some solo, some featuring his group, The Orchestra of Excited Strings. Dreyblatt’s music is primarily concerned with the manipulation of various string instruments to produce ghost-like overtones and harmonics. The wide variety of instrumentation here (everything from e-bowed guitars to hurdy-gurdys to a conventional string ensemble) brilliantly displays the range and musicality of Dreyblatt’s sound experiments.
David Licht, Pulse

An expat composer, Dreyblatt has studied and played with Alvin Lucier, Pauline Oliveros, and LaMonte Young. His music is precise, gorgeous, and rich, based on the ringing, overlapping tones of droning, "excited" strings and other instruments. In his 19 years of making minimalist/maximalist music, Dreyblatt has only released three full-length works, each of which combines the visceral wallop of primitive rock & roll with the ethereal, glistening, timbral qualities of the finest orchestral string section. Fans of Phill Niblock, Tony Conrad, and the Deep Listening Band will be pleasantly excited by this collection of experiments, live recordings, and unreleased shorter works that include horns, percussion, a variety of prepared string instruments, and hurdy-gurdy put to exquisite, levitating use" Mike McGonigal

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Phil Maggi - Spectral Sunset (Amplified Music Pollution, 2010)

1 The Glittering Science of Blood 8:45
2 That Fire 5:00
3 Borders 6:45
4 Continuum â Love 5:15

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Brume - Charlemagne (Debile Membrum Propaganda, 1997)

A1 Papa Etait A La Charlemagne Pt. 1 7:42
B1 Papa Etait A La Charlemagne Pt. 2 6:59

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Jonas Ruchenhever - Requiem For A Horse (The Pyngwen Society / suRRism-Phonoethics, 2010)

1 Requiem For A Horse

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Skully - Nóva Cárdinális (Self release, 2010) first release out now !

1 Nóva Cárdinális
2 Misztikus Légy
3 Márika

LIMITED TO 10 COPIES ONLY, self-released, handdrawn cover by myself, each is different, comes with a small insert, sprayed back case.
my latest psychedelic synth noise recordings as skull, pretty excited to release this officially !
be quick to catch a copy...
Skully

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stream short excerpts here

Perlonex - Perlon (Zarek, 2000)

1 Terlenka 47:33
2 Argon 25:14

A nice mixture of improvised music with many electronic elements. From extremely soft parts to large, dense clouds of bursts in scraping noise and fierce electronica.
Frand de Waard, Vital Weekly, NL

Drones and shimmering hisses are the base of a range of elements which are stretched and moulded masterfully. This is one of those discs which need a bit more time to find their place – it does not work as ambience, and you need volume to hear the detail to gain the full Perlon experience.
Jeremy Keens, Ampersand Etcetera, Australia

Those three gentlemen mix seemingly disparate elements into a breathing whole. They also suggest the union of atomistic and laminate ways of structuring sound. Slow down the atoms till they laminate with the layers, ... Density. Detail.
Jeph Jerman, The Improviser, USA

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Alozeau - Returning Waves (Audiotalaia, 2010)

1 Land
2 Frictions
3 Screening
4 The Obsession
5 Returning Waves

After the summer break Audiotalaia is back with a new release. This time we are getting closer to the work of valencian sound artist Josué Coloma. Under his alias Alozeau, Coloma presents a five track EP entitled Returning Waves.

After having released at Coda Netlabel and Chennoir Netlabel, Alozeau presents a synthetic alb.um that explores small topics in each track. It seems that every composition on this album has a concrete topic and theme that is been repeated all along. Despite this consideration the album tells a story that is shifting at every stop. At certain point Alozeau dares to twist our auditory perception with a short track that changes the whole pace of the album, generating some sort of crossroad that will lead us to the final track, Returning Waves.

Finally this release is a very good example of carefully crafted dark ambient work. Coloma shows one more time the healthiness of his experimental project and shares it with all of us.
Audiotalaia

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