THE GARBAGE & THE FLOWERS

copypasted webwaste:

The Garbage and the Flowers, now based in Sydney, coming out of Sonic Youth-drenched Wellington, NZ in the early nineties, The Garbage & the Flowers were always going to be an anomaly. Denounced as the fifty-thousandth band to sound like the The Velvet Underground, and even as a Christian band in the local street press, the five-piece nevertheless built up a solid gang of devotees, who claimed their sound to be “unique, fractured, and psychedelic” and ideal to take acid with and get stoned to. Championed by songwriter Alastair Galbraith, they released a critically acclaimed first single, Catnip/Carousel , and double album, Eyes Rind As If Beggars, both on US labels. The latter, with its “sun-burning” and lyrical improvisations found them a secure place in the noise-pop canon.

catnip 

part one     part two 

Former drummer Torben Tilly, now of Berlin based electronic duo Minit, described their sound thus: In The Garbage & The Flowers (TGATF) there’s this crystalline structure of a song with its architecture of chords and idiomatic vocal melody. It’s something quite arcane and folkloric, owing a lot to Helen and Yuri Frusin’s song-writing and Helen Johnstones’ sapphirine voice. Being a part of this 5-pronged entity has been something I have really enjoyed and has definitely been influential on my approaches to making music. If all the musical parts work together in an almost mechanical kind of way to create a song it can be really satisfying. Sometimes however, through our own hazardous doing as a band, these songs would become unhinged and collapse into fractured shards of noise and disunion, leaning heavily like wine. This was especially the case when playing live, even if it was intentional or accidental. Part of its beauty was that almost at the same instant that it was falling apart it was beginning to fall back together again, creating a counterpoint of melancholy and joy. I quite like it when it is so chaotic and entangled. Somehow it feeds the imagination and the music takes on a life of its own, revealing secret patterns and ghosts in the recordings.

Based in Sydney since 1997, The Garbage and the Flowers, now a three-piece, are returned to their homeland with revered Melbourne band, Panel of Judges for a five date tour to play songs from recent albums Coronation and Stoned Rehearsal. To celebrate their NZ tour a limited edition split Panel/Garbage & the Flowers 7″ was pressed.

This Wellington, NZ band set a few hearts a-flutter in the early 1990s with a two-pronged strategy of 1.) out-and-out feral noise/guitar damage (“Catnip”), and 2.), the side I came to appreciate them for – a gentle, baroque sort of weirdo folk hum descended in part from (guess who) the Velvet Underground. In case you hadn’t deduced, that’s the side found on this single’s Side B, “Carousel”, and it was my introduction to the band when this single came out in 1992. I was pretty smitten with the song, and still am.

As I understand it, and if you follow the path on the GARBAGE & THE FLOWERS MySpace page – they’re still together, living in Sydney, and are down to a 3-piece from the augmented 5-piece that made this record sixteen years ago. Singer Helen Johnstone is the perfect vocal foil for this band, and on “Carousel”, she sings in a lovely, but cracked, heavily-accented New Zealandese as the band meanders between classical beauty and completely falling apart. Totally dig it, and hope you do too. There was a good, if uneven, archival LP called “Eyes Rind As If Beggars” (hunh?), and it looks like maybe a couple of more recent LPs as well…

songs from myspace 

If any of you remember at all, you might remember the Garbage and the Flowers from a Twisted Village single dating back to 1992 (which can still be had for not much money); even less of you, by design, would recall their double album compendium Eyes Rind As If Beggars, issued in a blip in the mid-‘90s. Yet this loose collection of individuals, who’ve lived their days between New Zealand and Australia, have been playing and recording pretty much since then, their music mainly available from cassettes and lathe cuts. Two of the three original members, Helen Johnstone and Yuri Frusin, are still participants, while Paul Yates joins in on one of these two tracks, recorded in 2004 and 2005, respectively.

Both sound in line with their earliest body of work, but one would hope that nearly twenty years of playing music together would bring about a sense of normalcy about them, almost a calming sensation to know that a few people would make this sort of music their lives’ work. “Alamo Rose” drifts along with natural ease, between hushed, reverent sunset acoustic bask and a folkier, Eastern-tinged chorus. It’s peaceful, shambling, and constructed with ever the slightest nod to a pop anthem – one that’s not going to get up off the porch swing anytime soon, but an anthem all the same.

You hear it again in the rangier, electrified “River of Sem” – this one could pass for an earlier Cakekitchen track, bar the vocals, but its chords of hope and slow beat of redemption are of a piece with everything I’ve had the fortune to hear by the band.

Normally I’d be bummed about a group of artists who haven’t bothered to change or update their sound, but I don’t think progression is in the cards here; this is their national sound, so to speak, telling of across-the-world beauty that most of us will never experience. My friend Angela is a native and feeds me the most bizarre and enticing stories about growing up there. I can only imagine that this was a shared experience, and the music I love from that land only enforces that ideal in my mind. 300 numbered copies. (Doug Mosurock)

How relaxed of a band are The Garbage & The Flowers? It's been over a decade since their last release, which means a Greatest Hits collection should be available by the time my grandchildren force me into a home. Both of the songs on this quaint single are filled with a hushed, unhurried atmosphere; this sounds like music made by people whose daily to-do list only consists of "walk the dog" or "water the flowers". "Alamo Rose" is particularly nice, with dual vocals and a slight acid-fried sensation amongst some cooling acoustic picking. "River of Sem" is not quite as soft but still sounds like a happier Brighter, caught jamming on a porch. I'm glad I got to hear these songs, as it’s almost as if The Garbage & The Flowers intended for them to be left out in the sand, slowly eroded by the surf.

the garbage & the flowers in 1992

lo-fi jewels part one     part two 

First vinyl release for this group in 12 years, now relocated from New Zealand to Australia. The Garbage & The Flowers were a key NZ underground outfit, coming out of Wellington in the early-90s and playing a fractured folk-punk take on post-Velvets rock. They may have split NZ over a decade ago but their sound is still damaged by that country’s no-fi underground, with a crude production style that pushes zoned vocals up to the front supported by Mo Tucker drums and ragged electric guitar. If you’re a fan of Alastair Galbraith/This Kind Of Punishment et al then this should be pretty irresistible. Hand-numbered edition of 300 copies with one track from 2004 and another from 2005.

      alamo rose / river of sem       

The Garbage and the Flowers released this cacophonous gem of a 7" in 1992 on the Twisted Village imprint; the band has continued to record, and if you're enticed by the sounds here, a 1997 collection of their material entitled 'Eyes Rind as if Beggars' can be found on the Allegory of Allergies blog. Dusted aptly described the Garbage and the Flowers' sound as "raw gobbets of gray matter, filthy drone, and vintage ennui," and while I think that the band's lo-fi charms begin to wear in the long-player format, this is a near-perfect realization of harsh, dissonant beauty; Helen Johnstone's strong vocals, alternatively defiant and wearied, are the real draw here, anchoring the recordings as they thrend collapse in their frenzied rush.

The propulsive, feedback-drenched "Catnip" and its counterpart, the austere, resigned "Carousel," offer a bleak vision of modern humanity that is inescapable in its hypnotizing lull. Enjoy! - Ariel   (thedoledrums.blogspot)

"Raw gobbets of gray matter, filthy drone, and vintage ennui smeared across four sides of vinyl. Extended New Zealish explorations combining the Xpressway and Corpus Hermeticum molds, but with Helen Johnstone’s distinctive voice weaving a beautifully pop melodic sense through the lofi squall." Eric Arn

I was mightly impressed when I first encountered The Garbage and the Flowers, a band out of Wellington. Wellington - one of the last places you expect to hear good music from; a city I've always found to be particularly lacking in spirit and stimulation. So it was surprising to hear the Twisted Village 7" Catnip/Carousel and a little later Nothing going down at all, their contribution to Shock Record's Twisted Village compilation Deep Funnels of Entry. The 7" features an energetic, trashy blast of noisy pop ("Catnip") coupled with the almost elegant, folky, drony "Carousel." This sounded like it should have emerged from Dunedin in the early 1980s, which was even more the case with the Shock track; mirroring so many elements of music from that time and place, especially it's Velvet Underground stylings. Not that it was revisionist or anything, just a very welcome, and epic, continuation of a fine tradition. These songs turned up in the early 90s, a few cassettes had also been recorded and released privately at about the same time. After that nothing more was heard of TGATF (the band having broken up in 1992) until 1996 when a couple of tracks appeared on Alastair Galbraith's Next Best Way label compilation Runner. I must guiltily admit to never having heard this particular CD, perhaps one day soon.

Meanwhile a couple of members (Helen Johnstone, who had sang and played viola, and Yuri Frusin, who played guitar) formed a band called Dress (interviewed in Opprobrium) and released a 10" Geraldine pressing...all not particularly useful for those of us who wanted to hear more of these people. So, I was kind of excited when I discovered a double LP of The Garbage and the Flowers was being released on The Now Sound. A limited LP-only pressing of 300 copies, Eyes Rind As If Beggars is good, but not quite as good as hoped. This consists mainly of material from their cassettes, and while approximating the T. Village single and comp. tracks it's obvious the earlier T. Village releases are the band's best work. The album's very primitive in parts (with a particulary "loose" version of "Nothing Going Down;" I don't know why they bothered) but still informed by the kind of psych/folk/Velvets/noise aesthetic found on the other releases (and which has been so important in NZ generally,) just in a way-rougher form. There was talk of Eyes Rind As If Beggars coming out on CD, supposedly being released in 1998. Guess we're still waiting.

stoned rehearsal

Legit fuckups and conversations (broken strings (it's a rehearsal after all, and a stoned one too)), loose lo-fi, with something I'm not used to in NZ noisy indie lo-fi, though it's all undercut by that d.i.y./don't-give-a-fuck attitude, and that's happy sounding chords, happy enough sounding songs, and tangible melodies/appeal. So often records of its kind contain a familiar overarching narrative of (geographical, cultural, historical, personal) isolation and existential dread, but with Stoned Rehearsal the don't-give-a-fuck attitude extends to such angst, producing a profound indifference to anything other than spontaneity, rehearsing stoned with one's dogs (weird), broken strings and all.

recorded live at red rattler, sydney, 2010 

radiant podcast, 2010 

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great live footage (1992)

NILS ROSTAD

norwegian experimental musician nils rostad comes along mixing everything from folk to drone and pop to field-recording in a way that leaves me positively puzzled anytime i listen to his works. since "harmony hammond" is available for free via bandcamp titled as "H1" plus "ujamt" is a very limited record whose copies were grabbed away soon after seeing the light of day, i decided to make nils' work accessible to the more of the interested few among you.

ujamt

harmony hammond

ALAN LICHT - four years older

"alan licht solo electric guitar. four years later recorded december 2012 at echo canyon west. four years earlier recorded live december 2008 at the electric possible, washington d.c. all selections played as heard, no overdubs. a new set by the coolest chap in new york city documenting the development process of a solo electric guitar piece that alan licht has been playing out for last four years. revered for his work in the blue humans and text of light, and a key figure in the pantheon of experimental solo guitar players born in the late sixties such jim o'rourke and oren ambarchi, 'four years older' is his debut editions mego release, representing another peak in a career of mining the rich seams of minimalism, noise and avant-garde in general that stretches back more than two decades. as it says on the box side a was recorded four years later than the side b (and vice versa). if that wasn't enough it's been four years since his last solo lp, ymca, on family vineyard. four years older sees a move away from the loop-based pieces of recent releases. on four years later in particular the guitar's fingerboard is actually touched more than on any other solo piece of the last ten years, although the guitar is pushed to sound more like a suitcase synth, a church organ, a hornet's nest, and a malfunctioning playstation than a guitar per se." (label info)

four years older

NIGEL BUNN - index

Nigel Bunn is a shadowy figure from the periphery of New Zealand's underground music scene; until now his output has been limited to a couple of tracks on obscure compilation albums. He's better known in Dunedin, his hometown, as a polymath who paints, photographs, makes experimental films, and helps organize art exhibits. Index is culled from years of varied musical experiments. The title track is a stirring fanfare for a looped piano phrase overlaid with distant trumpets. Several paradoxically tranquil pieces are woven from threads of guitar feedback. Others feature percolating antique electronics. Two sullen organ interludes impart an aura of dread, but Bunn's recitations of fragmentary texts in a filtered and sped-up voice are the most disorienting element of all. The album is deftly sequenced so that its disparate elements flow together like a surreal film that one could watch many times without extracting all of its secrets. (Bill Meyer)

Nigel has rooms full of old machines. Many of them found their way onto this album. He’s also a visual artist (mostly pencil and watercolor), a cinematographer and a photographer, developing his own films and photos in his flat in Dunedin, New Zealand.
Anyone that’s heard his music no doubt first became familiar with him via the seminal New Zealand compilation Killing Capitalism with Kindness (1992). His contribution “Goodbye God Baby Goodbye” (included in this collection) set the world on end for just over two minutes. It’s a disorienting and exhilarating listen, with primitive computer gurgles and plinked guitar set alongside Nigel’s disturbingly droll vocals. Besides a couple more compilation appearances and a rare lathe cut 7” EP, nothing else was released by Mr. Bunn.
Alastair Galbraith (Emperor Jones’ resident Pacific Rim A&R dude) coaxed/tricked Nigel into assembling a double album of his work, and the result is this impressive body of work Nigel calls Index. It’s largely instrumental and a good bit of it is loop-based, with pulsating guitar songs. But ultimately all of his music is simply beautiful and his vision alone. (Emperor Jones)

Nigel Bunn is a solitary avantgarde musicians from Dunedin, New Zealand.Index (Emperor Jones, 1999) is a generous collection which spans several years of his career. His art is generally built on loops of treated instruments with a penchant for ambient and industrial cliches (long steady drones, metallic timbres, ripetitive figures). He sits somewhere between Stars Of The Lid and Roy Montgomery, but also rather close to composers such as Harry Partch and John Cage. Patterns of electronics and guitars mold the ambient celtic music of Index and Beam, where fragments of melody are awash in methodically repeated sound effects. Goodbye God Baby Goodbye is a short surreal piece for two cartoon-like voices, a gently strummed guitar and a bebop trumpet.Rusty And Iron Green's whirling raga is played on a dissonant guitar scale.Katzenjamer's mini-symphony for languid guitar feedback may be the album's strongest ambient track. The World Of Spirits is the ultimate feast of Bunn's bizarre tones, albeit a tad too long. Elsewhere, Bunn indulges in sound experiments of a more dadaist kind, which bring to memory electronic composers such as Gordon Mumma and Robert Ashley. While naif and, all in all, outdated, these pieces (Striartum is the longest) transfer those techniques into the humbler setting of do-it-yourself music. Bunn is the quintessential eccentric, expressing the deepest emotions of his soul through a cryptic and unorthodox language. (Piero Scaruffi @ the history of rock music)

index

LOREN CONNORS - till morning: more collected works 1995-2005

(by alexander richter)

"till morning" is a very arcane compilation. or at least, i feel this way. in times where mazzacane's work is recognized by more and more listeners, i'd have expected to find data about it. but i could not track down any information about "more collected works" anywhere. it comes along pretty much as if it was meant to form some sort of trinity along with "as roses bow: collected airs 1992-2002" and the relatively wide spread "night through: singles and collected works 1976-2004". just guessin' - but if you know, just drop a comment.

till morning part I

till morning part II

till morning part III

PHILIP BLACKBURN - ghostly psalms

Innova-man and Harry Partch-expert Philip Blackburn's "Ghostly Psalms" would have won the trophy "Best Record 2012". So, that's why it's here.

I can imagine that to be in the presence of the “Duluth Harbor Serenade” recording session must have been a most surreal experience. While the harbor’s sonic fingerprint usually manifests over the course of a day – conducted by the ritualistic, day-to-day triggers upon which each sound resounds in the fulfilment of its duty – this piece condenses the location’s most distinctive sounds into a bustling eight minutes. Between 3:00pm and 3:08pm on Labour Day 2011, operators of these sounds were permitted to produce them as they pleased, while a flash mob of musicians paraded the streets and merged into the soundscape. The end result was like a scene-setting sequence from a Hollywood film; ellipsis squeezes out chronology and brings sonic identity into a single point, amounting to a chorus of noise that splashes out a mental image of its place of origin. The rapid-fire ring of bridge alarms quivers across the breathy calls of ship horns, pressurised expulsions of steam and the spluttering acceleration of motorised engines, while streams of weather blend in with the constant babble of conversation. There’s something beautiful about how this musical dilution arises in real time and without composer intervention. While the situation itself feels fantastical and out of proportion, there’s a warming authenticity that arises from the fact that the people of Duluth Harbor are the players at work, coaxing its breath cycle into being.

From here, this collection of works descends into dream, with time and location swirled into indistinction. The 50-minutes of “Ghostly Psalms” stems from an actual from an actual recurring anxiety dream from 1982, described by Philip Blackburn as follows:

“This memorable one…was about crawling uphill through a rocky desert with a crystalline trickle of clear water flowing uphill, entering a fortified mediaeval village (like Conques, perhaps) on the hilltop through a culvert, and walking into the abbey while voices played all around.”

This dream is sonically manifested as an eternally morphing combination of strings, voices, organs and other abstract unidentifiables; the listener is guided between them and caught awkwardly in the fluid formation and dissipation of its shadowy dream-shapes, as the familiar is bent out of recognition and thrust into the company of those sounds that are utterly alien in form. Blackburn’s justifications for choosing each textures, along with his interpretation of their effects, are laid out in full in the album’s accompanying booklet. Personally I find it easier to be consumed by the immediacy of the piece without Blackburn’s carefully assembled preconceptions – for the first listen at least, I found it beneficial to be left always questioning, but without the time to discover the answers nor even formulate the questions themselves. The piece is evocative of a dream-like logic (illogic, perhaps), through which objects and states are free to mutate without cause or consequence. Voices gather and babble into panicked ascents, string drones overhang like thin streaks of grey cloud, while faint ghosts of woodwind and brass make wispy entrances and disappear without leaving a trace nor imprint.

The five minutes of “Gospel Jihad” takes the collection to its conclusion, in a bizarre contrast of language. One choir strips sound of its rhythmic content, gliding in streams of gaseous harmony around the backdrop; up and across cathedral walls, circulating around wood-beamed ceilings. The other spits words and celebrates their harsh punctuations and emphases, with phrases shot out in yells so that they collide like reactive particles. The former feels cleansed and unified, while the latter is restless and in the process of deconstruction.

The sonic range covered across this selection of works is eclectic, and I find my emotional response to it to be equally so. Some of its material sends impulsive pangs of anxiety and excitement, while other sections skim across my surface without so much as a ripple so show for it. But such an inconsistency feels strangely appropriate for such a mercurial work; Ghostly Psalms is forever fading and emerging, with its only constant being its eternal state of transformation.

ghostly psalms

MAAN - manifold

(label info) "MAAN consist of two Flemish engineer students in their early twenties. They do not only love their sciences cold, their debut LP 'Manifold' harks back to the misanthropic aesthetics of Belgium's wave era, bringing to mind a drumless version of Joy Division inspired bands such as Gruppenbild or De Brassers. But MAAN are not the kind of revivalists you would expect them to be. Although the four track garage quality makes them sound like a lost demo tape of teenage angst expression of those days, they owe as much to the literary side of the Shadow Ring or even the intoxicated parlando-and-bass methods of early Arab Strap. Simon Marius and Tim Depraetere had no clue when old cunts like us tried to impress them with name dropping and references to the bands of our youths. To them we were just an annoying update of nagging hippies who compare everything new they hear to the Velvets or Hawkwind.

MAAN told us to fuck off and went home to listen to their fresh free jazz downloads, then took up some random instruments, made a bunch of tape loops and decided to make a record. Nevertheless, they still sound like something you found on Mutant Sounds in a quest for some obscure shit you had not heard before. Performances of MAAN always show the band's many different angles. Their link to a couple of young Belgian visual artists had them playing at art galleries a lot when they just started out. That might be the reason that you could catch them doing an hour long minimalist mantra, using only trumpet and voice, as well as a more traditional basement gig. 'Manifold' is the product of song writing, although the art school vibe is present all the same. Do not be mistaken though: Maan are scientists and they do not care about your intelligent pseudo-music philosophy."

aspirant to claim the crown of  "best record in 2013".

      manifold      
buy it!

RICHARD LAINHART - white night

Back in 1974, one year before Brian Eno’s first landmark in Ambient-music, some young musician from New York wrote down a fragment of beauty’s hidden story with the minimal vocabulary of sine waves on the young black skin of a Moog synthesizer.

Richard Lainhart about the work’s origin:
"White Night" was composed and recorded in the late fall of 1974 at the State University of New York at Albany in the Coordinated Electronic Music Studio (CEMS). CEMS was created by my composition teacher Joel Chadabe with design and custom fabrication by Robert Moog and was, at the time, the largest integrated Moog modular synthesizer studio in the world.

The piece consists of a dense, continuous four-note chord, each note in the chord recorded in a separate pass to one track on a Scully 4-track studio recorder. Each track consists of a single sine wave oscillator which is frequency modulated by a group of eight additional sine wave oscillators. Those oscillators are all tuned to different tones, each harmonically related to the fundamental chord tone. The amplitude of each harmonic oscillator is continuously varied under the control of an individual sequencer, and each sequencer is free-running - that is, the sequencers are not synchronized to each other, but rather running in their own independent timebases.The result is a continuously-changing complex harmonic waveform which modulates the frequency of the chord tone oscillator, generating a continuously-changing complex timbre based on the fundamental pitch of the note.
The center tone of "White Night" is 212 Hz, slightly higher than the G below Middle C. The other notes create a chord consisting of a perfect fifth below the center tone, a major seventh just below the center tone, and a major second above the center tone. "White Night" was composed without reference to the standard A-440 tuning system, as we had no such pitch reference in the studio; I just picked a center tone that felt right, and went from there. As such, "White Night" lives in its own pitch world.
The title "White Night" came about so: it was late December in upstate New York when I was finishing the piece, and a blizzard passed through town the night of the final mix. As I sat in the glow of the sequencers and tape decks in the University studio listening to the final version, I looked out the window and saw a security light on a building opposite the studio illuminating the blowing snow as it drifted off the roof. All I could see was the snow swirling in the light against the blackness; a moving painting continually drawn, erased, and redrawn, always changing, but always the same. It may sound bleak, but it wasn't - it was beautiful. It seemed to me that the image of the dancing whiteness perfectly matched the sound of the piece, and so I called it "White Night" to commemorate that evening of wind and snow."

white night

MICHAEL NORTHAM

check this here too.

Michael Northam surely is one the most fascinating contemporary figures and deserves way more attention. He told me once that he is not best in self-marketing. Especially in recent years, tags like "Drone", "Minimalist" and "Experimental" were so heavily abused and consequently misleading, that instead of discovering Michael Northam one would end up paying attention to recordings of irrelevant copycats. So, here I am trying to reach a few more people who open their ears and hearts towards this king of sounds.

Since his earliest memories of family journeys through desert state of Utah, Michael Northam has been intimately and directly inspired by vast geographies, severe weather and and other impressive natural events and places. This life long fascination of the phenomena of perception and experience faced with intimidating scales (large or small) continues to the foundation of his work with sound and images.

His work is the continuation of more than 20 years active art-life-travel which has brought him to visit, work with, and learn from over 90 artists (e.g. Catherine Christer Hennix, Loren Chasse, Yannick Dauby, Melanie Velarde, In Gowan Ring,etc.) from over 50 locations in 25 countries. Through these various experiences he has woven a complex tapestry of influences into a very personal intuitive process of creation. He continues to rediscover relations between visual/physical and sonic structures via a continual activity in graphic design, photography and filmmaking parallel to the sound work. As well as finding and practicing links between 'sound as art/experience' and traditional 'musical' approaches, such as the study of Kirana style raga singing with Michael Stirling (the last student of Pandit Pran Nath) and most recently an intensive residency studying the Dhrupad vocal tradition with the Gundecha Brothers in Bhopal, India.

He has established studios, organized events, made his own way independent of institutions and nationality now for over ten years through relocations between several countries. By now his work has been presented in over 15 countries with CDs published on four continents. He is ever surprised to discover new listeners and collectors of his music in the most disparate places - from Japan to Lapland from Moscow to Montana.

Northam performing "Owl's Songs" at O Tannenbaum, Berlin in 2011

Currently using specially prepared instruments such as the Magnetic Table Harp (a controllable magnetic resonance machine that acts simultaneously as a stringed instrument, a large contact microphone and a tone processor) as well as computer processing, prepared recordings (such as potatoes frying, wind moving through trees and walks through foliage) and a range of sounding objects. Michael explores the no-man's land between improvisation and acousmatic composition. A delicate position poised in search of the ever elusive morphological 'flow' where sound and action melt together and the eidetic triggering of sound as pure material transcends playing into the territory of 'sonic compost' - that which feeds our insatiable need to listen deeper.

Northam is a productive craftman who released uncountable recordings. His discography can confuse as to wander an unknown forest. I want to help those of you out, who seek a path in this vast jungle. However, it is not my ambition to make all of his compositions available here, but to give you some idea of his œuvre.

cyclogenesis (life on tape vol1.)
(with melanie velarde)

tracking the woodwouse
(with eirth/in gowan ring & regina la roca)

shapeshifter owl songs

log cabin
(with jatin vidyarthi & alex bhagat)

korligon
(with yannick dauby & hitoshi kojo)

les arrels de la mare serp
(with emmanuel holterbach)

golden shadow
(with jatin vidyarthi)

brilliant tedium

le neuvième déguisé en sept