Sound Art Music

iso112

PART 1: ISO42 1. Isolation | 6:00 min This track was recorded for a COVID related sound-art project but was never released before the album. 2. Under The Surface | 17:00 min This composition is written as a soundtrack to a video installation (released by UNDER SOUND (Australia) earlier in 2020) and is dedicated to the World of 2020. 3. Birds | 19:00 min This composition is a mix of radio, modular synth and field recordings. The total time of all three tracks of the first part is 42 minutes which represents 42 days lockdown restrictions which were imposed by the Victorian Government Lockdown Plan for Melbourne, Australia. Part 2: ISO35 4. The Sounds Around Me | 35:00 min Following the initial 42 days of lockdown, the local government has assessed the situation and made a decision to extend lockdown indefinitely until critical data statistics did not show that it is safe for the lockdown to be lifted. The idea behind this work is to demonstrate the sounds associated with the curfew (9 PM - 5 AM) which took place during the extended lockdown in response to the second wave of COVID-19 in Victoria State. Part 3: OUT35 5. The Sounds Around | 35:00 min This track contains 35 minutes of a field recording made at the same spot with the previous recordings. --- ISO stands for Isolation and comes from Australian speakers’ tendency to abbreviate certain words, with such abbreviations then becoming a common speech (e.g. Macca’s to mean McDonald’s, iso to mean isolation). Melbourne metropolitan and the state of Victoria exited the lockdown on 27 October, Victoria recorded its 28th consecutive day of 0 new cases and 0 deaths, and had 0 active cases, epidemiologically eliminating the virus. Duration of lockdown in Melbourne and in Victoria was 112 days, from 9 July 2020 - 28 October 2020. The album conceptually represents this lockdown period of 112 days by having a duration of 112 minutes.

the air we breathe // single

The Air We Breathe is a collaboration between Australian sound artists Saliatahn (Sergei Tumanov) and Midnight (Eileen Francisco), originally created for Dark Ambient Compilation (Vol. 28) by UK label Sombre Soniks. Emerging now as an independent release, the piece unfolds as a meditation on atmosphere, breath, and presence. Layers of drones, subtle electronics, and shifting textures create a dense yet fragile sound field - hovering between ambient calm and quiet tension. It invites deep listening: headphones on, lights low, attention open. The Air We Breathe gestures toward what we rarely perceive - the air itself, the vibration between silence and sound. For both artists, this collaboration stands as an exploration of subtlety, atmosphere, and the interstitial space between noise and stillness. It resonates within the broader lineage of dark ambient and experimental electronics, yet maintains a distinct voice: intimate, slow-burning, and immersive. Take a breath. Listen closely. The air is never silent.

There is wind sometimes // EP

This album was born from a single moment: a recording of the wind during a powerful weather event in Melbourne, captured by Dr. Duane Hamacher. That sound, raw and unpredictable, became the sole source material for the entire project. Using a granular synthesizer, I explored its textures and tones, uncovering layers of movement and resonance hidden within. The result is a single composition in the realm of ambient soundscapes and sound art. It reflects the interplay of chaos and calm, shaped by the energy of natural forces. By limiting myself to this single sound source, I aimed to explore the subtle and transformative qualities of the wind, translating its textures and movements into something both intimate and expansive. This piece is an invitation to listen more closely and find music within the unseen currents around us.

Assemblance X Sessions

Experimental works created by Everyday Dust for the Hollow Earth Art's Birthday broadcast on 17/01/26.

Látomás

Die Regeninsel

With Dirk Serries and Asmus Tietchens, attenuation brings together two towering figures of experimental sound. Serries—known for Vidna Obmana and Fear Falls Burning—has been a key force in shaping (dark) ambient, while also maintaining a presence in free jazz. Tietchens, one of the most respected composers of electroacoustic music outside academia, has spent over six decades crafting a singular body of work spanning ambient, industrial, noise, and musique concrète. His influence on global experimental sound culture remains profound. Their collaboration dates back to the 1990s, beginning with an untitled album (Syrenia, 1995), followed by Motives for Recycling (Soleilmoon, 1999), which included reinterpretations of earlier Tietchens material, and the double album The Shifts Recyclings (Soleilmoon, 2002), where both artists reworked source sounds by Frans de Waard’s project Shifts. After a two-decade hiatus, they reunited in 2022 with Die Höfner Akten (aufabwegen), a work rooted in musique concrète, in which Serries’ acoustic guitar sources remained partially recognizable within Tietchens’ precise and analytical processing. Their new album, Die Regeninsel, takes a different path. Built on Serries’ richly processed electric guitar textures, the music unfolds into expansive, immersive drone-ambient landscapes. Tietchens reshapes these materials through layering and density, evoking shifting sonic “states” of precipitation. While the evocative, almost programmatic titles suggest a more “naturalistic” listening mode—unusual for Tietchens—they leave ample space for abstraction, allowing the listener to move freely between image and pure sound. File under: drone, dark ambient

Life In Aisles

an hour of ambient/sound collage/musique concrete pieces recorded on breaks and in odd times and locations at work in an office complex over a two month period using only the teenage engineering op-1 and a pair of headphones sounds of corporate dystopia

I-VII

The sun descending in the west, The evening star does shine; The birds are silent in their nest. And I must seek for mine. The moon, like a flower In heaven's high bower, With silent delight Sits and smiles on the night. Written and produced at night between Dec'25 and Feb'26.

LEGENDE INTERVIEW [Fremder in einer fremden Welt]

What an immeasurable joy it is to finally welcome a work by Sean Derrick Cooper Marquardt into the haunted halls of ECHØVEIL. Sean is an American performance artist, musician, and free improviser, born in Chicago and now based in Berlin. He is renowned for his astonishingly prolific body of work spanning the vast territories of experimental music in all its forms. He is perhaps best known for developing the Accidental Guitar Method—a practice in which chance, intuition, and improvisation become equal partners in the live composition and recording process. To date, Sean has released more than 700 albums, either solo or in collaboration with fellow sonic explorers, each one presenting entirely original and previously unheard material. It is one of the most fascinating, uncompromising, and constantly evolving artistic journeys I have ever encountered. "Fremder in einer fremden Welt" (A Stranger in a Strange World) unfolds across fifteen mesmerizing minutes somewhere between sound art, ambient noise, musique concrète, spoken word, and field recordings. It is the kind of piece one gladly loses oneself inside—again and again—each return revealing new luminescent subtleties, unfamiliar surreal landscapes, impossible shades of sound, and breathtaking textures that seemed absent only moments before. Every listen gently dismantles your bearings. Every listen redraws the map. And every listen leaves you just a little more beautifully lost. -Sir Kuliktavikt

Spontaneous Combustion

From an unfathomable prison cell built at a thoroughly impossible angle awaken these spontaneous sounds... Sounds that combust in slow motion, forever, beneath an azure long since stripped of the very idea of sky. Hidden trapdoors open onto voids, anti-voids, and deeper chambers where ruin itself seems to hesitate before taking another step. Questions without mouths. Predilections without owners. Corridors leading nowhere except further inward. On Spontaneous Combustion, existent/nonexistent distills their singular sonic language into an impossible anti-world where dark ambient spectres, musique concrète vertigo, de-calibrated industrial revenants, incandescent noise-muZiK pestilence, counterfeit anti-music reduced to radioactive dust, and venomous improv-muZZicK drifting from beyond the Wall of Sleep continually collide, fuse, decompose, and quietly resurrect themselves. Listening feels less like hearing an album than wandering through a labyrinth whose architecture keeps remembering different versions of itself. Imagine the entire Nurse With Wound List simultaneously devouring and reinventing itself, as interpreted by a sound author touched by some impossible anti-celestial grace, improvising vast RIO NO WAVE symphonies of cartilage for an orchestra of patient zombies featuring Pierre Henry, Clara Rockmore, György Ligeti, Akira Yamaoka, Iannis Xenakis, Luc Ferrari, SPK, Khanate, Aphex Twin, David Vorhaus... and several musicians who have not yet been born, but whose funerals have already taken place. This is not a journey. It is a pilgrimage through the combustion chamber of an alternate reality where every sound dies before it is heard, only to return moments later wearing someone else's nervous system. As always, existent/nonexistent reminds us that the strangest music does not seek to be understood. It merely waits for us to become strange enough to understand it. -Sir Kuliktavikt

OLDIES

OLDIES is Mother Raspberry’s 5th album and was released on Sep 22, 2023 A majority of the material here was recorded in 2011 during the sessions for Mother’s Day and was assembled from outtakes and newly recorded material for 2023. One of the songs really IS an oldie and was recorded in August 2003 (Theme From ‘Brawny’).

THROUGH GLASS

Through Glass is the result of a deeply collaborative and cross-continental experiment between Japanese electroacoustic composer Kazuya Ishigami and American multidisciplinary artist Max Devereaux. Rooted in contrasting yet complementary approaches, the project unfolds as a dialogue between structured sound design and spontaneous sonic exploration. The process began with Kazuya Ishigami, who created a series of intricate sound materials, merging electroacoustic textures, noise fragments, and ambient field recordings. These materials were then sent to Max Devereaux, who layered, reinterpreted, and expanded upon them through improvisation, using field recordings, found objects, contact microphones, and modular synthesizers. Max's additions reflect his tactile and often textural approach, combining environmental sounds and lo-fi textures with gestures that evoke both intimacy and sweeping activity.

Mad, Puzzled & Thirsty

The updated grand masterpiece, orchestrated by the original dynamic duo: Mother Raspberry and A.R.C. conduct the AO reprogramming Sad, Confused & Hungry. Enjoy at room temperature This album is a complete overhaul of our 2005 album Sad Confused & Hungry. It is a sequel and a remix and also it is really weird and funny. If you like this sort of thing, of course

98E - 48°17'21"N - 0°37'21"O

In case you were wondering about the "O" at end of the title: It's neither English nor German, but French, where West is spelled Ouest. Because, of course you guessed what the artist himself confirms: "This is the compass location of the place where I work with sound, where I created this album. The tracks are composed of natural, organic, noisy, melodic or atmospheric sounds captured here and there. The idea here is to offer mysterious pieces that take the listener to a fictional and distant sonic space."

Is the Silence...

Where do sounds go when they die? Where do they come from before they are heard? There is no answer. Only the echo of the question, dissolving. What remains is Silence. Here, it is a color, essential and devouring, threaded into the palette of an artist who has long understood its quiet dominion. It is the origin and the return, the first inhalation and the last release, the unseen matrix in which all things hover before and after their brief, fragile shimmer of being. Three tracks. Three enigmas suspended above an immeasurable abyss. No resolution, no closure, only a slow drift toward something at once terrifying and serene: the call of the void, vast, indifferent… and, against all reason, almost tender. -Sir Kuliktavikt

Spirit Lights

Deeply rooted in exploration, each song on Spirit Lights is composed of drifting layers of Moog modular, Prophet 6, OB6 and Korg MS20. The single ‘Open Heart’ showcases the richness of Joshua’s sound with lush chord layering and stirring arpeggios. Polyrhythmic synthesiser lines weave in and out of focus in ‘Darko’, a reflection on Jung’s integration of the shadow self. The release concludes with the swirling modular warbles of the emotive ‘...Embers Remain’; a love letter Joshua imbues with hope and tenderness. Each of these songs began as sketches. Some date back five years. I would have rough ideas before powering up my gear but would usually let my unpredictable modular synths lead the way. I love to combine elements from different sessions to see what else comes forth, often songs change meaning, go through new iterations and take lives of their own. There is a lot of feeling and movement in each layer. Also, many of the synth takes on the album are compilations of recordings from live rehearsals. Structures solidify over time and are discovered through improvisation. Keeping with the theme of spontaneity, the addition of drums to the album happened late in the writing process. Longtime friend Benjamin Shannon (Big Dead, Milton Man Gogh, Kodiak Empire, Milk Buttons) stepped up to record and the result is a masterful display of art-rock and jazz influenced percussion. A few days after a live performance of the full record, Benjamin recorded his drum parts in a single session. Guided by Joshua playing his hypnotic synthesiser sequences, Benjamin’s explosions of energy and complex fills are on full display in D’n’B-lite ‘Running Rings’. ‘Spirit Lights’ showcases Benjamin at his most creative, with the solid groove of the first section collapsing into an entrancing avant-garde finale.

ATHENE NOCTU4: DESIERTO/DESEO

Four Criteria

Four Criteria uses Stockhausen's self-identified criteria for defining electronic music as a literal starting point, and proceeds to explore and ignore the four precepts. Jeff Surak is a sound artist, recovering curator (Sonic Circuits Festival), programmer (RhizomeDC), and label-boss (zeromoon) from Washington DC. With a body of work spanning over four decades, Surak celebrates lofi techniques, archaic technologies, and wabi-sabi aesthetics, to create non-linear sonic narratives. Note that the first rack Four Criteria (II) starts out at very low volume and moves slowly.

Calling a Wolf

album inspired by the works of Kaveh Akbar

Does the Wild Rose?

but still we keep the names sewn inside us like broken teeth