Sound Collage Music

ｓｕｒｇｉｃａｌ ｓｈａｐｅｓ

4 track album

Summoners

Meet

4 track album

Variations for a Coldgate Nightmare

A delirious descent into the minty labyrinth of Vincent Gallo’s subconscious — where toothpaste burns the soul and where dental hygiene becomes theology. This album exhumes a single, ridiculous, divine image: the adolescent Gallo, trembling before a tube of Colgate, convinced it was evil. From this absurd seed grows a hallucinatory monument to fear, narcissism, and synthetic cleanliness — a sound-collage ritual exorcising the nightmare of freshness itself. The process was an autopsy: the infamous post-Brown Bunny interview — Gallo’s incoherent confession of defeat, madness, and toothpaste-phobia — was sampled, splintered, eviscerated. Every vowel, every nervous breath was fed through distortion, reversal, corrosion. His voice now mutters in fragments of ghostly ad jingles and commercial choirs — 1950s and 1980s Colgate spots, sterilized smiles, mint euphorias, all warped into infernal hymns. The jingles rot in reverb, melt into feedback, become demonic lullabies for the cavity of the mind. Between these ruins: a keyboard trembling in pale delirium, a few murmurs and deranged laughs, and the blunt percussion of skull-on-cardboard — a rhythmic self-flagellation to punctuate the delirium of modern hygiene. No melody. No message. Only the phantom taste of mint — corrosive, holy, erotic, a toothpaste apocalypse whispered through industrial feedback. Variations for a Coldgate Nightmare is pure shit and it's also a hauntological-surrealist masterpiece. A sonic exorcism of commercial fear, a dadaist ritual for the cracked mirror of fame and childhood trauma, a meditation on purity as horror and mint as damnation. This is UgUrGkuliktavikt lost inside Gallo’s head — a chorus of decaying smiles, screaming cavities, and fluorescent angels brushing their teeth in hell.

The Beginning of Interstellar Travel

This is only the beginning... -Violet Stargazer

At the Foot of the Ladder

12 track album, released April 15, 2024 SPTW (Some Pretend to Whisper) is the crossroad where sound collagists Perkin Warbek and Stakha meet. "Delicately mistreated samples, warped instrumentations, repeated loops, liquefied vocals, scraps of arrangements here and there, abstract swarming, analog tape textures and a few minimalist beats cleverly distilled from hip-hop influences... these are some of the ingredients used by Some Pretend to Whisper to shape its strange daydreams" "At the Foot of the Ladder" is their debut on Mahorka, released as free (cc) digital download and in limited cassette edition. Composed and produced by SPTW sptw.bandcamp.com Cover photo by Stakha Cover design by Alizee Demetz [mhrk392]

visible edges

An exploration of sounds created with synths, max for live, guitars, bass and field recordings that are sampled and mutated into new shapes recorded in Chicago (2025) and New Jersey (2026). Cover photograph was taken by either my Aunt or Uncle on a trip with my parents in the late 70s.

EUTHYMIA

12 track album, released August 21, 2026 SPTW (Some Pretend to Whisper) is the crossroad where sound collagists Perkin Warbek and Stakha meet. "Delicately mistreated samples, warped instrumentations, repeated loops, liquefied vocals, scraps of arrangements here and there, abstract swarming, analog tape textures and a few minimalist beats cleverly distilled from hip-hop influences... these are some of the ingredients used by Some Pretend to Whisper to shape its strange daydreams" EUTHYMIA is SPTW's long-lasting effort to overcome mental issues so as to reach peace and stability in a more and more fragile and inconsistent world. These 12 tracks should be viewed as a time-capsule reflecting the inner thoughts and feelings of its two members whilst keeping their heads above deep water. EUTHYMIA is the long-anticipated follow up to their debut on Mahorka, At the Foot of the Ladder, from 2024. All beats: SPTW a.k.a. Some Pretend to Whisper (Perkin Warbek and Stakha). NO AI generated. SP404 MKII + MPC 2000XL, tons of records, and pencils, desks and bottles as weapons of thought. Programming and editing: Perkin Warbek Keys / Bass by Stakha on tracks 5, 7, 9, 10 Vocals by Stakha on tracks 2, 5, 6, 8, 9, 10, 11 Vocals by Misty on track 2 Track 10 edited and mastered by the grand wizard Asteroide Maravich Guitar and vocals by Asteroide Maravich on track 10 Thank you: "SPTW would like to express their greatest love to our families, friends (The Schipper-Tournier family, Deborah, Naïs, Yasmine), our dear neighbours who put up with our sound making (!) and our beloved cat Misty. Special shout out to Ivo Petrov and Mahorka for believing in our project throughout the years, Asteroide Maravich for his constant help and emotional support, IVRO and True Flav." [mhrk505]

RambunctiOS (v1.0.083)

A lost operating system found on a thrifted PC.

PINKMIXTAPE

OFFICIAL RELEASE ON JANUARY 1 2027 Upload a song clip: forms.gle/s9oMbsjvt3hk6hCMA Upload a Mashup/Remix: forms.gle/YiyWk6ebbp7z5XZt6 A collection of Remixes, Mashups, and Sound Clips, meant to be a culmination of pop culture and a free source to upload or download from. All uploads will have the original artist and uploader's name in the credits of that specific track and as a feature. #PINKMIXTAPE

Nørsa°

A chopped coagulation of San Beulah's dream-weirdo back catalog, spiked with surprise extra chromosounds turning intimate lo-fi sketches into a glittering, disorienting, extra-special sonic fever collage. -Clelia --- It is with immeasurable delight and no small amount of jubilation that I welcome Clelia to the ever-shifting dream architecture of ECHØVEIL. Nørsa° stands apart from the rest of her remarkable body of work. Across a single thirty-six-minute movement, Clelia unfolds an astonishing hauntological sound collage—a slowly morphing hallucination where memories seem to dream each other into existence before quietly dissolving again. What awaits is a liminal procession of de-phased ambient hauntology, intimate lo-fi bedroom electronica, spectral shoegaze and trip-hop apparitions, ghostly neo-classical fragments, phantom dark ambient, brittle excerpts from films left to gather dust inside abandoned cinemas, withered recollections, Morse code whispered from impossible distances, surreal telephone rings searching for recipients who no longer exist, disembodied R&B soul, ballroom muZiK wandering through approximate jazz-infused fogs. There is something profoundly cinematic about Nørsa° Beauty, instability, and fragmented sonic dreams intoxicated by innumerable euphorias quietly coexist here, each lending the other an impossible kind of grace. A magnificent moment of experimental bliss. -Sir Kuliktavikt

Danton's Toad

Danton's Toad was theorized, conceived, composed, programmed, organized, procrastinated, recorded, mixed and mastered by D. Mager Lacey & Roger Skulback from October 1993 to October 1994 in the Wonder Factory. Produced as a custom-printed, limited edition cassette. Now available for digital download to enjoy. released December 5, 1994

MVI 0003 "Autoplay"

Through

9 track album

Secrets Untold

17 track album

hiding under the table / tunnel

hello? where are you? are you under there? hiding under the table: tracks 1-12 tunnel: tracks 13-24 BCT - 021 brought to you in part by .mp3Neptune

BLACK BOX

12 track album

Cut-up Revelations

14 track album

色 // コード

10 track album

Hertzian Presence of the Holy Ghost

An Easter that refuses chronology, that blooms sideways into infinities: Hertzian Presence of the Holy Ghost arrives like a cathedral dreaming itself back into matter, each stone humming, each echo self-aware. Totenbaum Träger conducts a ceremony of impossible amplitudes. Half a million blue azures detonate softly in suspended nights, cascading into unreal chasms where light forgets its source and becomes substance. Tears drift there. Saints too. Their residues, their sacred dust, orbiting in fields of raw illumination, neither blessed nor profane, simply… radiant. This is music as elevation unmoored. Transfiguration without doctrine. A lone figure, or the idea of one, reaches toward an inaccessible beauty and, for a flicker, touches it. Not with hands, but with collapse. With surrender. The sound itself becomes the gesture. Reels unwind in a submerged church, flooded with memory and voltage. The ghosts of Catholic liturgy dissolve into mantra, into breath, into frequency. They pass through you, not as symbols but as currents. They reorganize the interior architecture. Knees bend in rooms that no longer exist. Voices chant in languages that have shed their alphabets. Night is rebuilt here, piece by trembling piece. Abundant. Luminous. Beautiful, yes, but a beauty that fractures as it shines, a brilliance threaded with unknowable depths. Darkness gleams. Coruscates. It sings. What Totenbaum Träger offers is not a composition but a state: a jubilant matter of sound, a celebration without center, a radiant collapse into listening. -Sir Kuliktavikt