out on may 13th: AN MOKU I STEFAN SCHMIDT – Zwischenraum

AN MOKU I STEFAN SCHMIDT – Zwischenraum

Format: Limited edition tape, 100 handnumbered items / download

Release date: may 13th 2022

the 2nd chapter “zwischenraum”of the “raum“-trilogy by dominik grenzler aka an moku and stefan schmidt. finely crafted ambient / soundscapes using stringed instruments, synthesizer, electronics and field recordings.


when dominik grenzler aka an moku, a sound artist and bass player based in zurich, approached stefan schmidt (guitarist, composer and improviser from baden-baden) with the idea of collaborating, it turned out the initial spark for a fruitful process and artistic exchange. within just a couple of weeks they not only managed to craft “raum” (the german word for room / space), the duo also realized there was still a plethora of ideas to explore and that this first album wouldn’t be their last – rather, they conceived a full “raum”-trilogy, named after and inspired by a sentence grenzler had read in david foster wallace’s unconventional bestseller novel “infinite jest”: “die echte welt ist nur ein raum.” (“the real world is just a room.”).
on “zwischenraum”, grenzler and schmidt continue their sonic trip into abstract voids, crafted by finely processed sounds of different origins like cello, field recordings and a vast array of electronic equipment. From the opener “yama” with its indian drone to the closer “sediment” the atmosphere is dark and alien, with references to hauntology and musique concrète, and yet organic, even harmonic. The future may be bleak, but there is still life.

the musicians::
dominik grenzler (born 1977) is a sound artist and bass guitar player with a spot for experimental and ambient soundscapes. In 2008, after years of playing e-bass in several bands or being hired for concert tours, he began with the initial recording sessions for an moku. the literal translation of
the japanese word “anmoku” is “tacit, unsaid, implicit” conveying that an idea or thought cannot be put into words but is subconsciously understood. inspired and animated, with this approach, dominik’s abstract, cinematic music gives the listener room for imagination and interpretation. his
approach to ambient is highly personal, as he manages to generate tension with a hidden musicality, drowned in a miasma of organic, yet manipulated sounds. dominik’s primary interests lie in simplicity, repetition and the relationship between sound and art.
privately, dominik grenzler lives and works in his adopted hometown of zurich where he co-owns a café with an artisan cake bakery section.
www.anmoku.net

stefan schmidt (born 1974) is a guitarist, composer, improviser and teacher. he gathered his first musical experiences as a member of various punk bands and later studied classical guitar at the hochschule für musik trossingen with professor andreas higi and at the conservatorio juan josé
castro in buenos aires with victor villadangos.
while early projects (e.g. farang) and several collaborations put focus on distorted sounds and rhythms, recent works center on slowly evolving structures, sound design and free improvisation, giving more emphasis on his main instrument, the classical guitar, and the exploration of other
stringed instruments such as tenor ukulele, fretless bass ukulele, fretless classical guitar, electric guitar, [d]ronin & ronin, stringed psalter, cello and baroque lute.
www.musicforoverexposedcelluloid.com

tracklist:

01 yama
02 reflektion
03 capgras syndrom
04 tagundnachtgleiche
05 rabenaas
06 schwere see
07 anywhere at the end of time
08 sediment


credits::
all tracks composed and produced by an moku and stefan schmidt
mastered by weldroid www.weldroid.net
cover artwork by stefan schmidt
synthesizer, tape recorder, electromagnetic microphones by an moku
field recordings, synthesizer, cello, fretless guitar by stefan schmidt
double bass on schwere see by adriano orrù

out on february 4th: ALE HOP – Why Is It They Say A City Like Any City?

ALE HOP – Why Is It They Say A City Like Any City?

Format: 180gr LP + download card, gatefold / download

Release date: february 4th 2022

The new album by the Peruvian-born / Berlin-based experimental artist Ale Hop was conceived in a context of immobility and provides six sonic vignettes that wonder about location, circularity, rootedness and experience. In collaboration with Ana Quiroga, Concepcion Huerta, Daniela Huerta, Elsa M’balla, Felicity Magan, Fil Uno, Ignacio Briceño, KMRU, Manongo Mujica, Moises Horta, Nicole L’Huillier, Raul Jardín, Sukitoa Onamau, Tomas Tello.

Following her explorations on music’s inherent fixation to geographic space and time, be it through the longing of home („Apophenia“ 2019) or scientific magnification of invisible worlds („The Life of Insects“ 2020), Berlin-based Peruvian-born experimental composer Ale Hop’s fourth album, „Why Is It They Say a City Like Any City?“, was conceived in a context of immobility. During the lockdown months, she started a process of remote collaboration, by sending messages, posted from various cities along a South American trip, to thirteen musicians from around the world. She journaled her impressions upon these places to an intimate fictional character while reflecting on matters of time, sound, space, cosmology and colonial memory. The thirteen musicians dialogued with this voice by taking upon the challenge of responding to the messages with sound collaborations.
Field recordings, mouth drumming, drone cellos, electronic loops, arrhythmic rhythms and voices came back from this experiment. Ale assembled them, by layering, twisting and turning, into sonic vignettes that wonder about location, circularity, rootedness and experience, making it the first time she’s set her guitar aside. Expect no answers to the album’s title question, but an innermost psychedelic rumination.
„Despite the technological resources that appear to dilute distances, the simulation of closeness mirrored on the digital space is an emptied body, a state of precarity, a flat surface; unable to withhold an experience of exchange,“ Ale states. „So, I began this project by asking myself, how
can we escape from the reduced experience of the virtual? The idea behind this experiment was that my messages and the places they describe could drive the composition, be a catalyzer, a score. Thus, to use geography as a tool to remember and imagine, to allow new soundscapes to emerge.“
„Memory, diffuse and divergent, sometimes reaches out to the future in its search for form, taking shape from the reflections and echoes that come back … like throwing a rock in a pond and having a rock thrown back at you.“


The release of „Why Is It They Say a City Like Any City?“ is accompanied by a 50-min audiovisual installation that will premiere at CTM 2022 Exhibition in January, which was created in collaboration with the Mexican technologist and artist Moises Horta. For this piece, an Artificial Intelligence multi-modal neural network was fed with readings of the messages written by Ale,
synthesizing them into free-flowing images. The visual imagery resembles the way memory works when triggered by words, by traveling freely through mental images unfolding them into openended assemblages of spaces and temporalities.


Ale Hop is the moniker of Alejandra Cárdenas, a Berlin-based, Peru-born artist, researcher, and experimental multi-instrumentalist that began her career in the 2000s in the underground scene of Lima, where she had several pop, punk and electronic bands, and continually collaborated with filmmakers, musicians, and artists.
In her solo music project, she finely blends and crafts a complex repertoire of unorthodox guitar techniques, with psychedelic drones that become visceral and breathtaking live performances. Her studious approach to the subjects covered in her albums and pieces is constantly influenced by her background as a researcher. Cárdenas completed a BA in Art History, her master’s in Sound Studies, further studies in History of Science and Technology, and is currently a doctoral candidate at Berlin University of Arts. She has edited two volumes of the publication „Border-Listening/Escucha-Liminal“ on decolonial, non-western, and Latin American perspectives on sound and listening, and is co-curator of the Berlin-based festival Radical Sounds Latin America.


https://alehophop.com/

out on january 28th: IANNIS XENAKIS – Electroacoustic Works

IANNIS XENAKIS – Electroacoustic Works

Format: Boxset of 5x 180gr LP with insert + download card + 8pp booklet / Boxset of 5x digifile CD with 24pp booklet / download

Release date: january 28th 2022

The 5 LP / 5 CD box set „Electroacoustic Works“ celebrates the 100th anniversary of IANNIS XENAKIS (on May 29th, 2022), one of the most influential 20th century avantgarde composers. All tracks have been newly mixed by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by RASHAD BECKER and finally reveal their full sonic range and dynamics. Booklet with English / German liner notes by REINHOLD FRIEDL (zeitkratzer) and rare photos from the Xenakis archive.


IANNIS XENAKIS (1922-2001) is one of the most important composers of the 20th century avantgarde whose influence on music can be traced to the present day – not only in the world of conservatory-trained composers but also in various streams of current non-academic underground aesthetics such as experimental electronic music, noise and industrial.
After he arrived in Paris in 1947, XENAKIS not only studied composition with MESSIAEN and later became a member of the famous GRM (Groupe de recherches musicales), he also worked as assistant to the famous architect LE CORBUSIER and realized a.o. the Philips Pavilion for the World Exhibition in Brussels 1958. His compositions often are based on mathematical principles which give his music an unprecedented aesthetic and “shocking otherness” (The Guardian).
Although XENAKIS also composed for orchestra (his most famous works are “Metastasis“, “Pithoprakta” and “Terretektorh”), electronic music became his way for exploring new ideas and concepts and to develop new techniques like a graphic interface for sound synthesis or later, when
computers were easier accessible, his so-called „stochastic synthesis“ (Gendy 3, S.709 > Disc V, Late Works).

XENAKIS’ first electroacoustic pieces (Disc I) like “Diamorphoses” or “Bohor” turned out groundbreaking works while the latter even caused, as MICHEL CHION put it, the “greatest scandal of electroacoustic music” on the occasion of its performance 1968 at the GRM in Paris.
His so-called „Polytopes“ (Discs II – IV) were overwhelming multimedia performances with especially designed architectures, laser and light shows etc. where sometimes up to several hundred loudspeakers were used to move the sounds in space. For example his most famous composition “Persepolis”, commissioned by the Persian Shah, premiered in 1971 in Shiraz- Persepolis (Iran) as a performance including light-tracks, laser beams, groups of children walking around with torches and 59 loudspeakers to project the music in an open-air situation.


The most radical aspects of sound can be found in Xenakis‘ late work and its merciless reduction to harsh, almost ruthless sound synthesis. In the early nineties, he devoted himself to the concept of a composing machine: a machine that designs everything independently and calculates the finished piece, the algorithm is the work.

For the first time, the complete electroacoustic works of XENAKIS are now available on record – the truly overdue testimony and legacy of a restless investigator and explorer of sound. Years of source studies and comparative research by zeitkratzer director REINHOLD FRIEDL, in collaboration with sound engineer MARTIN WURMNEST, made these critically reflected stereo
mixes possible, which were appropriately mastered by RASHAD BECKER and which, in addition to the aspect of fidelity to the source, put the listener in the center. Xenakis‘ adventurous music can now finally be enjoyed in its full sonic range and dynamic.


To quote The Wire’s review from May 2018:
“This is the definitive Persepolis“

out on october 15th: AIDAN BAKER – Seeing Past What Things Seem

AIDAN BAKER – Seeing Past What Things SeemA

Format: tape / download

Release date: october 15th 2021

New album by Canadian multi-instrumentalist AIDAN BAKER and his first solo release for KARL after the critically acclaimed collaboration albums “Invisible Cities” and “Invisible Cities II”.


AIDAN BAKER is a classically-trained multi-instrumentalist using the electric guitar as his primary instrument – applying alternate methods of playing the guitar, along with various electronic effects,
the Berlin based artist creates music which generally falls within the ambient / experimental genre but draws on influences from (post-)rock, electronic, classical, and jazz.
A highly prolific artist, Baker has released numerous recorded works, both solo and with various group projects (NADJA, CAUDAL, NO PLACE TRIO et.al.), on such independent labels as GIZEH RECORDS,MIASMAH, IMPORTANT RECORDS, ALIEN8 RECORDINGS, and his own imprint,
BROKEN SPINE PRODUCTIONS. Baker is also the author of several books of poetry. A regular live performer, Baker has toured extensively around the world, including appearances at such international festivals as FIMAV, SXSW, Incubate, Unsound, and Mutek, among others.
“Seeing Past What Things Seem” delivers four finely shaped ambient / drone pieces, crafted with electric guitar, bass, flute at BAKER’s home-recording studio in Berlin, the title referencing the American artist and author EVE BABITZ.


credits:
Recorded March 2021 at Broken Spine Studios, Berlin
Instrumentation: electric guitar, bass, flute
Titles paraphrased from Eve Babitz
Cover photo by Thomas Herbst

out on sept. 17th: ARASH AKBARI – Fragments Of Yearning


ARASH AKBARI – Fragments Of Yearning

Format: tape / download

Release date: september 17th 2021

After PORYA HATAMI and SABA ALIZADEH, we are excited to welcome the 3rd Iranian musician on KARL: the sound and new media artist ARASH AKBARI.


ARASH AKBARI is a musician, sound, and new-media artist, based in Tehran, Iran. His interest in dynamic art systems, human perception, nonlinear narrative, and the co-existence between physical and digital worlds compelled him to explore the fields of generative systems, interaction design, and real-time processing. He explores the relationship between human, technology, space, and the environment, and examines the ways interactive cybernetic systems, natural emergent behaviors, and phenomena can evoke meanings as well as social and emotional responses. Akbari directs his experimental practices into audio-visual performances and installations, interactive applications, and multisensory experiences.
His compositions investigate experimental approaches to sound generation, field recordings, acoustic instrumentation, digital synthesis, DSP, and noise to create immersive sonic environments that explore the agency of autonomous systems, indeterminacy, memory, and the perception of time and space.
His works have been exhibited in different festivals and exhibitions around the world, such as Athens Digital Arts Festival, Simultan Festival, New Media Fest, 3D Web Fest, Cinnamon Colomboscope, and Graphical Web Conference. He has released albums on Flaming Pines, Unknown Tone Records, Taalem, and Soft Recordings among numerous other labels.
“Fragments Of Yearning”, AKBARI’s latest solo work, is a finely crafted sonic journey into ambient soundscapes, centered around the topics of yearning, memory and humanity. In his own words:


“Some moments linger in us,
buried in time but molded the eternity.
The dusty echoes from the past,
yet are vividly unraveled.
The irreplaceable momentary fragments of being human.”

Credits:
Composed, recorded, mixed by Arash Akbari (fall / winter 2020-2021)
Mastering by Lawrence English at Negative Space
Artwork by Arash Akbari
Layout and design by kaidoh



out on august 27th: KONSTRUKT feat. THURSTON MOORE – Turkish Belly

KONSTRUKT feat. THURSTON MOORE – Turkish Belly

Format: 180gr LP with downlode card / download

Release date: july 10th 2021

The latest entry in the ongoing series of exciting collaborations sees the Turkish free form ensemble KONSTRUKT live on stage with THURSTON MOORE.

#5 in the continuing series of KONSTRUKT collaborations on KARL is a live document of the concert by the Turkish freeform group with THURSTON MOORE. KONSTRUKT, the Istanbul based free jazz / freeform group founded and led by UMUT ÇAĞLAR and KORHAN FUTACI, are known for their openness to and interest in collaborations – and regularly meet up and perform with new partners that range from JOE McPHEE, WILLIAM PARKER, AKIRA SAKATA, MARSHALL ALLEN, EVAN PARKER, ALEXANDER HAWKINS, KEN VANDERMARK or OTOMO YOSHIHIDE.
This latest release sees the quartet join forces with one of the indie rock icons: THURSTON MOORE, who besides his decade-long main band SONIC YOUTH always found time and inspiration for solo projects and collaborations of different kinds.
„Turkish Belly“, recorded live at SalonIKSV in Istanbul in february last year, is as adventurous and daring as one will expect from such a pairing and a highly rewarding experience for the fans of KONSTRUKT and those of MOORE alike.

credits:
Korhan Futacı: alto sax, flute, voice, loops
Umut Çağlar: electric guitar, synthesizer
Apostolos Sideris: electric bass, upright bass
Berkan Tilavel: drums
+
Thurston Moore: electric guitar
Recorded live at SalonIKSV (21.02.2020), Istanbul.
Mixed by Kıvılcım Konca.
Mastered + vinyl cut by Helmut Erler at D&M, Berlin.
Artwork concept by Umut Çağlar
layout by kaidoh


IANNIS XENAKIS > 100th anniversary box sets


Karlrecords is excited to announce a 5 LP / 5 CD box set celebrating the 100th anniversary of IANNIS XENAKIS (on May 29th, 2022), one of the most influential 20th century avantgarde composers.

As with „La Légende d’Eer“ and „Persepolis“ before, the tracks have been newly mixed by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by RASHAD
BECKER and now reveal their full sonic range and dynamics.
„This is the definitive Persepolis“ stated The Wire (May 2018, issue 411) and this will be true for the new sets as well.
Scheduled for release as part of the Perihel series curated by REINHOLD FRIEDL in January 2022 and flanked by several performances across Europe in the Xenakis jubilee year (details tba), while preorder starts early December.
Formats:

5x 180gram LP incl 4c insert and download code + booklet

5x Digipack CD + booklet

Digital download

Listen to „Mycenae Alpha“:
https://soundcloud.com/karlrecords/iannis-xenakis-mycenae-alpha

Tracklist:
I: EARLY WORKS
Diamorphoses (1957)
Concret PH (1958)
Orient Occident (1961)
Bohor (1962)

II: LES POLYTOPES I
Hibiki Hana-Ma (1969)
Mycenae Alpha (1978)
Polytope de Cluny (1972)

III: LES POLYTOPES II
Persepolis (1972)

IV: LES POLYTOPES III
La Légende d’Eer (1978)

V: LATE WORKS
Taurhiphanie (1987-88)
Voyage Absolu Des Unari
Vers Andromède (1989)
Gendy 3 (1991)
S.709 (1992)

out on july 10th: KARKHANA – Al Azraqayn

KARKHANA – Al Azraqayn

Format: 2x LP (180gr, gatefold sleeve, downlode card / download

Release date: july 10th 2021

The furious double LP “AL AZRAQAYN” documents KARKHANA (with members of KONSTRUKT, THE DWARFS OF EAST AGOUZA, LAND OF KUSH, PETER BRÖTZMANN CHICAGO TENTET, “A” TRIO) at their very best and intense: live on stage.

Consisting of seven of the most adventurous and innovative artists from the Middle Eastern experimental scene (and a veteran jazz percussionist from Chicago), KARKHANA are surely among the most unique and interesting ensembles around. When MAURICE LOUCA (THE DWARFS OF EAST AGOUZA), SAM SHALABI (LAND OF KUSH, THE DWARFS OF EAST AGOUZA), UMUT ÇAĞLAR (KONSTRUKT), MAZEN KERBAJ (“A” TRIO, JOHNNY KAFTA ANTI-VEGETARIAN ORCHESTRA), MICHAEL ZERANG (PETER BRÖTZMANN CHICAGO TENTET), SHARIF SEHNAOUI (“A” TRIO, ORCHESTRA OMAR) and TONY ELIEH (ORCHESTRA OMAR, JOHNNY KAFTA ANTI-VEGETARIAN ORCHESTRA ) come together to perform and / or record, the result is as diverse as their individual musical backgrounds. The septet’s sound is neither retro nor avantgarde, not folklore nor jazz or rock – it’s an astonishing blend of all these different styles and elements where seductive oriental melodies can intensify and turn into a psychedelic freak-out, fuelled by reeds, guitars and electronics, only to re-start again from quiet sounds till the ensemble seeks catharsis in a collective improv outburst! Defying simple categorization, and in lack of proper terms for the intense experience of KARKHANA’s music (as well as the member’s other projects mentioned before), someone labelled it “free Middle Eastern music”.
And it’s not surprising that these skilled musicians are at their best live on stage – as documented on this live recording from a furious, highly energetic concert at Bimhuis / Amsterdam! 

KARKHANA are:
Mazen Kerbaj: trumpet, objects, electronics
Umut Çağlar: double reeds, bamboo flutes
Sam Shalabi: oud, electric guitar
Sharif Sehnaoui: electric guitar
Maurice Louca: organ, synthesizer
Tony Elieh: electric bass
Michael Zerang: drums, darbouka


Credits:
Recorded live at Bimhuis / Amsterdam on july 3rd, 2019
All music by Karkhana except “Sidi Mansour” a tunisian folk theme by Cheikh Mohamed Boudaya الشيخ محمد بودية.
Artwork by Mazen Kerbaj.
Inner gatefold picture by Tony Elieh (Inter Arts Center, Malmö, 2018)
Mastered & cut by Helmut Erler at D&M, Berlin, in january 2021

out now: AN MOKU & STEFAN SCHMIDT – Raum

AN MOKU & STEFAN SCHMIDT – Raum

Format: tape / download

Release date: may 14th 2021

the first chapter of the „raum“-trilogy by dominik grenzler aka an moku and stefan schmidt. Finely crafted ambient / soundscapes using bass, cello, electronics and field recordings.

the album:
as for many musicians, if there was anything positive about the lockdown in the spring of 2020, it was having more time to create music, to experiment and to maybe even start a completely new project with someone you may never have worked with before. when dominik grenzler aka an moku, a sound artist and bass player based in zurich, approached stefan schmidt (guitarist, composer and improviser from baden-baden) with the idea of collaborating, it turned out the initial spark for a fruitful process and artistic exchange: within just a couple of weeks they managed to craft an album which turned out edgy and harmonic at the same time. despite its abstractionism, „raum“ has a very organic feeling to it, provides a richness of details and finely processed sounds of different origins like bass, cello, field recordings and a vast array of electronic equipment. according to the 2 musicians, the process of creating the ten tracks was a smooth and intuitive one with hardly any need to discuss the concept or details, the communication took place within the music and the exchanged files.

the musicians:
dominik grenzler (born 1977) is a sound artist and bass guitar player with a spot for experimental and ambient soundscapes. In 2008, after years of playing e-bass in several bands or being hired for concert tours, he began with the initial recording sessions for an moku. the literal translation of the japanese word “anmoku” is “tacit, unsaid, implicit” conveying that an idea or thought cannot be put into words but is subconsciously understood. inspired and animated, with this approach, dominik’s abstract, cinematic music gives the listener room for imagination and interpretation. his approach to ambient is highly personal, as he manages to generate tension with a hidden musicality, drowned in a miasma of organic, yet manipulated sounds. dominik often describes an moku as distinctive atonal madness.
privately, dominik grenzler lives and works in his adopted hometown of zurich where he co-owns a café with an artisan cake bakery section.

www.anmoku.net


stefan schmidt (born 1974) is a guitarist, composer, improviser and teacher. he gathered his first musical experiences as a member of various punk bands and later studied classical guitar at the
hochschule für musik trossingen with professor andreas higi and at the conservatorio juan josé castro in buenos aires with victor villadangos. while early projects (e.g. farang) and several collaborations put focus on distorted sounds and rhythms, recent works center on slowly evolving structures, sound design and free improvisation, giving more emphasis on his main instrument, the classical guitar, and the exploration of other stringed instruments such as tenor ukulele, fretless bass ukulele, fretless classical guitar, electric guitar, [d]ronin & ronin, stringed psalter, cello and baroque lute.

www.musicforoverexposedcelluloid.com

all tracks composed and produced by an moku and stefan schmidt
mastered by weldroid
www.weldroid.net
cover artwork by stefan schmidt
electronics, field recordings, bass guitar by an moku
electronics, field recordings, cello, vocals by stefan schmidt

out on january 29th: MARTINA BERTONI – Music For Empty Flats


MARTINA BERTONI – Music For Empty Flats

Format: LP (180 gr, incl download code) / tape / download

Release date: january 29th 2021

cello player and electronic artist martina bertoni‘s new album „music for empty flats“ delivers masterfully crafted experimental ambient / drone for fans of hildur guðnadóttir, giulio aldinucci or lawrence english.


martina bertoni is a berlin based cellist and composer. she started playing the cello at a very young age. classically trained, bertoni‘s career soon developed around experimental and film music where her cello has been featured in numerous records, soundtracks for awarded movies and tv series and collaborations, among others with blixa bargeld and teho teardo with whom she recorded several albums and performed at many prestigious festivals all around the globe.
the core of her solo work is based on deconstructing the relationship with her own instrument by combining acoustic sound, repetition, analog and digital synthesis. after the eps „in a paradise you would be happy“ (2018) and „the green ep“ (2019) she released her critically acclaimed full length
album „all the ghosts are gone“ with the reykjavík based label falk in january 2020.
on her new album she continues to explore the sonic possibilities of her instrument which she uses as sound source – sounds which are then processed, adding reverb, feedback and sub-bass frequencies and thus crafting sonic sculptures, rich of atmospheres and frictions.

„the inspiration for the title „music for empty flats“ comes from a fraction of time during last winter, while i was visiting iceland. i had the strange opportunity to spend lots of time listening to music, alone in a brand new but unoccupied – therefore completely naked – empty flat in the suburbs of
reykjavík. it was christmas, it was constantly dark, outside there was snow, inside there was this strange dystopian empty space in which i could listen to my favourite pieces of music in complete solitude. this is when i started sketching the new record.“ says bertoni.
the resulting seven new tracks deliver masterfully crafted experimental ambient / drone, dense and intense but fragile and sensitive at the same time. A more than impressive new artistic statement by martina bertoni, recommended not only for fans of hildur guðnadóttir, giulio aldinucci or
lawrence english!

tracklist:

  1. bits
  2. bright wood
  3. in circles of thoughts//blue ed.
  4. music for empty flats
  5. fearless
  6. moving nature
  7. distant tropics

all music composed and produced by martina bertoni in reykjavík & berlin 2019-2020
mastered & cut by helmut erler at dubplates & mastering, berlin
martina bertoni: cello and electronics
artwork by kaidoh
cover photo by martina bertoni