Past Releases

Sunroof "Electronic Music Improvisations Vol. 3"

Sunroof, aka Daniel Miller & Gareth Jones, release their brand new album, Electronic Music Improvisations Volume 3, via Mute’s Parallel Series. Out on limited edition transparent orange vinyl (limited to 1000 worldwide) and CD formats.

Electronic Music Improvisations Volume 3 is a collection of nine improvised tracks, recorded using the duo’s Eurorack modular systems, and builds upon the self-imposed parameters laid out on their 2021 debut.

Daniel Miller, the Founder and Chairman of Mute, and Gareth Jones, producer and engineer, notable for working with Depeche Mode, Einstürzende Neubauten, Erasure and Yann Tiersen, have been collaborating for four decades. Although neither dwell on their past work, preferring to constantly explore new ways to create, Miller and Mute’s legacy is given a nod on the track “Splendid” which opens with the distinct hiss of cassette over a rhythmic heartbeat before oscillators burst and collide. This track was recorded using the original 4-track TEAC that Miller picked up second hand in the late 70s and recorded The Normal’s “Warm Leatherette” 7” on.

This record follows their debut Electronic Music Improvisations Vol.1 (2021) and second album Electronic Music Improvisations Vol.2 (2023), along with their Bandcamp exclusive release Electronic Music Improvisations Live in London and Frankfurt, which captured their live shows at Frankfurt’s Museum of Modern Electronic Music and London’s IKLECTIK.

Papa M "Ballads of Harry Houdini"

The “Great Escape Artist” is back! No, not THAT one – dude’s dead! We’re talking about Papa M. And HE’s talking ‘bout Harry Houdini – in the album title, anyway, not sure about anywhere else. So, six years since his last LP, the all-acoustic A Broke Moon Rises, Papa M rolls into the shred zone, buns glazing, with his fifth full length in 25 years of Papa M-itude! Six fat-assed songs – a couple ballads, yeah, but mostly real all-out groovers here.

Claire Rousay "The Bloody Lady"

Electroacoustic composer claire rousay (US) presents her new album, ‘The Bloody Lady’, featuring the reimagined score she wrote for Viktor Kubal’s 1980 eponymous animated film. Kubal (1923-1997), a pioneering Slovak animator, is considered one of the most influential animation filmmakers of the 20th century.

Known as a singular artist who challenges conventions in experimental and ambient music forms, rousay crafted the score in her home studio immediately after moving to LA over the course of 2023.

The inaugural performance, a screening of the film accompanied by rousay performing the score live, took place at Videodroom / Film Fest Gent 2023 in Ghent, Belgium. The project has since been developed into an 11-track album with alternating themes that evoke the film’s atmosphere while standing on its own as a distinct sonic work.

Based on the lurid folk tale of Elisabeth Bathory (1560–1614), the trippy Slovak animated film ‘The Bloody Lady’ follows the story of a Slovak noblewoman. Accused of murdering hundreds of girls and women. Her murderous motive: hoping to remain eternally young, she allegedly bathed in their blood. The film begins like a classic Disney fairy tale, but it soon takes a dark turn toward tragedy.

Central to both the film and rousay’s score is the heart and its rhythmic pulse. “The actions surrounding the heart are pivotal in the film, and, along with its heartbeat, they formed the initial pulse of the score’, the American musician says. Much like the story itself, her compositions are whimsical, with subtle hints of looming menace. As this underlying tension lingers in the background, the score incorporates everyday sounds and nature recordings to evoke an ethereal yet unsettling atmosphere. To create these emotive textures, rousay primarily relied on a blend of granular VST synths, piano, pitched-down violin, and an array of field recordings.

The Body "The Crying Out of Things"

The Body have been a leading force of innovation in heavy music for over two decades. The prolific duo of guitarist/vocalist Chip King and Lee Buford (on percussion/electronics) have consistently expanded the scope of what heavy music can be. The Body has produced a wealth of groundbreaking collaborations and benchmark albums that over the past 2 decades have changed the perceptions and directions of heavy music. Known for the monolithic force of their music, and their inventive production techniques, their albums are benchmarks in the expansion and evolution of heavy music. Tightly packed with deceptively nuanced arrangements, exhilarating and challenging distortion, their albums are possessed of an unmistakably singular sound. The Crying Out of Things is no exception, a culmination of all that The Body have done before, highlighting their mastery of dynamic, monumental music that pushes toward the unmistakable sound of oblivion.

From the band’s origins, incorporating unorthodox methods to achieve an oppressive atmosphere has been essential to their alchemy. Full choirs, unexpected sound samples, 70s-inspired horn lines, dub drum beats and diverse guest performances have speckled their varied and eclectic repertoire, the common thread being a complex webs of distortion and noise. The Crying Out of Things harnesses elements from their ground breaking catalog: the expansive ecstatic distortion and live energy of I’ve Seen All I Need To See, the ambitious layering and arrangements on I Have Fought Against It, But I Can’t Any Longer, and the corroded pop edge of No One Deserves Happiness into one compact work. Guest performances include vocalist Ben Eberle, horn player Dan Blacksburg, and recent collaborator Felicia Chen add essential textural range. The Crying Out Of Things makes clear The Body’s distinct power to convey a dark range of emotions, thought inventive arrangements, dynamics, and sound selections.