A masterclass in sound and texture from the Stockholm-based duo of John Chantler and Daniel M Karlsson, recorded at OTO in December 2023, following on from their ‘Hell or High Water’ release on Chantler’s 1703 Skivbolaget label the same year. From a dual synthesiser setup, the pair craft an incredibly naturalistic atmosphere - electronics not so much imitating organic sounds as creating their own little pocket of life, fully realised. The set slowly awakens like frozen ground thawing in the first spring sun; little sonic tendrils budding and reaching and gradually coalescing together in symbiosis. Ebbing and flowing, the momentum builds inexorably in ever-intricate patterns of tension and release; fractal forms unfurling and intertwining with a density that never collapses into aimless blowout even when the volume reaches a tumultuous peak. Finally, energy expended all at once, the piece falls back into a last cluster of sighing tones, and the day is done. -- Recorded by Billy Steiger Mixed and mastered by Daniel M Karlsson

A timely new book of ten essays stemming from the second edition of the Radical Sounds Latin America festival, which took place virtually in October 2020. Writers, academics and musicians discuss new perspectives on Latin American music, with essays tackling case studies and research in Guatemala, Belize, Honduras, El Salvador, Nicaragua, Costa Rica, Panama, Brazil, Mexico, Peru, Argentina and Guajira peninsula.

Hyperdelia is happy to present Sun Kit’s debut record All The Patterns Inside. Sun Kit is an experimental band, formed in Berlin. The band consists of Jules Reidy (guitar) and Andreas Dzialocha (bass) and fuses both artists' singular sounds. Their debut album All the Patterns Inside is a moody and ecstatic ride that navigates distance and closeness, breaking and re-forming.The record was produced completely self-sufficiently at home, the two sending each other recordings and sketches back and forth, mostly as direct input signals. These layered interactions gradually turned into songs which increasingly were abstracted through electronics, filterings, effects, autotune and a whole lot of distortion. As a result, the album holds song-like structures with vocals (such as the title track, “Vain” or “Red”), electronically powered hyper-ballads (as on “Springtime Rain” or “Tunnel Vision”) as well as more grainy tracks which highlight the band’s experimental side (“All In”, “Release”).Sun Kit started as a friendship project of two musicians who traverse similar musical communities in Berlin. Hyperdelia has provided a home to both artists before through the Serenus Zeitblom Oktett (HEX 001), Andreas Dzialocha’s solo record For Always LP (HEX 005) as well as Stellan Veloce’s Complesso Spettro (HEX 006). All The Patterns Inside now shows Andreas’ and Jules’ different instrumental aesthetics in a band context. Consequently, Sun Kit teases out both musicians’ sonic sensibilities, highlighting the spectral complexities of their two instruments, an admiration for the engulfing power of distortion and a deep fascination for sound detail. Paired with Jules Reidy’s lyrical conjuring of seasonal change – its emotional intensity and healing powers –, Sun Kit at times takes inspiration from Low’s edgy mellowness, Cocteau Twin’s ethereal echoes or reminds of My Bloody Valentine’s blurred inwardness. All The Patterns Inside is the result of a friendship becoming band, a debut record thick with twists and turns and one bursting with feels.  --- Music by Andreas Dzialocha and Jules ReidyLyrics by Jules ReidyMixed and mastered by Joe Talia at Good Mixture --- Thank you Arthur Janssen, David Walker, Johanna Markert, Malte Kobel, Marta Forsberg, Sarah Saviet, Shusha, Silvia Maggi

Reet’ is a lost treasure of late 1960s folk/psych-folk. The only album she ever put to tape, with clear pure voice and guitar. luckily recorded by Andres Raudsepp in 1969. Reet will be loved in the same breath as ;Sibylle Baier, Vashti Bunyan, Molly Drake & Bridget st John. Reet Hendrikson deserves wider listening and we hope this reissue will help . Reet Hendrikson was born in Estonia only months before the “great escape” into exile in 1944. Brought up and educated in Sweden, she went to study in the US in 1967 on a Fulbright scholarship, before she made her mark as an Estonian musician in Canada. While her arrangements of Estonian folksongs on the guitar reflected the styles of the sixties, her voice and choice of material sounded authentic and made a connection with ages past. When Hendrikson arrived in Canada in 1968 via the US, her Estonian was native-like because of the high quality of Estonian schools in Sweden. She was thus able to characterise the identity of young ex-patriate Estonians – especially those born in exile from Soviet occupation – in a new and meaningful way. A formal musical background allowed her to create the arrangements that accompanied her simple but pure singing voice. Having heard her under northern Muskoka pines at an Estonian summer seminar, it didn’t take Andres Raudsepp ( of raindeer records) long to bring her to a recording studio. “Reet – Estonian folksongs” appeared in 1969. Hendrikson soon found her way to the scholarly atmosphere of Boston where, as a multi-instrumentalist, she joined a group of musicians who favoured traditional folk music. Back in Sweden in the 1980ies, she was invited to join a scholarly society of Estonian young women, which she led during musical sessions. She visited Estonia as frequently as possible, trying in particular to be helpful to Estonian musicians by providing sheet music and much-needed repertoire from the Swedish National Radio Archives, where she worked for a while.. Reet Hendrikson died in Stockholm in the autumn of 2000. 

We're thrilled to present two longform pieces from Yorkshire-based sound artist, Sophie Cooper. Composed during a week-long residency in the OTO Project Space in February 2022, Lean In was originally written for an 8-speaker surround set-up, here distilled into an equally expansive stereo version. Over 25 minutes, Cooper weaves fragments of on-site found radio sounds, processed trombone, electronics and voice to explore themes of broken family structures and the unspoken estrangement issue. We release this alongside the newly remastered companion piece, Intact, commissioned by hcmf// in 2019 and for which Cooper was nominated for an Ivor Novello Composer Award in 2020. Together, the pieces build upon each other in a way that uncovers new insights with each listen, revealing a multi-faceted work at once intimate and far-reaching in its emotional and sonic impact. "This release is a double A side of accompanying pieces both written during residencies for spatial audio systems namely the HISS (Huddersfield Immersive Sound System) for hcmf// and the set up at Café Oto project space. These versions have been designed to be listened to on stereo set ups. Both of the pieces deal with the topic of family estrangement using verbatim sourced with permission and support from a UK based charity called Stand Alone who support adults in this situation. Intact was the first piece made of the two in 2019 and Lean In was written in early 2022 so you’ll hear references to how people’s lock down experiences impacted on their estrangements in the second piece. It was really interesting to come back to this topic after a break and reflect on changes between the texts in both years." – Sophie Cooper, February 2023 -- Enormous thanks to: Everyone involved with the HISS, hcmf//, Cafe Oto, Arts Council England, Kathy Hinde and Matthew Olden for the support with these pieces. -- Cover photography by Maryanne RoyleMastered by Oli Barrett

*60 copies limited edition* Infinite Expanse follows up their first two LPs with a return to the cassette format, diving deep into the world of the underground cassette network with a focus on SoundImage, a label founded by Martin Franklin and active in Slough between 1989-91. Presented is a compilation of two compilations – Premonitions (1989) and Spiritual (1990) – featuring stalwarts from the scene, including The Vitamin B12, M.Nomized, Konrad Kraft and Hybryds, as well as a host of ungoogleable artists, such as The Happy Citizen, Omega Ensemble and The Time Flies. Birthed through the space provided by the Enterprise Allowance Scheme, a UK government initiative introduced in the mid-80s which assisted unemployed people who set up their own business, SoundImage set out to uncover and present new electronic music which captured a certain sense of magic and mystery. The label operated within the cassette network, though also sought to bring the music to local audiences and stage live events. This included Omega Onsemble, a set of improvisers from Southampton, performing in a small backstreet gallery during the Windsor Fringe Festival in 1990, as well as Richard Leake’s The Butterfly Effect and Peter Appleton, a creator of sonic sculptures, combining for a live show at the Windsor Arts Centre in September 1991. The label even helped them get a feature on Southern TV and connected them with some researchers at the nearby EMI R&D lab in Hayes who recorded the performance with experimental 3D audio equipment. Distribution of SoundImage releases grew to a network of small mail order outlets and tape stalls, with duplication eventually handled by small-run commercial tape duplicators. Some of the artists who featured on releases also had their own outlets for sales, so between them they managed to form a self-contained sphere of underground production and distribution. Listening now, what distinguishes the music is that it sits at the cusp of the  DAW revolution, with the tracks made using the innovative Tascam 244, or similar 4-track cassette recorders, which had just revolutionised affordable music recording. The pumping hiss of its built-in noise reduction, in retrospect, becoming a distinctive feature of the productions. The music also pre-dates samplers, and whilst some of the music makes use of synthesisers, there is still a sense of performance and hand-made sound textures from tape loops, collages, effects and manipulated media, as well as traditional instruments. It sits at a point where abstract music still lived in our imaginations. There were no screens confining the compositions into lanes or grids, no software instruments. Instead, there were cables and cabinets, speakers and effect pedals, radio and tape….reels and reels of tape.