Kindred spirits Passepartout Duo and Inoyama Land embody the essence of play – charting a new chapter and reinvigorating the environmental music and electronic landscape.Passepartout Duo is formed of Nicoletta Favari (IT) and Christopher Salvito (IT/US), who since 2015 have been on a continuous journey travelling the world’s corners, engaged in a creative process they term “slow music”. Having been guests of many notable artist residencies and with live performances in cultural spaces and institutions, their evocative music escapes categorisation. With no fixed abode their musical pilgrimage brought them to Japan first in 2019, which prompted a deep connection to Kankyō Ongaku ‘environmental music’, a genre in which Inoyama Land is often associated with, soundtracking the duo’s first immersive experience. In 2023 the duo revisited Japan and set out to reconnect in particular with the music of Inoyama Land, performed by Makoto Inoue and Yasushi Yamashita. The highly revered album ‘Danzindan-Pojidon’ (1983) produced by Haruomi Hosono amongst other well publicized and acclaimed reissues (Light in The Attic Records’ Grammy-nominated compilation ‘Kankyō Ongaku’), produced a global resurgence and admiration of the environmental music movement. Nicoletta took the lead to seek out Inoyama Land and in making contact successfully their intrigue and eagerness to meet was warmly reciprocated, and the group scheduled to meet in the form of a spontaneous improvisation session.“We’re deeply concerned with what it means to be a duo, and what it means for people to connect through music.”'Radio Yugawara' was recorded in 2023 in Makoto Inoue’s hometown of Yugawara where his family runs a kindergarten, whose space has doubled as a Sunday recording studio. Upon arriving a circle of four tables was set up in the school’s auditorium - the tables were carefully populated with children’s instruments: a full set of handbells, a glockenspiel, a xylophone, recorders, melodicas, and harmonicas. Surrounding the tables were racks hanging all sorts of bells and wind chimes and within this environment each performer set up their own electronic instruments. Dialling into each other, a simple set of playground ‘game rules’ was devised where time was divided into three separate sessions (1) ‘only electronic instruments’, ‘only acoustic’, and ‘a mix of both’, (2) ‘revolving duets’ each taking turns to play through a cycle of ‘four duos’ and (3) ‘anything permitted’, accumulating to more than three hours of material which was then carefully distilled into succinct tracks. The alluring album opener ‘Strange Clouds’ oscillates into view, setting a lush scenery built from a bed of synthesisers and the first glimpse of the chromaplane, the hand-built analogue instrument designed by Passepartout Duo, featuring a touchless interface and endless organic sounds that underpin the album’s 11-track inlets. Percussive pulses act as the heartbeat to ‘Abstract Pets’ before earthy sub-swells open the pathway to glistening glockenspiels and wind chimes. The atmosphere shapeshifts with ‘Simoom’ and ‘Tangerine Fields’ with swirling synth lines and subliminal beats resembling changes in weather patterns. At the centre points the idyllic ‘Observatory’ and ‘Mosaic’ could illuminate the deepest oceans before the hypnotic, arpeggiating synth lines in the otherworldly ‘Xiloteca’ propel the album towards ‘Solivago’, with its gentle lullaby of playful ambience. The reflective closer ‘Axolotl Dreams’ resolves their somewhat chance meeting with elegant pastoral chord strokes and uplifting synth swells, sending final signals upwards into the ether. 'Radio Yugawara' is a unique one-off transmission from a specific place and point in time, unlikely to ever occur again. The respective duo’s approach can really be described as “tuning in”, a tuning into each other, to themselves, and to the surrounding nature of Yugawara. Like waves that travel off-world, sounds travel through the universe and can be lost forever if we don’t seek them out. In finding a harmonic affinity within their instruments and a spiritual kinship in their interwoven performance, Radio Yugawara at its core is an interpretation of feeling, of close human interaction and the true essence of discovery. “The album is both a transmission from a location, but also a tuning into the surroundings and to each other. Music in this kind of ephemeral moment is much less about active creation and more about discovering something which is already there in the air.”  

Brilliant Experimental album by the Merzbow co-founder, recorded in 1989 - with sticker and insert

Originally named „Merz“, this album should have been Merzbow's first vinyl release, but never came out on vinyl. So actually "Yantra Material Action" is „Material Action 1“, recorded in 1981 - with sticker and insert

After two and a half years out of print, Corsano/Orcutt's most popular album, Made Out of Sound, returns in a limited edition pressing. Best of 2021 — The Guardian, Pitchfork, Wire, Aquarium Drunkard, Stereogum, Magnet & Raven Sings the Blues.Pitchfork : "It’s a joyful noise. This is one of the more uplifting records of experimental music in recent memory. There’s something about how Orcutt and Corsano push each other that leads to work that pulses with the life force—these pieces bring to mind sunlight hitting a maple leaf, cells dividing under a microscope, a deep thirst quenched. Mark Richardson"Wire : "When you listen to Made Out Of Sound, you feel encouraged to immerse yourself in every note, cherishing the beauty of this otherworldly space. Joshua Minsoo Kim"

Finally on CD!!!  In a trajectory full of about-faces, Music for Four Guitars splices the formal innovations of Bill Orcutt's software-based music into the lobe-frying, blown-out Fender hyperdrive of his most frenetic workouts with Corsano or Hoyos. And while the guitar tone here is resolutely treble-kicked — or, as Orcutt puts it, "a bridge pickup rather than a neck pickup record" — it still wades the same melodic streams as his previous LPs (yet, as Heraclitus taught us, that stream is utterly different the second time around). Although it's a true left-field listen, Music for Four Guitars is bizarrely meditative, a Bill Orcutt Buddha Machine, a glimpse of the world of icy beauty haunting the latitudes high above the Delta (down where the climate suits your clothes). I've written before of the immediate misapprehension that greeted Harry Pussy on their first tour with my band Charalambides — that this was a trio of crazed freaks spontaneously spewing sound from wherever their fingers or drumsticks happened to land — but I'll grant the casual listener a certain amount of confusion based on the early recorded evidence (and the fact that the band COULD be a trio of crazed freaks letting fly, as we learned from later tours). But to my ears, the precision and composition of their tracks were immediately apparent, as if the band was some sort of 5-D music box with its handle cranked into oblivion by a calculating organ grinder, running through musical maps as pre-ordained as the road to a Calvinist's grave. That organ grinder, it turns out, was Bill Orcutt, whose solo guitar output until 2022 has tilted decidedly towards improvisation, while his fetish for relentless, gridlike composition has animated his electronic music (c.f. Live in LA, A Mechanical Joey). Music for Four Guitars, apparently percolating since 2015 as a loosely-conceived score for an actual meatspace guitar quartet, is the culmination of years ruminating on classical music, Magic Band miniatures, and (perhaps) The League of Crafty Guitarists, although when the Reich-isms got tossed in the brew is anyone's guess. And Reichian (Steve, not Wilhelm) it is. The album's form is startlingly minimalist — four guitars, each consigned to a chattering melody in counterpoint, repeated in cells throughout the course of the track, selectively pulled in and out of the mix to build fugue-like drama over the course of 11 brief tracks. It's tempting to compare them to chamber music, but these pieces reflect little of the delicacy of Satie's Gymnopedies or Bach's Cantatas. Instead, they bulldoze their way through melodic content with a touch of the motorik romanticism of New Order or Bailter Space ("At a Distance"), but more often ("A Different View," "On the Horizon") with the gonad-crushing drive of Discipline-era Crimson, full of squared corners, coldly angled like Beefheart-via-Beat-Detective. Just to nail down the classical fetishism, the album features a download of an 80-page PDF score transcribed by guitarist Shane Parish. And while it'd be just as reproducible as a bit of code or a player piano roll, I can easily close my eyes and imagine folks with brows higher than mine squeezing into their difficult-listening-hour folding chairs at Issue Project Room to soak up these sounds being played by real people reading a printed score 50 years from now. And as much as I want to bomb anyone's academy, that feels like a warm fuzzy future to sink into.. — TOM CARTER 

Originally released and sold on their fall 2009 US tour, Flower-Corsano Duo’s “The Chocolate Cities” stands as one of the group's most spirited releases. Recorded live in Cambridge, England and Geneva, Switzerland these recordings capture the power and energy being harnessed by the duo at a time of frequent touring, just after the release of their monumental double-LP “The Four Aims.”Michael Flower is perhaps best known for his work in Vibracathedral Orchestra, along with a slew of other bands, collaborations, and solo work. Meanwhile, Chris Corsano is well known as one of the premier drummers of modern times, and a frequent collaborator of Joe McPhee, Bill Orcutt, Bill Nace, Paul Flaherty, and many more. As a duo Flower and Corsano present an endlessly shifting and transforming sound, meshing elements of free jazz, drone, and ecstatic psychedelia into something all its own. While Corsano guides with his nimble and dynamic drumming, Flower plays amplified Japan Banjo (also known as a Shahi Baaja) providing melody, lead, and drone, often simultaneously. Gripping even in its quietest passages, thoughtful even in its most unrestrained crescendos, “The Chocolate Cities” documents a duo at the height of their collective prowess.Saved from the obscurity of its original CDr format and presented for the first time on vinyl with stunning new artwork by Chris Corsano, “The Chocolate Cities” stands as testament to the power of two magnificent players even 15 years on.

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

Hyperdelia is proud to present “splitter musik” - the first Splitter Orchester album solely consisting of the ensemble’s own music. Previous recordings have highlighted the orchestra’s vast genre-bending output in collaboration with George Lewis, The Pitch and Felix Kubin. This 3CD release aptly titled “splitter musik” showcases for the first time the orchestra’s very own musical process.As a large scale improvising ensemble, Splitter Orchester has no central leader and is organised through direct democratic principles. Founded in 2010, Splitter is a unique collective of composer-performers with various backgrounds in the Echtzeitmusik, free improvisation and experimental music scenes in Berlin. Despite the long lasting collaboration and the mostly consistent line-up of musicians, the band maintains an incredible dynamism, continuously reinventing concert formats and composition processes. Collective and free improvisation involves risk-taking: Splitter’s endeavour of integrating up to 24 musicians takes this motto to heart. The result is a music characterised by an inherent possibility of failure.Splitter has also always been a social experiment, questioning hierarchies of composer and interpreter, of work and event. Sonically and musically non-homogenous but still ensemble, a togetherness in difference. This is also heard in the three different pieces on “splitter musik”.Vortex is a recording of a concert at Berlin’s silent green in November 2019. More than 30 individual tracks have been mixed so as to approximate the listening situation in the former crematorium: musicians were positioned on the balconies of the circular chapel, while the audience was seated below. What listeners of the recording can hear is Splitter in its natural habitat of collective improvisation: various noises of indeterminate origin, miniscule bird-like chirping, tendencies of Postrock cues with culminating crescendi, at other points radical breaks and quiet, drone-like passages or moments of Lynchian haunting.Imagine Splitter - the second piece of the record - takes a more conceptual approach. During the Covid pandemic, the band had to find a different way of collaborating. As a result, Kai Fagaschinski asked all members of the ensemble to record themselves “solo”. The title of the piece carries the instructions: Imagine Splitter. What listeners hear is a synthesis of 22 musicians playing to themselves while imagining what it would sound like to play with the whole group. The piece is not only a fantastically fictitious music but also a reflection on improvisation as a whole and the group in particular. It sounds both strangely familiar and like a music that would never have happened in a live setting.For the last piece PAS, Splitter played their first ever outside and site-specific gig in August 2020. Musicians were positioned on one side of the river Spree, on the docks of the venue Petersburg Arts Space in Berlin Moabit, while the audience was listening from the opposite side. The recording captures this unique theatrical musical event. PAS is an environmental music, a collective improvisation of the group itself and its (in)voluntary collaboration with the sounds of the surrounding: the dogs barking, boats crossing, kids laughing, beer bottles popping, water squelching, ducks singing and of course the characteristic playful searching for one another in the midst of the music.Throughout these pieces, the 3CD release “splitter musik” takes a snapshot of the abundant and ever-shifting organism that is Splitter Orchester. 

Stellan Veloce’s first record for Hyperdelia is not only their debut album but simultaneously the inception of a band: Stellan Veloce’s Complesso Spettro. At Veloce’s disposal, the players have turned into a Frankensteinian super group: with Andreas Dzialocha on electric bass, Bridget Ferrill doing electronics & processing, Julia Reidy on guitars, Marta Tiesenga on baritone sax, Earl Harvin and Jesse Quebbeman-Turley on drums, Elena Kakaliagou playing horn, Carlo Spiga aka Makika at the launeddas, Pierpaolo Lorenzo playing harmonium and Stellan Veloce on cello.The A-side (‘Brackish’), initially recorded live at Robbie Moore’s Impression Studio, is the result of hours of improvisations loosely based on Veloce’s graphic scores. In the hands of the composer, the recording material soon turned into an abstracted collage. Despite the asynchronous addition of further drums and saxophone, the piece remains the outcome of a noisy live band due to the heavy leakage on the different takes and spatial distancing effects inherent in the recordings. The B-Side (‘Briny’) responds to the staggering layers of space and time. ‘Briny’ is a drone piece that emerges from the interplay of cello, bass and horn and acts as a Romanticist counterpart to ‘Brackish’ while the addition of launeddas – a Sardinian woodwind instrument –, harmonium and electronics returns it to rougher timbral territories.Stellan Veloce’s Complesso Spettro is an exceptional music that combines the power of band playing with Veloce’s sense for deconstruction and rearranging. The record takes its cues equally from Talk Talk’s meticulous recording and editing processes, the grand narratives of Nate Wooley’s Seven Storey Mountain, Animal Collective’s textured noise or the free-wheeling play of Zeena Parkins. The album is the work of a shoegaze ensemble that is indebted to Italian prog rock and Free Jazz as much as to pastoral post rock and spectral composition.Stellan Veloce is a Sardinian composer, performer and cellist living and working in Berlin. They compose pieces for acoustic instrumental ensembles and develop installations and performance pieces focusing on timbre, repetition and sound densities. Veloce also works as a touring band member and studio musician, recently with Peaches, Kat Frankie, Dear Reader, Kenichi & The Sun. They have collaborated with composers Marta Forsberg and Neo Hülcker, choreographer Sheena McGrandles and others. They are co-founder of the collective and online platform Y-E-S.org and are part of the group Fem*_Music*_.  ---   Composition, editing, production by Stellan VeloceStellan Veloce - cello, additional bass (A, B)Andreas Dzialocha - electric bass (A, B)Bridget Ferrill - electronics, processing (A, B)Julia Reidy - guitars (A)Marta Tiesenga - baritone sax (A)Earl Harvin - drums (A)Jesse Quebbeman-Turley - drums (A)Elena Kakaliagou - horn (B)Carlo Spiga aka Makika - launeddas (B)Pierpaolo “the coach” Lorenzo - harmonium (B)Recorded by Robbie Moore, Stellan Veloce, Andreas Dzialocha and Ole Jana in Berlin; and by Marta Tiesenga and Jesse Quebbeman-Turley in Los Angeles. Mixed by Robbie Moore at Impression Studio, Berlin. Mastered by Stephan Mathieu at Schwebung Mastering, Bonn. Artwork by Ale Rodriguez, Design by Xerox Martins.Grazie a Silvia e alla Monterico Fam.

»WOMB« is a musical narration for abstracted ears and bodies – engulfing a listener simultaneously in subaquatic sonic environments, distant dreams of childhoods, memories and voices from the unknown: where time and space fold into each other. The initial material of field-recordings of nature and body sounds, interviews and compositions has been re-recorded and re-amped underwater in a swimming pool – and has been re-arranged (partly by way of the impulse responses of the pool) now for stereo home listening. It’s like we’ve travelled from the outer space fantasies into the alien underworlds to surface in your homely headspace. »WOMB« at times resembles Gustav Mahler’s offstage soundings, dramatised by Björk, in other moments the sounds become tiny and intimate, when »WOMB« makes one think of Felicia Atkinson’s music, while the environmental ambiences reminisce the static music of Kevin Drumm. The delicate layering of field recordings, re-recordings and environments makes »WOMB« a fascinating phonopoetic fiction that conjures its own surreal virtual ecology: of remote strings, filtered through hydrophones (on cocoon), deep sea creatures singing to a de-tuned toy piano (the garden), of folk songs sung through telephone hiss (on all the other children), of waves crashing at the sea shores of Narnia (the inanimate world pt. 2).

A few more layers, a few more places and times of emanation. Kajsa Lindgren’s »WOMB« was released as an album, performed as an underwater concert, virtualised as a floaty web installation (inanimate.world) and will now is treated to another re-imagining and re-living as 'For Distorted Worlds'. Three artists and two anthropologists/writers have waded through WOMB’s archive: material from the recording session, field recordings, voices, memories, swimming pool impulse responses, notes, drawings and thoughts. The results and processes – very different in sound and aesthetics – overgrow 'Distorted Worlds', the WOMB Remix EP. --- Source Material: Kajsa Lindgren (WOMB, HEX 002)Compositions: Stefan Helmreich & Eva Hayward, Felicia Atkinson, Teresa Winter, David GranströmMastering: Rupert ClervauxCover: Stefan HelmreichFunding: Kulturbryggan

On Hyperdelia’s first release 'Erster Teil - Zweiter Teil - Dritter Teil' the recording studio takes eight musicians on astral travelling. The Serenus Zeitblom Oktett’s album is the beautiful result of a complexly processed abstraction of a live acoustic jazz ensemble becoming a hyperdelic space tentacle, reaching into bass depths and pop dimensions: one moment zooming into microscopic miniature sounds only to branch out into free floating airy planes in the next. Erster Teil - Zweiter Teil - Dritter Teil is the debut LP of the Berlin based ensemble Serenus Zeitblom Oktett. The Oktett from Berlin consists of musicians with a broad pop, free jazz and contemporary music background. All eight musicians have worked in various formations and with various musicians, ranging from Efterklang’s Martyn Heyne (who also did post-production on the record) and Matthew Herbert to Ingrid Laubrock, Stargaze, Andromeda Mega Express Orchestra and many more. These diverse backgrounds inform the Oktett’s artificial but organic live sound-production aesthetic.The ensemble is accompanied by a ninth member, the Klanggestalter. Both in the studio as well as live every instrument is being amplified and processed by filters and live algorithms, neutralising the difference of acoustic and electric instruments.The LP comes with a special video documentary by Roman Hagenbrock (i am just a video girl). The video adds another poetic layer of abstraction: confusing sound, action and image. --- Andreas Dzialocha (electric bass, composition), David Meier (drums), Moritz Bossmann (electric guitar), Karsten Lipp (electric guitar), Els Vandeweyer (vibraphone), Isabelle Klemt (violoncello), Shasta Ellenbogen (viola), Richard Koch (trumpet), Matthias Erb (Klanggestaltung)Production: Andreas DzialochaRecording: Antonio Pulli (Vox-Ton Studio, Berlin)Mix Fuzz & Fairy Dust: Martyn Heyne (Lichte Studio, Berlin)Mixing: Matthias Erb, Andreas DzialochaMastering: Francesco Donadello (Calyx Mastering, Berlin)Video: Roman Hagenbrock

Andreas Dzialocha creates an enchanting ghost music. Animated by his solo bass playing and haunted by aleatoric acoustics, 'For Always LP' unearthes the instrument’s low end harmonics.  For Always LP is produced in collaboration with Sam Slater (Hildur Guðnadóttir, Shapednoise, Zebra Katz, Mica Levi) and with support by composer/violist Marta Forsberg (Passepartout Duo, Ellen Arkbro, Stellan Veloce) and sound artist/singer Fågelle (Henryk Lipp). Dzialocha recorded the initial bass material residing at the Baltic Sea in Lithuania. Afterwards and in collaboration with Sam Slater, he reworked the material in Stockholm: there they re-amped the original stems and turned the studio itself into a living dub creature. Dzialocha, who is also a programmer, created an algorithm to sequence and filter the bass inputs. This software in turn randomly enables loudspeakers, headphones and tape machines that were placed in corridors and staircases. As an eerie result, we hear both Dzialocha’s stripped-down bass playing, the (non)logic of the algorithm as well as the specific resonances of the room acoustics: all of these have merged into one sentient instrument. ‘For Always LP’ is populated by a myriad of these machinic, acoustic and indeed personal traces. Marta Forsberg and Klara Andersson join by providing viola (on IV) as well as guitar, voice and lyrics (For Always). The record is animated by all of these forces and in ensemble they sing a wonderfully abstracted ghost music: for always.