ambient

Written and performed by Nikita Bondarev. 
Recorded and mixed at Berdsk, Russia (2011 - 2013). 

Buy on tape: https://klammtapes.bandcamp.com/album/nikita-bondarev-siberian-loner

Available in two editions: "In Black" & "In Blue". 

Nikita Bondarev - Years Without Summer (from Klamm02 - Siberian Loner)

Written and performed by Galina Ozeran & Alexander Dubrovin (guitar). 
Recorded and mixed at St. Petersburg, Russia (2007 - 2014).

Release date: 21 Oct 2014

Galina Ozeran - Seasons (excerpts from Klamm04)

Hertz Donut + Optomix + Valhalla DSP Reverb

I Have Been To Hell And Back, And Let Me Tell You It Was Wonderful

ES-3 + Hertz Donut + Optomix & Valhalla DSP Reverb

Everything Ends Here *blindoldfreak cover*

Ambient jam recorded 17/08/2025 w/ Isaac Robertson and Leo Turton.

Glare

NoAC(WilsonMix)

OCTOBER

divertissement excerpt

‘Loon’ will be released on Erased Tapes as a 12” vinyl as well as digitally on October 2nd. 
Pre-order it here: www.erasedtapes.com/store/index/ERATP072
or via iTunes: http://snip.ftpromo.net/loon

Containing five synthesiser-led pieces, ‘Loon’ was recorded in autumn 2014 across five days at Nils’s Durton Studio in Berlin, and continues on from the ambient sounds of ‘Stare’ but with the addition of more percussive elements and dub influences. For this new EP the duo wired an Oberheim 4 Voice and a Korg PS3100 to the mixing desk and performed live takes on both instruments. With all four hands on its pots, all mixes were recorded straight onto 2-track ½-inch tape.

Like on ‘Stare’, their first collaborative affair in 2012, they simply followed what was laying in front of them, and this time they were driven by some new synths, a kick drum and tape effects. Indulging in dub, the tracks where all performed rather than engineered, with Ólafur riding a few elements on faders and Nils bringing effects in and out. After running several mixes, they went for the five strongest moments from this session. The release was announced on a joint website www.arnaldsfrahm.com together with the launch of an intimate 45-minute studio film titled ‘Trance Frendz’, featuring another seven improvisations.

“Nils got some new synths and we thought we’d try them out. We loved them so much that we didn’t actually end up using anything else to make these songs.” – Ólafur Arnalds

“When I was young I was smuggled to Goa parties by my brother. The music played there in the late nineties had a somewhat deep effect on me. ‘Loon’ is almost a blurry memory of these times. In other words, it is what I’d like to remember that music sounded like back then. In fact it sounded probably really cheesy.” – Nils Frahm

Loon

Wide Open

Ólafur Arnalds & Nils Frahm - Wide Open

12k is happy to present the debut release on the label from Argentinian composer Federico Durand who has had a series of amazing releases on labels such as Spekk, Own, and Desire Path. Federico and 12k crossed paths on a tour of Japan together in 2014 where the personal friendships among the artists and the label are such a part of what 12k is about. Sharing music and ideas throughout the tour led to an invite to make an album.

It’s no accident that Federico’s music has a dusty air of nostalgia surrounding it. It has always been a very personal affair. Songs inspired family, local life and the world around him are woven by hand with a selection of very physical instruments. He works like a craftsman, piecing together fragments of sound from cassette recorders, small instruments and loopers and creates music that’s as softspoken as he is. No pretenses, no disguises, just the most honest and down-to-earth music that can be made. Broken melodies spinning from tape reels, the sounds of bells and small found objects being played with care... The music is as beautiful as it is introspective, like a small window of antique glass looking right into Federico’s soul.

In his own words:

“A través del espejo in Spanish means “Through the mirror”. I am fascinated with the experience of putting a mirror in front of another: as a miracle, the image turns in a loop that flows into infinity. Loops in the mirror get less clear with each repetition, the color becomes diffuse and greener. When these loops turn into a lullaby we can enter the other side of the mirror: a place of delight and insight. 
I always make simple melodies as they are born free. In many pieces, I use cassette recorders as an instrument that play friendly with others such as piano, lyre, toys, bells or effects. I enjoy the possibilities of cutting tape and making loops, reversing, and even using many tape recorders at the same time making air recordings of the sound. The Roland Space Echo or 2880, which are loop-machines themselves, match perfectly with this way of working.

When I see an emboridery I enjoy both the front and back where a mysterious, invisible world suddenly appears. For this reason, I am grateful to the natural sounds made by the machines, the crackle of loops and other sounds that appear while working, as an unexpected gift.

A través del espejo is a dream of beauty, A love of handcrafted music.”

- Federico Durand

A Través Del Espejo

Linternas junto a la laguna (Lanterns beside the lake)

Terry Riley Don Cherry Duo (excerpt2)

2019年8月17日、下北沢leteでのライブより抜粋。

星形の庭 live at lete 2019.8.17

French composer Sylvain Chauveau’s new album Life Without Machines, a set ofshort compositions using Barnett Newman’s series of abstract painting The Stations of the Cross as visual scores, is set for release on 17th April 2020 through FLAU.

Known for very minimal compositions for acoustic instruments, electronics andsometimes vocals, with a focus on quietness and slowness; Sylvain has released records on labels such as FatCat, Sub Rosa, Type, Les Disques du Soleil et del’Acier, Brocoli and performed live across Europe, Canada and USA, Russia and Asia.

The title of his new album, Life Without Machines, expresses the fact that ourlives are entirely assisted by machines (for everything we eat, wear, transport,build, watch, listen…) which require a permanent, colossal use of energy – mostlyfossil fuels, whose combustion constantly sends CO to the atmosphere. The title₂suggests that this can’t last forever: living with less (and finally without)machines may have to become a collective decision in the future or (moreprobably) a consequence of a combination of crisis (both energetic, economicaland ecological).

Composed by Sylvain and performed by french pianist Melaine Dalibert, thereare a total of 15 pieces, yet only 14 will appear on the tracklist (one hidden track ishearable after a period of silence at the end of track 14). This mirrors the stonegarden of Ryoanji in Kyoto, where there are 15 stones but from any point of viewone can only see a maximum of 14 at the same time.

Sylvain Chauveau -        e

from 'Doomjazz Future Corpses!' [CD|2LP|DIGITAL]
Denovali Records · den081
available on all formats at http://denovali.com/mountfuji

Reissue of the first The Mount Fuji Doomjazz Corporation record from 2007. The Mount Fuji Doomjazz Corporation is the much-noticed free-form, drone metal / jazz alter-ego of The Kilimanjaro Darkjazz Ensemble, the band formed by Jason Kohnen and Giedon Kiers.

Starting with free-form soundtracks to silent films such as Murnau's “Nosferatu” and Lang's “Metropolis”, The Kilimanjaro Darkjazz Ensemble gave birth in 2006 to its first eponymous album. The downbeat ambient jazz of this first release was however only one avatar of this coterie, as demonstrated by the birth of The Mount Fuji Doomjazz Corporation. The semi-improvised, dark, heavy, “sludgy” counterpart to the Kilimanjaro Darkjazz Ensemble, the Corporation leaves all borders behind, focusing this time on mesmerizing, doom-ridden drones and melodies, combined with the jazzy grooves and melodies of the cello and saxophones. Recording live in Amsterdam in February 2007, “Doomjazz Future Corpses!” is a self-described “soundscape of barren wastelands, droning into memories of future's past”. If the The Kilimanjaro Darkjazz Ensemble debut was paying homage to The Quay Brothers, this album awakens the third, twisted, twin. A snapshot of the band's free-form sessions, in which there is no solid structure or time frame but a focus on cataclysmic improvisation and feeling, this album stands as a captivating dirge of raw guitar drones, saxophone and trombones emancipated from their classic jazz boundaries and abysmal bass throbs. An highly disorientating yet convincing journey through the deep realms of murky drone jazz / metal, heavy, suffocating and unfettered.

Doomjazz Future Corpses!

The Mount Fuji Doomjazz Corporation - Untitled 5

Zoltan Fecso is a composer based in Naarm (Melbourne), Australia. With previous releases on Hush Hush Records, Sonder House, The Slow Music Movement and Shimmering Moods, Whitelabrecs is thrilled to present Zoltan’s most restrained work to date on ‘Daylight in an Empty Room.’

Zoltan’s pointillist compositions combine single notes of varying lengths to form ever-changing patterns. A composition technique he’s been exploring since 2018, Pointillism borrows its name from the post-impressionist painting technique which uses individually coloured dots to form an image. Zoltan’s works are performed on a modified guitar, on which he captures fragments of notes, creating ever-shifting tonal permutations.

‘Daylight in an Empty Room’ is an album of solo guitar improvisations, in which Zoltan has aimed to create a more open, spacious sound than in previous records. Zoltan works closely with his partner and painter Claire Lefebvre, who created the artwork for this album. ‘Daylight in an Empty Room’ suggests finding new detail in simplicity.

Written and produced by Zoltan Fecso
Mastered by James Edward Armstrong
Artwork by Claire Lefebvre
Packaging design by Harry Towell

Daylight In An Empty Room

wlr077 Zoltan Fecso - Daylight In An Empty Room

Taka Mayumi his first film work.

FIlm by Taka Mayumi 

https://www.takamayumi.com/

reverie

With over 100 physical releases since its inception by Taylor Deupree in 1997, New York-based music label 12k has decisively defined and developed the concept of minimalism in the realms of electronic music for more than a decade. Fusing elements from Ambient and Electro-Acoustic Composition with carefully arranged digital textures and associative micro-noises, the label's aesthetics revolve around a precisely-outlined, yet deeply emotional concoction of the technological and the organic. Eschewing the typical marketing mechanisms of the commercial music industry, Deupree has sculpted a platform whose influence today extends well beyond the confinements of the experimental community. 12k's integral approach, in which the label's instantly recognizable, elegantly spartan artwork enters into an inseparable symbiosis with the music, has created a timeless audiovisual language respected and appreciated all over the world.

Linternas junto a la laguna (Lanterns beside the lake)

12k

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