ambe

Heima

first track from forthcoming "HEAL" album, out 01.01.2025
pre-order digital and CD here: https://buttechno.bandcamp.com/album/heal

flutes of doom

Landscape from Memory

In Reverse

@moabmusick
Montreal, Quebec. A vast, adorned studio—an after-midnight sanctuary for the MOAB collective. Outside, winter carves its presence, the snow piling high against the factory’s walls. Inside, time dissolves into a sprawling, 24-hour reverie—music unfolding in an endless current, every moment captured, distilled, refined.
MOAB is a Montreal-based collective that embraces improvisation as its guiding force. Long, unbroken sessions where intuition eclipses thought, and where the body moves before the mind.
This is their first offering, released on Knekelhuis. A document of instinct, frozen in time yet endlessly shifting.

Artwork by Peter Martinelli-Bunzl

MOAB - Handle Bar

Suddenly/Big Empty Country

Big Empty Country (Edit)

No trace w/ Alena Petite (29/04/25)

In Dreams

In Dreams (feat. Eva May)

This but More

Silicate Tusks (Loidis Reconfiguration)

Strasbourg-based photographer, filmmaker, and DJ Hunay Saday blends UK techno with percussive rhythms rooted in memories of Azerbaijani weddings. A former Menthe Poivrée co-founder, she’s played across Europe and featured on Noods Radio, Root Radio, and Knekelhuis. Her Kiosk mix is a heartfelt tribute to her homeland, exploring memory and belonging through ambient textures and traditional sounds.

Hunay Saday @ Kiosk Radio 16.05.2025

Coping Mechanism

Sitting on the Moon

Wicked Game

To jump straight out of 
One's old goldfish bowl into
The new takes courage 

::

Original music & haiku poetry by Bob Weathers

Bowled Over

THROUGH GLASS
by MAX DEVEREAUX & KAZUYA ISHIGAMI

released July 15, 2025

Digital Album  $2 USD  or more
edition of 25 Cassette  $6 USD or more 

1.FRIED GRASSHOPPERS 03:53
2.GALVANIZED STEEL TUB 03:10
3.PARTICULATES 04:33
4.SHED FESTIVAL 05:03
5.RIVER OF RAZORS 02:17
6.CORRUPT WIND-UP 04:48
7.THROUGH GLASS 05:54
8.THE LOWEST CHAMBER 05:29
9.WORKING TO RETURN 06:09

Side A : 1-5
Side B : 6-9


Through Glass is the result of a deeply collaborative and cross-continental experiment between Japanese electroacoustic composer Kazuya Ishigami and American multidisciplinary artist Max Devereaux. Rooted in contrasting yet complementary approaches, the project unfolds as a dialogue between structured sound design and spontaneous sonic exploration.

The process began with Kazuya Ishigami, who created a series of intricate sound materials, merging electroacoustic textures, noise fragments, and ambient field recordings. These materials were then sent to Max Devereaux, who layered, reinterpreted, and expanded upon them through improvisation, using field recordings, found objects, contact microphones, and modular synthesizers. Max's additions reflect his tactile and often textural approach, combining environmental sounds and lo-fi textures with gestures that evoke both intimacy and sweeping activity.

The recordings passed once more into Ishigami's hands, where he carefully deconstructed and reassembled the sound elements into finished compositions. His final edits shaped the album into a cohesive whole, blending raw improvisation with composed electroacoustic precision. He also oversaw the mastering process.

The album’s title was chosen by Devereaux, reflecting a feeling he has carried for much of his life as an artist, especially one working within the avant-garde. To him, creating art often feels like living behind glass: present but removed, able to observe and reflect the world with clarity, yet never fully immersed in it. This invisible barrier separates the artist from society, allowing vision without contact, insight without belonging. The music on the album, with its delicate, translucent textures and fleeting glimpses of human presence, seemed to embody this sensation perfectly, like watching life unfold just beyond reach.


flutes of doom

pavel milyakov / buttechno

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