DORIAN CONCEPT - MUSIC FROM A ROOM FULL OF SYNTHS
Cat #: OUS048 / SMEM+OUS02
Release date: December 6, 2024
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com


From the Artist:
«In the summer of 2020, I was invited to attend a residency at the Swiss Museum for Electronic Music Instruments (SMEM). Home to thousands of keyboards, synthesizers, and electronic music equipment dating back to the 1950s, it was unlike any place I’d ever seen. It felt surreal to be able to make music there, freely choosing from such a vast array of gear. I spent 10 days recording what would become Music From A Room Full Of Synths.

Sometimes, I feel there are misconceptions about me as a musician. I’m not really a "gear guy"—meaning, I often don’t know much about the tools I make music with. I've always favored a more intuitive and playful approach, rather than a technical one. While I do love developing my skills and gaining proficiency on an instrument, at heart, I try to keep a beginner's mind. Marshall McLuhan beautifully expressed the mindset I try to maintain when he said:

"Knowledge gets in the way. It is only the very ignorant person who can get past that problem because he is not fogged over by knowledge. When you're looking for new answers to new questions, it is knowledge itself that blocks progress. It is knowledge that creates rear currents just as wealth creates poverty. Knowledge creates ignorance."

This project was recorded, mixed, and edited in the playroom at the SMEM. Nothing was programmed—it was all played live. There’s a certain roughness to these songs. The music always fell apart when I tried adding new layers or tweaking the mixes. Only when I left it alone did it retain something of the original photographic quality of that experience.

I appreciate the quirks that come when working with older music gear. While vintage synthesizers are often praised for their warm sound, it’s their unique characteristics that I find most interesting. Exploring the distinctiveness of each instrument and celebrating their differences is at the heart of this project.

This record is a playful excursion. It’s about discovering things as you go along—about those little imperfections and flaws we often want to correct, but sometimes are better off accepting.»

From -OUS
 We are very happy to present the second instalment in our collaboration with SMEM. Dorian Concept spent 10 days at the Swiss Museum for Electronic Music Instruments to record Music From A Room Full of Synths. Even though he doesn't consider himself a "gear-guy," his unique approach led to a record defined by its playful curiosity and free-form arrangements. The entire album was recorded live, with no sequencing or programming involved. Thus, capturing the rawness of the moment, while celebrating the quirks and imperfections of older electronic-music gear, became the core of this project.

 Dorian Concept is a highly respected electronic musician who has been releasing music for close to two decades. As a cross-genre "synthesizer virtuoso," he mixes experimental electronic sounds with jazz, ambient, and club music. Due to his unmistakable sound and singular live show, he has become a sought-after performer. Over the course of his career, he has collaborated with musicians and producers such as Flying Lotus, Thundercat, and Kenny Beats. 
credits
releases December 6, 2024

Written and produced by Oliver Johnson
Mastered by VFBM
Cover by Sarah Parsons
Recorded at SMEM

This is OUS048 and SMEM+OUS02

Music From A Room Full Of Synths

Buy on Bandcamp

Dorian Concept - 6 - Cuchaule

Euphoric Struggles

Fragments Of Yesterday

Artificio proudly unveils Crisis de Significado, a genre-blurring EP by Æon Series, also known as Aeondelit. This sonic tapestry weaves electronica, alternative rock, trip-hop, ambient, and trap into a captivating exploration across five tracks. With a deliberate focus on anti-narrative composition, Sergio challenges listeners to rethink the very essence of art—stripped of conventional meanings and embracing raw emotion. The homonymous track stands as a profound embodiment of this philosophy, a collaborative creation with multidisciplinary artist Aixa Echeverry, enriching the exploration of art beyond its traditional confines. 

Crafted predominantly with vocals, synths, and samples processed through reverbs and delays, Crisis de Significado manifests an eclectic, emotional, colorful, and dynamic sound. Æon Series, describing his approach as a pursuit of art for art's sake, seamlessly aligns with movements like abstractionism and expressionism. In a world veering towards nihilism and a meaning crisis, this EP emerges as a beacon, inviting audiences to experience the purest form of artistic expression—emotionally naked and detached from narrative constraints.

Written and produced by Sergio Cortés 
Mastered by Miguel Isaza at momoto

Crisis de Significado

Bandcamp

Æon Series & Aixa Echeverry - Crisis de Significado

SPIME.IM - GREY LINE REMIXES
Cat #: OUS052
Release date: December 13, 2024
Distributed by Kudos: https://www.kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«'Grey Line Remixes' emerged from a natural conversation with fellow producers, those with whom we've shared meaningful chapters of our artistic journey. Their intimate reinterpretations of our work are a treasured gift, as they are artists we hold in high regard. Moreover, as a collective, the urge to collaborate and connect with others is more palpable than ever. Exchange and discourse remain pivotal forces that fuel our growth and enhance our understanding of the complex world we inhabit.»

- SPIME.IM

SPIME.IM return to -OUS with a collection of remixes of their album Grey Line (2023), which led to critically acclaimed shows at the Mutek Festivals in Montréal, Tokyo and Barcelona, Romaeuropa Festival and Node Festival in Modena, among others. 'Grey Line' balances between - and deconstructs - various club genres, offering a pathway to escape the monotony and embrace the richness and diversity hidden within the greyscale. A promising and thought-provoking musical experience, the album allows listeners to explore the nuances of diverse gradations of reality.

For the current collection of remixes, SPIME.IM selected a four forward-thinking artist from the Italian electronic scene, alongside -OUS label artists Noémi Büchi and Feldermelder.

The EP opens with a remix of 'Heliotrope' by Turin-based artist SoFarSoBad that strips the original of it's harmonic theme and instead focusses on rhythmic stabs that are embedded in a bed of noisy break beats.

-OUS label artist Noémi Büchi's interpretation of 'Simple' fills the originals' void with her signature piano and synthesiser chords, creating a clandestine hymn for solitary hours.

London-based producer and electronic musician Anything Pointless extracts a vocal stab from Hint and builds his main theme around it, creating a swirling post-club track.

Alec Pace, label owner of 'early reflex', producer and dj, gives 'Pure' an oldskool beat treatment and embeds Lorem's angry lyrics into a steadily flowing drum pattern.

Italian producer Pol100 continues to transcend conventional forms of arrangement with his remix of 'Mystic'. He crystallises an IDM-esque beat pattern and widescreen synth stabs from the original, and embeds them in a bed of growling sounds and noises.

Finally, the 'Grey Line Remixes' EP closes with another rework of 'Heliotrope' by -OUS co-founder Feldermelder. Opposed to the opening track by SoFarSoBad, his version focusses on the harmonies by underlaying the main synthesiser theme with orchestral pads and drum work.

SPIME.IM is a forward-thinking artistic collective that explores the aesthetics of digital reality through transmedia music projects. With a fusion of cutting-edge technology, 3D art, and electronic music, they craft immersive audiovisual experiences that challenge our understanding of identity and corporeality. Their recent collaboration with acclaimed pianist and composer Lubomyr Melnyk and cellist Julia Kent on «The End Of The World» garnered critical acclaim, including a notable performance at the Barbican Centre in London. Following the release of «Grey Line», they performed at the renowned Mutek festivals in Montreal, Toyko and Barcelona, further solidifying their position in the forefront of the art and experimental music scene.

SPIME.IM - 01 - Heliotrope (SoFarSoBad Remix)

Somewhere between banging your head against a brick wall and holding your breath under water. 
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/dont-trip/episodes/dont-trip-22nd-july-2024

Don't Trip w/ Margarita & Ink! (-OUS label special) 220724

Ink! @ SC24

Francesco Cavaliere - I-A-K Interplanetary-Abyssal-Kite
LP on Xing (XONG collection XX15) out October 2024, order at https://www.soundohm.com/product/iak-interplanetary-abyss and at https://www.lespressesdureel.com/EN/ouvrage.php?id=11858&menu=2
Collector's edition available at https://www.soundohm.com/product/interplanetary-abyss-art and at https://shop.flash---art.it/products/francesco-cavaliere-i-a-k-interplanetary-abyssal-kite

*

Xing presents the new LP I-A-K Interplanetary-Abyssal-Kite by Francesco Cavaliere, fifteenth release of XONG collection - artist records. The release is on white vinyl, in a limited and numbered edition of 150 copies supported by the Italian Council. Collector’s edition of 35 copies, each accompanied with a foulard-kite designed by the artist.

I-A-K Interplanetary-Abyssal-Kite is a composition by Francesco Cavaliere, part of his Abyssal Creatures project, based on an ensemble of concave blown glass sculptures that recall transparent creatures far from human representation: beings that inhale sound and exhale resonances. At the same time sound sculptures and music instruments, they have been created by the master glassmakers of Murano. In the words of Francesco Cavaliere, these sounding bodies “function as ambivalent musical instruments (idiophones, such as bells, and aerophones, susceptible to air vibrations) for which the two transparent materials par excellence were used: glass, rigid and crystalline, and sound, an intangible element, which moves and organizes through gaseous paths.”
I-A-K Interplanetary-Abyssal-Kite is a record of abstract electronics and glass music, a crossing of abyssal paths flown over by a cosmic kite that skims, touches and approaches the thresholds, peaks of both visible and invisible places, and returns the sound that inhabits and surrounds them. “It is a sonic binocular with a thousand eyes” that fogs up and never decides to stop on one or more defined shapes: it is always in movement, bouncing between geometries. The different cells that make up its appearance - crystalline greens, greys and only in some cases orange yellows - were cut out and generated using a 2012 Macintosh OSX computer. Before being arranged, each sound ritually passed through three blown glass sculptures named SÀBANAS I, ALIQUOMANÀS and ENQUOMANÀSC, belonging to the Abyssal Dynasty I.

Francesco Cavaliere is a visual artist, writer and sound maker born in Tuscany, Italy, in 1980. He lives and works between Berlin and Turin. His works are capable of enlivening his listeners' inner states through a polymorphic activity that combines writing, sound, voice, drawing, sculpture, which together stimulate the imagination, undertaking long journeys crossed by ephemeral presences. He writes sound stories and music based on particles of sound, noise and language, often integrated with installation and scenographic elements or live performance, showing a particular taste for the most diverse forms of exoticism. Over the years he has developed a veritable dictionary to catalogue the metamorphic beings that inhabit his own abstract fantasy universe: hybrids of objects, animals, plants, planets, trails, cosmic objects and physical and perceptual phenomena generated by glass, minerals and voices, recorded and performed with analog technologies. "I am a talking scribe ... my voice is a cloud, my pen hisses."
Along 2023-2024 he developed Corpi Abissali / Abyssal Creatures, a project with several occasions of activation between sculpture, performance, sound and text, curated and produced by Xing, supported by the Italian Council.
https://cavalierecircles.wixsite.com/francesco-cavaliere   www.instagram.com/cavaliere.circles7 www.francescocavaliere.bandcamp.com
soundcloud.com/f-cavaliere

*

Composition and sounds F. Cavaliere, Recorded at Raum Bologna with P. Savignano, Master G. Ielasi, Cover image F. Cavaliere, Image treatment M. Casella, Artwork Xing, Press handle with care

I-A-K

XX15: Francesco Cavaliere - I-A-K Interplanetary-Abyssal-Kite - excerpt side B 1

NOÉMI BÜCHI - LIQUID BONES
Cat #: OUS054
Release date: February 14, 2025
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«Sometimes you just need simplicity.» — @noemibuchi

Following her recent album ‘Does It Still Matter’, Noémi Büchi returns to -OUS with ‘Liquid Bones’, a five-track EP that interlaces sound and poetry, inspired by a verse written by her mother, artist Marie-Christine Büchi:

«In the heat
gesticulate elastically
their bodies
disappointing the desire to last.»

With ‘Liquid Bones’, Noémi Büchi lays her focus on simplicity. ‘Liquid Bones’ marks a directional shift in Büchi’s approach: while her previous albums put structure in the foreground and distinguished themselves through high density, the new material seems lighter and even playfully teases the listener with pop elements, albeit without loosing the conceptual depth that has carved out Büchi’s singular position in today’s musical landscape.
	The piano, an instrument Büchi has been embracing for the better part of the past two decades, serves as a recurring theme on the five-track EP. Serving as a form-giving and shape-shifting instrument, Büchi extracts a diverse range of sounds: a leading motif, a voice-like element, percussive patterns, atmospheric textures. These are combined with minimal electronics, orchestral sounds, crisp digital textures and Büchi’s signature method of punctuating the compositions with noise accentuations, thus creating a highly dynamic listening experience. 
	The closing track, finally, introduces Joséphine de Weck’s poetic voice, adding an intimate layer to the EP. Actress de Weck has been the ‘face’ of Büchi’s current audiovisual live show, in which she grants a seemingly intimate view into the actress’ mind. Their track ‘Fair Enough’ expands this collaboration to the next stage.
	As a whole, ‘Liquid Bones’ continues Noémi Büchi’s study of matter, form and structure. By examining their impermanence and transience, Büchi emphasises the temporary nature of being. Everything is in constant flux. 


Noémi Büchi is a Swiss/French sound and sound artist that creates and explores the potential of cross-genre musical structures. Her music is defined by a delicate synthesis of textural rhythms and electroacoustic-orchestral abstraction. She contrasts rhythmic physicality with disruption and playfully emphasizes irregularities, creating an expansive listening experience marked by detail and elevation.

CREDITS
Written and produced by Noémi Büchi
Vocals on track 5 by Joséphine de Weck
Mastered by Manuel Oberholzer, Suoni Speziali (VBFM)
Graphic design by Sharon Ritossa

Noémi Büchi - Liquid Bones - 2 - Gesticulate Elastically

Following her recent album 'Does It Still Matter', Noémi Büchi returns to -OUS with 'Liquid Bones', a five-track EP that interlaces sound and poetry, inspired by a verse written by her mother:

"In the heat
gesticulate elastically
their bodies
disappointing the desire to last."

With 'Liquid Bones', Noémi Büchi lays her focus on simplicity. 'Liquid Bones' marks a directional shift in Büchi's approach: while her previous albums put structure in the foreground and distinguished themselves through high density, the new material seems lighter and even playfully teases the listener with pop elements, albeit without loosing the conceptual depth that has carved out Büchi's singular position in today's musical landscape.
The piano, an instrument Büchi has been embracing for the better part of the past two decades, serves as a recurring theme on the five-track EP. Serving as a form-giving and shape-shifting instrument, Büchi extracts a diverse range of sounds: a leading motif, a voice-like element, percussive patterns, atmospheric textures. These are combined with minimal electronics, orchestral sounds, crisp digital textures and Büchi's signature method of punctuating the compositions with noise accentuations, thus creating a highly dynamic listening experience.
The closing track, finally, introduces Joséphine de Weck's poetic voice, adding an intimate layer to the EP. Actress and writer de Weck has been the 'face' of Büchi's current audiovisual live show, in which she grants a seemingly intimate view into the actress' mind. Their track 'Fair Enough' expands this collaboration to the next stage.
As a whole, 'Liquid Bones' continues Noémi Büchi's study of matter, form and structure. By examining their impermanence and transience, Büchi emphasises the temporary nature of being.

Noémi Büchi is a Swiss/French sound and sound artist that creates and explores the potential of cross-genre musical structures. Her music is defined by a delicate synthesis of textural rhythms and electroacoustic-orchestral abstraction. She contrasts rhythmic physicality with disruption and playfully emphasizes irregularities, creating an expansive listening experience marked by detail and elevation. 
credits
releases February 14, 2025

Written and produced by Noémi Büchi
Vocals on track 5 by Joséphine de Weck
Mastered by Manuel Oberholzer, Suoni Speziali (VFBM)
Graphic design by Sharon Ritossa

This is OUS054

Liquid Bones

Buy / Download

Noémi Büchi - Liquid Bones - 2 - Gesticulate Elastically

Noémi Büchi (*1991, Zürich) is a Swiss/French composer and sound artist that creates and explores the potential of cross genre musical structures. Her music is defined by a delicate synthesis of textural rhythms and electroacoustic-orchestral abstraction. She contrasts rhythmic physicality with disruption and playfully emphasizes irregularities, creating an expansive listening experience marked by detail and elevation. Her musical work moves in the areas of electroacoustic composition, live performances, audiovisual shows, music for film, music for contemporary dance, music for installations, music for theater and for orchestral works. She holds a Master's degree in electroacoustic composition from the ZHdK (Zürich) and a Bachelor's degree in musicology and German literature/linguistic from the University of Zürich. During and after her studies, she played at various festivals and received a cultural prize from the city of Zürich. She regularly invited at renowned national and international festivals such as Ars Electronica (AUT), Mutek Festival (ESP), L.E.V. Festival (ESP), Variations Festival (FR), Linecheck Festival (IT).

Tracklist:

01. Pali Meursault & Thomas Tilly - Gmea, 1
02. Shayu - no sleep
03. Vanessa Amara - Don't Let This Feeling
04. Oneohtrix Point Never - Krumville
05. mmph - Dialogue
06. Maxime Denuc - Edo
07. Maria Teriaeva - What Is To Be Done
08. Klara Lewis - 4U
09. Furtherset - Spring Training
10. Flore Laurentienne - Vent traversier
11. Emeralds - Summerdata
12. Dorian Concept - Hide
13. Carla Boregas - Pena ao Mar
14. DIM GRIMM - Tinin
15. Suvi-Eeva Äikäs, Ben Salisbury - Object Input
16. Alexander Panos - Q Windswept
17. The Insects - Christ
18. Alexander Panos - Sutter

Follow artist - https://soundcloud.com/noemibuch

325⚡️Noémi Büchi

Liquefaction - extended live version of „In The Heat“ (Liquid Bones) - is an electroacoustic study of form and structure, shaped by their impermanence and transience. Over 11 minutes, layers of electronics, orchestral textures, and digital elements dissolve and reform, creating a highly dynamic and immersive listening experience that is as delicate as it is forceful, where moments of tension and release continuously reshape the listening space.

Liquefaction is a music that takes its time — because time in music is not what we think we know.

credits: 
Music composed and produced by Noémi Büchi 
Mixing & mastering by Suoni Speziali
Cover photo by Jean-Marc Avila

Download | Buy

Liquefaction

Feldermelder (Manuel Oberholzer) is a polymathic creative whose artistry spans composition, sound design, installation and code. He is also one of the co-founders of -OUS Records and a member of Encor.studio, a collective of artists and designers who specialize in creating immersive audio-visual installations.
Through his work, he explores the idea of secrecy and its impact on our lives, using music and sound to create a thought-provoking and immersive experience for his audience. Feldermelder collaborates with a group of like-minded artists, including Noémi Büchi, Julian Sartorius, Sara Oswald, Davide Tomat and Afrorack, to create works that are deeply introspective and evocative.

Fragments Of Yesterday

feldermelder

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