6G is the child of a hollow moon, unwritten histories of permaculture deities in the levant, pagan conspiracies about haunted birthrights, texts buried in lunatic obscurity, communication with the evil smile of a goddess, bells designed to be wrung three times in the night, childish blood games, farmers with occult crops.

The duo of Oxhy and Susu Laroche have chosen the name The Fertile Crescent, evoking one of the cradles of human civilization as much as a (un)healthy devotion to the power of the lunar cycle. Musically, it reeks of post-industrial folklore ripe with solemn tones and conflicting bits, combined via the mocking dream logic of a trickster spirit. A skeletal presence of melody in a sparse, ceremonial ambiance that can even welcome thunderous rolls of breakbeat, like tapping from the energy of every ritual that has scarred the land in time. Following the record is like attempting at drawing a psychic topography of those same rituals, manifestations, tragedies and games, it’s like mistaking the broadband network for the Ley lines but still succeeding in conquering its occult power.

Written & Produced by Fertile Crescent
Mastered by Tapewave

All profits go to: www.islamic-relief.org.uk/afghanistan-emergency-appeal/


https://soundcloud.com/oxhy
https://soundcloud.com/tsvsvnami

the fertile crescent - 6G

“The Jutlandia Quartets” offers immersive subversions of the classical music genre 
The new album from the Copenhagen-based instrumental ensemble boli group, presented by Haunter Records, is a collection of monochromatic uneasy pieces that manifests the negative emotions of a bad homecoming. A non forced power play with the institutions of “classical music”
“The Jutlandia Quartets” was written by composer Aase Nielsen during her 1 year return to Jutland (Rural Denmark) in 2018. The compositions examine regional folk music, evergreens, popular and institutional music, and materializes this examination into new music. But there’s no romance in the rural, it seems, this project communicates a rather pessimist sentiment.
Taking name after a Danish garden furniture company, “The Jutlandia Quartets” does not only situate itself geographically but also metaphorically, raising a question on comfort, alluding to passive aggressive middle class environments and idealized ideas of the country side. What does a word like “country” even mean to anyone having been systematically excluded by it?
A composed anxiety runs through the pieces; it seems as if the musical material is thinking about its own constitution. The pieces are all formalist at their core, asking the tradition of composition questions: How little does it take to constitute a “proper” piece of music?
These questions and answers are expressed in a continuous examination of the concept of “strings” (string quartets, cello quartets, heavily processed samples and General MIDI) and the pieces almost becomes a comparative analysis in connection to each other. In this monochromatic configuration, the music also comes of as purposefully anti-original.
There is a distinct self-awareness in Aase Nielsen compositions and aesthetics. Considering how she has been enrolled in the institution, her familiarity with (and hence ability to perform) its formalities, Aase Nielsens work comes across as an institutional drag or cos-play: it seems as if boli group is posing in classical music. “The Jutlandia Quartets” take shape as a body used to orchestrate the daddy issues of the tradition; dressing up in the patriarchs clothes and playing his game in his own house. And by playing the game, maybe implying oneself in the process.
Despite the intense and immersive quality of the pieces, the music also functions as background/mood music! An area that boli group as an ensemble seems to continuously investigate. Previous releases has touched upon the sound of Matiné music, TV-music, dramatic music and Wedding String Quartets. But the Music also functions as “fine music”, that can be investigated in depth. You can engage with it, but also exist aside it. You could call it a “non-forced power play”, a power play that does not have domination as its end-goal. A music that does not try to dominate its listener, but opens up a space with the possibilities of different ways of engaging. A silent critique of the concept of the genius composer who forcefully leads you through his grandeur perhaps. A politically submissive music maybe.
In many cases, the music also exposes its own making: edits, cuts, textures and artifacts from the production remain audible to remind us of its own means of production. An anti-ambient manner underlining that the work is not a fantasy that aims to lull you away from reality. Here the absence of reverb fx and other comforts might be read as a refraining from saying, everything is going to be okay. 


Illustrations: Aase Nielsen
Pictures: Aase Nielsen & Ribka Pattinama
Layout: Aase Nielsen & Wilfred Wagner
Mastered by Amir Shoat

boli group - The Jutlandia Quartets

EVEN THE CHIMERA’is the debut album by Wild Terrier Orchestra, a new project by Dimitris Papadatos, aka Jay Glass Dubs, based on interchangeability and open improvisation. A newer, freer incarnation of Papadatos’ creative intent, the projects act more like an open container of dsparate and idiosyncratic contributions from a mutable cast of musicians and artists. Often times not provided according to a pre-planned structure, these contributions are actually more likely to arrive in the form of free improvisations, unconnected musical segments and fragmented splinters of sound. This allowes Papadatos to aggregate all the constituent parts according to an intuitive process that bridges between the detailed craft of electronic music production and surrealist techniques such as the Cadavre Exquis and the Cut-Up. It’s both a harmonization of contrasting tones and a research for commonality within difference, although none of the wild terriers are ever nearly tamed.

Unsurprisingly, the main inspiration for this new chapter came from a pinnacle of avantgarde literature: poet Andreas Embirikos’, considered Greece’s first surrealist and all-out paradoxical figure. Specifically, this release is guided and instigated by his poem OKTANA, in which Embirikos inscribes a manifesto for a hedonistic utopia years ahead of any accelerationist theories, bursting with contradicting presences and mutating identities. Written in the aftermath of the Greek civil war, the poem calls for a time of eternal poetry and spiritual intoxication that can only be reached through a painful process of violent deconstruction.

Thus, EVEN THE CHIMERA was born: a culmination of Papadatos’ decades long research on traditional Greek and Byzantine music, free jazz and free improvisation. Firmly spread between two side-long tracks, the contributions of American singer and musician Cruel Diagonals on vocal duties as well as Greek artist and musician Fotini Korre on ney suggest the existence of a filament that connects the west and the east through the creation of ‘’possible musics’’. This happens in accordance to Papadatos’ practice of a counterfactual approach to the process of what music history dictates. It is also directly shaped by the musician’s frequent dwellings in the isle of Cyprus, a land in which the clash of worlds and culture has often taken both violent and beautiful shapes. The long drones, acoustic ghosts and unbalanced choirs that form the album seem to call from the Mediterrean itself, not only from its history but also from its possibile futures and unreal narrations, invoking it as a nexus of diversity and possibility.

SPCTR017 - Wild Terrier Orchestra - EVEN THE CHIMERA [excerpts]

Ghost Lemurs is an experiment on a mediterranean parallel timeline. The duo composed by Kareem Lofty and Heith recorded this album drawing inspiration from an incredibly diverse number of traditions, sonic sources and techniques of musical experimentation, keeping its psychedelic intentions central to the whole creative endeavor. Moments of meditative relaxation are brought to unsettling new levels by cavernous basses and spaced out drones, while tight polyrhythms bring beautiful granular melodies to a sidereal ceremonial dance.
As beautiful and captivating as it is, Wombs And Alien Spirits remains as chimeric and unrestrained as any previous effort by the two artists. It’s a type of folk music devoid of a specific homeland, but resulting from the authors’ heritages, simultaneously divided and united by the mediterranean sea, injected with all the trajectories of their personal journeys. 
It ends up sounding profoundly human and uncannily inhuman, tapping into an undiscovered alien element at the beginning of the experience of life.

Music by Ghost Lemurs
Mixed by Heith
Mastered at Tapewave Studio
Artwork by Katja Novitskova
Layout by Nicola Tirabasso

Ghost Lemurs - Wombs and Alien Spirits

cottagecore crisis

boli group - cottagecore crisis

6G is the child of a hollow moon, unwritten histories of permaculture deities in the levant, pagan conspiracies about haunted birthrights, texts buried in lunatic obscurity, communication with the evil smile of a goddess, bells designed to be wrung three times in the night, childish blood games, farmers with occult crops.

The duo of Oxhy and Susu Laroche have chosen the name The Fertile Crescent, evoking one of the cradles of human civilization as much as a (un)healthy devotion to the power of the lunar cycle. Musically, it reeks of post-industrial folklore ripe with solemn tones and conflicting bits, combined via the mocking dream logic of a trickster spirit. A skeletal presence of melody in a sparse, ceremonial ambiance that can even welcome thunderous rolls of breakbeat, like tapping from the energy of every ritual that has scarred the land in time. Following the record is like attempting at drawing a psychic topography of those same rituals, manifestations, tragedies and games, it’s like mistaking the broadband network for the Ley lines but still succeeding in conquering its occult power.

Written & Produced by Fertile Crescent
Mastered by Tapewave

All profits go to: www.islamic-relief.org.uk/afghanistan-emergency-appeal/

https://soundcloud.com/oxhy
https://soundcloud.com/tsvsvnami

the fertile crescent - a hollow earth

6G is the child of a hollow moon, unwritten histories of permaculture deities in the levant, pagan conspiracies about haunted birthrights, texts buried in lunatic obscurity, communication with the evil smile of a goddess, bells designed to be wrung three times in the night, childish blood games, farmers with occult crops.

The duo of Oxhy and Susu Laroche have chosen the name The Fertile Crescent, evoking one of the cradles of human civilization as much as a (un)healthy devotion to the power of the lunar cycle. Musically, it reeks of post-industrial folklore ripe with solemn tones and conflicting bits, combined via the mocking dream logic of a trickster spirit. A skeletal presence of melody in a sparse, ceremonial ambiance that can even welcome thunderous rolls of breakbeat, like tapping from the energy of every ritual that has scarred the land in time. Following the record is like attempting at drawing a psychic topography of those same rituals, manifestations, tragedies and games, it’s like mistaking the broadband network for the Ley lines but still succeeding in conquering its occult power.

Written & Produced by the fertile crescent
Mastered by Tapewave

All profits go to: www.islamic-relief.org.uk/afghanistan-emergency-appeal/


https://soundcloud.com/oxhy
https://soundcloud.com/tsvsvnami

the fertile crescent - get weeping

6G is the child of a hollow moon, unwritten histories of permaculture deities in the levant, pagan conspiracies about haunted birthrights, texts buried in lunatic obscurity, communication with the evil smile of a goddess, bells designed to be wrung three times in the night, childish blood games, farmers with occult crops.

The duo of Oxhy and Susu Laroche have chosen the name The Fertile Crescent, evoking one of the cradles of human civilization as much as a (un)healthy devotion to the power of the lunar cycle. Musically, it reeks of post-industrial folklore ripe with solemn tones and conflicting bits, combined via the mocking dream logic of a trickster spirit. A skeletal presence of melody in a sparse, ceremonial ambiance that can even welcome thunderous rolls of breakbeat, like tapping from the energy of every ritual that has scarred the land in time. Following the record is like attempting at drawing a psychic topography of those same rituals, manifestations, tragedies and games, it’s like mistaking the broadband network for the Ley lines but still succeeding in conquering its occult power.

Written & Produced by the fertile crescent
Mastered by Tapewave

All profits go to: www.islamic-relief.org.uk/afghanistan-emergency-appeal/

https://soundcloud.com/oxhy
https://soundcloud.com/tsvsvnami

the fertile crescent - ripping time

the fertile crescent - cant let you live again

Composed by Aase Nielsen
Performed by Aase Nielsen 
Produced by Aase Nielsen 
Mastered by Amir Shoat

Agri x Bottega

intermezzo

NEVER

8000

EVEN THE CHIMERA’is the debut album by Wild Terrier Orchestra, a new project by Dimitris Papadatos, aka Jay Glass Dubs, based on interchangeability and open improvisation. A newer, freer incarnation of Papadatos’ creative intent, the projects act more like an open container of dsparate and idiosyncratic contributions from a mutable cast of musicians and artists. Often times not provided according to a pre-planned structure, these contributions are actually more likely to arrive in the form of free improvisations, unconnected musical segments and fragmented splinters of sound. This allowes Papadatos to aggregate all the constituent parts according to an intuitive process that bridges between the detailed craft of electronic music production and surrealist techniques such as the Cadavre Exquis and the Cut-Up. It’s both a harmonization of contrasting tones and a research for commonality within difference, although none of the wild terriers are ever nearly tamed.

Unsurprisingly, the main inspiration for this new chapter came from a pinnacle of from a a pinnacle of avantgarde literature: poet Andreas Embirikos’, considered Greece’s first surrealist and all-out paradoxical figure. Specifically, this release is guided and instigated by his poem OKTANA, in which Embirikos inscribes a manifesto for a hedonistic utopia years ahead of any accelerationist theories, bursting with contradicting presences and mutating identities. Written in the aftermath of the Greek civil war, the poem calls for a time of eternal poetry and spiritual intoxication that can only be reached through a painful process of violent deconstruction.

Thus, EVEN THE CHIMERA was born: a culmination of Papadatos’ decades long research on traditional Greek and Byzantine music, free jazz and free improvisation. Firmly spread between two side-long tracks, the contributions of American singer and musician Cruel Diagonals on vocal duties as well as Greek artist and musician Fotini Korre on ney suggest the existence of a filament that connects the west and the east through the creation of ‘’possible musics’’. This happens in accordance to Papadatos’ practice of a counterfactual approach to the process of what music history dictates. It is also directly shaped by the musician’s frequent dwellings in the isle of Cyprus, a land in which the clash of worlds and culture has often taken both violent and beautiful shapes. The long drones, acoustic ghosts and unbalanced choirs that form the album seem to call from the Mediterrean itself, not only from its history but also from its possibile futures and unreal narrations, invoking it as a nexus of diversity and possibility.

B1.Σώμα Περικαλλές Και Έμψυχον Και Σφύζον EXCERPT

A1.Κάθε Φορά Που Εν Εκστάσει Συντελλείται  EXCERPT

taken from "Privacy Angels" by VISIO
out on September 9th 2022

Written and produced by VISIO
Additional production by Heith
Mastering by Rupert Clervaux
Sculpture by Joshua Miller

VISIO - Extasi Exile

If there ever was a monicker apt for describing an artist’s behavior, that is Ghost Lemurs. Manifesting spottily in compilations and limited edition tapes, then returning to the shadows without much fanfare, the project has indeed demonstrated a ghostly behavior and a nature as puzzling as the animal it takes its name from. Wombs And Alien Spirits represents now their most public outing, one in which the duo of visual artist / producer Kareem Lofty and Daniele Guerrini (better known as Heith and as Haunter’s co-founder) are happy to showcase all the discoveries in a process of musical and spiritual research begun in 2019.
Described by the artists themselves as an experiment in mediterranean psi-trance, the album makes use of an incredibly diverse number of traditions, sonic sources and techniques of musical experimentation, keeping its psychedelic intentions central to the whole creative endeavor. Moments of meditative relaxation are brought to unsettling new levels by cavernous basses and spaced out drones, while tight polyrhythms bring beautiful granular melodies to a sidereal ceremonial dance.
As beautiful and captivating as it is, Wombs And Alien Spirits remains as chimeric and unrestrained as any previous effort by the two artists. It’s a type of folk music devoid of a specific homeland, but resulting from the authors’ heritages, simultaneously divided and united by the mediterranean sea, injected with all the trajectories of their personal journeys. It ends up sounding profoundly human and uncannily inhuman, tapping into the undiscovered alien element at the beginning of the experience of life.

Music by Ghost Lemurs
Mix by Heith
Master by Tapewave
Artwork by Katja Novitskova
Layout by Nicola Tirabasso

Molecular Repair

Wombs and Alien Spirits

Aton

Libya Loop

Filter Feeders

Hypha

Bios

Exodus delves into the odyssey of the Dove family as they journey from Bryan, Texas to the vibrant landscapes of Los Angeles in the 1960s. In Nexcyia’s quest to
encapsulate the dystopian surrealism of the Dove family's journey, he aims to harnesse the power of sound as a potent tool of storytelling. Drawing inspiration from the
decaying landscapes and moving atmospheres that surrounded them, he crafted a sonic tapestry that transcended traditional music composition, immersing listeners
in a visceral experience of their journey.
Nexcyia's approach to sound design is meticulous and reflective, as he seeks to manipulate and distort familiar elements into something altogether otherworldly. He
samples the haunting echoes of lost voices weaving them into the fabric of his compositions to evoke the desolation and decay of the world around them. The subtle
but metallic clang of rusted objects are granulized, while the distant hum of malfunctioning electronics formed a dissonant melody that lingered in the subconscious
like a half-remembered dreams.
Nexcyia seeks to infuse his compositions with a sense of hope and resilience, drawing on the indomitable spirit of the Dove family as they navigated through the
dystopian wasteland. Amidst the cacophony of chaos and despair, he introduces moments of ethereal beauty, incorporating haunting melodies and soaring harmonies
that pierced through the darkness like shafts of light breaking through storm clouds.
Through sound, Nexcyia transformed the Dove family's odyssey into an immersive auditory experience, blurring the lines between music and storytelling. Each
composition is a journey in itself, an afro-sonic tapestry that can transport listeners into the heart of a multiverse. And in doing so, he not only captures the essence of
their journey but also invited listeners to embark on their own odyssey of discovery and transformation.
"My heart and soul. I wouldn't exist if he didn't move his family to LA in the 60's" - Derrick Dove
"You are so beautiful and precious to your grandpa, I thinks about you all the time, because I love you so much, and so happy to hear from you; You just
make me happy with joy, joy joy, stay safe and remember grandpa love you all the time" - Grandpa to Alexa
"Thank you Adam, I'm so happy to hear from you, you mean the world to your grandpa, so proud of you, and that you for your love, because your grandpa
just love you and wishing you the best, please stay safe and in touch" - Grandpa to Adam
“Me, Clyde, Raymond, Reggie, Oscar-Raymond and Darline. In Bryan — i think I’m about 5 there. It was Reggie’s birthday party. Darline and Oscar-
Raymond were siblings and the children of my dad’s oldest brother Oscar. Reggie is the son of my dad’s big sister. – Mom to Adam
Dedicated to Clyde Dove and Nat Dove

Nexcyia - pond

Broshuda’s infamous social vocabulary is filled with obscure terminology and coded cross references to the likes of “Ambient Punk”, “Glambient" and “Aquatic Romanticism”. These might come as bizarre attempts to define his peculiar and hard to pin down style of electronic music, while simultaneously mocking the need to market music through highfaluting press and academia- approved labels. This same skewed ambiguity informs much of the berlin-based producer’s creative attitude and the rest of his output, for his first release for Haunter Records generating pieces of apparent simplicity that gradually unravel to engage in complex emotional vignettes, drawing from a limited pool of sound sources while paying a great deal of attention to detail in the construction of sound and temporal structure. Subtly tweaking and rearranging the focus, he emphasizes the background’s definition while meditating on blurring and masquerading what should have been foreground into new forms and shapes, evoking a world of hallucinatory sonical flora steadily in flux, descending and ascending through thick layers of shifting motions and memories, touching upon multitude of non-places along the way. An array of tools and techniques on display akin to those of classic dub, contemporary sound design on obscure and random equipment and post-rave power ambient poems, coalescing with a pronounced melodic element, giving the release a profoundly introspective and earthy character.

Broshuda -  Goscha (w/ Vuptes) [FROM SPCTR009 - BROSHUDA - JEMI / OUT FEB 16, 2018]

ZULI’s new offering Trigger Finger is a game of shadowy atmospheres and unquiet spirits. It functions as a spacial and temporal compactor, using sampling and field recordings to reconstruct reality’s dissonance, while at the same time reverse its own introspective character into bass weight and outworked tension. A kind of extremization of ZULI’s own roots as a beatmaker for the Cairo rap scene, tinged with the clandestine and delirious urbanism of grime and jungle, and fronted by the necessity to face its own dark side. But the dark and crusty sonic palette does not limit the possibility for the tracks to display various layers of emotional content.

Produced, Mixed & Recorded by ZULI. Mastered By Rashad Becker at Dubplates & Mastering. Artwork by Federico Scudeler.

Digital DL and Vinyl 12" Mini LP out May 5th.
Distributed by SRD.
Pre- order: https://haunterrecords.bandcamp.com/album/zuli-trigger-finger

ZULI - X3

“In My Escape I Look For A Weapon”, a declaration of intent in an ever-progressing struggle for existence. Urging not to surrender while also calling for empathy and comprehension. Haunter co- founder, DJ, producer and writer Francesco Birsa Alessandri, under his Sense Fracture alias, launches a call to arms to all resisting forces and collective efforts for progress, freedom and equality, riding a punishing, uncompromising sound through an unquiet harmonic body: hard-edged yet unapologetic about its own vulnerability. The dancefloor’s potential for political affirmation and the ambivalent nature of escapism are the forces that sharpen the Fracture. Channeling the writings of Kathy Acker, Amy Ireland and Mark Fisher as well as bits of rave extremism, breakcore, dub, grime and trap, Alessandri aims to reflect and infect reality by challenging the structure of conventional club narratives. It is by enhancing the nonlinear, abrasive qualities dwelling between the beats that They build a critique of language and power relations.

Written, recorded, produced and mixed by Francesco Birsa Alessandri.
 Additional mixing, mastering by Studio Apt. 233
Graphics  by Numero 1 Studio

In My Escape I Look For A Weapon

Sense Fracture - In My Escape I look For A Weapon [from HR017 - Sense Fracture - In My Escape...]

Heith - Tree Stand

Forever is in multiplicity and mutation. Musician and visual artist Nicola Tirabasso (VISIO), together with Haunter founders Daniele Guerrini and Francesco Birsa Alessandri called for a collective effort in order to celebrate these elements of experience. In opposition to linear notions of time itself. An attempt to let perceptions of future and past bleed together, to establish every moment as an infinite process of consumption and re-generation. A compilation of 33 artists, each contributing in their own peculiar style, adding their own blends to the palette and exposing the lineage of their work. It is precisely to state that the perennial immanence of difference is what constitutes the basis for true unity, that the curators have grouped an utterly diverse cast of contributors, whose output strikes a vastity of moods and textures, and grows out of very distinct intentionalities and backgrounds. Making kin without borders, letting mutual support evolve into a chimeric infinity.



01. VISIO - Landslide
02. Ghost Lemurs Of Madagascar - Fauno
03. Maxwell Sterling - DESIGNER DIRGE
04. Weightausend - Ceaseless Collateral
05. ssaliva - Why Me
06. ZULI & Broshuda - Vector Cloak
07. Cube - Latency
08. Ausschuss - Loose Unit
09. Elvin Brandhi - HAUNT
10. Heith - Suspicious Activities
11. Sol Ring - Shadow Heart
12. Helm - Permanent Mute
13. Tadleeh - Ruba Meta
14. Celyn June - Perndfgich001
15. oxhy - Santoor
16. Sense Fracture - Crime As Poetry
17. ADVANCED AUDIO RESEARCH - Panzerism
18. Lag Os - Not Alone (In The Forest Edit)
19. Kinlaw - Port Tropiq
20. Heith & Weightausend - The Wheel
21. Lutto Lento - Angels
22. Noumeno feat. Sense Fracture - Words Are only Places To Hide, And I No Longer Intend To Hide
23. Nick James Scavo - Vorsch (Threnody)
24. XIII - explo_er
25. S S S S - Dualistic Dead Ends
26. Katatonic Silentio - Eerie
27. Alex Zhang Hungtai - LA River Practice
28. Glochids - Running Fence
29. Cobweaver feat. Seed - ii + iii Tightened
30. SOMEC - Ra 1
31. Renick Bell - Seek Your Own Error And Learn
32. Julien Andreas - Pump
33. Ossia - Theresa


Curated by Nicola Tirabasso and Haunter Records 
Mastered by Jo at Tapewave Mastering 
Artwork by Katja Novitskova & Kareem Lotfy
Cat. No. HR024 – All rights reserved.
℗ & © Haunter Records 2019
www.haunterrecords.com

forever

ZULI & Broshuda - Vector Cloak

Forever is in multiplicity and mutation. Musician and visual artist Nicola Tirabasso (VISIO), together with Haunter founders Daniele Guerrini and Francesco Birsa Alessandri called for a collective effort in order to celebrate these elements of experience. In opposition to linear notions of time itself. An attempt to let perceptions of future and past bleed together, to establish every moment as an infinite process of consumption and re-generation. A compilation of 33 artists, each contributing in their own peculiar style, adding their own blends to the palette and exposing the lineage of their work. It is precisely to state that the perennial immanence of difference is what constitutes the basis for true unity, that the curators have grouped an utterly diverse cast of contributors, whose output strikes a vastity of moods and textures, and grows out of very distinct intentionalities and backgrounds. Making kin without borders, letting mutual support evolve into a chimeric infinity.

Curated by Nicola Tirabasso and Haunter Records
Mastered by Jo at Tapewave Mastering
Artwork by Katja Novitskova & Kareem Lotfy
Cat. No. HR024 – All rights reserved.
℗ & © Haunter Records 2019
www.haunterrecords.com

Pubblicato da:
Haunter Records
Data di uscita:
4 Ottobre 2019
Copyright P:
℗ Haunter Records 2019

Cobweaver feat. Seed  - ii + ii-i Tightened

Helm - Permanent Mute

Elvin Brandhi - HAUNT

ssaliva - Why Me

Maxwell Sterling - DESIGNER DIRGE

Ghost Lemurs of Madagascar - Fauno

Giorgio Di Salvo signs a new chapter in his Advanced Audio Research: a blast of free-form junglish mayhem, once more released in coproduction with Haunter Records. This time ripe with the furthest experimentations and most far-out cuts coming out of the AAR headquarters.
That’s right, we’re dealing with some serious freakishness : using the same generative process and wicked arsenal of tools as his previous oblation, Di Salvo managed not only to top its rave-ready madness, but also to venture far beyond, arranging the gnarliest noises into wild, crooked beats and mocking melodies.
AAR’s music is still closely related to the heaviest dance music paradigms like breakcore and flashcore, tho it maintains such a unique character and such a distinctive sonic palette that makes it stand within that musical world in a truly refreshing manner.


Recorded by Advanced Audio Research
Mix & Master Tapewave
Artwork by Giorgio Di Salvo
Cat. No. HR024 – All rights reserved.
℗ & © Haunter Records 2019
www.haunterrecords.com

all rights reserved

Trans - Mongolian Railway

Gandalf

Haunter Records is proud to present Left My Brain @ Can Paixano (La Xampanyeria) OST. A project five years in the making, dotted by contributions from dear friends Asaël Robitaille, v1984 and Marie Davidson; it is Osborne-Lanthier’s most ambitious work to date and, in many ways, an elegiac record. Largely composed and produced in the shadow of his mother’s passing, it also contains an another sort of elegy: to a infamous Barcelona restaurant that functioned as a daily stop for Osborne-Lanthier during a stay in Catalunya. It was in the midst of  that trip that he started adding sardonic, deranged experiments to his then-overtly serious, academic work. After his mother’s passing in 2016, nostalgia drove him to revisit a body of old recordings where he discovered something new: the sarcasm, self-effacing humour and proficient technicality he’d found so funny originally was now just a mask for insecurity and sadness. He set out to rework those recordings, reprocessing them over and over until their structures completely changed, until they’d gained such texture and depth they were no longer recognizable.
 
The music’s journey construes a multi-layered story, one only he can tell. The record smacks with a wet nostalgia that soaks into the concrete dryness of Osborne-Lanthier’s sound design, maintains a taste for intensity as a tool for immersive engagement. There’s a widescreen romanticism to these compositions, reminiscent of a vivid dream: the tracks are tactile and elastic, morphing rapidly from uncanny-valley EDM tropes to vast, sweeping expanses of sincere choral synths. Osborne-Lanthier sees the album as something of a concept cemetery; an overgrown plot that slowly filled to the brim with dead ideas; a mycelial network of thoughts and plans that never came true. The fruiting body of a fungus born from the nutrients of dead plants: an opus born from trash. 
 
For all of its absurd alien beauty, this is as much a record about being a musician as it is a record about making fun of music: as much an expert-level exploration of technical chops as it is an assault on the stupidity of technicality. Beautiful film-like ambient passages flow directly into weapons-grade riffs, fluid whirlpools drain into chattering synths and shrieking frequency envelopes. Ugliness and immaturity are not only preserved but elevated. The result is Osborne-Lanthier’s most finely-honed record to date — a reflection of what it is to be human: divinely uncategorizable.

Composed between 2015 and 2020 in Montreal, New York, Paris, Berlin, Barcelona, Milan, Tokyo, Stockholm, Osaka and Shanghai by Jesse Osborne-Lanthier.
Produced in Montreal by Jesse Osborne-Lanthier.
Additional production and arrangement assistance by Asaël Robitaille.
Mastered by Heba Kadry.
Design, layout and additional art by Jesse Osborne-Lanthier.
Art installation and photographs by Adrian Altman, courtesy of the artist.

Cat. No. SPCTR015/PTTDIABL001 – All rights reserved.
℗ & © Haunter Records 2020

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