“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

cottagecore crisis

boli group - cottagecore crisis

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

Agri x Bottega

intermezzo

NEVER

8000

@yyyooouuuttthhh
ALL TRACKS WRITTEN AND PRODUCED BY FLORENT HADJINAZARIAN IN ST FONS, FRANCE.
VOICE BY @elvin-brandhi-1
INSPIRED AND DEDICATED TO "MELANCHOLIA DER ENGEL"
MASTERING BY DANIEL MUMBERSON
DESIGN BY MON


"Highly regarded around these ways for introducing the likes of Ronce on his Dawn Records label - with whom he collaborated on the ‘Aquatics’ LP - and a string of ace compilation cuts, visual artist-turned-producer Hajj renders his most ephemeral yet affective conception of a negative ecstasy in ‘Drag Me Into the Void’. The three tracks reprise the billowing introspection of his 2020 debut for Brothers From Different Mothers , ‘Dédicace À Personne’ with a subtly refined palette and sound design, dematerialising traces elements of late ‘90s trance and up-to-the-second trap into thee gauziest, gently buoyant ambient space.

The trio of tax slot neatly into YOUTH's cross section of contemporary bedroom/living room/imaginary club space with a breezy mutability. ‘Drag Me Into the Void’ appears in subtly alternate mixes, bathing a trance siren vocal refrain in anaesthetising reverb and vapourized traces of emo-rap drums with a sublime sense of deferred gratification on the original, while nipping/tucking to more elusive allure in the ‘Euphoria’s death edit’. In the middle ‘Reverse Catharsis’ augments the syrupy ambient rap aesthetic with more pronounced woodblock percussion hinting at Burial hitting the downstroke, and lit up with killer, trancey hyper-blooz synth plucks. "
Boomkat

BUY CD

Reverse Catharsis

@yyyooouuuttthhh
ALL TRACKS WRITTEN AND PRODUCED BY FLORENT HADJINAZARIAN IN ST FONS, FRANCE.
INSPIRED AND DEDICATED TO "MELANCHOLIA DER ENGEL"
MASTERING BY DANIEL MUMBERSON
DESIGN BY MON


"Highly regarded around these ways for introducing the likes of Ronce on his Dawn Records label - with whom he collaborated on the ‘Aquatics’ LP - and a string of ace compilation cuts, visual artist-turned-producer Hajj renders his most ephemeral yet affective conception of a negative ecstasy in ‘Drag Me Into the Void’. The three tracks reprise the billowing introspection of his 2020 debut for Brothers From Different Mothers , ‘Dédicace À Personne’ with a subtly refined palette and sound design, dematerialising traces elements of late ‘90s trance and up-to-the-second trap into thee gauziest, gently buoyant ambient space.

The trio of tax slot neatly into YOUTH's cross section of contemporary bedroom/living room/imaginary club space with a breezy mutability. ‘Drag Me Into the Void’ appears in subtly alternate mixes, bathing a trance siren vocal refrain in anaesthetising reverb and vapourized traces of emo-rap drums with a sublime sense of deferred gratification on the original, while nipping/tucking to more elusive allure in the ‘Euphoria’s death edit’. In the middle ‘Reverse Catharsis’ augments the syrupy ambient rap aesthetic with more pronounced woodblock percussion hinting at Burial hitting the downstroke, and lit up with killer, trancey hyper-blooz synth plucks. "
Boomkat

Drag Me Into The Void

https://emotionalwaves.bandcamp.com/album/emotional-waves-v-a-vol-3

In this compilation we build a beautiful constelation of sound stars, from soft deep glitched feelings to bassy subby reactions :p
credits
released June 15, 2022

Masters by Tomo20

Artwork by MXHZ
Drawings by Nita Chan

sigh/ Emotional Waves Vol.3

mutant dub

2high

'Ozon Dub', from Andriy K. - LMNL002 - 'Poetry of the Vanished Territories'

Visualiser: https://www.youtube.com/watch?v=dVJjhwK7qXU

Preorder: oscillasound.bandcamp.com/album/lmnl002-poetry-of-the-vanished-territories




Andriy K. - Ozon Dub

'Пізнання льодовикового рельєфу' is the first artefact of our duet, the cornerstone of the ongoing asynchronous work with Comechelet (@comechelet). The debut 10-composition LP is set to be released in December 2024 — bear with us. 
____________________________________

About VA : COLLAGE
If it appeared right before you, just for a second, would you either walk this fleeting path or let it vanish in a blink, hidden forever beyond the fine lining of your eyelid? Taking the road to nowhere can be tempting, just as the urge to leave everything behind. Paradoxically, embracing the void feels so fulfilling - but isn’t acceptance part of the grief? We’re all searching for our own secret place, where inner peace could finally grow from its embryonic stasis.

Much like that uncertain trail, the present 'Collage' compilation charts a course through the soft, dreamy side of contemporary electronic music. Designed either for the club or a living room, this ethereal patchwork of 14 tracks is woven from silk-like sound design. ambient techno, experimental, IDM, atmospheric dub sonic - each genre highlights in turns ultra-stretched audio spectrums, smooth instrumental lines, introspective reverberations or digital breaks.

After Jonnnah’s ‘The Next Kingdom’ - debut LP published earlier this year, this second release embodies the label’s musical ethos once again: cold yet heartwarming textures, celestial synths and volatile rhythms.

Credits:
A.D : Jonnnah (@jonnnah / @second-end-rec)
Graphic design : Tiphaine Voix, Lucas Dupuy
Mastering : kick21
Words : Loïs Markarian


Collage

ᵖʳᵉᵐⁱᵉʳᵉ ϙue x Comechelet — Пізнання льодовикового рельєфу [Second End Records]

ϙue x Comechelet - Flora

Genus Aix - Chrome Flower

The 51st release of katharsis is the album Afterlife by Danish artist Johan Carøe. The album takes shape through a collection of synth vignettes and spectral landscapes, where fragmented strings and ephemeral pads merge into weightless, hyper-lush forms. Created in a period of both new life and impending loss, Afterlife lingers in the space between presence and absence—a fragile transmission of shifting states, quiet relief, and fleeting sonic imprints. It stands as an isolated relic of a time that no longer exists—a collection of echoes, projecting the paradoxical nature of life and death.

Created in solitude on headphones and a MIDI keyboard in a transitional period in life, the album embodies a raw and intimate catharsis—the word in its truest sense. Without the usual studio space, these pieces emerged through line-in synths, VST textures, and fragments of old recordings—saxophone, cello, violin—stitched together like distant memories resurfacing. The absence of microphones and monitors lends the music an eerily virtual quality—a small life in a small box, a stretched-out portrait of a passing moment. It is introspective yet expansive, a meditation on the transient nature of memory, sound, and being.

releases March 31, 2025

mastering by jjjacob
artwork by jjjacob

intermezzo

Haunter Records

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