Pavel Milyakov & Lucas Dupuy - Heal

From the album "New Environments & Rhythm Studies" - out on June 27th .
https://andrewpekler.bandcamp.com/album/new-environments-rhythm-studies

Cumbia Para Los Grillos

Path

Room

Flutes of doom

Air x

Deep gtr

Rivet’s new album for Editions Mego is an uplifting and joyous affair coming in the wake of tragedy and disenchantment. It is yet another rebirth from an artist willing to take a step back and reprise the current situation he is in. Mika Hallbäck has a long credible history in the Swedish underground. First recognised for his industrial techno works under the Grovskopa moniker he worked privately on more experimental works that eventually came out as On Feather and Wire, an album released on Editions Mego in 2020. After much acclaim for this bold new direction that blended electronic abstraction, pop and industrial forms into a heavy synthetic trip two tragedies struck. One was the passing of label boss Peter Rehberg and then the passing of his dog Lilo, who was as close as a companion one could have. These events led to the release of the more unsettling follow up L+P-2 (Lilo and Pita minus two) on Midnight Shift Records in 2023. Peck Glamour sees Rivet return to the reawakened Editions Mego with an album of optimism inspired by reconciliation with loss and further explorations of new mental/sonic realms.

Hallbäck defines his approach as not being married to any particular machine, instrument, process or genre. However he holds a particular affinity to sampling, of which, he says, provides the dirt and grit amongst what would otherwise be pristine, generic machine music. The contemporary crate digging method of scouring obscure download music bogs for unique sounds was his preferred research practice.

Peck Glamour is an album full of tracks brimming with the excitement of exploration. It's the results of a mind informed by punk, industrial, techno, dancefloor, disappointment, trauma and rebirth. Here the synthetic and authentic is viewed simply as the same means of human rationale and expression.

The opening, ‘Catch Up to Light’, sets the scene with ecstatic and odd fluorescent vocals sliding amongst crystalline likembe whilst synths swirl amongst the external festivities. ‘Orbiting Empty Cocoon’ is somewhat a homage to the alien sound worlds of The Orb, one which takes the listener deeper into a mind melting array of teased potential as visual elements are executed in a mask of audio wizardry and euphoric staccato rhythms, the later being a nod to Singeli music. ‘Patitur Butcher’ is more dance frontal utilising the Ghatam drum and a YouTube rip of a Chinese language lesson. ‘Plastic Bag Putain’ was made during the beginning of Russia's invasion of Ukraine and should be clear of its intent. ‘All that Heaven Allows’ is a marimba cover of an imaginary Love Parade anthem. 'Kyrie Geire’ potentially briefly fills the void left by the demise of Coil. The entire trip of Peck Glamour is sewn up with ‘We left before we came’ whereby extraneous recordings of double bass player Gregory Vartian-Foss (tuning/strumming/moving the bass) are superimposed with local field recordings to create a gorgeous bed of sounds acting as an exciting exit music to this sharp collection of cinematic ear excursions.

Peck Glamour

All That Heaven Allows

Rivet 'All That Heaven Allows' (EMEGO317)

Fin da quando ero bambina c'è stato qualcosa di sbagliato nella mia testa,         
la mia testa  
la mia testa
la mia testa
la mia testa..
La minima deviazione mi fa sentire abbandonata in fondo a un pozzo. 
Ho paura che qualcuno mi lasci, quindi me ne vado prima che lo faccia. 
Vorrei gioire della felicità degli altri, ma non posso, 
non posso, 
non posso, 
non posso, 
non posso.  
Sono una amante appassionata, ma l'attaccamento mi spaventa. 
Fin da quando ero bambina c'è stato qualcosa di sbagliato nella mia testa, 
la mia testa, 
la mia testa , 
la mia testa.."

NON POSSO

A synapse-popping electro-acoustic soundwalk around Western Europe's cathedrals, chapels and churches, 𝑪𝒂𝒎𝒑𝒂𝒏𝒂 𝑺𝒐𝒏𝒂𝒏𝒔 skews recognizable sacred soundscapes, proposing a contemporary mythology that muddles the past, present and future. Following on from his critically-acclaimed 𝑩𝒂𝒕𝒉𝒉𝒐𝒖𝒔𝒆 𝑩𝒍𝒖𝒆𝒔 full-length, American sound artist Jake Muir familiarizes himself with German and British sonic architecture by studying some of the medieval shadows that still hang over Europe's streets, even as they continue to evolve. Manipulating environmental recordings captured in Germany and England, Muir presents an impressionistic juxtaposition of parallel cultures: the UK's distinctive "change ringing" technique, where a team of bell-ringers play long varied sequences on a set of tuned bells; and Germany's more sober style, with monotonous peals that add rhythm to daily life.

When Muir moved from Los Angeles to Berlin back in 2019, it wasn't just the German capital's damp weather and long, dark winters that came as a surprise. He was immediately struck by the city's anomalous acoustics, and one particular element stood out: the resonant church bells that echo around Berlin throughout the day to mark time, and for 10 minutes on Sundays as a call for mass. Gathering his field recording equipment, Muir acquainted himself with his new home by following the sonorous clangs, wandering from kiez to kiez to capture each church's distinct auditory flavor. And the more material he collected, the more engrossed he became in the history of bell ringing, prompting a deep dive that would shuttle him across Germany and into Italy, Belgium and the UK.

On 𝑪𝒂𝒎𝒑𝒂𝒏𝒂 𝑺𝒐𝒏𝒂𝒏𝒔, Muir trains his focus on Berlin, where his journey began, and on England, where he encountered the most elaborate bell ringing practice. 𝘌𝘳𝘻𝘬𝘭𝘢𝘯𝘨 is a hypnotic lattice of sounds recorded all over the German capital: at Parochialkirche, a reformed church in Mitte; at evangelical church St. Matthäus, at Sophienkirche, another Mitte landmark; and at St. Mathias, a Roman Catholic church just in front of the Potsdam Gate. By fusing the liturgical chimes with snippets of local ambiance - traffic, chattering tourists and birdsong, for example -  Muir takes a blurry snapshot of the city, queering its idiosyncratic color spectrum with his various digital processes. Using reverb to replicate the acoustic properties of both the streets and the church interiors, he subtly disturbs the timeline, stretching out brief peals into long, mesmerizing drones and turning garbled voices into ghostly babble.

The environment alters considerably on 𝘊𝘩𝘢𝘯𝘨𝘦𝘴; Muir uses the same technique and applies it to recordings made at the 1000-year-old St. Oswald church in Oswestry, St. Bartholomew's, Edgbaston and Holy Trinity in Stratford-Upon-Avon, home to Shakespeare’s final resting place. Here, Muir methodically untangles the change-ringing process, linking back to 𝘌𝘳𝘻𝘬𝘭𝘢𝘯𝘨 with a single bell tone before moving inside the church itself and documenting the ringers' shouted instructions, blending the calls with the bells' mathematical cyclic patterns. Muir memorializes what in 2025 is a dying art-form - a community skill that's disappearing worryingly quickly as young Brits lose interest in the church and its rituals. Unsettling distortions bite into the undulating sequences and underneath the noise, Muir highlights the music's latent euphoria, drawing out its most celestial tonalities.

File under: devotional music.

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recorded by Jake Muir
audio finalized by Glyn Maier
photography by Jake Muir
design template by Joe Bastardo

Campana Sonans

Erzklang [Preview Clip] (ENM-14)

6vvv

THE EIDOLON VEIL PROJECT. A COLLECTION OF SONGS FROM EIDOLON VEIL, RELEASED AND UNRELEASED. ENJOY TO YOUR PLEASURE

20 Theophagy (Demo 2)

01 Keeping Kool

Explore the moons of our Solar System with Moon Voyager. Explorative and atmospheric deep space ambient music. soundscapes and drones by Nairb One.

Recorded August 2025
© 2025 Aeon Records
℗ 2025 Ditto Music LTD

Room

Lucas Dupuy

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