Guest mixes by -OUS artists for radio shows, podcasts and special occasions.
Find out more on www.ous.ooo
Explore -OUS releases at https://ousooo.bandcamp.com

-OUS guest mixes / radio shows

Continuously updated playlist with music forthcoming or (freshly) released on -OUS. *click* on the tracks for more infos. All music released on -OUS can be found on Bandcamp, via our Distributor Kudos, and through well-sorted online and offline record stores.

https://ousooo.bandcamp.com
https://ous.kudosrecords.co.uk/

Forthcoming & (freshly) released on -OUS

The -OUS podcast series features live recorded performances of -OUS artists and guests we've featured at our events. 

-OUS Podcast No.1: MM aka @iokoi / @annahomler + @xiiisc
-OUS Podcast No.2: @bit-tuner / @furtherset
-OUS Podcast No.3: @noemibuchi / @svetlanamaras
_____________________________________________

The -OUS mix series features music released on -OUS, recorded once a year. 

2017: "26:29" by Ink! @ink_ous
2018: "59:59" by Uhuruku @uhuruku
2019: "55:42" by Mana @mmmmaaanna 
2020: "63:39" by Ink! @ink_ous

find all the music here: http://ousooo.bandcamp.com

-OUS Podcasts & Mixes

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

SARA OSWALD + FELDERMELDER - DRAWN
Cat #: OUS033
Release date: June 18, 2021
Distributed by Kudos: https://kudosdistribution.co.uk
Bandcamp: https://feldermelder.bandcamp.com/album/drawn

«The way we approach recording music — starting from an inner and outer void, where there is just acoustical action and reaction — is an attempt to emulate and slow down the fleeting memories that occur during a near death experience. A scintillating recollection that is the essence of who we are, slowed down and enhanced in order to be captured.» - Sara Oswald + Feldermelder

Prolific cellist Sara Oswald and experimental electronic musician Feldermelder present a captivating experience that resembles the suspended timelessness of an embryonic world. The way in which the duo modulate our perception of time, across this EP of three distinct pieces, represents an impressive display of aesthetic power, enabling listeners to experience the here and now in a total, physical engagement, and to travel through endless, transitional states of mind. «Drawn» is a meditation, where process becomes form. 

The first piece ‘Fishes in Histogram Waterfalls’ opens up a time-space where acoustic elements meet electronics; a fragile and organic encounter that nevertheless remains potent and precise. In this Sara Oswald and Feldermelder form resonant clouds of sound that hover and move discreetly. 	

The second piece ‘Volcanic Meditation Walks’ is more rhythmically defined, punctuated by repetitive accents and imbued with an enchanting, longing melody. Interspersed with heavy, phantasmal electronics, the track evokes a surreal passage across a scorched landscape, like a trek at the foot of Mount Etna.

«Drawn» reflects a dislocation of conventional temporality, and with the final piece ‘Short Term Memories’ the duo offer a denouement, where ‘the naked truth of our existence is revealed’, where every moment is again just another shift, another liminal state. Here they embody the perpetual flow of existence, where birth and death form a circle — where the same form never reappears — where every moment is unique. And where memory has its limits, because neither past nor future really exist.

CREDITS
All tracks written by Sara Oswald and Feldermelder
Produced by Manuel Oberholzer
Mixed and mastered by VFBM 
Cover by Manuel Oberholzer

This is OUS033
www.ous.ooo
@feldermelder

Drawn

Volcanic Meditation Walks

Buy digital

SIMON GRAB & FRANCESCO GIUDICI - [NO] SURRENDER
Cat #: OUS037
Release date: Jan 28, 2022
Distributed by Kudos: kudosdistribution.co.uk
Bandcamp: https://simongrab.bandcamp.com/album/no-surrender

«Social injustices are implanted into our society, and the powerful are not willing to make way for real change. Urgency is the force driving us both in musical improvisation and life. Our sounds are war sirens against an ongoing disaster.» - Simon Grab & Francesco Giudici

Simon Grab & Francesco Giudici’s ‘[No] Surrender’ is a strong and uncut manifest against social injustices, packed into screaming feedbacks and towering drones. Grab lures tender noises and pulsating frequencies from his fragile no-input-mixing-setup, while Giudici adds linear and visceral guitar drones, opening a dialogue between the two musicians, the room, and the surrounding context. Together, they create a uniquely soft but angry musical creature that feeds from emotions of loss and anger to become a haunting call for change.

The album’s cover presents a portrait of ‘Madame Rochat’ by photographer and film maker Aline d’Auria. The seemingly indestructible concierge was stripped from her home of half a century on the day of her retirement. Still, she persistently continued to fight for the working class’ rights. ‘[No] Surrender’ calls for awareness, resilience, and space for reflections. It’s a story about mankind being trapped in a world poisoned by a failed system of power. It’s an urgent call to overcome the darkness.

Focusing on reduction and the peculiarity of self-referential systems, Simon Grab plays fragile feedbacks, pulsating drones and opulent outbursts of noise on a no-input-mixing setup. His has previously released «Posthuman Species» and «Extinction» on -OUS, while «Diamonds», a collaboration with Togolese rapper Yao Bobby and Asian Dub Foundation’s Dhangsha, came out via LavaLava.

Experimental musician and sociologist Francesco Giudici plays guitar in bands and creates music for films, installations and theatre pieces. He has released three albums with his band ‘Black Fluo’ on PulverUndAsche Records. His research as sociologist and demographer focuses on social and economic inequalities, social gradient in health, gender inequalities, occupational and familiar life trajectories. 


CREDITS
Music by Simon Grab & Francesco Giudici
Recorded and mixed at ganzerplatz Zurich
Mastered by Manuel Oberholzer at vfbm Fribourg
Cut by Flo Kaufmann at Bricolage Universel Solothurn
Photography by Aline d’Auria
Graphic design by Alfio Mazzei

[No] Surrender

I Leave

Simon Grab & Francesco Giudici - [No] Surrender - I Leave

@feldermelder - Euphoric Attempts
Cat #: OUS030
Release date: October 14, 2022
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«While focusing on the current conditions we find ourselves in and bracing for what seems like the collapse of humanity, I made this collection of music in an attempt to ignite the essential remnants of my inner euphoria, and perhaps yours too» - Feldermelder

«Euphoric Attempts» is a finespun, voluminous manifestation of euphoria, a testimony to creativity, produced at a time when the outside world seems to be slowly disintegrating. The musical language is pure, vast, resilient, and vulnerable. The compositions of Feldermelder have a tonality both strange and familiar, intensified and influenced by classical music, yet distinguished by the coalescence of contrasting styles.

«Euphoric Attempts» relates to the state of our external surroundings but also refers to our inner life: it passes through our memories — through our organism — through our stories, and intends to elude the cold grip of analytical listening, instead retrieving intrinsic truths. The track titles signify a form of homage to our inner individuality, existing in parallel with the severities of the tangible, the external.

For this album, Feldermelder draws together compositions from his extensive archives, focussing on material that reflects the simple joy of making music. As a counterpoint to the abstract complexities and intricate rhythms of his live performances, here Feldermelder creates candid compositions of purity and minimalism, finding a sense of elegance in the details. «Euphoric Attempts» discovers the prospect of liberation and vitality in concealed intimacies, capturing their resemblance in gentle, elaborate, and prodigious movements of sound.

Feldermelder is a Swiss musician, sound designer, producer, and installation artist. He is co-founder of -OUS and part of the audio-visual collective Encor.studio. He has previously released several releases on -OUS, both as a solo artist, and in collaboration with Sara Oswald and Julian Sartorius. Feldermelder’s influences range from pioneering early electronic music to contemporary analogue electronics to classic jazz and beyond. The diversity of the music that inspires him is mirrored in his own work, which illustrates an ever-evolving sound, and indicates that influence is seen as both map and compass, guiding divergent inclinations. 

Credits: 
Written and produced by Manuel Oberholzer
Mastering by VFBM
Cover Picture by Jean-Marc Avila
Graphic Design by Martin Cramatte

Euphoric Attempts

Less Real Than You

Feldermelder - Euphoric Attempts - 3 - Less Real Than You

@noemibuchi - Matter
Cat #: OUS041
Release date: November 25, 2022
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

"Music gives us the illusion that time is not time, but space. It is then that the music transforms from process to object, which I find a very interesting thought; a materialisation of the sound process. Sound is matter." - Noémi Büchi

Noémi Büchi’s debut album ‘Matter’ captures the tension between growth and decay, consonance and dissonance, mirroring Büchi’s own catharsis through music. Her most personal material to date, ‘Matter’ is an opus of refined, sculpted beauty, one that aims to blur the distinction between ephemerality and physicality. Inspired by late romantic classical music and early 20th century contemporary music, ‘Matter’ is driven by the compositional methodologies of Igor Stravinsky, Alexander Skrjabin, Gustav Mahler and György Ligeti to modern sound forms, adapting and expanding upon their ideas in an awe-inspiring exploration of cutting-edge potency and tactility.

Büchi structures the electronic works that constitute ‘Matter’ in movements, stratifying myriad instrumental parts like the constituent sections of an orchestra. During her work on the album, Büchi engaged in extensive research, obsessively studying specific chords and progressions, and searching for transcendent intonations with resonant properties; complexions of sound with the ability to connect with the listener’s body. Transforming our inner worlds into zones of suspension and levitation, Büchi exposes the listener to intoxicating slipstreams of sound. Prominent voices ascend, tectonic disturbances threaten the foundations, perception and sensation becomes subject to elemental countercurrents and inversions. ‘Matter’ illustrates the fraught pursuit of momentary equilibrium, and makes the fragility of euphoria tangible.

CREDITS:
Written and produced by Noémi Büchi
Mixed and Mastered by Manuel Oberholzer VFBM
Photography by Jean-Marc Avila
Photography / 3D reworked by Mirko Eremita Encor Studio
Graphic design by Alfio Mazzei

BIO:
Composer & sound artist Noémi Büchi creates electronic, symphonic maximalism. Her music is defined by delicate electronic-orchestral forms and textural rhythms. She strives for a combination of harmonic and dissonant sonorities, to evoke both intellectual and emotional euphoria. Büchi has appeared on the Light of Other Days and Visible Dinner labels, and is now an affiliate of -OUS, releasing ‘Hyle’ her debut EP on the label in spring 2022. As well as her solo output, Noémi Büchi is currently working with Feldermelder on their collaborative project Musique Infinie. Their debut album will also be released via -OUS in the near future.

Noémi Büchi - Matter - 1 -   Elemental Fear

LUDWIG BERGER - GARDEN OF EDIACARA
Cat #: OUS047
Release date: May 17, 2024
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«Music is a form of world building. I love to develop sonic characters and set them into fictional ecosystems with unique textures, acoustics and atmospheres. Each song forms a different landscape, through which a vocal character guides us and tries to tell us its stories.» — @ludwigberger

Ludwig Berger’s ‘fictional’ debut album «Garden Ediacara» unfolds as a musical eco-fiction, guiding listeners through a speculative ecosystem with synthesized vocals. Infused with storytelling techniques from sci-fi and fantasy, the album intertwines melodic songwriting with electroacoustic sound design. Inspired by hydrofeminism and eco-fiction novels, such as «A Door Into Ocean» by Joan Slonczewski, the album delves into the geological period of Ediacara around 600 million years ago — an era so remote it resonates as a glimpse into a possible future. The Ediacaran period was characterised by a peaceful and thriving ecosystem inhabited by soft-bodied creatures without eyes and bones, which were completely wiped out through the appearance of a new species. «Garden of Ediacara» alludes to this period, celebrating both the pleasures of biodiversity as well as mourning its inevitable loss. The narrative unfolds as an exploration of growth and interconnection in the shadow of a coming extinction. The track titles, written by Daisy Lafarge, reveal themselves as a cohesive poem and contribute to the album’s narrative.

Informed by his practice of field recording that focusses on intimate encounters with plants, animals and geological phenomena, as well as his studies in electroacoustic composition, Berger expands his palette for his debut in ‘fictional’ music. The album prominently features a post-human, non-binary death metal voice synthesizer, physical modeling instruments, and microscopic field recordings of plants, insects, as well as aquatic and geological life. With impressionistic strokes, Ludwig Berger crafts vibrant worlds using glassy timbres and more-than-human voices, guiding listeners through emotionally ambiguous terrain, seamlessly oscillating between moments of intimacy and irritation, melancholy and playfulness.

Ludwig Berger is a landscape sound artist, educator and musician. In his compositions, installations and performances, he enables intimate and playful sonic encounters with plants, animals, buildings and geological entities. He is founder and curator of the label Vertical Music, which releases field recordings and experimental music. Berger holds degrees in electroacoustic composition, as well as musicology, art history and literature. As a sound researcher and teacher at the Institute for Landscape Architecture at ETH Zurich from 2015-2022, he studied the sonic dimension of Japanese gardens, alpine glaciers and urban landscapes, which among other things led to the release of the acclaimed album trilogy ‘Melting Landscapes’, ‘Dammed Landscapes’ and ‘Buried Landscapes’.



ALBUM TRACKLIST
1. what seed quests for a coralline mud slump
2. where the body’s distant arrivals 
3. bake airwaves into symbols? 
4. like aurochs who fraternised with syntax of the riverbed
5. we stop short, frothy, outdoing the grass
6. rake a song-gush from the outcrop
7. or the noun of naïve particles
8. leeching off the glow-work of organ rooms  
9. we go candied in the marrow
10. grow dream-bark, a tree

CREDITS
Music written and produced by Ludwig Berger
Cover image by Paulin Rogues
Track list poem by Daisy Lafarge
Mastering by Manuel Oberholzer VFBM

OUS047
www.ous.ooo

Garden of Ediacara

rake a song-gush from the outcrop

Ludwig Berger - 06 - rake a song-gush from the outcrop

Ludwig Berger - Garden of Ediacara
Cat No: OUS047
https://kud.li/ous047
https://ousooo.bandcamp.com

1. what seed quests for a coralline mud slump
2. where the body’s distant arrivals 
3. bake airwaves into symbols? 
4. like aurochs who fraternised with syntax of the riverbed
5. we stop short, frothy, outdoing the grass
6. rake a song-gush from the outcrop
7. or the noun of naïve particles
8. leeching off the glow-work of organ rooms  
9. we go candied in the marrow
10. grow dream-bark, a tree

Music written and produced by Ludwig Berger
Cover image by Paulin Rogues
Track list poem by Daisy Lafarge
Mastering by Manuel Oberholzer VFBM

OUS047
www.ous.ooo

bake airwaves into symbols?

Ludwig Berger - 03 - bake airwaves into symbols?

NOÉMI BÜCHI - DOES IT STILL MATTER
Cat #: OUS050
Release date: May 24, 2024
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«The new avant-garde isn’t about creating something that doesn’t yet exist, it’s about abandoning and confusing rigid genres. I want to open up, in order to both abolish and reconstruct the musical past.» — Noémi Büchi @noemibuchi

Noémi Büchi’s album ‘Does It Still Matter’ completes a series of releases whose titles - ‘Matière’, ‘Matter’, and ‘Does It Still Matter’ - place the physicality of music in the center of attention. Büchi’s specific sound structures and aesthetic choices question the state of materiality in a world that is becoming more and more fluid and intangible.

From ‘Matière’ to ‘Matter’, Büchi subtly transferred from a focus on substance to questioning the enigmatic core of
being, passing from a noun to a verb, and from a single word to an inquiry. ‘Does It Still Matter’ weighs in on the importance of questioning. Her pieces juxtapose multi-layered analog synthesizer textures, crystal clear sounds and almost brutalistic noises, while they unfold in compositional structures akin to pop songs. Driven by an orchestra of myriad parts, her music creates transcendent intonations that resonate deeply with the listeners’ bodies. A daring blend of complexity and accessibility are molded into captivating sound sculptures that challenge and intrigue listeners alike.

Deviating from conventional time divisions, ’Does It Still Matter’ immerses listeners in a discordant succession of elements, and guides them towards an eternal present that erases the past with each new revelation, while maintaining it through recurring themes that serve as intimate memories. Büchi’s electronic maximalism questions our linear perception of time, offering a glimpse into a world where the past, present, and future converge into a singular moment. Her avant-garde approach rejects predictability, inviting listeners to immerse themselves fully in the present. Everything starts anew at any given instant. Each musical idea exists for one precise moment, rendering the future unpredictable.

‘Does It Still Matter’ unfolds against a backdrop of collective disaster and biocidal urgency, challenging the very essence of time. Büchi explains: «The world appears to have gone mad. It’s all but impossible to reflect on the meaning of avant-garde in music, considering the future in this sepulchral kind of stability of the human condition.» Her compositions resonate like an infernal machine, questioning the instantaneous dissipation of everything. Finally, echoes and fragments of sounds remain, haunting memories like ghostly companions.

’Does It Still Matter’ is an immersive experience that invites listeners to contemplate the impermanence of our world and the enduring power of sound.



CREDITS
Written and produced by Noémi Büchi 
Mixed & mastered by Manuel Oberholzer, Suoni Speziali (VFBM)
Album cover by Mirko Eremita, Encor Studio
Graphic design by Rebecca Morganti-Pfaffhauser

Does It Still Matter?

Window Display Of The Year

Noémi Büchi - 4 - Window Display Of The Year

IN+AROUND –OUS W: Ink! 11-02-2024

LUDWIG BERGER - SPECIES LONELINESS
Cat #: OUS051
Release date: March 29, 2024
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«I wanted to revisit the sound worlds of 1970s eco-horror films, a time of growing fears about environmental consequences. Today, we no longer fear the revenge of frogs or insects; we are mourning their vanishing. My music channels the eerie, anticipatory dread of those films into a contemporary lament for what’s been lost and a search for what might still be restored.» — @ludwigberger

Leading up to his first ‘fictional’ album «Garden of Ediacara», which will be released on May 3rd via -OUS,  landscape sound artist Ludwig Berger presents the EP «Species Loneliness».

Building on an extensive and acclaimed body of work in sound art, field recordings, installation and performance, as well as music for film and theatre, the EP «Species Loneliness» and the subsequent  album «Garden of Ediacara» mark a shift in Berger’s creative work. But as he enters the realm of ‘fictional’ music by engaging with environmental emotions, he still relies on his far-reaching practice as a close listener and archivist of unheard sounds.

With «Species Loneliness», Berger explores a yearning for interspecies connection on a damaged planet. The six track EP presents a set of muted songs that are haunted by echoes of eco-horror and eco-gothic films of the past century, while interwoven raw field recordings create the space to breathe. The tracks center around the term of «Species Loneliness» — an ecological form of isolation and solitude. It expresses the feeling of homesickness while being at home, arising from the loss of natural habitats and the decline of biodiversity. Through layers of degraded samples, eco-nostalgia runs through the EP, longing for meaningful relationships obscured in the shadows of the Anthropocene.

Ludwig Berger is a landscape sound artist, educator and musician. In his compositions, installations and performances, he enables intimate and playful sonic encounters with plants, animals, buildings and geological entities. In his musical work, Berger produces sonic eco-fictions with processed and synthetic sounds.  He has composed sound and music for award-winning films and theatre pieces and curated the landscape sound festival ‘Sonic Topologies’ in Zurich. He is also founder and curator of the label Vertical Music, which releases field recordings and experimental music. 

Berger holds degrees in electroacoustic composition, as well as musicology, art history and literature. As a sound researcher and teacher at the Institute for Landscape Architecture at ETH Zurich from 2015-2022, he studied the sonic dimension of Japanese gardens, alpine glaciers and urban landscapes, which among other things led to the release of the acclaimed album trilogy ‘Melting Landscapes’, ‘Dammed Landscapes’ and ‘Buried Landscapes’.

CREDITS
Written and produced by Ludwig Berger 
Mastered by Giuseppe Ielasi
Album cover by Paulin Rogues

Species Loneliness

Sea of Decay

Ludwig Berger - Species Loneliness - 1 - Sea Of Decay

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 - 05 - Mystic (Pol100 Remix)

IN+AROUND –OUS w/ Ludwig Berger Edit 14-04-2024

IN+AROUND –OUS w/ Noémi Büchi 09-06-2024

Words, further info and tracklisting :
https://creakedrecords.com/radios/feldermelder-creaked-radio-9

Creaked Radio #9 - Feldermelder

TVBXS @ SC24

Simon Grab @ SC24

Lua Junck @ SC24

Ink! @ SC24

IN+AROUND –OUS w/ Slon 11-11-2024

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

Noémi Büchi - Liquid Bones - 5 - Fair Enough feat Joséphine de Weck

VIOLETA GARCÍA & HORA LUNGA - I'LL WAIT FOR YOU IN THE CAR PARK
Cat #: OUS055
Release date: April 25, 2027
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«The album was created in this back and forth of snapshots - we made most of the decisions impulsively without much questioning. That takes a lot of trust.» — Violeta García &  Hora Lunga

 «I’ll Wait For You In The Car Park», the first full length collaboration between Argentinian cellist, improviser and composer Violeta García and Swiss musician and composer Hora Lunga, is a work of extremes. Drawing from the realities of life on two continents, and embodying moods ranging from stoic desire to violent bursts, the album enciphers so-called ordinary moments from everyday life into an alluring collection of musical scenes. Seemingly inconspicuous moments are condensed into a tale of synchronicity: colliding time zones and seasons, metropolitan rhythms raining down onto a glacier’s ice field, exploring places through street view, the serendipity of loitering at a kiosk. As such, «I’ll Wait For You In The Car Park» brings documentary film essays to mind that carefully observe the private and everyday occurrences.
	Violeta García and Hora Lunga crossed paths by chance in 2023 and began discussing and sharing music shortly afterwards. What started as a loose exchange of ideas, sending back and forth sketches and demos between South America and Europe, grew into several studio sessions in 2024. Being sucked into a «quite extraordinary flow», the two musicians recorded, arranged and intervened on a level playing field, using the studio as a playground to record musical layers and interweave them with field recordings and audio notes gathered over the course of a year. Speaking a kindred musical language, they quickly realized how their ideas clung to each other like two familiar souls, complementing, intertwining and merging. From gauzy and eerie textures, musical miniatures floating through time, howling and screaming strings, to tumbling and thundering basses – the sound of the ordinary shapes a body that vibrates, writhes and breathes.	

Violeta García is a cellist, improviser and composer from Buenos Aires, Argentina. Based in Spain, she tours a lot with her band Blanco Teta. She is a performer in many art forms, including free improvisation, contemporary and trans-media experimental repertoire in violoncello and electronics and collaborations with dancers, film makers and visual artists. After years of studying classical and popular music on violoncello and, later, contemporary composition and improvisation, Violeta has developed her own musical voice needed to emerge beyond outside specific genres.
	Throughout Swiss composer and musician Hora Lunga’s work, the focus lies is on exploring boundaries, both musically and in terms of performance and content. Above all, genre designations lose all meaning, as the music always takes place within a dramaturgically conceived overall framework. In recent years, his projects have ranged from pop music productions to experimental works and sound performances, as well astheatre and film productions. His ensemble WIRREN consists of up to fifteen performers.

CREDITS
Written, recorded, arranged and mixed by Violeta García and Hora Lunga in different places on earth, but mostly in Schlieren
Mastered by Anne Taegert at Dubplates & Mastering in Berlin
Artwork and graphic design by Renata Gelosi and Gaspar Iwaniura Lorge
Cover Photography by Victoria Papagni
Videography by Işıl Karataş

I'll Wait For You In The Car Park

i think i just died a lil bit

Violeta García & Hora Lunga - 01 - i think i just died a lil bit

Violeta Garcia & Hora Lunga - 09 - In This Together

In This Together

Violeta Garcia & Hora Lunga - 08 - There's Still Fun Stuff To Do

IN+AROUND –OUS w/ Lua Jungck 14-07-2025

LUDWIG BERGER - ECOTONALITIES: No Other Home Than The In-Between
Cat #: OUS057
Release date: November 28, 2025
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«I like to think of my microphones as musical instruments that are ‘played’ by the beings, elements, and objects in an environment.» — @ludwigberger

Created as the centre piece for Luxembourg’s contribution to the 2025 Venice Architecture Biennale, Ludwig Berger’s field recording composition ‘Ecotonalities: No Other Home Than the In-Between’ weaves together recordings from distinctive locations across the country. The piece critically examines the dynamics of the territory and investigates how ongoing developments are shaping the country’s landscape. The concept of Ecotone — a transitional space between two ecosystems — guides the process, attuning listeners closely to frictions and co-existences within the environment.

Equipped with an ‘orchestra of microphones’, Berger explored 15 different sites; among them an artificial lake, a floating solar plant, a hydroelectric dam, a wind farm, a satellite park, a natural reserve and data centres. The locations were captured in a meticulous process. Berger explains: «I spend long periods in one place exploring different spatial and temporal perspectives. For me, field recording is a slow dialogue: the place offers its voices, I respond by adjusting my microphones, and the site answers with new sounds.»

Berger divided his orchestra into a ‘vibrational section’, microphones that are ‘played’ by the materials themselves, uncovering the hidden resonances of structures, surfaces, and even the vibrational communication of animals (biotremology); a ‘airborne section’ that is ‘played’ by sounds travelling through the air, and an ‘electromagnetic section’, that is ‘played’ by the invisible electromagnetic fields generated by infrastructure, as well as by natural electromagnetic phenomena.

In the composition, Berger reconstructed these experiences in a process of place-remaking. He mixed the recordings — much like a conductor shaping an orchestra — to create a balanced sonic image and to offer a multidimensional experience of the environment. A key aspect was highlighting the connections between anthropogenic sounds (human-made, directly or indirectly) and biophonic sounds (produced by animals and plants). As a counter-project to the hegemony of images, the act of listening opens up new possibilities for exploring both built and natural environments and to move our attention towards giving voices to more-than-human agencies.

Ludwig Berger is a landscape sound artist, educator and musician. In his compositions, installations and performances, he enables intimate and playful sonic encounters with plants, animals, buildings and geological entities. He holds degrees in electroacoustic composition, as well as musicology, art history and literature. As a sound researcher and teacher at the Institute for Landscape Architecture at ETH Zurich from 2015-2022, he studied the sonic dimension of Japanese gardens, alpine glaciers and urban landscapes, which among other things led to the release of the acclaimed album trilogy ‚Bodies of Water‘.

CREDITS
This record has been developed as part of the exhibition 'SONIC INVESTIGATIONS' in the Luxembourg Pavilion at the 19th International Architecture Exhibition — La Biennale di Venezia. Curated by Valentin Bansac, Mike Fritsch and Alice Loumeau, in collaboration with Ludwig Berger and Peter Szendy.

Composition and field recordings Ludwig Berger
In collaboration with Valentin Bansac, Mike Fritsch, Alice Loumeau
Mastering by Giuseppe Ielasi
Graphic design by Pierre Vanni
Photography by Valentin Bansac

All sounds were recorded in Luxembourg in July and September 2024, and February 2025.

Commissioners:
Kultur | lx — Arts Council Luxembourg
LUCA — Luxembourg Center for Architecture
on behalf of the Luxembourg Ministry of Culture

This is OUS057

Ecotonalities: No Other Home Than The In-Between

Between Water and Circuitry

01 Between Water and Circuitry

Furtherset - To Alter and Affect EP
OUS013 — Tape + Digital

CERNUOUS — EUPHONIOUS — VOLUMINOUS 

Furtherset builds monuments that are both solid as stone and ethereal spheres alike. Stacked harmonic figures form voluminous bodies that flow continuously from above. As melodic cascades of synths and sampled voices spill over their boundaries they reveal shifting symmetries, while sonic objects are slung from the stream, float in space and melt into their their shadows below. 

Furtherset's music and live performances are an open invitation to immerse oneself into weightless states of mind. As a representative of the “Italian New Wave”, his approach to musical aesthetics is both demanding and pleasing: the depth and beauty unveil themselves only to those who listen closely. Furtherset was a participant of the 2015 Red Bull Music Academy in Paris and has played some of Italy's most renowned festivals. 

Tracklist: 
A1 This Eternal Vanishing
A2 The Arc of Imaginary
A3 Self Unfinished
B1 To Alter and Affect
B2 Ask Your Existential Core
B3 Drawings of Desire and Hate


Credits:
All tracks written + produced by Tommaso Pandolfi
Mixed by Peppe Petrelli 
Mastered by Manuel Oberholzer
Illustration by Tommaso Pandolfi
Graphic design by Fichtre.ch
www.ous.ooo

To Alter and Affect EP

Furtherset - Drawings Of Desire And Hate

Furtherset - To Alter and Affect

Furtherset - To Alter and Affect EP
OUS013 — Cassette + Digital Download

CERNUOUS — EUPHONIOUS — VOLUMINOUS

Furtherset builds monuments that are both solid as stone and ethereal spheres alike. Stacked harmonic figures form voluminous bodies that flow continuously from above. As melodic cascades of synths and sampled voices spill over their boundaries they reveal shifting symmetries, while sonic objects are slung from the stream, float in space and melt into their their shadows below.

Furtherset's music and live performances are an open invitation to immerse oneself into weightless states of mind. As a representative of the “Italian New Wave”, his approach to musical aesthetics is both demanding and pleasing: the depth and beauty unveil themselves only to those who listen closely. Furtherset was a participant of the 2015 Red Bull Music Academy in Paris and has played some of Italy's most renowned festivals.

Tracklist:
A1 This Eternal Vanishing
A2 The Arc of Imaginary
A3 Self Unfinished
B1 To Alter and Affect
B2 Ask Your Existential Core
B3 Drawings of Desire and Hate

Credits:
All tracks written + produced by Tommaso Pandolfi
Mixed by Peppe Petrelli
Mastered by Manuel Oberholzer
Illustration by Tommaso Pandolfi
Graphic design by www.fichtre.ch
www.ous.ooo

This Eternal Vanishing

order cassette/digital

Furtherset - This Eternal Vanishing

Legowelt - Unconditional Contours
Cat #: OUS023
A collaboration between SMEM+OUS.
Release date: October 2,  2020

Legowelt has been a key figure in the Dutch electronic music scene since the early nineties, steadily relea­sing timeless music that merges the pioneering sounds of Detroit and Chicago with idiosyncratic sci-fi fascinations. "Unconditional Contours" captures Legowelt's stint at the Swiss Museum for Electronic Music Instruments (SMEM), after he was invited to be the first artist in residence at the institution's "Playroom" project.

Legowelt visited SMEM in Fribourg, Switzerland, in early 2019 to explore the collection and record music. Possessing an extensive collection of synthesizers himself, he used hand-picked synthesizers from the museum's archive: the rare Farfisa Synthorchestra, the EVS-1 Evolution, the "shittiest rompler ever made", amongst many others. The 10-track album "Unconditional Contours" is both a probe into the vast collection of SMEM, and a display of Legowelt's well established composi­tional qualities. Leaving ample space for new sounds to unfold, Legowelt invokes gentle trips, brooding excursions, bleep heavy soundscapes, and reimagined elements of dance music classicism.

SMEM and -OUS are launching the "smem+ous" series to document the "Playroom" residencies. A limited edition of this album was already sent out to early supporters of the "Playroom". Founded in 2016 and based on a collection of more than 5000 synthesizers, organs, drum machines and effects that had been collected over a 35 year period by Klemens Niklaus Trenkle, SMEM offers residencies, studio sessions, talks and workshops.

@legowelt-official

Unconditional Contours

Unconditional Contours Memorymoog

Buy vinyl / digital

Legowelt - Unconditional Contours Memorymoog (OUS023)

𝘍𝘞𝘋 𝘭𝘰𝘰𝘬𝘪𝘯𝘨 𝘭𝘢𝘣𝘦𝘭 𝘧𝘰𝘳 𝘦𝘹𝘱𝘦𝘳𝘪𝘮𝘦𝘯𝘵𝘢𝘭 𝘮𝘶𝘴𝘪𝘤. 𝘦𝘭𝘦𝘤𝘵𝘳𝘰𝘯𝘪𝘤𝘢, 𝘭𝘦𝘧𝘵𝘧𝘪𝘦𝘭𝘥, 𝘢𝘮𝘣𝘪𝘦𝘯𝘵, 𝘴𝘺𝘯𝘵𝘩𝘴, 𝘮𝘰𝘥𝘶𝘭𝘢𝘳, 𝘣𝘦𝘢𝘵𝘴. 𝘷𝘪𝘯𝘺𝘭, 𝘵𝘢𝘱𝘦𝘴 + 𝘥𝘪𝘨𝘪𝘵𝘢𝘭. 𝘧𝘰𝘳 𝘵𝘩𝘦 🖤 𝘰𝘧 𝘵𝘩𝘦 𝘢𝘳𝘵𝘴.
 To date, -OUS has released music by @noemibuchi (Zurich, CH) @SPIMEIM (Turin, IT), @Feldermelder (Fribourg, CH), @jsartorius (Bern, CH), @Bit-Tuner (Zurich, CH), @Furtherset (Bologna, IT), @jan-nemecek (Belgrade, SR), NHK yx Koyxen (Berlin/Osaka, JP), @senkingmusic (Cologne, DE), Hirsch&Eigner (Cologne, DE /Vienna, AT), @IOKOI (Zurich/Milano, IT), @simongrab (Zurich, CH) and @Tresque (Geneva, CH).

-OUS was founded in 2015 by @ink_ous, @mprfctmprmnntncmplt, Feldermelder and JJ. The label is run out of Switzerland. All releases are distributed through Kudos and are als available via http://ousooo.bandcamp.com

Distributed by Kudos: https://ous.kudosrecords.co.uk/

http://www.ous.ooo

-OUS

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