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

Sara Oswald & Feldermelder - Dual | Duel
Cat #: OUS038
Release date: July 7, 2023
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«We find ourselves venturing into the depths of a rugged terrain. In our hands, we hold stones and minerals, each possessing its own distinct texture, weight, and sonic potential. It is through the artistic touch and through the musical instruments that these earthly treasures, once dormant, are awaken to life.» — Sara Oswald + Feldermelder

The 3rd collaboration of prolific cellist Sara Oswald and electronic musician Feldermelder evokes captivating sensations that oscillate between impending doom and hope. The albums’ sonic journey is highly immersive, transporting the listener from one cerebral landscape to another. The transformative nature of metallic elements being integrated in sustained orchestral tones weaves the sonic tapestry, resulting in a captivating experience for the listeners. The organic sounding — reminiscent of minerals’ timbres — brings a touch of brightness and a distinctive edge, while the orchestral harmonic structures lend a sense of grandeur and continuity. The origins of this music remain enigmatic, while the tracks of the album gradually unveil concealed aspects and the hidden truth.
One can step into a realm where melodies are reborn, as Sara Oswald’s cello spins tales and emotions burst forth. Nature’s eternal splendor intertwines with the essence of music, as she infuses harmonies with the soul of mountains. Vibrant hues come alive with delicate strokes, and cascading notes resonate with a select few. Feldermelder conjures profound echoes that swirl like ancient whispers of the earth’s primordial past. He sculpts textures, from fragmented glitches to expansive atmospheres, that warp the fabric of reality. The two musicians merge together harmoniously, blending the acoustic and electronic worlds into a transcendent unity. This fusion of contrasting elements adds a unique and intriguing quality to the music. The cello’s warmth merges with pulsating electronic beats, creating a symphony of contrasts and sonic upheaval. Each composition is woven in intricate layers, combining electroacoustic architecture with delicate precision. A subtle balance of chaos and control permeates the music as it meanders through the labyrinth of the mind. The soundscape unfolds like a grand tapestry, distant echoes murmuring like grains of sand.

Trained in baroque cello and advocating improvised music, Sara Oswald is the perfect match for sound artist and electronic musician Feldermelder. She plays solo, composes for film and theatre and collaborates with musicians like The Young Gods, Pascal Auberson, Sophie Hunger and Julian Sartorius. Feldermelder is a polymathic creative whose artistry spans composition, sound design, installation and code. He is co-founders of -OUS and part of Encor.studio, a collective of artists who specialise in creating immersive audio-visual installations. Through his work, he explores the idea of secrecy and its impact on our lives, using music and sound to create a thought-provoking and immersive experience for his audience.

CREDITS
Written by Feldermelder & Sara Oswald 
Produced by Manuel Oberholzer
Mastered by VFBM
Cover Design by Isaak Rickenbacher

https://ous.ooo
OUS038

Dual | Duel

Buy on Bandcamp

Sara Oswald & Feldermelder - 1 - Transpersonal Source

Sara Oswald & Feldermelder - Dual | Duel
Cat #: OUS038
Release date: July 7, 2023
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«We find ourselves venturing into the depths of a rugged terrain. In our hands, we hold stones and minerals, each possessing its own distinct texture, weight, and sonic potential. It is through the artistic touch and through the musical instruments that these earthly treasures, once dormant, are awaken to life.» — Sara Oswald + Feldermelder

The 3rd collaboration of prolific cellist Sara Oswald and electronic musician Feldermelder evokes captivating sensations that oscillate between impending doom and hope. The albums’ sonic journey is highly immersive, transporting the listener from one cerebral landscape to another. The transformative nature of metallic elements being integrated in sustained orchestral tones weaves the sonic tapestry, resulting in a captivating experience for the listeners. The organic sounding — reminiscent of minerals’ timbres — brings a touch of brightness and a distinctive edge, while the orchestral harmonic structures lend a sense of grandeur and continuity. The origins of this music remain enigmatic, while the tracks of the album gradually unveil concealed aspects and the hidden truth.
One can step into a realm where melodies are reborn, as Sara Oswald’s cello spins tales and emotions burst forth. Nature’s eternal splendor intertwines with the essence of music, as she infuses harmonies with the soul of mountains. Vibrant hues come alive with delicate strokes, and cascading notes resonate with a select few. Feldermelder conjures profound echoes that swirl like ancient whispers of the earth’s primordial past. He sculpts textures, from fragmented glitches to expansive atmospheres, that warp the fabric of reality. The two musicians merge together harmoniously, blending the acoustic and electronic worlds into a transcendent unity. This fusion of contrasting elements adds a unique and intriguing quality to the music. The cello’s warmth merges with pulsating electronic beats, creating a symphony of contrasts and sonic upheaval. Each composition is woven in intricate layers, combining electroacoustic architecture with delicate precision. A subtle balance of chaos and control permeates the music as it meanders through the labyrinth of the mind. The soundscape unfolds like a grand tapestry, distant echoes murmuring like grains of sand.

Trained in baroque cello and advocating improvised music, Sara Oswald is the perfect match for sound artist and electronic musician Feldermelder. She plays solo, composes for film and theatre and collaborates with musicians like The Young Gods, Pascal Auberson, Sophie Hunger and Julian Sartorius. Feldermelder is a polymathic creative whose artistry spans composition, sound design, installation and code. He is co-founders of -OUS and part of Encor.studio, a collective of artists who specialise in creating immersive audio-visual installations. Through his work, he explores the idea of secrecy and its impact on our lives, using music and sound to create a thought-provoking and immersive experience for his audience.

CREDITS
Written by Feldermelder & Sara Oswald 
Produced by Manuel Oberholzer
Mastered by VFBM
Cover Design by Isaak Rickenbacher

https://ous.ooo
OUS038
@feldermelder

Sara Oswald & Feldermelder - 3 - Everything Vibrating Is An Illusion

NOÉMI BÜCHI @noemibuchi
HYLE - OUS039
April 15, 2022; digital

«I create my compositions from a symphonic-orchestral viewpoint, where the sounds are my orchestra, and I arrange them in time and space.» - Noémi Büchi

Noémi Büchi’s first EP for -OUS, ‘Hyle’ is a reference to the ancient greek term for ‘matter’ - which is composed of fire, water, air and earth - and only comes into existence when ‘form’ is attached to it. Balancing between the elements of electroacoustic music, neo-classical composition and sound design, ‘Hyle’ unfolds in three compositions that translate ‘matter’ into music. «We all are matter, and music is matter. My compositions convert personal and collective memories between trauma and joy into music that is rooted in the emotional dimension, but also intends to spark intellectual euphoria», she explains.

Consciously returning to the appreciation of harmony,
Noémi Büchi unfolds its musical potential through chordal combinations and reduced musical intervals. Her pieces are written with a classical understanding of compositional forms, structures and textures, which she translates to experimental electronic music. Just as life can be segmented into layers of knowledge and experience, Noémi Büchi composes in layers: she explores the potential of harmonies and dissonance, contrasts rhythmic figures with disruptive moments and playfully emphasizes irregularities, in order to expand our listening habits and create dense moments and harmonic grandeur alike. ‘Hyle’ is a prelude to her debut album ‘Matter’, which will be released on -OUS in 2022.

Composer and sound artist Noémi Büchi explores electronic and symphonic maximalism. Her music is defined by a delicate blend of electronic-orchestral condensations and textural rhythms. She strives for a combination of harmonic and dissonant sonorities, to evoke both intellectual and emotional euphoria. Her 2019 debut EP ‘Matière’, released through Light of Other Days, attracted widespread attention within the experimental music scene. In 2020, she released a second EP Prismic Passages on the Leipzig-based tape label Visible Dinner. -OUS will be releasing her debut album ‘Matter’ and its prelude ‘Hyle’ in 2022, as well as the debut album of Musique Infinie, a collaboration between Noémi Büchi and Feldermelder. 

CREDITS
Music by Noémi Büchi
Mixed and mastered by Manuel Oberholzer at vfbm Fribourg
Cover photograph by Jean-Marc Avila

Noémi Büchi - Hyle  - 1 - Nothing Is Artificial

Svetlana Maraš - Live performance 2019-2020
Cat #: OUS042
Release date: May 12, 2023
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«The nearly infinite improvisational potential in my performances is a result of tweaking the technology, using it in unpredictable ways, musically exploiting it, and maybe even misusing it.» - Svetlana Maraš

Serbian composer, sound artist and musician Svetlana Maraš has spent years developing her unique setup for live performances. Distinctly defining a live performance as an own form of musical practice that is defined by the sculptural potential, rather than reproducibility, she builds live sets as frameworks for musical expression. The core of her performative practice lies in the accessibility of all layers of what a ‘musical image’ at any given point consists of.

Using micro samples, granular sampling and snippets of one to two seconds, Maraš treats her live setup equivalent to an acoustic instrument. Using tablet controllers running a self-built ‘Touch OSC’ interface and pedals, she manipulates and morphs the material with the mindset of a sculptor, while exposing herself to the audience and the room. Her focus lies on the sound itself: musical structure and qualities, and the shape of the sounds projected into the performance space define which turn she might take next. Maraš explains: «I am interested how sounds fills up the room, how they spread, how near or far they are, how ‘big’ or ‘small’ they seem, how they morph and move.» With the set she played from 2019 to 2020, Maraš had reached an extreme regarding the handling and manipulation of micro samples. -OUS is releasing a live recording of this set as deep dive into the possibilities of live sound manipulation.

Svetlana Maraš is composer and artist active in the field of experimental music. Her work, which she presents internationally, encompasses variety of formats such as live performance, electro-acoustic composition, sound installations and works for the radio. She is the winner of the most prestigious Serbian composition prize «Mokranjac», awarded by the Serbian Composers’ Association. From 2016-2021, she was composer in residence and artistic director at Radio Belgrade’s Electronic studio, where she established numerous programs such as artistic residencies, educational courses and most notably, restoration of EMS Synthi 100. Currently, Maraš is Professor of Creative Music Technology and Co-head of Electronic Studio at Hochschule für Musik FHNW, Basel. 
credits
releases May 12, 2023

Music by Svetlana Maraš
Recorded at Il Circolo del Frattempo, Zurich, 2019
Mastered by Manuel Oberholzer
Artwork by Marko Vuleta-Djukanov
Graphic design by Rebecca Morganti-Pfaffhauser

This live set was recorded at Il Circolo del Frattempo, Zurich, a co-production between -OUS and MADAM.

The set was additionally performed at:
HEK, Basel
CAN, Neuchâtel
Galerie Weisser Elefant, Berlin
@svetlanamaras

Svetlana Maraš - 2019-2020-4

@svetlanamaras - Live performance 2019-2020
Cat #: OUS042
Release date: May 12, 2023
Distributed by Kudos: kudosdistribution.co.uk
Label Bandcamp: ousooo.bandcamp.com

«The nearly infinite improvisational potential in my performances is a result of tweaking the technology, using it in unpredictable ways, musically exploiting it, and maybe even misusing it.» - Svetlana Maraš

Serbian composer, sound artist and musician Svetlana Maraš has spent years developing her unique setup for live performances. Distinctly defining a live performance as an own form of musical practice that is defined by the sculptural potential, rather than reproducibility, she builds live sets as frameworks for musical expression. The core of her performative practice lies in the accessibility of all layers of what a ‘musical image’ at any given point consists of.

Using micro samples, granular sampling and snippets of one to two seconds, Maraš treats her live setup equivalent to an acoustic instrument. Using tablet controllers running a self-built ‘Touch OSC’ interface and pedals, she manipulates and morphs the material with the mindset of a sculptor, while exposing herself to the audience and the room. Her focus lies on the sound itself: musical structure and qualities, and the shape of the sounds projected into the performance space define which turn she might take next. Maraš explains: «I am interested how sounds fills up the room, how they spread, how near or far they are, how ‘big’ or ‘small’ they seem, how they morph and move.» With the set she played from 2019 to 2020, Maraš had reached an extreme regarding the handling and manipulation of micro samples. -OUS is releasing a live recording of this set as deep dive into the possibilities of live sound manipulation.

Svetlana Maraš is composer and artist active in the field of experimental music. Her work, which she presents internationally, encompasses variety of formats such as live performance, electro-acoustic composition, sound installations and works for the radio. She is the winner of the most prestigious Serbian composition prize «Mokranjac», awarded by the Serbian Composers’ Association. From 2016-2021, she was composer in residence and artistic director at Radio Belgrade’s Electronic studio, where she established numerous programs such as artistic residencies, educational courses and most notably, restoration of EMS Synthi 100. Currently, Maraš is Professor of Creative Music Technology and Co-head of Electronic Studio at Hochschule für Musik FHNW, Basel. 
credits
releases May 12, 2023

Music by Svetlana Maraš
Recorded at Il Circolo del Frattempo, Zurich, 2019
Mastered by Manuel Oberholzer
Artwork by Marko Vuleta-Djukanov
Graphic design by Rebecca Morganti-Pfaffhauser

This live set was recorded at Il Circolo del Frattempo, Zurich, a co-production between -OUS and MADAM.

The set was additionally performed at:
HEK, Basel
CAN, Neuchâtel
Galerie Weisser Elefant, Berlin

Live performance 2019-2020

Svetlana Maraš - 2019-2020-1

@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

Feldermelder - Euphoric Attempts - 11 - Non C'é

Euphoric Attempts

Less Real Than You

Feldermelder - Euphoric Attempts - 3 - Less Real Than You

Feldermelder & Julian Sartorius - Bonn Route
Cat #: OUS040
Release date: June 17, 2022
Distributed by Kudos: kudosdistribution.co.uk
Label Bandcamp: ousooo.bandcamp.com

«A collection of pieces about the discovery of sounds and sonic universes hidden in objects, places and within yourself.» - @feldermelder & @jsartorius

Commissioned by the legendary concert venue ‘Bad Bonn’ in Düdingen, Switzerland, and the KRAN project, ‘Bonn Route’ is a collaborative album by electronic musician Feldermelder and percussionist Julian Sartorius. It is both a location-based sound walk that can be experienced on-site in the village of Düdingen, and as a full length album. The eleven tracks are a sonic homage to, and an artistic interpretation of a small village in Switzerland’s heartland. 
Building on his practice of site specific performances and percussive sound walks, Julian Sartorius captured sounds and patterns at eleven locations: the train station and cemetary, on the banks of a stream, on a bycicle bridge, and in an intimate cavern above the village’s lake, among others. Sartorius’ documented the soundscape of the village in field recordings, recorded samples of objects and captured percussive patterns by playing on the architecture and vegetation found on-site. 
Feldermelder then processed these recordings into eleven compositions, preserving the locations’ acoustic identities, but expanding on Sartorius’ material. Besides the bassline on ‘Velobrücke’, Feldermelder used nothing but sound reactive synthesis and resonators to create additional sounds, layers and tracks, thus multiplying the spectrum and rhythms of the original material. ‘Bonn Route’ is a musical journey rooted in sounding and resonating with the world around us. 

Feldermelder is a Swiss musician, sound designer, producer and installation artist. He is co-founder of -OUS and part of the audiovisual collective Encor.studio. He has previously released several releases on -OUS, both solo and in collaboration with Sara Oswald.

Drummer, artist and percussionist Julian Sartorius’ precise and multi-layered rhythmical patterns are keen excursions into the hidden tones of found objects and prepared instruments, bridging the gap between organic timbres and the vocabulary of (experimental) electronic music. He has previously released his album «Locked Grooves» on -OUS.

Bonn Route

Dorf

Feldermelder + Julian Sartorius - Bonn Route - 6 - Dorf

Feldermelder & Julian Sartorius - Bonn Route
Cat #: OUS040
Release date: June 17, 2022
Distributed by Kudos: kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«A collection of pieces about the discovery of sounds and sonic universes hidden in objects, places and within yourself.» - @feldermelder & @jsartorius

Commissioned by the legendary concert venue ‘Bad Bonn’ in Düdingen, Switzerland, and the KRAN project, ‘Bonn Route’ is a collaborative album by electronic musician Feldermelder and percussionist Julian Sartorius. It is both a location-based sound walk that can be experienced on-site in the village of Düdingen, and as a full length album. The eleven tracks are a sonic homage to, and an artistic interpretation of a small village in Switzerland’s heartland. 
Building on his practice of site specific performances and percussive sound walks, Julian Sartorius captured sounds and patterns at eleven locations: the train station and cemetary, on the banks of a stream, on a bycicle bridge, and in an intimate cavern above the village’s lake, among others. Sartorius’ documented the soundscape of the village in field recordings, recorded samples of objects and captured percussive patterns by playing on the architecture and vegetation found on-site. 
Feldermelder then processed these recordings into eleven compositions, preserving the locations’ acoustic identities, but expanding on Sartorius’ material. Besides the bassline on ‘Velobrücke’, Feldermelder used nothing but sound reactive synthesis and resonators to create additional sounds, layers and tracks, thus multiplying the spectrum and rhythms of the original material. ‘Bonn Route’ is a musical journey rooted in sounding and resonating with the world around us. 

Feldermelder is a Swiss musician, sound designer, producer and installation artist. He is co-founder of -OUS and part of the audiovisual collective Encor.studio. He has previously released several releases on -OUS, both solo and in collaboration with Sara Oswald.

Drummer, artist and percussionist Julian Sartorius’ precise and multi-layered rhythmical patterns are keen excursions into the hidden tones of found objects and prepared instruments, bridging the gap between organic timbres and the vocabulary of (experimental) electronic music. He has previously released his album «Locked Grooves» on -OUS.

Am Bach

Feldermelder + Julian Sartorius - Bonn Route - 5 - Am Bach

@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 - 3 -  Causes Of Forgetfulness

Noémi Büchi - Matter - 1 -   Elemental Fear

FURTHERSET - THE INFINITE HOUR
Cat #: OUS043
Release date: October 13, 2023
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«I feel a deep sense of loss listening to this music, but at the same time the possibility of going beyond it through sound. It doesn’t want to illustrate anything, but I would like it to be transformative, even of a feeling that sounds like death. It is an elegy.» — @furtherset

'The Infinite Hour' is a shattered elegy synthesized in electronics. Furtherset’s music does not explain, settle or justify, it rather simply manifests the grip of anguish. As a whole, the album’s six compositions resemble the labored breathing of one who mourns a disappearance and fears oblivion. A feeling like having one’s chest weightened by a stone, while still being attentive to one’s breath, and aware of what remains. From this dimension The Infinite Hour arises and transfigures loss into a space that is always extending: the hour is infinite, the melody is circular, and even stasis has its own measure that is exceeded into eternity.

The album was created between 2020 and 2022, in a slow process of writing and continuous refinement parallel to the previous EP, 'Auras'. The compositions found their final form during the mixing process carried out together with Bienoise. They were later named based on references to authors who influenced and are dear to Furtherset: Amelia Rosselli, Vladimir Chlebnikov, Hubert Damisch, Dante Alighieri. Each track, composed with its live rendition in mind, manifests itself to the listener as a possible variant of a path that is never definitive. Their live performance, an increasingly distinctive moment within Furtherset’s work, is a gesture of concentration and extension, where every composition is developed through meticulous variations of each singularity.

'The Infinite Hour' is one possible manifestation of an ever-changing musical landscape, a universe with unmistakable sounds but always on the verge of disintegrating, collapsing, and opening up spaces, times, infinities.

BIO
Furtherset is the musical project of artist and musician Tommaso Pandolfi (1995). His compositions’ distinctive traits are stratifications and recursive shifting modulations, synthetic clusters and sampling, alongside rhythmic and embracing harmonies. The project is envisaged as formal research that follows a path towards saturation and layering, but is always capable of generating voids in which the listener can take their place and fill them according to their own focus.

CREDITS
Written and produced by Tommaso Pandolfi
Mixed by Alberto Ricca (Bienoise)
Illustrations by Tommaso Pandolfi
Graphic design by Jahn Koutrios
Mastered by Manuel Oberholzer at vfbm Fribourg

This is OUS043

The Infinite Hour

New Clouds

Furtherset - The Infinite Hour - 5 - New Clouds

Circulata Melodia

Furtherset - The Infinite Hour - 1 - Circulata Melodia

Julian Sartorius + ET|ET - RLLRLRLLRRLRLRLRLLRLRLR
Cat #: OUS046
Release date: Nov 10, 2023
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com
Watch a recording of a performance at Neubad Lucerne: www.youtube.com/watch?v=hZ4HRiNTQC4

«RLLRLRLLRRLRLRLRLLRLRLR» is both the title of this record and the score for the four percussionists of the ensemble ET|ET. ‘R’ stands for the right hand, ‘L’ for the left hand. Based on a concept by Julian Sartorius, the pattern is played continuously by the ensemble for the entire duration of the piece, during which Julian adapts the instrumentation used, creating prepared drums from assorted objects, substituting instruments, and even removing specific elements completely. This creates an ever-changing repetition.

CREDITS
Julian Sartorius - drum manipulations

Ensemble This | Ensemble That:
Brian Archinal: drums
Victor Barceló: drums
Miguel Ángel García Martín: drums
Bastian Pfefferli: drums

Composed by Julian Sartorius in collaboration with Ensemble This | Ensemble That

Recorded by Grégoire Pasquier at Studio de la Fonderie
Edited by Julian Sartorius
Mixed by Grégoire Pasquier and Julian Sartorius
Mastered by Rashad Becker at Clunk Mastering
Cut by Adi Flück at Centraldubs
Graphic design by Sarah Parsons

https.//www.ous.ooo

Julian Sartorius & ET|ET - RLLRLRLLRRLRLRLRLLRLRLR - 01 - L

SPIME.IM - Grey Line
Cat #: OUS049
Release date: September 8, 2023
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«Just as we are entangled in this systematic chaos, by refining our perception and exploring the subtle gradations that make up the grey, we may begin to understand the intricate variations of reality.» - SPIME.IM

Turin-based audiovisual collective SPIME.IM is thrilled to announce their highly anticipated album ‘Grey Line’. The release explores the intricate nuances of the grey scale within the contemporary landscape, encapsulating the complexities of human experiences and the choices we encounter in an interconnected society. 

With ‘Grey Line’, SPIME.IM continue to carve out their distinct place among contemporary music innovators, balancing between - and deconstructing - various club genres. Each track is intimately connected to a specific gradation of grey, creating a unique musical journey through the nuances of existence. The album also features two exceptional guests: Stina Fors and Lorem. Stina Fors contributes her captivating vocals to the opening track ‘Crystal’, adding a concealed human element to the mix. It is a genuine human voice that assumes the role of an artificial one. Lorem, in ‘Pure’, performs the exact opposite. He utilises trained AI models to incorporate hip hop screamo vocals, bringing a sleek and intense touch to the album, and blurring the boundaries between human and artificial voices. This unique fusion enhances the album’s experimental essence and pushes the boundaries of musical collaboration. SPIME.IM explain: «In an era filled with contradictions and uncertainties, we delve into the emotional landscape we find ourselves in — an interval between the decline of the old and the construction of the new». ‘Grey Line’ offers a pathway to escape the monotony and embrace the richness and diversity hidden within the greyscale, promising to be a thought-provoking and immersive musical experience that allows listeners to explore the nuances of diverse gradations of reality.

BIO
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. Additionally, they are set to perform at the renowned Mutek festival in Montreal this August, further solidifying their position in the forefront of the art and experimental music scene.


CREDITS
Written and produced by SPIME.IM
SPIME.IM are Davide Tomat, Gabriele Ottino, Matteo Marson and Marco Casolati.
Mixed and mastered by Maurizio Borgna
Cover design by Francesco Serasso

https://ous.ooo
OUS049

SPIME.IM - Grey Line - 08 - Hint

SPIME.IM - Grey Line
Cat #: OUS049
Album release date: September 8, 2023
single 'Crystal' out on July 28, 2023

Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«Just as we are entangled in this systematic chaos, by refining our perception and exploring the subtle gradations that make up the grey, we may begin to understand the intricate variations of reality.» - SPIME.IM

Turin-based audiovisual collective SPIME.IM is thrilled to announce their highly anticipated album ‘Grey Line’. The release explores the intricate nuances of the grey scale within the contemporary landscape, encapsulating the complexities of human experiences and the choices we encounter in an interconnected society. 

With ‘Grey Line’, SPIME.IM continue to carve out their distinct place among contemporary music innovators, balancing between - and deconstructing - various club genres. Each track is intimately connected to a specific gradation of grey, creating a unique musical journey through the nuances of existence. The album also features two exceptional guests: Stina Fors and Lorem. Stina Fors contributes her captivating vocals to the opening track ‘Crystal’, adding a concealed human element to the mix. It is a genuine human voice that assumes the role of an artificial one. Lorem, in ‘Pure’, performs the exact opposite. He utilises trained AI models to incorporate hip hop screamo vocals, bringing a sleek and intense touch to the album, and blurring the boundaries between human and artificial voices. This unique fusion enhances the album’s experimental essence and pushes the boundaries of musical collaboration. SPIME.IM explain: «In an era filled with contradictions and uncertainties, we delve into the emotional landscape we find ourselves in — an interval between the decline of the old and the construction of the new». ‘Grey Line’ offers a pathway to escape the monotony and embrace the richness and diversity hidden within the greyscale, promising to be a thought-provoking and immersive musical experience that allows listeners to explore the nuances of diverse gradations of reality.

BIO
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. Additionally, they are set to perform at the renowned Mutek festival in Montreal this August, further solidifying their position in the forefront of the art and experimental music scene.


CREDITS
Written and produced by SPIME.IM
SPIME.IM are Davide Tomat, Gabriele Ottino, Matteo Marson and Marco Casolati.
Mixed and mastered by Maurizio Borgna
Cover design by Francesco Serasso

https://ous.ooo
OUS049

Grey Line

Crystal

SPIME.IM - Grey Line - 01 - Crystal Feat Stina Fors

MUSIQUE INFINIE - I
Cat #: OUS044
Release date: December 8, 2023
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«This album unites our love for a musical essence built on harmonic structures and borderless emotionality.»  — Musique Infinie / @musiqueinfinie

Musique Infinie is a duo comprising Noémi Büchi and Feldermelder, a new collaborative project intertwining two distinct compositional approaches and merging them into a massive core. While Büchi combined her background in classical and electro-acoustic music with a bold approach to composition on her highly acclaimed debut album ‘Matter’ (-OUS, 2022), multi-disciplinary artist Feldermelder has been expanding his artistic practice into unexplored realms for over 20 years. Together, they engage in a challenging, concerted exploration of the elementary forces that unfold between them. 

Their debut album, titled ‘I’, is the product of hybridization, with compositions initially guided by simplicity, then radically expanded and transformed into intricate forms and extraordinary arrangements. The prospect of stylistic classification is transcended through eclecticism, in material that assimilates elements of classical music, jazz, folk and film music into the vocabulary of experimental electronic music. Representing an imposing, enveloping vortex of sound, the pieces that make up ‘I’ create a paradoxical world, both formidable and euphoric. Eschewing calculations and expectations, these works progress through ruptures and recurrence, displaying compositional richness through modes of music production that span analogue, acoustic, and orchestral idioms. In this, Musique Infinie reflect the density of our contemporary world, in all its violence, decadence and fragility, but also its power, its ingenuity and its beauty.

Composer and sound artist Noémi Büchi creates forms of electronic, symphonic maximalism. Her music is defined by a delicate synthesis of textural rhythms and electroacoustic-orchestral abstraction. She explores the potential of consonance and dissonance, contrasts rhythmic physicality with disruption, and playfully emphasizes irregularities, creating an expansive listening experience marked by detail and elevation.

Feldermelder is a polymathic creative whose artistry spans composition, sound design, installation and code. He is co-founder of -OUS Records and an active member of Encor.studio, a collective specialising in creating immersive audio-visual installations. Through his work, he explores the idea of secrecy and its impact on our lives, using music and sound to create a thought-provoking and immersive experience for his audience.


Written and produced by Manuel Oberholzer & Noémi Büchi
Mixed by Maurizio Borgna
Mastered by VFBM
Cover imgage by David Houncheringer
Graphic design by Fichtre & Musique Infinie
This is OUS044

@feldermelder
@noemibuchi

Musique Infinie - 5 - Broken Mind Circuit

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

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

Cocoon Death

Ludwig Berger - Species Loneliness - 5 - Cocoon Death

Sea of Decay

Ludwig Berger - Species Loneliness - 1 - Sea Of Decay

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