Vanessa Amara - 3

Taken from the album 'TO BEAT OR NOT TO BEAT' released as 2LP

COH 'BECHA-KPACHA (Matmos Crunchtime Mix)' (eMEGO 197X)

Black Zone Myth Chant - Mane Thecel Phares (GRVTS003)

A1 - Belshazzar
A2 - In The Arms Of The Parcae
A3 - Orbit Slut
A4 - Two Stars, No Cross
B1 - He Evil
B2 - First Contact
B3 - Pass Over Into Nothing
B4 - If God Is Not Here



Buy at Boomkat

Black Zone Myth Chant - He Evil

Taken from V/A - "A Voyeuristic Renewal" 

featuring: 
Cremation Lily
False Moniker
JFK
Kleistwahr

Cassette edition coming soon via Strange Rules.
www.strangerules.com

Cremation Lily - Viewed From Below

All Abawd

TTT SHOP

Bullion – All Abawd (snippet)

Released March 1, 2018
Recorded by Linus Hillborg in Stockholm, Sweden 2017
MOLOTON005
@atonet

Buy digital album

Atonet - Angel Born Again

Thrid track from 'Hot övergår i handling' by Brödraskapslöftet. Released January 10, 2018.
MOLOTON004

Brödraskapslöftet - Sand

Music by Èlg
Text and vocals by Catherine Hershey

Taken from "Les Particules" original soundtrack released by three:four records in digital and LP.

A film by Blaise Harrison
Les Films du Poisson / Bande A Part Films / Les Films du Losange

Les Particules

Buy on bandcamp

Les Particules - Original Soundtrack - Particles

R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her
solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop
minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated
on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On
manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch. The songs are full of
air and light; infectious, melodic and off-the-cuff.
Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth
belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language –
divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel
guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes,
realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the
undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like
the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps
and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of
perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of
repetitive listening.
Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist
mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist
becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at
the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces
Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless,
conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go
outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be
honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting.
The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and
grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a
loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble
provides aural snakes for the listener’s ear to follow.

R. Elizabeth - SPIRITUAL TO SYMPHONY (from Every And All We Voyage On)

Albatross (sånglös version)

'Dead Guitars' is taken from Seefeel's self titled album, their first for 14 years.
The album is releasing Jan31/Feb 1, and coincides with a special headline show at London’s King’s Place on the same day.
The band have also just announced a run of UK and European dates in March.
"(Seefeel) underpin their dream-glossed, loop-heavy soundscapes and tunes with a heavy powerhouse of a rhythm section. The show was punishingly loud; played with a professional politeness that skirted-over any ‘it’s great to be back’-bullshit.” - Loud + Quiet, live review
Pre-order the album here : http://bit.ly/9novaN
Seefeel live dates
31/01/2011London @ King’s Place – http://bit.ly/geBDIl
18/03/2011Manchester @Islington Mill - www.ticketline.co.uk
19/03/2011Dublin @ Button Factory - www.tickets.ie
21/03/2011Glasgow @ The Arts School - http://bit.ly/ge9WWg
22/03/2011Birmingham @ Hare &amp; Hounds - http://www.theticketsellers.co.uk
24/03/2011Paris @ Point Ephemere - www.fnac.com
25/03/2011Brussels @ AB Club - www.abconcerts.be
26/03/2011Amsterdam @ Paradiso - www.ticketmaster.nl


Seafeel

Seefeel - Dead Guitars (taken from the album 'Seefeel')

Strange Rules. cassettes/sometimes vinyl. understanding since 2011. 

for contact/artist booking: strangerulesnoise@gmail.com

Cremation Lily - Viewed From Below

Strange Rules

Recent comments

Mila Dietrich

Related tracks