On the Brink

Post Scriptvm - Eisstoß LP Tesco Organisation out February 2024  [Tesco 158LTD300 ICE-CLEAR VINYL+DOWNLOAD CODE]

Eissto

Murus

Post Scriptvm - Eisstoß LP Tesco Organisation out February 2024  [Tesco 158 LTD300 ICE-CLEAR VINYL+DOWNLOAD CODE]

Nimbus

Taken from SBKT064: sideproject - sourcepond
Release date: 30th May 2024

Following up from work on Björk´s 'Fossora', Icelandic trio 'sideproject' debut on SVBKVLT with their new full-length album 'sourcepond'. Taking influence from the fog-covered wetlands of their native island, sideproject transfigure influences from the low-end frequencies of grime and bass music, and reshape it into a haze of transient-smeared beats accompanied by breathy synths that grow ever wetter till they slip beneath the surface tensions of their harmonic stratum. Compared to previous output, 'sourcepond' opts for a more concise approach to their music, stacking up their influences of experimental electronic, Icelandic punk and contemporary club music, and builds a sound that oscillates between melodic hooks and experimental rhythms. Each track carves through the sensuous material, pulling the listener into the dank sourcepond as though magnetic forces were guiding a bird's beak towards misty horizons.

Artwork by sideproject
Mastered by Raphael Valensi

sourcepond

sideproject - double zebra

Taken from SBKT066: Prettybwoy - Tokyo Ice Age
Release date: 5th February 2025

Our first release for 2025 is ‘Tokyo Ice Age’, a new EP from Prettybwoy. 5 warped club tracks, packaged with remixes from aya and Proc Fiskal, artwork by Downstate and mastered by Raphael Valensi.

‘An ice age is a cycle of roughly 100,000 years that Earth has been undergoing for at least the past million years. I’ve been reflecting on these cycles and the way life resets or disappears over time. When my grandmother passed away, I found old photographs and handwritten documents—faded pieces of history that offered me a brief glimpse into my family’s past. Ways of living, even since my own birth, are changing rapidly, and many things are being lost or disappearing forever.

The term "Ice Age" also refers to Japan’s Employment Ice Age, a period between the mid-90s and early 2000s, following the collapse of the country's 'Bubble Economy.' During this time, many young graduates and displaced workers struggled to find stable employment. The generation impacted by this era, known as the "Lost Decades," is often referred to as the ‘Lost Generation’ or ‘Ice Age Generation.’ I belong to this generation.’

Artwork by Downstate
Mastered by Raphael Valensi

Prettybwoy - Holocene

Much Unseen Is Also Here

Behold a Voice as Thunder

Concrete

The Limbrator Manifesto
Fragment III: Clunk Priest (The Sermon of Scrap)

From a tower of stacked cassette corpses,
the Clunk Priest preaches
in kicks, clanks, and tremors.

He wears a crown of bent jack cables.
His robes are mangled aux cords.
His altar — a bass bin, eternally humming.

He remembers nothing.
But his body holds the rite.

Every limb creaks to a pattern.
Every gesture is liturgy.
The junkyard listens, twitching.

They say he once interfaced
with a drum machine so ancient
it spoke in binary tongues and vinyl dust.

Now, he delivers sermons
through glitch-chants and clang-loops,
summoning the Ritual Beat
from scrap.

His gospel is not clean.
It is dented, loud, and sacred.

clunk priest

bolero combined with 6-8ths drumming is a vibe

Tigre de Papel (feat King Klavé)

"Caught In Time (live edit)", live in The Amersham Arms, London, 11.07.2016

I am Artur Tokhtash, a composer and sound artist.
My music unfolds at the intersection of classical tradition and sonic art: preludes, improvisations, and electroacoustic structures are not genres, but forms of memory and breath.

For me, sound is ritual. Each piece is not merely a composition but a trace of presence, an echo of vanished spaces, a light from places that may no longer exist.
The piano, in my preludes, becomes a vessel — an instrument that carries not only melody but also the silence between notes.

My works do not function as background. They are spaces for listening, inviting the listener into a state where music becomes both signal and transformation.

clunk priest

Artur Tokhtash

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