»Neon City« is the debut release by Erik K Skodvin & Otto A Totland's Deaf Center project, finally re-issued 18 years since its first appearance.

Jan 28th, Miasmah rec.

Deaf Center - Limn

We’re happy to announce the welcoming of Heather Woods Broderick to our roster with her new album Domes. The album will be released on May 13th 2022 on vinyl, tape and digital. After having released solo albums on Western Vinyl and Preservation, Domes presents the first entirely instrumental work of the California based multi-instrumentalist.

Domes is a collection of meditative pieces based around the cello. While not being her primary instrument, the cello holds a very special place for the artist. Throughout the past 2 years, Heather often felt the need to find moments of respite in response to the chaotic and turbulent times we all faced in that period. Her days started or ended with the cello. A single melody initiated a process in which new elements were gradually added to the initial loop until the sounds filled her up. This process and the instrumental nature of these pieces opened the path for self-reflection and enabled her to express emotions outside the world of words or lyrics:
 
“The cyclical nature of the loop combined with the sound feeling like it’s surrounding me feels serene and safe. My hope is that listeners experience this as well.” - Heather Woods Broderick
 
Domes is a documentation of that period and offers 7 pieces which to the artist feels like dense masses – strong grounding sounds that can hold weight or be used to disperse weight - in an emotional sense. The album title, Domes, reflects this idea as domes are made out of triangles – the strongest shapes in the physical world. Coincidentally, there are 7 different triangles. As such, the pieces on Domes each reflect a different triangle, a different strongest shape which offers the listener a solid basis to find rest and calmness.

Artwork by Femke Strijbol
Mastered by D. James Goodwin

DAUWLP020

Heather Woods Broderick - Figura

Texture

SHADERS

Boris Rogowski – The Darkness of Future Past
(out on piano and coffee records on November 7, 2025)

Jonas Burgwinkel—drums
Viktorija Kukule—vocals
Roland Muenchow—flute
Boris Rogowski—keyboards, (bass) guitar, percussion, programming, vocals
David Schuette—cello
Isabelle Seemann—vocals

Press info:
Somehow, Boris Rogowski’s The Darkness of Future Past manages to go from Renaissance and Baroque influences and minimalist piano pieces via Ambient all the way to arena-sized pop music. It has no right to work, but it works perfectly. I don’t know how.
If I had only one word to describe its general mood, I would call it haunting. And the album itself is haunted, too, by the ghosts of the past, of classical composers (Orlando DiLasso, Eric Satie and Alfred Schnittke explicitly, many others lurk in the shadows) and more recent musical specters. It’s called The Darkness of Future Past, and yes, that’s a Twin Peaks reference… but let’s not make too much of it, there are no real connections (I think!) except for a general love of mystery, darkness and beauty.

In contrast to Rogowski’s 2023 album The Waste Land that was largely defined by a good amount of classical rigor, consistent chamber instrumentation and a complete lack of vocals, The Darkness of Future Past is almost loose: We have long, winding instrumental pieces that straddle Ambient (The Past, Like a Strange Bird), Minimalism (The Bloom and the Flutter) and Jazz noir (the title piece). They are humming with sounds and melodies that always seem in a state of either synthesis or decay, giving way to one another or sticking around in the form of eerie echo loops that build up a dreamlike musical structure always on the verge
of collapsing into itself.
Those long-form soundscapes, some of which feature ominous spoken Journal Entries, alternate with solo piano pieces that sound like at least three different instruments—but were, in fact, all recorded with an old upright built in 1906 by some regal German manufacture. The audaciously titled Gymnopedie No. 4 wears its influence on its sleeve—and delivers on its promise: Rogowski’s love, respect and understanding of the original works of Eric Satie shine through in every note. Similarly, the other piano pieces, from the tiptoeing Sleeping Dogs to the dreamy, improvisational One Lonely Autoresponder Message, feel a bit like memory palaces—reminiscent of music that has always been around, but at the same time very much their own beasts.
And then, of course, we have the songs: Nothing Wrong is strikingly beautiful, its sparse musical arrangement serving as the perfect bed for Rogowski’s falsetto and the ghostly choir backing it. breatheINbreatheOUT is downright scary, like a field recording of some strange initiation rite: The words ‘breathe in, breathe out, it’s all right/mankind is no longer your kind’ are delivered in a moody croon that seems to channel the later Scott Walker.
And then, just when you think you have finally figured out how this album works, it leaves you with Them!, a monolithic sound colossus that begins as a shoegaze-y electro pop song and develops over 6 minutes into an arena-sized hymn with an otherworldly female voice lamenting ‘What a lonely world’ over and over. Rogowski did much of the work on The Darkness of Future Past in a desert cabin near Joshua Tree—maybe he passed Coachella on his way back; that, at least, would be a good explanation of the sound of Them!

There is a very clear and distinct consciousness of the past, and there are projections into the future that are as nebulous as they are frightening. The Darkness of Future Past has the power to conjure up mysteries, to shed just the right amount of light on them and keep us intrigued—without ever giving them up or serving us easy explanations. The beauty of the music itself remains a secret, one that Boris Rogowski as its composer seems hell-bent on protecting. After all, no-one needs to know who killed Laura Palmer.

Journal Entry #1—The Past, Like A Strange Bird

get into your bodies, out of the fog, loving the ambient

eerie

“Quiet Winter Light” is a peaceful 432 Hz journey through a frozen landscape where soft birdsong meets deep ambient calm. Each track reflects a different moment of winter stillness — from the breath of cold air inside the frost, to the quiet wings above the frozen silence, to subtle rhythmic pulses drifting through snow, and crystalline patterns moving beneath the ice.
A meditative blend of ambient, cinematic textures, gentle downtempo motion, and nature’s soft presence — crafted to help listeners relax, breathe deeply, and rediscover inner quiet.”

Support

Wings Over the Old Silence

Release date: 12/05/2025
Pre-order\Save - https://band.link/calli148
A human life is a kaleidoscope of events, a continuous quest to solve worldly puzzles while searching for a connection with the Source. This entire journey, from birth to death, is filled with challenges that invite us to know ourselves by peering into the mirrors of life's labyrinth. We are left to wonder: is there an exit, or is the labyrinth itself an illusion? The answer is unique to each individual, as every person has their own path to the Source.
https://soundcloud.com/amritone

Amritone - Quests Intro

'Parallel' is the third ambient album by Warmth.
A tribute to the minimalist ambient of the nineties.

Written and Produced by Agustín Mena
Mastering by Taylor Deupree
Photography Alexander Kopatz
www.go70north.com
Archives45 // ArchivesCD26
Archives / 2018

parallel

Buy CD/Dig/Cassette

Warmth - Concave

ME 
(Felicia Atkinson & Jefre Cantu-Ledesma)

From 'Comme Un Seul Narcisse'
Shelter Press / SP070

https://shelterpress.bandcamp.com/album/comme-un-seul-narcisse

Comme Un Seul Narcisse

ME (Felicia Atkinson & Jefre Cantu-Ledesma)

Track 4 from “Absolute Fields” by @PhillipWilkerson

https://stereoscenic.bandcamp.com/album/absolute-fields