Max Winter 'How I Got Rid Of Me' taken from the LP 'One Thousand Lonely Places'.

WTN67
Digital / Limited Edition Hand Stamped & Stickered LP. Limited to 200 Copies Worldwide.

order the LP and download 'How I Got Rid Of Me' now over at wheretonow.bandcamp.com/album/one-tho…lonely-places

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Written & Produced by Max Winter
Additional Vocals by IMOGEN

Additional players - Michael Shrimpling (Flute), Lluís Domènech Plana (Flute), Joel Waters (Drums), Natasha Kenealy (Violin), Tom Crofton-Green(Violin), Daniel Springate (Cello), Peter Fenech (Viola).

Mixed by Joe Shrimpling
Mastered by Rupert Clervaux

Max Winter’s music seeks to traverse a breadth of styles – a world where freewheeling jazzwise drum workouts linger behind silk bass and glooming electronics, where compositional flurries of flute, cello, keys, and violin playfully exchange with restrained melodic ambience, where driving & pummelling big drop productions resurface as introverted pop stunners, where crystalline vocal melodies float above terminator slap bass sessions… it’s literally all going on…and all at the same time. Max holds that rare ability to serve as a vector for his own sweeping ideas, to think something and ‘just do it’ – coming from a jazz & classical compositional background Max writes everything, plays everything, and masterfully grasps everything. To be frank, ‘One Thousand Lonely Places’ has ended up being one of the most mysterious and exciting things we’ve ever put out.

Max strives to bring a very human element / approach to his electronic compositions, perhaps a result of the tactile nature of his classical training, he injects a unique rawness into his sound world via vocal experiments which breathe (literally) emotional states into much of the work, building and elevating his sound with the big room pieces, and pushing the other end extreme of anxious isolation deeper into the walls.

There’s no denying the strong pop sensibility that permeates ‘One Thousand Lonely Places’, hushed vocal parts are shared between Max and recurring guest IMOGEN, and there’s a definite structure within the chaos, but this is mostly an odd, isolated, experimental take on formal song structure - walking the same restrained, understated pathways forged by bands such as Talk Talk and The Necks one moment, and then the next minute pointing towards the likes Arto Lindsey & Bill Laswell’s more playful forms of No Wave, and then from there gazing towards the future focus of musically informed, genre less freedom explored by artists such as Laurel Halo, Kaitlyn Aurelia Smith. All of these touchpoints are subtly underpinned with an understanding and appreciation of classical & quiet music forms of composition encompassed and explored by masters such as Akira Rabelais, Harold Budd, David Sylvian.

Max Winter 'How I Got Rid Of Me'

Driller 1

Kabal

Emails

Sang

Euduvin

This Track Is For You

PREORDER : wheretonow.bandcamp.com/album/heart-music

Artist : Post Moves
Title : Heart Music
Cat : WTN68
Format : Reverse Board Double LP / Digital
Release Date : 08.04.2022

Written & Recorded by Sam Wenc
Mastered by Lawrence English at Negative Space

Sam Wenc is a composer and multi-instrumentalist working with sound, text, and objects. He utilises guitar, pedal steel guitar, vibraphone, electronics, field recordings, and found objects to compose both structured and formless pieces that attempt to blur concepts of what constitutes “folk music”. He has released music on labels such as Noumenal Loom, Obsolete Staircases, Moon Villain, and his own label, Lobby Art. Below are Wenc’s own thoughts on his work and approach, which frankly do a far better job of capturing the essence of his spiritual, minimal, and transcendent pieces than we could…

“‘Heart Music’ was recorded over the course of 2019 and 2020. The initial intention was not necessarily to produce an album, but rather to explore composing from a percussive perspective and trying to avert relying heavily on the pedal steel guitar and guitar as primary modes of composing. The pedal steel guitar lends itself to such a soft sound palette so even in pieces that are highly structured (Always for Pleasure, Going Right to the Praying Mantis), I wanted to avoid the propensity to let the composition amble along, and rather create a brisk, biting percussive component. This can particularly be heard on "Del Mero Corazon", which pulses along with the droning bowing of the banjo and marimacho before drums kick in and later on the vibraphone.

Thematically, much of the music (to me) takes on a somewhat ceremonial feeling and explores the trajectory of exploring intrapersonal contradictions and what it means to navigate a disharmonious public sphere. Films was also a major inspiration for songs and their titles: Wiilka & Phaxsi (named for the characters in the film Wiñaypacha), Always for Pleasure (named for the Les Blanks film) was an attempt at writing something akin to a processional march, "Going Right to the Praying Mantis" & "That's the Boss, Not Some Human!" was a quote of Milford Graves pulled from the film "Full Mantis". On that note, the title of the album, "Heart Music", is in recognition of Milford's exploration of the internal data, knowledge, and ultimately music that is present within our bodies. More so than on previous albums, I felt myself letting rhythm, intuition, and improvisation guide the work, often resulting in longer form pieces that allows myself (and hopefully the listener) to listen deeply, observing moments of tension and harmony tangled, dependent, and resolved by one another.

One other noticeable addition is the introduction of poetry into "Madness is a Fully Instrumented Score" and "Evidence" (both spoken by Anna Jeters of the band Ancient Pools). This was touched on in my last album on the track "David's Death", but by bringing in the voice to create both parallel and perpendicular narratives, it creates another line to follow and bring the listener into a deeper state of listening. I like playing with blurred narratives, homespun ideas of conventional thoughts that are ever changing in a climate where fixed ways of relating to sound and composition can become something new and mangled in its own right.”

If you dig the following then this is most certainly one for you… Susan Alcorn, Alice Coltrane, Phil Cohran, Bobby Hutcherson, Henry Flynt, Jon Gibson, Mind Over Mirrors, Natural Information Society, Johnny Coley, Oren Ambarchi, Tortoise, Yasuaki Shimizu, Califone.

Post Moves 'Going Right To The Praying Mantis'

Preorder : https://wheretonow.bandcamp.com/album/slow-drift

Artist : Orlando FitzGerald
Title : Slow Drift
Cat : WTN69
Format : Limited, hand stamped & stickered LP with unique Tyre Print PVC sleeve / Digital
Release Date : 09.09.22

Mastered by Rashad Becker
Sleeve design by Liam Cosford

Where To Now? are proud to present the new album from Irish born, NY based Orlando FitzGerald. Previously recording as ‘Orlando’, FitzGerald has released music via ‘Local Action’, ‘Gobstopper’, and All City affiliated label ‘First Second’. Where Orlando’s previous works have focused on the dance floor, here we see a pivot towards a Cello led sound which embraces experimentation, space, and solitude.

FitzGerald's approach to music is born from punk, and he carries this DIY approach towards the weighty world of the Cello. With no formal training FitzGerald instead takes an intuitive approach, quietly seeking out expression and treating his sounds to create a unique basin of tension, warmth, and paced release. With percussive contributions from Matthew Byas (of Phony Ppl), restrained Sax skronk from the brilliant Kate Mohanty, synth work from Evan Shornstein (also known as Photay), and vocals from none other than NY Post-Punk legend Anna Domino, FitzGerald has created a cinematic record that moves between worlds of unnerving dread, and lush, hopeful melancholy.

‘Slow Drift’ opens with the unsettling ‘Infinite Life’, where layered Cello and Sax murmur set the scene and accompanying bass rattle evokes the feeling of mechanical motor drift. This melding of the mechanical and organic will become a central theme to the album. ‘Anticipate The Heat’ follows, with the album's most Jazzwise moment - where Byas' scattered hand drums punctuate Mohanty’s mellow flutters.

‘Wind’ is where we find Orlando at his most cinematic and melodic, presenting a serene, bubbling movement where hushed picking and restrained playing recalls the quiet ambience of Helios, or the melancholy of Bruce Langhorne at his most desert swept, staring into an endless horizon.

‘Unfolding’ opens with Anna Domino’s unmistakably fragile, sensual, and affecting vocals, for which the Cello compliments in call and response fashion, allowing Anna’s vocals to lead, creating a moment which appears to explore themes of regeneration, loss, and hope - which again, is refracted and responded to by Orlando.

Next we have a triptych of ‘Grid’ movements, which continue to explore the above themes, drifting between meditative minimalism and abstract discordance with hypnotic effect - Orlando approaches these pieces with such considered interplay, fully embracing space, silence, and cyclical repetition to create a devastatingly emotive, and desolate landscape, which continuously attempts to regain focus, yearning for stillness.

Finally the album ends with "One" a meditation on wholeness and unity where moody, yet serene guitars balance wailing cello.

Orlando FitzGerald - Unfolding (Ft. Anna Domino)

'CS92' taken from the forthcoming album by TKB.

Artist : TKB
Title : CS92
Cat : WTNCD03
Format : Limited, hand stamped & stickered CD / Digital
Release Date : 20.01.23

Mastered by Rupert Clervaux
Sleeve design by Liam Cosford

“It seems unlikely that Where To Now Records would want to release something made in a shack on a river conservation property outside Melbourne Victoria. I've attempted to make the music that I hear in the dance clubs I dream about. I've never really been to a dance club.. but I'm trying to be sophisticated.”

Club music reimagined in an off grid Australian floodplain, of course this is something we’d want to release. Thankfully the accompanying music to the above sentence submitted by Timothy Brown aka TKB is every bit as intriguing as you might hope. ‘Dream Nightclub’ is a truly downbeat and dubbed journey through murky and swamped fourth world bass ambience, and longing, freeform minimal electronics.

TKB’s drum programming throughout is primitive, minimal, and unnervingly off kilter - shuffling its way through a world which waits… There’s a palpable sense of spirituality lurking low level below Timothy’s electronic works, where ambient scapes move from the deeply minimal, to the lush sublime, to the dense and agitated seamlessly, all underpinned with this submerged experimentalism - conversing with the still oddities which lurk the swamps and plains that consume Timothy’s day to day.

“The floodplain below my house is full at the moment. It's serene with the mountains behind, but as soon as you step outside the air is throbbing with the sound of frogs…”

Seeming to draw influence from the minimal pulse of Jan Jelinek, the fourth world ambience of Jon Hassel, and the open Dub experimentalism of Early On-U-Sound acts like The Missing Brazilians and African Head Charge, TKB has channeled these experimental strands into something truly dreamlike - a submerged trip which is shrouded in a dense fog…

TKB 'CS92'

Odd Nosdam 'End Is Important'
Clear 7" Vinyl in hand assembled silver risograph sleeve / Digital
Release Date 25.08.23

A) End Is Important
B) Here To Know

Odd Nosdam really doesn’t need an introduction, unless you’ve been living under a rock for the last 20 years then undoubtedly you’ll know what’s up, and what an absolute humbling pleasure it is to now introduce Odd to the Where To Now? Catalogue with two new cuts that flow from ethereal, meditative contemplation through to downtown abstracted machine damage..

The record opens with ‘End is Important’, A looping, spiritual lament which forces observation, or resolution around the concept of ‘Endings.’ Passages from Tsunetomo Yamamoto’s ‘Hagakure’ seep in and out of the mix throughout, where spiraling and glistening arpeggios dance across a glorious choral mantra, intended to elevate minds towards some kind of plume of awakening. This is a heady and deep cut which finds Odd Nosdam in full introspection mode.

‘Here to Know’ recalls the work of Patrick Cowley in his best downtown ultra slow swinging funk suit, or the more obvious nods to John Carpenter’s Assault on Precinct 13 OST.  However, this is far from a straight up ode to creeping machine funk - Odd’s injection of energetic, pulsing synth stabs move the piece into a more surreal territory, creating a masterful and experimental injection of life and colour into an otherwise smoked out landscape.

“Where I found myself when Where To Now? reached out - asking if I'd consider a vinyl release with the label - was in Barcelona spending time with loved ones at my family's apartment in the district of Sant Gervasi.  

After my initial contact with WTN?, I ventured north to Cadaqués to visit Salvador Dalí's house in Port Lligat, where Gala & Dalí spent some 50 summers. While inspired asf touring the glorious property, I captured recordings from a looping video screening in an open air theater. These recordings became the foundation of Here To Know. 

Sometimes there’s a break in the road. End Is Important was realized after re-watching the Jim Jarmusch film, Ghost Dog. Stealthy and evanescent, a familiar voice carries this slow diver with a message to the world warped cruiser in all of us.” - Odd Nosdam

B)  Odd Nosdam - Here To Know

A)  Odd Nosdam - End Is Important

Bodymoving
Est. 2008
wheretonowsounds@gmail.com

Where To Now?

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