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"This 6 song symphony of sound juxtaposed with chaos and long stills of almost nothing starts the only way I’d expect it to. The first track “Ballast” comes in with murderous hits, cracks, and drills. It’s hard to put into words exactly what you are listening to. And, that’s what I love about Mr. Cary’s tracks. But, somehow Jeff has forged a signature sound. I have been listening to noise for awhile now. I haven’t hear anything quite like it.

[3:30] as a full body of work is not just a digitally distorted camero with the gas pedal to the floor going through a time warp. It is dynamic and almost peaceful at times. With tracks like “Phosphor” and “Node” where you find yourself lost in an ambient sound scape of breathed gesters and things off in the distance. I admire Jeff’s way of knowing when to hold back or be minimal in his approach while yet still having some sort of rage you can’t quite pinpoint but you know it’s there and you can feel it and it’s about to burst and you like it.

I have seen Jeff live countless times. I got a chance to see him at one of his most recent performances at Club K where he performed a few of these new tracks live. Being a drummer for over 15 years I tend to latch onto the rhythm of any song I hear. Even in noise I somehow subconsciously makeup a beat I bop my head up and down to. I noticed that I didn’t have to magically make an esoteric drum section for Jeff’s performance. It was already there. Tracks like “1001″ make you feel as a drummer or drum machine is being forced through a grinder with a distortion pedal in the chain.

It’s a very purifying experience listening to Jeff Carey‘s works on [3:30]. It’s not for everyone.. But, it sure is hell for noise enthusiasts like me. But, hey.. If you’ve never listened to a “noise” artist before or haven’t gotten down with that scene. Try it out. You might just like this one." - Gutter Magazine.

Tomonari Nozaki

North Palace

    Everyone at forwind is delighted to present our tenth long player, from our furthest flung neighbour and new artist, emerging Tokyo composer and producer Tomonari Nozaki.

    He may not be the only artist to have forsaken the convenience of producing his music on a macbook but there haven't been many we have heard who have produced such a thoroughly captivating sound from their old reel to reel tape units and analogue equipment in recent times.

    ‘Tomo's' hugely immersive sound feels like opening an old dusty wooden box and hearing a frayed melancholy soundtrack to somewhere standing outside of time and the concerns of the world. It manages to be remote and indenable in parts but has such spirit and warmth it's hard not to let yourself become completely absorbed.

    Tomonari has been previously released under his UNKNOWNjp. alias on the Slovakian Label Soun Records. ‘North Palace’ sees him make his physical release debut, the first of hopefully many more. Anyone who has been following the forwind story so far will know we don't go for bluster. Hand on heart this is genuinely sublime stuff.

    Conor J Curran is a musician and sound artist based in London.

    Form is a retrospective of the CJC output between 2002 & 2003. Spacial geometric concepts act as the origins of the timbre and expression within the found sound digital work. It encompasses electronic instrumentals from melodic to abstract.

    'Blindlight' is the second release from London based electro-acoustic improvisers Sonnamble, again consisting of Conor Curran on electronics and software and Peter Marsh on stringed instruments.

    Again the focus is on Marsh's lapsteel guitar, whose drones, chords and twangs are coaxed into expansive ambient fuzziness or atomised into grains of noise by Curran's home-cooked software patches.

    The album has been remixed and remastered for the digipack release and we think it's a far more polished and palatable version of what was originally released. Hopefully far more digestible than it's harsher predecessor. But there's a sparseness and a more pronounced spikiness to the music this time around; it's still immersive stuff, but more edgy...

    "This second Sonnamble album builds on its predecessor’s complex set up. Here, Conor Curran weaves Peter Marsh’s original sound sources and textures into a series of stunning miniature constructions which manage to be at once challenging, immersive and evocative" - themilkfactory.

    One of the murkiest, most foreboding excursions on the label so far - Vardøgr is the debut long player from the Dublin trio Dentistry.

    The word vardøgr is a Norwegian term defined as 'a premonitory sound or sight of a person before he arrives’. Like a reverse episode of déjà vu possibly, the title hints at many of the mysterious sensory anomalies that have confronted many of the great thinkers and spiritualists as they have contemplated the philosophical minefield of trying to understand human consciousness and perception. And it is this foggy terrain that gets explored over the albums five tracks.

    The arc of the album is easy to interpret, but the sounds are mysterious enough to beguile. This trio has done well to exercise restraint, to suggest rather than to show. In using this technique, they imitate the best directors, who create tension without resorting to shock.


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