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KRANKY

Low

Things We Lost In The Fire

    The second Albini recorded and engineered Low album, 'Things We Lost in the Fire' features such hits as 'Sunflower' and 'Laser Beam'.

    “Measuring out grief and resilience with a steady hand, these are the best songs of Low's quiet career." - Mojo [9/10].

    “Low's original stark minimalism has gradually given way to a broader sonic range, without sacrificing their strangely accessible otherness." - Wire.

    “Low have always sought to make music that can both swell the heart like a gospel tune and capture the amplified absence of a funeral parlour. It's difficult to imagine a more perfect expression of their vision than this." - NME.

    MJ Guider

    Sour Cherry Bell

      Melissa Guion’s second offering for Kranky retains the glassy gauze of her debut, 2016’s Precious Systems, but shaded starker and darker, framed by mechanical rhythms and humid industrial moods. She speaks of Sour Cherry Bell as something of a reckoning with her tools of creation: “I was curious to see how far I could go with them, even if that meant reaching the ends of their capacity to do what I wanted. But I never exhausted them and they never exhausted me.”

      For Fans Of : Elizabeth Fraser/Julee Cruise/Siouxsie Sioux

      Utilizing her trusted combination of instrumentation, Guion tracked the record between her New Orleans home and rehearsal space, capturing chemistries both intimate and expansive. The songs sway between twilit shoegaze, downer ballads, and gothic pop, mapping a delicate palette of electric melancholies, though in retrospect she cites as her primary muse the notion of power: “lost and found, corporeal and cerebral, harnessed and exploited, of one and many, in this reality and the next.” Sour Cherry Bell reverberates beyond the here and now into scenes unseen, worlds unheard. 


      TRACK LISTING

      1. Lowlight
      2. The Steelyard
      3. FM Secure
      4. Cherry Bell Blacktop
      5. Body Optics
      6. Quiet Time
      7. Simulus
      8. Perfect Interference
      9. Sourbell
      10. Petrechoria 

      Less Bells

      Mourning Jewelry

        The second offering by Julie Carpenter’s textural orchestral entity Less Bells takes its title from a storied strain of decorative objects worn in remembrance of lost loved ones: Mourning Jewelry.

        The album shares a similar mood of devotional pageantry, stirring ornamental laments born from a need to “create beauty out of grief.” Utilising an amalgam of strings, synthesisers, and choirs, the pieces ascend and descend in grand, glimmering arcs, ebbing from passages of “baroque complexity” to expanses of haunting emptiness. Certain songs also skew more overtly western than ever before, deeply reverbed plucks of banjo refracted against glowing horizons of sunrise drone: Americana gone ambient.

        Furthering the music’s mystic intentionality, the track titles comprise “the major arcana of a tarot deck from an alternate universe,” lorded over by the “Queen Of Crickets,” ruler of “The Gates,” “The Fault,” and “The Fang.” Even so, the record requires no psychic divination to glean its fragile majesty, its muted tumult of mirage and melody. The beauty it possesses is too blatant, and bountiful.


        TRACK LISTING

        1. Brooch
        2. Fiery Wings
        3. The Gates
        4. Queen Of Crickets
        5. The Fault
        6. Plait
        7. The Fang

        Windy And Carl

        Allegiance And Conviction

          'Allegiance and Conviction' is the first album in 8 years from the legendary Dearborn duo . Windy and Carl have been crafting inner space electric guitar and bass vistas for nearly three decades now, but their latest feels as vital and vaporous as any peak opus in their vast catalog. Written and recorded across six years, the songs swirl between shoegaze minimalism and stargaze drift, over which Windy Weber whispers veiled poetic narratives of transformation, isolation, and escape. Allegiance and Conviction is their first album since 2012's We Will Always Be. The six compositions are something of outlier in their catalog, shorter in nature than most on their previous releases. All of the tracks are saturated with Hultgren's signature guitar work, intimate constructions of murmurs, drones and his trademark layered filigree, gently amassed into alternately lighter and heavier than air atmospheres. Despite being their first full-length in more than half a decade,the album fully belongs to the bewitching galaxy of sound Windy and Carl innovated and within which they remain the sole occupants: music of thresholds and peripheries and eternities. Allegiance and Conviction is the multifaceted, contemporary take on their sound.

          TRACK LISTING

          1. The Stranger
          2. Recon
          3. Moth To The Flame
          4. Alone
          5. Will I See The Dawn
          6. Crossing Over

          Pan American

          A Son

            Legacy Chicago craftsman Mark Nelson’s latest offering as Pan•American is less a distillation or divergence than it is a return to his musical and spiritual beginnings. Spare, subdued, and largely acoustic, A Son unfurls like late summer dusk on the edge of town, expansive but intimate.

            Motivated by notions of “moving backward” and tracing roots – as well as a couple years of hammered dulcimer lessons – the album’s nine songs were written and recorded in his home in Evanston, Illinois, and honed during a recent solo tour in Europe. The emphasis on uncluttered arrangements and the centrality of the guitar and vocals reveal these songs as the most direct and emotional statement of his career.

            Nelson cites everything from June Tabor, The Carter Family, Suicide and Jimmy Reed as oblique inspirations, though his truest muse was creative self-inquiry: “What does music do, Where does music start? How simple can it be? How honest can it be?”

            After decades of mining post-rock pathways and latticework electronics in Labradford and early Pan•American, A Son strips away ornament and distraction in favor of a direct gaze into the heart of what is.




            TRACK LISTING

            1. Ivory Joe Hunter, Little Walter
            2. Memphis Helena
            3. Sleepwalk Guitars
            4. Brewthru
            5. Dark Birds Empty Fields
            6. Drunk Father
            7. Muriel Spark
            8. Kept Quiet
            9. Shenandoah 

            Anoyo ('the world over there') draws from the same sessions with members of Tokyo Gakuso which led to the 2018 work Konoyo, but rendered starker, solemn, and stripped back, with more of a naturalist tint. Hecker’s processing here moves in veiled ways, soft refractions and whispered shrouds woven within improvisational sessions of traditional gagaku interplay, evoking a sense of vaulted space, temples at dawn, shredded silk fluttering in the rafters.

            This is boldly barren music, skeletal and sculptural, shaped from wood, wind, strings, and mist. Modern yet ancient, delicate and desolate, Anoyo inverts its predecessor to compellingly conjure a parallel world of illusion, solitude, and eternal return. 


            TRACK LISTING

            1. That World
            2. Is But A Simulated Blur
            3. Step Away From Konoyo
            4. Into The Void
            5. Not Alone
            6. You Never Were

            Tim Hecker

            Konoyo

              Experiential composer Tim Hecker’s ninth official full-length, Konoyo (“the world over here”) was largely recorded during several trips to Japan where he collaborated with members of the gagaku ensemble Tokyo Gakuso, in a temple on the outskirts of Tokyo.

              Inspired by conversations with a recently deceased friend about negative space and a sense of music’s increasingly banal density, Hecker found himself drawn towards restraint and elegance, while making music both collectively and alone.

              As with the Icelandic choir he arranged on 2016’s Love Streams, the heights of Hecker’s talent emerge in his manipulation of source material, bending and burnishing it into fantastical new forms. Keening strings are stretched into surreal, pixelated mirages; woodwinds warble and dissipate as fractal whispers of spatial haze; sparse gestures of percussion are chopped, isolated, and eroded, like disembodied signals from the afterlife. Both in texture and intent, Konoyo conjures a somber, ceremonial mood, suffused with ritual and regret. Visions flutter and fade; dreams gleam and decay.
              Hecker will stage a series of special performances in tandem with the album's release, featuring members of the gagaku ensemble on shō, ryuteki and hichiriki, accompanied by Kara-Lis Coverdale. 


              TRACK LISTING

              1. This Life
              2. In Death Valley
              3. Is A Rose Petal Of The Dying Crimson Light
              4. Keyed Out
              5. In Mother Earth Phase
              6. A Sodium Codec Haze
              7. Across To Anoyo 

              Brooklyn trio Forma’s latest LP continues their mission to “broaden the idea of what an electronic music ensemble can sound like.” Semblance emerged from exploratory sessions at The Schoolhouse, the Bushwick loft where members Mark Dwinell and John Also Bennett live, then was tracked at Gary’s Electric studios, where their previous album Physicalist was also recorded.

              Inspired by polyrhythmic composition, the human voice, and conceptual improvisation strategies, the songs are striking in their textural detail and emotional nuance, alternately synthetic and sentient, futuristic and intuitive. Incorporating flute, piano, guitar, saxophone, acoustic drums and cymbals alongside an array of synthesizers, the record persuasively demonstrates the group’s unique playing abilities and fluid chemistry – attributes they credit to “techniques we’ve developed to trick our electronic machines into mimicking the spontaneous character of live instruments.”

              Members George and John Also Bennett also cite as an influence their recent stint in minimalist composer Jon Gibson’s ensemble, performing his 1973 proto-ambient masterwork Visitations. The long- form modal piece requires restraint and deep listening to execute, qualities especially apparent in the more muted moments of Semblance, such as “Rebreather” and “New City.”

              The group states the intent of the new album as “to be more direct and exacting”, which it is. Over half a decade spent writing and recording together has distilled Forma’s hybrid electro-acoustic interplay into an attuned and astounding language, capable of articulating impossible symmetries and reflective states.
              The stunning visuals of the artwork are by frequent collaborator of the group Peter Burr. 

              STAFF COMMENTS

              Barry says: I can't remember a week THIS good for instrumental synth music for a long time, and now to add to the excellence, we have a new one from forma. Finely structured cosmic melodies, perfectly produced to weave its way into your consciousness. Sit back and zone out.

              TRACK LISTING

              1. Crossings
              2. Ostinato
              3. Three / Two
              4. Rebreather
              5. Cut-Up
              6. New City
              7. Ascent 

              Not long after recording her 10th album, Ruins, Liz Harris traveled to Wyoming to work on art and record music. She found herself drawn towards the pairing of skeletal piano phrasing with spare, rich bursts of vocal harmony.

              A series of stark songs emerged, minimal and vulnerable, woven with emotive silences. Inspired by “the idea that something is missing or cold,” the pieces float and fade like vignettes, implying as much as they reveal. She describes them as “small texts hanging in space,” impressions of mortality, melody, and the unseen – fleeting beauty, interrupted. Grid Of Points stands as a concise and potently poetic addition to the Grouper catalog.

              From Liz Harris: Grid Of Points is a set of songs for piano and voice. I wrote these songs over a week and a half; they stopped abruptly when I was interrupted by a high fever. Though brief, it is complete. The intimacy and abbreviation of this music allude to an essence that the songs lyrics speak more directly of. The space left after matter has departed, a stage after the characters have gone, the hollow of some central column,
              missing. 


              STAFF COMMENTS

              Barry says: Simmering slow piano, beautiful layered vocals and cavernous reverb all form together to make this one of Harris' most enthralling outings to date. Perfectly tender but undeniably hard-hitting, these pieces are brimming with emotional heft and speckled with moments of spine-tingling beauty. Stunning.

              TRACK LISTING

              1. The Races
              2. Parking Lot
              3. Driving
              4. Thanksgiving Song
              5. Birthday Song
              6. Blouse
              7. Breathing
              8. Coal Train 

              Christina Vantzou

              No. 4

                Belgium-based composer Christina Vantzou’s fourth full-length for Kranky ventures further into the uniquely elusive and evocative mode of ambient classical minimalism which has become her signature: a fragile synthesis of contemplative drift, heady silences, and muted dissonance. In regards to the new album she speaks of focusing particular attention on the effects of the recordings on the body, and of “directing sound perception into an inner space.”

                No. 4 took shape across roughly two years, incorporating a diverse array of musical and conceptual collaborators, including fellow Kranky artists Steve Hauschildt and John Also Bennett (of Forma) as well as Angel Deradoorian (ex-Dirty Projectors), Clarice Jensen, Beatrijs De Klerck, and members of Belgium’s Echo Collective. During the creation process Vantzou wanted to “blur lines of hierarchy,” and thus allowed all ensemble members and technical assistants to add or delete elements. Despite such a spectrum of input the eleven tracks feel distinctly cohesive, weaving elegant textures and resonant open spaces within a twilit landscape of eclectic instrumentation: piano, harp, vibraphone, voice, strings, marimba, synthesizers, gong, and bells.

                Vantzou describes the recording process as one of prepared spontaneity: that is, “having plenty of ideas ready to explore going into the session, but with enough time to depart from those ideas and see what happens.” This mindset of premeditated exploration informs the album’s emotive textural intuition, with hushed drones and delicate gestures eliding in the periphery of the mix. She cites sleep and “the loosening of time” as two formative practices in her private and professional life, which manifests in the quietly hallucinatory properties of Vantzou’s music. No. 4 feels both endless and ephemeral, immersive and immaterial. It’s a music of horizon lines and half-light, mapped with feeling and foresight.

                Recorded in New York City and Brussels. Mixed in Berlin.


                TRACK LISTING

                1. Glissando For Bodies And Machines In Space
                2. Percussion In Nonspace
                3. At Dawn
                4. Doorway
                5. Some Limited And Waning Memory
                6. Staircases
                7. No4 String Quartet
                8. Sound House
                9. Lava
                10. Garden Of Forking Paths
                11. Remote Polyphony (feat Steve Hauschildt) 

                Dedekind Cut

                Tahoe

                  Northern California electronic producer Fred Welton Warmsley III’s solo work as Dedekind Cut (pronounced “dead-da-ken cut”) has evolved from fractured industrial design into increasingly subdued and sublime ambient meditations across two years of dedicated activity. His second full-length collection, Tahoe—so named after the mountain lake town he now calls home—swells with widescreen grandeur, evoking vistas both inner and outer. There are echoes of his earlier, more tempestuous mode in tracks like “MMXIX” and “Spiral” but overall the album skews panoramic and pensive, muted synthetic mists contoured with choral melody, field recordings, and radiant drone. His compositional instincts feel alternately classical, contemporary, and conflicted, befitting an artist whose discography spans labels as divergent as Hospital Productions, Ninja Tune, and NON.

                  Warmsley characterizes Tahoe as a “time peace,” sifting through “the past, the present, future, and fantasy.” Recorded primarily in New York, with additional sessions sourced from Berlin, Cambridge, and Placer County, California.


                  TRACK LISTING

                  1. Equity
                  2. The Crossing Guard
                  3. Tahoe
                  4. MMXIX
                  5. De-Civilization
                  6. Spiral
                  7. Hollow Earth
                  8. Virtues 

                  High Plains

                  Cinderland

                    High Plains is the duo of Scott Morgan and Mark Bridges.

                    Morgan, based in the Canadian Pacific Northwest, is predominantly known for his drifting, textured soundscapes released under the pseudonym LOSCIL.

                    Bridges is an accomplished, classically-trained cellist residing in Madison, Wisconsin.

                    The two met in Banff, Alberta while they were simultaneously there on residencies at the Banff Centre for the Arts in 2014. They first collaborated when Bridges contributed cello parts to Morgan’s generative music app ADRIFT, recorded in Seattle in 2015.

                    In early 2016, the duo embarked on a collaborative set of compositions in the oxygen thin air of Wyoming, spending two weeks holed up in a refurbished school house in the town of Saratoga, where this album was recorded.

                    Inspired by Schubert’s Die Winterreiseand the rolling landscapes of
                    their surroundings, the collaboration culminated in a collection of recordings that evoke a shadowy, introspective and dizzying winter journey.

                    Cinderland takes cues from classical, electronic and cinematic
                    musical traditions but is mostly a product of the rugged, mythic landscape; vast and sprawling with a wild, uncertain edge.

                    The recording was made with a portable studio and all sounds were sourced on site, most notably from Bridges’ cello, the resident Steinway D piano, and field recordings collected from the local soundscape.

                    The results are a site specific, wide scope view of the high valley terrain the duo worked in, a mix of analog and digital, neoclassical and modern electronic sounds, a complemental series of tracks to become absorbed in, a truly deep listening experience.

                    The cover art for Cinderland was created by London-based artist, Peter Liversidge.


                    TRACK LISTING

                    1. Cinderland
                    2. Blood That Ran The Rapids
                    3. The Dusk Pines
                    4. A White Truck
                    5. Ten Sleep
                    6. Black Shimmer
                    7. Hypoxia
                    8. Rushlight
                    9. Song For A Last Night 

                    Earthen Sea

                    An Act Of Love

                      Jacob Long’s newest recordings under the Earthen Sea moniker deepen his compelling synthesis of shadowy rhythms and opaque atmospherics, drawing on the most potent qualities of melancholic ambient and dub techno.

                      “An Act Of Love” follows 2015’s “Ink,” released via Ital’s Lovers Rock imprint,
                      and was inspired by internal tribulations and the experience of exploring an empty nocturnal metropolis. Careful waves of tones drift and decay; beats materialize and pulse across twilit landscapes; a noir mood reigns.

                      Given Long’s background as bassist for revelatory tribal-punk trio Mi Ami, “An Act Of Love” showcases a musician in the midst of transcendent redefinition, crafting an immersive language of texture and motion.

                      From Jacob Long:
                      This record was made over the course of the most emotionally difficult and stressful year in my life thus far. As such, it is both a reflection of that experience and also something that gave me space to begin working through issues to see a way forward, to a better place both psychically and physically.
                      An idea that was also central to my thoughts while creating the album was the concept and reality of being out in the city at night, wandering around a large urban area after dark – the contrast of empty streets but with life still going on all around, and the openness and possibilities that can bring. This
                      music was an attempt to capture that feeling.


                      TRACK LISTING

                      1. The Present Mist
                      2. About That Time
                      3. Delicately In The Sunlight
                      4. Apparent Lushness
                      5. Exuberant Burning
                      6. Above The Clouds
                      7. The Flats, 1975
                      8. Also An Act Of Love

                      Benoit Pioulard

                      The Benoit Pioulard Listening Matter

                      The Benoît Pioulard Listening Matter is the sixth kranky album from Thomas Meluch under the nom de plume Benoît Pioulard. It arrives on the 10th anniversary of his first LP Précis, and offers a rekindled focus on self-examination, as well as a return to vocal-based pop structures following the mostly instrumental Sonnet (2015).

                      Recording for the Listening Matter began during a period of grief, turmoil and self-medication, and continued throughout two years of growth and healing. Reflections on vice (“Layette”, “Anchor as the muse”), virtue (“Narcologue”) and death (“A mantle for Charon”) feature equally in this concise treatise aimed at the flawed-but-resilient core in us all.

                      By coincidence this album was completed on the very day Meluch’s only brother died; accordingly, it’s dedicated to him and anyone seeking paths away from their demons.


                      TRACK LISTING

                      1. Initials B.P.
                      2. Narcologue
                      3. Anchor As The Muse
                      4. A World Of What-There-Is
                      5. Layette
                      6. I Walked Into The Blackness And Built A Fire
                      7. Like There’s Nothing Under You
                      8. Perennial Comforts
                      9. Defect
                      10. A Mantle For Charon
                      11. In-The-Vapor
                      12. The Sun Is Going To Explode But Whatever It’s OK
                      13. Ruth

                      Helen

                      The Original Faces

                        When I was a child, I spoke to Helen.

                        Helen is a pop group from Oregon. Liz Harris (vocals/lead guitar) AKA GROUPER, Jed Bindeman (drums/tambourine), Scott Simmons (bass/guitar), and Helen (back up vocals).

                        Originally started with the intention of being a thrash band, it turned into something else entirely.The Original Faces was recorded over a period of several years in Portland by the band members, their friends Nick, Chris and, largely, Justin Higgins. Written together, some songs based on Liz and Scott?s demos. 

                        Guitarist Ken Camden returns for his third solo album, continuing his explorations to seek out new techniques and sounds from the electric guitar. By utilizing both a steel slide and e-bow technique, Camden has moved into micro-tonal territory to bridge the textural gap between guitar and synthesizer while examining their inherent differences.

                        The palette is further broadened by introducing an organic vocal sampling machine described as a Vocaltron. Much like a Mellotron, vocal samples (contributed by Emily Elhaj and Angel Olsen) are chromatically organized in half steps from the lowest note to the highest possible. Each set is specific to the contributor's range and each note is unedited to keep all original characteristics of that particular individual's voice. This organized organic information adds a contrast to the electric guitar and synthesizer arrangements on the album.

                        The development of all of these systems gives Dream Memory a diversity throughout its tracks while maintaining an atmospheric bond that weaves the ideas into a thematic whole. 

                        TRACK LISTING

                        1. Adenosine
                        2. Time Bend
                        3. Renewal
                        4. Curiosity
                        5. Melatonin
                        6. Dream Memory
                        7. Brain Work
                        8. Asleep At The Wheel

                        Benoit Pioulard

                        Sonnet

                          The sound of the ?fth Benoit Pioulard full length is lush and verdant, a temperate rain forest of ear ecstasy that re?ects the environment surrounding the artist. A mostly instrumental work, it is an adept melding of song and sound, melody and texture, the intangible and the palpable, that in an abstract sense recalls the more fractured and loose end of the 70?s krautrock movement.

                          "The basis of the album was a series of ?eld recordings of tones and unintentional harmonies that I made in the summer & fall of 2013 - whistling industrial air conditioners, bird songs, locust drones, washing machines - that I mimicked or interpreted on the guitar, making loops that developed into fuller compositions. Several of the pieces are recreations of harmony loops that I heard in a series of extraordinarily vivid dreams, and then woke up and recorded. A few pieces had lyrics and vocal parts that I ultimately removed; at a certain point the album became an exercise in restraint, so I strove to leave only what I felt absolutely essential.

                          Unlike most of my previous recordings, there are no digital / software after-effects on the album; all sounds are from analog tape and / or my few guitar pedals." Thomas Meluch (Benoit Pioulard).

                          Disappears

                          Irreal

                            Irreal, the fifth long player from Chicago's Disappears, is another trip down the rabbit hole. The album plays out as a dream sequence - hazed dub landscapes give way to the groupʼs most experimental and open music yet.

                            If their last album Era confirmed the fact that Disappears are on their own trip, then Irreal is where it kicks in. Eternalism, roboethics, identity - it's a Ballardian mix of imperfect melodies, half thoughts and good ol' dystopian modernity. Itʼs a master class in texture, pace and control.

                            Produced by John Congleton at famed Chicago recording institution Electrical Audio, Irreal sits in the negative space where art rock and post punk collapse onto each other. It's the sound of Disappears reporting back from The Void.

                            TRACK LISTING

                            1.Interpretation
                            2. I _ O
                            3. Another Thought
                            4. Irreal
                            5. OUD
                            6. Halcyon Days
                            7. Mist Rites
                            8. Navigating The Void

                            Oren Ambarchi & Robin Fox

                            Connected

                              Presenting a new collaboration featuring Oren Ambarchi on guitar, the electronics of Robin Fox, and both performing on various other instruments. The music on this album came about as the result of the two being asked to co-compose the soundtrack for a new production by renowned Australian contemporary dance company Chunky Move for their Connected production.

                              "Chunky Move's artistic director Gideon Obarzanek was drawn to the organic and deeply musical qualities of Ambarchi's work and the digital, almost scienti?c quality of Fox's sound. Over a process of many weeks these two aesthetics were merged. Working both in the Chunky Move studio and Head-gap studio in Melbourne, new works were forged from both digital and analog sources.

                              "This release brings together two of the most extraordinary artist/musicians working in Australia today. Both are renowned internationally for their individual practices, and here they join forces to produce powerful music that fuses Ambarchi's legendary guitar sound with Fox's mathematically rigorous tones and textures. This fusion results in sound works that stretch in scope from the sublime and spacious to the intensely dense and foreboding. Treading a precarious line between music and abstract sound, between organic and inorganic tones, this collaboration is a must listen for anyone interested in contemporary soundworks.

                              Jessica Bailiff

                              At The Down-Turned Jagged Rim Of The Sky

                              Kranky was a bit surprised earlier this year when Jessica Bailiff contacted them and asked they wanted to preview her new album for possible release. They had no idea she had even been working on an album, let alone had completed one, and they were rewarded with a listen to her most compelling album to date.

                              After being in Europe for 5 weeks as a touring member of Boduf Songs, Jessica Bailiff spent much of 2011, writing and recording At the Down-Turned Jagged Rim of the Sky in her spartan home studio. Sequestering herself through the hot summer months until finished, she then passed the tracks on to her friend Odd Nosdam for final mixing.
                              *Down-tuned, distorted bass guitar adds a new color to her palette, but familiar ones also come into play: fuzzed and delayed electric guitar, organ, piano, cello, and drums. Noisy pop-tinged love songs nestle slyly in a bed of off-kilter lullabies and dark, metallic waltzes.

                              No need to recycle descriptives like “lo-fi” or “hushed vocals” - these are spurious words. This is another intimate collection of songs recorded entirely by Jessica at home, in a room next to where she sleeps. If you listen carefully, you might hear her dreaming.


                              TRACK LISTING

                              01 Your Ghost Is Not Enough 
                              02 Take Me To The Sun 
                              03 Sanguine 
                              04 If You Say It 
                              05 Violets & Roses 
                              06 This Is Real
                              07 Goodnight 
                              08 Slowly 
                              09 Firefly

                              Strategy

                              Future Rock

                                Paul Dickow aka Strategy releases music on his Archigramophone imprint and curates monthly Community Library nights at the Dunes club in Portland, Oregon. Strategy has released dance singles (with Seattle's ORAC label), remixes and a debut album, "Strut", on the Portland-based Outward Music label in summer 2003. Strategy wires together Dickow's programming and performing experience via a hodgepodge of table top electronics, computers and realtime musicianship. Combining a granular ambient aesthetic with an abstract, percolating rhythmic sensibility, Strategy unites small parts into complete melodies motivated by complex pulsations. The Portland Mercury described Dickow as 'Portland's laptop prankster/meister of disquo'. To date you've heard Strategy dabble in everything from headphone-oriented ambient music to house and dub; this is the work that brings it all together.

                                Greg Kowalsky

                                Through The Cardial Window

                                  "Through The Cardial Window" is the first album Gregg Kowalsky has recorded under his own name, however his previous efforts under the name Osso Bucco from last year have been released world-wide to much acclaim. The music he creates is situated betwixt and between textural ambience, psychedelia and pure noise.

                                  Fontanelle

                                  F

                                    Fontanelle's second release for Kranky. The Album bridges the gap between Chicago post rock and alternative rock, like Low meets Tortoise.

                                    Aix Em Klemm

                                    Aix Em Klemm

                                      A collaboration between Bobby Donne from LaBradford, and Adam Wiltzie from Stars Of The Lid. Immediately identifiable by the tradmark guitar of Stars Of The Lid, and Bobby's bass clanks, augmented with a mixture of samples and keyboards. And Adam sings.......Occasionally.


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