Gnarled Fingers and Picking are two artists drawn together by a shared love of bleak, crushing, low-end oblivion.
Picking is a new raw doom / noise / drone project from Charlie Butler inspired by lifelong incessant excessive picking of nails.
Gnarled Fingers is an experimental, ambient drone project, relentless wall of fuzz and atmosphere, no escape, created after growing up in Somerset Levels with stories of witchcraft and pagan superstition.
Picking – Toenail Written, recorded live with no overdubs, and mixed by Charlie Butler, December 2025 charliebutler1.bandcamp.com
Gnarled Fingers – Echoes From Futures Past Written, recorded at 13 sound studio, and mixed by Carlos, November 2025 linktr.ee/GNARLEDFINGERS
WARNING: PLEASE DON’T BUY, SELL, TRADE OR DISTRIBUTE THE CD VERSION OF THIS RELEASE, THE CD IS FAULTY.
the audio contained on the cd version is not the material i provided for release, and it does not meet the quality standards that i wish to offer.
the label releasing the CD managed to press an early demo version rather than the final audio master. duh. the demo version differs partly in composition and is only partially mastered, some tracks are unfinished and have different track lengths….
the label, once confronted about this mistake, stopped communications alltogether.
recorded 2014 in taiwan & china by dp xiexie: yan jun, mei zhiyong, nathalie dreier
TRACK INFOS:
1. yangmingshan cicadas, a storm comes up, different cicadas resound. kalamoji mountains 14 jul 2014
the kalamoji mountains are about an hour and a half drive from taipei and yannick dauby kindly offered to take me there. once we are about an hour’s walk into the lush and dense forest, the endemic yangmingshan cicadas start sounding. we set up our recording equipment and listen, with goosebumps. after about 10 minutes, lightning, then a crack of thunder, then another, and heavy raindrops start falling, increasing fast. speedily we pack up our gear and start heading back. soon rain is pouring in torrents and we can but run. that’s when the yangmingshan cicadas start sounding ecstatic, loud, dense, from all directions. i’m sorry i can’t let you hear that. we are soaked by the time we reach the car.
2. zhangjiajie cicadas and whistlers on the river path to yazizhai. zhangjiajie national forest park 4 aug 2014
zhangjiajie is one of china’s most popular national parks. hordes of people flock into it daily, and nearly all visit the most easily accessible spots only – usually spectacular viewpoints that end up being very crowded. a larger part of the park though is more or less free of humans. the path to yazizhai is a simple, ugly, concrete footway along a stream that looks as if built fifty years ago and then forgotten. it leads off from one of the popular, very crowded picnic spots – and suddenly, there’s nobody. the couple of times i walked this path i never encountered another human. the path’s beginning is marked by a tumbledown gate, along the way the concrete has crumbled, sunk, been washed away and is covered by leaves, fallen branches and trees or obstructed by rocks that moved. armies of cicadas are sounding, acccompanied by whistlers and other insectan sonics. as the sun starts setting their volume and density increases.
3. nocturnal anuran soundscape. huashan shanzhai/panlong 15 aug 2014
4. night rattlers. huashan shanzhai/panlong 14 aug 2014
5. electric insect solo. huashan shanzhai/panlong 15 aug 2014
huashan shanzhai / panlong in guangxi province is surrounded by forest-covered karst peaks, is home to the longrui nature reserve and to the two thousand year old huashan cliff murals. a village of a few scattered houses and at the top of it, a hotel, of which we are the only guests, as it’s the off season. hiking is only possible with a guide due to the danger of getting lost. but the sounds are all around and at night symphonies are created. these recordings were made in different spots of the village between 22h and 2 a.m., in gardens, overlooking a pond, by the river, and next to thickets at the edge of the dense jungle beyond.
6. upstream moon thicket swell. dehang 6 aug 2014
dehang in western hunan province is located in a large geological park with astonishing countryside landscapes, terraced valleys and waterfalls. leaving the village upstream, fields of arable land pass by before wilderness takes over, with the path leading further up to the dramatic liusha (or ‘fading yarn’) waterfall, that feeds the little river into dehang. this path at night is another story. the moon casts a pale light and i stand before a thicket, ears about a hand’s width away from it, for what felt like hours, entranced by the melody and rhythm that these insects reveal as time loses itself. occasional frogs croak from the stream some metres below.
the photo of the insect on the cover, is taken on this path.
7. typhoon. ri yue, hainan island 28 aug 2014
the sun and moon bay at ri yue wan is a gorgeous stretch of coastline on hainan’s eastern shore, popular with surfers – it is windy. it is even windier the morning after we arrive. the surfer hostel’s caretaker, informed by weather apps, tells us: this is building up to a typhoon. we have to stay put. but listening to this force is awe-inspiring, it sounds, looks and smells incredible, furious winds, trees bending, objects flying around and crashing, stones moving, dogs barking…
8. waterfall and cicadas. detian 16 aug 2014
detian waterfall in guangxi province is asia’s largest and the world’s second largest transnational waterfall. vietnam is at the top of these falls. surrounded by karst peaks, the falls drop in three stages to create cascades and small pools. as we arrive in the afternoon and walk along these falls, cicadas sound in the papaya orchards nearby.
9. river path walk to yazizhai. zhangjiajie national forest park 4 aug 2014
see track 2 for info on the location. apart from a few split-second cuts, this is an unedited recording, as i walk, and the sun is beginning to set.
All Winter we’ve been hiding in the Barn, experimenting, improvising and nourishing our souls from a dying world.
These recordings are a testimony of the dark times we are living in, to uplift, to manifest and to divert our ways.
Recorded between December 2025 and February 2026 at the Barn, Betekom, Belgium.
Bang of Hearts is a musical entity consisting of Dominique Van Cappellen-Waldock (Baby Fire, Veda, Fleur de Feu,…) on vocals and spoken word, Timo Jacobs / Forestaal (Schim, the Moondig, Myaelin, Pilod,…); vocals, electronics, drums and percussion and Peter Verwimp / Ashtoreth ( Maya, Emptiness, Building Transmissions,…) on vocals, bass and guitar.
Together they conjure up an eclectic form of vast, improvised drone pieces with a ritualistic character. Every now and then they gather at the Barn in Betekom, Belgium and pour their hearts out. They play what they feel and this may result in a patchwork of styles and influences: dark ambient, sludge, kraut rock, ritual drones, gothic doom, electronic soundscapes…one never knows what to expect as it is always delivered in a free form; a hypnotic sonic adventure for both the players as well as the audience.
Spoken Word and voices: Dominique Van Cappellen-Waldock Drums, Electronics & voices: Forestaal / Timo Jacobs Guitars, Bass & Voices: Ashtoreth / Peter Verwimp Live mix: Timo jacobs studio mix: Peter Verwimp Mastering: Ronald Mariën Artwork: Peter Verwimp
— NOTE — This is a joint release between Not Yet Remembered Records and the Move Quiet Records imprint out of Long Island, NY (movequiet.bandcamp.com). Should physical copies sell out here, head to movequiet.bandcamp.com for a chance at additional copies. And check out the rest of their discography while you’re at it, as it is excellent. —
Teichopsia finds Precenphix returning to NYR as well as debuting on Long Island, NY imprint, Move Quiet Records, with the fruit of a nearly two-year labor through poor health. Drawing inspiration from artists such as Seefeel, Richard D James, Trent Reznor & Atticus Ross, Jack Dangers, Björk, Coil, Scorn, Monolake and Autechre, it is an amalgam of influence steeped in electronic music’s resurgence and prominence into the sonic landscape of the 1990s through the 2000s and beyond.
The recording is a concept album, in abstract. In terms of its composition, the layout is melodic but also has deep roots in both electronic and acoustic sound design. It’s sound ranges from IDM / braindance, glitch, ambient, dub, breakbeat, downtempo, industrial, modern classical, musique concrète and even score work.
In terms of the what the album means to me, I would prefer to remain more abstract rather than project my own narrative or even fully reveal the theme, allowing the listener the capability to insert their own interpretation of this record – which is meant to be taken in as a whole rather than by isolating things song by song.
There are little to no ‘singles’ on the album. Rather, it is meant to be experienced in a single sitting, which is a big ask anymore considering everyone’s attention span (including my own) has been reduced to that of a fruit fly with the proliferation of quickly digestible social media clips. But if attempted, the ebb and flow of its continuity becomes apparent and makes for a complete, compelling story.
I’m asking the listener to come on a turbulent journey with me, where respite seldom presents itself, but ultimately the protagonist comes through in the end with hopeful resilience and a newfound perspective on the grand scheme of things. A silver lining is mostly obscured, but it exists if you’re open enough to be willing to let it present itself to you.
All songs written, recorded, performed and produced by Ben Rabenold @ The Lamp Post 2024-2025
Mastered by Marcus Miller @ Holosuite Mastering
Front cover photography by Olga Karlovac
Back cover / inner panel photography by Chris Friel
Disc inlay photography by Bryn Alleman
Booklet & disc image photography by Ben Rabenold
Design by consumer
Thank you: Bryn Alleman, Patrick Blinkhorn, Will Creason, Euan Dalgarno, Chris Friel, Iris Fuller,Mindi Hartlaub, Nikki Hope, Justin @ MQ, Olga Karlovac, Marcus @ Holosuite, Mom & Dad, Pietro Da Sacco, Caleb Byron Smith, Jake Wayman, room 606, the Great Solar Eclipse 2024, all at Jefferson Methodist Headache Center
Songs of life and death, of magic and the empirical, of dreaming and waking.
Included with this album are free download codes for the following albums: ‘We have met before,’ the shadow spoke… These Are The Days of Burning Books Reflections from a Sacred Pool In the Palace of Joy Starfall Manichees and Madmen The Lord of Shades Decides Live Soundtrack #69 A Thousand Twangling Instruments
You’ll receive your codes via direct message in the Bandcamp app.
((PLEASE MAKE SURE YOU INCLUDE YOUR PHONE NUMBER ON YOUR ORDERS> CUSTOMS REQUIRES IT.))
<< A Sky So Close >>
In these times of anxiety and deprivation, journey to a place of sensual attainment on A Sky So Close, the elegantly erotic new album from producer Eric Hilton.
A Sky So Close delivers classic trip-hop sounds over 12 tracks of pure sensory indulgence. “This record is an atmosphere, a state of mind. I indulge myself by making music that I want to listen to,” says Hilton. “It’s a more solitary record than some of my other work, there is not a big list of guest performers on this one. It’s really like my stream of consciousness.”
Hilton’s luxurious production skills are on full display here, as well as the deep grooves that he’s been delivering since the early days of Thievery Corporation, the legendary downtempo combo he co-founded in the mid-90’s. But on A Sky So Close, there is a hedonic weightlessness to this music that verges on the tantric, with no climactic finish to bring the listener back down to earth. Hilton keeps you floating in an extended, delicious haze.
The album opener “Akasha” at first sounds like a band coming onstage to perform, with tentative bass licks and distant synth that quickly morph into a percolating sidewalk rhythm. The yearning whispers of the follow up track “The Dharma Lovers” make it clear that the destination is an assignation. “Breathe Me In” chases the dragon into a smoke-filled room, bathed in pink light.
A Sky So Close follows Hilton’s well-honed production methodology of layering samples and live playing to deliver a more organic sound, with the added punch and feel that only a performance can bring. “I’m really a bassline designer,” says Hilton. “I mean, I’m a passable bass player, but if a lick is a little too tricky for me, I’ll bring in a friend to play it. And I also really like to weave bass samples and live playing together, so you can get new kinds of grooves that one person couldn’t really play.” Drop the needle on “Kali” or “Ghatam” to settle into two of the album’s deepest bass grooves.
“Lalita” is a truly standout track on A Sky So Close, a passive-pop concoction of sitar and Hindi chanting delivered by longtime Hilton and Thievery Corporation vocal collaborator Natalia Clavier. “Natalia is so special – she understands what I’m trying to do, understands my influences and can translate that into a beautiful performance every time,” enthuses Hilton. “She’s Brazilian, but she dialed in a totally different voice for this track. She also sings on “Kali” – she is endlessly talented.”
The title track “A Sky So Close” delivers the album’s most widescreen elegance. Finger tipped tabla hits, string flourishes, wah guitar and a cooking bassline create an empyrean expanse filled with exotic birds, ancient aliens, and beckoning goddesses. Perhaps the most surprising piece on the album is “The Emerald Door”, a desi-meets-drum and bass exploration that sounds somewhat adjacent to the Asian Underground music scene of the late 1990’s.
For the final two tracks on the album, Hilton gently leads the listener back out of the haze. “Behind My Eyes (reprise)” has a laid back but tough groove; the goddess slides your jacket on, kisses your cheek and gently pushes you out her door, back on to the street. “The Lotus Gate” is a mysterious closer, with Ipcress File dramatics that seem to be leading somewhere explosive……..but where to next? Eric Hilton is full of musical surprises.
In the meantime, let go, and fall into the sky. It is…..so…..close.
A Sky So Close by Eric Hilton will be released by Monserrat House on February 20th, 2026 on vinyl, CD, download and streaming platforms.
Built for an industrial expansion that never came, Kielder Dam in Northumberland is a monument to a forgotten future. Kielder Water Music explores this engineered landscape through field recordings, electronics, and string quartet.
The four pieces draw on sounds from the valve tower, reservoir, and surrounding forest, alongside interviews with those who live and work at the site. These recordings are woven together with strings, samplers, and analogue and digital synthesizers to create a dream-like sonic portrait of this unique post-industrial space.
Supported by Arts Council England.
Jo Silverston – Cello Drew Morgan – Cello and Bowed Electric Guitar Laura Wilson – Viola Caelia Lunniss – Violin Hugh Blogg – Violin
Mike Roberts – Words
Dan Moore – Fender Rhodes Electric Piano, Field Recordings, Samples and Synthesizers
Strings recorded and engineered by Luke Cawthra
Mixed by TJ Allen
Mastered by Shawn Joseph at Optimum Mastering
Cover Design by Oliver Batho
Thanks to Dan Jones, Andy Sheppard, Jonty Hall, Mike Roberts, Northumbrian Water, Alison Freeman, Hilary Ashton and the estate of Ernest Tomlinson, Riaan Vosloo, Jennifer Bell, Seb Reynolds, James Hester, Ned Rush, Jaqueline Ewers and Jenny Lindfors.
Improvised and recorded by Levi at home, April–September 2025. Mastered by Andrew Weathers. Cover photo: Pacific Bobtail Squid (Rossia pacifica) by Bill Horist, Salish Sea, 2024.
Thank you: Meghan and Rowan, Eric Acosta, Bill Horist, Leanna Keith, Kate Olson, Scott Schaffer.
Music For The Rest Of Us 