Monthly Archives: August 2026

Time Rival – Cooked (Visitation No. 3) [Condition Human]

Posted by John Lithium on

Label Description: VINYL VERSION AVAILABLE HERE: elasticstage.com/timerival/releases/cooked-album

TIME RIVAL VISITATION QUESTIONNAIRE

CONDITION HUMAN (CNDHMN):You live in suburban Illinois. What is the most midwestern thing about you?

TIME RIVAL (TR):I grew up within one mile of the world’s largest corn maze

CNDHMN: Your album is titled ìCooked.î Care to explain? Are you a major foodie?

TR: Not really a foodie, no. I mean…I like food but I usually go for the simple things. Cooked, first and foremost, is some Gen Alpha slang. My son’s a pre-teen and into video games so he uses it in his vocabulary pretty regularly. I try to pepper it in when I talk to him just to be annoying. On top of that, though, it relates to the music because to me, this album has an over saturated, sun-bleached sound to it that connects the tracks together and makes it sound, well…cooked.

CNDHMN: Describe your journey to becoming a musician. Did you grow up in a household of music? Was it artsy? Were you always drawn to it or was it a later development?

TR: My parents aren’t musicians but they did expose me to different types of music. Listening was a big part of my upbringing, and allowing me to have my own musical tastes in my more impressionable years helped. I had a tape collection at 6 years old and a growing CD collection shortly after that. Any money I got as a kid went into buying CD’s.

I played trumpet in 5th grade band but it didn’t really interest me. My journey as a musician really started when I was around 14 years old and a friends’ older brother gave me a burned CD-R with some cracked music software on it. I taught it to myself and it really just grabbed my attention in a way nothing else did at the time. I decided to pursue music in college and played percussion in ensembles and orchestras. The engineering and production side was always more my speed though.

CNDHMN: You run the eclectic label Triplicate Recordings. Where’d the name come from and how does running it inform the music you make as Time Rival?

TR: There’s a little backstory here, in the early 2010’s I was invited to join an electronic music producer collective that we eventually called Mangled Music. There were about 12 of us ranging different styles. As the members started to lose interest and disband, I thought it would be cool to start a label with two of the artists in the group (George ìSuncastleî Ernst & Bryan ìBVSMVî Kraft) as a way to release our own music while sharing the workload. If you look back at the first year of Triplicate, all of the albums from 2018 come from the three of us. We picked Triplicate Records as a name because there were three of us, and it was a mildly amusing play on words.

As Time Rival, I record a seriously unnecessary amount of music and very little of it ends up on Triplicate Records. There are several other amazing artists that keep coming back to us and the release schedule is pretty limited, so I don’t want to take opportunities away from them because I decided to make 16 albums this year. I set aside music throughout the year that I think would be good for Triplicate and I squeeze myself into the schedule when I can.

CNDHMN: There’s a rumor you have a secret rap album as MC SOUTHSIDE MIKE called “MIC IT LIKE ITS HOT.” If false play it like it’s true. If true play it like it’s a terrible secret. So? (BONUS: your top 5 MC’s)

TR: Funny you should mention that, so I grew up listening to rap and very early on in my music production, I would find vocal stems of rap songs on file sharing services (this was pretty tough in the early days of the internet) and put them over weird beats I made. I certainly wouldn’t call it hip-hop, it was a very strange fusion. I lost all of those old recordings so I doubt they will surface any time soon.

Top 5 MC’s
Andre 3000 (Outkast)
Raekwon (Wu-Tang Clan)
Guru (Gang Starr)
Rakim (Eric B & Rakim)
Black Thought (The Roots)

CNDHMN: Time to play “Desert Island Device!” You’re stranded on a desert island and you can bring one piece of electronic gear. Doesn’t have to b e musical even. What is it?

TR: This might be a cop out answer but I’d bring a field recorder. I’m currently using the Zoom H6 and I have a few of the different mics you can swap in, but the X/Y gets the job done. If I was going to take it to a desert island I’d probably upgrade to the newer versions with 32-bit float recording to bring down that noise floor.

CNDHMN: What’s the most ridiculously overpriced piece of high end stereo equipment out there?

TR: There are some vanity home theater setups out there that cost upwards of $5,000,000 and I’m guessing a blind A/B test with a $5,000 system would be too close to call. The technology now is all pretty good, even for budget stuff. If I really wanted to splurge on something I’d build my own open baffle kit. But I would need a bigger room for that.

CNDHMN: Do you have a specific approach to making music? Any thoughts or overarching ideas when you sit down or stand to play?

TR: It starts in my paper planner when I have “new music” written for the day. I do this three times a week. I don’t always come up with something usable but I usually do. If it’s in the schedule, I just sit down and do it. I work in a few different genres so I like to switch it up to keep things interesting. I draw inspiration from field recordings, books, music, movies, etc. Even if I’m not particularly inspired, once I start working the ideas start to flow.

CNDHMN: What were the instruments used on “Cooked?” Do you have a favorite?

TR: Acoustic Instruments:
– Tongue Drums (various sizes)
– Native American Flute
– Ukulele
– Glockenspiel
– Kalimba
– Upright Piano

Electronic & Virtual Instruments
– Zoom H6
– Madrona Labs Aalto
– Madrona Labs Kaivo
– Arturia Microfreak
– Modal Electronics Skulpt Synth SE
– Ellitone Multi-Synth

I don’t really have a favorite, everything has its place

CNDHMN: Any final words before the inevitable heat death of the universe?

TR: Be nice. If everyone did that, the universe would be a much better place. 

all tracks composed and recorded by michael southard
mastered by michael southard.
cover layout and design by chang terhune and michael southard.

our dear friend, the medic – shall these guiding embers be fashioned from our unlived yesterdays (Self-Released)

Posted by John Lithium on

Label Description: no one remembers when the first false wind stirred, nor a time before their song began. as the still of night soothes our slumbering valley, the first crackle of embers sways in the shadow of elm and willow. atop a bed of deadened bark comes the hiss of a breeze that disturbs not the canopy above, nor does it wick the salt from one’s skin. here does coloured dust swirl against the darkness, and the first hollow, melancholy chime ring out

i close my eyes and recall the flavour of scorched ash and a hint of her favourite mango bubblegum sweetening the filter of the cigarette we passed between us. laid upon the roof of our car, staring ever upwards awaiting the lanterns of the past’s nightporters to decorate the sky. always caught mid-laugh by the sounding of the lambent bells off in the distance, though hardly ever in any hurry to make ourselves their audience. not while we had a fool’s infinity to spare

sunken notes whistle through the abandoned woods. the lights of every promised yesterday glows upon my lidded eyes. i feel a dim, charred flake at my lip. i wish for it to taste of mango. this desire is enough to alert me once more to my sense of the present, and my eyes would draw open to a flurry of cinders as a bellow strikes deeply into the air. i step into the cloud of dim flickers, and listen to its cry wavering into the ink-black eternity as it fizzles away

within my chest, a sigh begs. yet i remain silent, lest my pained breath mask the warm tone of her voice. each night unmoored between the blooms may i remain, until i find her among the glittering chorus of the gone 

Anti-Spectacular – I Am This Flesh (Self-Released)

Posted by John Lithium on

Label Description: Alex Hood: bass, vocals
Colin Norman: drums, percussion

Nicole L. Spence: engineering (track 1, 4)
Apollo Saraga: engineering (track 2)
Melody Pearson: engineering (track 2)
John Castillo: engineering (track 3)
Colin Norman: engineering
Benjamin Byck: mixing
Adhil Azhar Bhatty: mastering

All songs written by Alex Hood and Colin Norman

Lyrics by Alex Hoo

Mondoriviera – La Laguna Dei Bei Sogni (Not Not Fun Records)

Posted by John Lithium on

Label Description: The latest by Rimini riddler Lorenzo Camera aka Mondoriviera refracts his burnt vapor mutant sound design into a melted palette of hypnagogic guitar, funhouse keys, wormhole FX, and narcotic crooning: La Laguna Dei Bei Sogni (“The Lagoon of Beautiful Dreams”). Inspired by an episode of a 70’s Italian cartoon about a fugitive ex-army officer delirious with yellow fever on a paradisal South American island surrounded by stolen money and perplexed indigenous villagers, the songs stir an appropriately manic and hallucinatory mood.

Layers of guitars and voice sway and surf in a smog of memory and melody, punched up with curveball rompler samples (metallic percussion, monster growls, UFO sirens), then processed through a cheap Zoom FX pedal to tie it all together. The result is a hazy alien odyssey of fever dream pop, flashback glam, and lo-fi teleportation, rippled by sunset breezes across the Adriatic.


Mastered by Jared Carrigan.
Design by Britt Brown.

Leslie Keffer – Embody Incarnate (Frolic Press Recordings)

Posted by John Lithium on

Label Description: When I wrote the original ‘Embody’ EP, it had a function. My desire was to tap into the painful vulnerability we all feel when it comes to being who we truly are. The fears that arise, the masks we wear, the things we project to protect what we inherently are to keep ourselves safe, because who wants to show their true selves and then be rejected? I wanted this record to make the listener reflect on what they need to embody in themselves to be their full potential in motion. So when the remix EP manifested itself, I wanted artists whom I see as true to their calling, who can connect with that part of themselves that isn’t afraid to expose their inner darkness and balance it with their blinding light in the form of sound. And boy, did they do exactly that on this record.

“Embody” was the final remix to be assigned. I had originally asked Bill Nace to do it, but he ended up having a conflicting tour schedule and was unable to. So I knew instantly who to ask next and it was Mandragoro, but I wasn’t sure he’d be up for it. He is quite the enigma. He has been a techno producer for over 2 decades but has done so very quietly, staying under the radar as a producer. I knew his potential to crush this remix, but would he see it? I asked him and he did not hesitate and said yes. I was stoked because Mandragoro is not only skilled at his craft, but his technique is detail-oriented, precise, and thoroughly constructed without losing its heart and soul. He can take the most beautiful noise and refine it into crisp, industrial-blissed techno. His version of “Embody” retains the urgency of the original but develops a resolve that my version only hinted at.

I specifically wanted Valerie Martino (Unicorn Hard-on) to interpret “Paradox”. I could envision her taking this song and making it her own. My version of “Paradox” was a transmission from a primordial muse. So I thought who else could tap into that ancient, raw, hypnotic energy I was trying to translate? I knew instantly that this was Val’s track. What she was able to harness from the Aether is an exquisite, mature, polished, collected, and deliberate track. Valerie and I came of age together during the early 2000s, so I have had the luxury of seeing her musical and spiritual journey over the last 23 years, and this track incarnates all those lessons and years of creating music into a glorious capture of her growth, not only as an artist, but as a woman.

For the Penitence remix, Angel had agreed to be part of the project and specifically asked if she could do this track. I immediately wrote her after it was decided and said, “This song is very meaningful to me, as its what I would say if I could say one last thing to my friend who passed away last year.” She immediately wrote back, “I will make sure the remix gets some empathetic energy.” Angel and I are just getting to know each other, but when she wrote this, I believed her. I knew I could trust her with this exposed nerve I was handing off to her. And I was right to trust her. She took my straight forward, soul bearing lyrics and she didn’t just remix this song. She literally took my words and translated them into the language of the dimension in which my friend now resides, so that he could understand my message. This was a profound full circle moment for me, as writing and singing Penitence healed me to some, but now I’m healed even more, because I am confident the message was finally heard and received. This wouldn’t have been possible without her translation.

The remix of “Litmus” was done by datewithdeath (Travis Johnson / Frolic Press).Travis had been thinking of asking me to collaborate and then I posted “Embody” on YouTube and he reached out to me interested in releasing it via Frolic Press. I was so stoked! When we were talking I didn’t know what kind of collab he was thinking, so I had suggested that maybe he’d be interested in doing a remix of me. He agreed and then suggested we make a whole remix EP. I was so stoked; this had been something I had been wanting to do, and when he said it, I enthusiastically agreed because oddly enough, he suggested one of the artists I had already dreamed about remixing me. I realized Travis is the person who is going to make this happen, and I just have full trust in him to see it through. At this point I start to kind of see Travis as this loving Shepherd, herding his vulnerable and precious flock and bringing us all together. My version of “Litmus” is incredibly stark and very ambient. Travis’s mix is anything but that. It is as feral and surreal as it is stunning. He is the Shepherd who is also a master of chaos, manipulating it and making it perfectly coherent.

I had never met Safie Flato, but Travis suggested him to me as a possible artist to remix a track, and after checking him out I agreed we should ask him. Safie heard the EP and asked if he could do “Recursive” because the lyrical concept of recursive energy struck a chord with him. He told me when he was remixing it, the song resurfaced a deep trauma, but it sparked a breakthrough that completely changed how he viewed the experience and he was able to “reconfigure what it meant” to him. I found this meaningful, and knew then he was the perfect fit for this particular track. Safie did something no one else did. He left my vocals and lyrics untouched, and remixed only the music. By doing that, he kept my vulnerability while transmitting his own through his arrangement.

It was an honor and a privilege to get to know everybody better through this deep level of sonic communion. Many thanks to Valerie, Angel, Nick, Safie, and Travis for their masterful renditions of my songs. Thank you also to Arvo Zylo for connecting Travis and I and your part in the ‘Embody’ releases coming to be. Thank you Angel for the pristine mastering.

—Leslie Keffer

The original ‘Embody’ EP is here: frolicpressrecordings.bandcamp.com/album/embody  

Leslie Keffer
lesliekeffer.bandcamp.com/album/perceive

Mandragoro
soundcloud.com/mandragoro

Unicorn Hard-On
www.instagram.com/valerie_martino/
www.instagram.com/unicornhardon/
u-h-o.bandcamp.com/album/dream-machine

Fire-Toolz
fire-toolz.com

datewithdeath
linktr.ee/6travisjohnson6

Safie Flato
www.instagram.com/safieflato/
signifyingsomething.riverside.com


cover collage by Leslie
mastered by Angel Marcloid at Angel Hair Audio
angelhairaudio.com

Abul Mogard & Rafael Anton Irisarri – Where Light Pauses in the Silence of the Sun (Black Knoll Editions)

Posted by John Lithium on

Label Description: In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own.”

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

Abul Mogard: synthesizers, treatments

Rafael Anton Irisarri: electric guitars, Leslie speaker, treatments

Martina Bertoni: cello on “A Blue Descent” and “In a Quiet Radiance”

Andrea Burelli: violin and vocals on “In a Quiet Radiance”

Composed and produced by Abul Mogard and Rafael Anton Irisarri.


“A Blue Descent” composed by Abul Mogard, Rafael Anton Irisarri, and Martina Bertoni.


“In a Quiet Radiance” composed by Abul Mogard, Rafael Anton Irisarri, Andrea Burelli, and Martina Bertoni.

Recorded by Rabih Beaini and Lucas Brell
during a residency at Morphine Raum, Berlin, 18–20 March 2025.

Transformations and overdubs completed in Rome, New York, and Berlin, Summer 2025.

“Of Blessed Ages” recorded by Abul Mogard in Rome.

Additional recordings by Andrea Burelli and Martina Bertoni in Berlin.

Mixed by Abul Mogard in Rome, September–October 2025.

Mastered by Stephan Mathieu at Schwebung, Bonn.

Lacquer cut at Schallplatten Schneid Technik (DE).

Pressed on BioVinyl at Optimal (DE).

Artwork by Marja de Sanctis

Photography advisor: Alessio Pizzicannella

Design and layout by Daniel Castrejón

Made in Germany

Many thanks to: Alessio, Daniel, Karen, Iulia, Marja, Matze and everyone at Morr Distribution, Stephan, all our friends and family.

N NAO – Nouveaux Langages – Volume I (Mothland)

Posted by John Lithium on

Label Description: L’auteure-compositrice-interprète de pop expérimentale montréalaise N NAO, alias Naomie de Lorimier fait appel à une pléthore d’artistes – Lou-Adriane Cassidy, Helena Deland, Das Beat, Ben Shemie (Suuns), Regularfantasy, Sea Oleena, Bénédicte, ainsi que son fidèle collaborateur Charles Marsolais-Ricard alias Charlin – sur Nouveaux Langages (17 juillet 2026 via Mothland), un nouvel album-double comprenant des collaborations, des remixes, ainsi que des démos inédits de son album nommé sur la longue liste du Prix de Musique Polaris 2025, Nouveau Langage. Ce dernier alliait avec brio chanson en français minimale et ambiante, transe aux boucles vocales et accroches mélodiques répétées, le tout paré de textes relationnels, de récits éco-féministes et de réflexions métaphysiques; l’artiste mettant en musique la « puissance de la douceur » sous le signe du feu.

À l’instar de son prédécesseur, Nouveaux Langages puise à même les timbres enregistrés sur bandes magnétiques, les arrangements mêlés d’instruments électroniques (synthétiseurs, boîtes à rythme, modules d’effets) et acoustiques à cordes (harpe, guitares, piano) où nichent aussi cloches, échantillonnage, soundscaping et field recordings, arborant lui aussi des sonorités oniriques et éthérées. Pour le Volume I de ce nouvel ouvrage, N NAO revisite avec qui elle collabore des souvenirs façonnés à deux, s’inspirant de ces genèses impromptues pour guider le processus créatif. Le Volume II, lui, fait vœu de la dévoiler dans toute sa vulnérabilité, se déclinant en une série de pièces-phares enregistrées sur un 4-pistes lors d’une résidence au Couvent des Petites Franciscaines de Marie à Baie-Saint-Paul au printemps 2023.

Montréal experimental pop singer-songwriter N NAO a.k.a. Naomie de Lorimier calls upon a plethora of artists—Lou-Adriane Cassidy, Helena Deland, Das Beat, Ben Shemie (Suuns), Regularfantasy, Sea Oleena, Bénédicte, as well as her longtime collaborator Charles Marsolais-Ricard a.k.a. Charlin—on Nouveaux Langages (July 17th, 2026 via Mothland), a new double-album featuring collaborations, remixes, as well as unreleased demos from her Polaris Music Prize long-listed album, Nouveau Langage. Her 2025 release skillfully combined minimal and ambient French-language song with a trance of vocal loops and repeated melodic hooks, all adorned with relational lyrics, eco-feminist narratives, and metaphysical reflections; the artist setting to music the “power of gentleness” under the sign of fire.

Like its predecessor, Nouveaux Langages draws from dreamlike and ethereal sounds recorded onto reel-to-reel tape via arrangements mixing electronic instruments (synthesizers, drum machines, effects modules) and acoustic string instruments (harp, guitars, piano), which also house bells, sampling, soundscaping, and field recordings. For Volume I of this new work, N NAO revisits memories shaped together with her collaborators, drawing inspiration from these impromptu beginnings to guide the creative process. Volume II, on the other hand, vows to unveil her in all her vulnerability, taking the form of a series of unreleased origin pieces recorded on a 4-track during a residency at Couvent des Petites Franciscaines de Marie in Baie-Saint-Paul in the Spring of 2023.

Volume I

  1. Déjà (feat. Sea Oleena)

Paroles et musique: Naomie de Lorimier
Réalisation: Naomie de Lorimier
Voix, guitare acoustique et échantillonneur: Naomie de Lorimier
Voix et synthétiseurs modulaires: Charlotte Loseth
Harpe: Coralie Gauthier
Guitare acoustique: Charles Marsolais-Ricard
Prise de son: Jean-Bruno Pinard, Naomie de Lorimier et Charlotte Loseth
Mixage: Naomie de Lorimier
Matriçage: Francis Ledoux

  1. Nouveau Langage (Charlin Remix)

Paroles et musique: Naomie de Lorimier
Réalisation: Charles Marsolais-Ricard
Voix, piano, orgue, synthétiseur et échantillonneur: Naomie de Lorimier
Guitare acoustique, échantillonneur, batterie et programmation: Charles Marsolais-Ricard
Batterie et programmation: Samuel Gougoux
Prise de son: Jean-Bruno Pinard et Naomie de Lorimier
Mixage: Charles Marsolais-Ricard
Matriçage: Francis Ledoux

  1. Fleuron (feat. Helena Deland)

Paroles et musique: Naomie de Lorimier
Réalisation: Helena Deland
Paroles additionnelles: Helena Deland
Voix: Naomie de Lorimier
Guitare électrique et voix: Helena Deland
Guitare acoustique, basse et batterie: Patrick Holland
Prise de son: Jean-Bruno Pinard et Patrick Holland
Mixage: Patrick Holland
Matriçage: Francis Ledoux

  1. Echo (Ben Shemie Remix)

Paroles et musique: Naomie de Lorimier
Réalisation: Ben Shemie
Voix, échantillonneur et cloches: Naomie de Lorimier
Synthétiseur, échantillonneur, voix, batterie et programmation: Ben Shemie
Guitare synthétiseur: Charles Marsolais-Ricard
Batterie et programmation: Samuel Gougoux
Programmation: Simone Provencher
Prise de son: Jean-Bruno Pinard
Mixage: Ben Shemie
Matriçage: Francis Ledoux

  1. Corps (feat. Lou-Adriane Cassidy)

Paroles et musique: Naomie de Lorimier
Réalisation: Naomie de Lorimier
Voix, synthétiseur, échantillonneur, batterie et programmation: Naomie de Lorimier
Voix, batterie et programmation: Lou-Adriane Cassidy
Basse: Alexandre Martel
Synthétiseur et échantillonneur: Charles Marsolais-Ricard
Batterie et programmation: Samuel Gougoux
Prise de son: Jean-Bruno Pinard, Lou-Adriane Cassidy, Naomie de Lorimier et Alexandre Martel
Mixage: Naomie de Lorimier
Matriçage: Francis Ledoux

  1. Pleine Lune (Das Beat Remix)

Paroles et musique: Naomie de Lorimier
Réalisation: Das Beat
Paroles additionnelles: Paulina Mertl
Voix: Naomie de Lorimier et Paulina Mertl
Synthétiseur et programmation: Alexander Cowan
Guitare électrique, synthétiseur et échantillonneur: Charles Marsolais-Ricard
Batterie et programmation: Samuel Gougoux
Programmation: Simone Provencher et Jean-Bruno Pinard
Prise de son: Jean-Bruno Pinard
Mixage: Alexander Cowan
Matriçage: Francis Ledoux

  1. Destin (RegularFantasy Remix)

Paroles et musique: Naomie de Lorimier
Réalisation: Olivia Meek
Voix, synthétiseur, batterie et programmation: Naomie de Lorimier
Synthétiseur, batterie et programmation: Olivia Meek
Harpe: Rosalie Gauthier
Guitare acoustique: Charles Marsolais-Ricard
Batterie et programmation: Samuel Gougoux
Prise de son: Jean-Bruno Pinard
Mixage: Olivia Meek
Matriçage: Francis Ledoux

  1. Château d’eau (Bénédicte Remix)

Paroles et musique: Naomie de Lorimier
Réalisation: Maxime Gordon
Voix et synthétiseur: Naomie de Lorimier
Synthétiseur et programmation: Maxime Gordon
Harpe: Rosalie Gauthier
Synthétiseur: Jon Nellen
Synthétiseur: Charles Marsolais-Ricard
Batterie et percussion: Samuel Gougoux
Prise de son: Jean-Bruno Pinard
Mixage: Maxime Gordon
Matriçage: Francis Ledoux

MOTH046-DE

Simon Herody – Water From Mars (Records We Release Records)

Posted by John Lithium on

Label Description: The second full-length album from Simon Herody — French born, Berlin based multi-instrumentalist and composer. Featuring the visual universe of Paul Waak.

Water from Mars retraces the imaginary odyssey of a near-future conquest of space — a sonic journey conceived as a soundtrack for the imagination. Blending acoustic and electronic instruments, Herody navigates between sci-fi jazz, left-field ambient dub, space lounge, and 4th world music, crafting a world where melancholy and forward-thinking curiosity coexist in weightless suspension.

Indulgent, textured, and uncompromising — for fans of glitchy synthesizer textures, cinematic atmospheres, and music that refuses easy categorization.

Produced and performed by Simon Herody.
Mixed by Tim Tabellion.
Mastered by Wouter Brandenburg.
Painting & design by Paul Waak.
Drums on track 6 by Simon Grillères.
Drums on track 7 by Boris van der Hoff.
Thanks to friends and family for all the support
All songs written and produced by Simon Herody in Berlin.

Disinblud – Disinblud (Smuggler’s Way)

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Label Description: Disiniblud, the thrilling new collaborative album project from the composers/producers/multi-instrumentalists Rachika Nayar and Nina Keith.

Rachika and Nina meet on complementary but seemingly disparate musical grounds. On her 2022 breakout LP Heaven Come Crashing, Rachika departed from her usual ambient guitar in favor of maximalist synths, sub-bass, and flickers of Amen breaks. Her distinct fusion of post-rock and electronica earned her accolades as Pitchfork’s Best New Music, on several best of the year lists (The New York Times, Stereogum, Fader, GQ, Bandcamp, etc), and as the opening act on tour with M83. Nina, meanwhile, is best known for her self-trained approach to composition, as evident on her 2019 debut MARANASATI 19111 and its delicate medley of cello, piano, clarinet, and flute, used to explore a personal history marked by community tragedy and paranormal incidents.

On Disiniblud, the two’s self-described “wordless conversation,” orbits such themes as mortality, reinvention through destruction, and sublimating fractured histories into music—all resulting in a work that suggests sweeping transformation can come from embracing old wounds with childlike wonder. Nina envisions this as she and Rachika’s younger selves packing a satchel, holding hands, and daring one another to run away into a place of “wounds and wonder,” only to discover an unforeseeable magic in an amalgam of post-rock, glitchy indie electronica, ambient, and pop genres in this co-created realm.

Disiniblud features guest appearances from Julianna Barwick, Tujiko Noriko, Cassandra Croft, ASPIDISTRAFLY, Katie Dey, June McDoom and Ponytail’s Willy Siegel.