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.
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.
There isn’t much known about Crystal Voyager & UFOm, the two musicians that created “Universe People.” We do know that it’s an album of deep ambience and weirdo sonic exploration; simultaneously harnessing lulling sounds and celestial vibrations alongside more visceral sonic encounters that exist somewhere else entirely.
As previously reported from last year’s “Aliens Are Real” by UFOm, the artist has ties to a low-profile religious organization which necessitates their secrecy. Thankfully, we do have a message from the duo to accompany this release: “From the far recesses of deep space, messages have been telepathically received and interpreted into aural vibrations used to open the pathways of communication between mankind and beings that exist outside our observable universe.” Due to the privacy requested by these two artists, this is all we are able to share with you for now, so continue to widen your mind, open your ears and keep watching the skies.
Music by Crystal Voyager & UFOm Produced by Myles Byrne-Dunhill Recorded West of the Mississippi River, USA, Earth
Performed by Steven Hess, Joseph Clayton Mills, Adam Sonderberg with Mark Wastell (1) and Linda Jankowska, Sarah Hughes, Seth Cooke (2)
Late Work I Recorded by Billy Steiger (London) Mixed by Olivia Block and Adam Sonderberg
Late Work II Recorded by Thomas Carroll (Leeds), Will Montgomery (Brighton), Kathy Hinde (Bristol), and Haptic Mixed by Joseph Clayton Mills
Mastered by Giuseppe Ielasi
Across two decades of restless exploration, the Chicago trio Haptic has earned a reputation for meticulously assembled recordings complemented by unpredictable, often riveting live performances that veer from rigorous minimalism to densely textured, immersive sonic environments. Consistently blurring the lines between different genres and disciplines, their experimental practice has expanded to include installations, soundtracks, and unique site-specific performances at venues such as Chicago’s Museum of Contemporary Art, Lincoln Park Conservatory, and Hyde Park Art Center, as well as collaborations with dancers, filmmakers, and institutions such as the Chicago Film Archive and the Art Institute of Chicago. Their recorded output has been marked by a similar breadth and eclecticism, ranging from the intricacies of Scilens (2011) to the almost monochromatic hush of Abeyance (2014) and slow-motion dissolution of Sensitive Dependence on Initial Conditions (2024).
Research and development: Thanks to Mike Reed and Josh Berman (Chicago), Thomas Carroll (Leeds), Will Montgomery and Paul Khimasia Morgan (Brighton), Dan Linn-Pearl (Hay-on-Wye), Seth Cooke (Bristol), and Fielding Hope (London) for hosting; Sarah Hughes and Mark Wastell for logistical support; Linda Jankowska, Sarah Hughes, Seth Cooke, and Mark Wastell + Tim Daisy (Chicago) and Rose Linn-Pearl (Hay-on-Wye) for performing; Arts Council England and Arts Council Wales for financial support.
Ambivalence 2025: 28 September, Hungry Brain, Chicago; 2 October, Wharf Chambers, Leeds; 3 October, Coach House, Brighton; 4 October, The Old Electric Shop, Hay-on-Wye; 6 October, The Cube, Bristol; 7 October, Cafe OTO, London.
“Re-Make Re-Model” is the result of a five-year dialogue between Norway and New Zealand sound artists Lasse Marhaug and Bruce Russell. What first started as a friendly challenge during the Covid19-lockdown to re-work selected works from each other’s catalogue – using different techniques and experimental approaches, challenging each other to go to extremes – extended to what is now a double-CD and a 100-page book package of writings and photos. Each CDs has eight tracks, a total of 100 minutes of music. The book has extensive notes to each track (often with comments by the corresponding artist). In addition there’s a lengthy essay by Bruce Russell on the project’s origins and the nature of collaboration and noise making; a photo series by Lasse Marhaug; a series of stills by Bruce Russell taken from a video piece; as well as cover artwork and biographical notes.
“It quickly became apparent to me that the distinguishing aspect of this collaboration was that it was a competitive exchange, an ongoing game of ‘one-upmanship’ in which we each sought to outdo the other in terms of the inventiveness; the baroque and pointless complexity; or the sheer bloody-mindedness of the studio processes which we were inventing to transform the other’s work into something ‘rich and strange’” – Bruce Russell from his essay
Hverheij returns with his third Triplicate LP, serving up a mature and moody collection of dark symphonies that sound plucked directly from some award winning Scandinavian drama. 11 tightly constructed and neatly sequenced excursions to the other side await you. Dig in.
**************** INTERVIEW **************** George Ernst AKA Suncastle: This album kinda spooked me. Did you go into this intending to make such a foreboding piece of music?
Harry Verheijen AKA Hverheij: My idea when working on this album was focused on the concept of how creation evolved from void at the dawning of the world. From nothing comes something. How to take the abstract of that and give it some substance through my Push 2 offered me a way of producing sound further removed from other recent projects. I hadn’t really thought about doing anything deliberately foreboding as such, but I found immediate direction with ambient-based sounds in capturing nuances of the void. The first track I worked on was “In The Rising”, which portrays a quiet kind of disturbance and a type of uneasy anticipation, but nothing particularly foretelling of what would come later when doing other tracks. Once I started working on the Outreach pieces in particular, though, some of the music took on darker elements very naturally. How those foreboding elements interplay with the concept of creation as it evolves by the album’s conclusion is open to interpretation, of course.
GE: Are moodier pieces as fun to work on as joyous ones? I enjoy listening to both in more or less equal measure.
HV: Moody pieces are great fun! In the last 6 months I’ve had the pleasure of working in a unique collaborative venture online, where artists contribute without knowing in advance exactly what anyone else will be contributing. It has been a rare improvisation of eclectic sound, dark intonations, progressive directions and bright energy all rolled into one. It’s exciting to work on music against typecast of any kind because it stretches the imagination to produce by design something in that context.Maybe the horrendous weather we were having out here on the wet coast during the time I was working on Afterlight helped the imaging for some of the moodier tracks included in the final selection. Dark, gloomy days certainly acted as a catharsis. What I liked about working on those tracks was that I could use synth sounds not usually experimented with and that’s a fun thing to do at any time. And when the music heads off into the beyond, that’s satisfying. The last thing I want to do is repeat same old, same old. To quote Buzz Lighyear, “To infinity and beyond!” Of course, sometimes that takes it outward to show the dark side. And may the force be with you! Similarly, I get excited when I hear music produced by anyone where the sound is inventive and pushes into new boundaries. That just opens up the world and inspires! Like you, George, I enjoy the music in equal measure, whether its darker in mood or brighter in spirit. My choice of listening preference on a given day is occasionally filtered by the mood I may already be in, but my appreciation of what I hear isn’t limited that way. I let the artist take me on the road less travelled as the music plays when I listen. So I feel enriched – my personal music collection has a broad range.
GE: Played any good video games lately?
HV:Out of the swings of Assassin’s Creed II, it was easy to see the appeal of Fortnight some years back. Then Riot Games brought out Legends of Runeterra, which is based on a “free” mobile platform of collecting cards for power competing against multi-players. I like that it also has a single player mode. But, like a number of these types of games, there’s a certain investment needed to progress, too. As a strategy game with action, it’s been fun and very addictive once I got started. Easy to get lost in the imaginary world of it. But the complexity of keeping character cards clearly identified in my head with their rankings of spells, powers, and abilities is surreal. Just not enough hours to dedicate to keeping that game going consistently, which is the whole idea if you want to be really good with it. Go, Ezreal! Under their smaller sister company, Riot Games will be putting out a single player game for PC or console called Convergence that looks intriguing and is probably more in line with my particular time investment constraints. As a spin-off to the League of Legends universe, Convergence aims to follow the story of Ekko in the city of Zaun. In the outline, Ekko is a young inventor who creates a device that can manipulate time but encounters serious consequences to doing so. Preliminary action sequences look really cool! I’m looking forward to seeing what they do with it at the final release coming out later this year. And since I’m probably better shooting from the hip than casting cards, this might be a new fun diversion between music projects and other goings on.
GE: The structure and sequencing here are excellent. I love how you play with the listener’s mood, for instance, placing the bright and hopeful ‘Beyond Cubism’ after one of the darkest tunes on the record. Was this a challenge to get right?
HV: Yes, there were a few challenges. The order of the tracks on the album were not the order in which I actually worked on them, so I was progressing from a very abstract album concept at the outset and wasn’t sure how it would literally play out. Only when most of them were completed did I have a better idea of how the tracks might fit together. To give a clue to this, my original idea was that I would have started the album with “Outreach 1” and then followed with tracks in a different order from what you see in the final version. I changed the opening track choice because I felt that such a stark initiation to the album would have misrepresented what I later conceptualized as a better lead-in. There were also a couple of tracks that were dropped in the making, so there was a bit of private push and pull to album content before I sent in the demo. Not the first time for that, likely not the last time that happens, either. Anyway, in the end I decided the order of the tracks for Afterlight as you now see it presented. But it took a few shuffles to get it there. Your kind words give me confidence that maybe I got it right. So thanks for that!
GE: Would you rather the floor was lava (and your furniture was miraculously resistant to it) or wherever room you’re in, you’re constantly sharing it with no less than five wasps?
HV: These most dire members of the order of Entomons hold little appeal to the tranquility of my Zen. No less than five, you posit? But more you might deposit? I’ll take my vorpal sword in hand; so long time these manxome foes I sought— and rest me by the Tumtum tree, to stand awhile in thought……nay, they cannot stay. Sword of action would prove pure, the Raid more sure. I’ll use the spray! So raised against the buzz I made attack, my vorpal blade went snicker-snack with earnest wack; and released deep vapours hung with flack – followed that with wheezing hack. By one’s, and two’s, then three’s they fell – these wasps alighted as from hell. I left them dead, and with their manxome heads went galumphing back. “And hast thou slain the Entomon? Come to my arms, my beamish boy! O frabjous day! Callooh! Callay!” Judge Poon loud chortled in his joy. Justified under retreating insecticidal glower, I pleaded to the hour of this power. Therewith a vincebus eruptum to newfound incorruptum – I took contemplation of lava over a sweet cup of java. Now, as in uffish thought I stand on lava floor, tongues of flame come whiffling through the tulgey wood and burbles my furniture as it comes! In char, like tar, it splinters that apart. How must I make a start? ‘Twas scrillig, and the plithy toves did myre and kimble in the glabe; All flimsy were the horogoves, and the tome paths outstrabe. (LC…/hv)
GE: What does the concept of Afterlight signify on this album?
HV: Afterlight is meant to signify a conscious response to the creative force – both the metaphysical and the internal. Recognition is fluid and often illuminated through universal expressions: ars est celare artem. The music of this album is a reflection of these broad strokes and conveyed emotionally. The main unifying elements of the album shift through aspects of half-light – or the interplay between light that filters through darkness. As life emanates from light, spirit rises out of void. These elements are inseparable as creation reaches outward. Let there be growth!
**************** REVIEW **************** No two Hverheij records sound alike. The only consistent theme is quality. Afterlight is his third release on Triplicate Records, following last Halloween’s Fringe Telemetry LP, and his wonderful label debut ‘If not Now’ from Xmas 2020.Sufficed to say like any of our quality artists, he lives and breathes this stuff. Indeed, it feels as though he’s breathing life into music itself on the organic and airy opening tracks ‘Nothing but the Pest u Lent’ and ‘In the Rising’. The former subtly tells us this record is going to be filled to the brim with menace. Colder themes are to be explored. The latter supplemented by a gorgeous yet foreboding voice, sung over cold knifepoint synthesizers. It’s all quite haunting and alarming, but it’s all just so beautifully arranged that you’ll find yourself quite contented to ride Hverheij’s ghost train to the next uneasy stop.First of a trilogy, ‘Outreach 1’ sounds like just that. A long forgotten destination on a ghostly line long since decommissioned, and in the same way that such real life locations can be thrilling to visit, the third track on the record has an undeniable magnetism to its murk. Elsewhere, ‘Biomorphology’, at nine and a half minutes into the album is the first glimmer of hope. The cold and desolation have been enjoyable to bask in, yet there’s no escaping the dopamine those pretty pipes releases. Soon accompanied by a smartly programmed arpeggio and string section, this extremely sonically varied tune is a pure delight to imbibe from start to finish.The slick arp-work continues on ‘Becoming’, their immediate revival announced by a warped and otherworldly horn arrangement. It feels as though the preceding themes are being married here. There’s bright notes of hope in the aforementioned arps playfulness, but the heaviness of the overall mood, and the cynical melodies threaten to swallow it.Appropriately titled, ‘Big Sky Dreaming’ has the most bombastic sound on the album. Punchy drums, soaring pads and a thumping, bubbling bass bound joyously into the moodier ‘Outreach 2′, a desolate frightening piece of music that conjures half remembered nightmares of running in place from the unidentifiable threat, represented here by the ominous pounding of drums.’Beyond Cubism’ feels like a beacon of hope, a decisive answer from the future to the pain-soaked question posed by its predecessor, though it’s not without edge. The erratic synth work gels dreamily with the returning vocals, and by the end, you’re not so sure whether you’ve been handed a life raft or an anchor. The sound of pulsing, sharp electricity becomes a recurring theme towards the end of the album, and is well represented on the following ‘All Reason Fled’. With a title like that, there’s not a lot of room for goofing around. Sure enough, it’s an intricately composed, mature piece of electronica that might feel therapeutic under the right listening conditions. Packed with delightful textures, funky organ stabs and warping effects, it’s an undeniably fun listen, and a definite highlight.Penultimately we arrive at the final instalment of the Outreach trilogy. Grandiose in its darkness and decidedly conclusive in sound. Tentative half-human sounding vocal flourishes, interspersed with Harsh blasts of noise and reverb-laden loose drum swings coalesce to create a cavernous and chaotic gem, which crumbles peacefully into our (sort of) title track, ‘A is for Afterlight’. Pretty keys that sound like the aural equivalent of bioluminescence are scattered across this simple, yet effective closer. The choice of simplicity here feels deliberate. In equal parts a sweet pudding after a rich and characterful main course of an album, and a palette cleanser for the next slice of genius Hverheij is sure to serve up. Dig in.
George Ernst Triplicate Records
Written & Produced by Harry Verheijen Mastered by Michael Southard Artwork by Bryan Kraft
“On a fateful stormy night you receive a panicked phone message from your eccentric and mysterious neighbor Dr. Krick stammering that something terrible has happened and he must flee, begging you to watch over his infant daughter Amanda in his absence. After arriving at the monolithic lighthouse, you learn more about the doctor’s work – Krick’s research navigates the treacherous and unexplored territory of reducing the linear distance between planets and creating a proximity point by focusing electricity across a Fresnel lens, thus harnessing the electrical power stored in lightning to generate a portal to parallel universes. Before you have a chance to admire the vastness and complexity of the laboratory equipment, Amanda is snatched from her cradle by a dark ethereal creature and taken to a distant land in another dimension. Determined to rescue both Amanda and Krick, you follow them through the portal and into a strange world filled with sophisticated machines and bizarre architectures, a world once flourished but now largely destroyed, rendered nearly uninhabitable through the Dark Being’s malicious actions.”
“The Dark Being” is a journey through fantastic and harrowing cosmic realms. From torpid starfields to turbulent seas, from sunken submarines to a volcanic fortress, The Dark Being cascades through time & space as a veritable rollercoaster of sound & emotion. Intended to be perceived in its entirety, The Dark Being represents only one iteration of many possible journeys the listener can take as endless and infinite existential probabilities swirl around us at any given instance in time.
A world of thanks and gratitude to Brian Min for his masterful score to Lighthouse: The Dark Being, which on many occasions was the sole reason for this album’s continuation. Min’s compositions enthralled and captivated my young mind when I first played the game and were largely the reason I even considered this project in the first place.
Album mastered by Dan Paoletti, support their music here: apostrophebeats.bandcamp.com
Synth work/dark ambience on track 4 composed by Luciform, support them here: luciform.bandcamp.com/releases soundcloud.com/luciform
Album art by 0ceanfloor, support them here: twitter.com/0ceansfloor
And finally, a huge thanks to everybody else who contributed physically or emotionally to this project, you all mean so much to me. And biggest thanks to my prince Kodie ❤
Here In The Valley is the debut full-length release from helllhound, the intimate sonic collaboration of life partners Cadmar Fitzhugh and Nailah Hunter. Born out of a seismic shift from urban Los Angeles to a remote mountain town in the Sierra National Forest, the record reflects a period of profound transition—into the wilderness, into parenthood, and into a deeper communion with self.
Woven together through acoustic guitar, harp, voice, and gentle electronics, Here In The Valley evokes the textures of the natural world and the unseen dimensions of ancestral memory. It moves like mist through tall pines and echoes like a fireside tale overheard from across a moonlit meadow. Tracing the arc from conception to early motherhood, the album celebrates the beauty and impermanence of life on Earth, the mysticism of matrescence, and the long journey home to oneself.
With tracks written before, during, and after pregnancy, the album unfolds like a handmade map of a spirit-led pilgrimage—through waterways, starfields, and golden hills. Each song is a milestone, a myth. From the harmonic murmurs of “downstream” to the ancestral chant of “by sea,” the stargazing restfulness of “the pleiades (sleep),” and the gentle nighttime balm of “lullaby,” Here In The Valley is a love letter to new life, old stories, and the sacred quiet in between.
The pair’s shared creative language finds expression in ethereal ambient and folk sounds. Nurtured in the stillness of California’s high country, their music conjures pastoral dreamscapes that hum with the mystery of birth, the longing of memory, and the wild devotion of partnership. Named after their spirited Husky-Aussie dog Sigge, helllhound channels both the chaos and comfort of life lived close to the bone—deep in the valley, with stars above and earth below.
Guitar and Synth by Cadmar Fitzhugh Piano, Vocals, Harp and Guitar by Nailah Hunter
Music For The Rest Of Us 