Label Description: Recorded Live at Sweat Records in Miami, December 29 2024. Back cover polaroid by Lia Miranza Hernandez Avendano. Live Audience Recording by Guillermo (Lia’s Dad). Master and design by Lasse Marhaug.
iDEAL280 2026. Edition of 100 copies.
FROM THE PRESS RELEASE:
A mild-mannered engineer by day, Michael Carlson is an experimental computer musician who focuses on drone ambient music and field recording; revolving around tracker programs since the early ’90s, informed and inspired by the eclectic styles of music he listens to. The results sometimes hold the listener in stasis, other times guiding the listener through undefined vistas, always with the intent to reward patience.
‘Coalescence’ is the culmination of several years of exploration, experimentation, and revision. Clocking in at just over 4 hours, it also marks the most ambitious remst8 effort to date. Carlson first composed and assembled the music in quadraphonic using a tracker program. He then re-mixed those tracks in stereo for digital distribution, then re-mixed them again in Dolby Atmos™ for this limited edition USB cassette. Finally, Carlson re-mixed select tracks in 5.1 surround-sound for music videos.
Each format serves its own purpose, and each presents the same journey in its own distinct way.
This long-form journey embodies themes of stasis, dissociation, and ultimately resolution. The listener is cast adrift, held aloft, and immersed in sonic environments that reflect nature and the unnatural. The journey ends as it begins, encouraging the listener to repeat the cycle.
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After finishing my live set to close the 2017 Electro-Music Festival in Indianapolis, IN, I was surprised to find Mkl Anderson (Drekka) standing in front of me, expressing interest and appreciation for my music. I had been a fan of his work for a couple years, so it was a pleasant shock that he would approach me.
In that conversation, he suggested I make a long-form piece for his Bluesanct label; something that could be looped endlessly. If I recall correctly, he framed the request as “I want to play it on repeat so I can zone out for hours”.
We have collaborated on a handful of releases since then, sharing field recordings and source materials for the other to build on, re-work, or re-purpose. And Mkl would gently remind me of his original request for the much longer piece.
Several diversions and a pandemic later, I finally pulled all the pieces together into Coalescence. The result represents several years of learning and growth as an artist and as a producer, and I’m proud to finally share it.
_
credits
released May 22, 2026
Bluesanct (INRI099, 22 MAY 2026)
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remst8 “Coalescence”
01 – Buoy v1.33 . 02 – Halcyon v1.32 . 03 – Gravitation v1.47 . 04 – Respite v1.44
05 – Modulator v1.53 . 06 – Unmoor v1.23 . 07 – Pensive v1.67 . 08 – Return v1.24
Total run time: 4:07:48
Includes:
Stereo continuous mix in MP3 and FLAC, individual tracks in Dolby Atmos™ MP4, and select music videos in 5.1 Surround Sound
Serving suggestion:
Play the continuous mix or gapless tracks on repeat while wearing comfortable headphones.
Bluesanct
INRI099
Label Description:
We never met each other and we barely heard of each others solo music. Just a quick and brief e-mail exchange and month later we had an incredible piece of work that stands as one of one of my most graceful and elegant recordings to ever be a part of. I allowed Andrew Liles to mix and compose because I wanted to see how my sounds and noise could be utilized in a more song/musical fashion. When I first heard this recording I almost cried it was so beautiful. Once we were strangers to each other and now friends thanks to this recording. – Daniel Menche, May 21, 2013
Mixed by Andrew Liles
Recorded 2006-2007 in Portland, USA and at the Bear Den, Brighton, East Sussex, UK.
This Bandcamp release is %100 approved by Andrew Liles. Please run to his site and listen and support his work! www.andrewliles.com
Label Description: we are so close. a final burst of effort. hold fast. break through. deploy. connect. clear space…
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“𝘰𝘩.”
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“𝘥𝘪𝘥 𝘪𝘵 𝘸𝘰𝘳𝘬?”
.. …
5 more tracks.
witch dub house tech grime noise breaks drone.
Surge: youtu.be/8pquwFMnbsw
Execute: youtu.be/xLHK6S9Bk7A
the Seal is… different.
read along at home: ourobonicplague.mmm.page/gaproject
.. …
next: deep discussions.
Label Description:
Label Description:
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
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.
This is Haptic recording number seventeen.
You can read a review here: salt-peanuts.eu/record/haptic/ and also in Chain D.L.K.: www.chaindlk.com/reviews/13493
Dusted also – dustedmagazine.tumblr.com/post/814796017101914112/dust-volume-12-number-4-part-2
Label Description:
“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
Digital album comes with the book in PDF format.
Label Description: All music and photography by Chihei Hatakeyama
Label Description:
PHTNM059
Holodec – TRU FOLK LP
footsteps, car horns, a drawer sliding shut.
wind chimes, family voices, street corners.
bus stops, parks, a dog barking, a fight on TV.
Los Angeles, San Francisco, Taipei, Oakland, Keelung, San Gabriel Valley, South City.
░H░o░l░o░d░e░c░’░s░ ░T░R░U░ ░F░O░L░K░ ░L░P░ ░i░s░ ░b░o░t░h░ ░a░ ░f░o░l░k░ ░r░e░c░o░r░d░ ░a░n░d░ ░a░n░ ░a░u░d░i░o░ ░d░o░c░u░m░e░n░t░.░
It draws from a 15-year archive of field recordings that capture the ordinary music of lived life. Rather than aspiring to aesthetic refinement or spiritual escape, TRU FOLK exists at street-level. It approaches sound as a vernacular practice that values what is common and humanmade. The album functions as a record of presence, tracing how people live, move, and endure through shared environments. In doing so, it extends the idea of folk music into the realm of daily listening, creating a document of survival and place.
p̷̨̛̺̩̣̻̟͇̹̖͛̊͊͒̒͂̿̽͘ͅa̶̧̦̞͕̮̠̐͗́̍š̵̲̙̲̗̳̯̼͐̇̿̆̓́̾͝ť̶̰̿̉̒̽͘ ̸̘̲̀̀͋̈l̸̩̽́̀̆̈͘͠ͅi̷͓̬̳̰͊v̶̫̩̦̱̳͎̟̲̤̽ͅẹ̸̛̾̽̑̋̔͝͠s̷̙̃̚ͅ ̸̛̛͚̭̻̒͐̔̏́͠b̶͚̱͍̟̗̜̤͍͐͛́̊̓̕ḝ̷̡̺̤͙̹̗̥̤̿͝c̶̲̮͇̱̰͒̄̀ͅỏ̷̰́̈̍̓̃͆͝͝m̸̨̤̯̯̯͙͓̱̘̻͑͋̄̿͊̃̍̊é̶̛̞̣̥̝͐̍̆̅̏͆͘͠ ̴̡̮͈̥̼͈̹̱̘̃͐̑̈͐̒̾̓͜͝ṱ̷̻̲̩̼̭̲͉̝̽̌̀̀͋h̶̡͚̹̓͐̋̂̋i̸̧̬̫͇͕̩͗͋͐͋̂͘ͅs̵̢̡͈͖͔̘͔͇̾̊͒̀̌͋̕͠ ̶̨̲͓͉͔̍l̴̤̻̱̜̬̒͆́̎́̐̄͠͝i̴̧̪͓̖̻̻͉͇̹̓f̴̛͍̥̤̣̙̅̓͊̀͆̉̈͝ę̴̰̫̖̖̀̚.̴̫̱̀̆̋̊͘͠ ̴̨̼̰͙̃̈́ẗ̶̗̼̲̗͈̤̹̭̲́̐̈̾͂̅̽͐͘͜͝h̵̛͍̤̜͇̉̔ī̸̞̙̲͇̻̕ş̶̩͕̩̲̈́͠ ̵̩͚́͆̓̐l̷̳͔̥͍̞̑̆ͅí̵̛̩͍́͑͗̈͝f̵͙̠̂̍ē̶̪ ̶̙͔̮̩̱̤̪́̑͘b̴̪̭̹̾ę̶̧̢̱͖̰̑̾c̶̨͚̺̗̬̳̎̀ǫ̵̢͓͖̠̝͎̺̌̔̿̍͘͘͜ͅm̴̼̬̩͒̑͆̋̕̚̚͝e̷̡̛̳͚̰̞̱͊͒͝s̶̢̨̅̀̿̈́̒͑ ̵̡̙̭̤̟͕̘̖͑́̋̄̾̚͜͜͝ṭ̶̢͔̪͎̘̋̾̚ͅh̸̥̪̦̮̆̑͠ȩ̷̝̳͚͕̦̃̆́̆͝͠ͅ ̸̡̰̪̲̣͈̤̆̿̃̈̏́n̶͖̓ê̴̢̧̹̥̙̭̞̂̃̓́̒͊̅̿͋x̵̥͙͉̝̙͍͖̱̭͇̆̾̀́̇̋̓̽̚͝t̸̨̧͙̘̻̞̰̍̆̇̈́̀̎̈́̀̚ ̴̧̖̠̪̙̊̿̍̏͊̏l̵̜̖̺̐̓̿i̴̞̘̲̪͚̪͛̆̓̃͊̓̅̓͒̈́f̷̟̜̻͗͗͒̌̐̎͗̍͜é̸͚̼̬͖̫̯̌̀̍ͅ.̵̧̦̮̼̙͚͍͗͊͗̅͒̚͜
credits
Mastered by Nick Foglia
Artist & Repertoire Direction by Jonathan Jayasinghe
Design by Allek Bien
Photography by Donovan Novotny
Label Description:
A rather minimalist take on the idea of drones in music. Created early in my second life as a composer.
Sounds & Production by Glenn Sogge
Cover Art & Design by Glenn Sogge
Originally released July 28, 2018 on Studio 4632 (RIP Candy Lozier)
Music For The Rest Of Us 