Label Description: There are many doors in the above simple collage I made for the cover. Doors that lead to nowhere and doors that lead you to the unexpected in life. All doors lead here to this examination of my current ambient work. On these recordings I try and mimic my past and distort it at the same time. Not in any negative way, only as examination. I once read there is nothing more frightening than an unopened door so open one and see.
This is a WHOLENESS RECORDINGS release: WHOLE202603
Such a great bulk of my life, spent muffling the tender inner voice, in maybe-understandable, certainly misguided attempt to shield myself from further feelings of loss. I believe we are all susceptible to this tendency. Turns out it only sublimates the pain, causing it to erupt in greater violence still, jutting out in all directions in fits of hollowed impotence, thorny, as failing, tangled canes.
We outsource the difficult imperative of the conscience to reaction, to the rage and hopelessness proffered by the digital half-world, to charlatan-shepherds of collapsing pretense. We listen for it in the emotional labor of the hurting, merrily excusing ourselves over the darling cliff of claimed helplessness, siblings in tow.
I have been working at listening for it a might bit better. These tunes are meditations on my novice’s effort at the same. They are an apology and appreciation to Augustine, decades gone, for being held as object and unwitting surrogate to my own inner voice. Apology for this too-usual offloading of emotional work, work I should ought to have been doing myself, projected onto a mythologized, magical “other”. Gratitude for the borrowed “Nah, Pelon” that stood in for my conscience such a number of years and spared so many along the way some of my very worst ideas.
I have come to know my conscience as a tiny, sometimes intruding guest, an insectile dragon, often annoying, as it pollinates this inverted flower, this fig, my clumsy devotion.
Self-congratulations hangs around all day, every day, a constant histamine crackle, as I clod-hopper my way along, trying not to break every single thing I come across. Still, volcanic consequence slices clean through my Chuck’s, describing old desolation, enriching future soil under these weeping feet.
The ration is bitter with the sap of old choices, but it nourishes well, across a tongue, plump and honeyed with gratitude.
Turns out his first name wasn’t Solamente, after all. He has only ever had one name. I just didn’t have the language yet to know any different.
But I am working to understand.
Enjoy,
Clayton aka c.soûle
Written, recorded, and produced by c.soûle Mastered by Thomas Ragsdale
Label Description: -Subcultura- by Giuseppe Antonuccio & Antonio Murga A big welcome to Giuseppe Antonuccio here at Petroglyph Music
This album is truly a wonderful journey into a surreal world of experimentalism. Each track invites you to explore unexpected soundscapes, blending innovative rhythms and textures that challenge the ordinary. It’s like stepping into an imaginative dream where every note pushes boundaries and sparks curiosity. A must-listen for anyone eager to experience music beyond the conventional!
No sé cuántos trabajos hemos hecho juntos Giuseppe y yo, algunas maravillas sin duda. Esta Subcultura es idea suya, como muchas iniciativas. En esta ocasión donde él se basa en guitarras y percusión y batería he intentado como siempre hacerle un buen traje. Pero la impromta y la sensibilidad, el ensayar algo, el revivir… La palabra, el alma, el amor… Es que algo tengo que escribir. Y espero sorprender a Giuseppe con el contubernio y ayuda de Øystein Petroglyph!!!
Non so quanti progetti io e Giuseppe abbiamo realizzato insieme, alcuni davvero meravigliosi, senza dubbio. Questa sottocultura è una sua idea, come molte delle sue iniziative. Questa volta, concentrandomi su chitarre, percussioni e batteria, ho cercato, come sempre, di darle l’importanza che merita. Ma la spinta e la sensibilità, il processo di prova, la rinascita… La parola, l’anima, l’amore… Devo assolutamente scrivere qualcosa. E spero di sorprendere Giuseppe con una collaborazione, supportata dallo straordinario Øystein Petroglyph!
I don’t know how many projects Giuseppe and I have done together, some truly wonderful, no doubt. This subculture is his idea, like many of his initiatives. This time, focusing on guitars, percussion, and drums, I tried, as always, to give it the importance it deserves. But the drive and sensitivity, the rehearsal process, the rebirth… The word, the soul, the love… I absolutely must write something. And I hope to surprise Giuseppe with a collaboration, supported by the extraordinary Øystein Petroglyph!
Label Description: More than twenty years of friendship haunt Vrhältnis, the new album by Antoine Chessex and Dave Phillips, out now on Coherent States and Krim Kram. Its source material reaches back twenty years, originating from live performances during a 2005 joint tour in Lausanne and Basel and a studio session recorded the same year at the Dynamo/Popkredit Studio in Zürich. Both sessions were then filed away, the recordings disappearing into the archive, untouched for nearly two decades, before resurfacing in 2025 and prompting both artists to return to them with fresh ears and renewed intent. The material was subsequently reworked, manipulated, layered and decomposed -in Zürich and in Thailand- into the two extended pieces that form this album. Iischtellig and Tüüfi unfold across an expanded temporal horizon, echoes and non-linear fragments reverberating between what was recorded, what was remembered, and what was made anew.
The strange ritual unfolding within Vrhältnis possesses a particular distant quality – the creators’ specific gravity and distinct compositional traits concealed behind accumulating densities. Musique concrète with strong noise and heavy electronics elements is the obvious point of entry, yet the work exists under a mystical prism that embraces sonic naturalness, as if the sounds themselves carry a memory that predates their recording. Running through both pieces is a haunting vocal presence drawn from the Silvesterchlausen tradition of northeastern Switzerland -an ancient Alpine ritual of winter processions- raw and untethered, arriving from no fixed point, eerie and unmoored. Deep in the forest, spectral voices surface and dissolve. What time is it?
Antoine Chessex is a sound artist based in Zurich. Drawing on long-standing experience in experimental music and sonic arts since the late 1990s, his work engages sound and listening across multiple formats. Emerging from an early practice as an improvising saxophonist and a sustained investigation of noise within performance contexts, his work has traversed plural sonic territories. It has since evolved into a distinctly transversal practice moving between performance, installation, research, improvisation, and composition. Rooted in sonic intensity, Chessex’s early experience as a solo performer and collaborator -including works with Zbigniew Karkowski, Jérôme Noetinger, and Valerio Tricoli- positioned him within international noise and avant-garde communities. As a founding member of the experimental noise-rock band MONNO, he toured extensively across underground scenes while maintaining an active international practice as a solo artist. He has appeared at CTM Festival, Unsound, INA/GRM Présence Électronique, Issue Project Room, Berghain, and Café OTO, among others, and has released works on Tochnit Aleph, Fragment Factory, Editions Cave12, Musica Moderna, Bocian, and Rekem Records.
Dave Phillips is a sonic activist, composer, performer and core member of the legendary Schimpfluch-Gruppe alongside Rudolf Eb.er and Joke Lanz, a collective that has spent four decades wielding sound as a tool of metaphysics, protest and catharsis. Emerging from the radical tradition of Viennese Actionism and pushing it into the terrain of harsh noise, performance art and extreme sound, Schimpfluch-Gruppe remains one of the most uncompromising and influential collectives in the history of experimental music. Phillips’ roots stretch back further still, to his co-founding of Swiss grindcore pioneers Fear Of God in the late 1980s. His solo work is as philosophical as it is visceral, rooted in a radical ecological and humanimal worldview that consistently positions the listener at the edge of civilisational discomfort. He has appeared at No Fun Fest, Colour Out Of Space, Liquid Architecture, Ende Tymes, Bergen International Festival and many others, and has released his music on Schimpfluch, Tochnit Aleph, Blossoming Noise, Ideal Recordings, Misanthropic Agenda and numerous other labels worldwide.
Mastered by Francisco Meirino | Artwork inspired by the Silvesterchlausen tradition | Layout by PH!D
A co-release between Coherent States and Krim Kram. CS-59. coherentstates.com bandcamp bigcartel 2026 KK-34. krimkram.com bandcamp 2026
My first noise album in 26 years. I reference all things I love and hate in the track titles. Did I sample these loves or the hates??? No. This whole recording was made with a cheap handheld cassette recorder and worn tape, digital audio recorder (my phone) and an old Yamaha synthesizer. All three sampling mostly musique concrete. The synth I did play some notes and chords on.
This is a WHOLENESS RECORDINGS release: WHOLE202601
composed and produced between October 2023 and January 2024
datewithdeath is Travis D. Johnson: field recordings, electromagnetic and otherwise; digital synthesis; springs; motors; objects; oscillators; drum machines; radios; glockenspiel linktr.ee/travisdjohnsonwrites
Remastered version of this long OOP cassette classic. Please note that the original track order has changed. AAD
This is a WHOLENESS RECORDINGS release: WHOLE032025
released October 31, 2025
The Implicit Order: Soundtools, Sampler, Synth, Cassette Recorder, 4-Track Tape Machine, Digital Signal Processor. These tracks were all recorded on a Tascam 4-Track Cassette Machine, no DAW or modern effects were used. A DAW was used to transport them into the digital domain. Original limited cassette issued in 1997. Reissued as a MP3 digital download by Vuzh Music in 2011.
Thoughts of Trio was recorded live at Morphine Raum in Berlin, Germany on February 21, 2024 by Canadian guitarist Aidan Baker, Korean-American guitarist Han-earl Park, & German drummer/percussionist Katharina Schmidt. The group brings together their respective, disparate musical backgrounds to explore the intersections of ambient music, improvisational (free) jazz, and musique-concrète.
releases December 6, 2024
Recorded live at Morphine Raum in Berlin, Germany on February 21, 2024 by Rabih Beaini.
A collection of concrete compositions and location recordings from the past 30 years of my archive. The recordings are presented in the way in which they were composed and recorded. Meaning they can vary in volume and fidelity. Most of the composed concrete pieces were mixed on a 4-track tape machine with delay and distortion from a rack mount processer(sic). No DAW effects or compression was applied to these raw tracks. The DAW was only used to transfer these recordings to the digital domain.
NOTE: MC = Musique Concrete piece. LR = location recording.
credits
released August 14, 2024
The Implicit Order: tape recorder, digital recorder, mixer.
This is a Wholeness Recordings release: WHOLE0324