Фирма Denovali

Saffronkeira's previous album "Cause and Effect" constituted the first ever collaboration work of Caria and resulted from a close and unique joint work with trumpeter Mario Massa. Synecdoche picks up this collaboration idea, but this time features collaboration with various different artists, namely Mia Zabelka and Siavash Amini & Idlefon, as well as the Denovali artists Field Rotation, Sebastian Plano, Subheim and Witxes. Mixed and mastered by Alex Gámez at Störung Studio, Synecdoche brings Saffronkeira's distinct electronic sound to a next level which is further perfected by the individual and fascinatingly diverse collaborations. Record Label: Denovali Style: Experimental

After his successfull selftitled debut in 2008 and the sophomore "II" in 2012 - album of the month in many magazines and in numerous "Best of the year" lists - Bücker returns with his third BERSARIN QUARTETT album "III", due for release 6.11.2015 on Denovali Records. Much like his two predecessors, III is a pure paradox. It is the creation of a perfectionist, an adamant control freak. Whereas BERSARIN QUARTETT's debut was merely a description of melancholia in its most pure form, III maybe even goes as far a defining what melancholia really is. It is the only emotion in the vast spectrum of human states of mind which one can bear forever. Record Label: Denovali Style: Experimental

First edition in coloured vinyl! - thick cardboard cover - printed innersleeve - 180g Vinyl. Samuel van Dijk is an electronic music producer, sound designer and media artist from the Netherlands, having released electronic music under a variety of projects, namely, Mohlao and VC-118A. With his current project Multicast Dynamics he creates ever-evolving sound textures culminating in intriguing soundscapes while preserving a tranquil cinematic atmosphere. Drawing inspiration from nature, technology, film and fiction, his music productions, live sets and audiovisual work presents a carefully arranged, recorded and processed body of work, using a vast amount of layered sound textures, field recordings and live improvisation. In May 2015, Denovali Records released the first two albums of a four part series by Multicast Dynamics, conceptually linked by our undeniable connection with nature and its wide range of landscapes, colors and movement. Now the third album called SCANDINAVIA follows in October 2015. The album series moves from an evolutionary to a cosmological scale: Starting from dry land filled with light and streams, to the constantly changing surfaces of the oceans, into a frozen and murky underwater world, finally up to the arrival in an interstellar space and the cosmos. With this concept Multicast Dynamics explores organic and aqueous worlds in a dreamlike and spiritual appearance. SCANDINAVIA is the third installment in the four part series. Assembled during the coldest season, it's an album full of contemplative electronic recordings, created by the use of granular synthesis, obscure delay units and rudimentary looping techniques on magnetic tape. Recorded with a longsighted outlook, SCANDINAVIA features washes of subdued tones and textures as well as melancholic and warm sounding pulses of noise - all characterized by distinctive aquatic features. Steadily flowing, but slowly awakening the album draws frozen remote landscapes ranging from dark, cold and desolated to melting, warm and hope. SCANDINAVIA opens with a bleak arctic environment in deep hibernation, where echoes of glacial bursts cut the silence. An undulating mass of viscous ambience sends out blurred out signals through the storm. In this inhospitable surrounding of frost and ice slow changes appear. The form of the landscapes alters and the cold air no longer hinders the breathing. Slowly meltwater seeps out underneath thick layers of ice, slowly building up in momentum and space. Layers of hypnotic atmospheres with barely perceptible undercurrents, brooding pulses of bass and tonal patterns lead to the core of the sonic landscape. Gently radiant layers of light and soil emerge and aquatic echoes expose new paths. The water is harnessed. Preparations for a long journey have begun. Record Label: Denovali Style: Experimental

First edition in coloured vinyl! - thick cardboard cover - printed innersleeve - 180g Vinyl. Based in Californian Humboldt County, Brian Pyle wanders the world on his countless travels. Far from being restless, he has his very own Pylesque way of travelling. Much like a Lynchian version of Hemingway, he has an eye for the thin layer between restlessness and relaxation, gloom and serenity. Wherever he goes, he ardently absorbes these nuances, rarefies them and moulds them into a seamless array of glimmering styles, from drone and ambient to shoegaze and post-wave, giving birth to yet another creation of his prolific Ensemble Economique project. On his by now eleventh album and fourth Denovali release "Blossoms In Red", Pyle combines and perfects elements of his previous output into a cohesive narrative. The opener "From The Train Window, Red Flowers On The Mountain" is a surprisingly scarce ambient piece, which feels like an almost infinitely stretched precious moment of time. Despite being austere, it is warm, sublime and incredibly captivating and after listening to its full 8 minutes, one cannot help but to rewind and replay. Having barely escaped this seductively infinite loop, one encounters the title track "Blossoms In Red" featuring Portland electronic duo Soft Metals. Starting off with a characteristic sluggish programmed beat, one is immediately overpowered by the onset of the towering combination of a warm bassline and a shimmering synth ambience. As the track flows, these elements writhe around each other in a delicately beautiful fashion, absorbing the materialising wailing guitar which almost sounds like an ethereal voice, as well as the occasional melodic and rhythmic accents. The next track sees this guitar return in a rather pure form. "On The Sand", featuring jack-of-all-trades Peter Broderick, is essentially just reduced analogue drums, electric guitar, a simple vibrating bassline and hoarse almost spoken vocals. Slowly and methodically, these constituents form a captivating erotic ritual, much like a beguiling and hypnotic mandala procession of imperturbable blissful individuals on the beach. As proven on numerous occasions, Pyle can easily lead all his trumps in the presence of female lead vocals, and "Blossoms In Red" makes no exception. Indeed, "You, By Candlelight" is easily the best Ensemble Economique track with female vox to date. Pyle manages to embed the vocals just in the right minimal amount of instrumental layers, making the track radiate an elusive tranquility. The fifth and closing track "Nothing Is Perfect" is a classically tinged piano piece with only very little processing and sparse field recording samples. With all pieces of the album, Pyle manages to create tracks which feel like being composed only of two or three layers of sound, that are nevertheless allowed to develop a life cycle which seems incredibly long - track lengths vary from 6:30 to 8:10 - but still feels just right. Thus "Blossoms In Red" is probably Ensemble Economique's most minimalistic album, but at the same time - or maybe just for this reason - his most skilled work. Record Label: Denovali Style: Experimental

Samuel van Dijk is an electronic music producer, sound designer and media artist from the Netherlands, having released electronic music under a variety of projects, namely, Mohlao and VC-118A. With his current project Multicast Dynamics he creates ever-evolving sound textures culminating in intriguing soundscapes while preserving a tranquil cinematic atmosphere. Drawing inspiration from nature, technology, film and fiction, his music productions, live sets and audiovisual work presents a carefully arranged, recorded and processed body of work, using a vast amount of layered sound textures, field recordings and live improvisation. In May 2015, Denovali Records released the first two albums of a four part series by Multicast Dynamics, conceptually linked by our undeniable connection with nature and its wide range of landscapes, colors and movement. Now the third album called SCANDINAVIA follows in October 2015. The album series moves from an evolutionary to a cosmological scale: Starting from dry land filled with light and streams, to the constantly changing surfaces of the oceans, into a frozen and murky underwater world, finally up to the arrival in an interstellar space and the cosmos. With this concept Multicast Dynamics explores organic and aqueous worlds in a dreamlike and spiritual appearance. SCANDINAVIA is the third installment in the four part series. Assembled during the coldest season, it's an album full of contemplative electronic recordings, created by the use of granular synthesis, obscure delay units and rudimentary looping techniques on magnetic tape. Recorded with a longsighted outlook, SCANDINAVIA features washes of subdued tones and textures as well as melancholic and warm sounding pulses of noise - all characterized by distinctive aquatic features. Steadily flowing, but slowly awakening the album draws frozen remote landscapes ranging from dark, cold and desolated to melting, warm and hope. SCANDINAVIA opens with a bleak arctic environment in deep hibernation, where echoes of glacial bursts cut the silence. An undulating mass of viscous ambience sends out blurred out signals through the storm. In this inhospitable surrounding of frost and ice slow changes appear. The form of the landscapes alters and the cold air no longer hinders the breathing. Slowly meltwater seeps out underneath thick layers of ice, slowly building up in momentum and space. Layers of hypnotic atmospheres with barely perceptible undercurrents, brooding pulses of bass and tonal patterns lead to the core of the sonic landscape. Gently radiant layers of light and soil emerge and aquatic echoes expose new paths. The water is harnessed. Preparations for a long journey have begun. Record Label: Denovali Style: Experimental

Based in Californian Humboldt County, Brian Pyle wanders the world on his countless travels. Far from being restless, he has his very own Pylesque way of travelling. Much like a Lynchian version of Hemingway, he has an eye for the thin layer between restlessness and relaxation, gloom and serenity. Wherever he goes, he ardently absorbes these nuances, rarefies them and moulds them into a seamless array of glimmering styles, from drone and ambient to shoegaze and post-wave, giving birth to yet another creation of his prolific Ensemble Economique project. On his by now eleventh album and fourth Denovali release "Blossoms In Red", Pyle combines and perfects elements of his previous output into a cohesive narrative. The opener "From The Train Window, Red Flowers On The Mountain" is a surprisingly scarce ambient piece, which feels like an almost infinitely stretched precious moment of time. Despite being austere, it is warm, sublime and incredibly captivating and after listening to its full 8 minutes, one cannot help but to rewind and replay. Having barely escaped this seductively infinite loop, one encounters the title track "Blossoms In Red" featuring Portland electronic duo Soft Metals. Starting off with a characteristic sluggish programmed beat, one is immediately overpowered by the onset of the towering combination of a warm bassline and a shimmering synth ambience. As the track flows, these elements writhe around each other in a delicately beautiful fashion, absorbing the materialising wailing guitar which almost sounds like an ethereal voice, as well as the occasional melodic and rhythmic accents. The next track sees this guitar return in a rather pure form. "On The Sand", featuring jack-of-all-trades Peter Broderick, is essentially just reduced analogue drums, electric guitar, a simple vibrating bassline and hoarse almost spoken vocals. Slowly and methodically, these constituents form a captivating erotic ritual, much like a beguiling and hypnotic mandala procession of imperturbable blissful individuals on the beach. As proven on numerous occasions, Pyle can easily lead all his trumps in the presence of female lead vocals, and "Blossoms In Red" makes no exception. Indeed, "You, By Candlelight" is easily the best Ensemble Economique track with female vox to date. Pyle manages to embed the vocals just in the right minimal amount of instrumental layers, making the track radiate an elusive tranquility. The fifth and closing track "Nothing Is Perfect" is a classically tinged piano piece with only very little processing and sparse field recording samples. With all pieces of the album, Pyle manages to create tracks which feel like being composed only of two or three layers of sound, that are nevertheless allowed to develop a life cycle which seems incredibly long - track lengths vary from 6:30 to 8:10 - but still feels just right. Thus "Blossoms In Red" is probably Ensemble Economique's most minimalistic album, but at the same time - or maybe just for this reason - his most skilled work. Record Label: Denovali Style: Experimental

Limited first pressing on colored vinyl - heavy sleeve - printed innersleeves - 180g vinyl - downloadcode In anticipation of an upcoming full length album, ONEIROGEN releases the "Plenitude" EP. Over 5 songs spanning 22 minutes, "Plenitude" is a concise blast of intensity, featuring vivid contrasts between industrial noise and expansive ambient music, and a deeply personal dimension unheard on past releases. As ONEIROGEN (o-NI-ro-jen), Mario Diaz de Leon creates his own style of hallucinatory music. The project was initiated in 2012 with the release of "Hypnos", which garnered widespread acclaim among fans of experimental and heavy music for its varied and cinematic style, merging ethereal synths, brutal distortion, dark ambient and noise. This was followed in 2013 with "Kiasma", an intensification of the doom/black metal elements present on the debut. With its precise song structures and haunting integration of melody and texture, the album's drum-less distortion went far beyond the categories of "drone" and "ambient", into a style unique to the album. In the 2 years since the release of "Kiasma", Diaz de Leon has developed his sound through regular live appearances in the underground metal and experimental scenes of NYC. Lyrically, the songs draw from Diaz de Leon's personal experiences and spiritual work, confronting the inner crisis of a "dark night of the soul", the "shining blast" of a kundalini awakening, and an ode to the creative and destructive powers of an archetypal mother goddess. While previous releases used vocals and percussion sparingly, the tracks "Collapsing" and "Vessel" bring these elements closer to the forefront, alongside lacerating bursts of feedback and hypnotic synth riffs. The glacially expansive title track and polyrhythmic pulses of "Emergence" conclude the EP with a balance of mesmerizing stillness and pummeling aggression. Record Label: Denovali Style: Ambient

Limited first press on coloured vinyl! - thick cardboard cover - printed inner sleeves - 180g Vinyl - Downloadcode. Operating out of London's Cable Street studios, on the vacated docks of empire and in the shadow of Canary Wharf, Moon Zero is the project of producer and composer Tim Garratt. This self-titled debut album is the culmination of the exploratory drone work of his first EPs, 2014's 'Tombs' and 'Loss' (Denovali). Drawing on the micro-polyphony of classical modernism and analogue-leaning contemporary electronic music, it's the finest incarnation yet of an aesthetic that's both minimal and cinematic: an unhurried, massive tapestry of sound built from minute processes and hidden melodic lines. The music spools out of Garratt's mind in the form of extensively screwed up synthesizers, bowed cymbals, liquidated instruments and detuned tape loops. Bounced between effects chains, music software, mixing desks and tape, his materials are then inflated and tampered with, in different venues of a particular significance or suggestive atmosphere. The results are enigmatic, hypnotic and register a note of mourning. They are mercifully free of the obligatory club references of electronic music that's destined for a different mood but nonetheless confines itself to bygone ost-club' tropes. "I was listening to a lot of William Basinski, Bowie's 'Low', Swans, Messiaen, Stars of the Lid, Cluster, Eno. Carl Sagan," remembers Garratt. Garratt seeks out spaces in the city which can be turned into echo chambers for his ambient, avant-gardist material. Yearning to derive some meaning from a point in space-time, these resonances turn back and pacify some of the frenzied and alienating forces in both the human and the place. Like the preceding EPs, oon Zero' was recorded at St George in the East in Shadwell, London. Having written the preliminary tape loops (this time secluded and out-of-signal in rural Wales) at the end of 2014, he returned to St George in June 2015. "I only had a five hour window to record everything, which I hope gives the record a sense of spontaneity and life". Religious themes pervade the album, drones imported from ancient sects and the never-silent industrial era - a convergence that is mirrored by the dead history of the Thames and present-day flows of money and data outside his Limehouse studio. In the time between the project's inception and the 'Moon Zero' sessions, Garratt worked on readying his material to perform live. "Because of the lack of pre-recorded material, and as the previous EPs were largely improvised, it meant that I was constantly performing new sets each time I'd play a show. Although this was liberating it was also too dependent on variables that were often out of my control. So with this album I wanted to write a more coherent piece of music which could be loosely recreated in a live scenario." He refined his method with gigs at Denovali Swingfest in Essen, Germany, Zemlika Festival in Durbe, Latvia and in London, supporting artists like Ben Frost, Hauschka, Jon Hassell, Fennesz and Cold Specks. His shows are regularly proving transcendental. Moon Zero will be touring in Europe in October with label mates Oneirogen and Second Moon Of Winter. Record Label: Denovali Style: Ambient

In anticipation of an upcoming full length album, ONEIROGEN releases the "Plenitude" EP. Over 5 songs spanning 22 minutes, "Plenitude" is a concise blast of intensity, featuring vivid contrasts between industrial noise and expansive ambient music, and a deeply personal dimension unheard on past releases. As ONEIROGEN (o-NI-ro-jen), Mario Diaz de Leon creates his own style of hallucinatory music. The project was initiated in 2012 with the release of "Hypnos", which garnered widespread acclaim among fans of experimental and heavy music for its varied and cinematic style, merging ethereal synths, brutal distortion, dark ambient and noise. This was followed in 2013 with "Kiasma", an intensification of the doom/black metal elements present on the debut. With its precise song structures and haunting integration of melody and texture, the album's drum-less distortion went far beyond the categories of "drone" and "ambient", into a style unique to the album. In the 2 years since the release of "Kiasma", Diaz de Leon has developed his sound through regular live appearances in the underground metal and experimental scenes of NYC. Lyrically, the songs draw from Diaz de Leon's personal experiences and spiritual work, confronting the inner crisis of a "dark night of the soul", the "shining blast" of a kundalini awakening, and an ode to the creative and destructive powers of an archetypal mother goddess. While previous releases used vocals and percussion sparingly, the tracks "Collapsing" and "Vessel" bring these elements closer to the forefront, alongside lacerating bursts of feedback and hypnotic synth riffs. The glacially expansive title track and polyrhythmic pulses of "Emergence" conclude the EP with a balance of mesmerizing stillness and pummeling aggression. Record Label: Denovali Style: Ambient

Operating out of London's Cable Street studios, on the vacated docks of empire and in the shadow of Canary Wharf, Moon Zero is the project of producer and composer Tim Garratt. This self-titled debut album is the culmination of the exploratory drone work of his first EPs, 2014's 'Tombs' and 'Loss' (Denovali). Drawing on the micro-polyphony of classical modernism and analogue-leaning contemporary electronic music, it's the finest incarnation yet of an aesthetic that's both minimal and cinematic: an unhurried, massive tapestry of sound built from minute processes and hidden melodic lines. The music spools out of Garratt's mind in the form of extensively screwed up synthesizers, bowed cymbals, liquidated instruments and detuned tape loops. Bounced between effects chains, music software, mixing desks and tape, his materials are then inflated and tampered with, in different venues of a particular significance or suggestive atmosphere. The results are enigmatic, hypnotic and register a note of mourning. They are mercifully free of the obligatory club references of electronic music that's destined for a different mood but nonetheless confines itself to bygone ost-club' tropes. "I was listening to a lot of William Basinski, Bowie's 'Low', Swans, Messiaen, Stars of the Lid, Cluster, Eno. Carl Sagan," remembers Garratt. Garratt seeks out spaces in the city which can be turned into echo chambers for his ambient, avant-gardist material. Yearning to derive some meaning from a point in space-time, these resonances turn back and pacify some of the frenzied and alienating forces in both the human and the place. Like the preceding EPs, oon Zero' was recorded at St George in the East in Shadwell, London. Having written the preliminary tape loops (this time secluded and out-of-signal in rural Wales) at the end of 2014, he returned to St George in June 2015. "I only had a five hour window to record everything, which I hope gives the record a sense of spontaneity and life". Religious themes pervade the album, drones imported from ancient sects and the never-silent industrial era - a convergence that is mirrored by the dead history of the Thames and present-day flows of money and data outside his Limehouse studio. In the time between the project's inception and the 'Moon Zero' sessions, Garratt worked on readying his material to perform live. "Because of the lack of pre-recorded material, and as the previous EPs were largely improvised, it meant that I was constantly performing new sets each time I'd play a show. Although this was liberating it was also too dependent on variables that were often out of my control. So with this album I wanted to write a more coherent piece of music which could be loosely recreated in a live scenario." He refined his method with gigs at Denovali Swingfest in Essen, Germany, Zemlika Festival in Durbe, Latvia and in London, supporting artists like Ben Frost, Hauschka, Jon Hassell, Fennesz and Cold Specks. His shows are regularly proving transcendental. Moon Zero will be touring in Europe in October with label mates Oneirogen and Second Moon Of Winter. Record Label: Denovali Style: Ambient

Limited first pressing on halb blue/halb white vinyl - 180g An ardent moulder of sound, John Lemke began carving out a very unique music blend on his debut album 'People Do' (2013) and its follow up EP 'Walizka' (2014). Informed by his work as a sound designer & composer for documentary films and his natural inclination towards fusing rhythm with rich textures and emotive melodies, he set out on a musical path that had been long in the making and is ever evolving. The quest for unusual, inspiring sound sources has always been at the heart of John's process, however the genesis of his second album 'Nomad Frequencies' was rooted in much more inadvertent circumstances. In the summer of 2014, forced to indefinitely evacuate his Glasgow flat and studio due to structural damage from one hour to the next, with nothing more than a laptop and a bag of clothes, John embarked on a six month odyssey of soul searching, couch surfing and spending an extended period of time in his old hometown of Berlin for the first time in years - it was to be an odyssey that would help ferment and distill the ideas of his second album on which work had just begun. A year of particular global turmoil and upheaval, combined with John's personal, albeit very minor, 'displacement', caused a lot of questioning, frustration and anger, which somehow found its way onto the new material: a more confrontational, at times aggressive sound, paired on the other hand with a yearning for harmony, balance and space. Other influences came less from the world of music, but rather in visual form, through the densely textural art of Anselm Kiefer and the political, yet poetic musings of film maker Adam Curtis. Intent on refining his sound toward a more minimal, bolder style, John set out to limit his sonic palate to a handful of carefully chosen elements. At the centre of this new direction remains the muted piano already introduced on his debut, but in a much more purified and raw form. This organic base is adorned by the warm fuzzing and wavering of analogue synthesisers, tape echoes, meditative tuning forks, field recordings from John's 'exile' period and percussion based on his rigid approach to sampling, which started developing on 'Walizka'. The guiding principle of his orthodox style of recording and sampling is to only use home-made sounds by utilising his own field recordings, applying contact microphones or hydrophones to objects and instruments, running them through different kinds of speakers and re-recording the sounds to arrive at a 'lived in' quality, often misunderstood as plainly 'lo-fi'. Touches of viola and woodwinds parts (Kim Moore of WOLF and Andrew Baker respectively) provide melody fragments and subtle details throughout the journey. With John's healthy disregard for genre boundaries, the array of influences on 'Nomad Frequencies' is vast, but never over-powering. From the meditative tuning fork that starts proceedings on 'Of Elsewhere', the dub echoes to the hints of minimalism, free jazz explosions to the Lynchian atmospherics, all elements serve nothing more than the album's narrative journey between friction and harmony, best appreciated in its entirety. A rhythmic backbone collides with rich ambience and melody, often infectious and jarring at the same time, forging a soulful whole which most likely only reveals its true self after multiple spin Record Label: Denovali Style: Electronic

An ardent moulder of sound, John Lemke began carving out a very unique music blend on his debut album 'People Do' (2013) and its follow up EP 'Walizka' (2014). Informed by his work as a sound designer & composer for documentary films and his natural inclination towards fusing rhythm with rich textures and emotive melodies, he set out on a musical path that had been long in the making and is ever evolving. The quest for unusual, inspiring sound sources has always been at the heart of John's process, however the genesis of his second album 'Nomad Frequencies' was rooted in much more inadvertent circumstances. In the summer of 2014, forced to indefinitely evacuate his Glasgow flat and studio due to structural damage from one hour to the next, with nothing more than a laptop and a bag of clothes, John embarked on a six month odyssey of soul searching, couch surfing and spending an extended period of time in his old hometown of Berlin for the first time in years - it was to be an odyssey that would help ferment and distill the ideas of his second album on which work had just begun. A year of particular global turmoil and upheaval, combined with John's personal, albeit very minor, 'displacement', caused a lot of questioning, frustration and anger, which somehow found its way onto the new material: a more confrontational, at times aggressive sound, paired on the other hand with a yearning for harmony, balance and space. Other influences came less from the world of music, but rather in visual form, through the densely textural art of Anselm Kiefer and the political, yet poetic musings of film maker Adam Curtis. Intent on refining his sound toward a more minimal, bolder style, John set out to limit his sonic palate to a handful of carefully chosen elements. At the centre of this new direction remains the muted piano already introduced on his debut, but in a much more purified and raw form. This organic base is adorned by the warm fuzzing and wavering of analogue synthesisers, tape echoes, meditative tuning forks, field recordings from John's 'exile' period and percussion based on his rigid approach to sampling, which started developing on 'Walizka'. The guiding principle of his orthodox style of recording and sampling is to only use home-made sounds by utilising his own field recordings, applying contact microphones or hydrophones to objects and instruments, running them through different kinds of speakers and re-recording the sounds to arrive at a 'lived in' quality, often misunderstood as plainly 'lo-fi'. Touches of viola and woodwinds parts (Kim Moore of WOLF and Andrew Baker respectively) provide melody fragments and subtle details throughout the journey. With John's healthy disregard for genre boundaries, the array of influences on 'Nomad Frequencies' is vast, but never over-powering. From the meditative tuning fork that starts proceedings on 'Of Elsewhere', the dub echoes to the hints of minimalism, free jazz explosions to the Lynchian atmospherics, all elements serve nothing more than the album's narrative journey between friction and harmony, best appreciated in its entirety. A rhythmic backbone collides with rich ambience and melody, often infectious and jarring at the same time, forging a soulful whole which most likely only reveals its true self after multiple spin Record Label: Denovali Style: Electronic

180g. Following on from early 2015's exercise in dissonant formalism "Sarava Exu", "Machine to Machine", Donoso's newest full length work sees a return to a more melodic sound. "Machine to Machine", continues to bridge the gap between Donoso's more rhythmic and melodic work alongside his more experimental, loose and dissonant side yet still maintaining his unique signature feel; "WTF"-polymertric rhythms, elegant cinematics and spine chilling tension. Recorded over the last two years in between visual commissions and more through-composed heady works such as "Sarava Exu" and "A Song for Echo", "Machine to Machine" represents Donoso's return to the songbook format for the first time since 2012. Influenced by the work of Edward Bernays, Gustave Le Bon and Ernest Dichter - wherein past efforts have seen Donoso looking inwards, "Machine to Machine" has him looking outward - incorporating subliminal advertising techniques such as backmasking, ZMET and steganography, "Machine to Machine" is a meditation on priming with and without awareness and a treatise on the psychophysics of our contemporary age. "Machine to Machine"'s collection of songs are Donoso's most versatile yet, incorporating all major elements from his discography into a unified album. There is something for everyone on "Machine to Machine", and that is well the point, a vast range of emotion eliciting stimuli for your consumption. RICARDO DONOSO is a composer, percussionist and electronic musician from Rio de Janeiro, Brazil who currently resides in Boston. After having studied composition at Berklee College of Music and New England Conservatory he has participated in a slew of projects over the years, most notably playing drums for avant-death metal unit Ehnahre and being one half of the ever morphing electronic duo Perispirit. Ricardo's musical vocabulary draws as much from contemporary composition, drone, to techno and noise Record Label: Denovali Style: Experimental

Limited first pressing on blue vinyl - 180g. Mario Diaz de Leon is emerging as a singular voice in contemporary music. With a body of work that cannot be neatly categorized, his music is marked by a sound that is both hallucinatory and intensely physical, and an aesthetic engagement with the role of mysticism in contemporary life. Born in Minnesota, Diaz de Leon expanded from his early years in metal and hardcore punk to immerse himself in the work of 20th century composers Scelsi, Ligeti, Dumitrescu, and Xenakis, free improvisation, a wide range of electronic music, and noise / industrial music. Based in NYC since 2004, he completed a doctorate in music composition at Columbia University, while also immersing himself in NYC's experimental, noise, and underground metal scenes. His debut album as composer, "Enter Houses Of", was released in 2009 on John Zorn's Tzadik label and praised by the New York Times for its "hallucinatory intensity". The album marked a key point in his association with the International Contemporary Ensemble (ICE), now acclaimed as the new gold standard for new music" (The New Yorker). As a solo performer, he is active under the name Oneirogen (o-NI-ro-jen), a project known for its merging of ethereal synths, brutal distortion, and noise influences. Since 2012, Oneirogen has toured internationally and released two full lengths and one EP on the Denovali label. "The Soul is the Arena" is the long awaited follow up to his 2009 composer debut, and the first release of his classical works for Denovali. The album's three tracks find Diaz de Leon deepening his collaboration with the core members of ICE, now a decade long. The mythological trope of the labyrinth, where a winding path leads to a central event that demands a fundamental change of direction, features heavily in the album's blend of acoustic and electronic elements, where a wide variety of ideas are unified by continuous momentum and arresting points of climax. "Luciform" and "The Soul is the Arena" pit virtuosic performances by soloists Claire Chase (flute) and Joshua Rubin (bass clarinet) against an array of vivid electronic textures. These range in character from doom-laden sub-bass to abrasive synthetic cacophony, recalling both Wolf Eyes and the early electronic works of Stockhausen. The elegiac "Portals Before Dawn" is written for a sextet of woodwinds, piano, percussion, and features Diaz de Leon himself on synthesizer. Reducing the density of the previous pieces to its essence, the work unfolds over 20 haunting minutes, transporting the listener through a boundless landscape of rising and falling intensities. Visionary and immersive, this is a bold body of work from an emerging master of modern composition. Record Label: Denovali Style: Experimental

Following on from early 2015's exercise in dissonant formalism "Sarava Exu", "Machine to Machine", Donoso's newest full length work sees a return to a more melodic sound. "Machine to Machine", continues to bridge the gap between Donoso's more rhythmic and melodic work alongside his more experimental, loose and dissonant side yet still maintaining his unique signature feel; "WTF"-polymertric rhythms, elegant cinematics and spine chilling tension. Recorded over the last two years in between visual commissions and more through-composed heady works such as "Sarava Exu" and "A Song for Echo", "Machine to Machine" represents Donoso's return to the songbook format for the first time since 2012. Influenced by the work of Edward Bernays, Gustave Le Bon and Ernest Dichter - wherein past efforts have seen Donoso looking inwards, "Machine to Machine" has him looking outward - incorporating subliminal advertising techniques such as backmasking, ZMET and steganography, "Machine to Machine" is a meditation on priming with and without awareness and a treatise on the psychophysics of our contemporary age. "Machine to Machine"'s collection of songs are Donoso's most versatile yet, incorporating all major elements from his discography into a unified album. There is something for everyone on "Machine to Machine", and that is well the point, a vast range of emotion eliciting stimuli for your consumption. RICARDO DONOSO is a composer, percussionist and electronic musician from Rio de Janeiro, Brazil who currently resides in Boston. After having studied composition at Berklee College of Music and New England Conservatory he has participated in a slew of projects over the years, most notably playing drums for avant-death metal unit Ehnahre and being one half of the ever morphing electronic duo Perispirit. Ricardo's musical vocabulary draws as much from contemporary composition, drone, to techno and noise Record Label: Denovali Style: Experimental

Mario Diaz de Leon is emerging as a singular voice in contemporary music. With a body of work that cannot be neatly categorized, his music is marked by a sound that is both hallucinatory and intensely physical, and an aesthetic engagement with the role of mysticism in contemporary life. Born in Minnesota, Diaz de Leon expanded from his early years in metal and hardcore punk to immerse himself in the work of 20th century composers Scelsi, Ligeti, Dumitrescu, and Xenakis, free improvisation, a wide range of electronic music, and noise / industrial music. Based in NYC since 2004, he completed a doctorate in music composition at Columbia University, while also immersing himself in NYC's experimental, noise, and underground metal scenes. His debut album as composer, "Enter Houses Of", was released in 2009 on John Zorn's Tzadik label and praised by the New York Times for its "hallucinatory intensity". The album marked a key point in his association with the International Contemporary Ensemble (ICE), now acclaimed as the new gold standard for new music" (The New Yorker). As a solo performer, he is active under the name Oneirogen (o-NI-ro-jen), a project known for its merging of ethereal synths, brutal distortion, and noise influences. Since 2012, Oneirogen has toured internationally and released two full lengths and one EP on the Denovali label. "The Soul is the Arena" is the long awaited follow up to his 2009 composer debut, and the first release of his classical works for Denovali. The album's three tracks find Diaz de Leon deepening his collaboration with the core members of ICE, now a decade long. The mythological trope of the labyrinth, where a winding path leads to a central event that demands a fundamental change of direction, features heavily in the album's blend of acoustic and electronic elements, where a wide variety of ideas are unified by continuous momentum and arresting points of climax. "Luciform" and "The Soul is the Arena" pit virtuosic performances by soloists Claire Chase (flute) and Joshua Rubin (bass clarinet) against an array of vivid electronic textures. These range in character from doom-laden sub-bass to abrasive synthetic cacophony, recalling both Wolf Eyes and the early electronic works of Stockhausen. The elegiac "Portals Before Dawn" is written for a sextet of woodwinds, piano, percussion, and features Diaz de Leon himself on synthesizer. Reducing the density of the previous pieces to its essence, the work unfolds over 20 haunting minutes, transporting the listener through a boundless landscape of rising and falling intensities. Visionary and immersive, this is a bold body of work from an emerging master of modern composition. Record Label: Denovali Style: Experimental

limited repress on clear vinyl - 180g - heavy jacket - downloadcode The long awaited reissue of the cult record "L'oceano delle onde che restano onde per sempre" from 2008. The eight piece group Neil On Impression from Italy presents a real masterpiece of instrumental music - fully-orchestrated movements combining harrowing Guitars, Drums, Voice, Percussion, Hands, Piano, Accordion, Glockenspiel, Keyboards, Bass, Acoustic Guitar, Saxophone, Trumpet, Organ, Effects, Cello and Violin. An intense resonance! Neil On Impression is an instrumental band from Forl, founded in 2002, blending dynamic explosive guitar and drum workouts with epic string arrangements and warm trumpets alongside piano to create a complex sound that is at times uplifting, melancholic and evocative. Neil On Impression played across Europe over the years and released three albums: For a new grammar of feelings (2004), The Perfect Tango (2006) and L'oceano delle onde che restano onde per sempre (2008). RIYL: Godspeed You! Black Emperor, Explosions in the Sky, God Is An Astronaut Record Label: Denovali Style: Post-Rock

limited first-pressing on clear vinyl (180g) - heavy cover - printed innersleeves - downloadcode This new collection of Joe Acheson's 'Reorchestrations' (including two previously unreleased tracks) takes works by exceptional experimental/classical/folk musicians as source material, and passes them through Joe's studio where they are intricately reworked with the signature Hidden Orchestra composition and production techniques. The result is a cohesive new Hidden Orchestra album, consisting of tracks produced since 2012, and representing the best of the music to come out of Joe's studio since the last full Hidden album 'Archipelago'. Densely textured, the tracks are beat-driven, sophisticatedly chopped and reprogrammed - delicate classical textures and field recordings with deep bass and complex layers of acoustic drums. Unlike many remixes, these sensitive and non-destructive 'Reorchestrations' mostly leave the original track intact, and add layers of rhythms and notes which extend the arrangements and subvert the harmonies of the original tracks - resulting in expansive augmented reinterpretations rather than complete reworkings. This release is the first volume in a series of Reorchestrations albums. The project started with a remix of Liverpool band Kinetic Fallacy - which eventually became the track The Revival when Kinetic Fallacy disbanded, and has since become a staple encore of Hidden Orchestra live performances - hence its inclusion as the final track on this release. The two unreleased tracks are reworkings of members of the Hidden Orchestra live ensemble - Poppy Ackroyd (violin/piano), and Mary Macmaster (harps). There are also remixes of Hidden collaborator and occasional live guest clarinettist Tomas Dvorak (AKA Floex), Russian producer Long Arm, Anglo-French duo Piano Interrupted, and Czech clarinet quartet Clarinet Factory. Hidden Orchestra is the solo studio project of multi-instrumentalist composer/producer Joe Acheson. This 'electronic music by acoustic means' project has steadily gained a broad and diverse cult following since the release of albums 'Night Walks' (2010) and 'Archipelago' (2012) on Tru Thoughts Records and Denovali Records, and touring in over 30 countries with the acclaimed live band (featuring pianist/violinist Poppy Ackroyd, double drummers Jamie Graham and Tim Lane, plus regular live guests and visual artists). Record Label: Denovali Style: Electronic

180g vinyl - printed innersleeves - heavy cover - downloadcode Special "10 Years Of Denovali" Reissue - for the first time available on vinyl with a new layout and packaging. Having played some faster yet heavy-weight stuff in the past, this EP marked a notable change in the sound of Coffin Dancer. Slowly rolling parts make you rock back and forth while spreading a mood very fitting into this cold and gloomy Autumn. Definitely something for fans of Isis, Cult Of Luna, Red Sparowes, Omega Massif and the likes. This comes with new artwork and contains a bonus song which has not been part of the limited sold out cd release from 2006 Record Label: Denovali Style: Metal

This new collection of Joe Acheson's 'Reorchestrations' (including two previously unreleased tracks) takes works by exceptional experimental/classical/folk musicians as source material, and passes them through Joe's studio where they are intricately reworked with the signature Hidden Orchestra composition and production techniques. The result is a cohesive new Hidden Orchestra album, consisting of tracks produced since 2012, and representing the best of the music to come out of Joe's studio since the last full Hidden album 'Archipelago'. Densely textured, the tracks are beat-driven, sophisticatedly chopped and reprogrammed - delicate classical textures and field recordings with deep bass and complex layers of acoustic drums. Unlike many remixes, these sensitive and non-destructive 'Reorchestrations' mostly leave the original track intact, and add layers of rhythms and notes which extend the arrangements and subvert the harmonies of the original tracks - resulting in expansive augmented reinterpretations rather than complete reworkings. This release is the first volume in a series of Reorchestrations albums. The project started with a remix of Liverpool band Kinetic Fallacy - which eventually became the track The Revival when Kinetic Fallacy disbanded, and has since become a staple encore of Hidden Orchestra live performances - hence its inclusion as the final track on this release. The two unreleased tracks are reworkings of members of the Hidden Orchestra live ensemble - Poppy Ackroyd (violin/piano), and Mary Macmaster (harps). There are also remixes of Hidden collaborator and occasional live guest clarinettist Tomas Dvorak (AKA Floex), Russian producer Long Arm, Anglo-French duo Piano Interrupted, and Czech clarinet quartet Clarinet Factory. Hidden Orchestra is the solo studio project of multi-instrumentalist composer/producer Joe Acheson. This 'electronic music by acoustic means' project has steadily gained a broad and diverse cult following since the release of albums 'Night Walks' (2010) and 'Archipelago' (2012) on Tru Thoughts Records and Denovali Records, and touring in over 30 countries with the acclaimed live band (featuring pianist/violinist Poppy Ackroyd, double drummers Jamie Graham and Tim Lane, plus regular live guests and visual artists). Record Label: Denovali Style: Electronic