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Sonic Meditations

EXPO 70 – ‘Tonal Remnants’
Outtakes from “Kinetic Tones” released on Oaken Palace records, 2015. These tracks were recorded straight to a Scully 8-track Reel-to-Reel. Session was testing out this recording unit after it was repaired and cleaned, Wright was asked to come use a session direct to tape. 4 tracks out of the session became “Kinetic Tones” and there were 7 additional tracks recorded, presented here as “Tonal Remnants”. Improvised recordings, shorter tracks can be heard as trial beginnings with loops and minimal layering, warming up leading into the longer layered and manipulated effects capturing what is usually performed in live settings. As with analog recording, sound is a bit denser/dark and natural pops and grumbles for sound hitting the tape can be heard at times.


Dust Archive

Dust Archive – ‘A​.​D. 2020’
On 23/09/19 at about 12 (CEST) a cardboard box was found at the front door of our studio. The only information on the box (handwriting all caps) was a small code (A.D. 2020) and the cryptic warning “KEEP AWAY FROM MAGNETIC FIELDS”. As we opened the box a smell of old attic spread like if the content was sealed in there since forever. Inside the box we found 12 dusty folders, each including a variable number of magnetic tape spools and disparate items (paper material, prints, photographs, VHS tapes…). The puzzling findings unfold a high degree of space-time discrepancy, with dates, locations and names that don’t add up, certainly leaving the awareness of being faced with a very strange puzzle, way too elaborate to be a joke, too full of meanings to be a fake. Unable to tell what it was, we decided to start an archive to catalog and publish the content of the box, one folder at the time. We called it: Dust Archive.


Hangover Central Station

Bow Ether Group – ‘Cyclones Of Magnetic Man’
Bow Ether Group was the duo of Glen Steenkiste (Hellvete, Het Interstedelijk Harmoniumverbond, Silvester Anfang) and Brecht Ameel (Het Interstedelijk Harmoniumverbond, Razen). The two side-long pieces of organic drones are served with harmonium and accordion, very slowly building up a beautiful view of the void we’re all heading towards. Recorded between 2014 and 2015, „Cyclones Of Magnetic Man“ Part I and Part II were waiting for their release for over half a decade. The stubborn beauty of the dark and yet beautiful sounds will leave you stretched on the couch until you’re able to turn the cassette once again. Pro dubbed cassettes, limited edition of 60 hand numbered copies.

Stefan Christensen – ‘Circular Ruins’
„Circular Ruins“ shows the more psychedelic, bluesy side of Stefan Christensen (Nagual, Center, Headroom, C/Site Recordings…). Blurry and buried in clouds of concrete, these tunes meander between Dead C-ish melancholy and a subway tunnel songwriter who forgot his name decades ago…or if Jandek would actually play CHORDS?! Listen closely and you will find the most microscopic versions of what people call „a haunting melody“. Pro dubbed cassette album with riso print cover. Limited to 60 hand numbered copies.


Neologist Productions

Marc Méan – ‘Basteln’
Basteln is the second ambient/electronic album of the jazz pianist and improviser Marc Méan. It is the result of improvisations and musical experiments with his beloved piano and electronics recorded in the last 6 months. The result is all-expensive environments, and fully-realized worlds to explore and get lost in.Although the sounds are largely electronic, the feeling is organic, with lush arrangements that breathe and breaststroke their way gracefully through the open air.


World Loop

Best Western – ‘Economy of Meaning’ C50
Drawing on tropes connected to various sonic landscapes, Best Western emerged during a worldwide lockdown in the early Spring of 2020. Initially released as an online mixtape, the album is an imaginary road-trip through perplexed mental states and landscapes, which transcend various environmental settings, offering a glimpse to an alternate reality. Best Western is now released as a c-50 (2 x 25 min) music cassette on world loop produced at Tapedub, Berlin. The album is also available as digital download.


No Part of It

‘Modus Vivendi: A Benefit Compilation for Chris Phinney’ DL
Chris Phinney has been active within the realm of experimental music since 1982. Whether it has been his main recording project, Mental Anguish, or his label, Harsh Reality, Chris’ involvement with the development of 1980s cassette culture and beyond, is immeasurable. More info here: In late 2019, Chris was hit by an uninsured driver. The collision compounded previous injuries, and found him in a wheelchair unable to work. Phinney is the father of four children, three of which were still dependents at the time of the incident. To top it off, the accident occurred not long after a divorce, the untimely passing of a new life partner, and the death of Phinney’s mother. The aftermath of this incident involved multiple surgeries, as well as a month in the hospital with head trauma, hip trauma, and numerous fractured bones. There has been a gofundme page for Chris Phinney, but it occurred to us here at NO PART OF IT HQ that maybe this message is not reaching enough people within the realm of underground/experimental/noise/music scenes as much as it could. This compilation was put together as a benefit for Chris to help offset some expenses. It is a multinational collection of work spanning four decades, and was created in the spirit of early cassette culture compilations, with a mind for freeform college radio as well. Compiled by Arvo Zylo, “Modus Vivendi” features some artists who’ve worked with Chris Phinney in the past, as well as standout artists he’s likely never heard of. Every penny in profit for this release goes to Chris Phinney. Or, if one is so inclined, they can donate directly here:
releases January 1, 2021. The download features a bonus track by Modelbau. Art by Bradley Kokay.


No Part of It

Sashash Ulz – ‘Pingvinia’
Sashash Ulz was a somewhat short-lived project out of Petrozavodsk, Karelia, an area of Russia bordering Finland. Headed by Sasha Mishkin, and heavily active in the first half of the 2010s, I first heard of Sashash Ulz through a tape on Minnesota’s Lighten Up Sounds. The tape was a marvelous example of lo-fi tape-looping and layering, where cheap keyboards and percussion loops just galloped in and out of a mangled headspace. I enjoyed it, but I eventually came to find out that this one-man outfit has much more to offer, and a diverse array of approaches within the realms of experimental music. Some of it is quite musical, with a great sense of melody, and a lot of Sashash Ulz material has that great, haunted, lo-fi feeling that, to me, helps the emotional effect of the music sometimes. I will say that I use the word “haunted” in the most optimistic sense. Some of these tracks have a peculiar, but strong air of positivity. This coupled with the often crude double exposures that come with most of Sashash Ulz’s releases helps to create an overall atmosphere like that of another world altogether. I am not certain if some of this music is rooted in traditional folk, or if it is simply an outsider level of song-writing, but it can be interspersed with memorable sound collages, eloquent ambient passages, compelling guitar noise, and apparently tape loops of field recordings with animals/insects/strange creatures. At times, there is a genuine curiosity as to whether or not a real church organ is being recorded with a tape recorder, or if a cheap keyboard is being augmented with cleverly primed effects… through a tape recorder. I was given permission to create a compilation of favorite material from this now defunct project, and I naturally focused on the strikingly odd ambient, atmospheric, and raw elements that were on offer. Sasha Mishkin is still active, operating with more current production values, and the Sashash Ulz name has been put to rest since 2015. We here at NO PART OF IT are thankful to be able to illuminate some snippets from the past that deserve more attention.



OPERA MORT – ‘Spectacle’
Back after a certainly deserved silence. Electronic acrobatics and drunken sweat. Capture of a public performance organized by Editions Gravats at Les Instants Chavirés in October 2018.

ASTREINTE – ‘La jambe lourde’
Collective effort & excess of information. Like going through a hyperactive tunnel blindfolded. Frontal accumulation for harshnoise rodeo.

DOLORES – ‘Dossier non classé’
Electroacoustic noise, series capacitors, permanent flash. Minimalist set-up for maximalist results. A narrative perspective of the sound of stroboscopic electricity in a cosy format.

DJ FUSILLER – ‘Sacrilège Vénération Vol. 2-c’
Nearly 20 minutes of bonus stuff were sleeping in the dusty archives. Final part of the second volume of Dj Fusiller’s adventures.


Cruel Nature

Upward – ‘Beams’
Upward is the project of Jack Chuter from Bournemouth (UK) – editor of experimental music site ATTN:Magazine, host of the Crucial Listening podcast and head of the Hard Return label. This EP is the solution to a period of creative block with his two main projects: the guitar/synth drone of Upward and the’heavy shoegaze’ of Chuter. Turns out he just needed to smash them into one another! 45 copies.

Deathbird Stories – ‘Summonings’
Scratch and scrape avant noises from the Falmouth-based sonic experimentalist, who’s previously had releases on other Tyneside-based labels Panurus Productions and Invisible City. Bowed guitar, Korg Monotron delay, processed voice and death whistles all add up to a mind-melting fearsome epic sound. 45 copies.

Vahvistusharha – ‘Holos’
“Vahvistusharha” is a Finnish word that can be translated either as “confirmation bias” or “amplification delusion”. The music of Vahvistusharha flows free and tense, seeking paths unknown to both the musicians and the listeners. A group of courageous and distinctive Pori-based musicians of different generations have founded a collective, grounded on pure improvisation. Small and fragile may grow to be big and bombastic or something else altogether, as the different layers of sound tell their own stories. 50 copies.

Iker Ormazabal – ‘The Oscillation’
Since 2004, London-based Iker Ormazabel has been progressing experimental music in different forms, through solo projects (as IOM or Iker Ormazabal), alongside dance performers (Itto Morita, Soizu, Minako Seki), improvising with other musicians (Miguel A. Garcia, Oier Iruretagoiena, Andrew Page, Arturo Blasco) and in bands (Mnemonic, Warren Schoenbright, Fft Players, Oilbag). This solo work is heavily inspired by acousmatic composers, and acousmatic listening, the music and writings of Pierre Schaeffer, Eliane Radigue, Pauline Oliveros, Francisco Lopez, taking inspiration from what is known as ‘deep listening’, listening with intent or acousmatic listening. 45 copies.


Dinzu Artefacts

Berger/Dombois/König/U5/Wang – ‘Struck Modernism: Figure X A’
Live improvisation on the sculpture “Figure X A” (1975) by Henri Presset with gloves, mallets, superballs, sticks and stones. Recorded on the campus of ETH Zurich (Hönggerberg), Switzerland. Ludwig Berger, Florian Dombois, Kaspar König, U5 and Vivian Wang made the sculpture sing.

Leo Okagawa – ‘Caprice’
Interior and exterior sounds, oscillations of home appliances, electronic devices, noises, and interferences. Irregular and irreversibile.

Ritual Extra – ‘In Luthero’
Slowly unraveling, site-responsive, acoustic explorations in a cistern of a vacant water supply facility. Recorded live. Ritual Extra is Julien Chamla, Tuukka Haapakorpi, and Lauri Hyvärinen.