NNF's favorite comedienne/diva/artstar Maria Minerva returns with her greatest album to date, Histrionic, encapsulating universes of life wisdom, deadpan truth, and heartbreak abstractions.

The album's 11 skewed slices of synthetic pop function collectively as a fragmentary self-portrait: there's the shuffling, layered beats of various UK bass scenes absorbed during her years in London clubs; the anthemic '90s global dance pop of her youth in Estonia; the spoken-word and experimental samples gleaned from her university days; and the floating textural ballads born from the displaced life of a touring musician, stranded in hotel rooms and airport terminals. The lyrics are similarly layered, vulnerable yet oblique, embracing pop tropes of romance and heartbreak while also hinting at their hollowness. It’s this woozy commingling of dispassion and melody, of fantasy and foreignness, that infuses Histrionic with such rich ambiguity.

More information here.

Membrane Pop is the debut Software Recording Co. release by experimental duo Sculpture.

The self-described opto-musical agglomerate was born in 2008 after a chance encounter between British musician Dan Hayhurst and New Zealand animator Reuben Sutherland. By combining practices, the pair's first test splattered a psychedelic palette that pushed them to explore sensorial intricacies emerging from chance operations.

Raw materials for Sculpture's music include a mix of analog and digital practices. In Hayhurst and Sutherland’s hands, tape manipulation, samples, found sounds, aleatoric and algorithmic programming and live improvisation become more complementary than you might imagine.

Sculpture draws from experimentalism to promote new potentials for pop and electronic music in an age where many of our sci-fi fantasies have become mundane occurrences. "I’m aiming to make a coherent, adventurous electronic pop record with its own voice and identity," Hayhurst explains. "I don't think experimental music has to be dark, difficult or joyless. I try to make something playful, and maybe a little absurd."

At the center of Membrane Pop is a phenomenological approach to sound and performance. "Symbolic Molecule" is a morphing, unsettled groove, but its addictive properties remain potent. "Polymorphic Operator" bubbles with a sort of chemical effervescence; the ghost of Jamaican dub modulating itself into an infinite haze. Sculpture's compositional predilection emerges amidst scrambled sound worlds in "Hackle Scam Populator," while "Distraction Display" is perhaps the closest ambient cut on the record.

What makes Sculpture sculptural (we bet the original Abstract Expressionists would have dug them) are moments where their craftsmanship feels almost animate within the constraints of musical time. In the opening seconds of "Lingual Junk," these moments appear to freeze and unthaw an old recording. As the track narrative unfurls, you can feel Hayhurst fighting to acclimate the sound from out of cryostasis and into his reality.

If a majority of the music you hear today resembles the hard-set stone carvings of history, then Sculpture's offerings are imagined, transitory statues with no fixed place in time. Hearing Membrane Pop in a different context, time or place may well bring about a different experience. Or perhaps a similar result.

Sculpture's Membrane Pop will be released in LP and digital formats on May 13, 2014.

More information available here.

Universe Thin As Skin is the debut solo album from Portland, Maine's Tom Kovacevic, a multi-instrumentalist who has been a vital part of the Portland musical landscape through his work with the bands Olas, Fire on Fire, Cerberus Shoal, and tarpigh.  For his solo debut, Kovacevic focuses on the Arabic music he has been studying for twenty years.

Kovacevic had played guitar for many years when he decided to learn how to play the guitar’s ancestor, the oud.  After playing the oud for some time he learned the nay flute (rim blown and fully chromatic) which is not only one of the oldest instruments in continual use (4,000+ years), but also one of the most difficult to play.  One of the predominating musical influences on the record is related to the drums used. The djembe and tchung drums used were made in Senegal, and artists such as Bembeya Jazz National, Super Diamano De Dakar, and Salif Keita are vital influences.

Universe Thin As Skin was recorded at the Blue House, where Tom lives with Cerberus Shoal and Big Blood member Caleb Mulkerin, who also recorded the album.  The record took about six months to record, as both would meet when they had availability.  This is also the main reason Tom played all the instruments on the record.

Lyrically the album addresses life in this world in which we find ourselves.  There are references to the new physics, an area of interest.  "Song for Peter" was written for the brother of a good, good friend whose life hung in the balance (he survived).  The nay flute pieces "Kürdi" and "Dulab Bayati" are in traditional Maqams (modes), and "Dulab Bayati" is in a traditional Arabic form.  The title track is special because it was written in the living room, just in front of the dining room pictured on the front and back covers of the album. This is the house Tom grew up in, and it is no longer in the family.

Tom currently performs with Olas, a group that features two flamenco dancers and original compositions, as well as with the Alhan Middle Eastern Classical Music Ensemble.

More information is available here.

Thomas Ankersmit is a musician and installation artist based in Berlin. Since 2006 his main instrument, both live and in the studio, has been the Serge analogue modular synthesizer.

Acoustic phenomena such as sound reflections, infrasonic vibration, otoacoustic emissions, and highly directional projections of sound have been an important part of his work since the early 2000's.

In the winter of 2011-2012, Ankersmit was invited by the CalArts electronic music studios, Los Angeles, where the Serge was originally developed in the early 1970s, to record new music with their heavily customized and recently restored "Black Serge" system.

In addition to conventional analog synthesis techniques (FM, AM, ring modulation, filtering, enveloping and panning under voltage control), Ankersmit used various kinds of waveshaping, distortion and feedback (both internally as well as via a microphone and speaker setup in the studio); oscillator-generated frequencies at the upper and lower limits of auditory perception; a patch matrix to control quick transitions; a homemade circuit-bending type interface to create momentary interruptions to the signal flow, and the scraping of a contact microphone. Aside from recording, editing, and a few instances of reverb, no digital technology was used.

The music is finely tuned and highly detailed, yet also visceral and raw. Marked by sharp perceptual contrasts, the piece shifts between dense formations of electric noise, to fields of micro-events moving with an intuitive logic, and feedback-drones of overwhelming intensity. The sounds have a real-world physicality, bringing to mind swarms of locusts, distant storms and creaking machinery rather than "synthesizer music."

The piece was premiered in North America at REDCAT in downtown Los Angeles and in Europe at Berghain, Berlin, for the MaerzMusik Festival.

The music is originally quadraphonic and mixed to stereo for this release. Figueroa Terrace is Ankersmit's first full-length solo studio release.

Thomas Ankersmit: Serge analogue modular synthesizers, contact mic. Recorded at CalArts, Valencia and in Los Angeles, December 2011-February 2012.

More information is available here.

This new Punk 45 album is a collection of tracks of twisted, raw and energized proto-punk music from the early 1970s, ahead-of-its-time music which led the way for the birth of punk in the second-half of the 1970s.

This new album is compiled and has extensive sleeve-notes by Jon Savage.

Punk 45: Sick on You! One Way Spit! After the Love & Before the Revolution: Proto-Punk 1969-77 is the third volume in this series, following on from the two earlier albums as well as the massive 400-page Punk 45s cover art book published last year.

While the first in the series, Punk 45: Kill The Hippies! Kill Yourself!, focused on the rise of underground punk in America, and the second album, Punk 45: There is No Such Thing as Society did the same for punk and post-punk in Britain, this album draws upon some of the stripped-down hard garage and post-glam sounds of mainly obscure bands that existed in the early 1970s - that were to prove the template for the forthcoming punk movement.

This is a unique and fascinating collection of proto-punk tracks from across the USA - Cleveland's Electric Eels, San Francisco's Crime, Los Angeles' Zolar X, Baltimore's George Brigman and more – as well as from the UK –  with Joe Strummer's pre-Clash 101ers, the speed- induced r'n'b of the Count Bishops, and others also included.

As usual the album comes complete with text, biographies on each of the bands, exclusive photos and original record artwork.

The album is released on CD with outsize large booklet and thick slipcase and limited-edition super-loud, super-heavy double gatefold-sleeve vinyl edition complete with full sleeve-notes and free download code. These Punk 45 releases are also the first that Soul Jazz Records are making available as worldwide digital releases.

Jeff Burch's first solo full-length album is comprised of two expansive instrumental compositions anchored by beautiful old acoustic guitars and a modular synthesizer.

He hoists his sounds up through the remnants of the 60's downtown drone spirit, through the fetid fruits of post-war central Europe and the scattered output of present-day suburban outsiders. The arrangements shift gracefully from floods of lush string texture to driving guitar and drum motif, from ebbs of brass and deep electric sine wave to thick hazes of clanging din and steely whine.

Cover photographs by iconic New York artist Roni Horn.

Composed, recorded and mixed between 2010 and 2012.

Recorded with Casey Rice/Designer (Tortoise, Dirty Three) at Classicx, Melbourne and Jamie Kennedy (of Surf City) at Henry Street Studios, New York City.

Featuring guest percussion by Stephen James (Songs, Rand and Holland), electric guitar by Tres Warren (Psychic Ills, Compound Eye, Messages), tenor saxophone by Marcus Whale.

Mastered by Patrick Klem (Sonic Youth, Six Organs of Admittance, The Dead C) at Klemflastic Sound, Phoenix.

Originally from the crystalline shores of northern New Zealand, Jeff now resides in New York City's torrid Lower East Side. Head of imprint The Spring Press, he has also founded numerous groups in both New Zealand and Australia.

Out May 13th.

More information will eventually be found here.  Listen here now.

It has been 7 years since Metaprogramming From Within the Eye of the Storm, the last solo full-length release by Valerio Tricoli.  In the years between, he has established himself as a formidable presence on the international experimental live circuit and released acclaimed collaborations with Antoine Chessex, Coi Tormenti (Dilemma Records, 2010) and Thomas Ankersmit, Forma II (PAN, 2011) along with the fifth full-length release by his band with fellow Italian cohorts 3/4HadBeenEliminated, Oblivion (Die Schachtel, 2010). Throughout these shows, collaborations, and ongoing explorations, Valerio has developed upon his signature style of beautifully unsettling Musique Concrète.  The result of his tireless explorations, Miseri Lares is his magnum opus, a multilayered and heavily nuanced work which epitomises the uncanny in the realm of sound.

Miseri Lares explores a variety of interlocking themes and sonic tapestries that combine in a quietly disturbing and deeply existential work.  As a contemporary take on Musique Concrète, Tricoli utilizes his full explorations of the Revox tape recorder alongside digital processing whilst retaining all of the mystery and surprise elements found in the classic approach of pioneers such as Bernard Parmegiani, Eugeniusz Rudnik and Michel Chion.

Themes of the internal, represented by both the psychological and the physical,  play throughout the record.  A mind lays waste to it's own self-abasement the  immediate surrounds (casa or 'home') feeds on the collapse of the individual.  As a  symbol of spirits preying on the grief within, haunting wisps of sound swirl around a  throbbing bass in "Hic Labor Ille Domus et Inextricabilis Error," whereas "La Casa  Deviata" emphasizes the paranoid structure as looming creaks make way for abandoned pipes and a cloud of escaping water.  Here, the tension at play is injected with a treated dictaphone recording: "Tell me what happened","I can't remember…THE SMELL!!! There was a tape recorder, where is the tape?"

Spoken text (Italian and English) appears throughout the record, mostly as texture or as a dehumanized floorboard: a play on the album's themes of the psychological, emotional and irrational horror within.  Texts by Italian poets Dante and Guido Ceronetti appear alongside excerpts from The Ecclesiastes, H.P. Lovecraft, E. M. Cioran, and writings by Tricoli himself.  These add an extra weight to the recording, making it reminiscent of Robert Ashley or even the comedic tragedy of recent Scott Walker (baritone aside).

Valerio Tricoli's release for PAN adds another piece to the puzzle of narrative-based concrete music, yet deviating from all conventional forms and playing out like a literary form of unsettling sound sculpture.

The 2xLP is mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl. It is packaged in a pro-press jacket which itself is housed in a silkscreened pvc sleeve with with photography by Traianos Pakioufakis and artwork by Bill Kouligas.

More information is available here.

Bleep:10 is a celebration of ten years of music on Bleep. A decade of enjoying and working with some of the best artists and labels, and hopefully conveying our love of the vibrant music community we are a part of.  For this fourteen track compilation we have sought out new and unreleased gems from some of our favorite artists, all of whom continue to shape the direction of the Bleep store. Together they represent different labels, scenes and genres that are important to us.

We open the compilation with an enveloping, never before released track from Wolfgang Voigt's revered Gas project. Lone provides his first new track since last year's massive "Air Glow Fires," whilst there is further explosive dance floor material from Untold, μ-Ziq, Modeselektor and Byetone.  Shackleton turns in a relentless track of rough and thrilling techno, while Autechre's contribution "SYptixed" is a dark and precise piece of heavy electronic experimentation. Oneohtrix Point Never and Nosaj Thing provide moments of ambient respite, while Dabrye's playful beat track "Click Clack" is the first solo production to be released by the artist since 2009.  Nathan Fake closes the release in fine style with glistening epic "Vanish North."

More information is available here.

After two full-length albums released by Matador Records, Cold Cave (aka Wesley Eisold) released a series of limited edition singles via his own Heartworm Press and Deathwish Inc.  Full Cold Moon is not a new Cold Cave album, but a compilation of these singles in chronological order on one digipak CD.

Release date: May 13th.  More information is available here.

Inventions is the new band formed by longtime friends, tourmates, and labelmates Matthew Cooper of Eluvium, and Mark T. Smith of Explosions In The Sky. It began in earnest in 2013 when Cooper invited Smith to collaborate on a song for Eluvium's otherworldly double-album, Nightmare Ending. The track, "Envenom Mettle," was a standout on an album full of them, and just like that a longstanding friendship blossomed into a full-fledged creative partnership. There are plenty of talking points here: The fact that Cooper hasn't been in a “band” of any sort since he was a teenager; no member of Explosions In The Sky has released an album outside of the context of EITS since their inception in the late 90s; and, of course, this is a dream duo for anyone familiar with the unparalleled emotional resonance of Cooper and Smith's respective day jobs. However, thirty seconds into their eponymous debut album, you realize that the esteemed pedigree is irrelevant. Inventions exceeds all expectations by discarding them from the get-go. They have created their own tiny, wondrous corner of the world, one with ever-changing sounds and colors.

More information is available here.

Watter is a new trio made up of close friends and collaborators whose collective pedigree reads like a desert island list of must-haves in experimental rock musicians. Multi-instrumentalists Zak Riles (Grails) and Tyler Trotter are anchored by legendary drummer Britt Walford (Slint, Evergreen) on six genre-defying pieces of monolithic mood music.

For Riles and Trotter, it's a chance to dig deeper into the sandbox in which Grails have sculpted many mercurial masterpieces in recent years; for Walford, it's the opportunity to play a substantial role in a new active band for the first time in nearly twenty years.

Written, recorded, and produced entirely in the group's collective studios in Louisville, KY, This World is a stunning combination of heady psychedelic rock, vintage cinematic New Age explorations, and sinister Krautrock, performed with seemingly endless stamina. Born out of many late-night jam sessions, many songs also feature fellow Louisville icons – Rachel Grimes (Rachel's) provides several of the album's most sublime moments, and The For Carnation's Todd Cook lays the heavy, bass-driven foundation for the penultimate epic, "Seawater" – as well as a subtle, sinister contribution from legendary King Crimson bassist Tony Levin. This World is the kind of album that inspires renewed wonder in the mysterious powers of Louisville's water supply. It draws impossibly broad inspiration from decades of Eastern and Western folk, rock, ambient, film score, library music, and neoclassical, and masterfully emerges with an ever-enveloping suite perfectly befitting its constantly curious composers.

Out May 15th.

More information is available here.

Steve Gunn and Mike Gangloff (Pelt) combine six-and 12-string guitars with gongs, tanpura, singing bowls, shruti box, and banjo fora gorgeous collection of improvised compositions. The two artists took it pretty far off the beaten path for Melodies for a Savage Fix, sequestering themselves for an overnight session in the remote farmhouse/recording studio of noted roots-music engineer Joseph Dejarnette (Carolina Chocolate Drops, Bruce Greene, Curtis Eller) in the countryside of Floyd County, Virginia.

There in the tiny community of Topeka, miles from the county's one traffic light, they set up an assortment of six- and 12-string guitars, gongs and Indian instruments, plus the banjo Gangloff sometimes plays at monthly square dances at a country store just up the road, and settled in for an intense night of improvisation.

More information is available here.

Acid Mothers Temple & The Melting Paraiso U.F.O.'s new album Astrorgasm From The Inner Space features their original vocalist Cotton Casino and is being released in conjunction with their two-month tour of the USA beginning April 23rd at the Mercury Lounge in New York City. Available on CD and deluxe double LP.

As usual, AMT delivers to Important their most scorching tracks. They've included, appropriately since Important is set to issue Grayfolded on triple vinyl, a brand new recording of "Dark Star Blues" with Cotton Casino.  On Astrorgasm From The Inner Space, Acid Mothers Temple look towards their source (the band turns 19 this year) while also evolving towards their next stage.

More information is available here.

It's been nearly 5 years since Brock's highly acclaimed White Clouds Drift On And On debuted on Echospace earning a plethora of critical acclaim including many coveted top albums of the year list from RA to The Wire.  Brock returns in beautiful form with what he's said to us is his most personal and self-defining moment in his fruitful musical career. This album, however, strikes on a very different chord from the last: rather than find contentment in repeating himself, he's sculpted a unique sound slightly out of focus from his previous work, a sound one could only say is like drifting in and out of consciousness. A place where early LSD experiments reveal third dimensions of the mind and evoke emotions so powerful they haunt you forever.

Here we see Brock's true dedication to vision, maturity and growth, the reason why so many people have gravitated to his heart-tugging productions. On Home, he paints a near 3-hour exploration so beautiful and hypnotic the listener feels as if only moments passed by, a second to forever. This is a welcome return to form in the one place Brock refers to as "Home": here on Echospace. If Burial were to meet Eno in the studio of a BBC radio workshop session with Tape masters sent to Steve Roach for further deconstruction, this might be the unique result, residing somewhere in the ether. Brock has truly blown us away yet again with another stunning masterpiece.

More information is available here.

Visibility Is A Trap is the new EP by Dalhous, comprised of four originals together with a masterfully understated Regis remix of "He Was Human And Belonged With Humans."

The EP heralds the arrival of the Edinburgh-based project's sophomore album, Will To Be Well, due out on Blackest Ever Black in early Summer 2014.

Dalhous first announced its existence in 2012 with the Mitchell Heisman 10", and last year released its debut full-length: An Ambassador For Laing.  Both Visibility Is A Trap and the upcoming Will To Be Well LP reflect writer-producer Marc Dall's continued interest in the language and imagery of self-help, R.D. Laing and the anti-psychiatry movement.

Though recorded after Will To Be Well, the tracks on Visibility Is A Trap at first appear to have more in common with the blue ethereal drift of Ambassador.  While "Information Is Forever" and "A Change Of Attitude" are firmly in the ambient mode, "Active Discovering" fizzes with arpeggiated energy, and a battery of percussion disrupts the calm surface of "Sight Of Hirta."  Something is up.  Things are not as they seem.

The Regis remix of Ambassador highlight "He Was A Human And Belonged With Humans" finds Karl O'Connor in unusually pensive mood.  In fact, it's fair to say that this near-beatless, dubwise version is unlike anything he has put his name to before.  Discarding the rhythmic skeleton of Dalhous's original, he gives the weeping saxophone more space to roam and resonate, adding off-beat, sleep-deprived keys, murmured vocal fragments and swells of sub-bass pressure.  It could be construed as a love letter to his former home in West Berlin; certainly it evokes and effortlessly updates the drugsick grandeur of later Neubauten or Low side 2.

More information can be found here.

Millie & Andrea are Miles Whittaker (Demdike Stare) and Andy Stott, fellow labelmates at Modern Love who collaborated on an occasional series of 12" releases between 2008 and 2010.  It's been four years since we last heard from them, but they now return with Drop The Vowels, their debut album.  Produced fast and loose through late 2013 / early 2014, it's an album that recalls the strict and stripped funk of Anthony Shakir as much as it does Leila's incredible debut Like Weather, eschewing the dark aesthetic both producers are best known for in favor of something much more visceral.  It's an album borne from a love of both pop and club music, made to evoke an adrenalized, hedonistic, as well as emotional, response.

Opener "GIF RIFF" brings to life a Gamelan edit stripped bare before the over-compressed "Stay Ugly" breaks out with a tumbling, broken arrangement situated somewhere between Richard D. James and Jai Paul. "Temper Tantrum" and "Spectral Source" follow, versions of tracks originally released on the second and third Daphne EPs respectively, the former a rugged rave anthem tempered by blue strings, the latter a proper dancefloor destroyer recalling Shake's mighty "Madmen." "Corrosive" flits between a fillibrating, arpeggiated steppers rhythm and a brutal jungle breakdown, while "Drop The Vowels" further explores and strips bare bass & drums before the slow but jacking warehouse killer "Back Down" provides pure percussive abandon.  "Quay" ends the set with something quieter, a sublime coda made entirely from field recordings.

More information is available here.

Out on May 26, 2014:

Soundway's second foray into South East Asia is focused on North-East Thailand, the epicenter of Molam and Luk Thung Isan music. Hypnotic phin & khaen riffs, pulsing, electrified country rhythms and heartfelt vocals punctuate another journey into the lesser known reaches of 1970s Thai music.

The first volume of The Sound of Siam, released in 2011, was the first introduction for many to the artistry and innovations of modern Thai music. One of the most popular compilations on Soundway Records the music even made it onto the big screen with "Mae Jom Ka Lon" by Dao Bandon featured on the soundtrack of The Hangover Part II.  In an interview with LA Times, Mick Jagger spoke of discovering the collection that "some nutter put together" after hearing the riff from Jumpin' Jack Flash on one of the tracks from the compilation.

In this second volume of The Sound of Siam, the focus is firmly on the music the sounds of northeast Thailand, or Isan, and attempts to show how a genre evolved and developed from essentially an acoustic tradition with specific geographic roots, to one that started to incorporate other instruments and influences that reached out to the Isan diaspora around the country.

The term "molam" is actually two separate words pushed together: Mo meaning "expert" or "doctor" and lam meaning "to sing." Hence the literal translation means "singing expert." Many molam records have extended intros that allow a vocalist to establish the theme of the song, as well as flex their improvisational muscles.

Luk thung (literally "song of the countryside")is a much broader, rural style that had a bigger impact nationally. Artists like Saksiam Petchompu began fusing this style with molam, a move which propelled him to national fame. You can hear the influence of western funk, as well as Thai arrangements, on the luk thung Isan (as the hybrid became known) smash "Jeb Jin Jeb Jai" included here.

The Sound of Siam 2 - Molam & Luk Thung Isan from North-East Thailand 1970 - 1979 features 19 tracks, many appearing outside of Thailand for the first time. Both CD and double LP & is accompanied with detailed liner notes written by compilers Chris Menist and Maft Sai.

More information can be found here.

Hey.

Denovali Swingfest London 2014 starts on April 18th. We've just compiled a free download sampler for this year's event. 15 tracks of the 11 artists performing at the festival. Their sets will as always be as long as a proper club show (around an hour).

More information on both the event and the sampler can be found here.

Tracklist:

01. PIANO INTERRUPTED - Emoticon

from The Unified Field (Denovali Records)

02. ULRICH SCHNAUSS - A Ritual in Time and Death

from A Long Way To Fall (Scripted Realities / Domino)

03. HIDDEN ORCHESTRA - Dust

from Night Walks (Tru Thoughts / Denovali Records)

04. ANNA VON HAUSSWOLFF - Mountains Crave

05. ANNA VON HAUSSWOLFF - Epitaph of Theodor

from Ceremony (City Slang / Kning Disk / Other Music Recording Co.)

06. ORIGAMIBIRO - Odham's Standard

from Odham's Standard (Denovali Records)

07. THE HAXAN CLOAK - Dieu

from Excavation (Tri Angle)

08. PORTER RICKS - Nautical Dub

from Biokinetics (Type)

09. WITXES - Through Abraxas III

from A Fabric of Beliefs (Denovali Records)

10. PETRELS - Giulio's Throat

11. PETRELS - Canute

from Onkalo & Haeligewielle (Denovali Records)

12. ORIGAMIBIRO - Ada Deane

from Odham's Standard (Denovali Records)

13. PIANO INTERRUPTED - Cross Hands

from The Unified Field (Denovali Records)

14. JOHN LEMKE - Ivory Nights

from People Do (Denovali Records)

15. THOMAS KÖNER - Nuuk (Air)

from Nuuk (Mille Plateux)

Big Blood – Fight for Your Dinner Vol. I – CD-R/Cassette (coming Soon) DTTR 041

Recordings from 1986-2014, Songs from comps, old family recordings,

alternate versions, new and unreleased songs all under one roof.

Hand made and screen printed. (17 songs, 53 minutes)

More information can be found here.

Form Themselves Into Streams

Fourth in the Archival Series of Richard Skelton’s work, Form Themselves Into Streams was originally conceived and recorded during 2007 and 2008, at the same time as his Marking Time album.

The album was revisited in late 2013, during which some new elements were added. Originally conceived as one long recording, there are now five distinct, yet connected, pieces.

1. Carr (06.32)

2. Burn (04.35)

3. The Black Water (07.18)

4. Burning (06.28)

5. The Black Dub (07.58)

Total Running Time : 33m 23s

Ridgelines (Volume One)

Recordings made for two hills: 'Black Combe' in Cumbria, UK, and 'Ceapaigh an Bhaile' (Anglicised as 'Cappanawalla') in County Clare, Ireland.

Ridgelines (Volume One) consolidates two previous releases, Black Combe (2011) and Ridgelines (2012). It adds three previously unreleased versions of "Cappanawalla."

1. Black Combe (26:11)

2. Cappanawalla (05:18)

3. Cappanawalla (05:49)

4. Cappanawalla (12:47)

5. Black Combe (15:40)

6. Cappanawalla (15:16)

Total Running Time : 1.3hrs

Dyad

Originally released as a limited edition 'bonus disc' on the 9th of February, 2010, to accompany the reissue of Crow Autumn on Tompkins Square Records.

First released as Dyad (SRL19) as part of the *Skura boxed collection, on the 2nd of February, 2011.

1. A Broken Consort - Severance (05:20)

2. Saddleback - Gerroa Thursday (Richard Skelton Version) (06:14)

3. Heidika - Limn (Original Version) (03:10)

4. The Shape Leaves (Early Version) (06:53)

5. Heidika - Limn (Reworked) (03:15)

6. Machinefabriek & Richard Skelton - Daas (07:42)

Total Running Time : 32m 34s

More information can be found here.