- Tom Hang – Theme for B (from upcoming album To Be Held In A Non Position out October 2017 on Tidy Bedroom)
- Hammer of Hathor – Ack, Ack, Ack (from Corpse Pose out on FRM-AT in may 2017)
- Nick Kuepfer – Churner (from Phonotaxis released in 2013)
- Andreas Brandal + Continental Fruit – Super Existence (from upcoming album to be released on FRM-AT in September 2017)
- Wicked Crafts – I Hope You Croak feat. VOID (from upcoming album (Self) Hatred Is Our Common Denominator to be released on FRM-AT in September 2017)
- African Ghost Valley – Ara (from ARA out on Hylé Tapes in September 2015)
- Huumo – I Could See Myself Too (unreleased)
- Best Available Technology – Session 10670 (from Exposure Therapy out on Styles Upon Styles in June 2017)
- Gaël Segalen – Hall of The First Steps (from Memoir of My Manor out on FRM-AT in June 2017)
- Morkebla – Submerged Dunes (from A Field of Secondary Craters out on czaszka in October 2016)
- Holy Similaun – Apt-get (from Split EP with Weightausend out on Prehistoric Silence in April 2017)
- Phoene – Farrokh Bulsara (coming soon)
Next FRM-AT’s release to be out on 25th september is a collaborative album between the two Norwegian experimental artists Andreas Brandal and Continental Fruit.
Pre-order it here!
GMA06 – Morkebla
1. Bellows – Untitled
2. Loke Rahbek – Like A Still Pool
3. U – Globe Gallery
4. CVN – L For True Arms v2
5. Kareem Lotfy – Fr3sh
6. Patricia – Étant Donnés
7. N1L – Jaget Och Maskerna
8. Kyo – Azzurra
9. Giovanni Lami – 2
10. Bellows – Untitled
11. Lanark Artefax – Voices Near The Hypocentre
Tom Hang is the noise / drone / soundscapes project of Jimmy Asquith, the boss of Lobster Theremin. His new LP ‘To Be Held In A Non Position’ will be out on Tidy Bedroom in october and we’ll announce some tour dates very soon! Keep in touch!
« Ritual movement and stillness take the place of psychic connection. Hammer of Hathor, the duo from Olympia, Washington, tackle as a concept “butoh,” a form of dance originating in post–World War II Japan that, if I’m reading my Wikipedia entry correctly, [adjusts glasses] “is known to resist fixity” and is “difficult to define.” It is performed in slow, deliberate movements and is meant often as an approximation of the absurd, tackling “taboo topics” and featuring “grotesque imagery” and “extreme or absurd environments.” But before I go any further and anger any good editor who realizes that Wikipedia is a terrible primary source, I have to remind you that all this is to simply whet your whistle for what our Hammerin’ musician pals have to offer. Whacking at various instruments, including detuned pianos and guitars, saxophones, and percussive instruments, HOH does their best to represent in sound a visualization of butoh in all of its mad glory, manipulating their odd array of sounds in fidgety slow-mo in a sort of (but intentional) call-and-response technique. The endgame? Madness. Or the beauty in decomposition as exemplified by low fidelity. » (Ryan Masteller)
« After 2o years of sound work and field recording, Gaël Segalen finally released her first LP. 2016’s L’Ange Le Sage was melodic and abrasive in equal quantities. Memoir of My Manor continues in this vein, adding a new, nearly club-like sensibility. The Parisian artist calls her compositions “danceable field recording”, but the first album only hinted at the dance floor, while the second flaunts this facet before drawing back to the shadows. This is appropriate for an album inspired by monsters, although the creature on the cover doesn’t seem all that scary.
The thirteen-minute “Remember” pulses and broods, while failing to give an indication of the artist’s rough edges. Instead, it operates as a dangerous mirror to Giorgio Moroder’s “The Chase”, inviting listeners to run rather than dance. When additional synths enter, the track takes on a near-industrial sheen. It’s a bold opening gambit, daring listeners to stick around for the left turns. These arrive with furious abandon in the center of the album, beginning with the shifting sands of “Creature’s Decisions”, which stops and starts, lurches and lands, spewing static and vitriol, noises wet and dry. The creature retreats and returns, attacks and digests. Segalen tilts the floor again and again, preventing listeners from finding their footing. She’s not being mean, simply curious; what will they do if they can’t find their bearings?
There’s a bit of horror mixed into the batter ~ after all, the f:rmat label’s first release was Hammer of Hathor’s Corpse Pose ~ but whenever those dance beats enter, the fear dissipates. Nearly four minutes into “Hall of the First Steps”, the percussion leads a path to the DJ booth. One can think of the opening 3:49 as a long intro or a slow build. The track could be remixed to make it more club-friendly, but we suspect Segalen would resist such reinterpretations. This is her vision, after all, reflecting her belief that “all the noises she has collected … can coexist”. There’s nothing here so dissonant as to dissuade, nor so consonant as to cross over. The project is more of an experiment in sound, most apparent on the 16:26 closer, which swerves through traffic, crickets and cash registers before tumbling down a rabbit hole of horns and beats. As the track advances, it transforms from tribal to apocalyptic. The creatures have captured the main stage; the end of dance music as we know it is near. » (Richard Allen)
« Gaël Segalen’s MEMOIR OF MY MANOR is an improvised juggernaut of sound, recorded in Paris, manipulated and mixed over a period of two years and unleashed in my earholes this morning. Thus, a prophecy, somewhere, is fulfilled. Throughout its seven distinct and fully individualized tracks you’ll perceive secrets revealed through circuits – bent and twisted and skewered and vaporized electronics speak their tongues in full and glorious display while seemingly conjured spontaneously. Is Gäel Segalen some sort of mage, some sort of mystic to channel such heartstopping moments at random? The bubbles, the blasts, the arpeggios, the melodies, all of these seem to know just a little bit more than we know, and the codes to their deciphering are just out of our reach. But as Gäel walks the titular manor in her mind, she grounds the cosmic and combines it with the terrestrial, resulting in a thrill ride through halls packed with memories and the ghostly spirits that tend them. » (Ryan Masteller)
Gaël Segalen – Memoir of My Manor
This is simply mesmerising. I heard the opening track ‘Remember’ on SoundCloud and was hooked instantly. It’s 13 minutes of chugging noise, rattling melodies dancing above like a nightmarish carnival. Other tracks feature wild collage, twisted telephone lines, body-slamming bass. It’s beautiful in its cacophony.