Poster design by Tim Scullion. Click here for tickets
Ohio-based label Rano debuted late last year with the subterranean hum of the Paradiba EP by Polish producer Synek. We described it as “a crawl through the long dark ventilation shaft of the soul.” This was followed by Keep Sheila On Acid’s You Will Be The Same Tomorrow As You Were Yesterday and dsic’s Tiamat/Taniwha. Though the physical editions of all three releases have sold out they are still available to download from the label’s Bandcamp. On the strength of their output to date, Rano look set to take their place alongside similarly forward-thinking DIY labels such as The Geography Trip, Further, Broken20 and Cleaning Tapes. Here the label presents its exclusive OC Confessional mix…
“The concept behind the mix is loosely based on our Rano Radio sessions, which we hosted on Mixlr for a short while. We used the broadcast to show our appreciation to the artists and labels we enjoy, and to let the world know what type of music we wanted to be involved with as a label. We thought it’d be a good way to let people know early on that we love a wide range of music. Our goal was to release unique sounds from all over the globe, not just from one specific genre or region. We thought the broadcast was an effective and fun way to convey that concept to people and connect with fans and artists.
“Our mix for The Outer Church aims to continue that tradition and showcase some of the music we enjoy, give listeners a glimpse at some of what we’re brewing over here at Rano. Many of the tracks featured in this mix are either recently released or due out soon from people we know.
“We open with a field recording from Fakepop entitled Birds And Crickets Market. What I love about field recordings is how they paint a picture in my mind and take me someplace. I try to imagine an environment just based on the sounds I hear. When you read a book and you get sucked into this other world, I get a similar sense of that with field recordings. I especially enjoy the bit in this recording when you can hear someone asking the artist if he or she is recording. I can imagine them sitting there with a Zoom H4n in hand just giving a nod and smile. This track was used to put the listener in a setting in which the rest of the mix could be built from.
“At the very moment you hear the words ‘are you recording’ in the Fakepop track, I bring in the second tune by Cementimental entitled When Civilization Ends, The Fun Begins. It’s a short piece but I like how it brings a little chaos into this part of the mix. It builds off Fakepop’s recording of all the commotion at the market and is a nice juxtaposition to the softness of our third selection by Stephan Mathieu. My favorite part of the track is the quote at the very end, ‘Man is an instance’. It gives the listener a powerful thought to dwell on as the emotive piano notes enter your ears and the chirping birds fade off into the distance.
“Next up is a song by Stephan Mathieu entitled Imagination. Much like The Outer Church, Stephan gave our label a lot of support and encouragement from the very beginning. I have a tremendous amount of respect for Stephan as an artist and as label owner. If you’ve purchased any music from his Schwebung label, then you know he has high standards. It’s something I admire in this digital age where many seem to take the cheap and quick approach to things. Even his digital formats are of the highest quality, right down to the high resolution artwork. I love this song and I’m lucky to have it! Stephan posted it on Soundcloud for download as FLAC for a very short while, and I didn’t hesitate to snatch it up. I’m glad I did because I think it’s since been removed. It is a beautiful addition to our mix and I love the emotion it brings. We wanted to use something of Stephen’s as a way to thank him for his help to us. Imagination pretty much plays in its entirety without too much overlap from the other audio, but at the very ending I layer in a fresh tune from the The Revenant Sea.
“It’s Been Following The Plane Since Moscow is brand new from The Revenant Sea and is available from our good friends at Auditory Field Theory. Besides the fact that it’s a gorgeous tune released by a label we are acquainted with, I wanted to use a track by The Revenant Sea because we were first introduced to each other by The Outer Church (although the introduction was to his alter ego Wizards Tell Lies). I skipped over the beginning of this track, because I thought the middle of it sounded better being mixed into the end of Imagination. I encourage everyone to have a listen to the track in its entirety on The Revenant Sea’s debut cassette.
“So here we are, four tracks deep into our mix and you still haven’t heard from a single Rano artist… until now (8m 43s). Our next selection is a small portion of an unreleased ‘sketch’ from the duo known as MICROFL▼RSCNCE. Independently they are known as Micromelancolié and Wolf Fluorescence. They worked together on a split tape on A Beard Of Snails Records and have recently merged to create MICROFL▼RSCNCE. The first of three tapes is out now on Patient Sounds Intl. The second tape will be available soon on Already Dead Tapes and their third and final tape will be released by Rano early in the summertime. We’re also working closely with the other labels to provide our customers with a few complete sets of this series. We’re glad to be working with MICROFL▼RSCNCE, and love how their tracks seem to unfold and constantly evolve. If you skip ahead on one of their tunes, you may wonder how they got from point A to point B, but the transitions have a very smooth and natural progression. I love their use of soft and distorted synth layers in this particular sketch. I’m not sure if this sketch will be released in its current state so it’s a real treat for me to be able to share this ‘work in progress’ with you.
“As we fade out of the MICROFL▼RSCNCE sketch, The Revenant Sea still fizzles along in the background as the foghorn-like sounds of Bembridge Harbour by Emptywhale make their way into our mix. I can’t remember exactly how I came across Emptywhale but I know I’ve been a fan of his work since first listen. I love his treatment of the vocals throughout this mellow piece of music. This track is taken from some demos Emptywhale has been pulling together for his third album entitled ‘Some Hollow Lullabies’, which I’m told is due to be released in a few months. He also has two free releases available on the Haze netlabel.
“Bembridge Harbour rolls right into a nice little remix by Antoniak/Navmort. I don’t know much about Antoniak/Navmort, but they have a wide range of music on Soundcloud and Bandcamp that I highly recommend. I found this remix of the RSS B0YS track 0MG as a ‘name your price’ download on Bandcamp. I really like the way the vocals on this tune work with the vocals of Emptywhale, while bringing in the first solid beat of the mix. I let this beat ride alone for a little while, only to have it smothered by the sinister drones of oh/ex/oh, one of my favorite finds from last year. I’m not sure if I stumbled upon him through Manchester label The Geography Trip or the OC, but I was blown away by what I heard. His V/H/S Unreleased Horror Themes is awesome from beginning to end, and the Extant album on The Geography Trip is one of my favorite records of 2012. oh/ex/oh was kind enough to share two tracks with me for this mix. The Necronomicon and Dark Moors both come from his The House In The Woods soundtrack and are mixed seamlessly together for that collection. I wanted to use these two tracks exactly like he intended them to be heard on his soundtrack, so he sent me the two tracks pre-mixed. These are the only two tracks on our mix that weren’t mixed by me.
“The pulsing ending of Dark Moors melts into an edit of Russell M Harmon’s Amidst Wolves by Synek. Our next cassette (due early April) will be Russell’s We Are Failed. He released this album as a digital last year but wanted to do a physical release with Rano. We loved his album and wanted to produce it, but wanted to offer something brand new to our fans. We talked it over and decided to commission remixes from several artists and offer a completely remixed version of the album on the B-Side of our cassette. This tune by Synek is one of those submissions but unfortunately (even though we love it) will not be released on the tape. Instead we chose a remix by oh/ex/oh. Since the edit by Synek will not be available on our cassette, we included it in this mix. We still want people to hear it.
“As Amidst Wolves comes to a close we bring in a fresh tune from our good friend Keep Sheila On Acid entitled The Prophets Silence Is Deafening. This is from the recent Erotic Theology cassette from Auditory Field Theory. You may remember Keep Sheila On Acid from our second cassette. We really like The Prophets Silence… because it’s not like other tunes we’ve heard from Keep Sheila On Acid This is much more structured than we’re used to, but it still maintains the psychedelic feel we know and love. Keep Sheila On Acid is one of the reasons we launched the Rano label to begin with.
“As percussive elements of The Prophets Silence Is Deafening fade off into the ether, the vastness of I Watched The Mountain Move, With Me In Its Path by Lumbers takes us over. We didn’t do this track justice by putting it in our mix. Only a small portion of it was actually utilized. It’s another one of our track selections I would strongly recommend you listen to in its entirety. Sometimes I have an idea of how a song will work within a mix but once I hear it I realise it doesn’t work like I thought. This is one of those cases. I ultimately decided it sounded better using only a portion of it rather than the whole thing. You’ll have to do a bit of homework if you want to listen to the rest.
“Metallic hits and tribal drums from Clay Wilson’s Pfizing pierce through the drones of Lumbers as field recorded rustling and bird sounds of Duna by Tension Co echo beneath. I recently purchased Clay Wilson’s album from Styles Upon Styles label in NYC. It’s the second installment from their Bangers And Ash series, a very brilliant concept at that. The Bangers side is more of a danceable style of music while the Ash side encourages the artist to take a more experimental approach. The result is a hell of an album and a dynamic view into an artist’s creativity.
“As I mentioned before we have Duna by Tension Co playing pretty much the entire time alongside Pfizing but we gave it some reverb to keep it sounding more distant. I really wanted to use this Tension Co track to reintroduce the sound of the birds that we used in the beginning. Sometimes I like to have some repeated elements throughout a mix just to give it a cohesive feel. Perhaps it has to do with my background in design but I always feel if you use an element in only one place it kind of stands out like a sore thumb rather than becoming united within a composition. I think the exotic birds sound perfect with the tribal drums of Clay’s track.
“We let Duna ride on by itself for a bit before Hundred by Loam creeps in. (41m 47s). We received this track from our friends at Cleaning Tapes, a VHS/Tape/Digital label from the UK. We don’t really have much info to share about Cleaning Tapes or Loam since they are both keeping their cards close to their chests. What we do know is that Cleaning Tapes has been ramping up their Soundcloud page with new music and we believe we’ll see a release from them soon. They are a label we’ve been following for well over a year now and we can’t wait to see what they come up with. They’ve announced a pretty impressive lineup of artists, including Wanda Group, Huerco S, Bantam Lions, Sagat, DTCPU, Microburst and several others we thoroughly enjoy. We talked to them about donating a track to us from their label and they sent us this track by Loam. She is an interesting producer I hope to hear more of.
“Next up is Freeze Time by Larry Crywater, a newcomer to the Rano family. Larry has been working hard sending us a barrage of music ranging from experimental and noise, to house and techno. We think Larry Crywater brings a unique sound to our label and our mix. I especially love the way he changes this track up in the middle and goes from the banging drums into some fuzzy ambience. It really made a nice entry point to mix in our next selection entitled 800mts by Reverse Projection. This track has (what I assume to be) some field recorded dripping elements that make it sound like you’re lost in a wet cave. Along with the mechanical clangs and industrial sounds going on around, I get the sense that I’ve wandered into a place I probably shouldn’t be and love the way the track blends into our next selection by Primitive Ear entitled Another Planet Up His Sleeve.
“Again it seems we went for a recording with some bird sounds, although I chose this one more for its mechanical breathing effect. This tune by Primitive Ear is available for free download on the Auditory Field Theory digital compilation and brings us close to the end of our mix. Last but not least is a tune from Flowers entitled North To The Tundra.
“Flowers is an older alias of Bantam Lions who recently released a 12” with Scenery Records and has some work forthcoming from Cleaning Tapes, as we mentioned earlier. I have so many tracks from Bantam Lions that it was very hard for me to choose only one. I narrowed things down after many listens and decided to use North To The Tundra. I love this selection for the ending of our mix because it’s fun, funky and has a positive vibe. I wanted to be sure to include a tune by Bantam Lions because he’s an artist I enjoy and we featured him on one of our first Rano Radio broadcasts. It also helps that I have a healthy selection of his work to choose from.
“In closing I’d like to thank all of the artists and labels who have contributed music, The Outer Church for being such a gracious host and all of you for checking out this mix from Rano. We truly appreciate your support!”
Cementimental When Civilization Ends, The Fun Begins
Stephan Mathieu Imagination
The Revenant Sea It’s Been Following The Plane Since Moscow
MICROFL▼RSCNCE Sketch 01 (Unreleased Excerpt)
Emptywhale Bembridge Harbour
RSS B0YS 0MG (Reshaped by Antoniak/Navmort)
oh/ex/oh The Necronomicon + Dark Moors
Russell M Harmon Amidst Wolves (Synek Sheep’s Clothing Edit)
Keep Sheila On Acid The Prophets Silence Is Deafening
Lumbers I Watched The Mountain Move, With Me In Its Path
Clay Wilson Pfizing
Tension Co Duna
Larry Crywater Freeze Time
Reverse Projection 800mts
Primitive Ear Another Planet Up His Sleeve
Flowers North To The Tundra
The music created by April Larson is by turns sinister, violent, mournful and disorientating. It creeps like the night stalker. It hovers like a low fog. It shudders like a spooked infant. It crackles and vibrates with a weird energy comparable to that of Hacker Farm - with whom Larson has recently collaborated - but it has its own unique spectral identity. The official word? To wit: “April Larson is the surface world representative of a tribe of nāga located along the coast of Louisiana. She listens to music through customized headphones with speakers placed along the jaw and translates music into sense-data through a collection of three interlaced brains. Somewhere between Henry David Thoreau and Crawford Tillinghast, she continues her research in oneironautic listening and regularly delivers lectures on relevant tone-clusters to beehives and ghosts.” So there. Here, Larson presents a brand new track and a short four-part mix which serves as a fine introduction to her work accompanied by some highly relevant ruminations concerning dreams, gnosticism and creativity…
“I’m very private and it seems rather personal to talk about one’s dreams, in words at least, so that’s where the tracks come in, I think. My first album How Do You Know My Name? is based entirely on dreams I’ve had, some of them loosely connected. The vinyl crackle sample seemed appropriate for creating a dreamy atmosphere. Haywire is the listeners’ unanimous favorite track, I’ve found, probably because it’s got the most recognizable piano, but Eyes Like Embers is my personal favorite. It originated from a very vivid dream in which I met someone I believed to be the Devil, because of his ‘eyes like embers’. He and I spoke for a very long time about very vague things, and he had a wonderfully caustic sense of humor.
“Harbor House is another dream excerpt, a physical house that’s not exactly haunted, but not benignly inanimate, either. Harbor House Exploration Number One is one of many (sixty or so) exploration, experimentation and recollection tracks that didn’t end up on the final version of the A History That Never Occurred album. The spoken portion: ‘The fact that there exists no clear photograph of him; that every attempt to record him amounts to endless tapes of distortion and static…’
“It Was Misplaced (Fuzzy Angels Version) was the original title track for my second album. Eventually, however, I cleaned this track up nice and pretty. This static-y version became a bonus track that only made it onto every other copy.
“Voiding The Contract (Not Raw) is a version of the same track on my SoundCloud page, that track being an example of my foray into incorporating raw data, databending, etc. This is the original ambient version, or base, of the finalized track. The ideas behind the more recent tracks are attachment, revenge, sacrifices, demons and sigils and blood magic, what we perceive as freedom, and how we so often forfeit our souls to redeem our hearts.
“The above image is a stamp I carved several years ago of an ouroboros - the perfect image, in my opinion, as I have a fondness for snakes (I have six of them including pythons and a boa, they are my scaly children) and the symbol itself is so gnostically meaningful.
“I’m interested in the symbols of gnosticism/hermeticism, the parables and occult fiction. The last thing I read was Philip K Dick’s Exegesis at Christmas, I could only read about ten pages at a time because the abundance of ideas and interconnectivity was almost too much.
“As far as coming into contact with Hacker Farm, I was following the author Warren Ellis’s blog at the time (this was early 2008) and he posted a link to Kek’s blog, where I read about Darren Bauler’s work as Medroxy Progesterone Acetate.
“I contacted Darren for copies of his albums and it was really my first introduction to noise/drone music, and it was life-changing! It opened up whole new avenues for meditation and fiction and integrating music with dreams and reality. Darren’s packages were beautiful and he was so nice and open about his processes of making music. Eventually I met up with him and a lot of his friends in Austin TX, where he put on a lovely live show with creepy projected videos of cackling CG heads on the wall of a beautiful wooden barn/studio.
“So, slowly, I started talking to his friends and supporters and one of them was Kek-W, whose farmpunk ways were very appealing as I grew up in the rural south, I got a copy of Hacker Farm’s album Poundland and loved it, etc etc. He asked a few days ago if I could contribute some words. I’d done so for Darren and I was happy to be of service! To be part of their amazing art is just… there aren’t words. I really and truly credit Kek and Darren for changing my life in such a positive and meaningful and artistic way, it’s given me a wonderful creative outlet. I’d always taken photos and written stories and tinkered with an old Casio and acoustic guitar, but blending all the arts together is fantastic.”
Download an exclusive new track recorded especially for The Outer Church here
Download April Larson’s four-track intro mix here
Eyes Like Embers (0:00 - 4:18)
Harbor House Exploration Number One (4:14 - 5:44)
It Was Misplaced (Fuzzy Angels Version) (5:42 - 8:11)
Voiding The Contract (Not Raw) (8:09 - 11:32)
The Outer Church stumbled into the waterlogged world of North Yorkshire’s Raining Leaf via their split release with the incomparable Paper Dollhouse. This was followed by the icily melancholic Frozen Landscapes EP and the ambitious 55-minute composition And Elohim Created - both released, like the split, through the artist’s own Chapel Yard imprint. Powerfully atmospheric and accompanied by the bleakly gorgeous monochrome photography that has become the label’s trademark, Raining Leaf’s music enfolded us in a beautiful gloom from which escape was neither likely nor desirable. We surfaced from our moist reverie just long enough to dash off a hasty missive and in no time at all a mix and interview materialised in the narthex…
Can you share some of the thoughts and feelings that went into the creation of your Ambient Purgatory mix?
“I’ve basically just picked things I think are really beautiful. The opening track is Venus by Don Yule, I sampled and reworked it right at the very end of one of my tracks called Los albores del Norte. So I thought the original can go first on this mix. Venus was released on Domestic who have put out two Raining Leaf albums. I poached Rubik from Domestic for an EP on my label so I have included one of his tracks along with a Raining Leaf one from the same release. Everything else on the mix is just stuff that I listened to a lot. I’ve been a dEUS fan since Worst Case Scenario so a song from that record is on there. To people who know me I guess there are no real surprises, if there is then maybe it would be Supercute. I heard that song on some online radio thing about six months ago and thought it would be by some freak-folk band so was very surprised to find out it wasn’t. I’d love their voices on my music. I don’t really listen to music that is similar to Raining Leaf, I don’t sit at home listening to drone or soundscapes or anything like that but it seems to be what I end up making. I really don’t know where it comes from. When I first started I wanted to do something along the lines of Múm, gnac and Labradford but I have no idea how to do it and just seem to have ended up where I am now wherever this is, some kind of ambient purgatory. So there are tracks on the mix by all three of those. I have listened to Labradford’s E Luxo So a thousand times and never tired of it so taken something from there too. The album has no track titles, just a list of recording credits which is why that track is called Dulcimers Played By Peter Neff. Strings Played. Or just the third track as I’ve always called it.”
What inspired the creation of your 55-minute long track, And Elohim Created?
“Trouble sleeping. I’d made a couple of really ambient tracks to put on my ipod and help me try to drift off but they weren’t working too well. I noticed that one led seamlessly into the next though, and I just built it up from there really. Doing an album as one track was something I’d thought about doing on an earlier piece called Los albores del Norte but in the end I didn’t have the confidence to go through with it and instead it became the focal point of the Winter Solstice album. I’ve been collecting samples for a while, some field recordings, bits taken from freesound and places like that and thought I’d just try it and see how far I get with it. After it got to the seventeen minute mark something seemed to click. The titled is based on And Elohim Created Adam by William Blake. It’s meant to sound poetic rather than arrogant.”
Describe what your hometown means to you.
“Well my hometown is in Lincolnshire but I haven’t lived there for nearly 15 years. I now live up the road in York. It’s a nice enough place but I haven’t felt too much of a connection here to be honest. I actually prefer it going towards Scarborough and Whitby, near the moors. I do miss my hometown but I outgrew it. Every now and then I get a bit homesick and have to remind myself why I left there in the first place. All my happiest memories are there though, so that’s what it means to me really. Most of what I love about it has gone, its character has been knocked out. Every time I go back something changes and it’s rarely for the better.”
So you feel a deep connection to the North Yorkshire landscape?
“Absolutely, It’s tough to describe though. I had the same connection to the peak district in Derbyshire when I was a child. Memories obviously play a vital part in these connections but I’ve always known I’d end up in North Yorkshire, It’s Raining Leaf country.”
Presumably weather and atmospheric conditions are a major source of inspiration for the project?
“Yes they are, I began using sample/field recordings of wind, rain and storms initially to create a sense of atmosphere and I really love hearing them in music so I thought I’d make it a continual theme throughout Raining Leaf. Sometimes it feels like something is missing in my music and I stop to think about it for a moment and then realise it’s the sound of waves lapping on the shore, the wind through the trees or a birdsong. I’ve become quite attached to these sounds now. The titles come from whatever my mood is on the night I complete a track. It’s usually about 1am when I finish something so I just think of the night sky or some kind of imagery which the piece of music has provoked in my mind. The name Raining Leaf came to me a few years before any music was ever made. I was listening to Sonic Youth’s Murray Street while waiting at a bus stop one evening, and it literally started raining leaves from some nearby trees. The song playing was Rain On Tin and my train of thought just switched to Rain On Leaf (which ended up becoming the name of the debut album) and then to raining leaf. It stuck with me for ages and when I tried to form a band with a friend about two years later I picked the name Raining Leaves. We never got going though so that idea was abandoned. Eventually I started to make music on my own and Raining Leaf seemed the natural name to use. Around this point I was regularly getting hit in the face by random leaves and every time it happened I just thought to myself ‘raining leaf’. I was walking home along the river in York one afternoon and a giant one slapped me right across the face really hard, and I just thought ‘this is getting stupid, it has to be a sign.’ And Elohim created Raining Leaf. That’s really how it all began.”
You recently released a split EP with Paper Dollhouse. Do you feel a particular kinship with their work?
“I’d read an interview Astrud had done and noticed that the way she’d recorded her album was very similar to how I was recording my stuff, using the built-in skype microphone to record and little things like that. We were doing something in a similar style but creating something quite different to each other. When we put it alongside each other it fitted together perfectly. We met each other when we were teenagers but I haven’t seen her for years now so it was nice to reach out to her again.”
Are there any other current artists whose work you feel close to?
“Not really, probably just Rubik because I’ve been allowed to hear some of the new stuff which is excellent, it’s really dark. Evil genius.”
Your artwork - as with all the artwork on Chapel Yard’s releases - is exceptionally evocative. Is it your own work?
“Ninety-nine per cent of it is. On a couple of the very early releases I used public domain images but at that point Chapel Yard was just an umbrella to release my stuff under than a label. It took until about the tenth release before I got some genuine continuity into the artwork with the black and white theme and started to take it all more seriously. Most of the photos are in or around the York area and are things I see on a regular basis so when I walk the fifteen minutes from the city centre to my house a pattern develops. When I get to St Mary’s Abbey it’s the cover of EP2. Four minutes around the corner I get to Scarborough bridge, as I cross it and look back towards the city it’s the sleeve of Frozen Landscapes. Step off the bridge and backtrack slightly and it becomes the cover of Dead Of Winter. Go about a hundred metres along the river and you’ll get to EP1 and a bit further along Cinder Lane it’s the cover from Silver Morning. Walk along the field from there and you’ll get to where I took the image for And Elohim Created. I might even design a Chapel Yard treasure map when I’ve done a few more of them. Plant clues at the location of each photograph or something.”
How would you describe the Chapel Yard aesthetic?
“I’m not entirely certain myself what the aesthetic is, I’m just playing everything by ear really. A lot of releases have been spontaneous, the Paper Dollhouse EP took the longest to get together, from agreeing to it and releasing it I’d put out a Raining Leaf mini album and a full album of completely new material none of which had even been conceived when the idea of the EP was suggested. It only took just over a month to get together which is still no time really. That probably gives you an idea of how obsessively I work on Raining Leaf.
“Musically, it just has to fit. There’ll be drone releases and hopefully some electronica kind of stuff, all depends who wants to work with it. I do everything myself which isn’t that much. I do no press. I drop no emails to anybody about new releases, I depend on word of mouth because it’s how I’d like it to be. I’m not here to play the game, I tweet and post on Facebook and then leave it for anyone who chooses to share it or not. Physical releases will all be homemade, there’ll be no sending CDs or tapes off to pressing companies or whatever people do. Just all done by me, in my house. A cottage industry.”
What are your plans for the label?
“I’m currently doing some Paper Dollhouse/Raining Leaf CDs for EP2 and will make a few of EP1 which featured Rubik. Instead of making separate CDs for Layers and Silver Morning I’ve compiled them onto an album called Tales Of Industry and will do a CD run of that too. Then there’s EP3 which will hopefully be ready in the not too distant future, which will be another split EP with another one to follow that. Maybe even something without Raining Leaf, will just have to see what happens. I’ll be going down the digital distribution route for a year too just to see the effect it will have on sales. As for Raining Leaf, I’m not sure. In April it will be 12 months since the first EP came out, so in the first ten months I think I’ve put out 79 tracks if I include the four cover versions I made available on Soundcloud. So maybe I’ll aim for one hundred before then. Or maybe I’ll just call it a day after one year. Or I’ll actually take my time for once and write a classical album.”
múm K/half Noise
gnac Observed vs Expected
Hacia Dos Veranos Despertar
Massive Attack Weather Storm
Malcolm Middleton Crappo The Clown
Rubik Drifted Away
Bowery Electric Over And Over
Supercute Haunted Hostel
dEUS Right As Rain
Raining Leaf Odda
Zita Swoon Ragdoll Blues
The For Carnation Alfredo’s Welcome
Labradford Dulcimers played by Peter Neff. Strings played