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Posts Tagged ‘Ben Lukas Boysen

Chosen One: Ben Lukas Boysen

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…so in many ways Mirage is about seeing these roots from a distance, seeing how both my younger and older self tackle the same ideas with all these years in between.”

—Ben Lukas Boysen

Ben Lukas Boysen - press photo 01 by Patricia Haas_landscape_WEB

The prestigious German composer and producer Ben Lukas Boysen’s latest sonic marvel, ‘Mirage’ – released last week on the ever dependable Erased Tapes label – continues his impressive path to create shape-shifting sound worlds that masterfully inhabit modern-classical, ambient and electronic orbits, all at once. His innate ability to blur the boundaries of organic and synthetic elements remains a vital cornerstone of the artist’s compelling sonic oeuvre. In truth, the source of the sonic details may prove impossible to determine but therein reveals the infinite radiance of music’s power. As a listener, we (subconsciously at the very least) analyze and dissect each moment-within-moment that is magnificently captured in the ceaseless flow of consciousness (translated into sound).

Album opener ‘Empyrean’ begins with gradual pulses of reflective saxophone tones before warm electronic textures seeps into the mix. This glorious piece almost feels as if it converges on the axis between (label-mates) Nils Frahm’s ‘All Melody’ and Daniel Thorne’s ‘Lines Of Sight’ such is its immaculate brilliance and hypnotic quality.

Contrasts and counterpoints are beautifully placed on the record. ‘Kenotaph’s fragile beauty of sparse piano notes provides an absorbing, introspective moment. Later, drums and synthesizers coalesce together, forming post-rock bliss conjuring the sound of ‘TNT’ era Tortoise. The lyrical quality of Boysen’s solo work is always a pure joy to savor.

The intensity is increased on the magnificent tour-de-force ‘Medela’ with soaring electronic beats and ripples that ascend deeply into the slipstream. This morphs beautifully into the ambient bliss of ‘Venia’ (with distinctive saxophone flourishes of Daniel Thorne) which effectively marries acoustic and electronic spheres into one otherworldly dimension.

The penultimate track ‘Clarion’ serves the climax to ‘Mirage’s luminous journey. Live drums and Anne Muller’s radiant cello lines combine with the angelic tones of felt piano keys. The closing ‘Love’ transmits euphoric swirls of synth-laden tapestries infused with vocals that convey the boundless nature of ‘Mirage’s colossal musical expedition.

‘Mirage’ is out now on Erased Tapes.

https://benlukasboysen.bandcamp.com/

https://www.erasedtapes.com/

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Interview with Ben Lukas Boysen.

 

Congratulations on your latest solo full length ‘Mirage’. I feel the spirit of adventure and fascination with sound can be felt throughout every moment of this special record. Can you please take me back to your starting point, if you will, and how you set about creating ‘Mirage’? In terms of having a back catalogue of work behind you, I can imagine you found a specific narrative for this newest venture quite quickly?

Ben Lukas Boysen: Thanks so much! It was actually a rather long process at first. I collected a lot of ideas after wrapping up a series and a film in 2018 and early 2019 and was struggling a bit with bringing these ideas to life. I was looking for ways to get to the next logical step after Spells a bit too hard at that time and ended up going in circles. Remembering my musical roots, which are clearly in electronic music and mutated forms of it, really helped spark the songs that ended up on the album. 10-15 years after making the first album(s) you are a different person and approach these questions differently, so in many ways Mirage is about seeing these roots from a distance, seeing how both my younger and older self tackle the same ideas with all these years in between.

While writing my earlier records, I had the great benefit of not knowing a lot about music production and how opinionated and political it can be. While many of these opinions and politics were extremely welcome and helpful here and there, back then it allowed me to be very free and not being afraid of doing anything wrong. Not being afraid of technical or stylistic trends or wisdoms but actually trying to do what I feel like doing, which was very liberating and sounds like common sense but it can be surprisingly difficult sometimes. In other words: I’m not totally sure there is a narrative, other than it being an attempt in reconnecting with my former or younger self and building a connection between these two different timelines.

As you have said previously, ‘Mirage’ is almost like ‘Spells’ in reverse; with your aim of trying to hide the human. Like all great composers, the ability to blur the boundaries wherein the exact origin of certain sonic ideas or motifs are unknown (or at least indistinguishable from its original form). This is utterly fascinating for the listener. Can you shed some light on the music-making process and which stage in the process do you find the most relishing?

BLB: Hiding at least some of the human element is a natural side effect of writing electronic music to me. Making it distant, otherworldly and somewhat intangible can give it a wonderfully different dimension and makes it perceivable in a different way.

As much as I enjoy the acoustic and vintage feel of many current recordings, I had the feeling that I don’t have a lot to contribute to this particular direction – at least not enough to fill a whole album with – and the idea of focusing more on the digital and architectural nature of the album became very appealing.

While the construction of the instrumental and human feel played a huge part on Gravity and Spells, the synthetic sounds are the high ranking authority on Mirage. Wherever they lent themselves to be used more ostensibly, I would let them and also feature them but i never wanted the album to feel ‘live’ in the true sense of the word, but much more ‘alive’. The tracks should seem somewhat distant and constructed, engineered even while at the same time give of a romantic and emotional feel. As if a heartfelt message is conveyed by messengers who are trying to make sense of what they are saying. The most relishing part was when i felt this tension was happening as most songs started off as either noisey patterns/drones or simple melodies and needed more composition to be interesting.

‘Empyrean’ is an interesting example as it show’s this process and described the image quite well. All elements are in and out of order at the same time for the first half of the piece. They are rhythmically pretty unsynced, and the chord changes are the only thing that aligns them. Just when things start to groove in, the original melody does not develop further and only towards the end, when the grooves start to pass, a melodic development comes back, introducing a variation of the original theme. It’s not perfectly clear which instruments/elements are in this piece, neither what exactly it is they do and what seems like a recipe for chaos actually still turns out to be a rather harmonious and emotional few minutes.

Some label-mates further heighten the sound worlds across ‘Mirage’, most notably the distinctive voices of Daniel Thorne and Anne Müller. I am curious to know at which point in these tracks did you arrive at before these musicians added their unique musicianship?

BLB: This depends strongly on the track and also has to do with me thinking of a track as a highly organic, shapeshifting thing where influences from every side will change its character dramatically. That’s something I welcome strongly and try to let happen as much as possible.

‘Medela’ sounded very different in the beginning, at the point that i sent it to Dan.

I had written a saxophone line, which he recorded and sent back, but i felt that the actual recordings – as opposed to the midi files i sent him – changed the track for the better. I noticed that the track had turned into something much more interesting than what i had in mind originally so i overhauled most of the idea to end up what is now the final track.

A wonderful first collaboration and surely not the last!

Anne and I have been working on quite a few things before, from commercials to live concerts and albums. Her feeling on how and when to chime in on the state of a piece is incredibly sensitive and on point and i always feel the music gained is a very special and irreplaceable touch. Sometimes it’s subtle additions, where the Cello becomes more of a textural element (like on ‘Clarion’ or ‘Venia’), sometimes it’s very obvious sections (like in ‘Medela’ or ‘Love’) but all of them come from a point of giving over a big portion of control to the musician (in both Anne’s and Dan’s case) to see how they shape this organism that is a piece of music.

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The opener ‘Empyrean’ is such a gorgeous and fitting opener. Daniel Thorne’s mesmerizing saxophone lines permeate the clouds before electronic manipulation and treatments creates an even deeper experience. Can you recount your memories of witnessing ‘Empyrean’s development and mutation, so to speak?

BLB: I had to think about this a little as Dan is not in this song but it probably means that the goal to confuse people about who worked on this record worked. It is however another, very dear collaborator of mine, Lisa Morgenstern. She provided a few recordings while I was trying to figure out the tone of the album.

There was a day when I loaded one of these recordings into a granular synth and started playing some simple chords. The result of this is actually what you hear in the first seconds of the track.

The wonderful unsynchronized triggering of the vocals inspired me to treat all other elements on there in a similar way. Mildly detuned or unsynced but all having a point of unison eventually.

It was the starting point for the album and set the concept for Mirage. The fact that it’s now the first song on the album is incidental because the tracklist was created much later but it’s a nice side note. The sound of ‘Empyrean’ encouraged me to step away from what i thought this album could be and focus on where I’d actually like to venture off to.

The middle section of the epic pairing of ‘Medela’ and ‘Venia’ is the album’s gripping centrepiece. The hypnotic electronic pulses of ‘Medela’ fades into the soulful bliss of ‘Venia’. I can imagine the sequencing of these tracks is something that takes quite some time to get right? As a whole, I get the impression that you visualize the music (contained on the final edit of an album) as one large seamless track with an array of moments? I’d love to gain an insight into your approach to getting all these details right?

BLB: On my previous albums (as HECQ) that’s exactly how it was – I wrote the pieces chronologically most of the time and when it hit the 50 or 60 minute mark I knew I had an album ready. I did not spend a lot of time thinking about sequencing albums – only on the later ones did this start to matter to me.

A certain aspect of this thinking is still influencing current albums including Mirage. To me an album is always a story, a snapshot of the time period I wrote it in. So it is a self-contained story or project but while earlier albums had a timeline, on Ben Lukas Boysen albums I can jump from chapter to chapter, look at individual events of that time and respectively can also listen to pieces on the album in random order and out of context. That’s why the exact sequencing of the tracks is not overly important to me as long as all tracks ended up being part of that story.

I think ‘Clarion’ really embodies the sublime aesthetics and intricate layers captured on the record. The addition of percussion and drums adds many new textures and love the gradual building of the piece. Were some parts recorded live? This certainly feels more like an ensemble playing here.

BLB: Yes the drums are live indeed. Achim Färber, who plays drums on all my albums, has the wonderful habit of playing or sending me random recordings or just starts improvising when we’re in the studio and that’s frankly where most of the album takes are coming from. Similar to Anne Müller, his contributions are the next natural evolution for most pieces. There are live drums, cellos and flügelhorn in ‘Clarion’ but all were recorded separately because the pieces are often not finished in my mind and recording one instrument leads to spark the idea of recording another. Not being a great instrumentalist, let alone session musician, I really prefer producing and arranging the pieces and then do the recordings, so realistically there’s never really a session where all musicians come together. I work with them separately and often remotely to get the work done.

Independent of its sound and intention, all my albums are ensemble projects though – every part, no matter if instrumental recordings by Achim (Drums), Stefan (Trumpet), Anne (Cell), Dan (saxophone) Maria (Harp) or on this special occasion also the great Neil Cowley, or the post mixing, done by Martyn Heyne at Lichtestudio or the mastering by Zino Mikorey, becomes part of the music. I do prefer to write and produce alone but it’s these people that breathe in that extra specialty and aspects that I could simply not bring to the table.

What particular albums and artists have you been heavily immersed in of late?

 BLB: All time faves i frequently rediscover:

– Nav Katze: Never Mind The Distortion

– Various Artists: 8, 8.5, 9 Remixes

– Olan Mill: Orient

– Billie Holiday: Lady In Satin

 

Current favorites:

– Daniel Ögren: Fastingen -92

– Christopher Bissonnette: The Wine Dark Sea

– Kit Sebastian: Mantra Moderne

– Bobby Krlic: Midsommar OST

‘Mirage’ is out now on Erased Tapes.

https://benlukasboysen.bandcamp.com/

https://www.erasedtapes.com/

 

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May 5, 2020 at 2:06 pm

Step Right Up: Ben Lukas Boysen

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How can I make a programmed piano – or basically a piano that I never really touched, that I never saw or that I never recorded myself – how can I make that feel human and interesting?”

—Ben Lukas Boysen

Words: Mark Carry, Photography: Claudia Gödke

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The Berlin-based composer, producer and sound designer Ben Lukas Boysen represents the prestigious Erased Tapes label’s newest signing with the scintillating sophomore full-length release of ‘Spells’. The German studio composer masterfully crafts a deeply moving sound world of ambient, electronic and modern-classical textures as programmed piano pieces are fused with live instruments (drums, cello, harp and an intricate array of echoes, delays and compressors), merging sound design and music to become one beguiling stratosphere of mesmerizing sound.

On the sleeve notes of Laurie Spiegel’s seminal work ‘The Expanding Universe’, the American composer discusses the great advantage of computers: “Music consists of patterns of sound. One of the computer’s greatest strengths is the opportunity it presents to integrate direct interaction with an instrument and its sound with the ability to compose musical experiences much more complex and well designed than can be done than can be done live in one take.” Journeying through the infinite beauty and meticulously crafted sound collages captured on ‘Spells’, Boysen has composed complex musical experiences that combines the controllable digital world and the often unpredictable aspects of live improvisation. The remarkable achievement of ‘Spells’ is the hugely humanised sound – and rawest of human emotions – that is emitted from these programmed piano pieces that floats in the ether between the blurred lines of electronic and organic spheres. Undoubtedly, the source or origin of the German composer’s work is secondary to the sprawling emotion and deeply affecting nature of ‘Spells’’ highly innovative and compelling body of work.

One of the record’s most formidable moments arrives during ‘Golden Times 1’ – the album’s longest cut and perhaps centrepiece – which is built upon a delicate piano-led melody that echoes the solo piano works of Nils Frahm and Peter Broderick among others. Later, heart-wrenching strings are melded together before a euphoric cascade of energy and emotion is transmitted amidst electronic walls of sound that forms the towering counterpoint to the aching bliss of ambient pulses (think ‘Looped’ by Kiasmos inter-woven with Nils Frahm’s ‘Says’).

In the same way as two distinct movements are composed for ‘Golden Times’ (‘Golden Times 2’ is a slowed-down neo-classical-infused-electronic tour-de-force recalling the likes of Scottish duo Boards of Canada), ‘Nocturne 3’ and ‘Nocturne 4’ finds the rich narrative of Boysen’s previous LP, ‘Gravity’ developed further. The brooding strings of ‘Keep Watch’ shares gorgeous remnants of A Winged Victory For The Sullen such is the unfathomable beauty that permeates the ebb and flow of neon-lit skylines and the gradual motion of the sea waves encapsulated within the soaring music. Indeed, ‘Spells’ is laden with a beating heart that awaits your every lost thought and faded dream.

‘Spells’ is out this Friday, 10th June on Erased Tapes Records.

 

Interview with Ben Lukas Boysen.

 Congratulations on the sublime new record ‘Spells’. I’m sure it has taken considerable effort and time to program all the piano parts in particular?

Ben Lukas Boysen: Yes, a little, it actually doesn’t take as long as it would take me to play it [laughs], it takes a while but I can’t really play that well. So I needed to find a way to make that work otherwise and the programming is a very comfortable way of doing that. But it’s mostly the other musicians involved – they were a lot faster with everything because they are all very good instrumentalists. Most of the things were done pretty fast – it only took two years to get the piano stuff together and then the rest was faster.

Would the piano parts always come first and then the instrumentation of drums, harp and so on come after?

BLB: It depends actually. The way I record drums, I go into the studio with the drummer and I just hand him an idea and he starts jamming – I mean just like a track idea and he starts improvising. Most of the time (80% of the time), I remove my track afterwards and write something new for the drums and that’s how most of the tracks – with drums at least – come together. There was a certain idea at the beginning and it was all removed and something completely new was written underneath it. Hearing other musicians work normally inspires me a lot and gives me new ideas of what I want to do with it. So most of the time there is nothing really pre-written; it’s very subject to change there.

I must say ‘Golden Times 1’ – and I love also how there are two different movements with the second towards the end -it’s amazing how it morphs into the more electronic and as the piece extends, the piece builds continually. It really is wonderful how it develops.

BLB: Thank you so much. Right now as we speak I’m at a point where it’s very, very hard for me to judge the album. It’s very flattering and nice to hear that it seems to work because right now it’s this hunk of work that’s passed me. Musicians will tell you they need to get a distance from their work before they can actually enjoy it again.

Like ‘Golden Times’, I love how there are also two different movements of ‘Nocturne’ and it’s wonderful to see – and hear – the different variations between those pieces?

BLB: Indeed, that is a fun concept actually. It’s normally only heavy drums and a sad piano theme, like that’s the only restriction and everything else is fine. There’s the first two pieces [‘Nocturne 1’ and ‘Nocturne 2’] from my previous album ‘Gravity’ and it just developed, there was never really a plan. I liked how this worked so I do three more. There will probably be two more on the next one to close the trilogy or something [laughs].

You set up your own studio in Berlin around ten years ago. That sounds fascinating too because you’re obviously involved with so much projects from sound design where your own two studio albums are one part to the overall picture really.

BLB: That is true, the albums are personally at least, the most important one. The sound design and commission work is what pays the bills and what puts the food on the table. For the albums, you could never take that much time with a commercial project than you can with an album. You just sit down and take time and don’t do anything but that for a while. And in that time that it takes to make an album – the way I wanted it to be – I would be completely broke and on the street by the time it finished. I am very happy that I’m allowed to work in a craft that where music pays my bills; I feel incredibly privileged. The sound design was always part of it but I always try to make sound design musical and music more sound design: to find something within there. It’s hard to explain but they should become one eventually and this is very hard to hear on ‘Spells’ at least. But on the previous stuff – all the releases I did under HECQ – this approach is much more obvious there because it’s very electronic. But for my solo stuff it’s the same, ultimately I want to merge sound design and music into one.

I’d love for you to discuss your early memories of growing up with music? I presume you began playing the piano at a young age and progressed from there?

BLB: That is true although I was never really an instrumentalist in that way. I come from a musical family – my mother was an opera singer and vocal coach later on in her life and my father was an actor – so music was always very present and always a very important topic, and always being quite eclectic about it, my parents were and still are.

I started playing guitar and piano but I noticed this is not where I will be good at. It is more the abstract and programming part – the meta level of music – for example like ‘Spells’ and ‘Gravity’ are good examples: how can I make a programmed piano – or basically a piano that I never really touched, that I never saw or that I never recorded myself – how can I make that feel human and interesting? And how well that worked I guess is still to be seen when the album is out [laughs].

Well quite a few people – pianists actually – asked me how did I record the piano and I explained that I did not at all, it all comes from a machine. And their reactions were very interesting from amazed to almost disappointed and every reaction was in there; it was very funny really. There is a certain value system behind it like some people might value the result even less once they know that it’s not recorded as in no live piano. I thought that’s very interesting how you get this value system behind it or why is it that your perception tells you this is better because this is live or not live. That’s what I meant with meta level like it’s not only listening to a record, it’s also as a producer or as a musician questioning what is actually important for you during the production process and also when you listen to an album and why it might be more or less worth to you when it is done.

For example, I never sat down with the musicians in one studio at a time; they are all scattered either in Berlin or elsewhere in the world, and always recorded on their own almost. I mean I was in the studio with the drummer [Achim Farber] but the cellist [Anton Peisakhov] did his own thing and the harpist Lara [Somogyi] she is in LA so we were just bouncing off ideas really and then I merged them together here on my own. That’s also very interesting because there is a lot less life about this album than people might think [laughs] or at least how it sounds and that is done on purpose. It is probably without the listener knowing, a little challenge to question your perception.

As a listener listening to ‘Spells’ for example, overall there is a hugely humanised sound where you feel it’s very much an organic world that you wouldn’t think for a second was manipulated in any way.

BLB: Yeah that’s very interesting because that is how it should sound. It’s not an active act of deception or anything. I mean to make it sound human and very much alive was a goal but especially because everybody who starts to make computer music will have heard the phrase ‘oh so it’s not actual music’ when you work with a computer quite often and I’ve heard that many, many times. I mean computer musicians and electronic composers are absolutely established and are artists and a group of composers in their own right but still most of the people who are not actively involved in it they still have this preconception of this is not actual music and for some reason that I wanted to contribute a bit to that discussion saying that you can combine these things wonderfully. It’s quite tricky to sync a VST piano or any synths that are not improvised or played live to an actually live-played instrument because the moment you put a human being behind an instrument it will have its own very human factor and it will be quite faraway from any quantised digital world. This is very thrilling, I could do that for at least three more albums, it’s really fun.

There is a lot of chance and accidents in the sense that it is not set out too finely that goes inside the process too?

BLB: Indeed, it’s like recording mistakes, I would normally leave them in. I really like that, it’s not only to enhance the live feeling but I just normally really like what live mistakes and outtakes do to a piece of music like don’t over-polish it, that was my motto.

There is a lovely parallel between you and the other Erased Tapes artists like Nils Frahm and Kiasmos particularly where you’re certainly on a similar wavelength.

BLB: I hope so; I mean this is a big comparison so thanks a lot for thinking that way [laughs]. The mastering and mixing was Nils and he obviously added a lot of his input. It was very important for me that he is very free to do his thing and to work these little details and the extra twenty percent that this album would need – I mean twenty percent to say the least. When we were done after the two days, I really re-discovered the album and noticed things that I didn’t notice before and that’s why these sessions are always very helpful. He did that already on ‘Gravity’ and mostly because ‘Gravity’ didn’t sound like I wanted it to sound at all when I went into the mastering session and he really did something amazing there. ‘Spells’ was much closer to what I wanted it to be and he also adapted that fantastically so it’s an amazing job that he did. I mean he is adding a certain feel to it as well that makes it fit in with the rest of the bunch as well.

I wonder for the live performance it must be very exciting too because I presume the live set-up will transform the songs again even further?

BLB: Indeed, but that’s the trickiest part so far [laughs]. I’m really trying to figure out how to do that; well basically set up a band and come up with a concept. I actually never anticipated playing ‘Spells’ live. I mean I’m a studio composer and producer – not even a musician – so I have not much experience playing live other than a couple of DJ gigs back in the day and I’m working on something but it will take a while. It’s going to be a bit tricky – for me at least – I’m very critical with what I present to the outside world and so the live show needs to be very impressive, it needs to be something else. It’s not enough to go there and play on a stage with a laptop, there needs to be a concept behind it otherwise it’s not going to be the experience I want it to be. That’s why it might take a bit of time but you are absolutely right; listening to the layers of the tracks gives me a lot of ideas on how to solve that and how to go about the live idea – it’s very inspiring but it’s also very challenging, especially if you don’t really have a lot of experience in that area. It’s exciting times and I will spend a good portion of this year on figuring out how to do this.

I love how ‘Keep Watch’ is more rooted in the modern classical world but I love how the little layers of percussion are added throughout, especially during the later stages.

BLB: The cellist had to accompany himself. It’s a piece written for three cellos actually and he had to play all the three layers himself, the poor boy and he did an amazing job I think. He told me – and I wasn’t aware of – it’s very hard for a cellist to accompany himself and not in real-time; like you record one layer, then you record the second layer and then you record the third layer. And apparently it’s very hard to accompany yourself because of the re-intonation stuff like musician stuff that I wasn’t aware of [laughs]. He did an amazing job and for the live show it would have to be at least three cellos and this is one of the challenges.

Most of the live stuff is a logistic challenge because it’s easier for me to resolve that in a studio setting, you can basically come up with an entire string ensemble with just one musician in a studio but in a live scenario it has to be actually three musicians at least and so far, for only one track. So I would to need to write a bit more of that so it would make more sense to have three designated musicians there. I really enjoyed ‘Keep Watch’ because it is so focused on the strings and it’s quite a challenge to actually compose that way, it’s interesting.

You have a previous version of ‘Sleepers Beat Theme’ done already am I right to say?

BLB: Absolutely, it was the score for a short movie for at least half of it, the other half was done by Jon Hopkins. He heard the demo version of this track when the movie was done a couple of years ago almost and asked if he could use that for his Late Night Tales album, which was obviously a gigantic honour. It was a demo version because at that time I didn’t have all the tracks recorded and so it’s an alternative version but the album one is maybe my preferred version because it fits in better with the sound of the album. But the Late Night Tales version or the short movie version – I don’t want to say demo version –  I just like that on ‘Spells’ it blends in much better with the sound of the album. So that was done two years ago and it really never left me. I don’t remember exactly where the name comes from; it had something to do with the movie but since it’s a completely beat-less track, I’m not exactly sure where the name comes from anymore [laughs].

Would there be very important or defining albums for you, Ben?

BLB: There were a huge amount of wonderful albums absolutely that inspired me drastically through my youth and especially all the techno stuff and all the Boards of Canada stuff. I’m not sure who today in this kind of music did not listen to that or was not inspired by it, it’s really interesting. Over the last seven or eight years, I have noticed that if something has really inspired me it’s ancient: it could be Bach or a lot of blues and jazz records and also a lot of choral works; very basic, almost primitive choral works (it could be from Germany or from Bulgaria).

Here are five albums (in no specific order) I think are utterly important for me (and everyone ;))

01 Esbjörn Svensson Trio – Seven Days Of Falling

02 The Caretaker – An Empty Bliss Beyond This World

03 Max Loderbauer – Transparenz

04 Thomas Köner – Teimo

05 Deaf Center – Vintage Well 7″

‘Spells’ is out this Friday, 10th June on Erased Tapes Records.

 

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June 7, 2016 at 10:58 am