Dense Distribution News

Le Novità Di Giugno. Click For Infos.

ANDERS DAHL – Hundloka, Flockblomatriga 1 CD Häpna
ASHIS MAHAPATRA – Orange Of CD True-False
DROP THE LIME – We Never Sleep CD/LP Tigerbeat6
ERIC CORDIER – Breizhiselad CD Erewhon
(ETRE) – A Post-Fordist Parade in the Strike of Events CD Baskaru
GEOFF MULLEN – thrtysxtrllnmnfstns CD Entschuldigen
GIUSEPPE IELASI – 5 Untitled Tracks CD Häpna
M.HOLTERBACH – Aare am Marzilibad 3″CD Erewhon
PALLIN – Bright Moments CD Cubic
PRETTY BOY CROSSOVER & JULIO SOTO – We are All Drifting CD/DVD Cocosoliciti
V.A. – The Condition of Muzak 2 CD Expanding
V.A. – Touch 25 CD Touch
VENETIAN SNARES – Cavalcade of Glee CD Planet Mu
YASUSHI YOSHIDA – Secret Figure CD Noble

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ANDERS DAHL – Hundloka, Flockblomatriga 1
CD Häpna H.27

Hundloka (cow parsley) is one of our most common meadow flowers; a weed whose
distribution is restricted with great difficulty. Hundloka is also the name of
three pieces of music which, in similarity to their namesake, grow in areas
between the wild and the cultivated, ´twixt nightly woods and lit up cities.
Hundloka is the music of the late afternoon, a catnap of the civilization where
awake and dreamt hardly will be distinguished from each other.

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CD True-False TF001

Working with guitars, computers, samplers, field recordings, sine waves and
sculpted feedback, Ashis Mahapatra’s debut, Orange Of was written, recorded and
edited over a four year period between 2002-2006 while living and performing
between New York, Berlin and Delhi. It draws its influences from a wide variety
of sources, combining the otherworldly warmth of My Bloody Valentine, the urban
euphoria of Glenn Branca while sitting well amongst contemporary drone masters
such as Markus Popp or Christian Fennesz. At the same time, it is also heavily
indebted to the spirit of Indian classical music, in particular, the work of
Pandit Shiv Kumar Sharma.

‘I don’t have a consistent, overarching working method. Often times there are
layers of sound that I slowly add, remove and recombine until there is something
that somehow feels right to me. I structure pieces around specific sounds, not
the other way around. These then become part of my ‘palette’ and evolve to
complement, complicate and comment on each other. Most of these pieces came
together between 2002-2006. It wasn’t, however, until 2004 that the vision that
informs this record began to regularly invite itself over for dinner and
gradually leave its mark.’ – Ashis Mahapatra

Clocking in at just over 40 minutes, Orange Of is a collection of seven pieces
of lush, densely layered drones that combine high-minded computer experiments
with a visceral ‘rock’ sensibility. Frequencies modulate, bend and slowly arc
over woozy melodies; phrases that at first seem repititive slowly reveal
themselves as multilayered, balancing the fine line between a serene hovering
and a dynamic shifting between channels that drops the listener into the wide
open field of a surround-sound symphony for the 21st century.

The result is a rainforest from another dimension; the sound of falling rockets,
dancing bees and silent meadows deep within abandoned shadows, lost, finding
their way amidst burning skies, chaos embracing, careening forth into oblivion.

Most of all, it is the sound of Now.

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DROP THE LIME – We Never Sleep
CD/LP Tigerbeat6 meow133
Streetdate: June 2

Rowdy nights consist of sub-heavy dive bars, sticky dancefloors, backflips off
the bar, smoke filled limousines, and dancing on a rooftop 6am surrounded by
peach-colored city skylines. Ready or not, Drop the Lime’s “We Never Sleep” is a
headfirst dive into hyper New York City and its creatures of the night. Expect
four-to-the-floor funk spiked with Grime and growling bass Techno, a fury of
gritty club bangers dripping with romance and italo-punk attitude.

‘Wake Up Call’  opens the album with a bomb of 4×4 intoxicated Dubstep. Over the
millitant beats and bass, Venezia’s voice seduces the listener, and then quickly
snaps the track into a shake and break booty frenzy with guest vocalist, Minty
(“Glassy Eyes’,””This Means Forever,”). Tracks like, ‘Triceratops,’ ‘E-Lock,’
and ‘Hotsauce Grillz,’ are heavily influenced by Venezia’s 6 months in Berlin,
and UK tours, playing parties like Bristol’s Toxic Dancehall and London’s Bang
Face. The driving force of the bass and drums flirt with one another, rising in
infinite tension and release.

‘Full Moon Rising,’ ‘ButterScotch,’ and ‘Coal Oven Fevers,’ are Venezia’s first
true verse-chorus-verse structured pop songs. Still heavy on the dancefloor,
these tracks are what makes “We Never Sleep” more than just an album directed
towards DJ’s and club heads. Strings, and horns contrast pounding rhythms while
old soul and doo wop samples add mysterious life to the electronic sound.
Between the dark grime and dangerous techno, Venezia’s romantic vocals stake his
claim as as NYC’s new bad boy Sinatra.

Responsible for throwing the infamous Bangers & Mash Grime parties with Shadetek
in New York City, DTL has helped introduce the UK Grime and Dubstep sound to US
audiences. He has thrown down unforgettable live and DJ sets at Cut crew’s Dirty
Down, Dave Q’s Dub War, Konkrete Jungle, and a number of epic Rothko events in
Manhattan. “Shotgun Wedding Vol. 4,” his latest DJ mix CD, w/ Syrup  Girls,
powerfully captured the rising sound of underground bass music in 2006.

Put on your gully grills, and gnash your teeth till your thizzy face foams,
DTL’s got your subs growling and this night is going to last forever. Do not
sleep on this one in 2006.

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ERIC CORDIER – Breizhiselad
CD Erewhon cdwhon011

In making “Breizhiselad” Cordier has tried to rewrite some masterpieces of the
traditional music of French Brittany. Apart a few field recordings all the
material on this record originates in extracts from two songs of the A side of a
10″ 1960s reissue of a 78rpm. On first listening, this record sounded horrible –
but also as a work of genius. Horrible because of the catechism-like vocal
arrangements but a work of genius in terms of the beauty of the melody and the
conviction of the singers. Another particularity is the importance of the disc
itself, whose vinyl surface is nearly erased, polished under a sea of cracks.
Eric’s project has been to transpose this traditional music into the tape music
medium with a view to preserving what is strong in the source material and
erasing the sugary, churchy treatment of these originally popular songs.

The source record may be familiar to older generations as one of the first
recordings on which the Breton language found its place again after decades of
persecution and censure. Since the record became available, these pieces have
taken their place in a national collection that has helped reassess the value of
songs and language that were hitherto considered obsolete by the intelligentsia
and the state.

Composed between May and October 2003 with a sophisticated delay pedal: GSP
2101, a sound processor: TC (G Force) and handmade devices.

Eric Cordier has studied fine arts, body-art and music. He is both interested in
popular and academic culture. In 2002 he has earned a PhD in Ethnology/Religious
Science in analysing the popular culture of the peasants of the Normandy during
the XIXth century.

He has spent 4 years at the contemporary music studio Grame in Lyon (F) and
afterwards at the contemporary music studio La Grande Fabrique in Dieppe (F). He
now works in his personal studio.

First known as a hurdy-gurdy player, he now does solos of electronic music under
the name of NOL, sound-sculptures with Denis Tricot, a performance/action/body
art project called Ruderal with Satoko Fujimoto and still plays in several
improvisation bands (Enkidu, Suture, Pheromone).

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(ETRE) – A Post-Fordist Parade in the Strike of Events
CD Baskaru karu:6

(etre) deserves a parade!

For going beyond the laptop clichés, that is, as a first listen to A
Post-Fordist Parade in the Strike of Events – (etre)’s debut album – clearly
demonstrates: vocals, toys, and all kinds of guitars and percussion instruments
unceremoniously blend in with field recordings and custom Max/MSP patches.

Under a glitch guise, (etre)’s music hides a resolutely personal approach
combining melodicism, collage, lyricism, and a sharp sense of digital textures.
Ekkehard Ehlers, Tim Hecker and Greg Davis come to mind, not because (etre)
sounds like them, but because he sounds as unmistakably unique as them. The 11
tracks on A Post-Fordist Parade in the Strike of Events form a loose suite of
sorts, like the successive dreams of a restless night. The album also includes
an extra track, “Search and Destroy White Calligraphy,” accompanied by a
remarkable video signed Virgilio Villoresi and Giuseppe Chiesa.

(etre) is the project of Italian sound artist SALVATORE BORELLI, who was first
active in the fields of sound art installation and experimental performance art.
A member of the collective iXem, he has worked with interior decorator Lin-Kuhn
Liao and ceramist Fabrizio Quintelmo.

A Post-Fordist parade in the Strike of Events is released in digipak format by
the young French label Baskaru. Baskaru’s previous releases (by ENT and Urkuma)
have established uncanny artistic and visual standards, by which this new opus
fully abides.

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GEOFF MULLEN – thrtysxtrllnmnfstns Guitar * Banjo * Electronics * Amplification
CD Entschuldigen

“thrtysxtrllnmnfstns” is the debut release from guitarist-composer geoff mullen,
containing a series of delicate thunderstorms scored for string instruments,
bias-altered amplification and analog circuitry that at once recall both the
slow-arc americana of the vanguard and takoma labels and the contemporary
guitar-based minimalism and drone-work of fine folks such as rafael toral and

at times consisting of the lonesome, banshee-wail of carefully-plotted electric
guitar feedback with what sound like vinyl run-out grooves; others a
poly-rhythmic tapestry of improvised, repetitive acoustic lines and circuit-bent
electronic skree, “thrtysxtrllnmnfstns” will find favor amongst advocates of
drone-rock, free-folk, etc…

1080 copies of “thrtysxtrllnmnfstns” were professionally replicated, then
meticulously assembled over a gruelling two week period; each copy features two
high quality giclee prints featuring detail of artwork by sarah powers glued to
the front and back of a hand-stamped white paperboard/plastic digipak case, with
a 3″ x 4″ cloth “parts bag” (with a bright orange drawstring and red threading)
containing a selection of geoff’s own photographs and a printed info-sheet
inserted into the literature pocket. this is all housed inside a crystal-clear
re-sealable mylar sleeve affixed to which a miraculously-detailed sticker reads:

“geoff’s first demo (now his first “real” release) may very well be the best
demo i’ve ever received (if the boxes of cdrs above my record shelves can be
judged by volume alone i have received approximately 800 of them) for myriad
reasons; for one it doesn’t sound wholly like any one other thing i’ve ever
heard… although it certainly contains elements of various music(s) i hold dear
(…and this could be the pseudo-ephedrine talking but i imagine geoff listens
to a great deal of sandy bull, loren mazzacane connors, jim o’rourke, and nick
zammuto’s music)

mr. mullen will soon be on to great things (he has already performed at an
amazing run of gigs in the providence and boston areas supporting acts such as
black forest / black sea, tim hecker, nmperign, and others; plus he has
contributed to the invisible pyramid / elegy box on last visible dog) so this is
your chance to get that one last fateful handmade formative artifact before the
hammer drops. i strongly urge you to do so” … – keith fullerton whitman

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GIUSEPPE IELASI – 5 Untitled Tracks
CD Häpna H.28

The new untitled album by Giuseppe Ielasi lives in a land of lights and shades.
The mist lies thick but close to the ground it’s glowing and sparking.
Reflections shoot wildly in ambiguous patterns. The log-cutters are working with
their loved and hated timber. This is Ielasi’s most complex work to date, both
in regard to instrumentation and compositional form. A well-prepared decoction
of dark cinema, wanderlust and experimental sound manipulating techniques.

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M.HOLTERBACH – Aare am Marzilibad
3″CD Erewhon cdwhon012

Manu Holterbach is a young French sound artist who offers the music lovers his
many-faceted talents for already more than 10 years. He invents new instruments
(verres enharmoniques, gyrophones, machine à bourdons), spatialization devices
and mutant loudspeakers that were shown around the world in diverse
installations and performances, in solo or in collaboration works with a.o.
Sophie Durand, Pierre Berthet, Jean-François Laporte, David Maranha.

He is actually working on a biography of the French composer Eliane Radigue.

Manu also composes pieces realized with natural and industrial environmental
sound recordings, like the one we proudly propose on erewhon, Aare am

This piece realized in 2003 is a ready-made recording of a Swiss choppy river,
the Aare, realized with a microphone hermetically locked into a bottle. What you
can hear is the sound of thousands of pebbles that knock together in the
powerful stream. It illustrates perfectly Holterbach’s focus on sound,
microscopic events and fragility.

Interestingly, the claustrophobic atmosphere that results in the inevitable
filtering of the glass bottle may somehow remind you our previous 3″CD “Riss” by
Lionel Marchetti.

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FAULHABER – The Sleeping Moustache
CD The Helen Scarsdale Agency HMS007

Let’s begin with the introductions.

M.S. Waldron may be best known for his work as irr. app. (ext.), an unwieldy
moniker that begets uncanny, hallucinatory sound.  Steven Stapleton is the
genius behind Nurse With Wound, the consistently unpredictable project that
scrambles musical obsessions for krautrock, surrealism, and avant-garde
composition into a brash quest for expressionism through experimentation.
Sigtryggur Berg Sigmarsson hails from the Icelandic electro-absurdist duo
Stilluppsteypa, which continues to investigate the finer points of drunken
minimalism. Jim Haynes prefers to merely state that he rusts things. R.K.
Faulhaber is something of a mysterious figure, looming around Mr. Waldron’s irr.
app. (ext.) recordings and performances while keeping his own work a hermetic

Each with a peculiar understanding of the audio arts, these five artists came to
the proverbial table and thought it a good idea to collaborate. Given the
predilection for the surreal and the sidereal that each of these five employ in
their many audio and visual projects, those agendas oozed from the recordings
that became known as The Sleeping Moustache.

An epiphany of controlled disorder, a convulsion of beauty, a cascade of thought
from delirious minds, The Sleeping Moustache is an exquisite manifestation of
sound poetry scattered into a tortuous collage mired in an oblique melancholy.
Magnetic tones extracted from the ether, mechanical sounds smeared into a
lugubrious growls, horns trumpeting straight out of John’s Book of Revelation,
ululations sliced into information overload that Schwitters himself would be
proud of. The Sleeping Moustache presents a psychically instable landscape,
where dreams and nightmares wreak havoc upon the drudgery of daily life. The
closest audible territory for The Sleeping Moustache might be the psychoactive
constructions of Nurse With Wound’s Homotopy To Marie, although the characters
in this drama happened upon an entirely different map of that terrain.

The artwork for the first edition of The Sleeping Moustache features five
letterpress prints from each of the artists with an edition of 1700.

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PALLIN – Bright Moments
CD Cubic Music 15

cubic music is proud to announce the album “Bright Moments” by Swedish acoustic
quartet Pallin.

Pallin is an instrumental quartet based in Stockholm, Sweden including a member
of highly acclaimed electro-acoustic trio Tape (Hapna). The music of Pallin
contains elements of americana, lyrical filmmusic, chamberjazz,
live-electronica, contemporary music, bossa nova and free improvised music. The
four members are ANDREAS SÖDERSTRÖM (acoustic guitar, trumpet), CHRISTIAN
(drums). The first album “A one bedroom apartment” (2000) was recorded as a duo
by Söderström and Hörgren. On the second album “Far from Yokohama” the band was
expanded with Axelsson and Hallonsten. Both albums were blessed with splendid
reviews in magazines all over the world. Pallin has cooperated with
choreographers, performance artists and directors, and their songs have been
used as soundtrack on swedish TV and radio. The band has made hundreds of live
performances in Sweden and abroad.

Bright Moments contains their selected works of the past that were selected by
cubic music. These 10 brilliant songs represent their cool aestheticism
consisted with the vibration and echo of strings-oriented ensemble. They sound
very simple but bear rich and narrative textures that remind of some kind of
sweet landscape or cinemascape.

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We Are All Drifting is a first time collaboration between Australian based
masters of melancholic electronica – Pretty Boy Crossover and the award winning
Spanish video artist and documentary maker – Julio Soto. This is a stunning
release of the most beautifully crafted melodies winding around samples from
urban field recordings and guitar that you are likely to here this or that side
of Manual or Fennesz.

This is the first full-length release for Pretty Boy Crossover in 3-years and
the wait has been well worth it. Having previously released on the highly
respected Surgery and Sensory labels from Australia, We Are All Drifting takes
up where their previous 2 albums left off with gritty electro-tinged beats
floating through the gorgeous swells of melody and melancholy. There are few
musical electronic artists working today who can produce such eloquent and
emotionally wrought digital music.

The DVD has two video works on it (scored by Pretty Boy Crossover) which draw on
Soto’s experience of fusing video footage, photographs and 3D Digital effects to
render amazing fictional cityscapes. Having worked a day job tuning his craft,
working on videos for artists such as Macy Gray, the Invisible Cities video
piece on the DVD has gone onto win awards at Film Festivals in Toronto, Rio,
Brooklyn and Pasadena amongst others.

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CD Expanding Records evsc2:06

The Condition of Muzak 2 is the second compilation based on the second series of
9 x 7″ singles released on Expanding Records.

Each 7″ single was limited to 400 copies pressed on heavy, coloured vinyl and
came in a custom, screen printed, pvc, zip locked envelope.

The CD compilation consists of all the A-sides from the 7″s and an exclusive
track by BENGE and remixes by CATHODE, AM/PM and TUNNG.

Please see the compilation booklet for information on individual artists.

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V.A. – TOUCH25
CD Touch Tone 25

Photography & Design by Jon Wozencroft, Mastered by Denis Blackham

TOUCH 25th Anniversary edition CD with exclusive tracks from:

Oren Ambarchi  |  Biosphere  |  Fennesz  |  Bruce Gilbert  |  Ryoji Ikeda  |
Philip Jeck  |  Jóhann Jóhannsson | Jacob Kirkegaard  |  Mother Tongue  |
BJNilsen  |  Pan Sonic  |  Rosy Parlane  |  Peter Rehberg  |  Rafael Toral  |
Mark Van Hoen  |  Chris Watson  |

There are also several insert recordings and a live edit from Hild Sofie Tafjord
& Tanja Orning

Touch was conceived by Jon Wozencroft in 1981, and released its first cassette
magazine ‘Feature Mist’ in 1982 [more information on the early cassette releases
can be found at].

Touch25 was produced initially for the magazine His Voice to promote new music
in the Czech and Slovak Republics. These questions [below] were originally in
response to Hynek Dedecius and Pavel Klusak at His Voice.

> 1. Looking back, what major milestones (developments, shifts, most important
releases…) can you see in the history of the label?

In 25 years, I don’t think we’ve ever released something bad or worthless. This
may be because we have never allowed ourselves to exist purely as a business,
whilst being quite careful to look after the business side of things, which
means that we have never been influenced by what the market dictates one should
do, in terms of regularity of releases etc. and market dictates.
Obviously some releases stand the test of time better than others. The most
important ones are not isolated within our scheme of things as individual
“masterworks” because what we have tried to do is to build a developing
narrative where each informs the other. For example, the proximity of Ryoji
Ikeda to Chris Watson, the relationship between what Fennesz does to the guitar
compared to Oren Ambarchi’s approach, the juxtaposition between Biosphere’s
sense of melody and the harsher edge of Mika Vainio’s soundscapes… It is an
ongoing conversation which I hope is superbly reflected by the focus and
diversity of the new Touch25 CD.
The shifts? The most important task has been to maintain a sense of
determination and proper ambition in the face of the progressive devaluation of
music over the recent period. It is not simply a question of being passionate
about music – plenty of people still are – but maintaining the vision that there
is a tight relationship between…
-what is pop, and what is “experimental” (ie. the maintenance of Difficulty in
popular forms)
-the obvious one, between analogue and digital
-the maintenance of a idea concerning “Independence” (our closest contemporaries
having all since dis-appeared or been absorbed into major companies), and the
attempt do things better/different to those who have infinitely greater

> 2. Can you see any important changes between the idea that provoked founding
the label and today’s understanding of the label’s role? How do you view the
position of Touch in the current changing world of music?

To set a standard…
It is impossible to calibrate. When we started, there was movement and the
support system in place to nurture “a different approach”, which soon
disappeared to be replaced by dandyism and quite conservative posturing over
styles and the achievement of commercial success. So you try to work out a way
of being not commercial but very successful, according to your own limits. The
close relationship we have with Neville Brody gave a masterclass in this period.
We come from the 1970s/80s but we were there in the beginning with the digital
I can’t see a change in my own feelings about “why we started”, rather a
deepening. The way you monitor whether or not your “standard” is a
good/successful/progressive one is of course emotional/subjective, and even more
so when it goes (increasingly) against the grain, instead of becoming more
mainstream. You can’t expect people to “agree with” what you do. And the
dialogue and engagement with the audience isn’t necessarily easier in the
digital domain. The audience used to be able to read promotion and hype much
better in 1981/82 than they seem to do today. The audience is far more
polarised. The availability of music is for most people more important than its
So how we view out position in the current situation is – to hold a candle,
and to keep a critical perspective in relation to the “way things go”. Which,
given the fact that Perspective in the classical sense has been so distorted
over the last 25 years, is a conundrum in itself.

> 3. Can you give me more details about the selection for the Touch25 sampler?

Almost everyone we are currently working with in music has made a special
recording for the CD, so it is a “Declaration of intent” 25 years down the line.
We had no idea how it would pan out. What seems to have taken place, is a
sequence of 25 tracks (in itself an accident of numbers) that each in their own
space are quite obscure and “of a refined sense of taste”, but together, build a
very emotional journey through the emotional conditions brought on by the lack
of emotion in everyday life, and its replacement by extremities. The birds that
Biosphere present tell you this. Somehow Pan Sonic and Ryoji Ikeda have managed
to condense their whole approach into 2 five minute pieces that make you to
re-appreciate their past innovations. Chris Watson has published two recordings
of transport conditions, on water and on railways, which connect more obviously
to his roots in Cabaret Voltaire than his wildlife sound recordings, but end up
re-energising both. Bruce Gilbert has made a spoken-word story that has all the
edge of his finest guitar playing… I could go on, you just have to hear it.

Rafael Toral plays his piece with a data glove. There’s a recording I made in
1984 of the plumbing system in the flat I lived in, and a recording of an air
traffic control deadzone over Siberia that I recorded in the cockpit of a 747,
and the sound of an open fire that Mike recorded in Sweden when it was very warm
on the inside, but ultra cold once you step out of the door.

There are loads of aspects that always remain unseen and/or uncredited.

No time here to go into the design/visualisation side of things. No time here to
speak about the day-to-day running of the operation. But most people will accept
that in terms of our impact, for two people to achieve this instead of the 10
one might normally employ in such an operation is quite a statement in itself.
We need to talk more about this because our experience of low-profile research
and development is a valuable one.

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VENETIAN SNARES – Cavalcade of Glee and Dadaist Happy Hardcore Pom Poms
CD/2LP Planet Mu ZIQ150

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CD Noble CXCA-1188

Noble label releases albums under the concept of “Music For Daily Life” and is
very pleased to announce that we have a new artist joining us, Yasushi Yoshida.

Yoshida began making his name as a composer, contributing to multi-award winning
dance companies, BABY- Q’s solo dance performances and various plays and films.
“Secret Figure” is the first album by this brilliant artist embodying the Noble
concept. Composed for piano and guitar and recorded by select musicians and
Yoshida himself, he has incorporated samples of everyday sounds surrounding him
and programmed beats from the samples for each track. Based on cinematic music,
he has created free form, minimally structured music which is extremely
beautiful, layering serenely lyrical string arrangements featuring piano,
guitar, cello and violins with electronic beats and samples. Expressing the
subtle emotions evoked in life, evoking its changes with overwhelming calmness,
Yasushi Yoshida’s first album “Secret Figure” marks the birth of new
impressionist music.

Yasushi Yoshida
Born November 1978 in Osaka
Writes, produces and performs music focusing on piano and guitar arrangements.

Not content with working solely within the music scene, Yasushi Yoshida has
contributed material to areas as diverse as theatre and visual arts.
Collaborations include Yoko Higashino’s solo dance performance [ERROR
CORD///pcsh404slhq] and Oi-SCALE theatre company’s “Michigaere Sekai”.

Although this is his official debut release, he has performed with many
established local as well as international artists such as Nagisa Nite, Ramo
Nakajima, Kicell, Piana, RF and Pan.American.

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23/06 DE – Berlin, Maria

ABOUT [Cock Rock Disco] 01/06 CH – Düdingen-Fribourg, Kilbi Festival
16/07 UK – Reading, Glade Festival
19/07 NL – Nijmegen, Affaire Festival

ANDY MOOR & YANNIS KYRIAKIDES [Unsounds] 16/07 AT – Nickelsdorf, Konfrontation w/ Joe Williamson, Steve Heather

MITCHELL AKIYAMA & AVIA GARDNER [intr-version] 16/06 ES – Barcelona, Sonar
19/06 FR – Marseilles
25/06 FR – Lille
29/06 NL – Eindhoven, Temporary Art Centre
01/07 BE – Brussels
02/07 BE – Mons, City Sonics
09/07 FR – Toulouse, Siestes Electroniques
12/07 IT – Tarcento
16/07 IT – RiminI, Santarcangelo Festival

PAN.AMERICAN [Mosz] 10/06 AT – Salzburg, Kontrakom Festival
11/06 AT – Vienna, Mosz-Label-Night @ Porgy&Bess

THE EX [The Ex Records] 25/06 FR – Cergy, Furia Sound Festiva
29/06 DE – Lärz, Fusion Festival
01/07 DK – Roskilde, Rosklide Festival
04/07 CR – Zagreb, In Music Festival
14/16-07 AT – Nickelsdorf, Konfrontationen
22/07 FR – Parthenay, Parthenay Jazz Festival w/ Zu, Mats Gustafsson
09/09 US – Chicago, 25 years Touch And Go Festival

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DENSE Promotion
Reichenberger Str. 147
10999 Berlin