Dense Promotion News

Max Muller, BJNilsen, Ryoji Ikeda, …Click For Infos.

Hello & welcome to our news 096.
Find below info on our labels’ new releases.
@c – Up, Down, Charm, Strange, Top, Bottom CD Crónica
BJ NILSEN & STILLUPPSTEYPA – Passing Out CD Helen Scarsdale
BRENDAN MURRAY – Commonwealth CD 23five
CHOP SHOP – Oxide CD 23five
JOE GRIMM – Brain Cloud CD Spekk
KANGDING RAY – Automne Fold CD Raster-Noton
MAX MÜLLER – Die Nostalgie ist auch nicht… CD Angelika Köhlermann
MAX TURNER – Early Reflections EP Metabooty
NEUBAU – Rymdmyr Digital Nonine
PEOPLE LIKE US & ERGO PHIZMIZ – Rhapsody in Glue Online-only album
RYOJI IKEDA – Test Pattern CD raster-noton
SAWAKO – Bitter Sweet CD 12k
SLOWCREAM – Live Long and Prosper Digital Nonine
THE STRANGER – Bleaklow CD V/Vm Test



@c – Up, Down, Charm, Strange, Top, Bottom
CD Cronica 031

Composed and mastered by MIGUEL CARVALHAIS and PEDRO TUDELA. Cover photos by Pedro Tudela. Cover art by Lia. Design by MCarvalhais.

Files recorded from 2002 to 2007 in Glasgow, Guimarães, Helsinki, Lille, Linz, Lisboa, London, Maputo, München, Palmela, Porto, Roubaix, Savala, Sonega, Vienna, Vila do Conde, Viseu. 61 includes recordings with Cheny Gune (voice), Gustavo Costa, (percussion), Jonathan Uliel (percussion), Kenji Siratori (voice), Matchume Zango (percussion), Miquel Bernat (percussion), Neil Davidson (guitar), Raymond MacDonald (saxophone), Rita Azevedo Pinto (voice), Tinoca Zimba (percussion), Ulrich Mitzlaff (electric cello). Percussion in 62 performed by Miquel Bernat, recorded by @c in Passos Manuel, Porto.

“Up, Down, Charm, Strange, Top, Bottom” is our seventh full-length release, and the third in Crónica. The four tracks in this CD are composed from studio, live and field recordings that span a period of five years in our work, influenced by the various collaborations we developed over that time. 61 and 62 were performed live in several venues and in various development versions since early 2006.

Some of the collaborators found their way into the compositions as “sampled guests”, as bits of sound collected from live performances or studio work. Their presence is both a testimonial of the crossing (or forking) paths and a hommage to those musicians that contributed to our ongoing work in progress.

Building a CD like this, a studio composition, is perhaps much like sculpting, constructing a fixed and closed relationship between parts; it is also like photographing, framing a certain composition from within its vaster surroundings. It is like editing a documentary, shifting the focus from the individual pieces, found or produced, towards their connections, balances and compositions. It sometimes feels like the work of a mechanic or a watchmaker, in which individual pieces are tooled to work in a much larger and complex system.

When working on “Up, Down, Charm, Strange, Top, Bottom”, we found ourselves between formats, between different possible models for the realization of this fixation of sound. What should a CD be? Should it be the registration of a piece (or of several pieces) in a canonic form? Should it be a device for the recreation of a multitude of pieces, where each playback may yield a new becoming of a composition, where each listening act, with its different, personalized and unique focus, shapes the sounds, combing them in individual interpretations, as when reading a poem out loud?

All representation is false, therefore, concrète music does not aim to represent or to convey anything in a romantic sense, using the music as a medium to transmit anything other than itself. Francastel: A work of art is not an imitation of reality: it cannot take the place of reality; a work of art does not excite the same sensations as nature. McLuhan: The medium is the message. Negroponte: The medium is not the message. @c: The message is the medium and the moment. The CD is not communicating a live performance or an idealized composition, rather, the CD is itself, and will become music each time it is played, to everyone and everywhere it is so.

“Up, Down, Charm, Strange, Top, Bottom” is one more step in finding our way in music, looking for something we can’t really define. Explorers, we. Finding through doing, acting and doing.



CD The Helen Scarsdale Agency HMS013

The first chapter found the drink.
The second came after a night of intoxicated shouting.
The third chapter is inevitable: Passing Out.

The Nordic sound artists BJ Nilsen & Stilluppsteypa have authored the last component to a trilogy of isolationist compositions for barren field recordings and lumbering electric drones, thematically linked in the psychotropic effects of alcohol. In doing so, they have issued a brief statement in defense of their research: “It’s been four years and three studies, Passing Out being the final. Even in its most general, colloquial usage, Passing Out indicates the occurrence of a state that is incompatible with active behavior. It is possible that the individual could experience both consciousness and unconsciousness at the same time while encountering Passing Out.”

Yes, Passing Out is a crepuscular recording, with the flickering of twilight further dimmed by the distant Arctic sun in wintertime and the blackened numbness of too much drink. With one singular track that spans 60 minutes, a nearly constant thrum and rumble of monochromatic low frequencies casts a grim pall upon the precisely dialed-in modulations and vibrations. Spectral guitars, maudlin tunes from haunted radios, angrily growling voices, and field recordings of wind-whipped snow and ice bury themselves deep amidst these subharmonic drones. All of these tease at the edge of perception, sculpting the narrative of the drone into a vehicle for unhinged expressionism of varying degrees of horror, melancholy, beauty, and oblivion.

The Swedish born BJ Nilsen defines his work as “focused upon the sound of nature and its effects on humans, and the perception of time and space as experienced through sound.” He has numerous recordings on Touch and has collaborated with the likes of Chris Watson, Christian Fennesz, and Z’ev. The Icelandic citizens Sigtryggur Berg Sigmarsson and Helgi Thorsson are Stilluppsteypa, whose electronic abstractions engage absurd theatrics that mar the pristine surface of minimalism.

Passing Out features letterpress and silkscreen artwork in an edition of 1000. This release also features OREN AMBARCHI on Maracas and Vocals from LEIF ELGGREN. Thanks!



BRENDAN MURRAY – Commonwealth
CD 23five 013

In recent years, Brendan Murray has become a central figure in Boston’s sound art vanguard through a reputation of exceptional live performances and a growing catalogue of slow-shifting compositions for rarified drones. He sets himself apart from the conventional wisdom that drone-based music is an open-ended exercise into the “realm of the infinite.” Murray specifically shapes his repetitions and sinewy tonalities within the rigors of compositional frameworks and temporal restraints. This process does not lend itself to speed, as previous albums required up to four years to complete and Commonwealt endured over fifteen drafts before Murray perfected the album.

A single crescendo terminating at the end of 49 minutes, Commonwealth is an epic investigation into subtle harmonics and overtones expressed through layered slippages of pure sound. Conceived through guitar, analog synthesis, and plenty of digital manipulation, Commonwealth expresses a rare confidence in Murray’s finely tuned detailing of sinewy tonalities and sculpted megalithic surfaces. Murray himself has qualified this album as a “sincere bow to ‘classic’ minimalism,” and Commonwealth is a worthy parallel to the work of Phill Niblock, Eliane Radigue, and Iannis Xenakis.



CD 23five 012

Chop Shop is the moniker of New York based sound artist SCOTT KONZELMANN, whose activities have comprised installations featuring his speaker construction assemblages and sonic compositions since 1987. There have been plenty of micro-edition CD-R releases, 2 noted 3″CDs for the prestigious V2 label, several old school cassettes, a handful of singles, and two legendary 10″ vinyl productions. One of which was a double 10″ bound in roofing tar strapped to a plate of steel. The other was a split 10″ with Small Cruel Party, which was literally chopped in half and assembled on the listener’s turntable at their needle’s peril. 23five Incorporated is delighted to present Oxide, the long overdue full-length CD from Chop Shop.

Konzelmann’s sound and noise are intrinsically connected to his sculptural objects. Forged from repurposed junkyard fragments fitted with functional loudspeakers, these objects compress and articulate particular frequencies into hissing static, jet-engine drones, and noxious rumbles, all of which retain a metallurgist residue. Such were the sounds on the original analogue tapes of Oxide; unfortunately, those tapes had endured what Konzelmann merely qualifies as “an unhappy accident,” which caused extensive and prolonged moisture damage to the tapes. In revisiting these tapes, Konzelmann discovered drop-outs and print-throughs, as ghostly noises shadowed his muscular drone music. The tape itself had also begun to crumble during playback, making an eerily similar parallel to William Basinski’s Disintegration Loops. However, Chop Shop does not share Basinski’s melancholy theatrics, and Oxide dials in a proper dose of distilled contemporary sonic dead-tech mantra through a leaden stream paralleling the Hafler Trio’s Intoutof.



JOE GRIMM – Brain Cloud
CD Spekk KK015

The seed for this music was planted when I participated in one of Glenn Branca’s 100-guitar symphonies. The sound was incredible: a deafening, electric choir incorporating so many voices that the each element was subsumed within the group sound. But I was struck even more by the unrealized potential in Branca’s approach; the sound was separated into several  identifiable voices, so that the impression given was of a conventional counterpoint-driven music. I wanted to make a particulate music that presented itself as a single mass of varying density, comprised of tens of thousands of individual events. Soon afterward, I began to immerse myself in the piano music of Charlemagne Palestine. I learned from him that when two notes share a particular frequency in their overtone series, that frequency can be made to sing out clearly — a  ghost tone, not played directly, but arising from the interactions among the directly played notes. I began to compose and improvise with this in mind — I could sketch out desired pitches, and then arrange webs of lower pitches that coincided to produce those target pitches within their harmonic series.

This music deals with overtones. I listen not so much to the direct-played notes; instead, I let my mind wander through the web of throbbing harmonics that arise as a result of their interaction. There are obvious sounds on the surface of the music, but eventually my ears penetrate beneath the surface to where harmonics overlap in countless reinforcements and cancellations. I love the glowing acoustic haze that seems to hover above the obvious notes, and the sustained ghost tones that emerge and recede within that cloudy texture.

The Brain Cloud pieces are through-composed according to the principles of overtone confluence and particle density. There are no special electronics on these recordings — the humming sounds are the result of the acoustical interaction of voices, violins, horns, and above all, piano (Brain Cloud III was recorded live with three pianos, each played by three  people; 18-handed piano). The harpsichord interludes are solo improvisations for harpsichord, equalizer, and slight delay. – Joe Grimm



KANGDING RAY – Automne Fold
CD Raster-Noton R-N 94

following his highly successful debut “stabil” (r-n073), kangding ray releases his second full length record on raster-noton, entitled “automne fold”.

with “automne fold”, DAVID LETELLIER has evolved from the quiet, pristine flow of his debut record to sounds that are raw, dark and organic on this second release. pulsating rhythms become lost in within walls of saturated strings, words are spoken over bowed acoustic guitars, and analog synths collide with urban field recordings. vocals are a central theme through the record. treated as raw materials, like any other sound, the voice operates as beat, speaks melodies or sets themes.

in some moments, “automne fold” retains the emotional simplicity of traditional song structures, where message and images come together, but also manages radical abstract textures, when tracks morph in closed forms of static sounds.

“automne fold” is an instrumental record, an album of 14 “folded” tracks, and a cinematic journey between groove and the senses.



CD Spekk KK014

The album ‘Mesoscaphe’ is a sound work dedicated to the 1969 voyage of the Ben Franklin, the naturally-propelled submarine created to explore the currents of the Gulf Stream, and the nature of the sea. Half of the sound is composed of original pieces of music, meant to symbolize a deepening human element culled from memory, from strings, pianos, and electronics. The other half of the sound is composed of natural field recordings, of the Ben Franklin itself, as well as the surrounding oceans and habitats, with the intention of providing realism through sound, just as if it were an actual document from the voyage, of the surrounding ocean. The artists exchanged their own original sounds with each other, allowing each artist to experiment and remix outside of their own sound sources, with the potential to apply our own sound methods to each others’ sound sources, and develop the concept even further. Titles were made to coordinate with the movement of the voyage, creating their own story, in relation to the progressing sounds. The final result is a documented literary and audio interpretation of the voyage, from the perspective of 3 sound and visual artists, of the experiences and surroundings of the crew of the Ben Franklin, traveling for 30 days by the gentle glide of the Gulf Stream. We hope to bring attention to an important event in history, overshadowed by the moon landings, and for people to know the story of the revolutionary submarine that explored the nature of the ocean, challenged scientific development, and ended up in a salvage yard. – Mathieu Ruhlmann + Celer



MAX MÜLLER – Die Nostalgie ist auch nicht mehr das was sie früher einmal war
CD Angelika Köhlermann AK030
Streetdate: June 20

On September 10, 2001, Max Müller and his band Mutter released a CD  called “Europe against America”. One day later, two airplanes hit the World Trade Center, and no-one dared to touch that record any more.

It is stories like this that crop up regularly in the biography of this 1963-born singer, author, graphic artist and composer of film and theater scores, the first one being the fact that he was supposed  to be the singer of a newly-founded Berlin four-piece band, but never  made it to rehearsals.
The band was called Die Ärzte and subsequently became famous as a trio.

Müller’s own band Mutter has been grinding out a hard-to-stomach mixture of relentless and disharmonic rock and disturbing lyrics for 20 years. Critics and fellow musicians  both adore Mutter, but hardly anyone has ever really listened to their music. With his fantastic new solo album “Die Nostalgie ist auch nicht mehr das, was sie früher einmal war” (Nostalgia isn’t what it used to be any more), Max Müller, at first glance, shows his more accessible side. Assembling it together on his computer in a LoFi manner, he sketches post-apocalyptic scenes whose calm is treacherous, bearing the constant threat of new seismic shocks.

Max is the greatest German poet of this age. In his desperate vehemence, he neither cares for syntax nor style. Everthing comes out raw and unexpected, nothing is linear. He needs no rhymes to disguise himself or to encrypt some overblown nonsense. The song “2 einsame Schizoide” (two lonely Schizoids) might well be the coldest and most desolate song ever to be written in the German language – and still, the listener is forced to laugh at the end, as the Schizoid is being shot by a policeman after he toyed around with a knife in front of his face.



MAX TURNER – Early Reflections
EP Metabooty 002
Streetdate: June 2

4 vocal tracks / 4 instrumentals Digital download via iTunes etc.
7″ purple vinyl
All tracks performed, produced and procured by Max Turner.
Mastered by Christian Vogel at Station 55 in Barcelona

Max Turner, a scottish-german rhymer and producer from Hamburg has issued records on small and visionary labels for the past seven years. GAGARIN RECORDS released his debut MATCHBOX JUMPING JEEPBEATS and RISEROBOTSRISE RECORDS released METEORITES, a collaborative venture of his and Marcus Rossknechts’s. In addition to stacks of one- or two-off
collaborations (check out on discogs com.), Max Turner released his latest solo album THE PURPLE PRO on his own METABOOTY label in November 2006. He continues to produce and release records on METABOOTY from his Barcelona home/studio base.

The EARLY REFLECTIONS ep is the first of a trilogy due to be released over the course of this year and features a blend of new tracks produced in March 2008, ranging from bon-tempi folklore to socialist soca, forth to esoteric reggeaton and yonder to natural rave! The production entails a very percussive use of 808/909 drum machine beats, sine waves, undisguised basic midi instruments and other well cheesy sounds sometimes clad in delays, all of which generate a plastic as well as a wood-like sound scenery. The lyrical front is stacked with nuances, trap doors and escalators into a mystical maelstrom of considerations of 21st century simian existence and other tributaries of the far-out everyday. The delivery is on a one-note chant tip reminiscent of a mantra and occasionally shifting to simple melodies but always backed by a sturdy rhythm.



NEUBAU – Rymdmyr
Digital Nonine Recordings non013
Streetdate: July 7

neubau (ARNO STEINACHER) started composing at the age of 12, playing guitar and selfmade  instruments in several improvisational projects. working more in the electronical music terrain these days, neubau is focussed on the implementation of scientific theories, ideas and models into his music, both in structural and metaphorical context.

concentrated on the interior of sounds, his arising fractal structures expose when microscopic sonic architectures enlarge, zoomed into yet undiscovered audible landscapes, colourful no man’s lands and exceptionaly constructed mathematical sound rooms.

listening to neubau’s music one runs into sound panoramas of markets underlying splashes of self pity inside closed white chambers, touched by human voices speaking with dispensable content, finally escaping with the sound of walking through a snowy field … neubau’s accessible structuring methods turn inside out when the working process palpably causes the result and vice versa.



Online-only album
Streetdate: May 15

People Like Us & Ergo Phizmiz are pleased to announce the release of a new online-only album, “Rhapsody in Glue”.

Following the success of the critically acclaimed “Perpetuum Mobile” CD of 2007, renowned UK collagists / composers People Like Us & Ergo Phizmiz reunite for “Rhapsody in Glue”, a cycle of bricolage-ballet-music, skewed-waltzes, and skewiff-pop.

There is a story behind every album, and with “Rhapsody in Glue” we find a unique approach to constructing a record. Both long-term contributors to New York radio station WFMU, People Like Us & Ergo Phizmiz decided to publicly tear apart their respective practices and create an album “in the open”, presenting on a seafood-filled-platter the process of collaborative collage composition – informally discussing and jabbering nonsense to one another, resulting in the “Codpaste” free podcast series. “Rhapsody in Glue” is the culmination of the ideas explored in the podcast series.

“Rhapsody in Glue” continues in the bizarre ballroom vein of their previous efforts together, however, increasing the sonic palette into textural depths previously uncharted in their work. If “Carmic Waltz” is an expressionist painting by aged ballroom dance teacher who’s eaten the wrong kind of mushrooms in her soufflé, then “Gary’s Anatomy” is a slice of pure absurdist pop shot through with slabs of exotica and Ethel Merman. Recurring through the record is an apparent obsession with Prokofiev’s “Troika (Sleigh Ride)”, which merges and mashes with Burt Bacharach and Queen on “Snow Day”, and lapses into pure fantasy on the almost entirely acoustic “Withers in the Whist”, jarring with Ergo’s strange, Victoriana obsessed lyrics. Then on “Dancing in the Carmen” we discover what happens if Nana Mouskouri is thrown into a pot with Peggy Lee and let simmer for 10 minutes, whilst “In The Waking” shimmers along on multitracked guitars, meandering melodies, and music boxes.

Rhapsody in Blue is available exclusively at budget price from
Background on the artists can be found at and
The entire Codpaste series can be streamed at



RYOJI IKEDA – Test Pattern
CD raster-noton R-N 093

following dataplex cd (raster-noton, r-n068), test pattern is the second audio release in ryoji ikeda’s multimedia project datamatics; an ongoing exploration of the potential to perceive the invisible multi-substance of data that permeates our world.

test pattern acts as a system that converts any type of data (text, sounds, photos and movies) into barcode patterns and binary patterns of 0s and 1s. through the conversion of raw data into digital audio files, ikeda enables us to listen to the flow of data, creating an extraordinary and unexpected soundtrack. these sequences of data reveal a rich variety of microscopic structures which form ikeda’s raw material; working with these micro-structures they sometimes form the basis of chronological sequences, sometimes he focuses on their rhythmic qualities. all sounds are the result of ikeda’s manipulation of this raw data.

test pattern aims to examine the relationship between critical points of device performance and the threshold of human perception, pushing both to their absolute limits. almost all tracks on this release are unsuitable for conversion into high-quality mp3 files. the velocity of the audio files is ultra-fast, some hundreds of frames per second, so that the album provides a performance test for the audio equipment, as well as a response test for the audience’s perceptions.

a sticker on the cd jacket warns of high volume listening as this may cause damage to equipment and eardrums.



SAWAKO – Bitter Sweet
CD 12k 1047

New York/Tokyo based Sawako is a musician, software designer, and multimedia artist whose multi-disciplinary works intermix and pollenate her music with inspiration ranging from nature, science, academia and poetic motion.

Following releases on Anticipate and And/Oar, Bitter Sweet is Sawako’s 2nd release on 12k after the critically acclaimed  Hum (12k1035) in 2005. Her music is fragile and intimate, delicate, ephemeral and resonant. Bitter Sweet is unmistakably Sawako but finds itself moving into much, much deeper territory than her previous works. Building on her past forays into experimental pop, she uses low and mid-frequency drones and soft, melodic highlights to shape beds of stripped-down, shifting into hypnotic and very linear tracks that fill the space they exist. Bitter Sweet is more drone and tonal based than Sawako’s previous works. However, these gentle movements are punctuated by field recordings and acoustic instrumentation with cello provided by Jacob Kirkegaard and guitar by Radiosonde and Ryan Francesconi who also co-write two of the pieces on the album. In what has become a bit of a signature, Sawako lends her own voice to the ending lullaby “A Last Next.” These combination produce rich results.

Bitter Sweet’s diffuse and hazy soundscaping is Sawako’s most mature work to date, relying less on her previous child-like melodies while remaining feminine and tender. She has come into her own after having established herself for a number of years as a New Yorker where she has tirelessly performed, studied and created as an important member of the city’s electronic music community.

Bitter Sweet is packaged in a 6-panel digipack with photography throughout by Brooklyn-based artist and photographer Maki Kaoru.



SLOWCREAM – Live Long and Prosper
Digital Nonine Recordings non012
Streetdate: July 7

the connection between classical and minimal-electro is saturated with spaces of re-definition.  slowcream smears the frames of classical music with a funky delicious fringe, polarizing certain fragments of its best qualities, allowing it to be re-admired, by this re-discriminating the sounds of music into new categories. when heard, once undistinguishable qualities appear, giving sight to pleasures which would otherwise perish un-observed over the course of music’s advancements…

within this album slowcream seeks to continue an epic of music. bringing a sound and quality all its own, while a new tale is ignited. slowcream is a modern day extension on the potential’s of classics soul. electronic touches on the finer details which conventional instruments are unable to produce on they’re own. reminding the music world that computer’s too, in the right hands are indeed another instrument. slowcream’s impedes is advancing on the passions of bach and stravynsky themselves, humbly cultivating that which oodles of composers alike, would they themselves perhaps utilize were they alive and funky today.

the pieces remind of the belief that our much beloved classical genius’s would see the endless soul touching potential’s of electronic music. for a time we’ve lived to guess-create the spaces between our selves, which so admire what they have done and that which we’d hope they would do today, or even what they could have been imagining. this album is both a creation of its own fine elements, giving light to uncharted territory, but also a glimpse in the past and thirdly a tribute to music’s incandescent future.

all tracks written and produced by me raabenstein
vocals bei suburb novel, major major
mixed by me raabenstein, mastered by shapemod



CD V/Vm Test Records VVMTCD26

New audio by the V/Vm alter ego The Stranger, this is the first audio since the 1998 release on Phthalo. Covers cut by V/Vm hand and then hand silk-screenprinted by acclaimed artist Motorboy here in Berlin.

There are two versions of this release. A very limited expanded version coming with higher quality inserts. This version also comes with additional MP3 tracks and is limited to just 100 copies.

The regular version comes in a dark grey/blue card sleeve as you will see in the images below.



ATMOSPHERES 2 [Touch] London, The Museum of Garden History
08/05 Marcus Davidson, Philip Jeck, Robert Hampson
09/05 Matt Davies & Simon Whetham, Charles Matthews, Fennesz
12/05 Hauntology presented by Jon Wozencraft and Mark Fisher + The Caretaker, Kode 9 & The Spaceape et al.

COH [raster-noton] 10/05 UK Lovebytes 2008, Sheffield
11/05 DK Culture Box, Copenhagen
02/08 JP Sunsui, Osaka
03/08 JP Metro, Kyoto

will be presenting 3 nights as part of 10th Anniversary events at the Rhiz in Vienna

EXTRA GOLDEN [Thrill Jockey] 29/06 PT Porto, Casa da Musica
04/07 DE Hamburg, Fabrik
05/07 DK Roskilde Festival
06/07 NL Rotterdam, Metropolis Festival

FELIX KUBIN [Dekorder, Gagarin] 09+10/05 DE Metropolis Cinema, Hamburg

FENNESZ [Touch/Editions Mego] 07/05 IT Festival Futuro Presente, Piazza del Polo Museale, Rovereto
09/05 UK Atmoshpere 2, The Museum of Garden History, London
12/05 RS Ring Ring Festival, Belgrade
15/05 PL Focus: One, Poznan
22/05 AT Rhiz, 10th Anniversary Live Events, Vienna
30/05 CAN Mutek Festival, Montreal

FRANK BRETSCHNEIDER [raster-noton] 10/05 CAN Elektra Festival, Montreal
11/05 CAN Drake, Toronto
14/05 US San Francisco Art Institute
15/05 US Middlesex, Boston
16/05 US Bunnker, New York
17/05 US Rizumu, Philadelphia
18/05 US Issue Project Roomn, New York
23/05 FR Centre de Pompidou, Paris
30/05 UK ICA, London
31/05 UK Modulate, Birmingham
07/06 ES Territorios Sevilla, Seville

FUCK BUTTONS [ATP/R] 09-11/05 UK Camber Sands, ATP vs Pitchfork
12/05 DE Berlin, Maria (w/ Battles)
13/05 DE Köln, Gebäude 9 (w/ Battles)
14/05 UK London, Astoria (w/ Battles & Dirty Projectors)
15/05 BE Brussles, AB Club
16/05 NL Den Haag, Paard
17/05 CH Bern, Kaserne
18/05 IT Padova, Unwound
19/05 IT Rome, Circolo degli Artisti
20/05 IT Milan, Magnolia
21/05 FR Marseille, L’ Embobineuse
22/05 FR Paris, Trabendo
23/05 FR Nantes, Pôle Etudiant
24/05 FR Niort, Camji
26/05 CH Geneva, L’Usine (w/ Shit n Shine)
27/05 FR Lyon, Sonic
30/05 ES Barcelona, Primavera Festival

SPIRE [Touch] 21/06 NO Hardingtonar Festival

THE EX & GETACHEW MEKURIA & Guests [Terp/Buda Musique] 07-09/05 FR Vandoeuvre, 25th Musique Action Festival
10/05 BE Kortrijk, De Kreun
29/05 FR Reims, Cartonnerie
30/05 FR Mulhouse, Jazz a Mulhouse Festival
31/05 CH Zurich, Taktlos Festival
01/06 FR Dijon, Tribu Festival
02/06 CH Geneve, L’usine
04/06 FR St. Etienne, Le Fil
05/06 FR Poitiers, Confort Moderne
06/06 FR St. Nazaire, VIP
07/06 FR Cherbourg-Octeville, Brèchet, Festival les rencontres La Terra Trema
08/06 FR Laval, 6×4



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Dense Promotion

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