{"title":"Hallow Ground","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eHALLOW GROUND is a platform for Music and Art that leads to Visions. Established in Lucerne, Switzerland in 2013, they serve as publishers, hosts, and performers. With a commitment to showcasing innovative and boundary-pushing music, HALLOW GROUND has become a prominent force in the music industry. Their roster of *artists* includes some of the most exciting and experimental talents from around the world. Through their unique approach to curating and promoting music, HALLOW GROUND continues to push the boundaries of what is possible in both sound and art.\u003c\/p\u003e\n\u003cp\u003eAt HALLOW GROUND, they understand that music is not just about listening; it's about experiencing. They strive to create an immersive environment where *artists* can freely express themselves through their craft. By providing a platform for these visionary creators, HALLOW GROUND aims to inspire audiences with thought-provoking performances that challenge traditional notions of sound.\u003c\/p\u003e\n\u003cp\u003eAs both publishers and hosts, HALLOW GROUND takes pride in their ability to discover emerging talent while also supporting established *performers*. Their dedication to nurturing creativity has led them to collaborate with renowned artists across various genres. By fostering these connections between musicians and visual artists, HALLOW GROUND creates multi-dimensional experiences that engage all senses.\u003c\/p\u003e","products":[{"product_id":"arches","title":"Arches","description":"\u003cp\u003e»Arches« is the first collaborative album by brothers Simon and Tobias Lanz. It was written for and performed on self-built prototypes of wind instruments that were inspired by the classic pipe organ, but allowed the two composer-performers to go beyond its limitations in several ways. The music on this 40-minute long album for the Swiss Hallow Ground label was conceived and recorded by the two cofounders of the CRTTR collective and label during an artist residency in May 2022 in their hometown of Bern. More than a mere document of a performance however, »Arches« combines the artists’ interest in exploring uncharted new creative and tonal ground inside of and beyond the realm of drone music with their background in visual art and design as a conceptually concise whole. Simon and Tobias have a combined background in electronic music as well as a shared penchant for drone music. They hence designed these novel instruments in a way that allows for microtonal tuning to be able to overcome the restrictions inherent to the dominance of a twelve tone-based scale in Western music and work with a sonic palette that is much wider and nuanced than that of the conventional pipe organ. Furthermore, the physical design of these instruments widely differs from that of those which inspired them. This allows—or more precisely, forces—the musicians to freely invent and explore entirely novel playing techniques. These factors, of course, also have an impact on the compositional process, which by design needs to be unconventional. The Lanz brothers worked with a graphic score for the four movements of the piece that forms »Arches« so as to adequately visualise the manifold tonal nuances of their instruments. This graphic score in turn was reinterpreted for the album release by Ramon Keiming, adding another dimension to it. Read from left to right, this remix of the score allows the listeners to follow an interpretation of the evolution of these dronescapes while the record plays, urging them to add their own interpretation. This retroactive visualisation and thus spatialisation of the music is perfectly in line with its performance, which at all times factored in the acoustic affordances of the Prozess Bar in Bern. In many different ways, the Lanz brothers now invite their audience to join them there and explore the near-infinite possibilities of their curious instruments together with them. Much like Hallow Ground label mates such as Kali Malone or FUJI||||||||||TA, they are dedicated to enriching and expanding upon the musical and sonic qualities of pipe organs, but with widely different aesthetical results. To call »Arches« a unique record with an unheard-of sound is not hyperbole, but only factually correct.\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"LP","offer_id":50395538817355,"sku":"2148649","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Simon_Lanz_Tobias_Lanz_HG2306_b2b3cc31_thumbnail_4096.jpg?v=1726467139"},{"product_id":"sound-of-matter","title":"Sound of Matter","description":"\u003cp\u003e\u003ci\u003eSound of Matter\u003c\/i\u003e is the debut album by Romanian sound artist and composer Simina Oprescu. The two pieces draw on research conducted with 15 historical church bells at the Märkisches Museum and the Stadtmuseum Berlin. After the artist had presented the results of her studies of the connection between matter and harmony in the form of a multi-channel installation, she has translated the underlying approach of this site-specific work into an album that unfolds slowly, consistently setting in motion subtle tonal changes that continuously change the mood of the two pieces. \u003ci\u003eSound of Matter \u003c\/i\u003eis both minimalist and maximalist, creating an infinitely rich and multi-layered dronescape that modestly invites its audience to get lost in the sonic experience. Oprescu has been fascinated by church bells since her childhood spent in Transylvania since the instruments were shrouded in mystery, as she explains in an in-depth essay that accompanies the album. Having received a Bachelor’s degree at UNArte in Bucharest and after studying at the Royal Conservatory of Mons in Belgium, Oprescu enrolled at Berlin’s Universität der Künste for an M.A. in Sound Studies and Sonic Arts. She started working with the archive of the Märkisches Museum, which included 15 historical church bells that were built between the 15th and the early 19th century. \u003c\/p\u003e\u003cp\u003eSince every bell sounds different according to its shape, material, and density, Oprescu abstracted these qualities in the formula f = K1t\/d^2√E\/s(1-m^2). This enabled her to recreate the harmonic tone of the individual bells with Max\/MSP. She then composed a piece with semi-overlayed tones, i.e. overlapping frequencies. Naturally, this resulted in a beating effect that provided the music with a sense of urgency, though the five second-long natural reverb of the Märkisches Museum’s Große Halle turned it into a »warm blanket of sound,« as the artist herself puts it. This is perfectly recreated on \u003ci\u003eSound of Matter \u003c\/i\u003edue to the music being presented in mono, bringing out the intrinsic movement of the beatings with more nuance than a stereo version would. \u003ci\u003eSound of Matter\u003c\/i\u003e feels warm and welcoming even when different frequencies seem to create friction between each other or when the subtle beating effects turn into throbbing rhythms like at the end of the record. It manages to explore both Oprescu’s personal fascination with church bells and psychological and psychoacoustic questions relating to them as well as philosophical issues connected with them. This music is profoundly physical, but also intellectually stimulating—perfectly at home in the catalogue of the Swiss Hallow Ground label between records by Kali Malone, Lawrence English, or Siavash Amini.\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"Black LP.","offer_id":50400403751243,"sku":"2179469","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Simina_Oprescu_-_Sound_of_Matter_hg2402_61564d04_thumbnail_4096.jpg?v=1726512373"},{"product_id":"tropic-of-capricorn-2","title":"Tropic of Capricorn","description":"\u003cp\u003eTropic of Capricorn’ is the second album by Lawrence English and Werner Dafeldecker. Based on field recordings made by the prolific Room40 owner that were subtly but decisively altered with electroacoustic techniques through the German improv legend, these two long-form pieces blur the lines between acoustic ecology and aesthetic interventions, concrete local sound worlds and boundarydefying art. They put a focus on our relationship with nature as listeners as much as they call into question where nature ends and human perception begins. They are deeply confusing, disorienting perhaps, in the most beautiful ways. English recorded the material that form the basis of the duo’s Hallow Ground debut on two different field trips. One led him from the Western coast to the Pilbara region in the North of the country called Australia, the other to the central desert into the lands of the Arrernte people. »These are vast spaces, and in some respects they shun contemporary ideas of civilisation which seek not to listen to the country,« says English. When recording the soundscapes, the artist put a focus on the residues of failed colonial aspirations. »The buildings and objects that remain from the failed cattle pastures and other endeavours create uneasy sound worlds of their own,« he says of the regions that are also places of extraction, especially the heavily mined Pilbara. »There is a distant drone of industry in even the most remote of places; an unsettled sense of heavy breath on the land.« He brought home a document of natural reclamation in time. The rich source material was then given to Dafeldecker. Spatialising the recordings with transducers applied to different surfaces such as wood, stretched animal skin, glass, or metal surfaces and also re-recording parts of the recordings, he created discrete events that were inserted into, or rather enmeshed with English’s recordings. You’ll hear plenty of birdsong, insect noises and the sound of rain during these 39 minutes; the sounds of a life you can tap into if you tune into your environment. But there are also other things, things that are impossible to categorise even after repeated listens and that call into question whether or not those were really birds, insects, or the sound of rain in the first place. What »Tropic of Capricorn« invites its listeners to listen beyond the preconceived notions of how nature 2 is supposed to be represented in sound and to instead embrace the immediacy of the sensation.\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"Orange LP","offer_id":50417166909771,"sku":"2148654","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Lawrence_English_Werner_DafeldeckerHG2301_c85713de_thumbnail_4096.jpg?v=1726719753"},{"product_id":"mmm","title":"MMM","description":"\u003cp\u003eFUJI||||||||||TA returns to Hallow Ground with his second full-length for the Swiss label after it had released his international breakthrough album »iki« in early 2020. Active since 2006, the Japanese composer and sound artist has become prolific since the release of »iki,« releasing a slew of records while also touring the world. His new album »MMM« is Yosuke Fujita’s most complex so far. Changing the set-up of his pipe organ by switching to an electric air pump allowed him to activate new sonic and compositional potentials of the instrument, while he also expanded upon his experiments with his own voice. »MMM« is a masterpiece of conceptual and formal rigour—a testament to how multi-layered and versatile the music of FUJI||||||||||TA can be. Previous releases had already showcased Fujita's interest in working with the rhythmic potentials of the organ he built himself in 2009. Replacing its hand-operated air pump with an electric one allowed him to work with it more freely and simultaneously record its sounds. This marked the starting point for the opener »M-1« for which he recorded the pipes by waving a gun microphone close to it, thus creating shifting rhythmic patterns. The piece engages in a perpetual play of repetition and difference, balancing sonic intensity with compositional dramaturgy. For »M-2« the artist uses his voice and works with a singing technique he has developed over more than a decade: constantly exhaling and inhaling, he puts a strain on his internal organs in order to create what he calls a »third voice« The resulting piece is built on a throbbing rhythmic foundation topped by wordless melodies.»M-3« closes the album as a synthesis of these two pieces but is far more than the mere sum of its parts. The subtle tonal shifts of the organ take on a more subdued role this time, and Fujita’s scat growling and singing reappears in processed form. »M-3« combines the rhythms and melodies of the previous pieces to let something entirely new emerge out of them, much like the album is based on perpetual changes and recombinatory strategies. In fact, Fujita explains, the acronymic title can be read in many ways: this album is minimalistic, but freely mixes and mingles different materials in magical and even metaphorical ways while also paying its dues to his wife and daughter—M. and M. Just like its title can mean a lot of different things, »MMM« itself is ever- 8 evolving, traversing different moods and opening itself up to a plethora of interpretations at each of its many turns.\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"Black LP","offer_id":50422145286475,"sku":"2190533","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/FUJITA_HG2403_1d8d8e17_thumbnail_4096.jpg?v=1726762820"},{"product_id":"matt","title":"Matt","description":"\u003cp\u003eMartina Berther and Philipp Schlotter are prolific in their respective ways, having been active in pop and jazz music, respec tively, as well as playing in bands and exploring the outer fringes of sound art or composing music for film. Their first joint alb um »Matt« was recorded over the course of four days in a church in the Swiss village after which the album was named. Berther and Schlotter worked with the building’s organ as well as synthesizers and electric bass to follow an experimental approach that oscillated between composition and free improvisation. The five pieces, recorded directly to tape by Flo Götte without any additional overdubs, are characterised by an intimacy and rawness that calls to mind the introspective atmosphere of Hallow Ground labelmates FUJI||||||||||TA or mastering engineer Lawrence English's latest album for the Swiss label. »Matt« is the result of two versatile composers and musicians executing minimalist ideas by giving them plenty of space to unfold. The album opens with »Unruhe,« a composition that is based on the twelve-tone technique. Using a stopwatch to ensure the adherence to the pre-determined temporal intervals between the individual notes, Berther and Schlotter used the church organ and synthesizers for an ominous piece that traverses different moods and levels of intensity throughout its 14-minute run time. »LFO1« and »LFO2« are different variations of the same concept: Based on a synthesizer preset and structured by an organ drone, two tone generators slowly fall silent, resulting in elegiac pieces that call to mind the work of Éliane Radigue. »Frachter« and »Gallia« put more emphasis on percussive elements. Again working with or gan as well as Berther's prepared electric bass, this improvisation comprises interlocking textures that sound almost menacing on »Frachter,« while they create a very different atmosphere on »Gallia.« These notable discrepancies in sound and mood are even more astonishing if you consider that the two pieces are based on the exact same recording, played at different speeds. As two variations on the same idea with very different results, these two pieces perfectly represent how the duo effectively creates emo tionally affective sound worlds with very few means. Berther and Schlotter's conceptual minimalism yields rewarding, multi-faceted aesthetic results. »Matt« is an intimate album, marked by a sense of vividness and spontaneity, but also the product of compositional conciseness\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"LP","offer_id":50430684987723,"sku":"2052205","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Martina_Berther_Philipp_Schlotter_-_Matt_HG2305_c6c41463_thumbnail_4096.jpg?v=1726850792"},{"product_id":"earth-3","title":"Earth","description":"\u003cp\u003eMusique Infinie is the collaborative project of Manuel Oberholzer a.k.a. Feldermelder and Noémi Büchi.Their album »Earth«, released through the Hallow Ground label, is based on a spontaneously composed live score for Alexander Dovzhenko’s groundbreaking 1930 silent movie »Zemlya« (»Earth«) created for the 24th edition of the VIDEOEX festival for experimental film. Frequently cited as a masterpiece of early 20th century filmmaking, the movie deals with the collectivisation of Ukraine’s agriculture. The Swiss duo complemented it with atmospherically rich electronic soundscapes that are both deeply immersive and highly evocative. As a standalone music release, the two-piece »Earth« album captures the essence of Büchi and Oberholzer’s collaboration that is marked by mutual trust and musical versatility that puts them in a state of »togetherness trance,« as they call it. Oberholzer has been highly productive as a composer, musician, sound designer, and installation artist in recent years, releasing a slew of solo albums as well as a variety of collaboration records with artists such as Sara Oswald and Julian Sartorius. Büchi has recently debuted as a solo composer and sound artist working with electroacoustic techniques to create a »symphonic maximalism for the end of the world,« as she dubs it. Both are prolific and versatile artists with a penchant for working conceptually, however their collaboration as Musique Infinie is an improvisational and thus by design an intuitive one. Their sessions start with an exchange on emotions and thoughts rather than theoretical questions or aesthetic debates. When they get to work—often for several hours—they rarely talk. They approached »Earth« the same way, improvising freely together and using only a few select samples from the film’s original score in the process. Their openended approach is marked by an aesthetic ambivalence that perfectly corresponds with the movie’s own inherent contradictions. Dovzhenko approached his socio-political subject with poetic imagery and philosophical rigour, juxtaposing notions of traditionality with the depiction of modernity.Büchi and Oberholzer accordingly work with motives that at o ce seem anthemic and elegiac, working with sounds and musical motives that evoke a sense of familiarity in one moment before transforming into something futuristic and uncanny in the next. Their score for »Zemlya« is not to be understood as a mere interpretation of the movie, but rather a re-narration or even renegotiation of its aesthetic and emotional qualities under their very own terms. »Earth« is an album that concisely depicts what is at the core of the duo’s musical partnership\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"Black LP","offer_id":50452447985995,"sku":"2173180","price":21.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/201141-musique-infinie-earth_fe711343_thumbnail_4096.jpg?v=1727152771"},{"product_id":"empty-room","title":"Empty Room","description":"\u003cp\u003eOn \u003ci\u003eEmpty Room\u003c\/i\u003e David Granström works with slow transformations, cyclical and isometric patterns as well as just intonation as a way to create harmonic stability, allowing his long-form pieces to develop their own unique temporal and spatial qualities. A prolific figure in Stockholm’s experimental drone scene and a collaborator of Hallow Ground label mates Maria W Horn and Mats Erlandsson, the Swedish composer navigates through moments of quietude and crushing volume on these five tracks. Sonically and atmospherically, the pieces on \u003ci\u003eEmpty Room\u003c\/i\u003e simultaneously call to mind Fennesz’s most meditative work or the physical experience of seeing Sunn O))) live, blending guitar recordings and synthesised sounds with forceful effects similar to those of Mario Díaz de Leon’s Oneirogen project while still being as moving and delicate as Alessandro Cortini’s solo work. The album is marked by melodies and harmonies that are the product of a peculiar working process that turned the composer into an intent listener collaborating with, rather than simply using technology. \u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"Black | LP","offer_id":50456323948875,"sku":"1115388","price":18.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/d33b90bc-8c84-40a8-9ce9-6720391e8e9a_thumbnail_4096.jpg?v=1727197624"},{"product_id":"the-current-inside","title":"The Current Inside","description":"\u003cp\u003eThe Current Inside”, Marja Ahti's sophomore album for Hallow Ground, plays with the theme of currents - connecting and animating movements in the form of air, water and electricity. It approaches sound as a poetic medium, focusing both on the experience of sound as form and energy and on a loosely narrative arc, suggesting a riddle on the relations between the sounds. It implements alternative as well as intuitive tunings, analog and digital synthesis, recordings of sonorous spaces and vessels, electromagnetic fields transduced into audio, acoustic close-ups of elements in motion and other field recordings. Fluently connecting quite diverse sound sources, Ahti's music lingers in a zone between abstract sonorities and vaguely familiar acoustic environments. \u003c\/p\u003e\u003cp\u003eThe first half of the album consists of ”The Altitudes”, a piece commissioned by Ina GRM for Présences Électronique and Sonic Acts. It was inspired by descriptions of the layers of Earth's atmosphere. Imagining a movement through layers of air, the piece unfolds with a slow intensity, interweaving concrete sounds and closely tuned electronic sonorities. Traversing the altitudes, a landscape of entangled elements, masses and currents emerges. The air around us has weight and it presses against everything it touches. As gravity pulls it to Earth, it is sensed as pressure. The rotation of the planet, the angle of the sun at any new moment sets the elements in motion in a chain reaction. \u003c\/p\u003e\u003cp\u003eThe other side consists of four shorter pieces. ”The Currents” opens with a dance of trembling charged movements. ”Lost Lake” extracts resonant tones from a trail of close-up recordings of winter environments, while ”Fluctuating Streams” channels streaming air in different forms. The closing track, ”Sundial”, could be construed as the steady turning of the planetary angle towards the sun, unfolding through fragments of everyday activity against the backdrop of piercing, slowly twisting, suspended tone. \u003c\/p\u003e\u003cp\u003eMarja Ahti (b. 1981) is a musician and composer based in Turku, Finland. Originally from Sweden, Ahti has been a part of the Finnish experimental music scene for more than ten years in different constellations. She is currently active in the duo Ahti \u0026amp; Ahti with her partner and as a member of the Himera artist\/organizer collective. Her critically acclaimed 2019 solo debut, Vegetal Negatives, explored a new formal language and sonic palette inspired by a short text by René Daumal. \u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"LP","offer_id":50498762539339,"sku":"1092707","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/0d27f4a4-45f6-470f-8db7-3a8c89fe17f8_thumbnail_4096.jpg?v=1727756710"},{"product_id":"darksonictales","title":"DarkSonicTales","description":"\u003cp\u003eDarkSonicTales is a project by Rolf Gisler and his eponymous album his first for Hallow Ground. Having been granted an artist residency by the label in a 300 year-old farm house in the Swiss countryside in autumn 2019, the Lucerne-based musician and sound artist explored the peculiar sonic environment of the building and its surroundings through the use of field recordings, modular synthesizers, guitar, bass, kalimbas, a singing saw as well as self-built instruments. \u003ci\u003eDarkSonicTales\u003c\/i\u003e starts with kalimba sounds and field recordings, setting the stage for \u003ci\u003eSonic Darkness\u003c\/i\u003e— a self-referential spoken word piece whose sinister jazz-like sound calls to mind Bohren \u0026amp; der Club of Gore. \u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"Black | LP","offer_id":50500584931659,"sku":"1125849","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/3af2d61a-18cb-4f05-8d3c-13f957c7bc64_thumbnail_4096.jpg?v=1727778547"},{"product_id":"observation-of-breath","title":"Observation of Breath","description":"\u003cp\u003eDo you remember the last time you were breathing consciously? Either way, you are likely doing it now. On his new album \u003ci\u003eObservation of Breath\u003c\/i\u003e for the Swiss-based Hallow Ground label, Lawrence English worked exclusively with an organ for four compositions that are exercises in \"maximal minimalism\", as their creator himself notes in a nod to Charlemagne Palestine, who coined this term. While it seems somewhat fitting that those four pieces based on a steady flow of air were conceived and recorded in a situation of accelerated standstill caused by a respiratory disease, the Room40 founder is not so much concerned with capturing the zeitgeist than rather incorporating the spirit of time itself. \u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"LP","offer_id":50502126305611,"sku":"1126852","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/c2529ac9-388c-4476-bbe1-22daee1bfda7_thumbnail_4096.jpg?v=1727788746"},{"product_id":"picture-a-frame","title":"Picture a Frame","description":"\u003cp\u003eDebut album by the Belgian composer Elisabeth Klinck, was born out of strict isolation and is nonetheless a result of a collaborative\nprocess that saw her working closely with artist Oscar Claus. Enriching her compositions for violin with electronic soundscapes and\nfield recordings from their surroundings, the two entered an artistic dialogue that took place inside its own idiosyncratic space outside of\nconventional time. It is an intimate record in which Klinck’s expressive playing that incorporates unconventional techniques forms the\nbasis of something much bigger: an invitation to inhabit a specific space at a specific time together with the two of them. \u003c\/p\u003e\u003cp\u003eFor an entire\nweek in the spring of 2021, Klinck and Claus stayed at an abandoned monastery surrounded by beautiful gardens, but with no power or\nrunning water. The intention was to record some of Klinck’s musical ideas on violin, experiment with electronics and acoustic spaces\nand to get to know each other on a musical level. This proved to be an inspiring and deeply moving process—and the starting point for\nmore. In the winter of that year, the duo set out to the Spanish Pyrenees to build a DIY studio in a small village on a mountain top and\nrecord the eight pieces that form »Picture a Frame.« The idea of losing track of time and space is a theme that found its way in these\nrecordings. The two spent their days and nights reading, walking, talking, cooking and taking care of the animals living there but also\nexperimenting with sound, improvising together and making field recordings. This deep focus on being present in the moment, listening\nto the world around them and each other resulted in a holistic experience that was translated into music and sound. Klinck and Claus\nunderstand this album as a collage, an attempt to evoke the implicit, an essay that suggests a time and space, and a gentle collision\nbetween two people that deeply resonate with one another. It’s impossible to argue with that, and even harder not to be drawn into\nit.\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"White LP","offer_id":50506690560331,"sku":"2022986","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/elisabeth_klinck_HG2303_da441582_thumbnail_4096.jpg?v=1727827611"},{"product_id":"seven-common-ways-of-disappearing","title":"Seven Common Ways of Disappearing","description":"\u003cp\u003eAndrius Arutiunian’s debut album \u003ci\u003eSeven Common Ways of Disappearing\u003c\/i\u003e was first conceived as an installation for the Armenia Pavilion at the Venice Biennale in 2022. The Armenian\/Lithuanian artist and composer uses hybrid forms of music, focusing on sonic vernaculars, hypnotic musical forms, and aural cosmologies. Arutiunian is known to work with installations, sound objects, and timebased collaborations with ensembles and performers. The piece on this record was written for two musicians, a retuned piano and analogue electronics, and it borrows an enneagram as its score—the world-ordering model introduced by the controversial ArmenianGreek mystic and composer G.I. Gurdjieff. The result is an album that is both aesthetically and spiritually intoxicating music of the spheres, at once reminiscent of the masterpieces of minimal music and improvised, if not stochastic music. G.I. Gurdjieff was one of the first thinkers and (quite possibly charlatans) to introduce a syncretic idea of Eastern philosophy into the West. His unique way of teaching was based on an esoteric blend of Middle Eastern, Buddhist, and Dervish philosophies, and oscillated between a genuine search for enlightenment and a complex form of trickery. Borrowing from Gurdjieff’s writing on the world ordering and musical tuning, Arutiunian used the enneagram to organise the musical and structural matter of the piece that was originally conceived as a live performance.\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"Silver LP","offer_id":50510641496395,"sku":"2023907","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Andrius_Arutiunian_Seven_Common_Ways_of_Disappearing_HG2304_0ffdf962_thumbna.jpg?v=1727878136"},{"product_id":"a-mimesis-of-nothingness","title":"A Mimesis of Nothingness","description":"\u003cp\u003eSiavash Amini returns to Hallow Ground with ‘A Mimesis of Nothingness’ his fourth album for the Swiss label. Following up on ‘Harmistice’ together with fellow Iranian artists 9T Antiope, the six tracks were conceived in close collaboration with another artist and see the prolific composer intensify his interdisciplinary approach. The six tracks enter a dialogue with the photographs of Nooshin Shafiee, an acclaimed artist whose work capturing their hometown Tehran becomes the starting point for one of Amini’s most visceral and haunting records. \u003c\/p\u003e\u003cp\u003eA Mimesis of Nothingness translates the ephemeral situations and melancholic moods of Shafiee’s pictures into suspenseful soundscapes that masterfully navigate between the concrete and the abstract. ‘A Mimesis of Nothingness’ is adisquieting record precisely because it is a quiet one. Working with field recordings, Amini sculpts dynamic portraits that create an atmosphere of tangible suspense that is never fully released. Even when string-like sounds enter the picture as they do on the third track ‘Moonless Garden’ or when the abstract and glacial noise on ‘Observance (Shadow)’ demand the listener’s attention, the sixpieces take hold of the subconscious rather than trying to be direct and confrontational. It is sound conceived not as a description, but a circumscription of spatial relations and the eeriness embedded in them.\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"Black | LP","offer_id":50513399611723,"sku":"1097881","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/db9a5f2e-5e0b-449b-aff2-6b5e634e4486_thumbnail_4096.jpg?v=1727930216"},{"product_id":"as-if-2","title":"As If","description":"\u003cp\u003eMiki Yui is a musician, artist, and composer, originally from Tokyo, who has been based in Düsseldorf since 1994. Her whose work has long explored multiple forms of media, while documenting liminal zones of perception. On her latest album, As If, Yui creates a subtly connected suite of electronic music, drawn from improvisations and randomised processes that she has engaged with modular synthesis. Deeply poetic in its expression, even at its most minimal, the six pieces on As If have a curious tenor – they are, each of them, intensely sensuous, almost haptic listening experiences, as though the laser focus that Yui displays towards her compositions allows her to engage them as almost physical presences in the world.\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"Black LP","offer_id":50531188080971,"sku":"2219659","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/miki_yui_-_as_if_b595b616_thumbnail_4096.jpg?v=1728097825"},{"product_id":"movement-2","title":"Movement","description":"\u003cp\u003eFollowing a run of chamber recordings, Samuel Reinhard returns with a suite of electroacoustic collages. \"Movement\", the New York– based composer’s latest offering, is built from notes softly held. In his ongoing investigation of musical duration, perception, and attention, Reinhard deemphasizes progress through an embrace of repetition and negative space, inviting listeners to linger in time. Instrumental recordings are arranged according to a predetermined system, iterating fragments of sound in overlapping intervals of various sizes. Delicately layered snippets of decaying piano are joined by cello (Leila Bordreuil), bass flute (John Also Bennett), double bass (Vincent Yuen Ruiz), baritone sax (Michael Biel), and harp (Shelley Burgon). This breadth of instrumentation, arriving as individual notes stretched and overlapped, is treated not as an opportunity for immersive coalescence, but rather a gentle augmentation of texture, free-floating counterpoint. Notes are accompanied by the traces of the bodies and actions that produce them: a hand pressing a key or an arm keeping a bow aloft; breath filling an instrument’s body or glancing off its surface; a string vibrating and then softening to stillness. In sum, we hear resonance in the process of being sustained, as well as in the release that follows. \"Movement\" is a joint release from Hallow Ground and Präsens Editionen, and follows offerings by Kali Malone, Lawrence English, and FUJI||||||||||TA on Hallow Ground, and Robert Turman, Magda Drozd, and Anna Homler on Präsens Editionen.\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"Black LP","offer_id":50532218306891,"sku":"2221038","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/SAMUEL_REINHARD_Movement_HG2405_b69f8376_thumbnail_4096.jpg?v=1728116764"},{"product_id":"night-keeper","title":"Night Keeper","description":"\u003cp\u003eNight Keeper is a collaborative album by New York City-based artist Aaron Landsman and former Swans guitarist Norman Westberg that is based on the former's eponymous play. Westberg recorded it together with performer Jehan O. Young for the Swiss Hallow Ground label, with Landsman serving as the record’s producer. The original piece was first performed in the Spring of 2023 at The Chocolate Factory Theater in Queens and filled the stark industrial space with spoken text, choreography, projections, and music in dim light and, occasionally, complete darkness. Westberg and Young afterwards brought it to the studio to record it as a two-part album in whose course his textural sounds, based on loops and samples, set the stage for her soothing, sonorous vocal performance. »Night Keeper« is a performance inspired by sleeplessness and the wanderings of the human mind at night—about time and memory. Westberg and Young elegantly capture its essence in these roughly 44 minutes with a somnambulic album, letting sound and meaning flow into each other. The initial spark for Night Keeper was a run of almost sleepless nights in different neighbourhoods of a city that is perpetually insomniac. Instead of trying to force himself to go back to sleep by any means necessary, Landsman started writing down his thoughts. As he explains in the liner notes—accompanying the music along with drawings made by audience members during the performances—he started listening to the particular way in which the voice in his head navigates time and language. Accordingly, the texts that Young reads on the record form a diverse collection of specific moments, imagining different speakers and evoking different situations. Westberg complements, accentuates, and juxtaposes these with different means. Ominous drones, soaring melodies, rhythmic bass sounds: the guitarist, whose latest release for Hallow Ground was 2021’s First Man In The Moon with Polish double bassist Jacek Mazurkiewicz, conjures up distinct sound worlds in which Young can let Landsman’s scenes unfold to gripping effect. Landsman makes it clear that »Night Keeper« was intended as an invitation to »stay up, look out the window, let what’s happening outside spark reveries or predictions« or even take it on a stroll through the neighbourhood—at night, of course. Much like the original piece, this album is then one dedicated to wandering around, both mentally and physically\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"Black LP","offer_id":51175045562699,"sku":"2227988","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Aaron_Landsman_Norman_Westberg_-_Night_Keeper_HG2407_d3ead1c9_thumbnail_4096.jpg?v=1738132005"},{"product_id":"reise-der-schatten-af","title":"Reise der Schatten","description":"\u003cp\u003eReise der Schatten (Journey of Shadows) is the soundtrack to the eponymous debut feature-length animation film by Swiss artist Yves Netzhammer. Composed by Anthony Pateras and released as a standalone album through Hallow Ground, the 29 pieces are based on »weird folk melodies ornamented with electro-acoustics to give the film a more fantastical, fairy-tale feeling, as the composer puts it. His extensive international recording sessions with a slew of guest musicians results in a record imbued with a sense of mystical surrealism, otherworldly and haunting. Pateras recorded with musicians such as guitarist Alexander Garsden, viola player Erkki Veltheim, clarinetist Aviva Endean, multi-instrumentalist Justin Marshall and Lizzy Welsh on the viola d’amore among other instruments. He recorded percussion and recorders with Rohan Rebeiro and Natasha Anderson in his hometown of Castlemaine, double bass with Benjamin Ward in Sydney, bass and flutes with Jon Heilbron and Rebecca Lane in Berlin, and electronics in Zürich with Netzhammer. Reise der Schatten was thus a literal journey, made with a big, international electro-acoustic ensemble. As a stand-alone album, Reise der Schatten opens up a space of its own. Its stylistic diversity makes it atmospherically and emotionally multi-faceted. As its composer notes, music for screen can be very virtuosic, sophisticated, and variegated! His own work is a testament to that claim.\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"LP - Black","offer_id":51527173112139,"sku":"R7139-5049","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/208522-anthony-pateras-reise-der-schatten.jpg?v=1742977991"},{"product_id":"chronotopia-st","title":"Chronotopia","description":"\u003cp\u003e\u003cem\u003eChronotopia\u003c\/em\u003e is the second album by composer-performer Elisabeth Klinck. After collaborating closely with artist Oscar Claus to blend her violin playing with electronic soundscapes and field recordings on her 2023 debut \u003cem\u003ePicture a Frame\u003c\/em\u003e (Hallow Ground), Belgian electroacoustic artist Elisabeth Klinck now turns inward. On \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eChronotopia\u003c\/em\u003e, she takes a more song-oriented approach, embracing her voice as a vital counterpart to her violin, intertwining their sounds like threads in a dynamic, multicolored fabric. The record marks an essential turning point in her artistic evolution and opens up a rich internal world. It is a tapestry of sound, emotion, and curiosity spun from—both literally and figuratively—her growing voice. Klinck, who works as a composer and performer in theater, wrote the pieces between tours and recorded the album in the same place as its predecessor, the Spanish Pyrenees. Though the outside world isn’t as explicitly reflected in the recordings as it was the case on \u003cem\u003ePicture a Frame\u003c\/em\u003e, her sophomore album responds to the outside world by capturing both the expansive serenity of the mountains and the frenetic pulse of life on the road. Eschewing her previous, more atmospheric and abstract approach, Klinck creates a landscape that is built on the song and filled with intimacy.\u003c\/p\u003e\n\u003cp\u003eHer music feels at once vulnerable and deeply human, balancing the rawness of improvisation with the careful precision of melody-led composition. Klinck describes \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eChronotopia\u003c\/em\u003e as a playful exploration of time—its fluidity, its constraints, and its influence on how we navigate the world. These notions reverberate through her melodies and lyrics, which dance between moments of shimmering clarity and messy, beautiful chaos. These contrasts are further accentuated by the cunning interplay of voice and violin, which itself reflects the artist’s fascination with duality and transformation. Recorded in both organic and controlled environments, \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eChronotopia\u003c\/em\u003e blurs the lines between intuition and design. The time space into which Klinck invites her audience is a place where sound becomes touch, time bends like light, and every moment carries the thrill of discovery\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"LP - White","offer_id":51741041590603,"sku":"R6286-2885","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ElisabethKlinckChronotopiaHG2504.jpg?v=1745938525"},{"product_id":"with-time-we-learned-to-ask-less","title":"With Time, We Learned To Ask Less","description":"\u003cp\u003e\u003cem\u003eWith Time, We Learned To Ask Less\u003c\/em\u003e is the first duo album by Giuseppe Ielasi and Riccardo D. Wanke after decades of friendship and the occasional artistic collaboration. Working with only electric guitar and electric piano as well as a gentle dose of reverb, these improvisation-based recordings showcase the rapprochement of two artists whose interests are perfectly aligned. Their carefulness, attention to detail, and shared desire to sculpt space through music instead of just occupying it create a unique harmony between these two exceptional musicians who consistently stay mindful of the old adage that music is the space between the notes. Following up on solo albums sees them seamlessly combining the sparse but lush aesthetics of those experiments throughout these 44 minutes. Having lived close to each other in Northern Italy, where the prolific mastering engineer Ielasi still resides to this day, he and Wanke were members of the group Medves together with Andrea Belfi, Renato Rinaldi and Stefano Pilia before Wanke relocated to Lisbon. When Ielasi, who had mastered Wanke’s recent solo albums including 2023’s \u003cem\u003ei\u003c\/em\u003e for electric pianos, was invited to play a concert in the Portuguese capital in the summer of that year, the two took the opportunity to go on stage together. Infatuated by the results of this fully improvised set, they organised a two-day session in Ielasi’s Monza studio shortly thereafter and edited the recordings over the course of the following months. The resulting album shows them moving slowly through sonic space and time, complementing and counterpointing each other’s playing. They leave each other room in which to unfold and let short moments of silence speak for themselves. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWith Time, We Learned To Ask Less\u003c\/em\u003e is the closest you will get to hearing the air sing.\u003cbr\u003e\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"LP - Black","offer_id":51805410787659,"sku":"R7222-6222","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/GiuseppeIelasi_RiccardoD.Wanke-WithTime_WeLearnedToAskLessHG2501.jpg?v=1747061020"},{"product_id":"cosmogonical-ears","title":"Cosmogonical Ears","description":"\u003cp\u003e\u003cem\u003eCosmogonical Ears\u003c\/em\u003e is Amosphère's first album for Hallow Ground. Following her contribution to the Swiss label’s Epiphanies compilation and her 2021 full-length debut More Die of Heartbreak on 33-33, it features three expansive pieces. The Paris-based composer and multidisciplinary artist delves deeper into themes of time, space, cosmology, human perception, and psycho-physical effects, crafting profound sonic meditations. Drawing on a minimalist approach while blending electronic and acoustic elements, Amosphère’s long-form compositions are living, breathing entities whose sonic richness and evocative power unfold gradually over time, putting \u003cem\u003eCosmogonical Ears\u003c\/em\u003e in direct kinship with previous Hallow Ground releases by artists such as Kali Malone and FUJI|||||||||||TA. The questions posed by \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eCosmogonical Ears\u003c\/em\u003e do not yield straightforward answers. Instead, Amosphère’s restrained yet intricately layered compositions require full immersion and concentration from the listener. 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The five pieces emphasise that Gisler is comfortable and competent with both small and big gestures, combining rigorous drone minimalism with feverish post-rock throughout an album that works with field recordings and acoustic as well as electronic instruments. \u003cem\u003eUnKnown\u003c\/em\u003e is the result of life changes that it reflects through ever-changing sounds and atmospheres. This DarkSonicTales album is once more a masterful exercise in open-ended musical storytelling—an ode to venturing into the unknown. Once more, Gisler worked with a wide array of instruments and made use of unconventional techniques. ‘Ellipsis (Origin)’ combines kalimba melodies and alphorn drones, the title track is based on the sounds of shower water dropping onto his glass shower door that he recorded with a piezo pick-up. Some of the pieces, like ‘TrainStation’ employ conventional set-ups including guitar, bass, and drums in unusual ways, and most of them draw on field recordings. Throughout the album, you’ll hear a door creak, car wheels on wet asphalt, the soundscape of Lucerne’s main train station on a busy Saturday evening, and much more. The last piece, ‘Drain’ is even entirely based on recordings made inside a manhole after heavy rainfall. This is emblematic of how \u003cem\u003eUnKnown\u003c\/em\u003e finds new wonders in the banality of everyday life. By transforming his sound material through digital manipulation and enriching it with acoustic sounds. This album is about the beauty of getting lost on the way.DarkSonicTales is combining rigorous drone minimalism with feverish post-rock elements throughout a record that works with field recordings and acoustic as well as electronic instruments.\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"LP - White","offer_id":53252431544651,"sku":"R7944-1850","price":9.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/DarkSonicTales_UnKnownHG2506_Cover2500pxl.jpg?v=1756199262"},{"product_id":"silence-will-never-die","title":"Silence Will Never Die","description":"\u003cp\u003eMartina Berther and Philipp Schlotter return to Hallow Ground with their second collaborative album since 2023’s stringent exercise in drone minimalism, \u003cem\u003eSilence Will Never Die\u003c\/em\u003e was recorded at the same church in the Canton of Glarus that lent its name to the duo’s debut. Once more the Church of Matt’s organ plays a significant role on these five pieces that navigate between composition and improvisation. However, the two prolific musicians aimed for an even more diverse sonic and stylistic palette. They brought new instruments into the fold to record an album that marries subtlety with complexity, the ephemeral with corporality. These five pieces are auditive microcosms that carry a calm but concentrated energy within them, that are repetitive and result from our bodies’ movements, as Schlotter and Berther put it. \u003cem\u003eSilence Will Never Die\u003c\/em\u003e is as ethereal as it is visceral.\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"LP - White","offer_id":53339595538763,"sku":"R5174-1842","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/MartinaBertherPhilippSchlotterSilenceWillNeverDieHG2508.jpg?v=1757343391"},{"product_id":"la-travers-e-xt","title":"La Traversee","description":"\u003cp\u003eLa Traversée« (The Crossing) is Matthias Puech’s second album for Hallow Ground and follows up on 2023’s »Mt. Hadamard National Park.« Profoundly inspired by re-reading »The Odyssey,« the French composer, instrument designer, and scholar used a Eurorack modular synthesizer to create four pieces that are by far the most intuitive and emotionally charged in his everexpanding catalogue. Puech’s masterful command of sound comes to the forefront with even more urgency on this record. A wandering meditation on the human condition, »La Traversée« is an album that is constantly in motion—complex electronic music at its most gripping and evocative.\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"Lp - Black","offer_id":53547925569867,"sku":"R7374-3217","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/MatthiasPuechLaTraverseeHG2505_Cover_1b04da3f-2f3f-44d7-9437-325108045419.jpg?v=1759832819"},{"product_id":"hug-of-gravity","title":"Hug of Gravity","description":"\u003cp\u003eSecond solo album by Raphael Loher and his first for Hallow Ground. The Swiss pianist and composer uses piano preparations, tape machines, and digital means to forge an aesthetic of playful reduction and rhythmic abstraction. The source material for these four sprawling pieces was culled from recordings of the artist performing the album’s predecessor, 2022’s ‘Keemuun’ Loher used them in a painstaking two-part working process to create an album that is both a product of and an ode to transformation, exploring themes of alternative temporalities and spatialities. »Hug of Gravity« oscillates between experimental electronic music, ambient, and minimal music and calls to mind the work of artists like William Basinski, Linda Catlin Smith, or label mate Andrius Arutiunian. Loher laid the foundation for »Hug of Gravity« in 2020 with ten solo performances at his studio, during which he presented the pieces from his debut album. For these intimate concerts, he prepared the piano with modelling clay in order to move beyond the well-tempered tuning that dominates most of Western music. He then used a consecutive three-month residency in the Blenio Valley to refine the recordings. »I cut up and rearranged the material, then transferred the results—around 30 pieces—to a varispeed tape machine and then back to the computer. After that was done, I cut them up and rearranged them again,« he laughs. By radically reworking the material, he created an album that eschews traditional notions of time and space.Loher points out the influence that his surroundings had on him. »The process created the music—and the place was essential to the process.« he says. He wandered through the mountains for up to nine or ten hours a day, which gave him a sense of what he calls expanded temporality. »Time just felt longer, my experiences seemed more diverse and nuanced, and it was as if I perceived my environment more clearly,« he explains. This shift in Loher’s perception of time and space—the latter also expressed in the album’s title—influenced his work with the varispeed tape machine. It allowed him to change the pitch of different recordings while layering them to let interference patterns emerge and emphasise the emotional qualities of the unconventional tunings he had used.Loher constructs numerous interlocking narrative arcs throughout, an album that is ever-changing; an exercise in calm ecstasy that provides its audience with the feeling of being removed from conventional time and space. This approach is also reflected in the artwork which is based on drawings Loher made during his residency at Blenio Valley. Their fine hand-drawn lines run in parallel and let incidental patterns emerge, an effect that is only multiplied when the six different drawings that accompany each vinyl copy of the album are overlapping, forming ever-new visual constellations.\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"2LP - Clear","offer_id":53738718003531,"sku":"R5261-6570","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/hugofgravityHG2507.jpg?v=1761577632"},{"product_id":"covers-6","title":"Covers","description":"\u003cp class=\"p1\"\u003eThe one thing that you cannot expect from an album called \u003cem\u003eCovers\u003c\/em\u003e by electronic music polymath Ivan Pavlov a.k.a. CoH and the mysterious Wladimir Schall is a simple covers album, though both Pavlov and Schall have paid tribute to their favourites before. The former has recorded an album dedicated to the late John Everall, released in 2017 through Hallow Ground as CoH Plays Everall, and the latter has put out an endlessly looping cassette in 2020 with his take on Satie’s Vexations. Much like on these records, the two multi-media artists are not content with the mere reinterpretation of their source material, but strive to reimagine it.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAccording to them, the seven pieces on \u003cem\u003eCovers\u003c\/em\u003e were conceived as a series of manoeuvres with an ambition to expose the machinery of Music in detail and with utter honesty, without making up for the faults of its traditional instruments or of the compositions themselves. Pavlov and Schall’s strategy is one of juxtaposition and recontextualisation. Taking compositions performed on the piano as a starting point, they let the unfamiliar emerge from all-too familiar tunes and sounds through digital manipulation and electronic processing.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eCovers\u003c\/em\u003e includes two pieces that contrast the music of Satie and Ryūichi Sakamoto to let these quiet radicals find common ground in unsuspected ways. Another one turns a four-note motive by Sergei Rachmaninoff into a dense soundscape, while two pieces are inspired by different USSR cartoons, the 1978 animated short-film »Контакт« and the Ну, погоди! series. CoH’s Soii Noir from 2011’s IIRON is reworked through the lens of Morton Feldman, and with Snowflakes, the pair covers a non-existent original in the spirit of Immanuel Kant’s idea that music and laughter do not need words to convey their meaning.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe common thread that connects these calm, evocative reimaginations is the ambiguity of nostalgia; a sense of Старость не радость as the last piece’s title puts it: joy and sadness. \u003cem\u003eCovers\u003c\/em\u003e is not a usual covers album, but a radical interrogation of the function and failings of memory presented in musical form.\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"LP - Black","offer_id":56289515700555,"sku":"R5057-6554","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2000x2000bb_b86e5160-efcc-4386-b094-da372299e47d.jpg?v=1768244879"},{"product_id":"changing-bodies","title":"Changing Bodies","description":"\u003cp\u003eThomas Peter debuts on Hallow Ground with »changing bodies,« an album inspired by the resonance and reaction of objects with and to sound. The Swiss composer and sound artist has worked with sounds generated with various materials, field recordings, and an array of analogue and digital synthesizers to create five ever-shifting pieces full of twists and turns in which even silence plays a significant role. Peter composed and recorded the album over the course of four years in an inherently physical process, led by both his intuition and his perception—what you hear on »changing bodies« is an artist intently listening to the material world around him. Peter laid the foundation for »changing bodies« by making field recordings wherever he went, whether in closed rooms, cities, or rural environments, while also recording organic-sounding material with different synthesizers as well as working with objects made of wood, stone, or metal. »I viewed all these sounds as a kind of language that I was trying to understand,« he says. »I paid close attention to differences between sounds in motion, rhythmic patterns, and dense textures.« He further describes this as an inherently corporeal endeavour, quite literally becoming all ears and internalising the different sounds. This process of concretion led to one of abstraction when Peter translated the source material and its psycho-physical reverberations into new musical structures. He applied repetition, densification, and recombination to unlock their true potential. Across its five tracks, the album sets literally unheard-of sounds into motion, creating intricate dynamics without ever overwhelming its listeners. »changing bodies« was born out of listening intently and physically. It is recommended to listen to it in the exact same way.\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"LP - Black","offer_id":56531512820043,"sku":"R5890-4931","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ThomasPeter-changingbodies.jpg?v=1771265117"},{"product_id":"vents-d-aether-il","title":"vents d’aether","description":"\u003cp\u003e\u003cem\u003eVents D’Aether\u003c\/em\u003e is the first collaborative album by sound artist Jérôme Bouve and composer-performer Delphine Dora. The six pieces are based on live improvisations on organ and harmonium. They were recorded in different churches on the Cotentin peninsula in France’s Normandy region and later enriched with additional field recordings by SA~RA. This adds an extra layer to compositions which were created both in and out of the moment and which quite literally resonate with the histories of the instruments and the buildings that were so integral to their emergence. \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eVents D’Aether\u003c\/em\u003e is to be understood as a dialogue between sound and space that takes place across time and place.\u003c\/p\u003e\n\u003cp\u003eBouve carried the idea of working with the organs and harmoniums that can be found in the churches and chapels in the Val de Saire in the Northeast of Cotentin around with him for years. When he got to know Dora, he found the perfect musical partner with whom to finally make a record »about the wind, the wood, the stones of the Val de Saire.« In September 2024, the duo embarked on a short but fruitful journey during which they stopped by at several different churches. They recorded hours-long improvised sessions dedicated to »capturing the moment, letting space and time shape gestures and sound, seizing fleeting epiphanies in their greatest simplicity,« as Dora notes in the album’s linernotes.\u003c\/p\u003e\n\u003cp\u003eShe took the lead behind the instruments, however Bouve assisted her on drawbars for the last two pieces on \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eVents D’Aether,\u003c\/em\u003e thus adding an even more unusual touch to the recordings. They formed the basis for an album that Dora calls »the testimony of a sensory quest, a collection of memories suspended in time.« Indeed, starting with the epic 20-minute-long titular piece up until the ringing of church bells near the end of the closing piece »Montfarville V ,« this overwhelming yet intimate record blurs the boundaries between different times and spaces altogether.\u003c\/p\u003e","brand":"Hallow Ground","offers":[{"title":"LP - Black","offer_id":56756556693835,"sku":"R3057-7613","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/DelphineDora_JeromeBouve-ventsd_aether.jpg?v=1773078066"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/collections\/test_c307de77_thumbnail_4096_d069adaf-7c0e-41e9-ae26-a2aaecf79b7a.jpg?v=1726467112","url":"https:\/\/shop.roughtrade.com\/collections\/hallow-ground.oembed","provider":"Rough Trade","version":"1.0","type":"link"}