{"title":"Shelter Press","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eShelter Press is a French record label that has been making waves in the music industry. Founded and run by two talented individuals, Shelter Press has established itself as a leading force in the world of music. With an impressive roster of artists and performers, this label continues to push boundaries and redefine what it means to create innovative and captivating music.\u003c\/p\u003e\n\n\u003cp\u003eWhat sets Shelter Press apart from other labels is their commitment to quality and artistic integrity. They have a keen eye for talent and are always on the lookout for groundbreaking artists who are pushing the boundaries of their respective genres. Whether it's experimental electronic music or avant-garde compositions, Shelter Press consistently delivers thought-provoking and boundary-pushing releases.\u003c\/p\u003e\n\n\u003cp\u003eIn addition to their own releases, Shelter Press also collaborates with other notable labels such as *label1*, *label2*, and *label3*. This collaboration allows them to bring even more incredible music to their audience, further solidifying their position as a powerhouse in the industry.\u003c\/p\u003e","products":[{"product_id":"the-beat-my-head-hit","title":"The Beat My Head Hit","description":"\u003cp\u003eBen Vida joins forces with NYC piano and percussion outfit Yarn\/Wire and soprano Nina Dante for an album that’s bewilderingly and brilliantly unexpected, yielding a set of gently trippy chamber-songs that remind us of Robert Ashley’s groundbreaking manipulation of the form crossed with a kind of slowcore jazz. \u003c\/p\u003e\u003cp\u003eStructured around pristine piano, percussion and voice, ‘The Beat My Head Hit' is something completely different from Vida- and we mean completely. The Yarn\/Wire ensemble, founded in 2005, had already collaborated with a litany of experimental notables over the years, including Sarah Hennies, Annea Lockwood, Catherine Lamb, and Alvin Lucier, but with Vida they essentially formed a proper band, pulling in Nina Dante as an important final piece of the puzzle. The album’s 5 songs - some of them extending to over 10 minutes in length - centre around an unusual arrangement for four voices - Laura Barger, Russell Greenberg, Dante and Vida, together forming a sort of \"meta-voice” that took countless runs to perfect. Essentially spoken\/sung in synchronised fashion, the quartet create a tripped out, almost phased effect that takes a while to fully clock and which lends the album its unique pacing.   \u003c\/p\u003e\u003cp\u003eThe instrumentation is almost completely unguarded and vulnerable, never vividly electronic but using the language of electronic music to inform each piece. 'Who's Haunting Who Here' starts as it means to go on, matching the four voices in half-sung, run-on phrases that defy conventional logic. Berger's slow, incisive piano plays rhythm at first, lightly fraying at the edges to match the vocal meter without breaking the mood. The tempo and breathwork is just as important as their words, sharp and free-flowing, sliced apart by sighs and sibilant smacks - every word enunciated slowly, in high definition. \u003c\/p\u003e\u003cp\u003eCycling, phasing rhymes introduce us to 'Rhythmed Events', accompanied by softly staccato piano notes and delicate metallophone hits - the piece grows like a wild cherry tree, with pink-hued branches snaking from firm stylistic roots. On 'Drawn Evening', the vocals are silent for a spell, while soft tones give way to Berger's tidal piano. When voices do eventually emerge, they sound striking in a different way - almost operatic, but the kind of progressive, transgressive opera that burst out of NYC's downtown in the 1970s and '80s.\u003c\/p\u003e\u003cp\u003eBooming bass tones throb next to the vocals on the title track, providing a solid backbone for peculiar rhythmelodic assertions. At the mid-point, it cuts to an unexpected silence, before a stifled drone ushers us out in placid, measured euphoria. The album's gorgeous finale 'Still Point' is the ensemble’s most unashamedly moving moment and an opportunity for Vida to apply his experimental techniques to more melodramatic material. At times, it sounds like Bang on a Can re-interpreting the music of Mount Eerie - there's an understanding of American songcraft that's often ignored in the weeds of the avant-garde, here balanced by a studied classical minimalism that underpins each note. If you squint, you might just be able to make out the scratchy images of Low, or Codeine, or any of the slowcore set in the distance - but seen through a lens etched with the initials of Philip Glass, Steve Reich, or Meredith Monk. \u003c\/p\u003e\u003cp\u003eNeedless to say, it's a trip.\u003c\/p\u003e","brand":"Shelter Press","offers":[{"title":"Black LP","offer_id":50417159176523,"sku":"2046055","price":26.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/880918262543_22ee7b0e_thumbnail_4096.jpg?v=1726719381"},{"product_id":"yeo-neun","title":"Yeo-Neun","description":"\u003cp\u003eRavishing, dream-like debut by Okkyung Lee’s chamber ensemble, placing a rarely paralleled instrumental guile and imagination at the service of Shelter Press’ beautiful series of carefully hand-picked editions.\u003c\/p\u003e\u003cp\u003eRendering Lee’s first recordings with the Yeo-Neun Quartet, an experimental chamber ensemble established in 2016 and also comprising Maeve Gilchrist (harp), Jacob Sacks (piano), and Eivind Opsvik (bass), \u003ci\u003eYeo-Neun\u003c\/i\u003e distills the multiplicities of Lee’s decades of solo and collaborative work and diffuses it thru her cello and fellow players to realise a radical mixture of contemporary classicism and fearless experimentation. It’s the ultimate example of Lee’s inimitably calm but unpredictable style, wrapping up myriad aspects of chamber, jazz and folk musics with sentimental melodies and melancholy touches that betray a core influence from the popular Korean ballads and emotive traditional forms of her youth.\u003c\/p\u003e","brand":"Shelter Press","offers":[{"title":"Black | LP","offer_id":50417435410763,"sku":"1105350","price":21.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/bbe3fcfe-c3ea-42fa-ad18-e684361c7653_thumbnail_4096.jpg?v=1726729366"},{"product_id":"composer","title":"Composer","description":"\u003cp\u003eThe final release by Alex Gray’s D\/P\/I project. Follows releases for his own Deep Image label and L.A.’s Leaving Records, plus more recent hook-ups with Cameron Stallones, both in collaboration and as part of his Sun Araw Duos, Trios and Quartets. Edition of 500 copies. Mastered and cut by Rashad Becker at D+M. Art\/Layout by Alex Gray. D\/P\/I is a musician, DJ and visual artist from USA; he made music under the alias of Deep Magic and as a part of various Sun Araw Trios, Duos and Quartets. Now, most of the time, he plays drums guitar, or saxophone at home for his other half \u0026amp; two cats. “Composer” is an album of rhythms that, once started, eventually completed themselves without much input from the “Composer”. The character of a rhythm can develop very simply\/unconsciously with just a slightly different part of the hand hitting a drum, or the wrist getting tired, causing trembling and stuttering that further magnifies the rhythmic stability of the pattern and\/ or player. With electronics, it’s different physically, as you are not “hitting” anything, but the link to the subconscious\/unconscious, remains analogous. Every adjustment to a single sound\/pattern can reveal complexities that were not apparent when the sound\/pattern started. A natural flow begins, similar to the development of complex accents via “human error” of using an ordinary djembe or conga: as the composer begins to inter-be entranced by the sound\/ pattern, with a midi-mapped set of physical knobs, controlling complex processes\/effects - each effect\/process assumes it’s own character for that, almost quantum-like, layer of improvisation - layer by layer, until the simple layers of sound\/patterns have naturally developed into compositions that reflect the seeming-instability, excitement, and sadness in time, here referred to as a fixed, unmoving element in the “universe”, that our human software is intrinsically dependent on to interpret these rhythms and the rest of the material world. This album was fun, exciting and unpredictable until the day it was “finished”. I hope this album encourages people to think for themselves. This isn’t a “techno”, “experimental”, “abstract”, “dance”, “IDM”, or any “genre” of album. I hope you know what I mean. I hope that music hasn’t lost the quality of inter-being “beyond categorization”. I also hope that, to a small extent, this album can act as a beacon of creativity for future generations, who are currently being completely saturated by marketing content for products and media that will do nothing but confuse and distract them.” — Alex Gray, July 2016\u003c\/p\u003e","brand":"Shelter Press","offers":[{"title":"CD","offer_id":50450565103947,"sku":"1000085","price":9.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/8da13149-22d3-4cc4-bb3e-5c1588463253_thumbnail_4096.jpg?v=1727113020"},{"product_id":"un-hiver-en-plein-ete","title":"Un Hiver En Plein Été","description":"\u003cp\u003eDunno what sort of alchemy took place in Brooklyn in 2019, but this first in-person (full length) collaboration between long-time file-sharers Félicia Atkinson and Jefre Cantu-Ledesma is - quite dramatically - the most enveloping and deep work either artist has been involved with in both their respective and mutual careers thus far. There’s a deeply Badalamenti-esque quality at play here - and we don't mean the throw-away stuff - but a properly enveloping fog of smoke, all shuddering, single-note bass plucks and neon lit engineering that's like an arthouse companion to Bohren \u0026amp; der Club of Gore via Richard Youngs’ peerless CXXI set from earlier this year, into 80’s 4AD and classic Tarkovsky’s scores. Aye, we’re into this one, big time.\u003c\/p\u003e\u003cp\u003eResounding with a discrete, sublime sense of closeness, \u003ci\u003eUn Hiver En Plein Ete\u003c\/i\u003e (A Winter in the Middle of Summer) renders the results of Atkinson and Cantu-Ledesma’s studio sessions in August, 2019. To our ears, the six parts offer a whirling, transient sense of joy in the act. Everything feels in a perpetual motion, with instrumental gestures enlivened by a subtle but key use of electro-acoustic rendering that leaves space to the imagination, from the tip-of-tongue unfurling of Félicia’s ASMR-like vox and Jefre’s oily bass strokes in \u003ci\u003eAnd All The Spirals of the World\u003c\/i\u003e to the aleatoric enigma of the field recording textures that precipitate glistening wind-played chimes and the sonorous, floating pads of \u003ci\u003eThe Hidden\u003c\/i\u003e, enriching the stereo-swirled spiritual jazz intimation of \u003ci\u003eSeptembers\u003c\/i\u003e, and with an absorbing mix of rawness and oneiric surreality on the album’s nine minute centrepiece \u003ci\u003eNot Knowing\u003c\/i\u003e that reminds us of the strange state of stasis offset by the gnawing knowledge of a world in psychic distress.\u003c\/p\u003e\u003cp\u003eWhile their performance - Atkinson on piano and voice, and Cantu-Ledesma harnessing space dilating electronics - is distinct, the music itself offers an emotionally unified sense of purpose; it's a musing on friendship that transcends artistic influences and guiding narrative lines. The duo still make connections to the past, but on \u003ci\u003eUn Hiver En Plein Ete\u003c\/i\u003e they sing a song of closeness, and gesture at the sublime jumble of thoughts and desires that dissolve and weather with time. Isolated by borders, restrictions, sickness and circumstance, it feels as if friendship is more insurgent than ever.\u003c\/p\u003e","brand":"Shelter Press","offers":[{"title":"Black | LP","offer_id":50452734902603,"sku":"1141485","price":25.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/c3de0fbd-d101-4696-b4ca-8b74e1a6d689_thumbnail_4096.jpg?v=1727162335"},{"product_id":"space-as-an-instrument","title":"Space As An Instrument","description":"\u003cp\u003eKnown for using her voice in a unique way, this is the first record by Félicia Atkinson to bring the piano as the main character in her music.\u003c\/p\u003e\u003cp\u003eOne of the universal experiences of life on Earth is staring, neck craned, at the cosmos. The vastness of one’s internal life meets the vastness of space, and in that moment those perspectives fuse in a state of wonder and curiosity. Space As An Instrument, the new album by French artist and musician Félicia Atkinson, invites listeners to explore the phantasmic landscapes created in such transformative encounters, when the mind is open and receptive to its environment. Like being absorbed by the immensity of the night sky, this music dilates the imagination and helps us to sit comfortably in the mystery of the ineffable.\u003c\/p\u003e\u003cp\u003eWe are guided through \u003ci\u003eSpace As An Instrument \u003c\/i\u003eby the piano, it’s a linear story told through restrained, iterative melodies that become entwined with the sounds at the music’s margins - a wisp of electronics, a pinprick of an enunciated consonant. They were recorded on Atkinson’s phone, which was placed next to the keys, or behind her, with the sound of the room bleeding through to give a sense of the place and time of the encounter. She describes these sessions as meetings where she and the piano commune to co-create these spiraling phrases and vaporous dissonances moment by moment. Complicating this dynamic is the presence of digital pianos, which exist in the surreal space of diodes and LED displays. They act as avatars of their three-dimensional counterparts: nowhere and everywhere simultaneously.\u003c\/p\u003e\u003cp\u003eStill, the inhabited world of people, water, and wind can be heard throughout \u003ci\u003eSpace As An Instrument\u003c\/i\u003e. Often these recordings are integrated into the backdrop of electronics, or reduced to the sound of movements whose physical forms are obscured: the microphone straining against a forceful gust on “Sorry,” arhythmic footsteps traversing an invisible terrain on “Pensées Magiques.” These field recordings take us to the brink of synesthetic experience, allowing us to glimpse with our ear the topography of the imagination. But Atkinson’s music resists any kind of singular perspective on the scene, or any distinct conclusion. “It doesn’t explain anything,” she says, “but it translates the way I perceive it, somehow.”\u003c\/p\u003e\u003cp\u003eAtkinson is a polymath by nature, engrossed in a variety of daily artistic practices that nourish one another. In her garden, she performs the slow work of cross-species relationship building, cultivating an ideal space for introspection and further creation; many of the album’s vocal and electronic elements were recorded there. Poetry, which she prizes for its capacity to render the everyday tools of meaning-making more enigmatic, becomes folded into the music as well. She paints as often as time allows. One personal limitation Atkinson finds in painting, the rendering of perspective, has become one of her music’s defining characteristics. The vantage point of the listener is slippery and undefined, with sounds at once appearing gigantic and miniscule, distant and immediate.\u003c\/p\u003e\u003cp\u003eThis phenomena is central to “Thinking Iceberg,” a 13-minute piece that was whittled down from an hour and a half performance, who remain only a ghostly presence on the album’s recording. Atkinson wrote the piece in response to Olivier Remaud’s book Thinking Like An Iceberg, in which the philosopher assigns agency to these massive, endangered objects and imagines how they might perceive their millenia-long relationship to humans. Stoic synthesizer tones percolate while water flows just out of the immediate frame with a disarming clarity and presence. As the piece crests, Atkinson’s whispered voice emerges softly, placed right against the listener’s left ear, contrasting with the billowing mass of sound that otherwise dominates. We emerge with a glimmer of awareness of how immensity and delicacy can coexist as time and humanity extract their toll.\u003c\/p\u003e\u003cp\u003eAtkinson says her music exists “on the verge of understanding and not understanding,” which often precludes such literal interpretations. But in that nebulous space there is humility and openness, and perhaps enough empathy to understand the consciousness of a massive, frozen chunk of water. With the listener’s perspective diffused into many different vantage points, how might that, too, become a vehicle for the development of compassion? As we listen, we encounter the wisdom that there is meaning not just in the experience of the sublime, that radical juxtaposition of limitlessness and intimacy, but also in the continuum of countless individuals that have taken the same journey.\u003c\/p\u003e","brand":"Shelter Press","offers":[{"title":"White CD","offer_id":50531173892427,"sku":"2219291","price":17.99,"currency_code":"GBP","in_stock":true},{"title":"Black LP","offer_id":50531174973771,"sku":"2219292","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Space_As_an_Instrument_d2e8ae17_thumbnail_4096.jpg?v=1728096979"},{"product_id":"aunes-2","title":"Aunes","description":"\u003cp\u003eJudith Hamann’s most personal record, using her voice in her composition for the first time. Their playing has previously appeared alongside Joshua Bonnetta, Dennis Cooper, Charles Curtis, Lori Goldston, Sarah Hennies, Éliane Radigue, and La Monte Young. LP housed in heavyweight inner and outer sleeves with artwork by contemporary artist Wilder Alison. \u003ci\u003eAunes\u003c\/i\u003e is a rare solo album from peripatetic Australian cellist-composer-performer Judith Hamann, presenting six pieces recorded across several years and countries. Developing the collage techniques and expanded sound palettes heard on their previous releases, \u003ci\u003eAunes\u003c\/i\u003e makes use of synthesizers, organ, voice and location recordings alongside the dazzlingly pure, enveloping tones of Hamann’s cello. \u003c\/p\u003e","brand":"Shelter Press","offers":[{"title":"Black LP","offer_id":51188018610507,"sku":"2242439","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Aunes_d7b07a26_thumbnail_4096.jpg?v=1738347776"},{"product_id":"entrance","title":"Entrance","description":"\u003cp\u003eEntering its 26th year of activity, the morphing, Los Angeles based experimental outfit, Sissy Spacek, joins Shelter Press with Entrance, among the project’s most captivating outings to date. Encountering the duo of John Wiese and Charlie Mumma joined in various configurations by an incredible cast of collaborators - Tim Barnes, Marco Fusinato, Aaron Hemphill, Brad Laner, Katsura Mouri, Ralf Wehowsky, and C Spencer Yeh - collectively transformed into a series a deeply intimate and delicate gestures of musique concrète, Entrance radically repositions the possibilities presented by group improvisation outside of time and place.Founded at the end of the last millennium, the Los Angeles based project, Sissy Spacek, initially emerged from the knotted, fiery context 1990s American noise and grindcore, producing sheets of visceral sonority that quickly set the scene on its head. Going through numerous evolutions, before eventually settling as a duo of John Wiese and Charlie Mumma - joined by a rotating and often recurring cast collaborators - over the last 25 years the band has continuously entered states of evolution that have defied the expectations of its own context, seeding the sonic extremes noise with subtle and sophisticated approaches to free improvisation and musique concrète.\u003c\/p\u003e\u003cp\u003eFiercely positioning its efforts within the outer reaches of contemporary experimental music, while resisting the constraints of a singular sound or proximity, Wiese regards Sissy Spacek as being primarily centred around the practice of musique concrète and the pursuit of extremes. From its earliest releases - collage treatments of material gathered from the band’s full throttle practice sessions - the project’s conceptual framework has continuously evolved within a deeply engaged process of experimentation, not only reworking tactical approaches, but also definitions and perception regarding the location and action of their work. In recent years, this has led to an increasingly varied and diverse output. Percolating within, is a thread marked by a striking sense of delicacy and intimacy, driving forward while doubling as an unexpected challenge, in real time, to perceptions connected to the band’s past. \u003ci\u003eEntrance\u003c\/i\u003e is the most recent of these.\u003c\/p\u003e\u003cp\u003eEmbarking upon the four compositions that comprise the finalized four sides of \u003ci\u003eEntrance\u003c\/i\u003e, Wiese and Mumma enlisted longstanding collaborators, Tim Barnes, Marco Fusinato, Aaron Hemphill, Brad Laner, Katsura Mouri, and C Spencer Yeh, as well as new initiate, Ralf Wehowsky (of the seminal German electronic noise collective P16.D4), requesting a contribution of sounds from each, determined by a general set guidelines that dictated certain qualities the given sonorities, while allowing for the expression of each player’s distinct creative voice. The sets of resulting recordings were then chopped, harvested, manipulated, and reassembled as the four tape compositions that make up the album - Web Of Unfolding Appearance, Figure Of Reflected Light, Trancher And The Inheritors, True Dimension (From The Opaque - Spike) - each blurring the lines of authorship and clear creative proximity in remarkable ways.\u003c\/p\u003e\u003cp\u003eWhere historical gestures of musique concrète tend to draw upon non-instrumental sound sources - regarding its sonorous material as raw elements, unburdened by inherent meaning or association, to be transformed and imbued with musicality - Sissy Spacek turns this position on its head. Entrance comprises works of musique concrète that not only draw upon instrumental sound sources, with all their possible meanings or associations, but also individual characters and personalities of their players, crediting each resulting piece to its respective configuration of contributors.\u003c\/p\u003e\u003cp\u003eAs such, \u003ci\u003eEntrance\u003c\/i\u003e is an effort of sound collage defined by a rare sense of intimacy and humanity: four pieces that often take on the resemblance of group improvisation, but have, in fact, been assembled outside of time and place. Bent under the ever-present hand of Wiese’s tape treatments and manipulation, each of the album’s four compositions unfurl startling states of sonic abstraction and percolating texture, marked by a striking sense of hard-shifting structure, that culminate as tense, driven manifestations of ambient music: scrapes, squeals, rattles feedback, rolling drums, bouncing tones, whispers, bent electronics, electric artefacts, and seemingly everything else under the sun, configured into immersive, sublime mediations in sound from the most improbable events.\u003c\/p\u003e","brand":"Shelter Press","offers":[{"title":"Black LP","offer_id":51201016365387,"sku":"2243070","price":32.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":51201015873867,"sku":"2243069","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/e67afe2e-fab0-310f-4b19-052aba782766_e4625250_thumbnail_4096.jpg?v=1738678555"},{"product_id":"the-pines","title":"The Pines","description":"\u003cp\u003eSound artist and filmmaker \u003cstrong\u003eJoshua Bonnetta\u003c\/strong\u003e wants to know what happens when a human listener exits a landscape. How might the soundscape differ? How is our presence affecting the recording?\u003c\/p\u003e\n\u003cp\u003eHis ambitious long-form work \u003cem\u003eThe Pines I-IV\u003c\/em\u003e, via Shelter Press and The Dim Coast, looks to interrogate some of these questions, capturing the sonic life of a single pine tree in upstate New York over the course of a year via remote recordings, edited into four hours of audio which will be released as a 4CD set with an essay by acclaimed nature writer Robert Macfarlane and a foreword by curator Jake Moore.\u003c\/p\u003e\n\u003cp\u003eMacfarlane suggests that the forest knows when it is being listened to. He proposes that this project offers an answer to the question of whether a tree in a forest makes any sound at all if nobody is there to hear it. Bonnetta turns that question around, entangling it in the surrounding environment to ask what sort of noise plants and animals make when there is no human listener.\u003c\/p\u003e\n\u003cp\u003eA total of 8760 hours of audio were captured by a microphone strapped 10ft up a tree's trunk in Tioga County, which was then reworked into a single hour of sound for each season, capturing events in and around the tree's branches and immediate environment. Weather and wildlife, coyotes and owls, the creaking of branches under the weight of snow and ice – all act as a window into the sound of this place absent of humans.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBonnetta\u003c\/strong\u003e purposefully chose a site he already knew and had easy access to, but which might show itself differently when captured with durational sound recording technology. He returned every few weeks to collect and replace storage cards and batteries, editing lengthy audio files using a combination of listening and looking at the visualized audio spectrum.\u003c\/p\u003e\n\u003cp\u003eThe draw of this type of recording \u003cstrong\u003eBonnetta\u003c\/strong\u003e locates in a childhood memory, of wolves captured on tape. He recalls a memory from his childhood in a rural area in Ontario, of two brothers claiming to have recorded wolves howling. This project feels rooted in the initial wonder of that listening experience.\u003c\/p\u003e","brand":"Shelter Press","offers":[{"title":"4CD","offer_id":51227301085515,"sku":"2240289","price":39.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Joshua_Bonnetta_-_The_Pines_527e6afe_thumbnail_4096.jpg?v=1738908942"},{"product_id":"e-1","title":"E","description":"\u003cp\u003eThere’s no mistaking the sultry lilt of \u003cstrong\u003eEliana Glass\u003c\/strong\u003e—alternating between an offbeat, searching quality and her poignant, awe-inspiring range. Her piano playing also possesses this stirring push and pull between the otherworldly and painfully human—each melody its own unique, aching realm.\u003c\/p\u003e\n\n\u003cp\u003eGlass’ sparse, meditative music often captures, in her words, the “condensation of everyday life,” an image that suits the bittersweet, ephemeral, and abstract nature of her work. Glass’ debut album, \u003cem\u003eE\u003c\/em\u003e, arrives via Shelter Press, and not only is it a tender portrait of her lifelong relationship with the piano, it’s also a distillation of entire lifetimes into song.\u003c\/p\u003e\n\n\u003cp\u003eThe Australia-born, Seattle-bred, and New York-based singer-songwriter and pianist learned to sing and play piano by ear as a child. Glass took an immediate liking to her parents’ piano, frequently hiding underneath it and letting her imagination run wild. Glass spent years learning jazz standards, and she also learned to sing in Portuguese after falling in love with Brazilian music.\u003c\/p\u003e\n\n\u003cp\u003eGlass studied jazz voice at The New School under teachers Andrew Cyrille, Ben Street, Jay Clayton, and Kris Davis, and she began singing in piano\/bass\/drums quartets around New York City. In the latter half of her studies, she started writing her own songs inspired by boundary-pushing artists like Ornette Coleman, Asha Puthli, and Jeanne Lee.\u003c\/p\u003e\n\n\u003cp\u003eDuring the height of the pandemic, she lived with her brother Costa (who now records as ifiwereme) and felt drawn to the piano again, and they wrote songs together for the first time. Glass teamed up with Public Records co-founder and producer Francis Harris (Frank \u0026amp; Tony, Adultnapper) and engineer Bill Skibbe (Shellac, Jack White) to record what became \u003cem\u003eE\u003c\/em\u003e in various studios in Nashville, Brooklyn, Memphis, and Benton Harbor, Michigan.\u003c\/p\u003e\n\n\u003cp\u003eGlass’ experimental, improvisational works evoke the sensual minimalism of Annette Peacock, the joyful mysteriousness of Carla Bley, and the wistful intimacy of Sibylle Baier. Her reverence for leftfield jazz and free improv greats is evident, but it’s always filtered through her signature nascent, naturalistic sound.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eEliana Glass\u003c\/strong\u003e has come a long way since daydreaming beneath a towering keyboard. Glass’ peculiar vocal alchemy and vivid piano saunters are masterful and wholly her own, and her forthcoming debut full-length is a gift of resonant beauty and rewarding ambiguity.\u003c\/p\u003e\n\n\u003cp\u003eShe now performs around New York City with bandmates Walter Stinson (bass) and Mike Gebhart (drums), in addition to solo shows perched in front of a 1979 Moog Opus organ. As a musician and an improviser, Glass is enamored by and an adept wielder of the search—for meaning, for sounds, for newness, for connection.\u003c\/p\u003e","brand":"Shelter Press","offers":[{"title":"CD","offer_id":51327055069515,"sku":"R5714-2344","price":13.99,"currency_code":"GBP","in_stock":true},{"title":"LP - Black","offer_id":51327055102283,"sku":"R5714-4262","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/dd0dcdae-8a8e-cdf1-bea5-fe18ca3fec86_747e3a22-a9c3-43b2-80b0-2a2020ff8157.jpg?v=1752289728"},{"product_id":"ston-elaiona-ston-elaiona","title":"Στoν Eλaιώνa \/ Ston Elaióna","description":"\u003cp\u003e\u003cstrong\u003eSton Elaióna\u003c\/strong\u003e is \u003cstrong\u003eJohn Also Bennett\u003c\/strong\u003e’s first album for Shelter Press since his 2019 solo debut \u003cem\u003eErg Herbe\u003c\/em\u003e. The American born, Athens, Greece, based flautist, synthesist, and composer weaves a strikingly singular electroacoustic excursion for bass flute and Yamaha DX7ii, largely recorded in the golden haze of the early morning hours - bending time at the otherworldly juncture of consciousness and place.\u003c\/p\u003e\n\n\u003cp\u003eTranslating from Greek as “in the olive grove”, \u003cem\u003eSton Elaióna\u003c\/em\u003e is permeated with the ambiences of the ancient and present world, guided into form by a playfully rigorous approach to sound. Initially emerging during the mid 2000s as part of Columbus, Ohio’s noise scene, before relocating to NYC around 2010, Bennett’s diverse activities picked up an increasing sense of pace over the following decade - performing and recording as a solo artist (JAB), with the trio Forma and with CV \u0026amp;JAB, his prolific duo with his partner Christina Vantzou, as well as playing in Jon Gibson’s ensemble among many other multifaceted collaborations.\u003c\/p\u003e\n\n\u003cp\u003eHowever, since 2020 the flautist and electroacoustic composer has existed in a semi nomadic state: drifting between Brooklyn, Brussels, extensive tours, and Greece, where he finally came to rest in Athens last year. Drawing upon a carefully honed attentiveness to the environments and experiences of everyday life, \u003cem\u003eSton Elaióna\u003c\/em\u003e is a suite of nine pieces (with an additional track exclusive to physical formats), many of them composed and played live as the early morning sun touched the Parthenon, in full view from Bennett’s studio window in Athens.\u003c\/p\u003e\n\n\u003cp\u003eBennett’s refinement and restraint, honed over his years adrift, led him to adopt a limited palette focused on his primary instrument, the bass flute, and a Yamaha DX7ii synthesizer tuned to just intonation scales. Alongside a handful of other keyboards, digital oscillators triggered by his flute, and occasional field recordings, this simple palette is reflected by the deeply emotive sense of minimalism that permeates the album’s two sides.\u003c\/p\u003e\n\n\u003cp\u003eFollowing two solo albums defined by outward facing temperaments - 2022’s \u003cem\u003eOut there in the middle of nowhere\u003c\/em\u003e (Poole Music), which used a lap steel guitar and generative oscillators to evoke the surreal landscapes of the South Dakota badlands, and the largely synthetic atmospheres of the 2024 anthology \u003cem\u003eMusic For Save Rooms 1 and 2\u003c\/em\u003e (Editions Basilic) - the shift in Bennett’s worldly circumstances offered an intuitive return to the calm, inward states of creative exploration that have historically defined JAB’s sound.\u003c\/p\u003e\n\n\u003cp\u003eIn parallel, context provided clear sources of inspiration for many of the album’s themes, as well as sources for some of its sounds. The aura of Greece, from the ancient to the present, from its stones and olive groves to its traffic, figures heavily across \u003cem\u003eSton Elaióna\u003c\/em\u003e’s two sides. The album’s title track and opener “Ston Elaiona” is but one key to opening the album’s multilayered worlds: swells of intertwining of bass flute, oscillators, and DX7ii channel feelings of playful contentment felt by Bennett when “in the olive grove” or in his apartment, reflecting quiet moments spent among the ancient hills of the noisy city that he now calls home.\u003c\/p\u003e\n\n\u003cp\u003eDrawing upon chance encounters within daily life, the flowing synthesizer tones of “Gecko Pads” dance in motions that seem to mimic the movements of a house gecko that appeared on a wall of Bennett’s studio - a quick dash, and then stillness - while “Hailstorm” expands this vision of domestic intimacy, playing the rise and fall of bass flute melodies against the captured sounds of an intense storm outside: a potent sonic metaphor for his intra and extra worlds.\u003c\/p\u003e\n\n\u003cp\u003eAs the sharpness and depth of \u003cem\u003eSton Elaióna\u003c\/em\u003e comes into focus, playfully threaded amongst its seductive tonal interplay, we encounter Bennett moving across dimensions of time, topical experience, and layers of cultural conjunction. Like “Hailstorm”, “EasterDaydream” incorporates field recording, but here his flute tones are joined by urban ambience and subtle punctuations of melody and rhythm, captured from a day long bell procession at the small church across the street from his apartment during Orthodox Holy Week, seeding the composition with a deep sense of immediacy and place that draw consciousness well beyond the limits of sound.\u003c\/p\u003e\n\n\u003cp\u003eMoving the narrative possibilities further out into the landscape, “A Handful of Olives” utilizes Bennett’s technique of triggering long synthesizer tones with another instrument - in this case, fluctuating modular synth drones underscoring the glacial melodies of his bass flute. Immersive and meditative, the piece’s title nods to the resilience of a character from a Nikos Kazantzakis novel, who begins a long journey across the countryside with nothing but some wine, a piece of cheese, and a handful of olives.\u003c\/p\u003e\n\n\u003cp\u003e“First Lament” is the oldest work on \u003cem\u003eSton Elaióna\u003c\/em\u003e, having been performed live by Bennett, in evolving states, for the past three or four years. A strongly affecting exercise in deep listening, meditation, and sometimes emotional catharsis, like “A Handful of Olives” it utilizes his technique of triggering long synthesizer tones with the flute, extending and overlapping resonances to create tone clusters that hang in the air with an otherworldly effect, echoing Bennett’s heartfelt yet restrained melodies of lament.\u003c\/p\u003e\n\n\u003cp\u003eTapping a sense of dualism endemic to Greece, where the ancient world continues to occupy the present day, both “Sacred House” and “Oracle” refer to the building that housed the Oracle of Ancient Dodoni in Epirus, where people have continued to seek guidance or assistance from the gods for thousands of years, in modern times by hanging small notes on the tree within its grounds. Unaccompanied pieces composed and played on Bennett’s just intoned synths, each positions haunting, slow paced melodies - imbued with metaphysical and spiritual weight - as bridges that span the millennia and diverse states of the conscious and unconscious mind.\u003c\/p\u003e\n\n\u003cp\u003eWith “Seikilos Epitaph”, Bennett takes his immersion into the subcutaneous depths of Ancient Greece one step further. The piece is a version of the oldest known surviving complete musical composition, found notated in Greek on a stone pillar \/ stele on the site of an ancient village. Played on his DX7ii, and subtly permeated with field recordings of environmental sounds, his brilliant rendering builds bridges between the present and the distant time Bennett calls forth: another key, equal to the title track, to unlocking the album’s lingering depths.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eJohn Also Bennett\u003c\/strong\u003e’s \u003cem\u003eSton Elaióna\u003c\/em\u003e forms an\u003c\/p\u003e","brand":"Shelter Press","offers":[{"title":"CD","offer_id":51931576369483,"sku":"R7501-2710","price":11.99,"currency_code":"GBP","in_stock":true},{"title":"LP - Black","offer_id":51931576402251,"sku":"R7501-9552","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/JohnAlsoBennett.jpg?v=1748600543"},{"product_id":"just-like-any-other-day-eoneunal-background-music-for-your-mundane-activities","title":"just like any other day (어느날) : background music for your mundane activities","description":"\u003cp\u003eOkkyung Lee returns to Shelter Press with \u003cem\u003eJust Like Any Other Day (어느날): Background Music For Your Mundane Activities\u003c\/em\u003e, a deeply intimate body of recordings at the juncture of ambient music, minimalism, and the baroque. This album stands as a radical intervention with what experimental music can be, and the place that organisations of sound occupy in our lives.\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eJust Like Any Other Day (어느날)\u003c\/em\u003e belongs to a broadening shift in Lee’s approach to composing that aligns with her return to her native South Korea. Infused with a deep reengagement with her own culture and relationship to memory, it is equally a response to critical challenges provoked by significant life changes.\u003c\/p\u003e\n\n\u003cp\u003eWorked on in isolation over the course of four years, the album’s nine pieces challenge the traditional notions of experimental music. Lee's inquiry into the utility of music itself led her to create music that is intended to provoke a relationship to experimental music beyond its normative expectations.\u003c\/p\u003e\n\n\u003cp\u003eFor the first time, the music of \u003cem\u003eJust Like Any Other Day (어느날)\u003c\/em\u003e sees Lee leaving the cello entirely behind. Created at home on keyboard, computer, and an inexpensive cassette recorder, this album presents a remarkable form of ambient music that becomes its own environment to be occupied.\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eJust Like Any Other Day (어느날)\u003c\/em\u003e represents a radical reconfiguration of experiential music, stripped to its bare essence in defiance of widely presumed aesthetic signifiers. 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Improvisation is at the core of their artistry – often chipping away at large slabs of recordings to reveal the piece like a marble sculptor. It’s an expansive and interdisciplinary practice that allows JJJJJerome to adapt to any medium or form, including recorded music, live theatrical and performance art, scoring, spoken word and storytelling, and multimedia\/visual works that incorporate sound.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLiving as a person who stutters, using their mouth to express themselves proved difficult growing up. The practice of spelling their performance moniker “JJJJJerome” stems from the realization that the word they stutter most frequently is their own name. Despite a brief placement in speech therapy as a child – Everything clicked when they picked up the saxophone in seventh grade. “I still stutter on the saxophone, but it’s different.” As an artist, their creative ethos now revolves around the exploration of stuttering through music, expounding upon the ability of each to shape time. They honor the stutter through art.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eTheir career began when they started to improvise along with John Coltrane and Billie Holiday CDs on the horn. But as someone drawn to navigating limitations, JJJJJerome has since blossomed into an adept multi-instrumentalist, each instrument being a watershed in paving new avenues of potential sound worlds. Their voice is additionally guided by a reverence for the earth and ancestors – both human and otherwise. With maternal familial ties to the church, and memorable stories of their grandmother performing as a pianist and organist, JJJJJerome’s recent affinity for keyboards holds a meaningful weight.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSophomore record \u003c\/span\u003e\u003ci\u003eVesper Sparrow\u003c\/i\u003e\u003cspan\u003e (Shelter Press) is born out of this connection to Black religious tradition and inheritance. It is a continuation of the artist’s ongoing study of the intersections between music and sound, stuttering, and Blackness, through the lens of time. The album is comprised of two complete thoughts, and hinges on a recorded stutter. JJJJJerome splits the four-part composition “Evensong” by fading out the stutter in part two, and sandwiches tracks three and four (“Vesper Sparrow” and “Black- Throated Sparrow”) in-between. “The stutter becomes a structuring moment,” they explain, regarding the opportunity to fill the time opened up.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSuspension, then, becomes integral to JJJJJerome’s musical language. Both stuttering and granular synthesis can suspend moments in time, and “invite multiple ways of inhabiting, traversing, and connecting with others in those moments.” The artist also pulls in elements of pop production – electronic textures and distortions inspired in part by indie- rock; and spoken word, sampling, and audio manipulation drawn from Caribbean and Black American musics.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eJJJJJerome’s artistry has been recognized on a wide scale. Their debut record \u003c\/span\u003e\u003ci\u003eThe Clearing\u003c\/i\u003e\u003cspan\u003e (NNA Tapes, 2021) and accompanying book (published by Wendy’s Subway) was awarded the 2022 Anna Rabinowitz Prize for its “restless interrogation of linear time,” as described by esteemed writer Claudia Rankine. Their work has been presented by large cultural institutions, both internationally at the 2023 Venice Biennale and adventurous Rewire Festival; and at home in the US by the Whitney Museum, The Shed, the Center for African American Poetry and Poetics, and National Sawdust. JJJJJerome has additionally been awarded a Fulbright Fellowship (2015), Creative Capital Grant (2022), and several MacDowell residencies (2019, 2022). Recently, they have been commissioned by The Metropolitan Museum of Art and Ars Nova.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eA Virginia native, JJJJJerome currently lives in a monastery on traditional Nansemond and Chesepioc territory, aka Norfolk, VA. They live with their wife, poet-ecologist Luísa Black Ellis. earned a B.A. in music theory and ethnomusicology from Columbia University, and went on to lecture in Sound Design at Yale University. With childhood friend James Harrison Monaco, they create vast sonic-storytelling productions as James and JJJJJerome. 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Each piece gestures toward both presence and disappearance.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eCentral to the record is a tension between form and formlessness. Fingerpicked guitar compositions were written, recorded, and then pushed through modular processing chains, where their original structure became blurred or buried. Often, multiple pieces were written in isolation and layered without synchronization, allowing intentional dissonance to guide the resulting textures. The approach favors drift and friction, with melodies ghosting through blurred intervals, creating tension between memory and distortion.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe album begins with \"Fields,\" where faint guitar phrases are immersed in hollow, resonant tones that feel more remembered than played. Warmth flickers at the edges, filtered and remote, like light pushing through soot. 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Trained as a dancer from an early age, Michelle brings a heightened spatial sensitivity to her practice: an intuitive understanding of how forms coexist and move through three dimensions, and an appreciation for the beauty found in unlikely juxtapositions of materials and ideas. Since establishing her solo career in 2021, she has gained international recognition for her patient, meticulous recordings, often developed in tandem with installations, multi-channel compositions, and sound sculptures. Within these subtly disorienting sonic architectures, new relationships can emerge, new boundaries can be drawn, and listeners are invited into an experience of time that resists linearity.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAll Things Might Spill\u003c\/em\u003e, Michelle’s first album for Shelter Press, is an examination of sustained tension and the mystifying experience of time dilation in the moments just before a rupture or collapse. 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What emerges now feels like watching someone trace the contours of their own interior landscape, each melodic line a careful negotiation with the unconscious. This is only a saxophone record in the barest sense.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThe terrain here is tactile and unforgiving. On the title track, difficult melodies get torn apart and molded into emotive drones, dissonance interlocking where tones cut paths through the senses with metallic sheen. “El Khela” refracts into spectral layers that pull with eternal gravity, while “Estado” finds solace inside its own haze, rhythms barely audible but guiding forward with their cadence smeared against grey walls. 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