‘The Pyre: versions distilled to stereo’

KTL shelter press stephen o'mallley peter rehberg gisele vienne

KTL ‘The Pyre: versions distilled to stereo’



First pressing : 700 copies
Printed artwork on innersleeve with matt varnish and outer sleeve with UV varnish.

First pressing
✓ 700 copies on clear green vinyl


Music by KTL (Stephen O’Malley & Peter Rehberg)
Mastering: Matt Colton at Alchemy
Artworks: Estelle Hanania
Design: Bartolomé Sanson


1. Escalade
2. MadHIT
3. Glass X
4. HIT
5. SuperMellow


On November 22nd French music, art and publishing imprint Shelter Press will release another chapter of its on-going documentation of the work of Gisèle Vienne

‘The Pyre: versions distilled to stereo’ is the score composed and recorded by KTL (Stephen O’Malley & Peter Rehberg) for the dance piece ‘The Pyre’, written and directed by Gisèle Vienne.

The music created by KTL (Peter Rehberg and Stephen O’Malley) incorporates invisible and absent elements – ghosts, one might say. It proceeds from simulated diegetic sounds (which are part of the action) interwoven with real sounds – a musical creation that makes up an extra-diegetic sound score. This composition dizzyingly sculpts the space on stage and generates an impression of great spatial depth, which activates light-sculptures that in turn evoke the illusion of a tunnel, whose depth also results in a play of reflections.

Through these different media, the aim is to develop and shatter – without looking to resolve – the exceptional intensity that can arise from the dialectical tension between presence and absence, as well as from the characters that are seeking flight.

The music, originally performed on a multichannel spatialisized soundsystem has been distilled to this stereo version for home use, halfspeed mastered and cut by Matt Colton.

This record announces – and is one chapter – in the forthcoming release of the first monograph dedicated to the work of French choreographer Gisèle Vienne and documented by French photographer Estelle Hanania. This book – is one of Shelter Press’ most ambitious to date – catalog number 100 – will be released in Spring 2019.

First edition of 700 copies on clear green wax. Printed artwork on innersleeve with matt varnish and outersleeve with aqueous UV finish. DL card included.

For more informations about The Pyre and its complete credits:

Félicia Atkinson / Jefre Cantu-Ledesma
‘Limpid As The Solitudes’

Eli Keszler Stadium Shelter Press

Félicia Atkinson / Jefre Cantu-Ledesma ‘Limpid As The Solitudes’



Total pressing : 700 copies
Printed artwork on sleeve and innersleeve with high gloss lamination finish.

First pressing

✗ 300 copies on clear mint vinyl
(sold out at source l still available @ Boomkat)

✗ 400 copies on black vinyl
(sold out at source l still available @ Boomkat & Forced Exposure)


Music by Félicia Atkinson / Jefre Cantu-Ledesma
Mastering: Helmut Erler at D+M
Artworks: Julien Carreyn
Design: Bartolomé Sanson




When is one plus one not two? When two paths converge and a new one appears. But what is this newly activated neural pathway? A Third Mind? In the 1960s, multimedia artist Brion Gysin cut through the words of a newspaper and rearranged them to reveal a new kind of truth contained within the words but not freed until his knife cut it loose. He described this as part of the Third Mind. Likewise, «Limpid As The Solitudes» cuts through sound-making techniques to enter a new zone of sonic revelations.

If you had to look for musical precedents, you might say the record recalls the turn-of-the-century Mille Plateaux glitch era, the warmth of La Monte Young’s raga-inspired microtonal electronic «dream house» drones, a sense of adventure evident in the acousmatic non-space recordings made by GRM artists in the 1960s/ 1970s, 4AD’s floor gazing guitar sound circa Cocteau Twins peak, and blissfully diverse field recordings. But you could equally equate it with entirely different recording sources. «Limpid As The Solitudes» has a widescreen sound that is both familiar and unfamiliar. Warm, comforting and also unsettling in unpredictable ways. Deliberate yet exploratory. It’s a record composed of opposites and contrasts. Following historical guidelines yet also throwing them out of the window. It’s hard to tell if the process of creating it was more akin to abstract painting but it might possibly be easier to understand if it was a large museum painting (to steal a thought from David Stubbs). To describe the album as ambient would indicate a much too passive engagement with the sound – leave it to play in the background and you’ll miss a lot of the joy.

Felicia Atkinson and Jefre Cantu-Ledesma describe the record as a series of postcards – «things and sounds that happen vertically as a slow ascension, vessels communicating in dreams.» In this collaborative recording, there is a feeling of «becoming» – things metamorphose – a concrete sound turns into a electronic sound that turns into a spiral-like melody which then furls / unfurls at the same time.

The title of the album – «Limpid As The Solitudes» – as well as track titles, are all verses stolen from Sylvia Plath’s poems – Atkinson notes «like dropped pearls from a lost collar.» Trying further to capture the records poetic impulses she notes it’s reflects «Empathy to objects and nature’s elements, meteorological states, seasons that answer to your heart, granular etchings carved and sustained to create a blurred sentimental landscape.» But notes with a sharpness that «the finale is more optimistic than Plath’s poetry. Love and lyricism win, the music soaring from deep water to interstellar galaxies.»

If you look at the cover, you’ll find another key clue – you’ll see an image created by photographer Julien Carreyn of a young women wearing destroyed jeans, playing with bubble wrap. The image is intended to give the viewer an eerie 1990’s feeling that echoes the recording. They note – «think films such as by «Trust» (Hal Hartley, 1990) or «Chuncking Express» (Wong Kar Wai, 1994).» They add «it’s the «ultra modern solitude» of characters lost in an early-digital urban vacuum, looking for a more time to wonder, a soul mate or just some compassion in the grey sky.»

Among the many other references for this album is how Google Maps have created new digital perceptions of space, Gilles Deleuze’s examination of Alice In Wonderland, Andre Bretons poems and more films including the classics «Sacrifice» (Tarkovsky), «Passenger» (Antonioni) and «Last Year In Marienbad» (Resnais). To dig into the more of the ideas and sources behind this record you’ll simply have to talk to the duo. We simply cannot give you the full depth here.
Be sure to come back to this record more than once – it’s then that it’s power will work – you’ll recall the sound of a lover, a garden you once walked through, an echo of a record you once loved. To be appreciated, «Limpid As The Solitudes» requires you to immerse yourself as if in a hot spring, letting the sounds float over you and alter your perceptions and memories.

Mastered and cut by Helmut Erler at D+M, Vinyl Edition housed in printed inner and outer jacket, with high-gloss lamination finish. Art by Julien Carreyn. Out on November 9, 2018.

Eli Keszler

Eli Keszler Stadium Shelter Press
Eli Keszler Stadium Shelter Press

Eli Keszler ‘Stadium’



— 2XLP
Total pressing : 1000 copies
Printed artwork on uncoated sleeve and innersleeve.

First pressing
200 copies on crystal clear vinyls (out of stock)
600 copies on black vinyls

— CD
Glassmastered CD in silkscreened jewelcase.
1000 copies.


Music by Eli Keszler
Engineered By Nolan Thies
Mixed By Eli Keszler And Nolan Thies
Mastering: Rashad Becker at D+M
Produced By Eli Keszler
Post-Production Audio: Gabe Schumann
Cover Photo: Laura Kenner
Drawings: Eli Keszler
Design: Bartolomé Sanson



1. Measurement Doesn’t Change The System At All
2. Lotus Awnings
3. We Live In Pathetic Temporal Urgency
4. Flying Floor For U.S. Airways
5. Simple Act Of Inverting The Episode
6. Which Swarms Around It
7. Fifty Four To Madrid
8. French Lick
9. Was The Singing Bellowing
10. The Driver Stops
11. Fashion Of Echo
12. Bell Underpinnings




New York-based artist Eli Keszler is at the apex of his career. This year alone he’s had a three-month-long solo exhibition (“Blue Skies” at Fuse Arts, Bradford, UK), performed internationally in a duo with Laurel Halo, collaborated with noted Hungarian author László Krasznahorkai, taught experimental composition and performance at Camp in the Pyrenees mountains, composed music for Turner Prize–winning visual artist Laure Prouvost, and most recently embarked on a world tour with Oneohtrix Point Never.

“Stadium” is his new album for Shelter Press. As his ninth solo record,“Stadium” reflects his move from South Brooklyn to Manhattan, where he produced the album. The constant blurry motion and ever-changing landscapes of the fast-paced island helped him modify and shape his sound into a new kind of film noir. “After we moved into our East Village apartment,” Keszler explains, “we found a guitar pick on the floor that read ‘Stadium’. We looked at each other at the same time and had the same thought. It could have gone any number of ways.” Indeed, there is a startling amount of expression at play on each track, where intersections of melody, restraint and rhythm are used to challenge the idea of memory, impression and space.

Keszler is often mistaken for an electronic musician, but in fact his sounds are raw and natural, produced by hand live in-situ. His performance with the drumset and acoustic percussion are central to his work. He produces almost impossible textures through self-realized methodologies: cascading melodies, a shadow of voices, and a unique pointillistic materiality. Although playing with the intensity of digitally-created music, his communications are done live with no processing. These haptics are what give “Stadium” its depth and its warmth. In a recent interview for Dazed, collaborator Oneohtrix Point Never comments, “I’ve always described his playing as bacterial. He’s able to parallax into very small, very acute, very specific relationships between percussive textures. It’s beyond just being a drummer—he’s a world-building percussionist.”

In “Stadium,” Keszler uses lived experience to realize the most wide-ranging sound he’s created to date. “Stadium” draws out textures from overlapping geographies (from Shinjuku arcades to city streets and Brutalist architecture) and transforms these travelogue field recordings into starting points for composition. He then builds on these environments to create subliminal spaces for his percussion, keyboards and acoustic instruments. His “world-building” techniques are pushed to new levels with mesmerizing string and brass arrangements. Throughout the album, Keszler’s writing, keyboard playing and scoring operate like a sonic channel that transports the listener into a quaking web.

Perhaps this is the “stadium” referred to in the title: a larger network of sound and bodies moving continually, oscillating and turning in on itself. Keszler has explored these ideas before both in his visual work and sound installations—especially notable on projects such as his massive Manhattan Bridge installation ‘Archway’ or his Boston City Hall work «Northern Stair Projection.» “Stadium” takes these long-running ideas to new depths. “My installations work with massive city spaces for a complex of individuals,” Keszler states. “The recordings on Stadium are inverted. They are landscapes scaled for the singular. Like a mass collecting in one arena, this music compresses city spaces, genre and instrumentalism into an amorphous form. On the record, there are ruptures of information and happenstance. Like a game, it could go any number of ways.”

Mastered and cut by Rashad Becker at D+M, Vinyl Edition housed in reverse board-printed inners and double-width spine jacket. Glassmastered CD in silkscreened jewelcase. Out on October 12, 2018.

Eli Keszler — Stadium (Live at The Kitchen – Oct. 2, 2018)

Thomas Ankersmit
‘Homage to Dick Raaijmakers’ (SP096)

THOMAS ANKERSMIT 'Homage To Dick Raaijmakers' Shelter Press SP096 Bartolomé Sanson Felicia Atkinson

Thomas Ankersmit ‘Homage to Dick Raaijmakers’



45 rpm / 140grm vinyl
Record housed in reverse-board printed outer and innersleeve.
Include download code
First pressing of 700 copies

Glassmastered CD in matt varnish digipack.
Edition of 1000 copies


Music: Thomas Ankersmit
Design: Bartolomé Sanson
Mastering: Rashad Becker at D+M
Photograph on outer sleeve: © PCA / Institute of Sonology
Photograph on inner sleeve: © Raaijmakers collection, NMI

Tracklist LP

A. Homage to Dick Raaijmakers (part 1) / 15:00
B. Homage to Dick Raaijmakers (part 2) / 20:19

Tracklist CD & Digital

1. Homage to Dick Raaijmakers / 35:19

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BUY LP            BUY CD            BUY DIGITAL

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Thomas Ankersmit’s new album for Shelter Press “Homage to Dick Raaijmakers” is an all-analogue electronic music composition inspired by legendary Dutch composer / electronic and tape music pioneer / multimedia artist Dick Raaijmakers (1930-2013). The work takes inspiration from Raaijmakers’ music from the 1960s, his texts on sound composition like “Cahier M”, and notes on his own music. On this recording Ankersmit plays Serge Modular feedback and sine/pulse/random generators, contact mic, and tape speed variation

Mirroring some of Raaijmakers’ work, Ankersmit plays his Serge synthesizer as a kind of weather system. He references storms, thunder, crashing and falling objects, and distant radio transmissions in his electronic sounds, as well as dragging a contact mic across his equipment. Despite the abstract nature of the material, a sense of loss or mourning sometimes emerges from the music.

With his homage Ankersmit re-contextualizes Raaijmakers’ ideas about electric sound, composition, and spatial experience. Like Raaijmakers himself Ankersmit exclusively uses analogue devices, such as sine/pulse/random generators, modulators, filters, and especially feedback processes between them.

The music focuses on the sounds of raw electricity through creatively abused electronics, composing with analogue micro-sounds, and the creation of three-dimensional sound fields.

The piece also uses tones produced by the listener’s own ears, inspired by Raaijmakers’ thoughts on “holophonic” sound fields to be individually explored by the listener. With this phenomenon, the listener’s inner ears actively generate sounds that don’t exist in the recorded signal, and which can change with a small movement of the head.

“Homage to Dick Raaijmakers” was commissioned by Sonic Acts and was premiered live at the Stedelijk Museum in Amsterdam in February 2016. Ankersmit also dedicates the work to his father Thijl Ankersmit (1947-2016), who first demonstrated feedback to him. .

Mastered and cut by Rashad Becker and pressed on 140g vinyl housed in reverse-board outer and inner sleeve. Out in September 2018 on Shelter Press on LP / CD / DL.

‘Struggle Artist’ (SP093)

Meyers ‘Struggle Artist’



14 tracks
38:00 min

33 rpm / 140grm vinyl
Record housed in metalic bronze printed outer and innersleeve.

First pressing of 500 copies


Music: Justin Meyers
Artwork: Justin Meyers
Design: Bartolomé Sanson
Mastering: Rashad Becker at D+M


A1 Ambient Role Play
A2 Draw Distance
A3 Balloon Étude
A4 NPC Loop 1
A5 Self Portrait
A6 Limit Break
A7 Ambient Role Play (End)

B1 Granular Opportunities 1
B2 Granular Opportunities 2
B3 Expectations 1
B4 Expectations 2
B5 NPC Loop 2
B6 Noise Artist Cosplay
B7 Struggle Artist

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Distribution via :


Struggle Artist is the new album from Justin C. Meyers, the Minneapolis-based composer, artist, and head of the Sympathy Ltd. label.
Meyers is a unique, underappreciated talent in contemporary electronic music. His greatest strengths are twofold: his compositions have a meticulous structural logic, revealing a hermetic and austere formalism; concurrently, his compositions have a deep, introspective narrativity grounded in his lived experience, evoked with a mature clarity. Together, they make Meyers one of the most interesting electronic musicians working with cutting-edge sonics today, unlocking their latent powers of metaphor and figuration. His previous album, 2016’s Negative Space (1981–2014), deals with the onset of chronic illness and near-death experience. Its careful, anechoic meditations on the failing body are a resounding achievement, and the album remains a high watermark of acousmatic music in the 21st century.

Struggle Artist portrays Meyers’ expectations and disappointments arising from making art in his free time. Created initially during lunch breaks and in hospital waiting rooms, and finished after being laid off from his job, it catalogues the despondency of the precarious life. If Negative Space was about the fallible body, Struggle Artist is its violent collision with late capitalism.

Meyers’ formal language employs the barest of ingredients: scintillating digital synthesis, evacuated field recordings, impossibly crisp transients and an elegiac harmonic sensibility. On Struggle Artist, he sets up scenarios that anticipate some musical event or flourish, only to renege on them with stark about-faces or resolutions into dissonance. These rhetorical figures reproduce the difficulty of maintaining artistic integrity and motivation while working a day job and dealing with chronic illness. Tracks like “Self Portrait” evoke the trauma of reconfiguring and rewriting one’s own identity to (unsuccessfully) appease indifferent funding sources like grants and fellowships, which Meyers wryly calls “Granular Opportunities.” Stability is not conceded until the stunning eponymous final sequence, that ambiguously signals either the willed discontinuation or reaffirmation of Meyers’ musical career.

The impression is not entirely bleak. Meyers’ sound design is buoyant and luxurious with its clean edges and lush tonalities, such as in “Draw Distance” or the “Expectations” diptych. This is Meyers’ most playful record, albeit always gesturing towards its melancholic narrative. This guarded, dark humour is alluded to in his sleeve art and track titles.

In an environment where most record releases don’t break even and the artist usually shoulders the financial burden, Struggle Artist explores what the psychological burdens are. It laments the incompatibility of neoliberalism and non-commercial artistic practice, increasingly accessible only to the inherited rich. For the rest of us, second jobs are the only option, which in theory liberates us from the pressure to commoditise our art, but in reality leaves us exhausted and broken. Struggle Artist is a refreshingly honest and transfixing metanarrative on how we interiorise the conditions of making art.

Mastered and cut by Rashad Becker at D+M 140g record housed in metalic bronze printed outer and innersleeve.

CV & JAB — Zin Taylor
‘Thoughts Of A Dot As It Travels A Surface’ (SP092)

CV & JAB — ZIN TAYLOR 'Thoughts of a Dot as it Travels a Surface' (SP092)
CV & JAB — ZIN TAYLOR 'Thoughts of a Dot as it Travels a Surface' (SP092)
CV & JAB — ZIN TAYLOR 'Thoughts of a Dot as it Travels a Surface' (SP092)

CV & JAB — ZIN TAYLOR ‘Thoughts Of A Dot As It Travels A Surface’



10 tracks
43:00 min

33 rpm / 140grm vinyl
Clear purple vinyl housed in reverse board-printed inner and
double-width spine jacket. Comes with a 180cm leporello
reproducing the original 9000cm wall drawing.

First pressing of 1000 copies on clear purple vinyl (available)


All music arranged and performed by CV & JAB
Synthesizers and Virtual Instruments: Christina Vantzou
Synthesizers, Piano, and Flute: John Also Bennett

Drawings and Graphic Score by Zin Taylor

Commissioner: Kristina Scepanski
Recorded live at Westfälischer Kunstverein
(Münster, Germany, May 6th, 2017)
Live Sound Engineer: Robin Völkert
Photography: Kai Eric Schwichtenberg

Mixed by John Also Bennett
Mastered by Rashad Becker at D+M
Artwork and design by Zin Taylor and Bartolomé Sanson


A1. Cactus with Vent
A2. Hot Tub
A3. Large Suess Plant
A4. Tombstones
A5. Brick with Modern Form (B. Hepworth)

B1. Alfred Hitchcock Haze
B2. Rock House with Door
B3. String of Objects with Planter
B4. Nub with Three Wraps of Fabric
B5. Fingers of Thought

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Thoughts of a Dot as it Travels a Surface is the title of an album derived from a series of wall drawings begun in 2014 by multi-disciplinary Paris-based artist Zin Taylor. Drawn in simple black-and-white, the large-scale pieces depict linear landscapes populated with rough-hewn objects: potted cacti, sculptural boulders, steaming stone baths. Taylor describes the project as “a psychological backdrop,” utilizing the reductive yet narrative techniques of caricature and illustration to achieve an abbreviated, associative form of visual storytelling. Or in his words: “Think of it as haze collecting along the surface of the wall.”

Upon completion of a particularly ambitious 90-meter panoramic wall drawing, experimental composers Christina Vantzou and John Also Bennett were invited to interpret the work as a musical graphic score. The result was a forty minute live performance in two parts, which was multi-track recorded and then mixed down into a 10-track album. Each piece and title corresponds to a specific section or object in the wall drawing. Vantzou, though based in Brussels, is best known for a string of enigmatic solo recordings for the American ambient imprint Kranky, while Bennett has explored electronic sound design in a variety of capacities, including as one third of Brooklyn synthesizer outfit Forma. Working under their initials – CV & JAB – they attempted to translate Taylor’s elusive gestural lexicon into sound. The results are appropriately minimal, malleable, and mysterious.

Opener “Cactus With Vent” sets the tone: insectoid murmurings and fractured crystalline tones seesaw in and out of focus, eventually disappearing within a wash of churning water. Each composition flows unbroken into the next, much like Taylor’s continuous line, emphasizing fluidity, curvature, and connectivity. “Hot Tub” introduces a mesmerizing synthetic flute-like raga, pirouetting above muted jungle noises and a babbling brook. Subsequent songs skew softer and stranger, alternately meditative (“Large Suess Plant”) and miasmic (“Tombstones”), remote vistas mapped with hieroglyphic frequencies.

The recordings, like Taylor’s nuanced mini-murals, exude a subtle but restless energy, rarely lingering too long in a fixed formation. The whooshing astral synthesizer of “Alfred Hitchcock Haze” dissolves invisibly into the smeared, somber séance of “Rock House With Door,” which in turn evaporates amongst the menagerie of chattering printers, running water, and shepherd tone whispers of “String of Objects With Planter.”

More so than in past projects, here Vantzou and Bennett mask their presence, allowing textures and tonalities to tangle or unspool with minimal intrusion. The effect is naturalistic, impersonal, and intriguing. Even the few passages of relatively emotive classical piano (“Brick With Modern Form,” “Fingers Of Thought”) are played with an air of otherworldly detachment, as though such beauty was materializing purely of its own accord.

Recorded Live at Westfälischer Kunstverein in Münster, Germany May 6th, 2017. Mastered and cut by Rashad Becker at D+M. Clear purple vinyl housed in reverse board-printed inners and double-width spine jacket. Comes with a 180CM. leporello reproducing the original 9000CM. walldrawing. First edition of 700 copies worldwide.

About the artists

Zin Taylor (Calgary, Canada, 1978) lives and works in Paris, France.

Christina Vantzou is a Missouri native of Greek descent who resides in Brussels, Belgium. She has explored sound for over a decade and also conducts ongoing visual research, mostly in animation, film, and highspeed photography. Her musical releases are largely associated with the American label Kranky and her performances are characterized by a loosening of time.

John Also Bennett is an American musician, composer, and sound designer who primarily utilizes synthesis alongside acoustic instruments including flute and piano. In addition to composing and performing under his own name he is a member of the trio Forma and the duo Seabat, and is active with various other collaborative projects.

Darren Almond
‘All Things Pass’ (SP082)


Darren Almond ‘All Things Pass’



1 tracks
30:46 min
LP + Booklet
Limited first edition of 500 copies
No repress / No digital

Release date: December 5th, 2017


Fateh Ali
Ghulam Gouse
Roop Singh
Zakir Hussain

Concept: Darren Almond
Recording: Darren Almond
Arrangement: Darren Almond
All images: Darren Almond
Text: Christophe Gallois
Design: Studio Fernando Gutiérrez


A. All Things Pass (part 1) (13:36)
B. All Things Pass (part 2) (17:10)

Order / Wholesale

— Direct order from our STORE
— Distribution via BOOMKAT
— Distribution via FORCED EXPOSURE


Darren Almond’s record All Things Pass, coproduced by Mudam, Luxembourg’s contemporary art museum, and the French publishing house Shelter Press, highlights the musical dimension of the artist’s eponymous video installation, shot in 2012 in Rajasthan.

All Things Pass, presented at Mudam within the framework of the exhibition Darren Almond, Timescape (11.02. – 14.05.2017), has for central subject the Chand Baori, a stepwell built in the 9th century in Rajasthan. A meditation on the transient and cyclic nature of all things, this work is based on the combining of several sequences filmed at different times of the day and night, during rainy and sunny seasons, and on the occasion of an annual festival. It reflects the synchronicities which tie together celestial phenomena and terrestrial events, the links that exist between the different time scales, thus echoing the position that these notions hold in the conception of time in India.

The four musical sequences, presented here in an autonomous way, activate the correspondences that exist between the cycles that regulate cosmic and human existence on different registers, visually and musically. As part of both the tradition of music in Northern India and an experimental approach, the musical response of the four musicians, the passages they perform between different rãgas, the rhythmic and melodic motifs they deploy in time, the contrasts and changes in rhythm with which they mark their improvisations, embody the temporal dimension, as well as the specific setup Almond employed during recording. Equipped with a shotgun microphone, he came close to the instruments, carrying out the aural equivalent of zooms and close-ups, which are reminiscent of the fragmentary way he visually approached the Chand Baori. There is sometimes fulgurant telescoping between microcosm and macrocosm, between the details of sounds and their links with the universe.

The record is accompanied by a booklet which brings together an unpublished text written by the curator of the exhibition Timescape, Christophe Gallois, and images illustrating the work. The design was realised by the London based Studio Fernando Gutiérrez in order to create a unique artist object.


All Things Pass
→ 225 copies for sale as a standalone record

Reversed board printed gatefold and innersleeve, with one LP pressed on clear wax and a 16 pages full color sewn-bound booklet. The record All Things Pass, accompanied by a booklet, focuses exclusively on Almond’s work All Things Pass, a video installation combining several temporalities whose central subject is Chand Baori, a ninth century stepwell located in Rajasthan. The composition, produced by a group of four Indian musicians, reveals close relations between the images and the very notion of rãga, at the heart of Indian music.

All Things Pass + Timescape (exhibition catalog)
→ 75 copies for sale as a bundle with the book

The record All Things Pass is also available as a bundle with the book Timescape, published by MUDAM. 31 x 31 perfect-bound book with dust jacket, 4C + 1 silver PMS printing with tipped-on photographs
The publication Timescape presents an interview between Darren Almond and Christophe Gallois as well as exhibition views, showing the singularity of each artwork and, most of all, highlighting the artist’s recent series Timescape, abstract paintings inspired by representations of the cosmos.

Tomoko Sauvage
‘Musique Hydromantique’ (SP087)

SP087 Tomoko Sauvage Shelter Press Musique Hydromantique Bartolome Sanson

Tomoko Sauvage ‘Musique Hydromantique’



3 tracks
40:00 min

33 rpm / 140grm vinyl, artwork printed on reversed-board sleeve and innersleeve.

First pressing of 200 copies on clear (sold out)
First pressing of 300 copies on black (sold out)
Second pressing of 500 on black (available)

Edition of 1000 copies in digipack (available)


All music by Tomoko Sauvage
Mastered and cut by Rashad Becker at D+M in Berlin
Design by Bartolomé Sanson

Cover photo – Jens Ziehe
(Temporäre Galerie in der Quartiershalle Campus Rütli – CR²)
Profile photo – Sébastien Grisey

Tracklist LP

A1 Clepsydra (10:49)
A2 Fortune Biscuit (08:37)
B1 Calligraphy (20:34)

Tracklist CD

1. Clepsydra (10:49)
2. Fortune Biscuit (08:37)
3. Calligraphy (20:34)

Order / Wholesale

— Order from our STORE

— Digital via BANDCAMP

— Distribution via :

Tomoko Sauvage Shelter Press


Musique Hydromantique is the second solo album by Tomoko Sauvage archiving many years of her performance-based practice on the waterbowls – the natural synthesizer of her invention, composed with porcelain bowls filled with water and amplified via hydrophones (underwater microphones). While her first album Ombrophilia (released on and/OAR in 2009) was studio-recorded /composed work, Musique Hydromantique is about experimentation and improvisation with the environment – acoustics affected by the architecture, temperature, humidity and the human presence.

For more than ten years, Sauvage has been investigating the sound and visual properties of water in different states, as well as those of ceramics, combined with electronics. Water drops, waves and bubbles are some of the elements she has been playing with to generate the fluid timbre. Since around 2010, hydrophonic feedback has been an obsession for the musician – an acoustic phenomenon that requires fine tuning depending on the amount of water, a subtle volume control and interaction with the acoustic space.

Calligraphy was recorded in a genuine echo chamber, with about 10 second reverbs, situated in a former textile factory. Like an endless exercise to draw perfect curves and forms floating in the air, the subaquatic feedback frequencies are pitch-bended with the mass of water sculpted by a hand changing its quantity. Fortune Biscuit is about the singing bubbles emitted from the pieces of ‘biscuit’ (porous terra-cotta). Depending on the texture of the surface, each biscuit makes different sound : insect and animal voices in a forest, motors, crying babies changing pitches and rhythms while absorbing the water… Clepsydra (meaning water clock) features Sauvage’s classical technique, a random percussion with dripping water. She tunes the waterbowls by adding and removing water, making flowing glissando, to find the balance point in ever-changing tonalities.

Just as the flow of water is subject to a number of variables such as temperature and pressure, water clocks mark a time that is shifting and relative. However, slowness dominates throughout the album as a result of favoring the full resonance of the instrument, leading to a path to experiencing timelessness.

Hydromancy is a method of divination by means of water. Unpredictable bubbles and water ripples become oracles. Evaporation and acoustic space constantly play a chance operation. Through primordial materials and ritualistic yet playful gestures, Musique Hydromantique questions contemporary divination.

All the tracks are live-recorded without electronic effects or editing. They were recorded during the night or very early in the morning and the whole album is to be listened to during that period of a day.

LP edition of 500 copies with reverse board-printed inner and outer sleeve. Digipack CD edition of 1000 copies. Mastered by Rashad Becker at Dubplates and Mastering.

About the artist

Tomoko Sauvage, Japanese musician and artist active since mid 2000’s, investigates the sculpturality of sound and improvisation in relation to the environment. Mainly known for a musical / visual research about ‘natural synthesizer’ of her invention, composed with diverse fluid, bowls, ceramic, light and underwater amplification, Sauvage’s approach is attached to questions of alchemy, meditation and balance between hazard and mastery.

Born in Yokohama, Japan, Sauvage moved to Paris in 2003 after studying jazz piano in New York. Through listening to Alice Coltrane and Terry Riley, she became interested in Indian music and studied improvisation of Hindustani music. In 2006, she attended a concert of Aanayampatti Ganesan, a virtuoso of Jalatharangam – the traditional Carnatic music instrument with water-filled porcelain bowls. Fascinated by the simplicity of its device and sonority, Sauvage immediately started to hit China bowls with chopsticks in her kitchen. Soon her desire of immersing herself in the water engendered the idea of using an underwater microphone and led to the birth of the electro-aquatic instrument.

Under the form of performances, installations and musical compositions, her work is regularly presented in Europe, Asia and America. She has performed and exhibited at international festivals, institutions and galleries such as Roskilde Festival (Denmark), Flow Festival (Finland), Centre Pompidou Metz (France), Musée Quai Branly (France), Présences Electronique (France), Borderline Festival (Greece), Borealis Contemprary Music Festival (Norway), Museo Tamayo (Mexico), High Zero Festival (USA), Festival send+receive (Canada), Empty Gallery (Hong Kong), TÖNE festival (UK) and Grimmuseum (Germany). She has also been deeply connected to DIY art/ music scene and is more and more interested in educational projects. In 2016, her visual music project ‘Green Music’ started in collaboration with Francesco Cavaliere.

Reviews, Interviews (selection)

— The Wire (full stream)

— France Musique (radio)
— BBC 3 (radio)

— The Vinyl Factory (announcement)
The Attic (announcement)
— Tiny Mix Tapes (announcement)

— Japan Times (interview)
— Japan Sound Portrait (interview)
— 11plus3 / Digital In Berlin (interview)
— White Lies (interview)
Electronic Explorations (interview + mix)

The Wire (review)
Brainwashed (review)
— Tiny Mix Tapes (review)
— Boomkat (review)
— Attn Magazine (review)
— 初夏レゲ (review)
— Loop (review)
— Fluid Radio (review)
Dommune (review)

Gabriel Saloman
‘Movement Building’ (SP086)

Gabriel Saloman Movement Building Shelter Press

Gabriel Saloman ‘Movement Building’ (2xCD)



14 tracks

02:00:54 min
first edition of 500 copies


All music by Gabriel Saloman
Mastered and cut by Helmut Erler at D+M
Design by Bartolomé Sanson



1. The Disciplined Body
2. Contained Battle/Ascend
3. Ear Piercer
4. Mountain Music
5. Gagaku
6. My Funny Valentine

1. What Belongs To Time
2. What Belongs To Bass
3. What Belongs To You
4. What Belongs To Love
5. What Belongs To the Fire
6. What Belongs To the March
7. What Belongs To the Line
8. What Belongs To Sleep

Order / Wholesale

— Direct order from our STORE
— EU distribution via BOOMKAT
— US distribution via FORCED EXPOSURE


Since 2014 Shelter Press has been steadily releasing a multi-volume series of documents showcasing Gabriel Saloman’s music for contemporary dance. Under the title of Movement Building, these albums have covered a wide breadth of themes and approaches, all of them coalescing around Saloman’s darkly cinematic approach to contemporary guitar music. Known for his part in the seminal electronic-noise duo Yellow Swans (alongside Pete Swanson), Saloman has taken the sweeping drones and fried electricity of his former band and embedded them within an expanding pallette of bowed strings, martial percussion and resonant piano.

Shelter Press has now made good on its promise to collect all three volumes of this vinyl only series – Movement Building Vol. I (2014); Vol. II (2015); and Vol. III (2017) – as a double CD featuring two hours of music, new artwork, previously unreleased tracks, a new digital master by Helmut Erler of Berlin’s Dubplates & Mastering, and an extensive essay on dance, politics and the themes of each album written by Saloman. These collected volumes provide an absolutely necessary document for any fan of Saloman’s work, past or present.

The first disc collects Movement Building Vol. I and Vol. II, the former a sprawling 36 minutes epic that had previously been separated into two discreet tracks for vinyl and is collected here as one continuous piece, moving through an extended set of drone and loping drum play before climaxing in the kind of glorious guitar chording most often associated with groups such as My Bloody Valentine, GSYBE or Mono. Movement Building Vol. II explores various combinations of drum and drone, ASMR inducing high end clatter and Saloman’s infamous take on Miles Davis’ classic My Funny Valentine.

The second disc collects Movement Building Vol. III, including two tracks not available on the concurrently released vinyl version. Vol. III shares with earlier albums the emotive and disorienting bowed guitar, militant percussion and searing guitar eruptions that was so evocative of memory and trauma. Joining this pallet are other familiar Saloman sounds: shoegaze washes of distorted guitar, minimalist piano attacks, melancholy guitar melodies, and a patina of harsh noise at just the right moments. Added to this is a more contemporary approach to drums and bass, perhaps an effect of his collaborations with producer Michael Red in their dub-ambient project Chambers.

Saloman’s music has never sat comfortably in any genre, sharing with a select cohort of other artists (Stephen O’Malley, Lawrence English, Grouper, Kreng, Tim Hecker, among others) an ambiguous position overlapping “modern classical”, “electronic music”, and the more outer limits of “ambient metal”. The recordings collected in Movement Building doesn’t clarify as much as it expands Saloman’s oeuvre further into an idiosyncratic musical no-man’s land that fails to be faithful to any popular musical trend – contemporary, retro or futurist.


Out on September 22th as 2xCD compiling all 3 volumes of the Movement Building serie.

See also

Gabriel Saloman ‘Movement Building Vol. 3’ LP (SP085 / 2017)
Gabriel Saloman ‘Movement Building Vol. 2’ LP (SP063 / 2015)
Gabriel Saloman ‘Movement Building Vol. 1’ LP (SP051 / 2014)


Gabriel Saloman
‘Movement Building Vol.3’ (SP085)

Gabriel Saloman Movement Building Vol 3 Shelter Press Bartolomé Sanson

Gabriel Saloman ‘Movement Building Vol.3’



7 tracks
Download code included with one additional track
45:07 min
LP / 33 rpm
first edition of 500 copies
140grm vinyl, uncoated sleeve, black polylined inner sleeve


All music by Gabriel Saloman
Mastered and cut by Helmut Erler at D+M
Design by Bartolomé Sanson

Tracklist LP

A1. What Belongs To Time
A2. What Belongs To Bass
A3. What Belongs To You
B1. What Belongs To the Fire
B2. What Belongs To the March
B3. What Belongs To the Line
B4. What Belongs To Rest

Tracklist Digital

1. What Belongs To Time
2. What Belongs To Bass
3. What Belongs To You
4. What Belongs To Love
5. What Belongs To the Fire
6. What Belongs To the March
7. What Belongs To the Line
8. What Belongs To Sleep

Order / Wholesale

— Direct order from our STORE
— EU distribution via BOOMKAT
— US distribution via FORCED EXPOSURE


Shelter Press has made good on its promise to deliver the third and final volume of its series featuring Gabriel Saloman, released both on vinyl and collected with Movement Building Vol. I (2014) and Vol. II (2015) as a double CD. For fans of Saloman’s post-Yellow Swans work – an already dense catalog of darkly cinematic compositions mostly conceived as accompaniment to some of Vancouver’s edgier contemporary dance companies, Movement Building Vol. III is not only a much anticipated conclusion to this trilogy, it is the most fully realized album in years. Where as Movement Building Vol. I & II acted primarily as documentation of time-based artworks, Movement Building Vol. III offers a more coherent and narratively rich album that will appeal to admirers of Soldier’s Requiem (Miasmah, 2013).

Listeners will recognize the emotive bowed strings, militant percussion and searing guitar eruptions that evoked memory and trauma in that previous album. Joining this pallet are other familiar Saloman sounds: shoegaze washes of distorted guitar, minimalist piano attacks, melancholic appregiated melodies, and a patina of harsh noise. Added to this is a more 21st Century approach to drums and bass, perhaps an effect of his collaborations with producer Michael Red in their dub-ambient project Chambers.

Saloman’s music has never sat comfortably in any genre, sharing with a select cohort of other artists (Stephen O’Malley, Lawrence English, Grouper, Kreng, Tim Hecker, among others) an ambiguous position between “modern classical”, “electronic music”, and the more outer limits of metal. Movement Building Vol. III doesn’t clarify as much as it expands Saloman’s oeuvre further into an idiosyncratic musical no-man’s land that fails to be faithful to any popular musical trend – contemporary, retro or futurist.

Movement Building Vol. III’s themes are taken from the dance it was composed for, 2015’s What Belongs To You, created by longtime collaborator Vanessa Goodman (Adhere, Soldier’s Requiem). That work sent its dancers through a physical journey exploring the needs of the body, for shelter, for love and for self-actualization, roughly aligned to Abraham Maslow’s “hierarchy of needs”. The resulting album seems to achingly soundtrack the struggle for survival, not simply for bare life but for something greater and more transcendent that would make survival have meaning. It holds dread and hope in equal parts, never quite giving away the end of the story. Though this record was recorded two years ago Movement Building Vol. III could be the perfect album for our current era of civilizational near-collapse, whether at the hands of maniacal politicians, the slow burn of the Anthropocene or the constant enclosure of the corporate driven, social media enabled surveillance state.

Movement Building Vol. III arrives both as a stand alone vinyl release, and as part of a collection of all three volumes packaged in one double CD. The collection of these works allows one to see clearly Saloman’s techniques and approaches to a relatively limited number of instruments – guitar, percussion, occasional piano and tape. Movement Building Vol. I is presented as one continuous piece, moving through an extended set of drone and loping drum play before climaxing in the kind of glorious guitar chording most often associated with My Bloody Valentine, GSYBE or Mono. Movement Building Vol. II explores various combinations of drum and drone, ASMR inducing high end clatter and the now infamous take on Miles Davis’ classic My Funny Valentine. The digital versions of these albums, mastered by Helmut Erler at Berlin’s Dubplates & Mastering, restore to them their full range of frequency and dynamics, providing a deeper glimpse into the theatrical origins of their composition.

Movement Building Vol. III is not only the final installment in Shelter Press’ series but also represents the culmination of a prolific period of creation for Saloman that began with 2012’s Adhere. From 2011-2016, Saloman produced dozens of recordings in collaboration with various dance artists. Currently living in Santa Cruz, California, and working on a PhD concerning noise and protest, it’s unclear how a new home and a new political reality will shape the music he makes next. One thing is for certain: it’s unlikely that Saloman will be silent for long.


Out on September 22, on LP / DL, and on 2CD compiling all 3 volumes of the Movement Building serie.