Matt Carlson
‘The View From Nowhere’ (SP072)

Matt Carlson The View From Nowhere Shelter Press

Matt Carlson
‘The View From Nowhere’



9 tracks
36:50 min
LP / 33 rpm
first edition of 500 copies
140grm vinyl, uncoated sleeve, uncoated inner sleeve

Release date: July 21, 2016


A1. Sitting Down To Boolean Tea
A2. In Order To Find the Real Artichoke, We Divested It Of Its Leaves
A3. The Game
A4. A Discrete Infinity
B1. An Enhanced Interrogation Of Authenticity
B2. The Non-Entity
B3. How S Can Be Indirectly Self Defeating
B4. The View From Nowhere
B5. Why I Left The Center


Composed, recorded, edited, and mixed in 2014
by Matt Carlson at Worksound in Portland, OR.

Mastered and cut by Helmut Erler
at Dubplates and Mastering.

Art/Layout by Matt Carlson and Eric W. Mast.
Released by Shelter Press in 2016

Order / Wholesale

Out on July 21, 2016

ORDER / available in the store 

Distribution in EU via Boomkat and USA via Forced Exposure


The View From Nowhere is a record of experimental electronic music that explores possible relationships between voice and modular synthesis. Composed and recorded by Matt Carlson at Worksound in Portland, OR, the record develops and expands ideas discernible in his early solo works or as one-half of the duo Golden Retriever.

Built with a clear unity of approach centered on the voice and text as elements in synthesis, the record flattens the distance between the vocal and the musical. The voice sounds synthesized, and the synthesized sounds seem to be speaking to you. The View From Nowhere takes Carlson’s interest in the sounds of attempted communication into the realm of the textual.

Although melody and a good dose of Matt’s unusual sense of humor shape the record, another key emphasis in the composition is his specific approach to rhythm and sequencing. Rhythmic patterns are used but the music is somehow never fully on or off the grid. Carlson opts to use Nancarrow-esque overlapping meters and tempos to keep the music out of any kind of predictable patterns of electronic music.

The View From Nowhere is thematically centered around ideas of confusion, panic, misunderstanding, and “bad faith” communication. It’s interested in the process of how something moves from being an “abstract” sound into becoming a signifier of specific meaning, and the interstitial space in between.

The felt attempt to communicate meaning lay behind the artwork as well, standing as a visual representation of the way the music approaches language. The text-based imagery strives to exist between sense and nonsense, the meaningful and the meaningless. Individual syntactical units “point” to one another but don’t necessarily cohere into comprehensible statements. Relationality is implied and seems to emerge merely by placing signifiers against one another.

Taking influence from text-sound composers such as Charles Amirkhanian, the early voice-synthesis work of Charles Dodge, and Robert Ashley’s more speech-heavy work, The View From Nowhere might be Matt Carlson’s most challenging and refined record to date. It’s like being near a million tiny entities all trying to communicate with you simultaneously, or being in a crowded place hearing the rhythms and cadences of communication but not quite being able to parse it.

Mastered and cut by Helmut Erler at D+M, pressed on 140g vinyl.
Edition of 500 copies worldwide.
Sleeve designed by Matt Carlson and Eric Mast.
Shelter Press, 2016


Felicia Atkinson / Jefre Cantu-Ledesma
‘Comme Un Seul Narcisse’ (SP070)

Felicia Atkinson Jefre Cantu Ledesma Comme Un Seul Narcisse Shelter Press
Felicia Atkinson Jefre Cantu Ledesma Comme Un Seul Narcisse Shelter Press
Felicia Atkinson Jefre Cantu Ledesma Comme Un Seul Narcisse Shelter Press

Felicia Atkinson / Jefre Cantu-Ledesma ‘Comme Un Seul Narcisse’

Collage preview


10 tracks
39 min
LP / 33 rpm
first edition of 550 copies
160grm vinyl, uncoated sleeve, uncoated inner sleeve

Release date: March 21th, 2016


A1. O
A2. B
A3. J
A4. E
A5. TS
B1. ME
B2. LA
B3. NC
B4. OL


Music Felicia Atkinson and Jefre Cantu-Ledesma
Photograph John Wiese, Shelter Press at LACA, LA, 02.15
Design Bartolomé Sanson
Mastering Helmut Erler (D&M)

Recordings made between the Alps and NYC,  2014 – 2015

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DIGITAL via bandcamp
— EU retail / distribution via
— US retail / distribution via 


French artist Felicia Atkinson teams up with New York-based experimentalist Jefre Cantu-Ledesma with Comme Un Seul Narcisse (SP070), their first collaborative effort recorded between NYC and the Alps.

Comme Un Seul Narcisse is an epistolar conversation of post-modern times between Jefre Cantu-Ledesma and Felicia Atkinson, who – strangely enough – only met «in real» once in San Francisco back in 2009. But the record is also a detour. While Cantu-Ledesma released the haunting A Year With 13 moons (Mexican Summer, 2015) and Atkinson her most intimate effort to date with A Readymade Ceremony (Shelter Press, 2015), their combined music sounds like everything but their recent records, filling the gaps between their solo outputs.

What is it to wander? What is it to be – as Baudelaire would put it – a flaneur from a continent to another ?

From the subways of NYC to the crooked trails of the Alps, the two musicians have exchanged fragments of sounds, melodies, composing and building together a new landscape, neither bucolic or urban, a bit aside from nomenclatures or postcard-type aprehension of a site-specific recording.

Here there’s no specific site but a construction build from eterogenous elements brought together, in a virtual ecosystem.

What is to wander…. in a non-specific site? Is it a fragmentation? A sedimentation?

The title of the records and the tracks are hinerited from Susan Sontag’s On Photography quoting Baudelaire: the flaneur sees himself in the documents and medias he uses and intergrates to his own perception, the act of recording becomes again an act of feeling.

Somewhere between some Fluxus collages and more contemporary musicality, this «neither/nor» music confront abstraction to the impermanence of concrete materials, building something on its own, as a standing still ceramic or a pond. Comme Un Seul Narcisse is a record to live with, as Jacques Ranciere would put it a partage du sensible (distribution of the sensible), standing as it is, unresolved, neither as a simulacre. There’s no image to watch here but the possibility of a shared a moment, inviting the listener to complete the experience by himself.

First edition of 550 copies.
Mastered by Helmut Erler at D+M
Photography by John Wiese after a piece by Felicia Atkinson
Design by Bartolomé Sanson

Joshua Bonnetta
‘Lago’ (SP069)


Joshua Bonnetta ‘Lago’



2 tracks
44 min 01
LP / 33 rpm
first edition of 500 copies
160grm vinyl, uncoated sleeve, uncoated inner sleeve

Release date: January 22th, 2016


A. ‘Everything that was Ever Something’
B. ‘What Lies in It’

Order / Wholesale

— EU retrail / distribution via BOOMKAT
— US retail / distribution via FORCED EXPOSURE


Lago is an LP recording created in dialogue with the photobook (of the same title) by American photographer Ron Jude, published by MACK (UK).

The two compositions revisit the sites of Jude’s initial photographs in and around the Salton Sea in the Southern California desert, and use site specific field recordings and analogue processing to craft an aural counterpoint to the photographs themselves and the photographic process. Contact microphones and hydrophones were used to gather sounds from flora, desert refuse, architectural ruins and the Salton Sea itself to create an expanded study of the acoustic ecology of the area. The work weaves together location recordings alongside interviews to construct an acoustic portrait of the desert that is steeped in intimations of narrative dealing with loss, history and a landscape haunted by a spectre in darkness. Lago is an attempt to enter into the perceptual horizons of the desert whilst also engaging a past that shapes the encounter.


All music by Joshua Bonnetta
Mastered by Mike Grinser at D+M
Photographs by Ron Jude
Layout by Bartolomé Sanson

Recordings made in and around the Salton Sea, California March 2015.
ME66 & 62, contact microphones, hydrophone, TASCAM DR60, cassette recorder, tape loops, Nagra 4.2.
Edited and mixed in Ithaca & Brooklyn, New York and Marin County, California.

Kassel Jaeger / Stephan Mathieu / Akira Rabelais
‘Zauberberg’ (SP068)

SP068 Kassel Jaeger Stephan Mathieu Akiras Rablelais Shelter Press

Kassel Jaeger / Stephan Mathieu / Akira Rabelais ‘Zauberberg’



2 tracks
49 min 30
33 rpm
first edition of 500 copies
160grm vinyl, uncoated sleeve, uncoated inner sleeve

Release date: February 22th, 2016


A. ‘Zauberberg’ (part 1)
B. ‘Zauberberg’ (part 2)

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Few years ago, an idea germinated while reading The Magic Mountain by Thomas Mann. An idea not driven by the narrativity of the book, but by the traces and the aura invoked in it. That was it: an audible auratic journey trough the memories of a place lost in the heights of the swiss mountains.

A century after the events depicted in the book, we went where the story took place, trying to capture the remaining sounds that could have been heard at the time, and the ghosts who might have still wandered around.

Zauberberg is based on these captures, on recordings of the music played by Hans Castorp (the novel’s main character), on acoustic/electronic instrumentation and digital processing. The result is an evokation of time and duration, an exploration of what remains and what is lost, a meditation of the dissolution and persistence of the aura surrounding everything.

— Kassel Jaeger, Nov. 19, 2015


All music by Kassel Jaeger, Stephan Mathieu, Akira Rabelais
Mastered by Rashad Becker at D+M
Photograph by Caro Mikalef
Layout by Bartolomé Sanson

Recorded at Studio 116, GRM, Paris, Fr (10.2013)
Field recordings made on location at Schatzalp, Davos, CH (08.2013)

‘Color Attic’ (SP066)


Bulbs ‘Color Attic’


4 tracks
24:43 min
12′ / 33 rpm
first edition of 500 copies
160grm white vinyl stocked in a PVC sleeve with a PVC printed insert.


All music by Bulbs (Jon Almaraz and William Sabiston)
Mastered by James Plotkin
Artwork by Susan Sabiston
Design by Bartolomé Sanson


A1. Ladder Wing
A2. Skylight
B1. Big Tuna
B2. Yoke

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



Two years ago Shelter Press was based in the Alps where Pete Swanson made a few days stop while he was on tour. Not sure why we started to talk about this LA-based duo he released a few years back but the idea of having Bulbs doing a new recording for Shelter Press came up before dessert. It’s a pleasure to have him talking about (ex-Axolotl) William Sabiston and Jon Almaraz genius new record:

Pete Swanson, January 3rd, 2016:

“Bulbs is a band that I like so much that I started a record label to rep their work. I put out their Light Ships album in 2008 because I was so impressed with how futuristic their music was. They’ve remained active on their own terms since then, releasing a number of micro-editions of their music including a few incredible tapes (Sky listening, Moon Episodes) and a few splits (a 12″ with Mouthus and a 7″ with Wobbly).

Generally Bulbs’ music does not sound like the guitar/drum instrumentation would indicate. They have much more to do with Chain Reaction than White Stripes, but with the benefit of live instrumentation and an adventurous edge, they end up much wilder, looser, more organic than anything coming out of Berlin.

Color Attic is the second major work by Bulbs and finds the group exploring more oblique ambience, elliptical and granular guitar mashing up with loose, swinging synth drums, orbiting and colliding with each other..  All experimentation aside, Color Attic remains lush, beautiful and melodic to the point that you might find yourself humming parts of “Ladder Wing” while you’re doing the dishes.”

Gabriel Saloman
‘Movement Building Vol.2’ (SP063)

Shelter Press / SP063

Gabriel Saloman ‘Movement Building Vol.2’



5 tracks
38 min
12′ 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


A1. Contained Battle / Ascend
A2. Ear Piercer
A3. Mountain Music
B1. Gagaku
B2. My Funny Valentine


Press Picture 1 / Press Picture 2

Order / Wholesale

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


Shelter Press announces the release of the second volume in Gabriel Saloman’s “Movement Building” series, continuing the release of original compositions commissioned for contemporary dance works. Following the enthusiastically received first installment – volume one’s album length The Disciplined Body – Saloman offers up 5 new tracks that combine shimmering bowed guitars and reverberant acoustic percussion into a meditative and powerful break from anything he’s produced before. Mobilizing the frequencies of contemporary electronic music (fine tuned to speaker rattling effect by Helmut Erler at Berlin’s Dubplates & Mastering) Movement Building vol. 2 abandons the conventional instrumentation and genre motifs embraced by many of his peers in favour of an utterly unique hybrid of avant-drone, psych-rock and Japanese traditional music.

In 2013 Gabriel Saloman was commissioned by the Vancouver, Canada based dance company 605 Collective to collaborate on a dance work devised by the experimental performance company Theatre Replacement. The two year process resulted in the evening length immersive multi-media dance performance, The Sensationalists(2015), a study of affect and intensity focusing on an imagined secret society devoted to collectively producing autonomous sensory meridian response, or ASMR. A perceptual phenomena that can be produced through a combination of sensual and cognitive stimuli, ASMR adherents have produced thousands of videos on YouTube tailored to provide these sensations. In composing music for The Sensationalists, Saloman built on years of exploring the outer limits of frequency and volume with his former group Yellow Swans and produced a series of tracks that both anchored the live performance and induced waves of sensation in the audience in attendance.

An early inspiration for both The Sensationalists and the music collected in Movement Building Vol. 2 was the novel Snow Country by Yasunari Kawabata. The classic Japanese novel from 1956 tells the story of a geisha in a small mountain town and her married and wealthy male lover (a self-taught musician and self-appointed expert of Western ballet, respectively). Their tragic love affair, set amidst the snow, hot springs and mountains, became a thematic and contextual source for early phases of the project, and much of the music on this album is a result.

Borrowing compositionally and tonally from Taiko and Gagaku (an ancient drone based imperial court music), Saloman reproduced sounds originating in traditional Japanese drums, wind and stringed instruments almost completely on guitar, ride cymbals and snare drum. This influence is most explicit in the undulating rhythms that open the first side of Vol. 2 (Contained Battle/Ascend) and the layered escalation of the literally titled Gagaku, a methodical combination of rhythm and drone that climbs to a peak of psych-tinged burning guitar lines. Between these tracks are situated Ear Piercer and Mountain Music, two songs that have been staples of Saloman’s viscerally intense live sets for the last two years.

Concluding the album is a version of Miles’ Davis’ classic ballad, My Funny Valentine. This epilogue of sorts is a uncanny combination of original percussion and guitar, collaged together with what may be a live recording of Davis’ “second great quintet” taken off of YouTube, processed and time-stretched on tape. Conceived of as support for a duet interpreting a shambolic, drunken encounter between Snow Country’s protagonists, the piece provides a cool denouement following the drawn out intensities of what preceded it.

This second installment in what will resolve itself as a trilogy (look for Vol. 3 in 2016), Movement Building Vol. 2 is in someways a break from much of what Saloman has released before.  Just as his previous output has combined cinematic atmospheres with guitar driven climaxes that easily appeal to fans of neo-classical experimentalism and post-rock informed drone, this record opens new compositional territory while maintaining a recognizable melancholy ambience. Exposure to the monolithic bass and open spaces of dub influenced EDM has led Saloman in a different direction than many of his peers (including artists such as Cut Hands, Vatican Shadow and former bandmate Pete Swanson) and towards something that moves bodies and triggers their nerve endings, but with no concession to the dance floor.

Mastered and cut by Elmut Herler at D+M (Berlin) and pressed in a limited edition of 500 copies worldwide.

Stephen O’Malley
‘Eternelle Idole’ (SP060)


Stephen O’Malley ‘Eternelle Idole’ (SP060)


6 tracks
49 min
2 LP + photo booklet

first edition:
– 500 copies on white (OUT OF STOCK)

second edition:
– 300 copies on white (OUT OF STOCK)
– 100 copies on clear (OUT OF STOCK)
– 100 copies ice blue (OUT OF STOCK)

Copies AVAILABLE in the US via
Forced Exposure

160grm vinyl, 350gsm cover with gloss varnish
16 pages 30 x 30 cm saddle stitched booklet



A1. L’étang
A2. Aurore theme
B1. Eternal Idol
B2. Arrival of the trainer
C2. Return / Escape


September 2015 marks the release of Stephen O’Malley’s ‘Eternelle Idole’ (SP060), long awaited documentation of the score of Paris based choreographer Gisèle Vienne’s eponymous artistic ice skating choreographic piece of the same name.

Composed of 47 minutes of music spread over 2 vinyls and enhanced by a elegant and chilling photoset by Estelle Hanania, the record features some – familiar – O’Malley collaborators such as Steve Moore, Daniel O’Sullivan, Peter Rehberg, Jesse Sykes, Bill Herzog & Randall Dunn.

Recorded between Brest (FR), Seattle (USA), and Rotterdam (NL), the score sees Stephen O’Malley taking several creative detours, utilizing modular synthesizers and programming as key elements for much of the composition. And while a 3 minutes hole will extract the music from any temporality, emerging eerie phrases of keyboards and piano draw a white monochrome stage for a young girl’s stark and emotive elegy.

Not to worry then… clavichord and guitars weave the darkness, supported by Jesse Sykes prophetical voice, summoning the utter walls of the threats from the external world.

Mirroring the music score, Estelle Hanania presents 16 photographs from the choreographic piece, enlightening how much ice-skating can be about grace and sustain, geometry, telemetry, distance and perfection, as well as possible falls, gloomy shadows.

Metal against ice, tights and knots, spirals and scratches, shouts and winds : field recordings mold a crispy atmosphere while instruments draws some ovals shapes such as lakes, ice skating ring, cosmos belt… and a terrestrial cloud passage and eventual landing platform for a flying saucer.

— Out on September 4th via Shelter Press on white 3 sided double LP with a 16 page 30cm full color booklet.


All images by Estelle Hanania

Music composed and conducted by Stephen O’Malley

Guitar & Programing : Stephen O’Malley
Programing : Peter Rehberg
Recorded in Brest 0208, Paris & Vienna 0408
[as KTL]

Aurore theme
Juno 60, Korg Polysix, Piano: Steve Moore
Programing : Stephen O’Malley
Recorded in Brest & Guilers 0508

Eternal Idol
Guitar, Field recordings, Programing : Stephen O’Malley
Piano & Clavichord : Steve Moore
Voices : Jesse Sykes
Choeurs : William Herzog
Recorded art Kent 1003, Brest 0508 & Seattle 1108
Mixed by Randall Dunn at Aleph, Seattle 1108
[as Pearl]

Arrival of the trainer
M-tron : Stephen O’Malley
M-tron, Korg MS20 : Randall Dunn
Recorded and mixed by Randall Dunn at Aleph, Seattle 1108

Return / Escape
ARP 2500 & M-tron : Stephen O’Malley
ARP 2500 : Daniel O’Sullivan
M-tron, Korg MS20 : Randall Dunn
Recorded at Worm / CIM, Rotterdam 1008
Recorded and mixed by Randall Dunn at Aleph, Seattle 1108
Additional field recordings :
Shoreline 1108 par Mell Dettmer
Brest 0109 par Kenan Trevien

Mastered by Mell Dettmer at Sinister Kitchen, Seattle 0114
Cut by Helmut Erler at Dubplates and Mastering, Berlin 0215

Musique éditée par Stephen O’Malley / Ideologic Organ (SACEM)
Paroles éditées par Spooky American Music, BMI (adm. BUG)

‘Les Sept Salons’ (SP059)

Chicaloyoh Shelter Press

Chicaloyoh ‘Les Sept Salons’



3 tracks
19 min
one side 12′ LP / 33 rpm
first edition of 500 copies
160grm white vinyl stocked in a PVC sleeve with a PVC printed insert.


All music by Alice Dourlen
Mastered by James Plotkin
Photography by Camille Vivier


A1. The Sound of his Tenderness
A2. Jeune Fille
A3. Prosternation Intérieure

Order / Wholesale

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


It was a voluptuous scene, that masquerade. But first let me tell of the rooms in which it was held. There were seven—an imperial suite. (—Poe, 1842)

Les Septs Salons is the name of Alice Dourlen new EP, who performs has Chicaloyoh.
Following her 2013 debut LP Folie Sacré (Shelter Press), this EP stands has a condensed document of a 18 months non-stop globetrotting tour. Melting experimental and oriental sounds with a strong theatrical aesthetics, Les Sept Salons is also the recording of a smooth transition between 2 languages, Alice Dourlen’s coming back to her—french—native tongue on half of the record. Contemporary bridges are getting built here, between psychedelic sounds and horror movie soundracks, between some modern incarnations of Nico and Catherine Ribeiro.

Built in two very distinctive parts, the EP has been recorded last summer in her very own by-the-sea recording studio Chaudelande (Normandy !). The first track The Sound of his Tenderness recalls some of the deepest moment of women-in-horror fictions as The Cremator (Hrusínský, 1969) or The Third Part of the Night (Zulawski, 1971). Chicaloyoh’s driven herself to a new galaxy of vocal explorations for a ten minutes opening track, The Sound of his Tenderness is for sure the most epic and complex piece of music ever composed by the musician.

Jeune Fille / Prosternation Intérieure—second and ending movement—is a twofold song. Bringing some unexpected orientalist colors, along some—long awaited!— lyrics in french in the realm of french poet Joë Bousquet or painter Balthasar Kłossowski, those new lyrics came with a new way of recording. Using the text as a crucial starting point in the composition process, Chicaloyoh find here a new world to dig in, of which this diptych sounds like a promising very first hint.

Standing as a beautiful answer to Chicaloyoh’s music, the votive offering on the cover has been made by the paris-based photographer Camille Vivier, with one of her very unique female form in wax.

Clocking just under 20 minutes, Les Septs Salons is the beautiful echo chamber from a timeless and very unique musician.

Edition of 500 copies worlwide with photograph by Camille Vivier.
Mastered by James Plotkin

Félicia Atkinson
‘A Readymade Ceremony’ (SP055)

Felicia Atkinson Shelter Press
Felicia Atkinson Shelter Press
Felicia Atkinson Shelter Press
Shelter Press / SP055
Shelter Press / SP055

Félicia Atkinson ‘A Readymade Ceremony’


5 tracks
32 min
12′ LP – CD – DL

— edition of 500 copies (LP)
160grm vinyl, uncoated sleeve, uncoated inner sleeve
✗ 100 copies on clear wax
✗ 400 copies on black wax

✓ edition of 500 copies (CD)

All music by Felicia Atkinson
Mastered by Helmut Erler at D+M
Design by Bartolomé Sanson
Out on Mar. 17, 2015



A1. Against Archives
A2. L’Oeil
B1. The book is the territory
B2. Carve the concept and the artichoke
B3. Recherche de la base et du sommet

Order / Wholesale

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


Relocated in the french Alps following a 5 years exile in Belgium, Felicia Atkinson returns on Shelter Press with A Readymade Ceremony, a concrete / post-digital oratorio in 5 parts.
Composed and recorded at home and on the Oregon coast, the opus documents a full range of bridges happening in Atkinson’s work. It documents the gather of her early-musical studies with her actual musical practice, the reunion of her two main projects — under her own name and Je Suis Le Petit Chevalier — and finally affirms the obvious link between her visual and sonic body of work.

Felicia Atkinson is a visual artist, a writer and musician graduated from Les Beaux-Arts de Paris. Her visual works – sculptures, paintings, installations and collages – includes a variety of media gathered together through the use of improvisation and its patterns such as delay, loop and saturations, with a chosen list of special tools : clay, silk, spray paint, watercolor, wood, or digital images…
Using the improvisation as a main technique to play music, write poetry and make art, her latest output is the book Improvising Sculpture as Delayed Fiction, a fiction / play published by Shelter Press in the fall of 2014.
Pursuing a radical position in the art world with the use of a publishing / economical autonomy as a very crucial element driving her carrier, this LP has been entirely recorded on her laptop using a super basic software. Felicia Atkinson reaffirms here the importance of the DIY in her creating process : the artist-run space as a place to exhibit, the studio space as a whole territory to record, the book as a score, the record itself as a proper documentation for a possible sculpture.

A readymade as the migration of one thing to another one’s context, involving a change of status, of genre, of politics. A ceremony as a possible gathering, a community shared moment, a happening, a celebration, a protest.

The first foundation of A Readymade Ceremony is the text, spread along the 5 tracks building the record. The text is a collage of extracts of Improvising Sculpture as Delayed Fictions (Félicia Atkinson, 2014), Recherche de la Base et du Sommet (René Char, 1955), and Madame Edwarda (Georges Bataille, 1937), and some random texts lying around while Atkinson was playing, mostly picked in the italian magazine Mousse.

Objects speaking, sculptures arguing : there is a surrealistic feel in the dark whisperings that we can hear responding to ‘Madame Edwarda’ an erotic text featured on the 2nd track ‘L’oeil’. A theatre of objects and desires, de-materialization of bodies through the sounds, it’s a gate open to concrete music and sound poetry. »

The other founding element is Atkinson’s getting back to her first encounter with contemporary music. Starting her musical education at the age of 4 acquiring music skills with the Martenot Method – a method that emphasis on rhythm and an intuitive and phenomenological learning of sound – she also got the chance to encounter at school the Structures Baschet from the Frères Baschet.

She then learned harp and piano before dropping it at 14, when she got more interested in theatre and indie rock. That is the moment she discovered the texts of the heritage of French literature such as Georges Bataille, Antonin Artaud, René Char, Henri Michaux or Jean Genet. Writers she convokes again 17 years after on this new record.
As a student she did a crucial workshop with Christian Wolff who made the art school students interpret Cornelius Cardew, and play music with stones and kitchen wares at the school’s chapel. At same time she became interested by John Cage, Fluxus, Robert Ashley, Morton Feldman, electro-acoustic music and contemporary art… and began to play music and do art…
But it took her more than 10 years to acknowledge and digest those influences… blending them with rougher materials such as noise, punk rock, drone, folk and electronic music, but also cinema from the 70’s such as Brian de Palma, Nicolas Roeg, or Dario Argento…. There’s something about a possible scary music that happens here, from a feeling she felt while listening to Pierre Henry’s ‘Apocalypse de Jean’ as a kid: something scary and beautiful in the same time….something uncanny, as Ruth White reciting Baudelaire… as a readymade ceremony.

And now let’s ask four questions to the tracklisting, and give one answer :

Against Archives / What could be the answer of a french woman in her 30’s answering to this mostly-masculine core of references?
L’oeil / What about asking a sweater or an electronic device to speak?
The book is the territory / It’s all about nostalgia : how the shifting of time changes our vision of the past and the future, like an echo or a delay ?
Carve the concept and the artichoke / Is this a waiting room? the prologue of an inexistent play or an introduction for a possible delayed climax ?
Recherche de la base et du sommet / Meaning « research of the base and the peak » in french, as a raw reading of René Char. «  There is always a lack in the accident. there is  no accident in the expression . (..) the poet is not made of wood. The mouth and the eye speak separately »

Out on March 17th, mastered and cut at D+M by Helmut Erler, out on LP / CD / DL

McCloud Zicmuse
‘The Well-Tuned Iaeniaen’ (SP054)

Shelter Press / SP054

McCloud Zicmuse ‘The Well-Tuned Iaeniaen’



18 tracks
41 min
Pro-Dubbed Tape
first edition of 100 copies


A1. ND_deesses
A2. ND_hollande
A3. ND_lyle
A4. ND_stuffed_leaves
A5. 11V14_Y
A6. 12VI23_pastilles
A7. 12XI18_palette_cgt
A8. 13I15_hiyashiame-ameyu

B1. 13VI03_merula
B2. 13VI16_deesses
B3. 13VI17_wycam_cap
B4. 13VII07a_planche_3_chordes
B5. 13VII15_emiette
B6. 13VII24_tria_litra
B7. 14II21_anglet_planche
B8. 13VII24a_adana_bloc
B9. 2012_ND_cocoa
B10. 13IV13_triunfador_arche


“The Well-Tuned Iaeniaen” is an exploration in the sonic possibilities of a family of instruments ​built by McCloud Zicmuse ​called “iaeniaens”. ​ ​Iaeniaens are constructed intuitively with available materials, usually a tin can or wooden box, a stick, a string and a couple of screws. As such they are constantly changing​.
I​n an effort to document the range of each instrument’s individual voice, ​ this recording​ concentrate​s​ on multi-tracking the one string iaeniaens, to explore the chordal and micro-tonal hazards resulting from the moiré-effect of the instrument’s imprecision.
As the iaeniaen is not susceptible to “fine tuning” as the piano is (props to Le Monte Young and “The Well-Tuned Piano”), this allows for the weakness of the instrument​,​ it’s lack of precise tuning mechanism and ​rough compone​n​ts, to be transformed into a sonic ​meditation where fragility is transformed into ​ strength.


The IAENIAEN was created by the sheer need to play music with limited resources.
In 2007, while on tour with ​with the project Le Ton mité, a guitar was stolen from the train in Lyon, France. This turned out to be the instrument of McCloud Zicmuse. So months later, when he found himself again in Lyon at an art residency that had no stipend, but with a lot of tools, he gathered up used guitar strings from the rehearsal studios located next door, and put together a series of rough instruments from recouperated materials: the IAENIAEN was born.
This instrument went on to become the foundation of a commercialy successful group in Belgium, a guest in many recordings and is the basis of The Instant Instrument Workshop.
​F​or more ​IAENIAEN, visit

McCloud Zicmuse

After years of intense activity in the musical and art scenes of North America, McCloud Zicmuse missed the plane that was to take him to his home in Olympia, Washington, and started to live between France, Sweden & Japan before finding roots in Brussels, Belgium. Known mainly for his work with his solo project Le Ton Mité, Zicmuse collaborates frequently with groups such as Maher Shalal Hash Baz, Microphones & Tenniscoats. He is also a bassoonist having been invited to play with Mt. Eerie, Chris Cohen, Félicia Atkinson, Half-Handed Cloud, Club des Chats & Congotronics vs Rockers, among others…
In addition to his life on tour, Zicmuse, holds workshops (how to build instruments out of garbage, creating temporary nations & making mistakes), studies and writes about folklore and co-runs with Anne Brugni a small scale gallery, publishing house, gallery, letterpress shop & hotel in Brussels.