Out 2. December 2022.

12” black vinyl, with screen-printed b-side.

Limited to 300 copies.

“Tuhka, like its titular cinder or ash symbolises new beginnings, fertile ground and creativity after a long lapse. In the same vein, the tracks on this edition were created after a long fallow period.

Tuhka was created out of archival snippets and new vocal loops created on the sunny top floor of Merlijnstraat in early 2022. Late lockdown there was spent writing on the balcony and walking or playing in nearby parks. This creative but relaxed time is embodied in the feeling on ’Tuhka,’ a release wrapping itself around the core of two long-form tracks:

Kärpässieni is a soft, pensive number, with an archival cheap synth track and a chopped-up mystery field recording mingling with a simple subdued vocal loop. There is a titular reference to amanita mushrooms, a fungi encompassing the mystery and the melancholy bitterness present in the track. The feeling is akin to a frosty morning spent on a walk to the Mercatorplein library and feeling your toes start numbing.

Varisevalehti means ’shudderingleaf’ and it consists of an airy, optimistic voice loop that progresses and winds around the length of the track. Alongside it, at times you can hear tape-manipulated samples from a ’learn Italian’ record I used to own. The feeling is more of a wander around Westerpark when the blossoms have started come loose and fly around in the air, forming soft pink deposits in the corners of streets.

Thanks to Haron Aumaj for enduring support and for the copious quantities of Banjaan borani.” Cucina Povera

“Maria Rossi is unstoppable right now - just a few months after her AOTY-contender collab with Ben Vince, she reveals this mindboggling two-tracker that loops her vocals around eerie synth bells and concréte tape loops. Like church music re-imagined beside a bonfire in a Finnish forest, it's some of the most haunting and affecting music out there right now.

We're not certain exactly what it is that makes Maria Rossi's music so alluring - maybe it's some kind of alchemy that comes from being a Finnish transplant in Glasgow? Whatever it is, she seems to get better with each successive release. "There I See Everything" took her art to another level earlier this year, and "Tuhka" continues the climb, stripping her sound to its bare essentials. Recorded at the tail end of lockdown from "archival snippets and new vocal loops" while Rossi was holed up in Amsterdam, she describes the period as "creative but relaxed", and that feeling of calm control centers the EP; Rossi is confident and playful, and allows her creative expression to bubble up from the core.

Tuhka might also be the most distilled music she's released. 'Kärpässieni' is deceptively simple - her cooled vocal curls are distinctive at this point, but sound newly revitalized positioned next to playful FM bell noodles and a choppy recording of what might be running water. None of the elements are particularly unusual, but used together everything sounds rare and magical; the expected becomes unforeseen and the familiar mutates into new forms. The track's name is a reference to the fly agaric fungus, an iconic toadstool that's both poisonous and psychedelic; this carries to into the mood of the 9-minute piece, that sounds calming but hypnotic - who knows where it might lead?

'Varisevalehti' is even more startling, leaning on Rossi's vocals even more forcefully and building a repeating mantra that digs its tendrils into folk, spiritual music and minimalism at once. She is particularly adept at understanding how to treat the voice without phasing into either pop or well-raked experimental tropes; her music shares commonalities with her Finnish predecessors like Lau Nau or Islaja, but also with Arvo Pärt and, more recently Lucrecia Dalt and Lea Bertucci. Rossi couches her most experimental inclinations - like chopping mangled, dissociated tape chatter into her levitational cries - in warmth that would melt even the coldest hearts. Utterly bewitching stuff, yet again.” Boomkat

“Finally. Infinite Greyscale is back with its cat.no. 015 and with it comes the return of one-sided, beautifully silk-screened art vinyl which provides the first release by Glasgow-based Finnish musician Maria Rossi for the label. Using her sonic moniker Cucina Povera for this two track release Rossi opens with "Kärpässieni", a caressing amalgamation of soft lo-fi synth tones and ever repeating tape-loop non-vocalisms accompanied by enchanted, crystal-clear melodies of innocent, somewhat medieval qualities whereas "Varisevalehti" is based on a foundation of a looped, ever repeating, rhythmic and more clearly recognizable syllabic snippet on top of which a solemn, ecclasiastical and ceremonial vocal performance unfolds, obviously contrasted by an additional background layer of mumbles and rearranged, further processed vocal snippets taken off an old 'learn Italian' record plunderphonic-style. Quite a beautiful and calm Ambient experience this one is.” Baze Djunkiii / Nitestylez

Out now.

12” black vinyl, with screen-printed b-side.

Limited to 300 copies.

“I am indebted to my piping friend Donald Lindsay for The Blythsome Bridal, The Braes of Tulliemet and The Smith’s a Gallant Fireman, while Chief O’Neill’s Favourite and The Flowers of Edinburgh were learnt from my fiddling friend Neil McDermott. The Blythsome Bridal is used as the melody to a comic lyric called ‘Fy Let Us A’ To The Bridal’ first published in 1706. The Braes of Tulliemet lie near the Perthshire town of Pitlochry. The Smith’s a Gallant Fireman is also known as ‘Carrick’s Rant’. Chief O’Neill was Francis O’Neill (1848-1936), who was born in County Cork, emigrated to the USA as a young man and eventually became chief of the Chicago Police from 1901 to 1905. The Flowers of Edinburgh was first published in James Oswald’s Caledonian Pocket Companion around 1760. The guitars are fretted in the following positions as the tunes appear on the record: II, II, V, VII and V.

My family stayed in a haunted house in the village of Balquhidder for a very short while in the early 1980s after moving from Germany to Scotland. However, I only took to singing The Braes of Balquhidder very recently after hearing a recording of it sung by the late Tim Lyons. The Seasons was learnt from the singing of the late Aberdeen singer Lizzie Higgins, daughter of Jeannie Robertson. Edinburgh-based Ulsterman Cathal McConnell knows many fine songs, most of which are collected in his book/CD set I Have Travelled This Country. I learnt this version of The Curragh of Kildare from that source. The late Sheila Stewart of Rattray, near Blairgowrie, is the source of my version of False, False. I would be unable to attribute my singing of Roberts Burns’ The Silver Tassie to a single source, owing to its general popularity in Scotland. I am forever indebted to all the fine singers and musicians mentioned above, and to many others unmentioned, for passing on songs and tunes to me over the years.” Alasdair Roberts

“It might be a coincidence that Alasdair Roberts’ recent output has embraced a back-to-basics approach, or it might have something to do with the straitened nature of our times, the difficulties posed for a musician who thrives on collaboration and interaction, the practical roadblocks caused by lockdown and self-isolation. Either way, Roberts seems to be enjoying his own company more than ever, musically speaking. The Songs Of My Boyhood – which came out in June – saw him revisit his old Appendix Out material, refashioning those early and comparatively experimental songs into something warmer and more personable. It felt like a consolidation of sorts and hinted at possible new beginnings. Roberts had just become a father; perhaps he was readying himself for any potential emotional changes, or simply registering the closing of one chapter of his life and the start of another.

But Roberts has always seemed to be treading two parallel career paths: on one hand, the wordy, experimental singer-songwriter and on the other, the folklorist and interpreter. So, where The Songs Of My Boyhood looked back at some of his earliest creations, Fretted And Indebted pays homage to the traditional music that has inspired him. Released on Berlin-based indie Infinite Greyscale with a limited run of 300 vinyl copies, it is a thematically curious and visually stunning release: a single-sided twelve-inch record (the reverse side is a screenprint by Ulrich Schmidt-Novak), its ten short tracks alternate between folk tunes played on the acoustic guitar and a cappella renditions of traditional songs. As such, it perfectly shows off Roberts’ two main talents as a folk musician: his nimble and instantly recognisable guitar playing and his soulful, idiosyncratic and heavily accented singing.

The material displays a wide variety of sources. Opener The Blythsome Bridal, for example, was once married to a comic song first published in 1706. It is a briskly tender tune that Roberts originally learnt from the piper Derek Lindsay. Lindsay’s playing also provided the inspiration for two more of the instrumentals. The Braes Of Tulliemet is a lighthearted but evocative Perthshire tune while The Smith’s A Gallant Fireman is more measured but no less beautiful.

Two more tunes – Chief O’Neill’s Favourite and The Flowers Of Edinburgh – are from fiddler Neil McDermott. The former is joyful and intricate, a perfect vehicle for Roberts’ sprightly technique, while the latter has more of a bittersweet feel to it, and Roberts plays it with a languid charm.

Of the unaccompanied songs, The Braes Of Balquhidder is a sweet paean to the Stirlingshire countryside learnt from Tim Lyons’ singing. The Seasons is similarly bucolic but takes on a more melancholy strain. Roberts’ voice is always uniquely expressive, and in these pared-back recordings the emotional range of his singing – and of the source material – shines through with astonishing clarity. False, False, though brief, is crushingly beautiful.

The two most well-known songs here provide two of the record’s most stunning moments. The Curragh Of Kildare has been performed by countless singers, but rarely can it have been sung with such yearning simplicity as Roberts is able to conjure up, while The Silver Tassie – a popular Robert Burns song – provides a fittingly stirring finale.

Fretted And Indebted is a short and in many ways uncomplicated record, but it is by no means inconsequential. Its intriguing format can be seen as a distillation of Roberts skill as an interpreter of traditional music: by shining the spotlight on the songs and singers that have inspired him, he has illuminated some of his own considerable talents.” Thomas Blake / Folk Radio

“Alasdair Roberts is one of our more beloved folk singers of recent years (though he hates the term folk singer apparently). The Scottish musician here supplies another document of his fascinating interpretations of wild and rare traditional songs he's sourced from various parts of Scotland.” Norman Records

“Dead bonny Scots and Gaelic folk traditionals played faithful to form by Scottish folkie Alasdair Roberts. Done in a style inspired by a life of living haunted houses and traversing the Gaelic world researching its oral and musical history and sustaining folk traditions in a proper old skool role. Crack out your Arrans, stoke the hearth, and pour a dram for this one.” Boomkat

“And they are back! After an extended break of approximately 18 months the Berlin-based imprint Infinite Greyscale makes a big return to the release circuit with a full on 21 minute ten track album and a different format - still one-sided and with a beautiful silk-screen print on the flipside of the vinyl but now scaled up to 12" for a reason, providing enough space for Alasdair Roberts to take on a wide variety of what seem to be classic traditional Scottish Folk Songs of which some are harking back to as far as the early 1700s. Amongst them are beautiful, mesmerizing acoustic instrumentals like "The Braes Of Tulliemet" or frolicking pieces like "The Smith's A Gallant Fireman" alongside touching raw, intimate acapellas like the ode to "The Seasons" and "False, False" which, due to their specific tone, feel and intonation alone, speak volumes about the state of the minds and souls of those who originally wrote these ancient, historic pieces in the days of yore and most probably never thought much about who or if those tunes might be enjoyed by people a few hundred years in the future. An album as rare and pure as an untouched meadow.” Baze Djunkiii / Nitestylez

“Exactly one year after the original album for Drag City, The Fiery Margin, Scottish singer-songwriter Alasdair Roberts returns to explore the folk tradition of the British Isles with a new record of more or less famous classics. Between eighteenth-century songs re-emerged from forgotten texts and songs learned through oral transmission, Fretted and Indebted is the new “old skool” chapter of his discography.” Senitreascolarte

Damn Luei Lit is a single sided-10” record passed to white purple vinyl with a screen-printed b-side. Includes handmade artwork, liner notes, photograph, and download code. Numbered edition of 300.

Infinite Greyscale is pleased to release Damn Luei Lit a new 10“ recording by Andi Toma, also known as one half of electronic music pioneers Mouse on Mars. Following on from the band’s percussive masterclass, Lichter (also on Infinite Greyscale) and their ambitious 2018 album Dimensional People (Thrill Jockey), Damn Luei Lit sees Toma going it alone in an exploration of off-kilter rhythms and extraterrestrial sounds. From an opening of bird song an inorganic structure is assembled; and with the stage constructed, the performance begins. What follows is a deep and engrossing exploration of an alien ethnography. Within a frame of hypnotic rhythms Toma traverses sounds and rituals to reveal field recordings from another planet.

Comes with a digital download, including an extended mix of Damn Luei Lit.

“Few labels create consistently beautiful releases like Berlin-based Infinite Greyscale. For their latest 10″ – hand-screen printed as standard – Mouse On Mars’ Andi Toma takes a deep dive into the synthetic rainforest, conjuring a JJ Rousseau-esque soundscape of sci-fi percussion and criss-crossed polyrhythms, that unfurl and crawl over 15 minutes like a stop-motion video from the forest floor.” The Vinyl Factory

“…we see Andi Toma explore deep, electro-organic territories with his tune Damn Luei Lit. Obviously incorporating elements of Tribal / Future Tribal-informed polyrhythms alongside scattered echoes of horns and other real life instruments paired up with detailed electronic textures and various layers of intensity this one is as musically unique as somehow familiar vibewise, especially for those who've been following artists like DJ Marcelle / Another Nice Mess recently or have been schooled by Harald "Sack" Ziegler & Frank "Schültge" Blumm in the late 90s as well as - who guessed ? - Mouse On Mars in the group’s early years. Sweet stuff and we'd wish to see more labels giving artists a platform to fully experiment and explore musical structures and ideas beyond any given norm, genre or definition these days.” Baze Djunkiii / Nitestylez

“…an animated solo expedition full of drums and off-kilter electronics. In the 12 minutes of Damn Luei Lit and its 15 minute extended version, Toma comes off like Spencer Clark holidaying in a Rashad Becker daydream, with cute, sloshing wooden drums and glancing metallic percussions unfurling across bubbling viscous bass and painterly strokes of bittersweet synth resembling acidic alien brass.” Boomkat

“Instruments cry out like indigenous people around a fire.  Concentrate on the drums to encounter the human element: cymbals smacked, chimes pounded, mallets extended.  Focus on the electronics to encounter the otherworldly element: a synth solo, a coo like the cry of a mourning dove.  Or just surrender to the dance.  The speaker-to-speaker separation allows an incredible depth of field; it’s easy to close one’s eyes and remember past lives.  Damn Luei Lit may as well be a luau; strike up the fire pit and watch the sparks rise.” Richard Allen / A Closer Listen

Micromanic is a single sided-10” record passed to translucent purple vinyl with a screen-printed b-side. Includes handmade artwork, liner notes, photograph, and download code. Numbered edition of 300.

Micromanic is a colossal slab of percussive energy composed and performed by Berlin based Matti Gajek. Micromanic begins with tentative steps, which soon morph into a chattering electronic birdsong before giving way to an assertive, hammering bassline. The structure eventually crumbles into discordant noise and echoes, eventually giving way to something gentler and almost bucolic. Gajek weaves a complex and varied narrative with absolute technical aplomb, resulting in an experimental and hypnotic recast of Krautrock. Gajek is signed to Monkeytown Records and recently toured with Chris Clark. He is also a member of the freshly formed New Composers Collective (NCC) together with Andi Toma, Jan St. Werner and Michael Rauter.

"Micromanic is a single, consistently developing piece that fascinates at every turn.  From the name, one gleans a set of associations: micromanagement, manic behavior, hyperactivity tempered by focus.  And right away, there’s that droplet on the cover, the water torture of a leaky tap transformed into percussion, offset by short bursts of steam, swiftly expanding into a dam break, a flood, a multiplication of tones.  The horses have left the gate, yet Gajek continues to hold the reins.  This is controlled chaos, the beeps and bursts dancing among the beats without ever bumping into each other.  One thinks of the hand-drawn videos of Mirai Mizue, paramecia and fantastic monsters increasing in volume frame by frame, a frenzy of color and flow." A Closer Listen

"An intense fusion of Ambient and playfully dripping echoes of Electronica which are seemingly based on modular synthesis rather than DAW-programmed sequencing and do come across like some of the early experiments in electronic music once created by the genres very pioneers. This friendly and open attitude is later met by distinctively swinging hi-hat works, an ever intensifying, slowly shifting midrange drone, haunting echoes and, more obviously, by high speed drum sequences layered at the very back end of the mix like they've been somehow recorded accidentally throughout the process whilst a young neighbour blasted some of his latest Thunderdome / Hardcore mixtapes in the flat next door, unwillingly adding up to the eerie, outerworldy atmosphere provided by "Micromanic". Outstanding stuff, this is." Nitestylez 

"Gajek verändert sich sekündlich. Wie ein Chamäleon wechselt er Gefühl, Tempo und Arrangement. Seine Zeit ist der Puls. Seine Theorie ist der Knall. Ein Sturm durchbricht den Bergsee. Wild tobt das Chaos und schenkt uns am Ende doch noch Trost und Wärme. Es klart auf." Jahrgangsgeräusche

Light the Currents is a single sided-10” record passed to aqua-blue vinyl with a screen-printed b-side. Includes handmade artwork, liner notes, photograph, and download code. Numbered edition of 300.

Light the Currents is the third release by Glasgow’s Sound of Yell, following their 2014 LP Brocken Spectre and 2015 single Fortunate Fume on Chemikal Underground. Composed by Stevie Jones, and performed together with Georgie McGeown, visual artist Vikki Morton (Muscles of Joy, Suckle) and Trembling Bell’s Alex Neilson, Light the Currents is a bright and buoyant acoustic arrangement in two parts; the first written for a special performance at an exhibition of artwork by Katy Dove at Dundee Contemporary Arts in October 2016, the second written afterwards as a response to the exhibition and the experience of playing there. Stevie Jones is one of the great music collaborators of Scotland, involved with a variety of projects incorporating theatre & film, playing as a member of Alasdair Roberts Trio and Arab Strap as well as a wealth of ensembles from Glasgow’s genre bending fringes, all to the benefit of his own project. Sound of Yell possess a musical dexterity and lightness of touch that seem distinctly of their home town. These two gorgeous compositions are the perfect summer soundtrack.

"Part 1... is a bright and jaunty affair, which buzzes in as Jones’ busy picked guitar lays down its rhythmic steps driven by Neilson, over which McGeown’s flute melodies waft in and out. Morton’s vocal, augmented by McGeown’s harmonies, serves up a pastoral meditation which, all wrapped up in pitter-patting skitters, blossoms into a creation cluttered with an intense sense of life which off-sets the circumstances surrounding its origin.

There’s nothing whimsical at play here. A muscularity is at the heart of the song’s concentrated insularity, giving it confidence to burst into the open and flower into a fleet-footed dancing bird. At the end, the little flourish that finishes the song seems to take a bow.

Part 2 was written in immediate response to both the exhibition and the experience of playing at it. Wordless, it sounds more reflective, instruments tip-toe around each other, circling woozily until flute, recorder and guitar find common ground on a record produced and presented with every ounce of love it deserves." Product Magazine

"... a warm and organic instrumental Folk feel that's laid back and all embracing like a beautiful summer's afternoon used to be in everyones childhood memories. Lovely."  Nitestylez

Lichter by Mouse on Mars. Handmade artwork, screen printed b-side on pink vinyl. Numbered edition of 300, includes printed liner notes, photograph, download code.

(Sold Out)

Press for IGR 10:

“…a 13-minute exploration of motorik, industrial groove and percussive jazzwise improvisation that could slay the most experimental of dance floors.” The Vinyl Factory

“The piece’s scaffolding consists of insistent strobing pulses and sharp metallics… Lichter whirls fragments of rubbery, limber texture into a circular spray… Technology gone wild.” Uncut

“Lichter is a long track lasting 13 minutes with percussive opening, resembling an epic march, developed in up-time as a moving mechanism that gives back the feeling of an unstoppable object… A work that causes dizziness, stumbling from channel to channel, with unexpected, instrumental slowdown, prelude to fast restarts made possible by stratifications obtained with smrph, a feedback software.” Arte e Critica

“Opening in krautrock mode, the pulsating behemoth gradually gathers steam, building on its initial lurch with layers of metallic noise and synthetic treatments, and deftly shape-shifting at strategic junctures without ever losing momentum.” Textura

“Mouse on Mars at their most beat-oriented… weird and rhythmic and textural.” Philip Sherborne, Line Noise Podcast

“…reaches a level of multi-layered, post-chaotic abstraction that will surely please not only the band’s most dedicated followers but also those still loving the hollow, muffled and slowed down breakbeats of the NYC Illbient scene ca. the late 90s. Thrilling stuff.” NiteStylez

“Listen to the layers of the recording, or marvel at the use of stereo effects in the final minutes.  Then realize that the composition is the result of improvisation gone wild, then reeled in like a feisty fish.” A Closer Listen

“MoM trim back on their ADD tendencies to focus on more rolling, tensile electro-acoustic dub animations in the first of a new series.” Boomkat

Sunday Morning Drones by THE BEACON SOUND CHOIR. Handmade artwork, screen printed b-side on golden vinyl. Numbered edition of 300, includes printed liner notes, photograph, download code.

EUR: 19,- (plus shipping)

“…like no choir rehearsal you’ve ever heard… It’s a reminder of the power of community: not only of voice, but of acceptance… This is an exquisite release for the ears, the eyes and skin.” A Closer Listen

“These are perfectly imperfect compositions; professionals and non-musical types choose a deeply emotional and spiritual medium of choir (to many in our society, at least) for the non-religious purposes of drone exploration. It’s traditional and it’s subversive. It’s gorgeous.” Decoder Magazine

"...transportive – at once monolithic and vaporous, with nebulous clusters of frequencies and overtones swirling in mid-air like murmurations of starlings." Pitchfork

“Two powerful and touching creations based exclusively on the human voice… which will be loved by art headz and fans of rare or leftfield musical goods alike and validates Infinite Greyscale’s position amongst some of the most exciting and collectible contemporary vinyl imprints for a reason.” NiteStylez

“Two subtly processed and flowing topographies of communal vocals, rising and falling together in creamy harmony… the kind of studied compositional nuance you’d expect from anything Peter Broderick is involved with.” Boomkat

“Is there any artist who attends more closely to his muse than Peter Broderick? Where it leads, he determinedly follows… the two settings highlight the harmonic effects that occur when multiple voices sing together at varying pitches and, while not atonal, the drones exude an almost Ligeti-like quality when the pitches butt up against one another so unpredictably.” Textura

Wanne 4 by Markus Oehlen. Handmade artwork, screen printed b-side on aqua-blue vinyl. Numbered edition of 300, includes printed liner notes, photograph, download code.

"A fascinating release both for lovers of the eclectic side of leftfield Techno & House only played out by DJs to well-educated, advanced audiences that really understand the true depth and history of the genre but also a recommended and hand-numbered gem for lovers of non-conformist, unique sonic journeys. Get." Nitestylez

"A wonky, genre-transcending slice of instrumental techno, “Wanne 4” opens in Afrobeat mode with a free-floating blend of scratchy guitar riffing, 4/4 kick drums, and generous dollops of percussive detail. The ten-minute running time gives Oehlen ample time to work multiple change-ups into its design while at the same time keeping the steady pulse in place as an anchor. Breakdowns and buildups of differing kinds transpire, after which a jubilant finale kicks into gear, with guitar strums and a left-field clarinet cameo bringing it home—it's a weird one for sure." Textura

The Empire never ended by Erik Bünger with Jan-Filip Ťupa. Handmade artwork, screen printed b-side on white vinyl (reversed pressing, vinyl plays from the centre). Numbered edition of 300, includes printed liner notes, photograph, download code.

EUR:  18,- (plus shipping)

“This is perhaps the strangest thing, vinyl-wise, I’ve ever come across…” SlyVinyl

“This is spectacular. In every way.” SoundOfMusic.nu

“Most unsettling record of the week award goes to Erik Bünger and Jan-Filip Tupa with ‘The Empire Never Ended’ for the excellent Infinite Greyscale series … Aside from an impressive display of technical control, the results are sh*t-the-bed scary, dealing in an occult power which forces us to admit the presence of a energy beyond which we have no true conception, and which intrigues us even more.” Boomkat

“…we do not know the content of what Bünger and Ťupa are channeling. They play a dangerous game. The recording is like a mysterious box discovered in the depths of a cave, adorned with Rune engravings, opened for the first time in centuries. What demons awaken themselves within this musical exercise?” Attn:Magazine

“A fascinating, yet alien’esque and pretty unpredictable musical stakkato, discontinued by intense respiratory sounds and obscured by crackles of the original recording, with vocals and syllables balancing between agitation and uproar whilst sometimes even resembling shamanic chants speaking of unknown mysteries and intelligence…” NiteStylez

“Over the course of its episodic run, ghoulish sounds creep and slither across the eerily suggestive piece’s skeleton, low-pitched synth chords swell to monstrous proportions, and bass drums and footsteps loudly punctuate the haunted space. A sense of dread seeps into every pitch-black corner, making Last Days of Montrose House one of the most evocative and macabre Anduin pieces on record.” Textura

“Resembling Dark / Death Ambient with a twist that will surely appeal to admirers of projects as legendary as Kallabris but coming across serving an ever morphing, constantly changing perspective on tone and athmosphere going from calm and harmonic into more dark and threatening territories whilst catering non-dancefloor crowds with slow, heavy and highly compressed beat structures before a short innocent breakdown reminisces of fairies and other magical creatures that are – in the further progress of the tune – accompanied by highly digital swamp sounds and haunting, unspecified animal calls appearing somewhere in the very background. A surely interesting and well-fascinating journey for all lovers of Deep Listening Music.” NiteStylez

“Infinite Greyscale is one of our favorite labels, known for releasing quality 10″ records, only a handful each year.  They’ve upped their game in 2015, as Anduin‘s Last Days of Montrose House is paired with a digital package of seven remixes from artists including Elian, Radere and Stephen Vitiello.  It’s a generous move that essentially turns an EP into an album. The original, however, is the best.  This is a compliment to the artist, as the guests are of such high pedigree one might expect them to challenge the composer for the title.  But wow, what a track.” A Closer Listen

 “2011’s Stolen Years was a seductively easy album to get lost in, but this latest 10-minute cut, “Last Days of Montrose House,” is more of a tricky beast, though no less evocative. Of all of Lee’s music it hews closest to his work as installation artist, an unpredictable amalgam of electronics and field recordings that capture the ethereal mood of interior spaces, a revolving door into chambers haunted by the interference of ghosts and memory. The full 10-inch also includes remixes by a whole host of artists including Stephen Vitiello, whose excellent take imbues the track with an awesomely off-kilter techno throb.” AdHoc

“After several outings on Richmond Tape Club, the enigmatic Anduin lands on Infinite Greyscale with a rather handsome remix package. His “Last Days Of Montrose House” track – a sparse, airy, beat-driven and drone-fuelled affair – is revamped by the likes of Stephen Vitiello, who throws in a 4/4 kick and makes things relatively more stable (but nonetheless abstract) and Radere with a power electronics version among others. Elian’s take is our pick, a stunning whirlpool of dicing electronics and humming, ominous drones. A gloriously forward-thinking release.” Juno

“Jonathan Lee’s Last Days of Montrose House only clocks in at a little over ten minutes, but you get seven remixes along with it so you’re getting your money’s worth. As another selling point, this was mastered by Rashad Becker whose name I only expect to see more and more on album credits. Infinite Greyscale likens this record to “entering a long abandoned building,” which my mind went straight to upon listening to this. I’d like to think this building’s got a blizzard pounding outside its walls, along with graffiti and rubble as far as the eye can see. It’s like Last Days of Montrose House gives voice to the spirits that vanished from this place…” Sly Vinyl

“Desde que arranca el disco los sonidos de objetos, de un proyector de películas se van traslapando unos con otros, mientras una línea ambiental de fondo como parte de un diseño sonoro va dejando paso a nuevas capas como los pasos de un caminante, ruidos retorcidos, cuyo telón de fondo emergen pulsantes líneas de bajo. Se trata de un viaje que mantiene al escucha inquieto dada las sombrías atmósferas que se entretejen.”  Loop.cl

“Last Days of Montrose House’ is an enveloping collage piece sweeping from diaphanous field recording textures to treacherous drones and semi-organic modular scree. It’s a welcome return from Anduin, whose series of LPs for SMTG Limited between 2009-2012 have aged beautifully. Check also for the rumbling, Gas-like ambient techno of Tag Cloud’s mix, and Radere’s deeply abstracted version.” Boomkat

Dead memory of summer’s passion past.
Tears dropped, fluttering slowly to the earth …

“The solo project of Polish musician Kuba Ziołek (Old River) blends acoustic and electric guitar in a ruralist way, adding shortly arcing slivers of synth and gentle vocals. It makes me think of what early Six Organs might have been like if Chasny was modelling some of his textures on mid-period Moody Blues.” The Wire

“As the poem proceeds to wait for spring, Stara Rzeka (the village) waits (and works) for rejuvenation, Stara Rzeka (the artist) composes an ode to life, and “Stara Rzeka” (the track) blossoms and blooms, its latter half developing into a dense thicket of new growth.  The storm has passed, seared into the memories of all who experienced it.  But the storm is no longer their lead story; it’s just something that happened once upon a time, before the seeds, before the sprouts, before the children and the construction.  One day, it will simply be a story in a tree ring.  And a record is like a tree ring as well, especially a green record portraying a healthy tree.  The circle is now complete.” A Closer Listen

“Thank god I have this wonderful 10-inch…, silk-screened and ready to party whenever 12 units just won’t do it. The production is fabulous too, bolstered by a 45 RPM clip and low end that creeps underneath softly, subtly creating a cocoon for the electronics to crawl around in. About halfway through an acoustic wash, complete with plaintive vocals, turns into a spider web that keeps expanding until the individual threads become too stretched out to trace. Enjoy getting lost in it too, a slow-motion waterslide that doesn’t stop until you’re dropped into liquid, calm, complete, and ready to take the ride again. The aforementioned packaging is as next-level as the audio, complete with a numbered insert, dark-green wax, a slick silk-screened Side B, and a few other fixin’s…” Tiny Mix Tapes

“Stara Rzeka goes from this very psychedelic take on folk to drone to space rock to this über bright explosion of ambience – like the ship Mr. Ziołek commandeered has officially taken off to be with the shining white specks in the sky we sometimes remember to gaze at in our overstimulated lives embedded in the blessing and curse we refer to as technology. This is something you put on to feel euphoric…” Sly Vinyl

“Powoli utwór mutuje w coś pomiędzy słodkim ambientem, muzyką filmową, a mesmeryczną psychodelią, którą kojarzy mi się z łąką wziętą z dziwnego snu. Autor inwokuje tu jakieś kosmiczne siły, które kumulują się w powolnym gitarowym drone, aż do granicy hałasu, po czym zanikają w radiowym szumie. Słuchacz pozostaje ostatecznie z otwartymi ustami, albo ze zdziwienia i zniechęcenia (wtedy są też skrzywione), albo z niemego zachwytu.” nocnyautobus

Body Sound by Holly Herndon. Handmade artwork, screen printed b-side on aqua-blue vinyl. Numbered edition of 300, includes printed liner notes, photograph, download code.

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"Here, (Herndon) collaborates with choreographer Cuauhtemoc Peranda, recording the sound of his movements before reordering, amplifying and tweaking them into an abstracted but tantalisingly rhythmic piece of sound: a melodic squelch of skin on floor becomes a drum pattern, a dragged sole like a zipper opening up the track. ... Herndon has made a piece that reminds us of the reality of the body in motion, in all its impetuousness, imperfection, loneliness and vitality – another standout work from a producer whose previous album was called, appropriately, Movement." The Guardian

"There is a true sense of physicality in this music: Peranda’s slaps, footfalls, slides, and leaps all stand out as clear as firelight. Herndon surrounds these singularities in a swirling miasma of digital mist, creating an unexpected dichotomy, a unique sense of tension that is ultimately entrancing. Body Sound is a heroic effort..." Decoder Magazine

"Body Sound is bare feet, bare hands, bare breath, the performer baring it all.  Herndon’s arrangement allows the performance to imitate the skeleton of a song, with bass drum and synth noises intimated in the dance.  An excellent use of stereo effects makes the modified performance seem three-dimensional, as if the listener, with closed eyes, is following the choreographer across the floor.  The mastering is so crisp that one is swiftly reeled into the experience, invited to respond with whirls of one’s own. Body Sound is a true original, a pure vision brought to life." A Closer Listen

"Body Sound is a unique duet between the corporeal and the computerised, a unique, abstracted expression of the relationship between digitised dynamics and physical movement which should spark the imagination of any forward-looking dance music fans and electronic connoisseurs." Boomkat

"The piece is remarkably human for something so abstract and a truly singular work of art." Bleep

"...it’s a wonderful thing, really, so it’s all the more exciting that Ms. Herndon’s new 10-inch, Body Sound, is coming out via Infinite Greyscale on July 17. It’s a single-sided baby blue 10-inch and boy is that single side purdy lookin’. In case you’re wondering..." Tiny Mixtapes

"Best Record Sleeves, July... Since Infinite Greyscale expanded from publishing books to pressing records, they’ve retained a sense of visual consistency by working exclusively with the same three artists on each of their projects, with Ulrich Schmidt-Novak responsible for the screen-printed B-side and Paul McDevitt and Cornelius Quabeck collaborating on the artwork. Their combined efforts for the label’s latest endeavour - Body Sound by the always excellent Holly Herndon – stand out for their own self-evident reasons." Juno Plus

"Herndon places you as an observer to this intimate moment, where Peranda dances to an audience of one." SlyVinyl

"One of the more refreshing voices in electronic music at the moment, Holly Herndon’s is a name we’re become increasingly familiar with as she finds innovative ways of exaggerating and expanding acoustic sounds through digital means. One side music/ one side screen print, her latest 10” is a beauty that brings the movement and breath of dancer Cauahtemoc Peranda to the forefront. The oft ignored and sonically omnipresent when magnified and twisted around Herndon’s sonic suggestions of a beat/shifting piston, become truly surreal. Highly recommended." The Vinyl Factory

"For my money Herndon is one of the most exciting artists working in the realm of ‘experimental’ or ‘electronic’ music today and Body Sound keeps the pace... It’s mesmerizing and all-encompassing. Body Sound is a unique and vital entry in Herndon’s discography... her rise is still only in the early stages." The Isolatarium

“The more one plays the piece, the more one begins to discern patterns in what first seems random; a bit like the slow understanding of modern life, or one’s place in the world.” A Closer Listen

“Insanely gorgeous release… This package is a collector’s dream… The piece is utterly mesmerizing and a sheer delight to navigate.” Decoder Magazine

“Ineffably mesmeric, with sounds which seem to orbit incongruously but which somehow arrange themselves into a compelling system.” The Ransom Note

“It’s loopy and blurry and relaxing, a warm sleepy lull of wacked out synth drift.” Norman Records

“Eine elegische Stimmung stellt sich ein, kraftvoll reiben sich die Feedbacks in einer Art, die an das Streicheln einer etwas herben Großmutter erinnert: zärtlich, aber mit Schmirgelpapier. Dazu passt die Kirchenorgel, die sich als Fläche eingeschmuggelt hat. Spätestens ab der Mitte des etwas über elfminütigen Stücks taumelt man nur noch willenlos mit, gegen Ende schwebt man.” Intro Magazine

Requiem (for Violin and Magnetic Tape) by Jefre Cantu-Ledesma. Handmade artwork, screen printed b-side on aqua-blue vinyl. Numbered edition of 300, includes printed liner notes, photograph, download code.

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Press:

The piece itself is simple and stunning, reminiscent of Basinski’s Disintegration Loops, a single melodic figure, repeated over and over, the tone and timbre constantly shifting, a sprawl of slow, soft swells, minor key and melancholy, tense, and dramatic and quite cinematic, a mesmerizing stretch of minimal mood music, that manages to be surprisingly sonically active, while at the same time, darkly tranquil and mesmerising.” Aquarius Records

“It’s an ostensibly static piece of keening hi-end violin pitches and barely-there but somehow nauseous low-end ferric presence all occurring in a gauzily mesmerising mid-ground. The label rightly describe its effect as “crepuscular”; it possesses a beguiling phosphorescent quality, like a flickering light at night.” Boomkat

“The loops seem to simultaneously push towards you and retreat building a mesmerising mournful ghostly sound. It’s a masterclass in repetition, darkness and subtlety. Highly recommended – Weep inducing heavy.” Norman Records

“The piece gains intensity as it progresses, rising and ultimately descending without giving any ground. Like its accompanying cover, it’s a twinned skeleton, strong enough to stand despite its apparent weight.” A Closer Listen

Riots don't just happen by Gabriel Saloman. Handmade artwork, screen printed b-side on aqua-blue vinyl. Numbered edition of 300, includes printed liner notes, photograph, download code.

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