“a beautifully choreographed snapshot of the artist’s knack for the surreal, fluid mechanics of mid-90s electronic music shaped with current-era finesse”– Igloo Mag on The Dreams

Cowboy Pilgrim unfolds like a slow-motion hallucination at the edge of the modern world: a dust-worn cowboy on a white horse descending from a hermit’s cave above the clouds, re-entering a civilisation that’s sped up, splintered, and blurred at the edges. Rather than telling a linear story, the album traces the collision between inner stillness and external chaos through chilled ambient electronica, hazy rhythms, and emotional afterimages. This is downtempo with a cosmic drift. Across its arc, chance replaces certainty, paradise arrives with a shadow, the dance floor becomes a modern ritual, and reality turns subtly surreal, not to resolve the confusion, but to sit with it. Cowboy Pilgrim is an invitation to ride alongside that uncertainty, staying present as everything shifts.

“For fans of psychedelic rock, experimental music and immersive albums, Heavy Metal is a must-listen. It’s bold, unfiltered and effortlessly cool—an album that demands to be experienced from start to finish.” – AAA Backstage

Monotonic was formed during the pandemic by veterans of Perth’s golden alt-rock era: Liam Coffey (Header, The Slow Beings), Allan Balmont (Ammonia), and Jack Lucas (Yummy Fur/Six Mile High). Reuniting decades after their respective bands made waves in the ’90s, the three longtime friends found a fresh creative spark in loose jam sessions that continued to evolve into something greater than intended. Jams turned into songs, and while there were no initial plans to record, they became so committed to the music they were creating that an album eventually became an inevitability.

Named after the opening track of Brian Eno’s Ambient 4: On Land, The Lizard Point are a transatlantic instrumental duo Conor Devlin ([the] caseworker, Half Film) and Geoffrey Scott (Slowness), based in Lausanne, Switzerland and San Francisco. In The Red Earth was produced and mixed by Monte Vallier and The Lizard Point at Spillway Sound in upstate New York, and Ruminator Audio in San Francisco in 2025. The Lizard Point will be supporting the release with mini-tours in the U.S. and Europe.

The music of The Lizard Point is available for licensing via Hidden Shoal (film, tv, web games etc). Check here for more details.

Named after the opening track of Brian Eno’s Ambient 4: On Land, The Lizard Point are a transatlantic instrumental duo Conor Devlin ([the] caseworker, Half Film) and Geoffrey Scott (Slowness), based in Lausanne, Switzerland and San Francisco. In The Red Earth was produced and mixed by Monte Vallier and The Lizard Point at Spillway Sound in upstate New York, and Ruminator Audio in San Francisco in 2025. The Lizard Point will be supporting the release with mini-tours in the U.S. and Europe.

The music of The Lizard Point is available for licensing via Hidden Shoal (film, tv, web games etc). Check here for more details.

“a beautifully choreographed snapshot of the artist’s knack for the surreal, fluid mechanics of mid-90s electronic music shaped with current-era finesse” – Igloo Mag on The Dreams

Cowboy Pilgrim unfolds like a slow-motion hallucination at the edge of the modern world: a dust-worn cowboy on a white horse descending from a hermit’s cave above the clouds, re-entering a civilisation that’s sped up, splintered, and blurred at the edges. Rather than telling a linear story, the album traces the collision between inner stillness and external chaos through chilled ambient electronica, hazy rhythms, and emotional afterimages. This is downtempo with a cosmic drift. Across its arc, chance replaces certainty, paradise arrives with a shadow, the dance floor becomes a modern ritual, and reality turns subtly surreal, not to resolve the confusion, but to sit with it. Cowboy Pilgrim is an invitation to ride alongside that uncertainty, staying present as everything shifts.

Named after the opening track of Brian Eno’s Ambient 4: On Land, The Lizard Point are a transatlantic instrumental duo Conor Devlin ([the] caseworker, Half Film) and Geoffrey Scott (Slowness), based in Lausanne, Switzerland and San Francisco. In The Red Earth was produced and mixed by Monte Vallier and The Lizard Point at Spillway Sound in upstate New York, and Ruminator Audio in San Francisco in 2025. The Lizard Point will be supporting the release with mini-tours in the U.S. and Europe.

‘Håkan’s Drift’, the first single to be lifted from the album was inspired by Hernán Diaz’s novel In The Distance. The song, along with it’s accompanying music video, explores the fleeting moments of stillness and dusk-to-dawn beauty of a long empty drive.

The music of The Lizard Point is available for licensing via Hidden Shoal (film, tv, web games etc). Check here for more details.

“With ‘Heavy Metal,’ Monotonic appear less interested in reviving psychedelic tradition than in interrogating it — dragging its ghosts into the present, distorting their shapes, and letting the feedback hum where certainty once lived. “Lazers At Dawn” is both a continuation and a deepening of that mission: trance-inducing, unruly, and unapologetically strange.” – It’s Psychedelic Baby

Monotonic was formed during the pandemic by veterans of Perth’s golden alt-rock era: Liam Coffey (Header, The Slow Beings), Allan Balmont (Ammonia), and Jack Lucas (Yummy Fur/Six Mile High). Reuniting decades after their respective bands made waves in the ’90s, the three longtime friends found a fresh creative spark in loose jam sessions that continued to evolve into something greater than intended. Jams turned into songs, and while there were no initial plans to record, they became so committed to the music they were creating that an album eventually became an inevitability.

“Between the gentle warmth of the acoustic arpeggios of the initial “A Tap At The Window” and the progressive post-rock rhythmic crescendo that seals the over fourteen minutes of the final “Once, The Held You In My Arms Forever”, extends a sound microcosm in which nocturnal synthetic stratifications alternate with jazzy piano cadences and with an almost infinite series of variations of times and timbres,” – Music Will Not Save You

Erik Nilsson’s music is available for licensing through Hidden Shoal. Head here for more details.

“Between the gentle warmth of the acoustic arpeggios of the initial “A Tap At The Window” and the progressive post-rock rhythmic crescendo that seals the over fourteen minutes of the final “Once, The Held You In My Arms Forever”, extends a sound microcosm in which nocturnal synthetic stratifications alternate with jazzy piano cadences and with an almost infinite series of variations of times and timbres,” – Music Will Not Save You

From the cascading acoustic guitar loops of ‘A Tap At The Window’ through to the emotive found-sound, post-rock crescendo of closer ‘Once, I Held You In My Arms Forever’, The Imperfect Tense triangulates a musical landscape of potent melodic terrain, full of evocative details and melancholic shadows. Nilsson expertly interweaves the electronic with the acoustic, precision-crafting each track with an auteur’s ear for dynamics and space, resulting in an instrumental suite that is as accessible as it is experimental.

Stay tuned for more from Erik as we head towards 2026.

The single will be launched at Chinoiserie Fine Arts in Perth, Western Australia on Saturday 22nd November. Blending beats, pop, psych and poetry par excellence, The Chantic bring a smile to your face and a wriggle to your hips. Supported by DJ Pex and carpark projects, come for the art, stay for the music. Check out the prints made specially for the event! Chinoiserie Fine Arts, 381 Beaufort St, Highgate WA 6000.

The Chantic began when long-time musical collaborators Harry Swain and Stu Medley were joined by Craig Hallsworth, who brought lyrics and vocal parts to their instrumental compositions. Initially a recording project where members worked remotely from each other, The Chantic have evolved into a live act where Stu on guitar and synthesizer, Harry on bass and synthesizer and Craig on vocals and guitar perform to backing tracks featuring drums and percussion, additional musical accompaniment and atmospheric sounds.

The result is a rhythmically and harmonically nuanced space or dimension (The Chantic) out of which emerges the song: the embodiment and affirmation of a liminal existence. Each is only a song, with its own version of radical holiness. And it’s catchy, too.

“The track itself is a gloriously murky affair. It’s all fuzzed-out wizardry and lethargic acid rock, creating a soundscape utterly drenched in a thick haze of psychedelic dissonance. The rhythm section is the solid anchor: Alan Balmont’s drums march along, almost begrudgingly, yet holding the essential pulse for Jack Lucas’s hypnotic guitar work (complete with electric bouzouki flourishes) and Liam Coffey’s melodic bass. Coffey’s vocals weave themselves through the colossal sonic architecture, effectively taking on the role of a fourth instrumental texture rather than leading the charge.” – Broken 8

Monotonic was formed during the pandemic by veterans of Perth’s golden alt-rock era: Liam Coffey (Header, The Slow Beings), Allan Balmont (Ammonia), and Jack Lucas (Yummy Fur/Six Mile High). Reuniting decades after their respective bands made waves in the ’90s, the three longtime friends found a fresh creative spark in loose jam sessions that continued to evolve into something greater than intended. Jams turned into songs, and while there were no initial plans to record, they became so committed to the music they were creating that an album eventually became an inevitability.

“…there have been many points during my numerous listens as I got ready to review this album where the emotional punch of Nilsson’s music just stops me in my tracks and I just need to take a moment to do nothing but listen. That’s effective stuff, and there’s plenty of effective stuff here. Do give this a listen.” – Hypnagogue

Drawing on folk, classical and electronica, Erik Nilsson blends acoustic instruments with field recordings and computer-generated sounds, crafting music akin to early Four Tet, Tortoise at their most minimal, and fellow Scandinavian soundscapers The Gentleman Losers. His Hidden Shoal debut Hearing Things advances the compositional strategy Nilsson first explored on his acclaimed debut Recollage: simple rhythmic and melodic elements are manipulated and recontextualised into richly textured, emotive pieces.

Stay tuned for another reworking and some remixes coming out before the end of the year!

Three years after his critically acclaimed self-titled LP which eared multiple “Album of the Year” accolades and saw Billboard christen him The Dreampop Troubadour Kramies pens a new chapter; a collection of songs steeped in wonder, drifting deeper into the otherworldly resims he’s come to inhabit. From that record, a new genre quietly emerged: Folklore Dreampop-a blend of dreamy textures, poetic myth, and spectral beauty.

Now, stepping away from the Dreampop Troubadour moniker, Kramies expands his creative world even further. Collaborating with Grammy-winning producer Mario McNulty (David Bowie), he conjures dusky, dreamlike landscapes filled with nostalgia and nighttime color. His upcoming album, Goodbye Dreampop Troubadour, is perhaps his most complete vision to date an album that wanders through eerle scenery, fairytale myths, and tender memories with haunting grace.

“Enchanting, folkloric, and unmistakably Kramies, ‘Goodbye Dreampop Troubadour’ is both a reckoning and a release – a lush, otherworldly odyssey through self-doubt, renewal, and the quiet beauty of letting go.” – Atwood Magazine on Goodbye Dreampop Troubadour

“Perfectly Dreadful” is the haunting prelude to Kramies’ new record — a brief, 1-minute-50-second descent into a dreamworld that feels pulled from a lost Tim Burton score or hidden between the pages of a Brothers Grimm tale. Built around ghostly piano and swelling orchestral strings, the track is both eerie and beautiful, setting a spellbound tone. With its melancholic magic and cinematic textures, “Perfectly Dreadful” could easily live in the shadows of a Harry Potter soundtrack — a dark lullaby that opens the gates to the strange and enchanting world ahead.

Three years after his critically acclaimed self-titled LP which eared multiple “Album of the Year” accolades and saw Billboard christen him The Dreampop Troubadour Kramies pens a new chapter; a collection of songs steeped in wonder, drifting deeper into the otherworldly resims he’s come to inhabit. From that record, a new genre quietly emerged: Folklore Dreampop-a blend of dreamy textures, poetic myth, and spectral beauty.

Now, stepping away from the Dreampop Troubadour moniker, Kramies expands his creative world even further. Collaborating with Grammy-winning producer Mario McNulty (David Bowie), he conjures dusky, dreamlike landscapes filled with nostalgia and nighttime color. His upcoming album, Goodbye Dreampop Troubadour, is perhaps his most complete vision to date an album that wanders through eerle scenery, fairytale myths, and tender memories with haunting grace.

Soothing, stirring, and subtly unsettling, this new work is the stuff of folklore and fantasy-music with a deeply touching human heart. It arrives like a story whispered in twilight: gentle but intense, beckoning us closer. Before we know it, we’re swept away into the mysterious world of Kramies once again.

trans plays with the idea of change, movement and overcoming. And although the departure for something new also means saying goodbye to the tried and tested, the 6 tracks do not sink into melancholy. There is a radiant power in the electro-acoustic pieces, which aurally explore the bipolar positions between digital awakening and analogue past.

Mehr implements the transformation processes that are evident in culture, society, politics, sexuality, language, etc., by alternating his compositional methods and tools. In a departure from his other works, he uses a conventional piano, which significantly characterises the static nature of the album in three pieces. Long drones form the antithesis to the concrete piano works and distance the album from neo-classical music. Phonographs, found sounds, field recordings – Mehr’s favourite instruments – remain present, but play a more restrained role (than usual). Sounds are also microscopically dissected in trans, granulated, crushed and enlarged, refined and reassembled, but rather form the framework for the respective track. And it is precisely these sound experiments that give the compositions their very own dramaturgy and surprising twists and turns. Like an author, Markus Mehr places his sound actors in a contained narrative over the course of 40 minutes.

trans plays with the idea of change, movement and overcoming. And although the departure for something new also means saying goodbye to the tried and tested, the 6 tracks do not sink into melancholy. There is a radiant power in the electro-acoustic pieces, which aurally explore the bipolar positions between digital awakening and analogue past.

Mehr implements the transformation processes that are evident in culture, society, politics, sexuality, language, etc., by alternating his compositional methods and tools. In a departure from his other works, he uses a conventional piano, which significantly characterises the static nature of the album in three pieces. Long drones form the antithesis to the concrete piano works and distance the album from neo-classical music. Phonographs, found sounds, field recordings – Mehr’s favourite instruments – remain present, but play a more restrained role (than usual). Sounds are also microscopically dissected in trans, granulated, crushed and enlarged, refined and reassembled, but rather form the framework for the respective track. And it is precisely these sound experiments that give the compositions their very own dramaturgy and surprising twists and turns. Like an author, Markus Mehr places his sound actors in a contained narrative over the course of 40 minutes.

‘Aching for Sleep’ is the perfect introduction to the music of Low Point High. The track is steeped in lush, hypnagogic aural imagery that will appeal to anyone with an interest in the seminal Warp roster as it traverses it’s five minute runtime. Hazy ambient tones merge with synth-strings and found sounds as the shifting beat pulls everything inexorably forward. The song’s micro and macro call- and- response teases answers, but instead leaves the listener with an uneasy sense of unquenchable longing.

Low Point High is visual artist and musician Cam Merton, co-founder and manager of the Hidden Shoal label. Merton has played and recorded in several Perth-based experimental, noise-rock and dream-pop outfits since the late ‘90s, including CSR, Lake Disappointment, Silo and Glassacre. In a previous life he was also an established artist with national and international exhibitions and performances behind him. In recent years he has created a number of music videos for the Hidden Shoal roster, and is currently working on a number of other musical projects.

trans plays with the idea of change, movement and overcoming. And although the departure for something new also means saying goodbye to the tried and tested, the 6 tracks do not sink into melancholy. There is a radiant power in the electro-acoustic pieces, which aurally explore the bipolar positions between digital awakening and analogue past.

Mehr implements the transformation processes that are evident in culture, society, politics, sexuality, language, etc., by alternating his compositional methods and tools. In a departure from his other works, he uses a conventional piano, which significantly characterises the static nature of the album in three pieces. Long drones form the antithesis to the concrete piano works and distance the album from neo-classical music. Phonographs, found sounds, field recordings – Mehr’s favourite instruments – remain present, but play a more restrained role (than usual). Sounds are also microscopically dissected in trans, granulated, crushed and enlarged, refined and reassembled, but rather form the framework for the respective track. And it is precisely these sound experiments that give the compositions their very own dramaturgy and surprising twists and turns. Like an author, Markus Mehr places his sound actors in a contained narrative over the course of 40 minutes.

Blue Mansions is available in digital and CD formats via BandCamp in conjunction with the wonderful Tiny Room Records label. The album can be streamed across all the usual services such as Spotify.

The music of Todd Tobias is available for licensing across tv, film, web and more. Contact us for more information.

trans plays with the idea of change, movement and overcoming. And although the departure for something new also means saying goodbye to the tried and tested, the 6 tracks do not sink into melancholy. There is a radiant power in the electro-acoustic pieces, which aurally explore the bipolar positions between digital awakening and analogue past.

Mehr implements the transformation processes that are evident in culture, society, politics, sexuality, language, etc., by alternating his compositional methods and tools. In a departure from his other works, he uses a conventional piano, which significantly characterises the static nature of the album in three pieces. Long drones form the antithesis to the concrete piano works and distance the album from neo-classical music. Phonographs, found sounds, field recordings – Mehr’s favourite instruments – remain present, but play a more restrained role (than usual). Sounds are also microscopically dissected in trans, granulated, crushed and enlarged, refined and reassembled, but rather form the framework for the respective track. And it is precisely these sound experiments that give the compositions their very own dramaturgy and surprising twists and turns. Like an author, Markus Mehr places his sound actors in a contained narrative over the course of 40 minutes.

Glanko’s fifth album,V, represents a significant shift in the artist’s sound. Over the course of nine tracks, the album explores themes of introspection, conscience, abandonment and hope. Musically, Glanko pushes towards more aggressive sounds than in previous works, embracing industrial and techno elements, layered with electric guitar, synths and ambient atmospheres. The album includes two vocal tracks along with a collaboration with Italian composer Gianvito Novielli.

Italian producer Glanko creates widescreen electronica that deserves to be played loud. Canyon-deep beatscapes are shot through with mesmerising synth melodies, wraithed in breathy atmospherics that send a shiver up the spine. Rarely is such intensity and power coupled with a lightness of touch, allowing tracks to seamlessly evolve into dizzying cinematic scenes.

Glanko’s fifth album,V, represents a significant shift in the artist’s sound. Over the course of nine tracks, the album explores themes of introspection, conscience, abandonment and hope. Musically, Glanko pushes towards more aggressive sounds than in previous works, embracing industrial and techno elements, layered with electric guitar, synths and ambient atmospheres. The album includes two vocal tracks along with a collaboration with Italian composer Gianvito Novielli.

Italian producer Glanko creates widescreen electronica that deserves to be played loud. Canyon-deep beatscapes are shot through with mesmerising synth melodies, wraithed in breathy atmospherics that send a shiver up the spine. Rarely is such intensity and power coupled with a lightness of touch, allowing tracks to seamlessly evolve into dizzying cinematic scenes.

Glanko’s fifth album,V, represents a significant shift in the artist’s sound. Over the course of nine tracks, the album explores themes of introspection, conscience, abandonment and hope. Musically, Glanko pushes towards more aggressive sounds than in previous works, embracing industrial and techno elements, layered with electric guitar, synths and ambient atmospheres. The album includes two vocal tracks along with a collaboration with Italian composer Gianvito Novielli.

Italian producer Glanko creates widescreen electronica that deserves to be played loud. Canyon-deep beatscapes are shot through with mesmerising synth melodies, wraithed in breathy atmospherics that send a shiver up the spine. Rarely is such intensity and power coupled with a lightness of touch, allowing tracks to seamlessly evolve into dizzying cinematic scenes.

Having performed in The Caribbean since 2000 and with no pressing desire to go ‘solo’ or work outside that secure, familiar context, Washington Hebrew acted as both a leap and bridge for Michael Kentoff. Now, we call the record what it is: Michael Kentoff.

Inspired by his use of samples and loops for installations, remixes, and soundtrack projects, Kentoff employed these raw materials to craft new songs akin to the wonderfully skewed and melodic pop of The Caribbean, but with a witchiness all its own.

2017 was dark. Bored and under-stimulated at work, Michael loaded Ableton Live onto his work computer and lost himself in library music samples and his own warped melodies. No billable hours were harmed in the making of this record: it was more a way to lose himself where he wanted to be lost as opposed to where he was languishing lost. A way to work around darkness and despair.

Hidden Shoal invites you to get lost in Michael Kentoff’s workaround.

“a woozy dream like fantasia all the time skipping and seducing to craft an amorphous sonic palette that weaves in and out of consciousness to sit somewhere between C Duncan and Andromeda Heights-era Prefab Sprout” – The Sunday Experience

“Bank Holiday Wknd” reflects Kentoff’s state-of-mind when he wrote it: “I hated the humiliation of my job. When I started recording this record in my office (which made me the coolest or stupidest lawyer in America), the goal was two-fold: (a) do something I loved for a change, and (b) take my heart back.” But know this: no billable hours were harmed in the making of this record! This song was derived from two or three pieces of library music – cut up, warped, and reshaped. The trick was finding a meaningful melody from music Kentoff did not himself write from scratch on guitar or piano but from scraps of other people’s sounds. “Ultimately, I adore pop music and no matter the source or how abstract a song might be, it’ll always have to stand up for me as beautiful, emotionally-conflicted pop music.” The acidy Stratocaster in the coda is from The Caribbean’s Dave Jones.

For Michael Kentoff, singer-songwriter of the experimental pop group, The Caribbean, songwriting is problem solving. When Kentoff became fascinated with the electronic dance genre footwork, he wondered if he could apply indie-pop songcraft to its cut-up production style. The result is Kentoff’s self-titled solo debut, a satisfying amalgamation of adventurous soundscapes and well-crafted melodies.

AIRTH is the result of a 15-year friendship between electronic downtempo composer Jumpel / Cologne and Tel Aviv-based Adi Goldstein, an innovative composer and musician. From the beginning, the relationship between Adi and Jumpel was a fusion of creative minds and cultures. Their dynamic partnership fostered a shared passion for pushing the boundaries of music and transcending borders and backgrounds. Then, in 2024, they decided to take a new step and embarked on a creative journey: an album that would fuse their unique styles into a seamless ambient electro and experimental experience. Over the course of a month, they put their hearts and souls into creating eleven tracks despite the distance. Each track reflects their individual artistry and the wonderful synergy of their collaboration.

AIRTH is more than just a collection of tracks. It is a story about overcoming geographical, cultural and historical boundaries through a shared artistic vision using the universal language of music. Jumpel’s experimental ethos from Cologne and Adi’s rhythm from Tel Aviv merge into a unique tapestry of sound that captures the essence of both worlds.

For Michael Kentoff, singer-songwriter of the experimental pop group, The Caribbean, songwriting is problem solving. When Kentoff became fascinated with the electronic dance genre footwork, he wondered if he could apply indie-pop songcraft to its cut-up production style. The result is Kentoff’s self-titled solo debut, a satisfying amalgamation of adventurous soundscapes and well-crafted melodies.

The 13 Holy Nights take place from 23th December to 6th January. According to anthroposophical teachings, a stronger connection with the spiritual world is possible during this magical time. By following ancient rituals you can reconnect with the natural world and tune in with where you stand in life. One way to look back on the past year and forward to the next is through dreams. During the winter solstice of 2022, The World of Dust’s Stefan Breuer documented his dreams and turned them into these songs.

13 Holy Nights was recorded on a Tascam 388, a ¼-inch tape machine Stefan also used when he started recording at the age of 10. No guitars were used, just percussion, bass, vocals and keyboards. Most of the sounds come from the Ensoniq ASR-10 sampler synthesizer. Weird new sounds for weird dreams, influenced by artists like Robert Wyatt, Portishead, Robert Pollard and The Microphones.

Infinity follows Paraphon’s epic debut, Soviet Cities on the Moon, and continues with its themes of interstellar travel. Drawing on the lush and expansive ambience of Vangelis along with the darker edge of some of his contemporaries, Infinifty delivers an immersive and compelling narrative that evolves and shifts with each track.

There’s Blood Love, the album, released back in 2018; and then there’s ‘Blood Love’, the song, which gave the album its name but never etched its way onto the grooves. The story’s thread appeared to Jonathan Shaw in Melbourne, but its indelible riff snuck into Shaw’s acoustic guitar on a bus ride in London. From there the song’s universe took shape: the cabin, the woods, the still-born babe in the warm-blanket, the full moon-whipped shadows, the water. Recorded in 2019 by Tim Johnston, ‘Blood Love’ is all about grief, and is a fitting way to send off a band perpetually returning to the theme of letting go.

Befitting the majesty of Shaw’s vocal presence on the song, both remixes of ‘Blood Love’ place the voice front and centre. Markus Mehr situates Shaw’s vocal within a desolate, metallic, digitally warped space, amplifying the sense of isolation until it cracks. In contrast, Erik Nilsson surrounds Shaw’s vocal with fresh, rich, instrumental details, reimagining the song’s farewell as more romantic and melodramatic.

“a slightly woozy, somewhat proggy, little bit folky sound… They’re not afraid to give a song room to breathe, to let the lyrics tell a story, to create an epic sound… worth checking out” – Half-Life Music

“a fine exponent of Brit-infused prog rock… Radiohead are a clear marker here… They create their own rich universe with narrative character and personality in abundance” – [sic] Magazine on single ‘London Tap Water’

Summon the Birds began in 2007, when singer-songwriter Jonathan Shaw and bassist/producer Peter Woodlands kicked up an idea for a record called 48, based on the iChing. Kris Arrowsmith joined on drums, with guitarist Tim Clarke seduced into the fray after the dissolution of instrumental shoegaze band Bury the Sound. 48 saw release in 2012, closely followed by single ‘Digger’ in 2013. In 2014, bassist Drew Corby replaced original member Peter Woodlands, and the recording of second album Blood Love began, bolstered by Paul Spurling on keyboards, Marlene Samson on backing vocals, and Adrian Perger on horns. Producer and engineer Tim Johnston (Nick Cave & The Bad Seeds, The Dandy Warhols, The Drones) oversaw the sessions and lent his golden ears to the mixes, and the album was mastered by John Ruberto (Courtney Barnett, The Drones, Electric Mary).

Following on from the first two volumes in the Splinter series, Ravage continues Battlestations’ journey into epic, unconventional and experimental soundscapes. Over its single-track, 38-minute run time, Ravage guides the listener through multi-textural narratives that borrow as much from the imagined futures of sci-fi as they do from the past and present horrors of industrialised capitalism. There’s a clear and elegantly designed arc to the music’s solemn drift, as periodic rhythmic passages act as structural scaffolding for thick waves of synths and guitars. Anyone enamoured with the first wave of classic post-rock, such as early Ulver, will find plenty to love in Ravage’s dramatic contours.

The album will be officially released in San Francisco with an immersive audio event where listeners are bathed in ‘sound sculptures’ performed through 176 speakers in total darkness. Tickets for the release event are available here. To accompany the release, a mesmerising music video by Australian video artist Cam Merton has been released for the sublime album tack ‘Pulsar’. Check it out on YouTube.

Giske was written and performed by Conor Devlin and Geoffrey Scott, and produced by Monte Vallier. The record was mixed at Ocean Sound Recordings in Giske, Norway in the summer of 2022.

The music of The Lizard Point is available for licensing (film, tv, web and more) via Hidden Shoal. More info here.

‘Broadcast Silence’ is four long-form pieces of evocative ambient-drone that explore the process of overcoming trauma and dissociation and reconnecting to the world. The tracks unfurl and evolve slowly, playing with time and expectation. Despite its bittersweet title, a line of hopefulness runs through ‘Abandoned Dream’. There’s a distinctly cosmic flavor to ‘Pieced Together’, as attention shifts from one muted spectacle to the next. ‘Fell Silent’ is a graceful, reflective piece that gently pushes the central motif tumbling into a void. And ‘Untethered’ is a fittingly-titled closer, as a final vapor trail blooms into the aether.

“Essential to anyone searching for an aural retreat from an over-compressed world of packaged sound… Highly recommended for fans of solo piano and intersected genres, where Brian Eno meets Satie.” – Headphone Commute on Obsolete

Moonchy & Tobias’s new album Wild Eye runs ritual threads throughout its tracklist like tingles of deja vu. Nocturnal and unnerving, it unfolds like an intoxicating fever dream, ebbing and flowing in shadowy splendour. The title track’s intro and epilogue counterbalance a pulsing tribal bedrock with Pat Moonchy’s shimmering voice. Single ‘Shangri La’ and its reprise could well have soundtracked James Hilton’s Lost Horizon, its strident strings and horns capturing the listener in fevered rapture. ‘The Goldsmith’ feels like a Quaalude-infused cross between a Western and a horror movie thanks to its low-slung arpeggiated guitar. ‘Mirage’ has an intoxicating majesty, stumbling like a drunken Cocteau Twins. ‘Numilla’ is similarly off kilter, almost falling over with every step, yet somehow assured in its ultimate destination.

The music of Moonchy & Tobias is available for licensing across tv, film, web and more. Contact us for more information.

The music of Moonchy & Tobias is available for licensing across tv, film, web and more. Contact us for more information.

First released in 2011 by Luxus-Artica Records and then reissued in 2016 by Hidden Shoal, Erik Nilsson’s brilliant debut album Recollage is being re-released in a somewhat altered format. Earlier in the year, Nilsson revisited Recollage’s eclectic mix of electronics, live instruments and field recordings to create a new iteration. Recollage (Reworked) recontextualizes the original album’s often dizzying compositional style, reminiscent of The Books’ cut-up approach to songcraft, and casts it in a freshly addictive new light.

The music of Apricot Rail is available for licensing via Hidden Shoal (film, tv, web games etc). Check here for more details.

The Encyclopedia of Failure is the final album to be released under Giuseppe Musmeci’s Willem Gator moniker – but certainly not the last we will hear from him. Fittingly, there’s a focus and relentless drive to this music that speaks to a desire for closure. ‘A journey of a thousand miles begins with a single step’ opens the album in a style reminiscent of Giorgio Moroder’s Midnight Express soundtrack, which sets the scene for a hypnotic, nocturnal excursion. First single, ‘When stuck, hit the road’, is a heady dancefloor filler, with its roving, gaseous synths and insistent beats. ‘The highlights of a failure’ channels prime Plaid and draws on some of the noisy, rhythmic elements of early Severed Heads, resulting in a visceral, emotive piece. ‘Poets don’t finish poems, they abandon them’ closes the album like a slow-release musical narcotic, gradually building tension before letting it out in one final, cinematic exhalation.

“an eclectic album of epic melancholic electronica, poised between post rock and clubbing sonority, full of dreamy musical constructions” – Wicked Style on Locked-In Syndrome

Though shot through with undeniable beauty and hope, the music on Cortisol 22 is shadowed by a number of serious health issues faced by Simon Order (aka Liminal Drifter) over the last couple of years. The album title refers to the hormone produced by the body during stress – something that Order faced repeatedly after experiencing a heart attack in late 2020. While recovering in hospital, Order began working on the music that would form Cortisol 22. The resulting album is an hour-long exploration of music as balm and recuperative destination.  Opener ‘Child’s Play’ is a deceptively emotive slice of chilltronica, drawing on some of the dub vibes of 2020’s Connected, while wrapping the whole thing in a blanket of ethereal nostalgia. Latest single ‘Box Seat’ is a sun-drenched sonic playground, with an insistent acoustic guitar line, intricate percussive details and beatific electric piano. ‘Cut Out’ is clean and shimmering, punctuated by golden horns and keys, with a positive momentum counterbalanced by the bittersweet taste of leaving something behind. And ominous Boards of Canada vibes are woven into standout ‘Once a Day’.

“a beautifully choreographed snapshot of the artist’s knack for the surreal, fluid mechanics of mid-90s electronic music shaped with current-era finesse” – Igloo Mag on The Dreams