Фирма Denovali

Digipak. "PAN & ME is the solo project of musician and curator Christophe Mevel, known as one of the founding members of dark-jazz collective THE DALE COOPER QUARTET & THE DICTAPHONES. His debut "Paal" was recorded back in 2010 while being on a boat trip along Unalaska island and has been released worldwide via Denovali Records in 2012. With Pan & Me Christophe Mevel continues the intelligent song writing of the Dale Cooper Quartet with a different approach - the arrangements are not jazz-orientated like those he creates with the other Dale musicians on their three classics 'Parole de Navarre', 'Metamanoir' and 'Quatorze Pièces de Menace'. His influences are coming from all over the map. The debut "Paal" was rather piano- and electronic-driven referring to artists in the likes of Oval, Wim Mertens or Angelo Badalamenti. His forthcoming second full length called ""Ocean noise"" is an intense and highly diverse collection of material ranging from ambient, guitar drones, vocals, field recordings and synth sounds in a much wider orchestration including piano, strings and percussion, forming a Vinyl double album set to be released in September 2014. For ""Ocean noise"" Christophe Mevel created a musical journey with the attempt of being listened as one extensive piece. This experience should only be interrupted by flipping the record in order to continue following the route of this single man leading us in a vast landscape, where repetitive melodies of an organic sound are established drawing our attention away from hectic routines. Tidal waves of long synth tunes are rising up in choirs and ebb away exposing a lonely setting on the edge of nature, where observations of all kinds of narratives seem to start. Quickly fading into pulsing guitar drones taking over the second half of the record, ""Ocean noise"" ends with mysterious vocals and footsteps to rewind of what has been left behind. Christophe Mevel offers a display of memorable melodic songwriting with a deep sense for ever changing atmospheres and complex in their use of overlapping instrumentation and extended techniques. The experimental and detail orientated methods remind of his work with The Dale Cooper Quartet, but his imaginery soundscapes thrive from a single inimitable artistic vision. ""Ocean noise"" has been played, recorded and composed by Christophe Mevel between november 2011 and april 2014 near the Atlantic ocean in Britanny, France. Found-sounds and guitars by Cyril Pansal. For fans of FENNESZ, RAFEL ANTON IRISARRI , SET FIRE TO FLAMES and THE DALE COOPER QUARTET Record Label: Denovali Style: Ambient

Having received remarkable praise for his debut Splintered Instruments, Denovali Records is re-releasing the debut album accompanied by the release of his new second album called Silence Is A Rhythm too. Record Label: Denovali Style: Experimental

MATTHEW COLLINGS is a Scotland-based composer. Not only being a solo recording and live artist, he collaborates regularly with artists from all kinds of fields including musicians (e.g. Dag Rosenqvist from JASPER TX and Denovali label mate TALVIHORROS), dancers and filmmakers. He's responsible for several installations using custom-made software, which have been exhibited at Burning Man Festival in San Francisco or Glasgow's Centre for Contemporary Arts. His work for films includes a specially commissioned live score for Dziga Vertov's 1929 silent classic, ¶he Man with the Movie Camera' and an invitation to work on ¶he Invisibles', a commission from Amnesty International. Before settling down in Edinburgh, he lived in Iceland for six years, where he wrote a number of albums issued under the name of his lo-fi/ambient project Sketches for Albinos and where he met fellow collaborator Ben Frost. His music can be roughly described as 'an elemental whorl of electro-acoustic (de)composition' (Boomkat.com), ranging from tiny delicate moments of intimacy to all consuming noise. Collings' gentle blurred singing voice is added consequently as an melodic instrument, that never dominates, but soaks through a composition, which seems to be distorted through its state of constant shift. Strongly influenced by avant-garde guitar music, it calls the minimal music of Steve Reich or Gavin Bryars to mind in like manner. While looking back to an extensive period of creating music with his ambient project Sketches for Albinos Collings felt the urgent necessity of starting with a completely different approach to music, as the ambient aesthetic didn't match any longer with new ideas burgeoning in his head. He wanted to create a more direct sound to involve a much grander and more dangerous range of emotions. The composition process of Splintered Instruments came out of personally reckoning with two contrary forces, something vicious and unrelenting challenging with a soft and kind energy - getting to their core and the dynamic interrelation to one another Filtered through melody and vaguely resembling songs, driven by nested rhythm patterns, one can imagine that the first sound Collings picked up on as a leading impulse was like Sonic Youth's The Diamond Sea' meeting music for 18 Musicians'. I wanted to take songs and kind of dissolve them and then bring them back again, with everything just being on the edge of these various types of structures. He worked closely with Ben Frost on the creation of Splintered Instruments, who took influence in the physicality and size of sound and helped to achieve him to reach into the deepest parts of human nature, pulling it out in a hybrid-pop-experimental-noise form. According to Collings, the record is a revolt against machines understanding the sense of precision as something pretty unnatural. He avoids working with computers only using them for convenience, not as a principle. 90% of the record is organic sourced from or played on acoustic instruments or objects, being drawn to sound of every kind which is more human, more imperfect in its subtle variations. Splintered Instruments '.is not about noise or the decibel levels - it's about the sheer uncompromised approach to raw sound design' (Headphone Commute) Record Label: Denovali Style: Experimental

Best known as half of post-classical / electronica duo Piano Interrupted, London based French producer Franz Kirmann goes back to his electronic roots with “Meridians”, his second album, due out on Denovali Records next July. Strongly influenced by movies (he used to be a film editor and filmmakers Wong Kar Wai, Michelangelo Antonioni, Sergio Leone or David Lynch are happily cited alongside his musical influences), Franz Kirmann has a weakness for walls of sounds and fragile melodies, which to him are the sonic equivalent of slow-motion sequences, travelling shots or landscapes in cinemascope. While his first album – Random Access Memories (released in June 2011) - was a sort of compilation of music he'd written since 2005, “Meridians” is a more consistent proposition where tracks were put together using the same technique of assembling tiny audio snippets and samples with a strong emotional content (from a pop vocal to an orchestral extract) and transforming them beyond recognition, to then assemble them and create something new and unique. Music was then composed from the resulting sampling manipulation, adding layers of vintage synthesizers, drum machines and granular soundscapes and resulting in a sound that could be best described as a meeting point between an 80's synthesizer soundtrack and a post-modern electronic record. The album title "Meridians" comes from the Chinese medicine's belief in the Meridian network, a path through which the life-energy flows. The album has a strong sense of an internal journey, the music being both an invitation to introversion and reverie but also suggesting an epic voyage. The meridians could be regarded as vessels carrying emotions, souvenirs, thoughts, travelling through the body and mind, provoking a voyage through one's own life without the need for movement. Nods to the 7th art are not only found in the sound and feel of the album but also in its titles. Each of them suggest a story or moment while remaining vague enough to let the listener fills the blanks. Record Label: Denovali Style: Electronic

Best known as half of post-classical / electronica duo Piano Interrupted, London based French producer Franz Kirmann goes back to his electronic roots with “Meridians”, his second album, due out on Denovali Records next July. Strongly influenced by movies (he used to be a film editor and filmmakers Wong Kar Wai, Michelangelo Antonioni, Sergio Leone or David Lynch are happily cited alongside his musical influences), Franz Kirmann has a weakness for walls of sounds and fragile melodies, which to him are the sonic equivalent of slow-motion sequences, travelling shots or landscapes in cinemascope. While his first album – Random Access Memories (released in June 2011) - was a sort of compilation of music he'd written since 2005, “Meridians” is a more consistent proposition where tracks were put together using the same technique of assembling tiny audio snippets and samples with a strong emotional content (from a pop vocal to an orchestral extract) and transforming them beyond recognition, to then assemble them and create something new and unique. Music was then composed from the resulting sampling manipulation, adding layers of vintage synthesizers, drum machines and granular soundscapes and resulting in a sound that could be best described as a meeting point between an 80's synthesizer soundtrack and a post-modern electronic record. The album title "Meridians" comes from the Chinese medicine's belief in the Meridian network, a path through which the life-energy flows. The album has a strong sense of an internal journey, the music being both an invitation to introversion and reverie but also suggesting an epic voyage. The meridians could be regarded as vessels carrying emotions, souvenirs, thoughts, travelling through the body and mind, provoking a voyage through one's own life without the need for movement. Nods to the 7th art are not only found in the sound and feel of the album but also in its titles. Each of them suggest a story or moment while remaining vague enough to let the listener fills the blanks. Record Label: Denovali Style: Electronic

THE EYE OF TIME is the Solo-Project of French musician Marc Euvrie. Euvrie's musical development is deeply connected with the French DIY punk and hardcore scene, though he has been classically trained as well. He used to play in several bands before he began to translate his personal reflection of our complex world into music, which initiated The Eye of Time. A self titled debut record, released in Spring 2012, evolved firstly. For his debut Marc Euvrie's critical writing exposed a dark look on the present, past and future: Linked to machines and samples, revealing an unnatural direction of the human being's existence. His upcoming release ACOUSTIC is a consequent change of focus. Looking for the motor, the personal needs to survive, he found himself experimenting with only Cello and Piano. Apparently these classical instruments turned out to be a relevant strong signal to go back to the roots with something more natural and simple to start from. Though both records seem to go in opposite directions in terms of sound and concept, a strong underlying layer stays inevitable: The Eye of Time's compositions imply a call to fight for the things we love. ACOUSTIC might be understood as a counterbalance to The Eye of Time's debut. Where the previous record disclosed the coldness of our time, destructing everything that is meant to be our deep nature and presenting the despair of our situation, Acoustic embarks on a little glimpse of hope: Finding some strength to keep fighting for the nature of things and their vital qualities. Marc Euvrie composed six songs for six different locations and points in time, reaching way back to ancient centuries as well as taking a glance into our near future of a yet unknown place. A very personal travel through time and space, between the beauty of nature (Cisjordania, Norway) and the beauty of hope, which allows humans to dream their dreams (Spain, Poland). Marc Euvries own feelings and thoughts about his life evoke mostly in the last two tracks, where he found a form to intensify what keeps him alive. Style: Ambient

Style: Rock/Metal

THE EYE OF TIME is the Solo-Project of French musician Marc Euvrie. Euvrie's musical development is deeply connected with the French DIY punk and hardcore scene, though he has been classically trained as well. He used to play in several bands before he began to translate his personal reflection of our complex world into music, which initiated The Eye of Time. A self titled debut record, released in Spring 2012, evolved firstly. For his debut Marc Euvrie's critical writing exposed a dark look on the present, past and future: Linked to machines and samples, revealing an unnatural direction of the human being's existence. His upcoming release ACOUSTIC is a consequent change of focus. Looking for the motor, the personal needs to survive, he found himself experimenting with only Cello and Piano. Apparently these classical instruments turned out to be a relevant strong signal to go back to the roots with something more natural and simple to start from. Though both records seem to go in opposite directions in terms of sound and concept, a strong underlying layer stays inevitable: The Eye of Time's compositions imply a call to fight for the things we love. ACOUSTIC might be understood as a counterbalance to The Eye of Time's debut. Where the previous record disclosed the coldness of our time, destructing everything that is meant to be our deep nature and presenting the despair of our situation, Acoustic embarks on a little glimpse of hope: Finding some strength to keep fighting for the nature of things and their vital qualities. Marc Euvrie composed six songs for six different locations and points in time, reaching way back to ancient centuries as well as taking a glance into our near future of a yet unknown place. A very personal travel through time and space, between the beauty of nature (Cisjordania, Norway) and the beauty of hope, which allows humans to dream their dreams (Spain, Poland). Marc Euvries own feelings and thoughts about his life evoke mostly in the last two tracks, where he found a form to intensify what keeps him alive. Style: Ambient

Style: Rock/Metal

Sára Vondrásková, known by her stage name NEVER SOL, is a Czech singer and composer based in Prague. Writing her first songs in the age of 15 mostly for herself and studying music for 8 years at the conservatory, the important moment came around 2011, when she started to play her songs constantly at one of the most vibrant Bohemian venues in Prague at Café V Lese. Focused on piano and voice she shared the stages with friends and musicians, becoming more confident about her own artistic approach and vision. Shortly after her first concerts producer Jan P. Muchow got in contact with her and the two years long composing process of her debut album UNDER QUIET began. To give her songs a frame Sára Vondrásková created the rather abstract pseudonym NEVER SOL. The piano has always been central in her music writing, but in the past years she was more and more gaining knowledge in using music production software. Creating sounds turned out to be another starting point to evolve her music and to get rid of the patterns and techniques taught in her classical education. Lyrics are very important and ideas evolve naturally when singing along the first song sketches. Sára Vondrásková possesses a voice that seems impossible to shackle to just one musical setting. Therefore she and producer Jan P. Muchow construed a musical architecture for her debut album, full of details and contrasts in question of instrumentation and arrangements. UNDER QUIET is mainly built from piano based on jazz harmony with a strong sense for haunting melancholic melodies and inscrutably captivating atmosphere. While songs like "Lake", "Lay Down" or "Femme Fatale" are nourished by thundering percussion, warm courses of classical orchestral instruments and majestically background chorals - marked by eclectic musical flourishes - the album knows to counterbalance those epic moments, when highlighting Sára's inimitable husky and soulful voice in the more hushed tracks "Run with the Wolves" (mostly accompanied by guitar) or the duet "Saint Fly" together with her close friend Káca Santrochová. "Places" and "The Dive" have been written in the last months of finishing the album. Pulsing beats as well as synthesizer sounds disclose a venturous character of what to expect from NEVER SOL's near future. Sára Vondrásková is a regular guest singer with Czech musician and Denovali artist FLOEX. Touring and performing with Floex is an essential influence and of course strong female artists like CAT POWER, FIONA APPLE, JESSIE WARE or BAT FOR LASHES keep inspiring her work. UNDER QUIET will be released for the first time outside the Czech Republic and on vinyl format in a new artwork. This edition will feature completely re-mastered songs as well as bonus material, resulting in a sound that manages to be simultaneously powerful, intimate and beguilin Style: Independent

Working across a variety of media John Lemke explores all things sonic through live performance, sound design and his work as a documentary film composer. The Walizka EP is his latest solo release on Denovali Records. Three items in a suitcase, a clarinet, a looper and a microphone - is how it all started. A free improvisation with friend & collaborator Lukasz Bernacki (on clarinet) sparked John's desire to bring his compositional and production approach back down to the most basic elements. Creating simple, yet distinctive rhythms only through tapping contact microphones run into noisy guitar amps became the base for the EP's three tracks, consequently inspiring its live, lo-fi feel. Written and recorded between John's native Berlin and his adopted home of Glasgow, Walizka (Polish for 'Suitcase') somehow absorbs the defining atmospheres of both cities in its core. Previously released digitally as a teaser for John's debut album, the Walizka EP actually presents newer material, progressing the electro-acoustic nature of 'People Do' towards more dub drenched territories. Refining John's blend of prepared piano and field recordings with hand crafted beats and swampy bass lines, this deeply moody and danceable release bends genres with refreshing ease. The EP is furthermore enhanced by a second half of remixes by fellow Denovali artists Piano Interrupted, SaffronKeira and Petrels and the ever elusive Everyday Dust. Far from conventional remixes, these pieces fall more in the category of re-imaginations, complementing the EP's first, more rhythm anchored half with a coherent ambient counterpart. Written, performed, recorded & produced by John Lemke in 2013 Mastered by Alex Gámez at Störung Studio Artwork by Lukasz Bernacki For fans of Boards Of Canada, Pole, Hauschka, Four Tet, The Notwist Style: Electronic

Sára Vondrásková, known by her stage name NEVER SOL, is a Czech singer and composer based in Prague. Writing her first songs in the age of 15 mostly for herself and studying music for 8 years at the conservatory, the important moment came around 2011, when she started to play her songs constantly at one of the most vibrant Bohemian venues in Prague at Café V Lese. Focused on piano and voice she shared the stages with friends and musicians, becoming more confident about her own artistic approach and vision. Shortly after her first concerts producer Jan P. Muchow got in contact with her and the two years long composing process of her debut album UNDER QUIET began. To give her songs a frame Sára Vondrásková created the rather abstract pseudonym NEVER SOL. The piano has always been central in her music writing, but in the past years she was more and more gaining knowledge in using music production software. Creating sounds turned out to be another starting point to evolve her music and to get rid of the patterns and techniques taught in her classical education. Lyrics are very important and ideas evolve naturally when singing along the first song sketches. Sára Vondrásková possesses a voice that seems impossible to shackle to just one musical setting. Therefore she and producer Jan P. Muchow construed a musical architecture for her debut album, full of details and contrasts in question of instrumentation and arrangements. UNDER QUIET is mainly built from piano based on jazz harmony with a strong sense for haunting melancholic melodies and inscrutably captivating atmosphere. While songs like "Lake", "Lay Down" or "Femme Fatale" are nourished by thundering percussion, warm courses of classical orchestral instruments and majestically background chorals - marked by eclectic musical flourishes - the album knows to counterbalance those epic moments, when highlighting Sára's inimitable husky and soulful voice in the more hushed tracks "Run with the Wolves" (mostly accompanied by guitar) or the duet "Saint Fly" together with her close friend Káca Santrochová. "Places" and "The Dive" have been written in the last months of finishing the album. Pulsing beats as well as synthesizer sounds disclose a venturous character of what to expect from NEVER SOL's near future. Sára Vondrásková is a regular guest singer with Czech musician and Denovali artist FLOEX. Touring and performing with Floex is an essential influence and of course strong female artists like CAT POWER, FIONA APPLE, JESSIE WARE or BAT FOR LASHES keep inspiring her work. UNDER QUIET will be released for the first time outside the Czech Republic and on vinyl format in a new artwork. This edition will feature completely re-mastered songs as well as bonus material, resulting in a sound that manages to be simultaneously powerful, intimate and beguilin Style: Independent

Working across a variety of media John Lemke explores all things sonic through live performance, sound design and his work as a documentary film composer. The Walizka EP is his latest solo release on Denovali Records. Three items in a suitcase, a clarinet, a looper and a microphone - is how it all started. A free improvisation with friend & collaborator Lukasz Bernacki (on clarinet) sparked John's desire to bring his compositional and production approach back down to the most basic elements. Creating simple, yet distinctive rhythms only through tapping contact microphones run into noisy guitar amps became the base for the EP's three tracks, consequently inspiring its live, lo-fi feel. Written and recorded between John's native Berlin and his adopted home of Glasgow, Walizka (Polish for 'Suitcase') somehow absorbs the defining atmospheres of both cities in its core. Previously released digitally as a teaser for John's debut album, the Walizka EP actually presents newer material, progressing the electro-acoustic nature of 'People Do' towards more dub drenched territories. Refining John's blend of prepared piano and field recordings with hand crafted beats and swampy bass lines, this deeply moody and danceable release bends genres with refreshing ease. The EP is furthermore enhanced by a second half of remixes by fellow Denovali artists Piano Interrupted, SaffronKeira and Petrels and the ever elusive Everyday Dust. Far from conventional remixes, these pieces fall more in the category of re-imaginations, complementing the EP's first, more rhythm anchored half with a coherent ambient counterpart. Written, performed, recorded & produced by John Lemke in 2013 Mastered by Alex Gámez at Störung Studio Artwork by Lukasz Bernacki For fans of Boards Of Canada, Pole, Hauschka, Four Tet, The Notwist Style: Electronic

MOON ZERO is the enigmatic and ethereal project of London-based Tim Garratt. Composed and recorded entirely in churches, Moon Zero's compositions explore the harmonic chaos of competing frequencies. Denovali Records is pleased to announce the release of Moon Zero's second EP 'LOSS' on vinyl and 2xCD, where the second CD will contain the first EP 'TOMBS' and remixes thereof, previously available only as a limited cassette release. This edition of 'Tombs' will also appear as a separate vinyl release. 'TOMBS' is, especially for a debut, a bold and confident musical statement, which reimagines the possibilities of processed organ and vocal sounds in a live context. The opener 'Dalyan' builds from slowly wavering layers of sound into a crumbling, decaying wall of fuzzed-out, peaking noise, which in turn builds again into ever-moving blocks of chopped loops and feedback, absorbing the listener completely into Moon Zero's musical space. A remarkable listen. 'LOSS' is the result of a year spent working out how to play Moon Zero live and then going on to play concerts. Using a wide range of instrumentation such ad drawbar organ, bass synth, vocals, fx processors and guitar pedals, Loss was written & recorded over 2 days at St George in The East Church in London, October 2013. Whereas 'Tombs' was more concerned with exploring melody in an ambient space, 'Loss' is looking at pulse and movement in sound. Indeed, Garratt states: "I wanted to create a soundscape that had a propulsion to it, a sense of rhythm but without drums. I like sounds which are Ambient 25/04/2014 dynamic in terms of both volume and frequency range, they need to have a life to them and breathe." Composing and recording in churches, the musical works of Moon Zero embody their character; the authentic space and depth to the sound. Some frequencies cause parts of the church to vibrate wildly. One can hear children playing outside and wind blowing through the gaps of the windows. It has life. Garratt adds: "There is a sad solitude of being alone in a large room, and as an atheist I find no comfort in the doctrine that surrounds me." Moon Zero's compositions leave with that isolation on them, the setting is directly influencing the music. Indeed, Loss is inspired by dimming nostalgia and inevitability. Exploring ideas about the end and decay of life cycles, these four tracks constitute a staggering masterpiece. For fans of TIM HECKER, THE HAXAN CLOAK, GROUPER, BARN OWL Style: Ambient

MOON ZERO is the enigmatic and ethereal project of London-based Tim Garratt. Composed and recorded entirely in churches, Moon Zero's compositions explore the harmonic chaos of competing frequencies. Denovali Records is pleased to announce the release of Moon Zero's second EP 'LOSS' on vinyl and 2xCD, where the second CD will contain the first EP 'TOMBS' and remixes thereof, previously available only as a limited cassette release. This edition of 'Tombs' will also appear as a separate vinyl release. 'TOMBS' is, especially for a debut, a bold and confident musical statement, which reimagines the possibilities of processed organ and vocal sounds in a live context. The opener 'Dalyan' builds from slowly wavering layers of sound into a crumbling, decaying wall of fuzzed-out, peaking noise, which in turn builds again into ever-moving blocks of chopped loops and feedback, absorbing the listener completely into Moon Zero's musical space. A remarkable listen. 'LOSS' is the result of a year spent working out how to play Moon Zero live and then going on to play concerts. Using a wide range of instrumentation such ad drawbar organ, bass synth, vocals, fx processors and guitar pedals, Loss was written & recorded over 2 days at St George in The East Church in London, October 2013. Whereas 'Tombs' was more concerned with exploring melody in an ambient space, 'Loss' is looking at pulse and movement in sound. Indeed, Garratt states: "I wanted to create a soundscape that had a propulsion to it, a sense of rhythm but without drums. I like sounds which are Ambient 25/04/2014 dynamic in terms of both volume and frequency range, they need to have a life to them and breathe." Composing and recording in churches, the musical works of Moon Zero embody their character; the authentic space and depth to the sound. Some frequencies cause parts of the church to vibrate wildly. One can hear children playing outside and wind blowing through the gaps of the windows. It has life. Garratt adds: "There is a sad solitude of being alone in a large room, and as an atheist I find no comfort in the doctrine that surrounds me." Moon Zero's compositions leave with that isolation on them, the setting is directly influencing the music. Indeed, Loss is inspired by dimming nostalgia and inevitability. Exploring ideas about the end and decay of life cycles, these four tracks constitute a staggering masterpiece. For fans of TIM HECKER, THE HAXAN CLOAK, GROUPER, BARN OWL Style: Ambient

Artist: Omega Massif Label: Denovali (Cargo Records)

Artist: Moon Zero Label: Denovali (Cargo Records)

The Silver Chimney Club / Wat Tyler comprises two long form tracks written between "Onkalo" and the latest Petrels album "Mima". Originally released for a short while in digital format they're now presented here in remastered form with new artwork for this release. Asked about the background of the two tracks, Petrels' Oliver Barrett comments: "The Silver Chimney Club was written to mark the death of my grandfather, Ernest Barrett, who passed away at the end of last year. A civil engineer during his working life, The Silver Chimney Club was the name of a group formed of fellow work colleagues who would meet up on a semi-regular basis - I suspect more for social than professional reasons. As a tribute I'm not sure what he would have made of it but I wanted to create something that combined the industry he was a part of with his love of music that was passed on down to me. My grandfather was a socialist and Labour supporter (by which I mean the original post-war, pre-Blair party) - another thing I inherited from him, and which ties with the second piece on this release. Wat Tyler is named after the leader of the Peasants' Revolt in England in 1381. Ostensibly a revolt against the poll tax, the movement was built on an undercurrent of a desire for social change and a demand for an end to the stiflingly limiting social structures of the time. Initially successful, the rebellion was abruptly cut short when Wat Tyler was murdered by the Mayor of London after Tyler supposedly insulted the young kind of England, Richard II during a parley. Over six centuries on, a lot less has changed in the world than those involved in the Peasants' Revolt might have hoped." Since releasing his debut "Haeligewielle" in 2011, Petrels has toured across Europe and shared a stage with the likes of Tim Hecker, FIRE!, Nate Young (Wolf Eyes), Trouble Books, Fennesz, Nadja, and Hans-Joachim Roedelius (Cluster). Having also collaborated with and provided remixes for artists as varied as Duane Pitre, Brassica, Talvihorros and Max Cooper, Petrels' output is proving to be thrillingly eclectic and unpredictable. For fans of TIM HECKER, FENNESZ, HANS- JOACHIM ROEDELIUS Style: Rock/Metal

The Silver Chimney Club / Wat Tyler comprises two long form tracks written between "Onkalo" and the latest Petrels album "Mima". Originally released for a short while in digital format they're now presented here in remastered form with new artwork for this release. Asked about the background of the two tracks, Petrels' Oliver Barrett comments: "The Silver Chimney Club was written to mark the death of my grandfather, Ernest Barrett, who passed away at the end of last year. A civil engineer during his working life, The Silver Chimney Club was the name of a group formed of fellow work colleagues who would meet up on a semi-regular basis - I suspect more for social than professional reasons. As a tribute I'm not sure what he would have made of it but I wanted to create something that combined the industry he was a part of with his love of music that was passed on down to me. My grandfather was a socialist and Labour supporter (by which I mean the original post-war, pre-Blair party) - another thing I inherited from him, and which ties with the second piece on this release. Wat Tyler is named after the leader of the Peasants' Revolt in England in 1381. Ostensibly a revolt against the poll tax, the movement was built on an undercurrent of a desire for social change and a demand for an end to the stiflingly limiting social structures of the time. Initially successful, the rebellion was abruptly cut short when Wat Tyler was murdered by the Mayor of London after Tyler supposedly insulted the young kind of England, Richard II during a parley. Over six centuries on, a lot less has changed in the world than those involved in the Peasants' Revolt might have hoped." Since releasing his debut "Haeligewielle" in 2011, Petrels has toured across Europe and shared a stage with the likes of Tim Hecker, FIRE!, Nate Young (Wolf Eyes), Trouble Books, Fennesz, Nadja, and Hans-Joachim Roedelius (Cluster). Having also collaborated with and provided remixes for artists as varied as Duane Pitre, Brassica, Talvihorros and Max Cooper, Petrels' output is proving to be thrillingly eclectic and unpredictable. For fans of TIM HECKER, FENNESZ, HANS- JOACHIM ROEDELIUS Style: Rock/Metal