Based in Oslo, Norway, composer Helge Sten has been crafting this music since the early 90s, a deeply atmospheric, grainy minimalism that slows time down and explores the very particles of sound itself. The Deathprod concept arose in 1991 when Sten realized his complex array of homemade electronics, samplers, sound processing and analogue effects – cumulatively known as the “Audio Virus” – could add a musical dimension above and beyond the merely technical. Almost obsolete samplers and playback devices distort and transform sounds into unrecognizable mutations of their former selves. The virus breeds layers of complex and overlapping sonic debris, creating a kind of cellular composition. Sten is a founder member of Norwegian improvising group Supersilent and has produced records by Motorpsycho, Susanna, Jenny Hval, Arve Henriksen and others. In 1998, alongside Biosphere, he electronically transformed the music of Norway’s leading contemporary composer, Arne Nordheim. More recently he composed music for Harry Partch’s legendary invented instruments for the Cologne based EnsembleMusikfabrik.

Now the core trilogy of Deathprod albums will be released for the first time on vinyl and download on May5th via Smalltown Supersound. Cut to vinyl by Rashad Becker at Dubplates and Mastering in Berlin, they form Deathprod’s complete official canon.

Hailing from New Zealand, Fis produces physical, spirited, exploratory electronic music very much informed by his surroundings and connection to the natural world. After cutting his teeth on powerful sound systems throughout NZ, Oliver Peryman dropped a string of stand out EPs on Samurai Horo, Exit, and Tri Angle in 2012/13, followed by epic A/V performances on the main stage at Berlin Atonal in 2014 and 2015, and an EP and his debut LP “The Blue Quicksand is Going Now” on London’s Loopy in May 2015.

 

In 2016 he has released his sophomore record, From Patterns to Details, via Subtext. The album’s seven tracks course with a seemingly chaotic, naturally evolving vitality, using an unquantised palette of atomised sounds to model the processes by which nature makes the most efficient use of its surroundings, and its perennial cycle of growth and decay, in a way that we can comprehend beyond verbal communication. Operating on a scale of micro-to-macro pattern recognition, Fis integrates the spirits of rugged landscapes with its flora and fauna in a grittily fluid sort of horizontal gene transfer between personal and external systems … to put yourself thru the process of his album is enlightening in a way that defies words. 

The English poet Rick Holland, who has collaborated with Brian Eno and Jon Hopkins, was so moved by Fis’ work that he wrote a poem for each of the tracks.

A portuguese premiere promoted by Semibreve.

kyoka works as a musician/composer in berlin and tokyo and is known for her chaotic and direct musical approach and a heavy-rough sound, resulting in a broken pop-beat with experimental yet danceable rhythms.

she grew up in japan, having piano, flute and syamisen lessons during her childhood. while listening and recording radio shows to tape, she became attracted by the possibilities of scratching tapes back and forth and soon she begun to use the tape recorder as her toy, cutting, editing and producing first rough sounds.

 

in 1999, she started to explore the potential of synthesizers/computers and during her stay in los angeles from 2004 to 2008, she enjoyed some first success when her songs charted at local radio stations.

 

in 2008, her first mini-album »ufunfunfufu« was released on the berlin-based onpa))))) label, followed by »2ufunfunfufu« in 2009 and »3ufunfunfufu« as an exclusively digital release.

2012 saw the release of her first 12" ep »iSH« on raster-noton, which is now to be followed by »is (is superpowered)«, her first full length album due in may, 2014.

a quote by ryuichi sakamoto may underline the exceptional talent of kyoka: "panic! it sounds like a toy box turned up side down. how can she make such pretty and chaotic sounds!? i love it!"

Valgeir Sigurðsson is an Icelandic composer and producer. As much as he could be described as a speculative post-minimalist with a challenging post-punk sensibility and a fascination with glitch and improvisation, conventionally an acoustic classical musician with deep working knowledge of the astonishing sonic potential of electronics and an unabashed love for the beauty and brains of weird pop, Valgeir Sigurðsson is an inspired, industrious maker of a spectacular northern music, of an uncanny soul music, a fiendish, visceral folk music.

As the editorial and curatorial edge of the Bedroom Community label he founded in 2006, his work with the likes of Nico Muhly, Ben Frost, Paul Corley, Sam Amidon and Daníel Bjarnason features a constantly evolving appreciation of the diversity of music in the world. Three solo works, Ekvílibríum (2007) Draumalandið (2010) and Architecture of Loss (2013) will be followed in 2017 by the intensely reflective Dissonance.

Elsewhere, with an enterprising understanding of where forward looking, genre liquefying modern music is moving, his collaborations have included Björk, Bonnie ‘Prince’ Billy, Feist, Damon Albarn, CocoRosie, Sigur Rós, Jóhann Jóhannsson, Brian Eno, Tim Hecker, Anohni, Oneohtrix Point Never and Alarm Will Sound. This series of prolific personal and professional connections with others has helped him conceive an intelligent, private modern way of producing music that elegantly compresses centuries of patient technique and refinement plus decades of innovative electronic experimentation and post-pop progress into one place.

As adept at working in electronic and studio settings, and generating evocative soundtracks for film or composing orchestral and chamber pieces, his work for theatre, dance and installations demonstrates how Sigurðsson thinks like a painter and sculptor as much as sound artist and musician.