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viewing 1 To 25 of 27 items
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WHYT 087LP
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$29.50
PREORDER
RELEASE DATE: 1/31/2025
Wojciech Rusin presents Honey for the Ants via AD 93. Honey for the Ants completes an "alchemical trilogy," after The Funnel and Syphon. These albums are informed by mystical and gnostic texts, celebrating the weird, unhinged and occasionally beautiful. In this album the tonalities have shifted from mediaeval and renaissance to modernist dissonances. New singers and instrumentalists contribute to an emotional and textural richness achieved in a collaborative process. Distant musical periods, real and fictitious, are nonchalantly interwoven to create a delirious mongrel that salutes the imagination. Wojciech Rusin is a Polish-born audio-visual artist based in London. He draws inspiration from alchemical and gnostic texts, early renaissance choral music and Eastern European mythologies. He released Syphon LP on AD 93 in 2022 and The Funnel LP on Akashic Records in April 2019. He designs and makes 3D-printed reed instruments, reworking ancient designs with contemporary 3D modelling technologies. In 2020 he released Meat for the Guard Dogs on Cafe OTO's Takuroku digital imprint, and the Rufus Orbis cassette for Boomkat Editions/Documenting Sound series. His music has been featured on BBC Four and he has worked for The National Theatre and The Southbank Centre.
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WHYT 081LP
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Jump Ship, Sit Lean, Be Still, Stand Tall is a collaborative LP from BZDB, comprised of Duncan Bellamy and Belinda Zhawi (MA.MOYO). The record is a collection of sonic-poetry setting Zhawi's illuminating, elliptical words in dialogue with diffuse, explorative music and sound by Bellamy. Together they render these disparate forms into something distinct, melancholic and luminous, fluctuating between expansive contemporary classical arrangements and intimate layered vocal experiments. Belinda Zhawi (b. Zimbabwe) is a literary and sound artist based in London and Marseille, author of Small Inheritances, and experiments with sound/text performance as MA.MOYO. Her work explores African diaspora research and narratives, and how art and education can be used as intersectional tools. Her literary and sound works have been featured on various platforms including The White Review, Vogue, NTS, Boiler Room and BBC Radio. She's held residencies with TriangleAsterides, France; Cove Park, Scotland; Serpentine Galleries; ICA London and was a Brixton House Associate Artist 2022-24. Belinda is the co-founder of literary arts platform, BORN::FREE. Zhawi is working on her first full poetry collection. Duncan Bellamy (b. Cambridge, UK) lives and works in London. Encompassing painting, photography, sound and music, his diverse practice explores the correlation and discrepancy of our present with the distant past. He is a founding member of Mercury Prize nominated Portico Quartet and has contributed sound work to the artist Hannah Collins audio-visual installation I Will Make Up A Song as well as to Hania Rani's latest album Ghosts. Bellamy is working towards a solo exhibition and an album of new music.
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WHYT 079LP
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Formed in Bristol, four-piece Lice have become one of UK experimental rock's most inventive and ambitious outliers. Their second album Third Time At The Beach is a three-part epic exploring the struggle to better understand the world. Darting between minimalism, rock, techno and more, it sends listeners hurtling through time and space: featuring a cast of astronauts, cavemen and dinosaurs. This follows Lice's internationally acclaimed debut album WASTELAND: What Ails Our People Is Clear (2021). Third Time At The Beach's concept is expressed through three movements. The first ("Unscrewed," "White Tubes," "Red Fibres") presents the child being introduced to the world, hammered into shape through prevailing culture, and realizing they have reached adulthood with a blinkered understanding of the world. The second ("To The Basket," "Wrapped In A Sheet," "Scenes From The Desert," "Mown In Circles") is a disorientating, alien sequence: reevaluating fundamental concepts including money, time, nationhood and language. In the third ("Fatigued, Confused," "Third Time At The Beach," "The Dance"), the individual embraces these new ideas -- granting them a changed understanding of the world, and more agency in the path they take through it. Everything is always changing in Third Time At The Beach. The album shifts from lush piano balladry to crushing industrial, and from swampy avant-garde compositions to triumphant rock freakouts. Employing vocal manipulation and field recordings, as well as cutting together studio recordings and home demos, the band produces a spatially elastic, collage-like effect. The album, like the ideas being reached within it, presents a work-in-progress. Lyrically, the record employs a scattershot style to present the experience of learning (or "unlearning"). The listener visits ancient civilizations, the Industrial Revolution, outer space and the land of the dinosaurs: encountering mediaeval farmers, silver miners, cavemen, Napoleon and Satan. Speaking on the record, the band say: "This album's about trying to understand the world and everything in it: history, science and the way we explain it all to each other. It's a celebration of feeling confused or intimidated by the processes that shape our lives."
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WHYT 082LP
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You Never End is the third album from Valentina Magaletti, Tom Halstead, and Joe Andrews (Moin) out via AD 93. Its title alone expresses the teetering and shifting nature of both the album and band. This record marks the Moin's shift into a new phase with vocal collaborations across the album from Olan Monk, james K, Coby Sey and Sophia Al-Maria. The album's collaborators all have voices that are alluring in their own right whilst hard to pin down: from james K's ethereal, reverb drenched vocals, Coby Sey's words that bounce and echo across London's concrete streets and Olan Monk's emotive songwriting, while artist Sophie Al-Maria's voice and thoughts are known to stretch across her multidisciplinary practice as an artist, filmmaker and writer. The unique mystique of each collaborator is maintained throughout the record while simultaneously opening Moin up to new possibilities, in a gentle shifting alchemy. Continuing their enigmatic re-configuring of the traditional band, Moin use a mix of conventional and unique production and compositional techniques. Subtly re-framing the current conversation about what the band in 2024 needs to be, Moin walk the line between what's reassuringly familiar and what's unsettling and inquisitive. You Never End is a more sensitive record in sentiment, it re-contextualizes grunge, shoegaze and indie rock with a weirdly comforting melancholy while still sounding direct and alive. Showing Moin at their most accessible, the vocal collaborations bring the most articulate moments and lucid emotion while still remaining uniquely within Moin's established world. Alongside this, the record fine tunes the elements of electronic production that have always been a feature of the band's unique sound in a deeply subtle way. Elements are simpler and more direct, offering robust functional support as well as textural and emotional resonance. Together they show the potential for both practices to intertwine. You Never End is both produced and mixed by Tom and Joe, demonstrating the extended range of control the pair have over the band's sound, and their ability to truly hold together Moin's intricate world.
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WHYT 086LP
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Artist, composer and producer James William Blades' score Pare De Sufrir is presented via AD 93. Pare De Sufrir (translating to 'End of Suffering') is the official soundtrack to A.G Rojas' film of the same title. Spanish-born, Southern California-raised filmmaker AG Rojas is known for creating videos and working with the likes of Jamie xx, Gil Scott Heron, Kamasi Washington, Spiritualized, and Mitski. Rojas' sensitive eye and subjectivity has brought him from the world of music videos to creating his first independent film: a 48-minute featurette following three people as they navigate the liminal space between life and the afterlife in an attempt to heal themselves and each other. Rojas reached out to Blades after coming across his score for Keeping Time (dir. Darol Olu Kae). An intimate and unusual process unfolded. Rojas explained to Blades the personal narrative of the film, the two sharing unfurling conversations on the nature of loss and the human spirit. But Blades did not watch the film and instead worked on instinct to build out a conception of how the score would unfold, shaping its operatic, textural and granular tone. Blades went on to record the score in full, with orchestra and choir, without going back to Rojas for feedback, aware that he was taking a complete risk. The score's pull is reflective of the process of grief itself, how its moods and memories oscillate up and down into the past and lost futures, Blades hitting all those spaces with diverse and stretching notes. The piano holds the memories of Blades and Rojas' grandmothers, who both had out-of-tune pianos sitting in an empty room. The Silogo-De-Oro choir sing throughout, reminiscent of the broken phonetics of grief, the build-up and release of tension and the inability to articulate complete sound or words. The harmony stabilizes and then becomes distant, taking the griever away from the lushness of life and into the realms of loss, death and dream-like realities, as mirrored in Rojas' layered vignettes. As the score closes, the harmonies become richer and fuller, marking a return to life. Understanding the power of sound to both respond to and drive narrative, Blades' score weaves together field recordings, half-remembered conversations, choral movements, string arrangements and electronic fragments into a nuanced and evocative whole.
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WHYT 076LP
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$26.00
PREORDER
RELEASE DATE: 11/1/2024
Gaister (Olivia Salvadori, Akihide Monna, and Coby Sey) bring their self-titled LP out via AD 93. The record captures the embodiment of an encounter, one moment of the trio's ongoing relationship as artists who communicate with each other through sound, voice and music. After orbiting in the same circles at each other's shows around 2016 in London, Sey and Salvadori eventually crossed paths. In 2017 Sey joined Salvadori's artistic collective Tutto Questo Sentire on a residency in Capalbio, the southernmost part of Tuscany, Italy, and started working together. Down the line the pair ended up joining with Akihide Monna (of Bo Ningen), performing together in 2019 at Camden Art Centre on Cork Street in London. When the trio come together something new is created, brought out after laying dormant, like an Icelandic Geysir. The setting of this particular encounter amongst the trio is essential in the album's sonic palette, process and emotion. The album was recorded in Iceland at Greenhouse Studios, where the trio formalized a set of intuitions; how nature can provide a guideline in the choices of the instruments, their materials and related rhythms; reflections on the voice as a sculptural element, pure sound and words. A purity, spirit and essence, is pulled from the trio, in spite of their varying mother tongues (Italian, Japanese and English), musical genres, and identities to create something new. Olivia Salvadori's operatic vocals run free, flowing and moving in synergy with Monna's rhythmic drumming. Sey, who is arguably best known for rapping and producing, sings freely with Salvadori, their voices braided together like a waterfall. This flowing nature is reflected in the album itself, its timestamps and scores are marked by encounters rather than tracks themselves. This album can be considered as one constant piece and a journey of its own that is not foreclosed, in keeping with the band's ethos of constant conversation and collaboration. Gaister are able to synergize, hold and transform this varied emotional and primordial matter together through a deep shared trust and intuition.
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WHYT 039LP
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Moin is a three-piece group consisting of Joe Andrews and Tom Halstead of Raime alongside longtime collaborator Valentina Magaletti of Tomaga, Shit & Shine & CZN. Released on AD93, Moot marks a creative left turn for the label and a pared-down studio approach for the artists involved. According to Moin, "the record was made as an experiment really, it felt like the right time to play on the fringes of this kind of music. The priority was to be direct at first and then change the edges perhaps. Make something to experience rather than something as a spectacle." Made using traditional live recording techniques with some sparingly applied sampling and postprocessing in the studio afterwards, it's a heady interpretation of the mist between post-punk, hardcore and down-tuned US stoner rock. There's flashes of Slint in the hollow locked in percussion and ominous bass interludes, there's elements of the various influential projects of Justin Broadrick, Steve Albini, or even Kevin Shields with the warm distortion across tracks like "It's Never Goodbye" and the rhythmic complexity in the tightly wound, menacing time signatures. A no-frills rediscovery of the music which informed their youth, Moot! is the culmination of three visionaries stripping things back to the essential elements. A visceral and timeless experience that's highly recommended.
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WHYT 052LP
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Paste is the second album by Moin, released on the October 2022 via AD 93. The follow up to their well-received debut album Moot!, the record draws influences from alternative guitar music in its many forms, using electronic manipulations and sampling techniques to redefine it's context, not settling on any one style but moving through them in search of new connections. By exploring these relationships, Moin delivers another collage of the known and unknown, punctuated by words that are just out of reach.
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WHYT 075LP
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$24.00
PREORDER
RELEASE DATE: 10/18/2024
Process of Elimination, El Hardwick's sophomore's album, explores sickness as a teacher for anti-capitalist modes of being; a rewilding of the self. Out via AD 93, the record is the product of an attempt to be indestructible; this sickness has an unknown diagnosis. El Hardwick's album follows their experience of becoming chronically ill after years of treating their body like a machine. El explains: "After failing to receive a diagnosis, which is only given via a lengthy process of elimination, I instead turned to autonomous modes of healing rooted in mysticism and herbalism; putting aside the need to be defined. My journey towards accepting my disability is told in parallel to my coming-out as trans. I also see my non-binary identity as a process of elimination: I am neither gender, both, in-between. It is through rewilding myself from capitalism and gender normativity that I learn how to connect to my body and the earth; no longer allowing either's energy to be extracted from. The less I sought answers, language, metrics and analysis, the more peace I found." Silvia Federici's Caliban And The Witch influenced the album in telling how dissident women and gender nonconforming people have been historically labelled as hysterical and heretical when questioning the cartesian dualist mindset that laid the groundwork of capitalism. Donna J Haraway's Staying With The Trouble and Jenny Odell's How To Do Nothing were further inspirations in how humans can rebuild relationships with the earth. The album features a number of London-based musicians and friends: Alex McKenzie (Gentle Stranger, Shovel Dance Collective, Caroline) on clarinet, flute and saxophone, Laura Misch on saxophone, Marysia Osu (Levitation Orchestra) on harp, Memory Play on co-production, double bass and saw, and Sasha Wilde on vocals. El Hardwick is a multidisciplinary artist living in London, UK. Identifying as trans non-binary, their work weaves narratives between queer world making practices and how listeners can heal on a damaged planet.
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WHYT 059LP
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World-renowned drummer-composer Valentina Magaletti teams up with music producer and multi-instrumentalist Zongamin in their East London studio to create an album of dub/post-punk influenced material, featuring Vanishing Twin's Cathy Lucas, Coby Sey, and Venus Ex Machina. Dub postcards, east London boats, reflections in the eye of a cat, swallowing your tarot card, spitting echo from calming substances, yellow paint on the shut-down local brunch spot, post-punk golden rules, shaking metal memories in a glass jar. Absence of sound shaped in summertime 2022.
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WHYT 080LP
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Sold out, repressed expected in 2025... The Tumbling Psychic Joy of Now is a ritualistic and expanding collaborative album between Holy Tongue and Shackleton. Holy Tongue are a trio composed of Valentina Magaletti, Al Wootton, and Susumu Mukai. Accomplished musicians in their own right, they combined to create psychedelic, free-form, high energy, spiritual dub-dance music across a trilogy of critically acclaimed EPs and their debut album Deliverance and Spiritual Warfare. Their high energy live performances invoke the experimental dub of On-U-Sound, the frenetic rhythms of 23 Skidoo, Liquid Liquid, and ESG, and the spiritual energy of free jazz. The trio's dynamic collaboration extends in their meeting with Shackleton, one of the most original and critically lauded voices in electronic music. Shackleton has moved from the depths of the early 2000s dubstep underground to a diverse range of international collaborations and commissions over the last two decades. After honing his hypnotic beats on the cult UK record label Skull Disco, his unique rhythmic touch is now heard on some of the most adventurous and progressive projects that have emerged from the European dance scene in recent years. Shackleton's work explores conceptual and spiritual themes with an emotional depth beyond most artists working in European dance music today, and his visions of inner space, apocalypse and dread are more-timely than ever before. This record was conceived after Holy Tongue and Shackleton shared a festival line up in Sweden. Holy Tongue were initially keen to get Shackleton to remix one of their existing tracks but they soon decided to have a project together and work on some fresh new music, allowing Shackleton to do something more creative with it in the studio. Thus, Holy Tongue recorded a collection of raw material in the studio and sent it to Shackleton. The result is far more than the sum of its parts. A psychedelic, ritualistic, dub trip, oscillating between the maximal and the minimal, the internal and the external, the micro and the macro, ecstasy and agony, all The Tumbling Psychic Joy Of Now.
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WHYT 077LP
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Meaning shifts throughout Martha Skye Murphy's debut album Um with songs that meld moments of baroque beauty with crashes of electronic noise, employing textures that are by turns organic and artificial, hi-fi and lo-fi. Collaborations with the likes of Claire Rousay and Roy Montgomery are finely intertwined with the fruits of rigorous studio sessions with producer Ethan P. Flynn. Lyrically Martha conjures images inspired by everything from Ancient Roman hand-binding torture to a Fred and Ginger tap routine. The listener is catapulted across landscapes and left disoriented. "First Day" consists of individual notes recorded remotely on different instruments across Texas, New Zealand and London, coalescing into one hovering chord around a field recording Murphy took while wandering New York. It's telling that when Marta Salogni, who mixed the album, first heard Um, she commented that it was like experiencing a memory of an experience that hadn't yet happened. As a vocalist Murphy has a rare talent for transformation, from her intimate, cracked whispers over the hypnotic drift of "Theme Parks," to her piercing disembodied wails as "Kind" implodes into a cataclysm of electronic noise. Elsewhere, she offers little more than a distracted hum. In the studio, she and co-producer Ethan P. Flynn focused on maximizing those vocal capabilities by teasing out different personas. On the crystalline "Pick Yourself Up," part of which she wanted to sound like a lullaby, she cradled objects as she sang in order to draw out the maternal. It would be an oversimplification to say that Murphy inhabits different characters on the record. Rather, she extracts different characters from the depths of her own psyche who gesture towards the fact that "the self" is ultimately a vague and impermanent thing. She can be both exorcist and orator.
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WHYTBLU 007EP
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Two tracks aimed at the floor, with a running theme being the human voice, from screaming to singing and laughing. Happa: "Vocals aren't a rarity in dance music obviously, but I wanted to experiment with them in a more instrumental and textural sense. Plus, I think you don't hear enough kinda weird shit in the more formulaic dance tunes -- only on the more experimental edges of club music ya kno?"
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WHYT 024EP
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Inspired by cosmology and ancient mythology, the Anunaku project is a continuation of TSVI's debut album Inner Worlds (2018) and aims to explore the use of various drums from around the world combined with elements of UK underground club music.
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WHYT 023EP
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Carl Gari are a trio of German musicians made up of Jonas Yamer, Till Funke, and Jonas Friedlich. Abdullah Miniawy is an Egyptian musician and poet, currently based in France. Whities share their latest release with you, a six-track extended EP, The Act Of Falling From The 8th Floor. A meditative and provoking listen, focused around the poem in "B'aj بعاج" that forms the lyrical centerpiece of the record. In this song, Abdullah is the protagonist, jumping from the eighth floor of a building in Cairo. While falling he describes a unique scene happening on every balcony, painting a dark picture of Egyptian society. Carl Gari produced and mixed the record, providing a melancholic backbone for Abdullah's lyrics and melodies.
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WHYTBLU 005EP
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Forest Drive West debuts on Whities with two sub heavy rollers perfectly crafted to move human limbs.
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WHYT 020LP
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Made up of six tracks but presented as two 17-minute pieces, Leif's Loom Dream meanders through warm chord-scapes, glistening synths, and loose live percussion, woven together with field recordings and ambience. Loom Dream invites the listener to peacefully reconnect with the living world by placing one amongst lush sonic verdure.
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12"
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WHYTBLU 006EP
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A three-tracker by Pugilist that explores cross sections of bass, breaks and techno. There's real variation to the styles here but all have the Australian producers signature mastery of rhythmic low end.
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12"
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WHYTBLU 003EP
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Netherlands' Upsammy shares 12" space with the UK's BFFT. Whities were glued to Upsammy's release on Nous'klaer Audio from first listen; we were delighted to work with her on Blue 03. The Dutch producer and De School resident has provided two tracks, "Vacate Or Annihilate" and "Warm Puddles", the first of which is cathartic expulsion of energy stemming from a transitional period in Upsammy's life, the second a contemplative, balmy antidote to the tension. Stoke-born Leeds-based BFTT contributes the bass-heavy "Kueen" with an intricacy, preciseness and evolution; "Enin" is a driving but delicately hypnotic track with a melancholic leaning.
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12"
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WHYTBLU 004EP
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Blue 04 is two strong cuts by E-Talking and Ilian Tape's Laksa!
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WHYT 017EP
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Repressed in Whities house sleeve. Nathan Micay (formerly Bwana) steps out under his own name for the first time with a pair of glistening panoramas well-primed for those exultant hours of the early morning. In Nathan's words: "These are without a doubt the most personal tracks I have written to date. I made them as a sort of exercise in self-therapy during my first few months in Berlin. As time has gone on, more meanings have unfolded with each listen. For me, these tracks are a rebuttal to the endless churn of negativity in the news and online."
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WHYTBLU 001EP
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Blue 01 comes in the form of a split 12" release from Tessela and Lanark Artefax. It features Tessela's "Glisten", a track we've loved and coveted since Joy Orbison slipped into his essential mix in 2016. Alongside that is the "Intimidating Stillness Mix" Of Lanark's "Touch Absence", which was first released as a limited edition Whities dubplate back in 2016. It has been remastered by Beau Thomas at Ten Eight Seven; artwork designed by Alex McCullough.
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WHYT 014EP
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Whities 014 is by Londoner and master digger, Jules Venturini. It's a three-track 12" of discordant choral euphoria. Artwork by Alex McCullough.
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12"
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WHYT 012EP
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Minor Science returns with more genre defying bass experiments on this two-track Whities 12". The sleeve designed by Alex McCullough, is a 12" accurate scale reproduction from Willem Claeszoon Heda's painting "Still Life With Gilt Cup" (currently hanging in Amsterdam's Rijksmuseum).
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12"
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WHYT 011EP
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A skyscraper extending its fingertips upwards, outstretched and pointing towards an unmarked ceiling that extends even more itself, spinning and slicing its way through the horizontal and the layers that are see through and infinite and stacked one on top of the other.
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viewing 1 To 25 of 27 items
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