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viewing 1 To 9 of 9 items
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ODA 001FT-LP
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Artist and multi-instrumentalist Flaer looks to the landscape to explore pastoral melancholy on debut release, Preludes. It is released in a second edition black vinyl, with an alternate cover artwork. Ensconced in his family home in rural Leicestershire in the early months of 2020, painter and musician Realf Heygate (b. 1994) picked up his childhood cello for the first time in several years and began to play. Setting himself parameters to only record onto 4-track tape with acoustic instruments -- cello, piano and acoustic guitar -- he assembled a suite of instrumental compositions that form the basis of Preludes, his debut album as Flaer and the inaugural release on Odda Recordings. Channeling the tension and unease between the pastoral idyll of the English countryside and the darkness which lurks beneath the surface, the mini-album draws inspiration from the analogue aesthetic of 1970s folk horror films, weaving field recordings of birdsong, church bells and the natural environment into chimerical melodies that reflect on Heygate's childhood experiences of rural England. Developed over a series of intuitive musical enquiries, the mini-album's uncanny quality emerges from combining raw demo takes with overdubs of almost orchestral grandeur. As a painter, Heygate's practice takes artefacts through sequences of reproduction that embrace the fluctuating materiality of the copy. Describing his artistic practice as one of self-erasure, music instead provides Heygate with a more personal and autobiographical outlet. Where the two worlds combine is on Preludes' striking artwork, which features paintings of 13th-century stone carvings from the font of the church in the town where he grew up. Speaking to a time where people were connected to the land in a more profound way, each symbol is assigned to a track on the album, which Heygate likens to giving them a title.
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ODA 008LP
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$30.50
PREORDER
RELEASE DATE: 5/29/2026
Church Andrews and Matt Davies return with Tilt, a pinpoint collection of skewed microtonal and discordant compositions for percussion and digital synth. Tones ascend but don't resolve, rhythms loop, collapse and reassemble, patterns wriggle with geometric precision, sounds tilt, the edges fray. Kinetic, elastic, wonky without being obtuse, Church Andrews (aka Kirk Barley) and Matt Davies new LP Tilt is the culmination of six years of creative collaboration, refining and redrawing the relationship between Davies' virtuoso percussive practice and Barley's off-kilter synthesis. Where their 2024 release, Yucca, took rhythmic cues from the Fibonacci sequence, Tilt explores a more intuitive approach, returning the duo to a minimal sound interrogating the interplay of chance and control, system and body, freedom and mechanization. Featuring prepared guitar, finely resonant muted percussion and a crisp palette of digital synths, it draws on the pair's long-standing interest in alternate time signatures. Here, a tripped-up 11/8 beat gives "Yokai" a disorientating quality, threading unusual paths through the playful, mysterious 5-note Hirajoshi scale -- a pentatonic scale from Japan hinted at in the track's playful reference to a supernatural spirit in the country's folklore. Using a simple on-off system between drum and synth to trigger a Shepard tone -- an auditory illusion of a sound that ascends or descends in pitch without actually changing -- "Shepherd" revels in the stripped-back simplicity of its sonic palette, where the nuance lies in what Barley calls "subtleties in the timbre of the sounds" as they dialogue with Davies' warped loops. It's these finely tuned melodic drum tones and an eerily abstracted prepared guitar that give "Debris" its uncanny feel, yet never feeling overly controlled. Like the album's meticulous, graphic artwork, Tilt seeks the shifting ground between the physical and the digital, as acoustic tones are tweaked and disambiguated into new and unexpected forms. Tilt represents Church Andrews and Matt Davies' ongoing collaboration in its purest form -- a hyper-defined evocation of gravitational potential in their live sound.
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ODA 007LP
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$30.50
PREORDER
RELEASE DATE: 5/22/2026
Bristol duo Pume Orenge unspool a world of spectral electronica from cassette loops and instrumental improvisation on their debut album Angel By Milo for Odda Recordings. It is a world that opens draped in ferric hiss. A fog of sound, dense and yet not quite there, catching the light in strange shades and ambient drifts. Looping and receding, looping and receding, as pucks of static burst like faraway fireworks on a cold winter's night. Sound sources obscured, ambiguous, not quite what they seem. Angel By Milo takes its lead from the analogue process and textures by which it was made. Percussive and melodic loops were established, manipulated and responded to with instrumental improvisation, in a give-and-take with the materiality of the medium. Across these seven intricately developed tracks, the sound fluctuates between the cinematic and the introspective, at times melancholy, at others verging on a kind of restrained anger, before the calm sets in once more. It is music for the small hours, awash with the grainy stuff of memory. Embedded within Bristol's independent scene, Pume Orenge's quiet debut also speaks to the duo's shared roots in the area, and like many of Odda's previous releases, contains a sensitivity to place and atmosphere, even when these are no more than implied. Angel By Milo builds on the DIY ethos of Pume Orenge's 2023 self-titled debut EP, whose tracks were recorded live in single takes, now honing a more intentional, purposeful approach to music making. It is one in which layers of meaning are allowed to reveal themselves, a way of composing that makes a virtue of its labor and the chance occurrences that can arise in the process. This is music in praise of shadows.
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ODA 006LP
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Artist and multi-instrumentalist Flaer embraces the search for quiet miracles on first full-length LP Translations. In 2023, Realf Heygate -- who makes music as Flaer -- released his debut mini-album Preludes, composed on his mother's piano and his childhood cello. Returning to ODDA for his debut full-length album, Heygate is now looking in another direction. A record that embraces transition and movement, Translations is in many ways more internal, less rooted to a single place and reflective of the process of laying new foundations in Cornwall. Like Preludes, Translations is colored with found sounds and field recordings, from the starlings which can be heard singing through the open window of his studio, to the brittle recordings of his mother, who was a linguist, learning Spanish on a set of language tapes. In both cases, Heygate embraced the translations and memories inherent to the sounds. These decayed transmissions hint at loss, resisting clarity in favor of the ineffable. Translations is also a record of ambiguities and in-betweens, suggested by the double meaning of the album's opening track "Entre." At once intricate and expansive, threaded with birdsong and acoustic guitar motifs, this and "Starling Descends" (a reference to Vaughan Williams' "The Lark Ascending") act as a bridge away from the pastoral themes of Preludes towards a more assertive sound. At times intimate in its textured instrumentation and at others more overtly grand in orchestration, reflecting a wider palette of influences. Recorded between 2023 and 2025 -- what Heygate calls "A gradual process of sowing and harvesting ideas rather than a single intense creative period" -- each track follows a rhythm similar to the small maquettes and sculptures he has been working on in his visual practice, whereby structures and melodies form intuitively in moments that are as rare as they are fleeting.
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ODA 006FT-LP
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White color vinyl version. Artist and multi-instrumentalist Flaer embraces the search for quiet miracles on first full-length LP Translations. In 2023, Realf Heygate -- who makes music as Flaer -- released his debut mini-album Preludes, composed on his mother's piano and his childhood cello. Returning to ODDA for his debut full-length album, Heygate is now looking in another direction. A record that embraces transition and movement, Translations is in many ways more internal, less rooted to a single place and reflective of the process of laying new foundations in Cornwall. Like Preludes, Translations is colored with found sounds and field recordings, from the starlings which can be heard singing through the open window of his studio, to the brittle recordings of his mother, who was a linguist, learning Spanish on a set of language tapes. In both cases, Heygate embraced the translations and memories inherent to the sounds. These decayed transmissions hint at loss, resisting clarity in favor of the ineffable. Translations is also a record of ambiguities and in-betweens, suggested by the double meaning of the album's opening track "Entre." At once intricate and expansive, threaded with birdsong and acoustic guitar motifs, this and "Starling Descends" (a reference to Vaughan Williams' "The Lark Ascending") act as a bridge away from the pastoral themes of Preludes towards a more assertive sound. At times intimate in its textured instrumentation and at others more overtly grand in orchestration, reflecting a wider palette of influences. Recorded between 2023 and 2025 -- what Heygate calls "A gradual process of sowing and harvesting ideas rather than a single intense creative period" -- each track follows a rhythm similar to the small maquettes and sculptures he has been working on in his visual practice, whereby structures and melodies form intuitively in moments that are as rare as they are fleeting.
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ODA 005LP
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Written, recorded and produced by Kirk Barley in Yorkshire in early 2024, Lux picks up where 2023 LP Marionette leaves off, conjuring a mystical, reflective space between formal minimalism and sonic imaginaries of northern landscapes. And yet, where Marionette relied at times on more recognizable field recordings, Lux leans into Barley's skill as an instrumentalist and sound designer, working from a palette of short samples and utilizing a variety of alternate tuning systems to build, layer and coax his compositions into being. Most evident on tracks "Vita," "Sprite" and "Descendent," these tunings create an otherworldly harmonic language that is easier to perceive than describe. Alongside more familiar instruments of guitar, bass, drums, organ and clarinet, here Barley draws on plastic saxophones and bells, and recordings of glass, wood and metal sound objects to provide the organic matter. Rather than directly representative of the natural world, Lux enters into a dialogue with it which, like the grasses and flowers of the album's cover, exists somewhere between reality and artifice. On album opener "Cache," Barley constructs his own sense of time from a recording of an umbrella crank, a sparse and spectral piece which hints at memories embedded in the track's title. Introspection blossoms into new life on "Vita," crumpling again into the percussive ambience of "Verre." A track that takes its harmonic lead from the clinks of glass, it features Barley's long-time collaborator Matt Davies on drums, whose nuanced, tonally sensitive playing gives "Verre" a fizzing, ice-like quality. There are several moments where Lux picks up on themes Barley explored under electronic moniker Church Andrews on recent works with Davies, stretching and distorting temporalities most explicitly on "Descendent," whose ritualistic air unfurls around a pattern in exponential decline. Embracing the surrealism Barley absorbed over years watching classic film noir and the works of David Lynch and Federico Fellini, Lux wends its way through the enchanted sound worlds of "Sprite" and "Balanced" before arriving at the album's title track. An expression of his recent experiments in live, prepared guitar, "Lux" brings the album back to earth, returning us to the room where the rain has stopped, the clouds have parted, and the soft warmth of the spring sun is pouring in through the open window.
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ODA 004LP
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Fohn brings connection, displacement and new identities into the moment, on pastoral debut album Seanteach -- informed by island life, marine folklore and musical tradition. Connection to the land, the severing of earthly ties, explorations of environment, mythos and generational memory: under the moniker of Fohn, English violinist and producer Tom Connolly takes to the fiddle on which he learned his craft as a child. Forging new bonds with his family's island home off the coastal west of Ireland, their story is retold in Seanteach (Irish for 'old house'), released on Odda Recordings. Each track on the album is a reflection of aspects of that relationship to island life -- where physical features intersect with mythology. Such as, "Boreen," named after a colloquial term for rural byroads sometimes shared with otherworldly neighbors. "Aisling at Sea" draws on the primal, unstoppable momentum of the water, while the folklore of "Immram" reflects on generationally-kept tales of marine bravery and supernatural accomplishment. "The compositions often sit at the fraying edges of memories I've inherited from my own experiences," says Connolly, "that of family lore, or from stories that I have come across. I wanted the compositions to tread the space between documentation and fantasy that feels so reflective of my relationship with this place." Tying these worlds together is the presence and memory of Connolly's "Mamó" (Irish for 'grandmother'), Bríd. Despite passing during Connolly's childhood, this "larger-than-life character" shaped his imagination with anecdotes and stories, representing both a familiar figure, and the poignancies of potential and regret. "Between the Shoreline and the Gorse" channels her early childhood, born to a large Catholic family in the island's "Seanteach," and cast adrift from her old life -- a severance of ties that Connolly attempts to make ethereal amends for, with the album named for her family home. "It's something that feels so visibly prominent in Connemara with its landscapes charcoaled with deserted ruins. It's a feeling I also experience, despite never having lived in Ireland, which prompted me to want to explore the idea of longing for something/somewhere 'un-experienced', and to a certain extent, fictionalized."
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ODA 003LP
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Church Andrews and Matt Davies weave intricate patterns from Fibonacci sequences on new mini-album, Yucca. Producer and composer Church Andrews (aka Kirk Barley) and drummer Matt Davies return to explore the outer limits of rhythm on a six-track suite that is at once angular and fluid, natural and systematic. Drawn to the restrictions of working solely with one synth and live drums, the pair found creativity in limitation, developing a compositional dialogue between the sonic timbres of Kirk's productions and Matt's percussive practice. Evoking the primitive yet complex form of the plant from which it takes its name, Yucca features tracks that are built around rhythmic ratios of the Fibonacci sequence. Mirroring spiral patterns exhibited in nature, each track evolves like a cellular structure of its own, from the livewire syntax of "Chirp" and the deconstructed ebb and flow of "Ferns," to the mini-album's title track, where crisp grooves flit between modulated electronics like fireflies. "I've always been inspired by music that is complex without sounding complex," Matt explains. He maintains a sense of bounce amid the intricate phrasing and cites drummers Roy Haynes and his grandson Marcus Gilmore as inspirations, alongside sabar drummers from Senegal and Mridangam drumming of South India. With a shared background in hip-hop and the swung beats of J Dilla and Flying Lotus, Kirk Barley and Matt Davies were also inspired by the minimalism of Terry Riley and the sparse palette of dub techno. Written and recorded in Lewisham in the spring and summer of 2023, Yucca follows the release of Axis in 2022, with the duo having also performed at festivals such as Rewire and Waking Life, and recorded live sessions for FACT magazine and Worldwide FM. The third release on Yorkshire-based Odda Recordings, following Kirk Barley's Marionette and Flaer's Preludes, Yucca confirms the label's reputation for championing music on the unstable ground between the organic and the synthetic.
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ODA 002LP
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The organic minimalism of composer and producer Kirk Barley is collected on his new studio album Marionette, released via Odda Recordings. Whether drawing from field recordings, found sound, instrumental improvisations or synthetic processes, Barley's compositions evoke unfolding sound worlds, as simple ideas or motifs are layered and developed into complex set-pieces that reveal themselves over time. Marionette showcases the breadth and variety of the Yorkshire-born artist's sound, weaving together familiar and uncanny moods of rural England and its Victorian architecture, as suggested by the gated garden print of the album's cover. Unfurling between physical textures -- the patina of vinyl crackle or gentle rain -- and the hyper-real spaces that his music inhabits, Barley describes the compositions as "landscape or static scene paintings," with many of the album's tracks taking nature's rhythms as their compositional cue. Drawing from jazz, minimalism and techno, Barley focuses on the detailed qualities of sound, experimenting with time signatures, temporals and tuning systems. His esoteric alter-ego Bambooman (2013-2018) found a home on Matthew Herbert's Accidental imprint, releasing the album Whispers in 2017. In contrast, under the pseudonym Church Andrews (most notably in collaboration with drummer Matt Davies), he produces synthetic, often beat-focused music, using digital synthesis and algorithmic composition techniques, with the live drum performances triggering and modulating Barley's synths. The duo has recently performed at festivals such as Rewire and Waking Life, filmed sessions for Fact Magazine and Slate & Ash, and recently had their music played out by Aphex Twin. Under his own name, Barley released his debut album Landscapes (TTTT 010LP) in 2019 on 33-33 Records and received support from the likes of NTS Radio and BBC 6 Music. Barley has performed at events across the UK and Europe alongside the likes of Andy Stott, Beatrice Dillon, Jan Jelinek, MF DOOM, and Madlib. He has also completed commissioned work for the British Art Show, Camden Arts Centre, MSCTY and the Open Music Archive.
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