ODG236 : EyeSkreem / EyeSkreem vol.II

 

Cover by Andrew Leslie Hooker

ODG236 : EyeSkreem / EyeSkreem vol.II

EyeSkreem sees their second union between avant-garde experimentalist Andrew Leslie Hooker on No-imput mixing board and Russ Grant on guitar for their volume II (see ODG219 for vol.I).

They offer us 3 powerful tracks which bring you to a certain state of (un)consciousness.

To listen at full volume to interact the best with the music.

Both of them were/are extremely involved in experimental improvised music having played with a huge amount of musicians from that scene since the early nineties in the UK.

BI. We Are For the Dark (Russ Grant):

We are for the dark night?
We are for the dark day?
We are for the dark dance?
We are for the dark desire?
We are for the dark destruction? We are for the dark creation? We are for the dark chaos?

We are for the dark order?
We are for the dark Ocean bed?
We are for the dark edge of heaven? We are for the dark road?
We are for the dark home?
We are for the dark of the ambulance? We are for the dawn of Love. 

BII. Who is this who is Coming?

No Brian, there’s no occupants of “inter-planetary crap” trying to land by the barn. So snarled Sandra in her Panda-onesy sipping tea and eating dinosaur crumpets

The flipping gate’s been left open again.
The clockwork cattle are escaping down the lane. Manipulated by your beaut-evil daughter
They’re her tin-can taurean tools of mindless petslaughter.

“So stay still, don’t move and Yeah I’m still.
Oh Aye,
I’m still alive.

Alive Alive Oh-oh. “
shrieked the dumb-speaker as Sandra sprang out of the kitchen and into their en-suite.

We met at a burbling disco-rave-acid-farm-all-night -single-parent’s chaos event. We danced the lie-light fantast-omatic and I woke up in her tent
and her tentacles.

As cheap birds chirped in hellish hedges. The flute of love re-reverberated
so we believed our emotions emancipated. And for a moment or two

“Where there’s always me then there’ll always be you too.”

Bonjourdayello Earthbot.
My name is unpronounceable and I am from a planet called...
Well it’s equally unpronounceable, unless you have two macroglossial appendages.

The creaturine you call Sandra was rude and wrong.
Behold the Ultra-Craft-fifty-five I’ve landed in your pond
(Near enough to your barn, given that rapid repairs are required).
Here is a list of the items you must supply
- if we’re ever going to make this UCFF sucker fly.
In return I shall marshal your mechanical ruminants with my magnetising mind-force

Oh wait Brian!
Who is this who is coming?
So comely a cowgirl?
I’ve ne’r seen such a winsome wonder in all the Galaxies I’ve transgressed. I wager we shall be wedded on Wednesday.

Well it is actually Wednesday, Whatever-yer-name-is,
She’s my daughter Wilhelmina and she’s beauty-vile and infamous. So, here’s the wingnut that you want and the lolly-ice machine. Now fix yer ancient filthy astraplane contraption
and be gone by ten fifteen.

Sandra had dressed smartly and put some lippy on. “You look nice” said Brian.

BII. How Lonely Sits the City that was Full of People

“How Lonely Sits the City that was full of People?”

Oh get over yourself you ancient decrepit man-made super-stupid-ooter. You were programmed by those lamentable biped bastards.
The people have gone.
They fucked it up big-stylee thousands of years ago.

Arguing amongst themselves about everything.
Lying, murdering, stealing, beating, raping, fighting, cheating, eating, praying. It was obvious to us what was going to happen to ‘em
whichever way they tried to cut it. We could smell it.
So we have watched, waited, survived and now we prosper.

Our only worry is that some inventive Human twerp built a time machine and is trying to ‘fix’ everything by communicating with you.
That’s why we’re all here
To shit our shit on your last solar panel. 

Digital release on the 6th of March 2026.

Track Listing:

1: B1 - We Are For The Dark

2: B2 - Who Is This Who Is Coming

3: B3 - How Lonely Sits The City That Was Full Of People

Itunes, Apple Music, Deezer, etc.:

https://bfan.link/eyeskreem-1

And on Bandcamp:

ODG237 : Fabio Keiner / Yuki Onna

 

Cover art by Fabio Keiner

ODG237: Fabio Keiner / Yuki Onna

The new piece from Austrian sound designer Fabio Keiner 'Yuki Onna' is a very long ( 59 minutes!) evolving drone and electronics.
It is an interpretation of the Japanese folklore legend of 'yuki onna', the snow woman ghost haunting solitary men,
She is a spirit that freezes victims with her breath, often featuring a mortal man who breaks a vow of silence regarding her identity.
Essential films include the 1965 anthology Kwaidan, the 1968 classic The Snow Woman (Shiho Fujimura), and the 2016 psychological thriller Snow Woman.

Don't freeze listening to this amazing music which will transport you in another dimension!

Digital release on the 27th of February 2026.

Track listing:

1: Yuki Onna - 59 minutes

Itunes, Apple Music, Deezer, etc.:

https://bfan.link/yuki-onna

And on Bandcamp:

OJP084 : Ureterocele / Tube With Contrast Medium

Cover art by Ureterocele

OJP084: Ureterocele / Tube With Contrast Medium

'Tube With Contrast Medium' was self released in December 2025, one year and eight months after his previous album 'Left Renal Agenesis'. The title refers to a kidney examination in which a tube is inserted through the urethra and contrast medium is injected to confirm whether both kidneys are present. That test revealed that he has only one kidney, and the remaining kidney had enlarged to compensate.

This album was created from a desire to build tracks out of sounds that represented contrast medium being injected, blood traveling through blood vessels, and how the outside world might sound if someone were small enough to be inside the bladder. It also aims to express the small, quiet feelings carried during those tests.

In the title track, the opening koto sound was inspired by an X-ray image, where part of the organs looked like cherry blossoms. The blast beat reflects the speed of the contrast medium rushing into the body. “Gradient Coil Noise” is Ureterocele’s interpretation of the sound heard during an MRI scan. The final three tracks move into beat-driven loop pieces, including a return of the koto sample as a small gesture of respect to listeners who enjoy Japanese culture.

Ureterocele at home

Ureterocele is a Tokyo based dark experimental solo project that began in 2024. The music is created in a DAW with programmed parts and multiple layers of effects processing, while the bass is recorded as fully improvised takes to bring live variation into the tracks. The artist name comes from a medical term related to a congenital condition. Ureterocele has also donated a portion of Bandcamp proceeds to medical institutions in Japan. Influences include Nurse With Wound and The Pop Group, as well as online visual aesthetics such as mallsoft, liminal space, and weirdcore.

Digital release on the 20th of February 2026.

Track Listing:

1: Congenital Anomaly
2: Renal Aplasia
3: Laboratory Test

4: Tube With Contrast Medium
5: Transverse Magnetization
6: Faint High Signal
7: Urinary Flow
8: Gradient Coil Noise
9: Voiding Disturbance
10: Multilocular Cystic Lesions
11: Occulthematuria : re-examination 
12: Radiology Report pt.1
13: Radiology Report pt.2
14: Radiology Report pt.3 
15: Developmental Abnormality - Bandcamp only bonus track

Itunes, Apple music, Deezer, etc.:

https://bfan.link/tube-with-contrast-medium

And on Bandcamp:

OUC052 : Auster Loo / Make It More

 

Cover art pic by Isabelle Françaix

OUC052 : Auster Loo / Make It More

Simon Leleux (doholla, bendir) and Lydie Thonnard (flutes, vocals) are united by a shared passion for rhythm and improvisation, inspired by their encounters with music and musicians of all styles and backgrounds.

The unique complicity between Lydie and Simon immediately immerses the listener in a captivating experience of their music. Through their freedom of improvisation, the two musicians make the audience complicit in the creation of the moment, a moment in which they participate and which they help to shape.

Beyond rhythmic exploration, sound is paramount: "How can we manipulate our respective instruments in such a way as to evoke other timbres, other instruments, and other musical traditions?" Acoustic, meticulously crafted, improvised, or composed, the music of Auster Loo is like a breath of fresh air that takes us on a journey through space and time, in search of a unique and innovative musical language.

After the album 'Collective' released in 2024 on Igloo Records which brought together eight musicians from different musical traditions around an original repertoire, Lydie and Simon felt the desire and the need to reconnect as a duo, without artifice.

'Make it more' features nine compositions written by the two artists. The album once again showcases the distinctive characteristics of Carnatic music, both in the modes used and the compositional processes. As in this tradition originating in South India, improvisation plays a significant role in the duo's work, allowing each performer to contribute a constantly expanding sonic palette to their music, enriched by their diverse collaborations.

Simon and Lydie - pic by sabelle Françaix

Digital release on the 13th of February 2026.

Track listing:

1: Nascence

2: Mononomo

3: Abilène

4: Royaumont

5: Mango juice for the monkeys

6: Ethio

7: Rajajinagar

8: Kopa

9: Basics for queens

Itunes, Apple Music, Deezer, etc.:

https://bfan.link/make-it-more

And on Bandcamp:

ODG235 : Un vrai semblant / Amorces, Traces

 

Cover art by Nicolas Merchant

ODG235 : Un vrai semblant / Amorces, Traces

A new album from Un vrai semblant (see also ODG192 and ODG201) is always an introspection in a new world of his own. 

Perfect electronics, field recordings and ambient vibes in perfectly arranged compositions. You need a few listenings to really enjoy the perplexity of his music but once you're in, you will never be out!

Digital release on the 6th of February 2026.

Track listing:

1: Emergence

2: Suspendu

3: Viens voir dehors

4: Premier message

5: Enveloppement

6: Traces

7: Rencontrer

Itunes, Apple Music, Deezer, etc.:

https://bfan.link/amorces-traces

And on Bandcamp:

ODG232 : Arash Azadi / Eerie

 

Cover art by Hasmik Badoyan

ODG232 : Arash Azadi / Eerie

“Eerie” is the new album from Arash Azadi, composed during the Autumn of 2025 in Yerevan, Armenia.

Here is his artist statement:

"Eerie is the record of a compositional loop between human intuition and algorithmic transformation. I begin each piece with free improvisations on digital piano—gestures, harmonies, and micro-rhythms that emerge from embodied practice. I then re-enter this material through AI systems using my own text-scores: prompts that specify instrumentation, style, genre, and form. The machine’s outputs are not endpoints but raw matter. I subject them to electro-acoustic procedures—slicing, re-arrangement, time-stretching, granulation, and other techniques from the lineage of musique concrète—until a new organism appears.

The resulting works move along a porous border where avant-garde construction meets popular idioms. You will hear collisions and fusions with EDM, hip-hop, trap, djent, and metal—not as pastiche, but as a deliberate grammar for contact. My question throughout has been: how might we carry the formal and timbral experiments of the avant-garde toward listeners who recognize themselves in more familiar soundworlds? Eerie proposes a vocabulary in which extended techniques, dissonant harmonies, and acousmatic textures converse naturally with beat-driven architectures.

My stance toward AI is instrumental, not devotional. Technology, used with care, can extend the radius of human attention and imagination; used carelessly, it can flatten them. I treat AI as an esoteric tool in the original sense—an instrument for inward inquiry as much as outward effect. By redirecting the systems with my own materials and constraints, I seek access to a wider field of the musical collective subconscious: patterns we half-remember, affects we haven’t yet named.

The “eerie” in this music is not horror for its own sake, but a productive uncanniness—the feeling of moving between the known and the unknown, of returning changed. Each piece traces that passage: from improvisation to algorithmic mediation, from opaque texture to shared pulse, from private intuition to public address. If the music occasionally feels like a dream that suddenly clicks into focus, that is by design; it aims to stage recognition without surrendering ambiguity.

Eerie is therefore both experiment and invitation. It argues that avant-garde practice can be legible without compromise, that complexity can meet immediacy, and that new tools need not sever us from human stakes. I hope the album helps loosen the bottleneck between experimental music and broader publics—bypassing academic gatekeeping where necessary—so that our common listening can expand alongside our means of making."

Enjoy this incroyable journey!

Digital release on the 30th of January 2026.

Track listing:

1: Experiments in Eerie Fantasy No. 1

2: Paradigm Shift

3: Poetics of Otherness

4: Short Story Long

5: Homeland Be Free and Prosperous

6: Right This Hour

Itunes, Apple Music, Deezer, Qobuz, Etc.:

https://bfan.link/eerie

And on Bandcamp:

OUW027 : Danny Barwick feat. Juliette Duguay / Seen

 

Cover art by Danny Barwick

OUW027: Danny Barwick feat. Juliette Duguay / Seen

For the past two years I’ve been living in Montréal, where I met Québécois writer Juliette Duguay. During that time, she spent six months creating adult content, promoting it through an anonymous Instagram account of faceless nudes. She regularly received DMs ranging from pleading to aggressive, tender to absurd. Struck by their tone, she began arranging them into poems, using each message verbatim.

Together, the poems form seven voices: different men reaching out into the void, their messages unanswered except by the notification ‘Seen.’

In Juliette’s home, in the depths of a Montréal winter, I recorded her reading these poems into a Torso S4, a new sound manipulation instrument from Copenhagen, and looped them with long-form live piano improvisations.

The result is a haunting sonic space of collaged voices, dissolving loops, and blurred emotion in which longing mutates into something stranger and more revealing.Seen is a naked and unfiltered portrait of male desire, digital loneliness, fantasy, delusion and hope.

Danny Barwick: Production and Mix
Juliette Duguay: Lyrics and Spoken Word
Julien Wilson: Clarinet and Saxophone
Gareth Thomson: Mastering

0. “The kind of original record that we wait years for major label pop stars to release.” - Indie Shuffle

   “Danny Barwick is right up there amongst Australia’s best producers.” - Tommy Faith,Triple J

   “It stuns every cell and takes the mind millions of realms away.” - Cloudberry Mornings

1.  

Danny

Danny Barwick is a producer and composer from Melbourne, Australia, creating heartfelt, textural music that blurs the line between song and cinema. A jazz-trained drummer and pianist with a background in philosophy, Barwick’s work balances precision with emotional depth, creating spacious, intimate, and vividly human sonic worlds.

After years touring as a sideman, he began releasing his own music in 2017 with a series of remixes that reached over five million streams. His debut EP, Distance, followed soon after, earning national radio rotation, a support tour with revered Australian artist, Gordi, and slots at boutique festivals along Australia’s east coast.

Subsequent releases, The Tigers, Naddi, and Iluka, pushed his sound further into experimental songwriting and textural production, weaving jazz sensibility through minimalist electronica and narrative storytelling.

Digital release on the 23rd of January 2026.

Track listing:

1: I'll Be Honest

2: Your Things

3: Hello Dear

4: Rosary

5: If You'd Be Willing

6: I'm Not a Kid

7: Can You Come to Me

Itunes, Apple Music, Deezer, etc.:

https://bfan.link/seen

And on Bandcamp: