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the shadows of time - spring 2026

𝘵.𝘴. 𝘦𝘭𝘪𝘰𝘵 𝘧𝘢𝘮𝘰𝘶𝘴𝘭𝘺 𝘸𝘳𝘰𝘵𝘦 𝘵𝘩𝘢𝘵 𝘢𝘱𝘳𝘪𝘭 𝘪𝘴 𝘵𝘩𝘦 𝘤𝘳𝘶𝘦𝘭𝘦𝘴𝘵 𝘮𝘰𝘯𝘵𝘩 - 𝘮𝘢𝘺 𝟤𝟢𝟤𝟨 𝘪𝘴 𝘤𝘳𝘶𝘦𝘭𝘦𝘳. 𝟧𝟤 𝘴𝘰𝘯𝘨𝘴 𝘧𝘰𝘳 𝘢𝘯 𝘦𝘳𝘳𝘢𝘵𝘪𝘤 𝘴𝘱𝘳𝘪𝘯𝘨.

(link in bio - playlist available on YouTube and Spotify)

Office PSR presents:

Rita P - live / @rita________p
Gal Go Grey - live / @gal.go + @tomgreyphillips
Ariane Kiks - dj set / @arianekiks
pam - dj set / @pam.unofficial.account

(playing in this order)

sound by @aligatogros

Thursday, 28th May 2026

20h-02h

limited capacity!
tickets in bio

Rita P’s (@rita________p )debut album Rita’s Purse is out tomorrow on Jane Records, the same day she’ll be performing in Paris at Péniche Adélaide alongside Gal Go Grey, Ariane Kiks and pam.

More info and tickets in bio

Rita P’s (@rita________p )debut album Rita’s Purse is out tomorrow on Jane Records, the same day she’ll be performing in Paris at Péniche Adélaide alongside Gal Go Grey, Ariane Kiks and pam.

More info and tickets in bio

Rita P’s (@rita________p )debut album Rita’s Purse is out tomorrow on Jane Records, the same day she’ll be performing in Paris at Péniche Adélaide alongside Gal Go Grey, Ariane Kiks and pam.

More info and tickets in bio

Rita P’s (@rita________p )debut album Rita’s Purse is out tomorrow on Jane Records, the same day she’ll be performing in Paris at Péniche Adélaide alongside Gal Go Grey, Ariane Kiks and pam.

More info and tickets in bio

Released on Conatala, the in-house label of our favourite Tokyo record store, Pianola Records, ИMA is the musical outcome of a long architectural project Japanese musician Shin-ya Ohno was involved with. ‘ИМА (Ima)’ aims at capturing layers of time, by passing down recordings of construction work that spanned over two decades as well as the presence of people inhabiting the ‘Arimasuton Building’― a self-built experimental structure started in 2005 by architect Keisuke Oka and located in Tokyo’s Mita district.Phenomenal music, generous, lyrical, conceptually and musically recalling Virginia Astley’s From Garden Where We Feel Secure or the intimacy of C.W. Vrtacek’s Learning To Be Silent, meshed with field recordings: people working, laughing, talking, living. A record design to document life, no less. A blessing.

Shin-ya Ohno handles a very diverse range of instruments (including the gaida, an ancestor of the bagpipes he studied in Bulgaria, accordion, guitar, flute, ukulele, piano, foot-pump organ, melodica, xylophone, ...) with which he creates gorgeous and intricate arrangements that serves as a binder for the vast array of sounds he collected during his time at the Arimasuton construction site: hammers and steel beams, lunchtime chatter, melodies of instruments played by others and the sound of cars passing by.

KiMiMi’s creative process is characterized not by planned construction, but by chance, intuition and the passage of time: fragmented recordings are layered, set aside for a time, then unearthed again. Through this repetition, the music naturally takes shape. And like with Turner Williams Jr.’s recent Vipérine album, chance gives birth to unexpectedly harmonious compositions, that exhales a warmth not dissimilar to that of Tori Kudo’s wonky Maher Shalal Hash Baz ensemble.This resonates perfectly with the construction process of the Arimasuton Building, which was notably improvised, layer by layer, without any kind of blueprint. Highest Recommendation (wholesale - contact us)

KiMiMi - ИМА (Ima)
(Conatala, Japan, 2026)

@conatala_ongaku

#field recording #multiinstrumentalist #penguincafe

Released on Conatala, the in-house label of our favourite Tokyo record store, Pianola Records, ИMA is the musical outcome of a long architectural project Japanese musician Shin-ya Ohno was involved with. ‘ИМА (Ima)’ aims at capturing layers of time, by passing down recordings of construction work that spanned over two decades as well as the presence of people inhabiting the ‘Arimasuton Building’― a self-built experimental structure started in 2005 by architect Keisuke Oka and located in Tokyo’s Mita district.Phenomenal music, generous, lyrical, conceptually and musically recalling Virginia Astley’s From Garden Where We Feel Secure or the intimacy of C.W. Vrtacek’s Learning To Be Silent, meshed with field recordings: people working, laughing, talking, living. A record design to document life, no less. A blessing.

Shin-ya Ohno handles a very diverse range of instruments (including the gaida, an ancestor of the bagpipes he studied in Bulgaria, accordion, guitar, flute, ukulele, piano, foot-pump organ, melodica, xylophone, ...) with which he creates gorgeous and intricate arrangements that serves as a binder for the vast array of sounds he collected during his time at the Arimasuton construction site: hammers and steel beams, lunchtime chatter, melodies of instruments played by others and the sound of cars passing by.

KiMiMi’s creative process is characterized not by planned construction, but by chance, intuition and the passage of time: fragmented recordings are layered, set aside for a time, then unearthed again. Through this repetition, the music naturally takes shape. And like with Turner Williams Jr.’s recent Vipérine album, chance gives birth to unexpectedly harmonious compositions, that exhales a warmth not dissimilar to that of Tori Kudo’s wonky Maher Shalal Hash Baz ensemble.This resonates perfectly with the construction process of the Arimasuton Building, which was notably improvised, layer by layer, without any kind of blueprint. Highest Recommendation (wholesale - contact us)

KiMiMi - ИМА (Ima)
(Conatala, Japan, 2026)

@conatala_ongaku

#field recording #multiinstrumentalist #penguincafe

Released on Conatala, the in-house label of our favourite Tokyo record store, Pianola Records, ИMA is the musical outcome of a long architectural project Japanese musician Shin-ya Ohno was involved with. ‘ИМА (Ima)’ aims at capturing layers of time, by passing down recordings of construction work that spanned over two decades as well as the presence of people inhabiting the ‘Arimasuton Building’― a self-built experimental structure started in 2005 by architect Keisuke Oka and located in Tokyo’s Mita district.Phenomenal music, generous, lyrical, conceptually and musically recalling Virginia Astley’s From Garden Where We Feel Secure or the intimacy of C.W. Vrtacek’s Learning To Be Silent, meshed with field recordings: people working, laughing, talking, living. A record design to document life, no less. A blessing.

Shin-ya Ohno handles a very diverse range of instruments (including the gaida, an ancestor of the bagpipes he studied in Bulgaria, accordion, guitar, flute, ukulele, piano, foot-pump organ, melodica, xylophone, ...) with which he creates gorgeous and intricate arrangements that serves as a binder for the vast array of sounds he collected during his time at the Arimasuton construction site: hammers and steel beams, lunchtime chatter, melodies of instruments played by others and the sound of cars passing by.

KiMiMi’s creative process is characterized not by planned construction, but by chance, intuition and the passage of time: fragmented recordings are layered, set aside for a time, then unearthed again. Through this repetition, the music naturally takes shape. And like with Turner Williams Jr.’s recent Vipérine album, chance gives birth to unexpectedly harmonious compositions, that exhales a warmth not dissimilar to that of Tori Kudo’s wonky Maher Shalal Hash Baz ensemble.This resonates perfectly with the construction process of the Arimasuton Building, which was notably improvised, layer by layer, without any kind of blueprint. Highest Recommendation (wholesale - contact us)

KiMiMi - ИМА (Ima)
(Conatala, Japan, 2026)

@conatala_ongaku

#field recording #multiinstrumentalist #penguincafe

Released on Conatala, the in-house label of our favourite Tokyo record store, Pianola Records, ИMA is the musical outcome of a long architectural project Japanese musician Shin-ya Ohno was involved with. ‘ИМА (Ima)’ aims at capturing layers of time, by passing down recordings of construction work that spanned over two decades as well as the presence of people inhabiting the ‘Arimasuton Building’― a self-built experimental structure started in 2005 by architect Keisuke Oka and located in Tokyo’s Mita district.Phenomenal music, generous, lyrical, conceptually and musically recalling Virginia Astley’s From Garden Where We Feel Secure or the intimacy of C.W. Vrtacek’s Learning To Be Silent, meshed with field recordings: people working, laughing, talking, living. A record design to document life, no less. A blessing.

Shin-ya Ohno handles a very diverse range of instruments (including the gaida, an ancestor of the bagpipes he studied in Bulgaria, accordion, guitar, flute, ukulele, piano, foot-pump organ, melodica, xylophone, ...) with which he creates gorgeous and intricate arrangements that serves as a binder for the vast array of sounds he collected during his time at the Arimasuton construction site: hammers and steel beams, lunchtime chatter, melodies of instruments played by others and the sound of cars passing by.

KiMiMi’s creative process is characterized not by planned construction, but by chance, intuition and the passage of time: fragmented recordings are layered, set aside for a time, then unearthed again. Through this repetition, the music naturally takes shape. And like with Turner Williams Jr.’s recent Vipérine album, chance gives birth to unexpectedly harmonious compositions, that exhales a warmth not dissimilar to that of Tori Kudo’s wonky Maher Shalal Hash Baz ensemble.This resonates perfectly with the construction process of the Arimasuton Building, which was notably improvised, layer by layer, without any kind of blueprint. Highest Recommendation (wholesale - contact us)

KiMiMi - ИМА (Ima)
(Conatala, Japan, 2026)

@conatala_ongaku

#field recording #multiinstrumentalist #penguincafe

Office PSR presents:

Rita P - live / @rita________p
Gal Go Grey - live / @gal.go + @tomgreyphillips
Ariane Kiks - dj set / @arianekiks
pam - dj set / @pam.unofficial.account

(playing in this order)

sound by @aligatogros

Thursday, 28th May 2026

20h-02h

limited capacity!
tickets in bio

Gal Go Grey (@gal.go + @tomgreyphillips ) us an electronica duo formed of Argentine saxophonist Ignacio Salvadores and London-born experimental musician Tom Grey. They’ve performed together sporadically since 2020, explosive sets that shift through sound worlds of dub, dance and noise, impulsively embracing chaos and musicianship with equal measure. Their shared time is spread thin - Ignacio is also a key collaborator of King Krule and Tom the co-founder of events series Atomiser - but together they released their debut project in 2021 and have been working on new material since, expected for release this year. 

They’ll be playing alongside Rita P, Ariane Kiks & Pam on May 28th in Paris.

More info and tickets in bio

Gal Go Grey (@gal.go + @tomgreyphillips ) us an electronica duo formed of Argentine saxophonist Ignacio Salvadores and London-born experimental musician Tom Grey. They’ve performed together sporadically since 2020, explosive sets that shift through sound worlds of dub, dance and noise, impulsively embracing chaos and musicianship with equal measure. Their shared time is spread thin - Ignacio is also a key collaborator of King Krule and Tom the co-founder of events series Atomiser - but together they released their debut project in 2021 and have been working on new material since, expected for release this year. 

They’ll be playing alongside Rita P, Ariane Kiks & Pam on May 28th in Paris.

More info and tickets in bio

Brutal cybernetic bass music from 5 GATE TEMPLE’s affiliate XTEREA on Bristol’s mindseyesrecords.xyz. Genuinely contemporary dance music, a perfect fit for the dystopian junk that our information societies are. Exclusive CD edition for Office PSR &Osaka’s naminohana records. Highly recommended.

Channeling, chopping, rearranging a mess of wires and signals into compact high-impulse, jaw-clenching, bass heavy productions, XTEREA dodges the nostalgia syndrome that has perniciously infected UK bass in recent years, charting instead a new stopover in the hardcore continuum. This era’s current obsession with Mark Fisher’s writings and turn-of-the-century cyberpunk aesthetics (Serial Experiments Lain) signals a desperate need for vernacular futuristic visions - no matter how dark they might be, as long as they offer a counter-narrative to the colorful corporate AI-generated slop we’re constantly being spoon-fed. Mode Of Existence offers such visions, and as contemporary as they are, they nonetheless update a tradition of paranoid, amphetamine-heavy and insurrectional cultural productions, those adjacent to free party and alter-globalization movements for instance. A welcome update.

XTEREA - Mode Of Existence
(mindseyesrecords.xyz, UK, 2026)

@xtereaa @mindseyerecords.xyz

#uk #bass #future #lain

Brutal cybernetic bass music from 5 GATE TEMPLE’s affiliate XTEREA on Bristol’s mindseyesrecords.xyz. Genuinely contemporary dance music, a perfect fit for the dystopian junk that our information societies are. Exclusive CD edition for Office PSR &Osaka’s naminohana records. Highly recommended.

Channeling, chopping, rearranging a mess of wires and signals into compact high-impulse, jaw-clenching, bass heavy productions, XTEREA dodges the nostalgia syndrome that has perniciously infected UK bass in recent years, charting instead a new stopover in the hardcore continuum. This era’s current obsession with Mark Fisher’s writings and turn-of-the-century cyberpunk aesthetics (Serial Experiments Lain) signals a desperate need for vernacular futuristic visions - no matter how dark they might be, as long as they offer a counter-narrative to the colorful corporate AI-generated slop we’re constantly being spoon-fed. Mode Of Existence offers such visions, and as contemporary as they are, they nonetheless update a tradition of paranoid, amphetamine-heavy and insurrectional cultural productions, those adjacent to free party and alter-globalization movements for instance. A welcome update.

XTEREA - Mode Of Existence
(mindseyesrecords.xyz, UK, 2026)

@xtereaa @mindseyerecords.xyz

#uk #bass #future #lain

Brutal cybernetic bass music from 5 GATE TEMPLE’s affiliate XTEREA on Bristol’s mindseyesrecords.xyz. Genuinely contemporary dance music, a perfect fit for the dystopian junk that our information societies are. Exclusive CD edition for Office PSR &Osaka’s naminohana records. Highly recommended.

Channeling, chopping, rearranging a mess of wires and signals into compact high-impulse, jaw-clenching, bass heavy productions, XTEREA dodges the nostalgia syndrome that has perniciously infected UK bass in recent years, charting instead a new stopover in the hardcore continuum. This era’s current obsession with Mark Fisher’s writings and turn-of-the-century cyberpunk aesthetics (Serial Experiments Lain) signals a desperate need for vernacular futuristic visions - no matter how dark they might be, as long as they offer a counter-narrative to the colorful corporate AI-generated slop we’re constantly being spoon-fed. Mode Of Existence offers such visions, and as contemporary as they are, they nonetheless update a tradition of paranoid, amphetamine-heavy and insurrectional cultural productions, those adjacent to free party and alter-globalization movements for instance. A welcome update.

XTEREA - Mode Of Existence
(mindseyesrecords.xyz, UK, 2026)

@xtereaa @mindseyerecords.xyz

#uk #bass #future #lain

Brutal cybernetic bass music from 5 GATE TEMPLE’s affiliate XTEREA on Bristol’s mindseyesrecords.xyz. Genuinely contemporary dance music, a perfect fit for the dystopian junk that our information societies are. Exclusive CD edition for Office PSR &Osaka’s naminohana records. Highly recommended.

Channeling, chopping, rearranging a mess of wires and signals into compact high-impulse, jaw-clenching, bass heavy productions, XTEREA dodges the nostalgia syndrome that has perniciously infected UK bass in recent years, charting instead a new stopover in the hardcore continuum. This era’s current obsession with Mark Fisher’s writings and turn-of-the-century cyberpunk aesthetics (Serial Experiments Lain) signals a desperate need for vernacular futuristic visions - no matter how dark they might be, as long as they offer a counter-narrative to the colorful corporate AI-generated slop we’re constantly being spoon-fed. Mode Of Existence offers such visions, and as contemporary as they are, they nonetheless update a tradition of paranoid, amphetamine-heavy and insurrectional cultural productions, those adjacent to free party and alter-globalization movements for instance. A welcome update.

XTEREA - Mode Of Existence
(mindseyesrecords.xyz, UK, 2026)

@xtereaa @mindseyerecords.xyz

#uk #bass #future #lain

Following Sans fin sans fond, an introductory EP released in 2026 on Les Disques de la Bretagne, this LP on Éditions Gravats is Maxime Primault’s debut album as Deep Triskell.

Sacho Fest, New Trad Festival, Instants Chavirés, Mofo Festival… Deep Triskell came into shape through a series of live performances, each one bringing the project one step closer to its current sound, that Primault defines as “stoner-trad” (as in traditional): a sonic matter that is dense, abrasive, incompressible and whose beauty can only be fully comprehended when being physically exposed to it over a long period of time.

Deep Triskell’s artistic approach falls within a scene that mesh experimental practices with traditional music and that has been strongly resurging in France in recent years. On the album, it takes the form of dissonant motives, typical of drones in traditional music - sometimes dark and lingering (“Devant le Silence Noir”), sometimes throbbing and techno-leaning (“Il recrache le diable”) - that Primault integrates into a broader idiosyncratic musical language, made of psychedelic figures developed via his High Wolf project and digital distortions - characteristic of his recent work as BZMC.

More than mere sonic motives, Deep Triskell borrows from Brittany’s traditional music scenes something fundamental: the sense of a space and time that is shared, and in which bodies - driven by an archaic energy conveyed by dance - form an insubordinate group; something deeply rooted in Breton culture, weaving its way through Fest-noz and Britany’s high-spirited free parties.

Deep Triskell provokes in our body a resonance that recalls the persistence of the breaking of the sound barrier, or that of kan ha diskan, that age-old Breton vocal tradition in which point and counterpoint ceaselessly intertwine and unfold themselves without pause or down-time. He spreads a continuous tension in a circular circuit that inevitably excludes any possibility of pause, a physical phenomenon made particularly explicit by the anthemic “Le sonneur devenu pierre”. (more words on officepsr.com)

@editions_gravats @b.z.m.c

Deep Triskell - Deep Triskell

#editionsgravats #deeptriskell

Following Sans fin sans fond, an introductory EP released in 2026 on Les Disques de la Bretagne, this LP on Éditions Gravats is Maxime Primault’s debut album as Deep Triskell.

Sacho Fest, New Trad Festival, Instants Chavirés, Mofo Festival… Deep Triskell came into shape through a series of live performances, each one bringing the project one step closer to its current sound, that Primault defines as “stoner-trad” (as in traditional): a sonic matter that is dense, abrasive, incompressible and whose beauty can only be fully comprehended when being physically exposed to it over a long period of time.

Deep Triskell’s artistic approach falls within a scene that mesh experimental practices with traditional music and that has been strongly resurging in France in recent years. On the album, it takes the form of dissonant motives, typical of drones in traditional music - sometimes dark and lingering (“Devant le Silence Noir”), sometimes throbbing and techno-leaning (“Il recrache le diable”) - that Primault integrates into a broader idiosyncratic musical language, made of psychedelic figures developed via his High Wolf project and digital distortions - characteristic of his recent work as BZMC.

More than mere sonic motives, Deep Triskell borrows from Brittany’s traditional music scenes something fundamental: the sense of a space and time that is shared, and in which bodies - driven by an archaic energy conveyed by dance - form an insubordinate group; something deeply rooted in Breton culture, weaving its way through Fest-noz and Britany’s high-spirited free parties.

Deep Triskell provokes in our body a resonance that recalls the persistence of the breaking of the sound barrier, or that of kan ha diskan, that age-old Breton vocal tradition in which point and counterpoint ceaselessly intertwine and unfold themselves without pause or down-time. He spreads a continuous tension in a circular circuit that inevitably excludes any possibility of pause, a physical phenomenon made particularly explicit by the anthemic “Le sonneur devenu pierre”. (more words on officepsr.com)

@editions_gravats @b.z.m.c

Deep Triskell - Deep Triskell

#editionsgravats #deeptriskell

Following Sans fin sans fond, an introductory EP released in 2026 on Les Disques de la Bretagne, this LP on Éditions Gravats is Maxime Primault’s debut album as Deep Triskell.

Sacho Fest, New Trad Festival, Instants Chavirés, Mofo Festival… Deep Triskell came into shape through a series of live performances, each one bringing the project one step closer to its current sound, that Primault defines as “stoner-trad” (as in traditional): a sonic matter that is dense, abrasive, incompressible and whose beauty can only be fully comprehended when being physically exposed to it over a long period of time.

Deep Triskell’s artistic approach falls within a scene that mesh experimental practices with traditional music and that has been strongly resurging in France in recent years. On the album, it takes the form of dissonant motives, typical of drones in traditional music - sometimes dark and lingering (“Devant le Silence Noir”), sometimes throbbing and techno-leaning (“Il recrache le diable”) - that Primault integrates into a broader idiosyncratic musical language, made of psychedelic figures developed via his High Wolf project and digital distortions - characteristic of his recent work as BZMC.

More than mere sonic motives, Deep Triskell borrows from Brittany’s traditional music scenes something fundamental: the sense of a space and time that is shared, and in which bodies - driven by an archaic energy conveyed by dance - form an insubordinate group; something deeply rooted in Breton culture, weaving its way through Fest-noz and Britany’s high-spirited free parties.

Deep Triskell provokes in our body a resonance that recalls the persistence of the breaking of the sound barrier, or that of kan ha diskan, that age-old Breton vocal tradition in which point and counterpoint ceaselessly intertwine and unfold themselves without pause or down-time. He spreads a continuous tension in a circular circuit that inevitably excludes any possibility of pause, a physical phenomenon made particularly explicit by the anthemic “Le sonneur devenu pierre”. (more words on officepsr.com)

@editions_gravats @b.z.m.c

Deep Triskell - Deep Triskell

#editionsgravats #deeptriskell

Following Sans fin sans fond, an introductory EP released in 2026 on Les Disques de la Bretagne, this LP on Éditions Gravats is Maxime Primault’s debut album as Deep Triskell.

Sacho Fest, New Trad Festival, Instants Chavirés, Mofo Festival… Deep Triskell came into shape through a series of live performances, each one bringing the project one step closer to its current sound, that Primault defines as “stoner-trad” (as in traditional): a sonic matter that is dense, abrasive, incompressible and whose beauty can only be fully comprehended when being physically exposed to it over a long period of time.

Deep Triskell’s artistic approach falls within a scene that mesh experimental practices with traditional music and that has been strongly resurging in France in recent years. On the album, it takes the form of dissonant motives, typical of drones in traditional music - sometimes dark and lingering (“Devant le Silence Noir”), sometimes throbbing and techno-leaning (“Il recrache le diable”) - that Primault integrates into a broader idiosyncratic musical language, made of psychedelic figures developed via his High Wolf project and digital distortions - characteristic of his recent work as BZMC.

More than mere sonic motives, Deep Triskell borrows from Brittany’s traditional music scenes something fundamental: the sense of a space and time that is shared, and in which bodies - driven by an archaic energy conveyed by dance - form an insubordinate group; something deeply rooted in Breton culture, weaving its way through Fest-noz and Britany’s high-spirited free parties.

Deep Triskell provokes in our body a resonance that recalls the persistence of the breaking of the sound barrier, or that of kan ha diskan, that age-old Breton vocal tradition in which point and counterpoint ceaselessly intertwine and unfold themselves without pause or down-time. He spreads a continuous tension in a circular circuit that inevitably excludes any possibility of pause, a physical phenomenon made particularly explicit by the anthemic “Le sonneur devenu pierre”. (more words on officepsr.com)

@editions_gravats @b.z.m.c

Deep Triskell - Deep Triskell

#editionsgravats #deeptriskell

Following Sans fin sans fond, an introductory EP released in 2026 on Les Disques de la Bretagne, this LP on Éditions Gravats is Maxime Primault’s debut album as Deep Triskell.

Sacho Fest, New Trad Festival, Instants Chavirés, Mofo Festival… Deep Triskell came into shape through a series of live performances, each one bringing the project one step closer to its current sound, that Primault defines as “stoner-trad” (as in traditional): a sonic matter that is dense, abrasive, incompressible and whose beauty can only be fully comprehended when being physically exposed to it over a long period of time.

Deep Triskell’s artistic approach falls within a scene that mesh experimental practices with traditional music and that has been strongly resurging in France in recent years. On the album, it takes the form of dissonant motives, typical of drones in traditional music - sometimes dark and lingering (“Devant le Silence Noir”), sometimes throbbing and techno-leaning (“Il recrache le diable”) - that Primault integrates into a broader idiosyncratic musical language, made of psychedelic figures developed via his High Wolf project and digital distortions - characteristic of his recent work as BZMC.

More than mere sonic motives, Deep Triskell borrows from Brittany’s traditional music scenes something fundamental: the sense of a space and time that is shared, and in which bodies - driven by an archaic energy conveyed by dance - form an insubordinate group; something deeply rooted in Breton culture, weaving its way through Fest-noz and Britany’s high-spirited free parties.

Deep Triskell provokes in our body a resonance that recalls the persistence of the breaking of the sound barrier, or that of kan ha diskan, that age-old Breton vocal tradition in which point and counterpoint ceaselessly intertwine and unfold themselves without pause or down-time. He spreads a continuous tension in a circular circuit that inevitably excludes any possibility of pause, a physical phenomenon made particularly explicit by the anthemic “Le sonneur devenu pierre”. (more words on officepsr.com)

@editions_gravats @b.z.m.c

Deep Triskell - Deep Triskell

#editionsgravats #deeptriskell

Music supervision for @anti.parfum

cc @yayajalloux :,)

Artistic Direction @cecileparavina
3D sculpting @kamyukami
Technical supervision @the_big_dumb_object
Photography & CGI @5fruits_2mss
Music supervision @officepsr
Composer @yayajalloux
Montage @quentin.j.da

Music supervision for @anti.parfum

cc @yayajalloux :,)

Artistic Direction @cecileparavina
3D sculpting @kamyukami
Technical supervision @the_big_dumb_object
Photography & CGI @5fruits_2mss
Music supervision @officepsr
Composer @yayajalloux
Montage @quentin.j.da

Music supervision for @anti.parfum

cc @yayajalloux :,)

Artistic Direction @cecileparavina
3D sculpting @kamyukami
Technical supervision @the_big_dumb_object
Photography & CGI @5fruits_2mss
Music supervision @officepsr
Composer @yayajalloux
Montage @quentin.j.da

Music supervision for @anti.parfum

cc @yayajalloux :,)

Artistic Direction @cecileparavina
3D sculpting @kamyukami
Technical supervision @the_big_dumb_object
Photography & CGI @5fruits_2mss
Music supervision @officepsr
Composer @yayajalloux
Montage @quentin.j.da

New release on Young Parisian imprint, Protopost, with close links to Les Disques Omnison and Les Disques de la Spirale. After releases by HWYUIOD and Krakaota, this LP led by Shelter further assesses the influence of DIY experimental rock on this bunch of musicians, connecting dots between post-1968 French psychedelia and alternative & post-rock scenes from the 1990's.

"Gritty guitars, lethargic bass, motoric rhythms, twisted voices and slowcorification : with their debut LP, Raya 13 offers a new reimagination of the stoner & post-rock lore, bathering in lethargic mutant sounds. A trio made up of Shelter, one third of improvised rock band HWYUIOD; and Brittany Dubson & Mathieu Deschênes, both musicians in Montreal experimental music collective MOAB.

These captured moments of pure improvisations, infused with unclear spontaneity, evoke the French underground rock born in the aftermath of Mai 68 events; mostly Mahogany Brain, Red Noise, Fille Qui Mousse, or also Dashiell Hedayat at his most experimental moments. Those records that kept something special in their spontaneity, their exuberance and the unapologetic « let’s put this jam on a record » attitude.. Much of it thrived thanks to that cultural ferment of the time, nourised by the french hippies and first independant labels - Saravah, Futura, BYG, Shandar... Shelter extends that lineage today, producing this record on his own imprint Protopost.

But we’re no longer in a free-jazz, world-music influenced rock territory like the bands I mentioned earlier. Raya 13 leans instead toward a kind of naked-shoegaze without sustained notes, without drums and with only the faintest trace of distortion. A psychedelism distillied to its purest essence, and a fragile emotional sensitivity akin to the melancholy we found in Tanz Mein Herz’s pagan folk-rock or in Jemima’s hauntological rock. These brief fragments feel like found relics, always in danger of vanishing. Inevitably, we also hear echoes of infuence of early Sonic Youth, Sun City Girls or Young Marble Giants; and the great golden age post-rock bands like Labradford or Slint..."

Raya 13 - Bardo Rafting (Protopost, France, 2026)

#raya13 #protopost

New release on Young Parisian imprint, Protopost, with close links to Les Disques Omnison and Les Disques de la Spirale. After releases by HWYUIOD and Krakaota, this LP led by Shelter further assesses the influence of DIY experimental rock on this bunch of musicians, connecting dots between post-1968 French psychedelia and alternative & post-rock scenes from the 1990's.

"Gritty guitars, lethargic bass, motoric rhythms, twisted voices and slowcorification : with their debut LP, Raya 13 offers a new reimagination of the stoner & post-rock lore, bathering in lethargic mutant sounds. A trio made up of Shelter, one third of improvised rock band HWYUIOD; and Brittany Dubson & Mathieu Deschênes, both musicians in Montreal experimental music collective MOAB.

These captured moments of pure improvisations, infused with unclear spontaneity, evoke the French underground rock born in the aftermath of Mai 68 events; mostly Mahogany Brain, Red Noise, Fille Qui Mousse, or also Dashiell Hedayat at his most experimental moments. Those records that kept something special in their spontaneity, their exuberance and the unapologetic « let’s put this jam on a record » attitude.. Much of it thrived thanks to that cultural ferment of the time, nourised by the french hippies and first independant labels - Saravah, Futura, BYG, Shandar... Shelter extends that lineage today, producing this record on his own imprint Protopost.

But we’re no longer in a free-jazz, world-music influenced rock territory like the bands I mentioned earlier. Raya 13 leans instead toward a kind of naked-shoegaze without sustained notes, without drums and with only the faintest trace of distortion. A psychedelism distillied to its purest essence, and a fragile emotional sensitivity akin to the melancholy we found in Tanz Mein Herz’s pagan folk-rock or in Jemima’s hauntological rock. These brief fragments feel like found relics, always in danger of vanishing. Inevitably, we also hear echoes of infuence of early Sonic Youth, Sun City Girls or Young Marble Giants; and the great golden age post-rock bands like Labradford or Slint..."

Raya 13 - Bardo Rafting (Protopost, France, 2026)

#raya13 #protopost

New release on Young Parisian imprint, Protopost, with close links to Les Disques Omnison and Les Disques de la Spirale. After releases by HWYUIOD and Krakaota, this LP led by Shelter further assesses the influence of DIY experimental rock on this bunch of musicians, connecting dots between post-1968 French psychedelia and alternative & post-rock scenes from the 1990's.

"Gritty guitars, lethargic bass, motoric rhythms, twisted voices and slowcorification : with their debut LP, Raya 13 offers a new reimagination of the stoner & post-rock lore, bathering in lethargic mutant sounds. A trio made up of Shelter, one third of improvised rock band HWYUIOD; and Brittany Dubson & Mathieu Deschênes, both musicians in Montreal experimental music collective MOAB.

These captured moments of pure improvisations, infused with unclear spontaneity, evoke the French underground rock born in the aftermath of Mai 68 events; mostly Mahogany Brain, Red Noise, Fille Qui Mousse, or also Dashiell Hedayat at his most experimental moments. Those records that kept something special in their spontaneity, their exuberance and the unapologetic « let’s put this jam on a record » attitude.. Much of it thrived thanks to that cultural ferment of the time, nourised by the french hippies and first independant labels - Saravah, Futura, BYG, Shandar... Shelter extends that lineage today, producing this record on his own imprint Protopost.

But we’re no longer in a free-jazz, world-music influenced rock territory like the bands I mentioned earlier. Raya 13 leans instead toward a kind of naked-shoegaze without sustained notes, without drums and with only the faintest trace of distortion. A psychedelism distillied to its purest essence, and a fragile emotional sensitivity akin to the melancholy we found in Tanz Mein Herz’s pagan folk-rock or in Jemima’s hauntological rock. These brief fragments feel like found relics, always in danger of vanishing. Inevitably, we also hear echoes of infuence of early Sonic Youth, Sun City Girls or Young Marble Giants; and the great golden age post-rock bands like Labradford or Slint..."

Raya 13 - Bardo Rafting (Protopost, France, 2026)

#raya13 #protopost

New release on Young Parisian imprint, Protopost, with close links to Les Disques Omnison and Les Disques de la Spirale. After releases by HWYUIOD and Krakaota, this LP led by Shelter further assesses the influence of DIY experimental rock on this bunch of musicians, connecting dots between post-1968 French psychedelia and alternative & post-rock scenes from the 1990's.

"Gritty guitars, lethargic bass, motoric rhythms, twisted voices and slowcorification : with their debut LP, Raya 13 offers a new reimagination of the stoner & post-rock lore, bathering in lethargic mutant sounds. A trio made up of Shelter, one third of improvised rock band HWYUIOD; and Brittany Dubson & Mathieu Deschênes, both musicians in Montreal experimental music collective MOAB.

These captured moments of pure improvisations, infused with unclear spontaneity, evoke the French underground rock born in the aftermath of Mai 68 events; mostly Mahogany Brain, Red Noise, Fille Qui Mousse, or also Dashiell Hedayat at his most experimental moments. Those records that kept something special in their spontaneity, their exuberance and the unapologetic « let’s put this jam on a record » attitude.. Much of it thrived thanks to that cultural ferment of the time, nourised by the french hippies and first independant labels - Saravah, Futura, BYG, Shandar... Shelter extends that lineage today, producing this record on his own imprint Protopost.

But we’re no longer in a free-jazz, world-music influenced rock territory like the bands I mentioned earlier. Raya 13 leans instead toward a kind of naked-shoegaze without sustained notes, without drums and with only the faintest trace of distortion. A psychedelism distillied to its purest essence, and a fragile emotional sensitivity akin to the melancholy we found in Tanz Mein Herz’s pagan folk-rock or in Jemima’s hauntological rock. These brief fragments feel like found relics, always in danger of vanishing. Inevitably, we also hear echoes of infuence of early Sonic Youth, Sun City Girls or Young Marble Giants; and the great golden age post-rock bands like Labradford or Slint..."

Raya 13 - Bardo Rafting (Protopost, France, 2026)

#raya13 #protopost

Two atomizing micro-tonal drone/ambient pieces by Irish musician Mel Keane (Princ€ss) for smallpipes. Very warmly recommended release in that field of experimental / ambient music that acts on an almost molecular scale, the rare kind that is technically abstract but also emotionally generous, recalling in that sense much loved releases by Rafael Toral, as well as the strangely whimsical but heartwarming sounds of computed electronic music pioneer Charles Dodge. Special shout out to the label, Deardogs, for the utmost care with which they released the music on vinyl (180g, slick artwork).

Mel Keane - PIPEWORX (Deardogs, France, 2026)

@mel__keane @__deardogs__

#melkeane #deardogs #microtonal #ambient #drone #ireland

Two atomizing micro-tonal drone/ambient pieces by Irish musician Mel Keane (Princ€ss) for smallpipes. Very warmly recommended release in that field of experimental / ambient music that acts on an almost molecular scale, the rare kind that is technically abstract but also emotionally generous, recalling in that sense much loved releases by Rafael Toral, as well as the strangely whimsical but heartwarming sounds of computed electronic music pioneer Charles Dodge. Special shout out to the label, Deardogs, for the utmost care with which they released the music on vinyl (180g, slick artwork).

Mel Keane - PIPEWORX (Deardogs, France, 2026)

@mel__keane @__deardogs__

#melkeane #deardogs #microtonal #ambient #drone #ireland

Two atomizing micro-tonal drone/ambient pieces by Irish musician Mel Keane (Princ€ss) for smallpipes. Very warmly recommended release in that field of experimental / ambient music that acts on an almost molecular scale, the rare kind that is technically abstract but also emotionally generous, recalling in that sense much loved releases by Rafael Toral, as well as the strangely whimsical but heartwarming sounds of computed electronic music pioneer Charles Dodge. Special shout out to the label, Deardogs, for the utmost care with which they released the music on vinyl (180g, slick artwork).

Mel Keane - PIPEWORX (Deardogs, France, 2026)

@mel__keane @__deardogs__

#melkeane #deardogs #microtonal #ambient #drone #ireland

I have a very special fondness for early 2000’s weightless indie electro pop - probably one of the least respected genres by the community of records buyers these days, if I trust Discogs stats (bad have/want ratios, low grades and even lower prices). All the better; it’s a territory lying in the shadow of Lali Puna that I can explore freely - without fearing any kind of interferences, no hype, no peer-pressure - with only one criteria: either I like the music or I don’t. My own private Idaho.

I understand why people have been instinctively dismissing the music of German duo Komeït for the past 20 years: it’s uncomplicated, sugar-coated and polished. Their debut album simply consists of dreamy ritournelles and post-Durutti Column jams of easy guitar chords and simple machinedrum patterns (two things I tend to fall for easily): music with a long history of facing disdainful remarks from journalists and music nerds (the same applied to Sarah Records and a lot of now celebrated dream pop imprints and acts from the early 1990’s). But it always seemed that none of these dream pop people ever cared. They knew they weren’t 1990’s Zappas, and certainly didn’t pretend they were, anyway. And precisely because of that, their music often reached degrees of spontaneity rarely reached by more self-conscious musicians, whether because they were addressing bigger/ more mainstream audiences or because they were coming from more artsy scenes.

Komeït’s tunes remind me of « Just You », that song James, Donna and Maddy sing in the second season of Twin Peaks (Komeït has a song called « Instead of You »): their songs seem to come from similarly wired late teenagers’ brains, who grew up in Europe in the early days of Internet and 3D animation instead of a remote Washington State town during the last stage of the Cold War. It’s music discreet and subtle enough for one to come back to regularly over the months and years. Music I can never really get tired of.

Komëit - Komëit
(Lok Musik, Germany, 2000)

#dreampop #indie #2000 #germany #lalipuna

I have a very special fondness for early 2000’s weightless indie electro pop - probably one of the least respected genres by the community of records buyers these days, if I trust Discogs stats (bad have/want ratios, low grades and even lower prices). All the better; it’s a territory lying in the shadow of Lali Puna that I can explore freely - without fearing any kind of interferences, no hype, no peer-pressure - with only one criteria: either I like the music or I don’t. My own private Idaho.

I understand why people have been instinctively dismissing the music of German duo Komeït for the past 20 years: it’s uncomplicated, sugar-coated and polished. Their debut album simply consists of dreamy ritournelles and post-Durutti Column jams of easy guitar chords and simple machinedrum patterns (two things I tend to fall for easily): music with a long history of facing disdainful remarks from journalists and music nerds (the same applied to Sarah Records and a lot of now celebrated dream pop imprints and acts from the early 1990’s). But it always seemed that none of these dream pop people ever cared. They knew they weren’t 1990’s Zappas, and certainly didn’t pretend they were, anyway. And precisely because of that, their music often reached degrees of spontaneity rarely reached by more self-conscious musicians, whether because they were addressing bigger/ more mainstream audiences or because they were coming from more artsy scenes.

Komeït’s tunes remind me of « Just You », that song James, Donna and Maddy sing in the second season of Twin Peaks (Komeït has a song called « Instead of You »): their songs seem to come from similarly wired late teenagers’ brains, who grew up in Europe in the early days of Internet and 3D animation instead of a remote Washington State town during the last stage of the Cold War. It’s music discreet and subtle enough for one to come back to regularly over the months and years. Music I can never really get tired of.

Komëit - Komëit
(Lok Musik, Germany, 2000)

#dreampop #indie #2000 #germany #lalipuna

I have a very special fondness for early 2000’s weightless indie electro pop - probably one of the least respected genres by the community of records buyers these days, if I trust Discogs stats (bad have/want ratios, low grades and even lower prices). All the better; it’s a territory lying in the shadow of Lali Puna that I can explore freely - without fearing any kind of interferences, no hype, no peer-pressure - with only one criteria: either I like the music or I don’t. My own private Idaho.

I understand why people have been instinctively dismissing the music of German duo Komeït for the past 20 years: it’s uncomplicated, sugar-coated and polished. Their debut album simply consists of dreamy ritournelles and post-Durutti Column jams of easy guitar chords and simple machinedrum patterns (two things I tend to fall for easily): music with a long history of facing disdainful remarks from journalists and music nerds (the same applied to Sarah Records and a lot of now celebrated dream pop imprints and acts from the early 1990’s). But it always seemed that none of these dream pop people ever cared. They knew they weren’t 1990’s Zappas, and certainly didn’t pretend they were, anyway. And precisely because of that, their music often reached degrees of spontaneity rarely reached by more self-conscious musicians, whether because they were addressing bigger/ more mainstream audiences or because they were coming from more artsy scenes.

Komeït’s tunes remind me of « Just You », that song James, Donna and Maddy sing in the second season of Twin Peaks (Komeït has a song called « Instead of You »): their songs seem to come from similarly wired late teenagers’ brains, who grew up in Europe in the early days of Internet and 3D animation instead of a remote Washington State town during the last stage of the Cold War. It’s music discreet and subtle enough for one to come back to regularly over the months and years. Music I can never really get tired of.

Komëit - Komëit
(Lok Musik, Germany, 2000)

#dreampop #indie #2000 #germany #lalipuna

I have a very special fondness for early 2000’s weightless indie electro pop - probably one of the least respected genres by the community of records buyers these days, if I trust Discogs stats (bad have/want ratios, low grades and even lower prices). All the better; it’s a territory lying in the shadow of Lali Puna that I can explore freely - without fearing any kind of interferences, no hype, no peer-pressure - with only one criteria: either I like the music or I don’t. My own private Idaho.

I understand why people have been instinctively dismissing the music of German duo Komeït for the past 20 years: it’s uncomplicated, sugar-coated and polished. Their debut album simply consists of dreamy ritournelles and post-Durutti Column jams of easy guitar chords and simple machinedrum patterns (two things I tend to fall for easily): music with a long history of facing disdainful remarks from journalists and music nerds (the same applied to Sarah Records and a lot of now celebrated dream pop imprints and acts from the early 1990’s). But it always seemed that none of these dream pop people ever cared. They knew they weren’t 1990’s Zappas, and certainly didn’t pretend they were, anyway. And precisely because of that, their music often reached degrees of spontaneity rarely reached by more self-conscious musicians, whether because they were addressing bigger/ more mainstream audiences or because they were coming from more artsy scenes.

Komeït’s tunes remind me of « Just You », that song James, Donna and Maddy sing in the second season of Twin Peaks (Komeït has a song called « Instead of You »): their songs seem to come from similarly wired late teenagers’ brains, who grew up in Europe in the early days of Internet and 3D animation instead of a remote Washington State town during the last stage of the Cold War. It’s music discreet and subtle enough for one to come back to regularly over the months and years. Music I can never really get tired of.

Komëit - Komëit
(Lok Musik, Germany, 2000)

#dreampop #indie #2000 #germany #lalipuna

I have a very special fondness for early 2000’s weightless indie electro pop - probably one of the least respected genres by the community of records buyers these days, if I trust Discogs stats (bad have/want ratios, low grades and even lower prices). All the better; it’s a territory lying in the shadow of Lali Puna that I can explore freely - without fearing any kind of interferences, no hype, no peer-pressure - with only one criteria: either I like the music or I don’t. My own private Idaho.

I understand why people have been instinctively dismissing the music of German duo Komeït for the past 20 years: it’s uncomplicated, sugar-coated and polished. Their debut album simply consists of dreamy ritournelles and post-Durutti Column jams of easy guitar chords and simple machinedrum patterns (two things I tend to fall for easily): music with a long history of facing disdainful remarks from journalists and music nerds (the same applied to Sarah Records and a lot of now celebrated dream pop imprints and acts from the early 1990’s). But it always seemed that none of these dream pop people ever cared. They knew they weren’t 1990’s Zappas, and certainly didn’t pretend they were, anyway. And precisely because of that, their music often reached degrees of spontaneity rarely reached by more self-conscious musicians, whether because they were addressing bigger/ more mainstream audiences or because they were coming from more artsy scenes.

Komeït’s tunes remind me of « Just You », that song James, Donna and Maddy sing in the second season of Twin Peaks (Komeït has a song called « Instead of You »): their songs seem to come from similarly wired late teenagers’ brains, who grew up in Europe in the early days of Internet and 3D animation instead of a remote Washington State town during the last stage of the Cold War. It’s music discreet and subtle enough for one to come back to regularly over the months and years. Music I can never really get tired of.

Komëit - Komëit
(Lok Musik, Germany, 2000)

#dreampop #indie #2000 #germany #lalipuna

I have a very special fondness for early 2000’s weightless indie electro pop - probably one of the least respected genres by the community of records buyers these days, if I trust Discogs stats (bad have/want ratios, low grades and even lower prices). All the better; it’s a territory lying in the shadow of Lali Puna that I can explore freely - without fearing any kind of interferences, no hype, no peer-pressure - with only one criteria: either I like the music or I don’t. My own private Idaho.

I understand why people have been instinctively dismissing the music of German duo Komeït for the past 20 years: it’s uncomplicated, sugar-coated and polished. Their debut album simply consists of dreamy ritournelles and post-Durutti Column jams of easy guitar chords and simple machinedrum patterns (two things I tend to fall for easily): music with a long history of facing disdainful remarks from journalists and music nerds (the same applied to Sarah Records and a lot of now celebrated dream pop imprints and acts from the early 1990’s). But it always seemed that none of these dream pop people ever cared. They knew they weren’t 1990’s Zappas, and certainly didn’t pretend they were, anyway. And precisely because of that, their music often reached degrees of spontaneity rarely reached by more self-conscious musicians, whether because they were addressing bigger/ more mainstream audiences or because they were coming from more artsy scenes.

Komeït’s tunes remind me of « Just You », that song James, Donna and Maddy sing in the second season of Twin Peaks (Komeït has a song called « Instead of You »): their songs seem to come from similarly wired late teenagers’ brains, who grew up in Europe in the early days of Internet and 3D animation instead of a remote Washington State town during the last stage of the Cold War. It’s music discreet and subtle enough for one to come back to regularly over the months and years. Music I can never really get tired of.

Komëit - Komëit
(Lok Musik, Germany, 2000)

#dreampop #indie #2000 #germany #lalipuna