Ste Cy, the latest studio offering from the trio of Jac Berrocal, Vincent Epplay, and Timo van Luijk, ripens like a forbidden fruit—born of an improvised instrumental session captured in the secluded hush of Kulta Saha by Timo van Luijk.
These raw recordings were later reshaped into 12 songs by Vincent Epplay at Studio Villejuif in Paris. And over it all drifts the poetry of Jac Berrocal— sensual and incendiary, seeping into the music like spice into flesh.
Jac Berrocal: voice, words, trumpet, double bass
Timo van Luijk: guitar, piano, vibraphone, percussion
Vincent Epplay: field recording, drums, percussion, EMS Synthi A, Noizoid OCS 2, double bass
For 20 years Bart De Paepe has carved a distinctive trace in the realm of psychedelic underground and counterculture. With several outstanding solo albums on a.o. Astres d’Or, Ultra Eczema, No Basement Is Deep Enough and with many studio and concert ventures with Sylvester Anfang’s funeral folks, Louise Landes Levi, Timo van Luijk, Raymond Dijkstra to name a few, Bart De Paepe developed a wide and sharp spirit within the orbit of psychedelic improvisation. Since 2007, Bart also curates the Sloow Tapes and Sloowax labels with an impressive catalog of music and poetry by a wide range of resonating artists. Bart’s visual work (drawing and painting), parallel to his musical universe, has been used on many of these releases. He is a genuinely curious traveler, always discovering new dimensions, which is clearly to be heard on the four tracks of this album.
Zürahümnah is an immediate and immersive dive into solitary inner and outer worlds of light and darkness. Zürahümnah is a floating vibration of flickering twilight. Zürahümnah is a mysterious journey through detached time and space.
Equipped with Hawaiian guitar, piano, organ and cymbal, Bart De Paepe sets the controls for the heart of the sun.
Not to be confused with the In Camera who had a couple of post-PiL releases on 4AD in the 80s, this In Camera is the work of Christoph Heemann and Timo Van Luijk. Four years after they got Lost in Spice they reached the point of Arrival. An altar on the surface of the water is burning with flames. Behind it you can see a half of the Earth's globe, and on it there’s a bright throne. A pale, translucent ruler wearing a crown sits in the throne. The globe is surrounded by a ball of shadows on which sits a larger dark ruler on a dark throne. Behind the globe are mountain peaks, and all of it is reflected in the water. Above the mountains are clouds which merge into rivers and end in a curved horizon on which forests stand, and the sun rises between them. Above this horizon is another sky with lunar crescents and comets. Above this sky are rows of angels bent over, above which the stars shine. The sun shines in the top left corner and the crescent moon in the right.
"This album is a bit of an accumulation of coincidences. It is the first recording session I did with Kris Vanderstraeten, back in 1994, together with Daniel Duchamp and Luis Ferin. The session recording had since disappeared from attention and 30 years later, while going through old DAT tape archives, I came across it by chance, initially even not knowing who/what it was… The tape started with a recording of cars, captured from my balcony in Brussels, where I lived at the time. I decided to integrate the cars as an intro to the music session that fitted in seamlessly. Both the recording quality and the musical performance were remarkably good. A lost and found little treasure. It was a refreshing time for me, playing with people from a jazz and free improvisation background. We became good friends."
Timo van Luijk
Several years of mutual appreciation and encounters on- and off-stage have been the root of this chance meeting, resulting in an unplanned mysterious collaboration album where the aura of each individual is augmented by the magic osmosis of united forces. The 12-tracks display a collage of dreamy musique concrète with desolate instrumental and vocal interventions, masterfully balanced out by Vincent Epplay.
Anne Gillis: words, voice, noises
Jac Berrocal: words, voice, trumpet
Vincent Epplay: field recording, percussion, Synthi AKS
Timo van Luijk: sounds, strings
The strange thing about the music of Anima is that it’s often considered as strange, while it’s actually very natural. It has a free spirit, analog to nature. For this release the natural spirit is strengthened by the participation of indigenous American flute player and composer R. Carlos Nakai who did a series of concerts in the US and Europe with Paul and Limpe Fuchs in the 1980’s. As with almost all Anima work, the natural feel manifests itself not only by the musical approach but also through sounds generated by natural materials as metal, wood, stone and air, and of course the absence of electronic devices. This LP is a reissue of a rare privately released cassette from 1988 and was recorded by the Bayerischer Rundfunk. May this slice of timeless free spirit be a trigger to more awareness concerning our decaying freedom.
Performers: Limpe Fuchs, R. Carlos Nakai, Paul Fuchs
Recorded by Bayerischer Rundfunk at Münchener Freies Musikzentrum, October 8, 1988
Since more than 40 years, Anne Gillis has discreetly unfolded her proper singular universe without any compromise. She playfully moves with determined restrictions, excavating contrasting forces; sensual and visceral, mechanical and organical, black and white, … She extends this personal expression in her visuals using self-portrait photos, handwritten text and her theatrical performances are equally aligned with this spirit. Her music can be considered as musique concrète using the tape machine as compositional tool, manipulating her recorded sources, mainly consisting of extended voice and different (instrumental) sounds with addition of electronics and treatments. In both her photography and her music, Anne Gillis works fully analog.
Small 2024 repress.
Very pleased and grateful to announce this ‘Home Comfort’ reissue by Mark Glynne and Bart Zwier, originally self-released in 1980.
Maybe a bit of an unexpected title to appear in the LSD catalog but my love for this album goes back to my late teenage years and has had an addictive effect since, like a spleen infused magnet.
With this album Glynne and Zwier, based in the Netherlands and connected to the Ultra scene, drew an insular blend of intimate post-punk and chamber (bedroom) songs with surreal scenic reflections. Probably its naked singularity defying categorization has left it so unnoticed, even 43 years after the making. It also features a reciting Marlène Dumas still quite unknown at the time.
With biggest gratitude to Mark Glynne who instantly felt confident with my proposal to reissue this silent witness of lasting beauty.
My long time Japanese friend You Ishihara (White Heaven, The Stars) who bought the LP when it came out in 1980 still considers it as one of his all-time favourites. This is what he writes about ‘Home Comfort’:“Resignation and fear in a desolate mental landscape. This album, which exists like a shelter for those who have quietly escaped through the backdoor of the world, vividly reflects the inner depths of the devastated Amsterdam of the early 80’s. A beautiful and sad, unmistakable masterpiece.”
Thrilled to announce the reissue of Nikolaus Utermöhlen’s ‘Karlsbad’ album, originally released in 1989. Utermöhlen was a founding member of Die Tödliche Doris and this is his sole solo release. A collection of 23 witty oddball compositions for clarinet, accordion, percussion, recorder, violin, guitar, organ. It definitely has a Doris dose but even more so it shines for its totally singular mélange of tribal dada chamber folk, dilettante dissonant poetry, hard to compare with anything else. A slice of flamboyant wellness. The recordings of this album were made for the ‘Georgette Meunier’ film by Tania Stöcklin and Cyrille Rey-Coquais.
Issued from the original master tapes and includes the 8 page booklet with engravings from the Karlsbad spa era.
"Playing with Kris always reminds me of doing expeditions in a lake. Some kind of under water sound fiction observing sonic creatures. This album is a live recording (28-01-2012, Kunstencentrum Belgie, Hasselt, Belgium) which to me always felt like one of the best concerts we did. As with our previous album Arrêt au Lac Chimère Vincent de Roguin put his heart in editing and mixing the recordings, extending the dimensions of exploration to the deep bottom of the lake." Timo van LUIJK
300 copies
New edition 2022. 3 introspective instrumental (English horn, flute, percussion, double bass, Hammond organ) compositions performed, recorded and mixed by Timo van Luijk during 2010 - 2012 at Kulta Saha. In memory of Hugo Billens, Anja Hiilesmaa, Dirk de Hollander, Ger Boeske, Ourgon and Tosca.
La Scie Dorée presents a new album by Mirror (Christoph Heemann and Andrew Chalk) recorded at the Loft, Cologne. Christoph Heemann, with co-founder Achim P. Li Khan, was active in the celebrated group Hirsche Nicht Aufs Sofa in the 80's. In the mid-90's, Christoph concentrated on his solo career while collaborating with artists such as Jim O'Rourke and Edward Ka-Spel (Legendary Pink Dots) in the Mimir project. He also worked with Masami Akita (Merzbow) and with the Japanese duo Jack or Jive. Christoph contributed to several Current 93 albums. Andrew Chalk was similarly very active in the second half of the 80's, working in collaboration with David Jackman (Organum) and the Rupenus Brothers The New Blockaders), among several others. In 1993, Andrew joined forces with Darren Tate to form the collective Ora.
Since 1999, Andrew and Christoph worked together in the prolific collaboration known as Mirror. Mirror is the collaborative effort of Andrew and Christoph, with occasional participation of guest artists on some releases and live events. The guests in "Some Days It Rains All Night" are Vikki Jackman (Marsfield) and Timo van Luijk (Noise-Maker's Fifes, Af Ursin, Asra, La Poupée Vivante, In Camera).
Edition of 350 copies on transparent vinyl.
La Scie Dorée presents a new album by In Camera. In Camera is composed of Christoph Heemann and Timo van Luijk , both experienced and quite active in the contemporary experimental music world. In Camera was formed in 2003 out of a twenty year dialogue between the duo who have recorded two albums together. On these dates, Heemann plays the Moog and manipulates prerecorded sounds live to generate lush electronic drone-scapes while van Luijk symbiotically adds to the visual sound layers with his electronic and acoustic instruments, both of them balancing between the frontier of improvisation and composition, among drones, electronics and electroacoustics, the overall effect being of an intense beauty.
Edition of 400 copies
Seven track studio album by Andrew Chalk & Timo van Luijk, recorded and mixed at Kulta Saha and Impression Lointaine, 2016-2018.
Edition of 500 copies on transparent vinyl, including reproduction of art-print and postcard.
On the frigid moonless night of December 6th, 1978, a 26 year-old night watchman named Pier Zanfretta was on a routine patrol in the village of Torriglia, where he stumbled into a horrifying encounter with aliens from Taetonia. In order to get more clarity about what happened that night Pier Zanfretta agreed to undergo hypnosis, to let his subconscious speak about his abduction by these aliens.
As his discours under hypnosis sounded uncannily musical and mesmerizing, even without understanding the words, it became the basis of this Ipnopedion album.
For the recording of the title track ‘Ipnopedion’ (side 1) Zanfretta’s speech was played back on headphones, then phonetically reproduced by FC and TVL, lying down in darkness as being hypnotised. Apart from this transposed text only piano and a few hypnosis inducing atmospherics and spatialisations were added.
The ‘Taetonia’ track (side 2) opens with a naieve and enticing piano play slowly being beamed into a vacuum void towards Taetonia. As Zanfretta’s words were vague it remained unclear what happened in Taetonia but things certainly had changed…
Ipnopedion became a ritual invitation to withdraw from the concrete world, returning to it as uncanonical aliens from Taetonia.
Edition of 300 copies on transparent vinyl, with printed insert.
15 track album recorded by Darren Tate & Andrew Chalk, 1986 to 1996, on locations and at ICR Studios in York, engineered by Colin Potter.
Arrangements made at Impression Lointaine.
With Daisuke Suzuki as guest on two tracks.
‘Music first and foremost, with odd numbers that drift and dissolve better in the air, with nothing heavy or static about them.
Shaded tints we desire, no colour only tints and hues.
Nothing lovelier than a grey song, where uncertainty and precision meet.
Beautiful eyes veiled and dim, the quivering bright light of noon, and the blue tangle of clear stars in a mild autumn sky.
Only the shaded tint can link dream to dream and flute to horn.’ (adaptation of a poem by Verlaine)
Edition of 400 copies.
Played, recorded and mixed by Timo van Luijk & Graham Stewart at Kulta Saha, 2017-2018.
Sleeve drawing, design and text by John Whyte.
‘Quiet Ends’, the 2nd album by Lumine, draws an isolationist scenery with subtly merging halftones of twilight. The penumbra diffuses mysterious textures and a melancholic hypnotic atmosphere conductive to introspection. In the gathering darkness all troubling details of reality melt into large evocative masses and abstract surfaces.
Edition of 350 copies, with download code.
*** Limited re-pressing (200 copies) on transparent vinyl ***
First full electronic album, played, recorded and mixed by Timo van Luijk at Kulta Saha 2016-2017
"An imaginary one way trip through microcosmic oscillations in seven macrosonic constellations. The space of sound versus the sound of space."
Edition of 300 copies. With download card. New project of Timo van Luijk with Graham Stewart and John Whyte. Played, recorded and mixed by Timo van Luijk & Graham Stewart at Kulta Saha, 2015 2016. Sleeve drawing, design and titles by John Whyte. Photography by Conny Cams. “From a blank page appeared six chapters of sparse electronics and acoustic instrumentals. A subtle story revealing the slowly moving interplay of delicate sonic tension and distant drama of desolate melodies”.
2nd edition of 300 copies. Debut album of new project by Timo van Luijk & Andrew Chalk . Percussion on ’Récit Inouï’ by Daisuke Suzuki. Accidental Sounds on ’En Aval’ by Ian Middleton. Edition of 400 copies .
Fourth album by Andrew Chalk & Timo van Luijk. “A musical fantasy in two movements symbolising the evocative power and poetry of ancient illustration”. Edition of 300 copies.
2007. “Vanderstraten and Van Luijk have played together before, but unlike their previous album “High Noon”, “Costa Del Luna” sees them both in a slightly different setting, more austere and carefully erected out of dusty late night encounters. Here the musical outcome is less AMM inspired and more bordering on ethereal planes that are reminiscent of France’s OM or Bertoia’s sonic worlds cross-breeding with an almost “Musik Fur Alle” era Anima aesthetic. Just like a reptile’s tail is a remnant of a long lost revolution, the duo here also slowly feeds of each other’s tiniest gestures and articulations in sound in order to trigger in response panoramic sound clusters that float somewhere between a poetic resonance of skeletal music and a shamanistic sense of poetry, all encapsulated in sonic molecules drifting in between your speakers. One of the best discs to have been released in that unholy year 2008, but again nobody seemed to notice it. Take my word for it, this record has the gift for unexpected impact, busy folding and manipulating the dead space that resides between your ears. Housed in a very beautiful jacket, with the inside lined out with imprinted shrimps floating against a blue toned background. Gonna be a major one in years to come, so mark my words. Awesome!” (Johan Wellens, Tiliqua Records). 400 copies, sleeve has printed shrimp pattern on the inside.” label info
Edition of 300 copies, white vinyl. Live at Karel Ball, Brussels 16-09-2013. Lac Chimère is a lake in Mensono, where many unknown and untouched sound creatures reside. They sometimes form musical gatherings in which their sounds float in ether. This album consists of field recordings captured at the very moment while making an accidental stop at the lake.
2005. “Following the ecstatically brilliant “Aura legato” album, Timeau de Liege frees himself from the Af Ursin one-man-quest and teams up with skin mangler and percussive magician Kris Vanderstraeten. Together they are responsible for creating another delicately crafted sound sculptures, filled with a controlled tension and carefully created improvisation balancing on the razor’s edge of fragility and virtuosity. Both of them steer away from easy-going right in your face slabs of free improv power but instead choose to operate on a totally different time frame. This enables them to raise the stakes and augment the challenge that lies buried within these sonic territories. Sonic-wise, if I have to hit you with a comparison, it leans close to early AMM well-balanced free form structures that reveal an almost autistic sense of beauty. An almost austere listening experience that once again proves that Timo and his La Scie Doree imprint are forces to watch out for. Just sheer brilliant. Comes is silk-screened jacket, limited edition of 350 copies and destined to dry up quickly. Just brilliant stuff.” (Johan Wellens, Tiliqua Records) ” label info
Limited 3rd edition (70 copies) on original white vinyl – May 2019
White water based ink silkscreened by Gerard Herman onto heavy brown board with die cut
centre hole.
2nd edition of 240 copies. Sleeve painting by Andrew Chalk. Eclectic ensemble of 18 instrumental arrangements evoking an epic and existential soundtrack determined by the power of momentary destiny and reflective sentiment. Music played by Andrew Chalk & Timo van Luijk. Clarinet by Jean Noël Rebilly. Piano and koto by Tom James Scott.
Reprint of 2008 album. “Released on Timo Van Luijk’s own La Scie Dorée in 2008, this is Af Ursin’s third full length LP. Van Luijk is an autodidact who learned to make music in his own unique way. In the early 1990’s he formed - together with Geert Feytons - Noise Maker’s Fifes, a group that composed music for films, theater, installations and dance-performances. Most notably they composed their music with self made instruments, like trunks of dead trees.” All instruments played by Timo van Luijk, recorded and mixed at Kulta Saha. Classical voice by G. Af Ursin, recorded Finland 1965. Piano on ‘Ombre Oubliée’ by F. Croene. Edition of 400 copies.
2nd edition of 300 copies (new cut, different sleeve). A collection of 7 intimate pieces about detachment, the inner world, timelessness, silence… Instrumentation : Hammond organ, voice, piano, guitar, harp, flute, percussion, field recordings. Played, recorded and produced by Timo van Luijk at Kulta Saha 2009 2014.
Edition of 300 copies. Played, recorded and mixed at Kulta Saha, April-September 2017. In 9 sequences ‘Fortune de Mer’ describes the power and beauty of dramatic fate, the irreversible. Like a clause of force majeure, an unforeseen one way trip to the desperate bottom. After losing the long battle nothing is left, only acceptance and resignation.
2009. “The work that involves Timo van Luijk is always presented in the best possible way. No pennies are saved to make sure the listener has something great (literally in the shape of a LP) in his hands. No cheap, easy CD, but a small piece of art. Not that these art pieces provide you with much information. ’Voile Au Vent’ for instance just states the names of Van Luijk and Frederik Croene, when and where it was recorded and the name of the label, but nothing much else. Of Van Luijk we know he plays trumpet, electronics, toys and such like, and Croene, we learn somewhere else, is a piano player. Over the years Van Luijk has moved in his solo and collaborative work towards more traditional forms of improvised music. While he is responsible for the electronic part of it, always loose and free, waving just above the ground, the other player, a pianist in this case, places both of them on the ground with his playing. Although I must say that it seems to me here that Croene is also using electronics in his music. Four pieces are played here of which one”... Pour Que Le Vent...” has a regular rhythm of some kind, and is the most worked out, i.e. composed piece of music, it seems. But all four pieces are equally great I think. A remarkable outsider record, of someone who doesn’t care about trends and such like”. (Frans de Waard/Vital Weekly). Edition of 400 copies.” label info