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Jim O’ROURKE & Jos SMOLDERS
“Albumin”
Jim O'Rourke and Jos Smolders teamed up again after their first collaboration, Additive Inverse from 2021. Over a period of three years, both artists worked in sessions of a day, each in their own studio.
The result is sometimes like a warm cloud of sounds, suddenly breaking up into a rhythmic, irregular pattern, after which it dives into introverted mindsets. The music is in constant flux
The project followed the same workflow, but this time Jim took the lead and kicked off with a salvo of sounds that he extracted from his Kyma System. Both Jos and Jim were quite interested in the spectral character of sounds. Jim applied Kyma algorithms while Jos granulated his basic recordings. That way, textures are built, quite slowly moving from warm to gritty, from hard surfaces to deep sonic wells.
22,00€
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ORPHAX
“Continuation”
Words have never been my strongest point. I have many ideas in my head, often too many. I can talk a lot about them, but putting them on paper is not really me. I rather just work on my ideas. ‘cause whatever your thoughts are, as soon as it is out there and people start to listen it becomes theirs. What I might have thought up before, and have as concept behind the music, might not be how someone else listens to it. And that’s okay.
If we keep in mind that my music is time focused, and I love it when it isn’t polished too much, so small errors become part of it, the music should speak enough for itself.
“Continuation” is my first studio album since “En de stilstaande tijd” (2019), and shows a rougher sound staying closer to my live sound. I see this as a continuation of my live performances, though this time with various multi-track recordings brought together as a whole, all done in my home studio “Studio De Baviaan” over the course of 8 months.
--- Sietse van Erve / Orphax, January 2026
22,00€
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Werner DURAND & John KRAUSBAUER
“Black Seraphim”
Separated by an ocean and a generation apart, German reedsman, Werner Durand and American stringsman, John Krausbauer, have both been devotees of the cosmic ur-drone for many decades. Their new recording on Moving Furniture Records, “Black Seraphim”, brings together for the first time their singular vision and approach in a half hour droning dirge. The setup finds Krausbauer on his oft-employed violin, while Durand continues to explore the possibilities of his self-invented reed instruments. The same foundations that lie at the heart of their musics: (electro)-acoustic instrumentation, long durations, alternate tuning systems, all can be found on the harmonically dense and rich offering. An unrelenting, buzzing choir of harmonics and overtones begets a timewarped hallucinatory trip into the black ooze of trance’d consciousness.
Werner Durand has been active as a saxophone player since the late 1970s. After studies of both indian as well as persian flutes, he has created his own unique wind instruments since the mid 80s, based on just intonation. He has collaborated with numerous composers and performers, including Amelia Cuni, David Behrman, Henning Christiansen, Catherine Christer Hennix, Arnold Dreyblatt and many others. Currently he performs as FLOCKS- a duo with multi-Instrumentalist Ulrich Hohmann as well as with singer Anna Clementi as ARTIFICIAL HIPSTERS. Together with Anna Clementi and Luciano Chessa he performs in the trio EFNI - performing on replicas of the Intona Rumori - futurist instruments invented by Luigi Russolo in early 20th century, Grants and residencies include Cité des Arts, Paris, 1989; Podewil, Berlin 1999; Worpswede artist colony, Germany 2004/5; AIR –Krems (Austria), 2011 & Civitella Ranieri (Italy)2013. He has curated festivals of traditional as well as avantgarde music in Berlin like "Urban und Aboriginal“, "Pipeline“ , "USArts“ , "Minimalisms" and "Intonations“ and "Musiksalon Berlin" at the Ethnological Museum.
John Krausbauer is an American musician, artist, and brend practitioner. As a tireless pursuer of the sonic arts for nearly 30 years, he’s had numerous recordings published, performed his musics in North America, Europe, and Asia, and has instigated and participated in countless musical group configurations. Since 2020 his wide ranging interests have led him to pursue critical writing and visual art as his primary activities, while occasionally engaging in solo and group musics. He has shown his A/V work around the globe and had his writings published in the US and New Zealand.
11,00€
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Gareth DAVIS & SCANNER
“Songlines”
When the ghost in the machine meets the breath in the reed, expect sparks. Electronic sound artist Robin Rimbaud – Scanner joins forces with acclaimed British bass clarinetist Gareth Davis to create an album where circuitry hums, wood vibrates, and the air between notes crackles with possibility.
This is no polite meeting of minds — it’s an elegant collision. Scanner’s intricate electronic textures weave around Davis’s deep, resonant tones, blurring the boundary between acoustic breath and digital pulse. The result is a sound world that’s at once intimate and expansive, familiar yet thrillingly unpredictable.
Think late-night conversations in abandoned buildings. Think fog rolling over neon. Think sound that slips through your fingers even as it takes hold of you.
The songlines in question , memories and distorted images of travels across various continents, form an imagined biography of places that might or might not have been but somehow seem to exist . Landscapes of blurred statements , lost words and echoes of meandering structures.
"If Miles Davis had been raised on shortwave radio static and midnight phone calls, it might have sounded like this."
22,00€
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Dario CALDERONE
“The Infinite Garden”
The Infinite Garden is a project by Dario Calderone for four musicians and a live soundscape, aiming to encourage a global way of listening through constant communication between different spaces and dimensions. For this release, Aurelie Nyrabikali, Naomi Sato, Gareth Davis and Dario Calderone have joined forces with the soundscape of the Amstelpark on a cloudy and partially rainy day at the end of January 2025. We kindly thank all the car drivers, pedestrians, birds, raindrops, aeroplanes, radio waves, spirits, trees, bushes, ghosts, subtle minds, earthworms, fallen leaves, moles, audience members, foxes, amphibians, water insects, fungi, memories, dreams, intuitions and meteorological events which have contributed to this recording.
Dario Calderone: Composition and Double Bass
Aurélie Nyirabikali Lierman: Vocals, Shruti Box, Percussions
Dario Calderone: Double Bass
Gareth Davis: Bass Clarinet
Naomi Sato: Sho
Amstelpark: Soundscape
11,00€
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CD
Jos SMOLDERS & Jim O’ROURKE
“Additive Inverse”
*** Repressed ***
What if sounds were to fold in on themselves? Quite quickly after being 'born', even. Only to be released back into the 'normal' world of linear projection and moving waveforms from a resonant source to the ear drum to hearing and listening, some album length later?
Through a looking glass of sorts, as if emerging from an anechoic chamber through the backdoor. From absolute silence into all hearing, all sound anew, flooding over, rushing in. A ghostly aural universe with perspective shift, familiar knowns flipped upside down and inside out.
Could this inverted aural space be the one which is always there to begin with, like the inverse of an acoustic emission - the literal backside of the speaker? The inverse as diametrically opposed or quintessentially other, but with identical value and properties. The hitherto unheard side as sine qua non to the heard.
This collaboration between Jos Smolders and Jim O'Rourke offers a unique opportunity to investigate the intricate, topological complexities of (deep) hearing and its inverse; an exploration into the very essence of sound herself.
- Sven Schlijper-Karssenberg
Jos Smolders and Jim O'Rourke - Field recordings and electronics
Sleeve by Rutger Zuydervelt
11,50€
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Kaori SUZUKI
“Music For Modified Melodica”
Music for Modified Melodica was born out of two explorations: one of tuning (and subsequently degrading) the small reeds of a melodica, and the other to modify it playable with foot pumps, allowing for the sustained excitation of the reeds.
Playing with the highly resistive foot bellows introduced massive ‘volumes’ of air to the reeds, overblowing them to vibrate loudly. This aspect led me to work with the sound potentials of combination tones which appear at high acoustical volumes- an area which has been elemental, especially to my durational sound works, over recent years.
The pumped breaths of the melodica are amplified and brought through time delays, with electronically manipulated high frequencies and oscillators to further activate the mix. The resulting experience, as a performer, lends affinity to what a participant to the music previously called it—one which “rewards endurance with transcendence”.
MMM was performed and recorded live. Similar iterations have been performed in New York, Osaka, and Tokyo in various settings, and at least once in an abandoned naval magazine.
Intended for hi-volume listening!
11,00€
Out of stock
2 CD
Tasos STAMOU
“Monoliths”
asos Stamou returns to Moving Furniture Records for his third album Monoliths. On this new album his electroacoustic studio works and live performances come together in a total of 5 exciting tracks. On the studioworks one sound source is used, while in the live works everything comes together.
About Monoliths:
The occasion of this double album is to present the two different practices in my music, live performance and studio work.
Although phenomenally coming from a different place, it is a result of years of experimentations to bring a simple yet complete electroacoustic set up both on stage and in studio. The original idea was to compose or perform with acoustic instruments generating sustained sounds in a way that, although electronically manipulated, would retain all the organic and sensual qualities of traditional organized sound making devices, often called “instruments”.
This release overall is presenting my most recent attempts to collide these two sides of music production and to deliver a sonic journey to my personal engagement with sustained music. ‘Moving Furniture Records’ has been my platform to release this sort of music since the beginning of this journey.
While studying the art of prolonging a sound for long enough to physically affects the listener, yet complicated and narrative enough to stimulate the mind too, these exploratory sounds are inspired by the acoustic instruments’ sonic qualities, always under the influence of the distorting mirror/ magnifying glass effects of electronic manipulation.
Tasos Stamou
16,00€
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John DUNCAN & T.R. KIRSTEIN
“John Duncan & T.R. Kirstein”
With the CD John Duncan & T. R. Kirstein we present the first collaboration works by Danish composer/artist Tobias R. Kirstein and American composer/artist John Duncan.
John Duncan & T. R. Kirstein is released on CD mastered by Jos Smolders in artwork designed by Kasper Vang with illustrations by Vernon Lee and photography by T.R. Kirstein.
About John Duncan & T.R. Kirstein
On May 31st, 2019, the day Roky Erickson from 13th Elevators died (I later found out), I woke up from a dream of sound and text. I dreamt that John Duncan kept repeating the words YOU ARE SAFE entangled with sine waves.
So I instantly shot him a message asking if it was too weird to do exactly that. He replied: “not too weird”.
(Tobias R. Kirstein)
11,00€
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ORPHAX
“Less is more”
With Less Is More we see Orphax return with his 4th live album for Moving Furniture Records. It is a live album recorded at the exhibition Less Is More at Amsterdam art gallery Factor IJ.
Less Is More is released as CD mastered by Jos Smolders in artwork with work Wladimir Zwaagstra.
About Less Is More
In August 2021 Moving Furniture Records curated a music program accompanying the minimal art exhibition ‘Less is More’, presented by Polderlicht at Factor-IJ, Amsterdam.
On this occasion the Orphax performance was recorded live. This CD features the full set – no edits, no cuts.
This live set merges Orphax’s fascination for minimalist art and his idiosyncratic take on drone music, offering warm and organic atmospheres in which the listener drifts away, losing not only senses of time and space, but – maybe, too – oneself.
11,00€
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CD
Claudio F. BARONI & Dario CALDERONE
“Ursae Minoris”
Dario Calderone performs the new compositions Ursae Minoris by Claudio F. Baroni. Music inspired by the constellation Ursa Minor and the diaries of Italian humanist Ciriaco d'Ancona (1391-1455). Three new works composed specially for Calderone his double bass performance.
13,00€
In stock
LP
ORPHAX
“En de stilstaande tijd”
With ‘En de stilstaande tijd’ (roughly translated: ‘And the frozen time’ / ‘And the stillness of time’) Orphax (Sietse van Erve) returns with a new work that further explores the themes of time and perception of the listener.
The new album follows in line with Orphax works like ‘Time Waves’, ‘2.20’ and ‘Live Circles’, with added emotional depth. In this sense ‘En de stilstaande tijd’ is a continuation of ‘Piano Music’ – also based on the same original piano recordings.
Orphax: “During my studies of Geology in 2001 I visited several smaller villages in Spain. There I bought a postcard with a picture of the village as it was, taken during the early 60s. The picture always intrigued me, which is also the reason I never used it to send to someone. The tranquillity of the village with its small houses, typical church and the sand road present a certain feeling of freedom which up to this day grabs me. It might be connected with nostalgia, or a certain longing for a time that actually never was. But thinking back, almost 20 years after I got this card, it makes me think back also to how in these small villages in rural Spain time seems to stand still.”
This idea of a moment frozen in time, time itself frozen still, is present from the start of the record. And like the photograph of the card, reproduced on the sleeve, the music is filled with quietness and nostalgia. The organ-like sounds, however slightly dissonant, bring comfort and a sense of restive ease. The slow evolution of the work and deep, subtle changes embrace the listener – lets one forget time for a while, as if halted, frozen – by immersion in sound.
The second part starts with what, at first, appears to be quite a stark contrast to the lulling mood of the previous side. An array of organ-like sounds overwhelm the listener at first, giving way to this cherished and familiar feeling of nostalgia once again, with warm tones, unfolding in slow developments, in which more elements return over time.
With ‘En de stilstaande tijd’ Orphax presents a profoundly engaging and immersive soundscape which takes the listener on her/his own journey beyond time – in which time is forgotten, again, once more. A record to showcase there is much room for emotion within minimalist drone music; room Orphax shares with great composers like Eliane Radigue and Pauline Oliveros.
16,50€
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LP
Coen Oscar POLACK
“Haarlemmerhout”
One look at the sleeve of Haarlemmerhout, the new album by Dutch electronic musician Coen Oscar Polack, and you immediately know he is a romantic soul: blossoming trees in spring and blue skies with fluffy clouds. It’s urban escapism. It's the park in which you want to get away from other people, it’s the place you want to forget time. And that is also what he wants his music to sound like.
Coen Oscar Polack made a name for himself on the Dutch Narrominded label. With The Skipping Monk (2009) he took us on a sound documentary through India, and on his last offering, Fathomless (2013), a collaboration with IDM-artist Herman Wilken from Hydrus, he made a soundtrack for an expedition to the depths of the arctic ocean and the inaccessible mangroves in the Bay of Bengal. After several collabs with the noise lords of Glice, Polack is finally back with a full solo album. For Haarlemmerhout he seeks inspiration closer to home, in his hometown of Haarlem, and guess what: he never sounded more exotic.
Haarlemmerhout is a park in the south of Haarlem, made famous in the book Camera Obscura (1839) by Romantic writer Nicolaas Beets. On his album, Polack gets really close to everything in the park and pulls you into the fiber. He uses local field recordings of pigs from the petting zoo and bird traveling northwards from Africa to their homes in the north. He tears the sounds apart and builds them up with layers of synths and electronics. It’s a thin line between reality and synthesis, and that’s exactly the point. Like a heavenly merge between the pristine field recordings of Chris Watson and the sweeping electronics of William Basinksi.
On Zelfopoffering in een zwemmer (‘Self-sacrifice in a swimmer’) you hear swirling streams and fluttering synths and in Welke bezweerende of magnetische kracht (‘What spellbinding or magnetic force’) Polack alters the sound of a squeaky fence into an emotional, tear jerking ambient-piece, before giving his take on new age on the breathtaking आवारा (Awaara (hindi), meaning: drifter). It’s not a slick piano playing to a backdrop of a friendly Bob Ross-like creek, but a true symbiosis of natural and synthetic sounds, reminiscent of the melancholic works of Fennesz.
16,50€
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CD
CINEMA PERDU
“Vlakverdeling”
During my regular trips to the Dutch province of Friesland I became more and more aware of the strict demarcations in the Dutch landscape. Each time I travelled up and down the polder, the atmosphere of the landscape changed. These changes of atmosphere where not only influenced by natural phenomena like the weather and light but even much so through human presence reflected in the clear lines which define the landscape. While listening to the field recordings I made on various occasions and at various locations, the sounds started to translate into their own abstract form of the landscape. While transforming these abstract forms and colours into new sounds, a new imaginary landscape appeared in my mind, translated into a new composition: Vlakverdeling - Martijn Pieck /Cinema Perdu, June 2020.
10,50€
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Frans de WAARD & Martijn COMES
“Various Weights”
Various Weights is the first time the duo of Frans de Waard and Martijn Comes come together to present work.
On this album, their uniques styles are combined, where they work with each others sound materials to create truly unique compositions.
In sound art, concepts often take precedence over the actual music. Here, there were none. For their first collaboration, Frans de Waard and Martijn Comes decided on a strikingly simple approach: Each artist compiled a pool of sounds for the other to use as a point of departure. Comes worked with various analog synth- and field recordings by de Waard (including, among others, a Korg MS20 and Koma Field FX). The latter was sent a processed stylophone recording, a sample loop as well as recordings of the Web’s first Software-Defined Radio by the University of Twente.
The results, now released as Various Weights, are two epic and immersive pieces. On “Boundary of Intersections”, Comes focuses on deep sonorities and harmonics, developing his materials into a mind-expanding drone zone. De Waard’s “There are no two pianos” is more subdued, hovering mysteriously at the cusp of acousmatic research and sonic minimalism. Both pieces share a slightly uneasy, surreal feeling – perfectly captured by Bas Mantel’s artwork, which was a direct response to the sounds contained on the disc.
10,50€
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LP
TONGUES OF MOUNT MERU
“The hex of light”
Tongues Of Mount Meru is the duo of Jon Wesseltoft & Lasse Marhaug.
Jon Wesseltoft is a versatile electronics composer and musician, having worked with noise, electro-acoustics, improvisation and experimental sound-work for over 20 years.
Lasse Marhaug is an experimental musician, improviser and composer with a long history within noise, improvisational, and experimental music with numerous releases since the 1990’s. He is also a producer, graphic designer, label head and publisher.
Wesseltoft and Marhaug started Tongues of Mount Meru in 2008 as a way to explore their mutual
interest in long-form music, psycho-acoustics, and the phenomenology of sound, and its correlation to perception. Their work as Tongues of Mount Meru is characterised by a stringent and multilayered flow of sound information, with an almost hypnotic quality. This is music that at times is clean-cut and saw buzzing, and at times lucidly beautiful, but always in demand of the listener's full attention.
This music was recorded in 2013 and consists of two pieces that reflect into each other. Both stringent and close-knitted with microtonal frequency interaction, with a slowly unsettling shifting movement. Both pieces gradually blooming within its own sonic time-space, to reveal microscopic movements in tonality, binaural beat patterns and ghostly strata of overtones.
Original price was: 16,00€.10,00€Current price is: 10,00€.
Out of stock
CD
Fani KONSTANTINIDOU
“Winter Trilogy / The Big Fall”
Fani Konstantinidou is a composer and sound artist living and working in the Netherlands. She has a particular interest in cultural and social identities and their influence in music composition. Since 2015 she works on her personal artistic project, Sound Topographies, where she uses a variety of sound sources inspired by her own surroundings. From musical instruments to spoken language and from everyday sound[scape]s to computer-generated sounds, her music is characterized by shifting
sonic textures that circulate between drones, noise, arrhythmic melodies, and atonal rhythms.
Inspired by the influence of space and time in music, she creates and recreates timelines of sonic events aiming at musical dialogues and public communication through sound.
The two trilogies were realized between 2015-2019 in the Netherlands and implemented into a sequence of live shows during the same period. Both inspired by cultural sonic imprints, the Winter Trilogy (computer & accordion) and The Big Fall (computer & analogue synthesizer) explore the potential and the antitheses between analogue versus digital while expressing a personal view of particular rural landscapes.
11,00€
Out of stock
2 CD
Alvin CURRAN – Reinier van HOUDT
“Dead Beats”
Moving Furniture Records is proud to present to you the composition Dead Beats by Alvin Curran (US), commissioned by Moving Furniture Records for pianist Reinier van Houdt (NL).
This production is a collaboration between Moving Furniture Records, Willem Twee Studies, ‘s-Hertogenbosch, and Martijn Comes.
This is the start of a new series on Moving Furniture Records under the name Contemporary Series in which we will focus on new works by contemporary composers and musicians.
"Early in his career, composer Alvin Curran turned away from piano—the instrument he was trained on—in favor of all manner of sound-making, rejecting the classical tradition. His work as a member of Musica Elettronica Viva opened up new possibilities for art music, drawing heavily upon improvisation. In the last installment of this column I discussed one of his singular solo recordings from the ‘70s, where his compositions were utterly liberated from any given tradition. He eventually returned to piano, but created music from a much freer point of view.In 1991 he began writing what would amount to the 12-movement, six-hour opus “Inner Cities,” studies of the teeming energy and contradictory impulses of urban centers. Curran composed the ninth movement for Dutch pianist Reinier van Houdt. Curran wrote of the work as a whole: “My goal, as always, was to reduce the musical elements to their ultimate essences, to repudiate and embrace dualism, and to emulate, even in permanent notation, the feel of spontaneous music-making.”
On this new recording, van Houdt illustrates that goal brilliantly in a 30-minute journey marked by thrilling and unnerving polarities of density and energy, freely arranging ideas gleaned from all across history. “Dead Beats” is a new work written for the pianist which remaps those earlier concepts into a far more elliptical and shape-shifting five-movement expedition, where it’s hard not to delight in getting lost over and over again."
16,00€
In stock
LP
Gareth DAVIS & MERZBOW
“Broken Landscapes”
Following on from their 2016 Moving Furniture release, Atsusaku, Broken Landscapes is a new collaboration between Gareth Davis (Oiseaux Tempete, Scanner, Elliott Sharp, Machinefabriek) and Merzbow, Japanese noise mastermind Masami Akita.
The theme of mechanical compression explored in the first album is taken further this time, being looked at in the context of the fears of mechanisation in the environment. A torrent of noise reimagines the North Sea wind farms, the industrialisation in Southern California and the fight for the survival of animals in their overrun habitats. Through three tracks, the sounds of these spaces are crushed and distorted, the sense of air being saturated by the shifting low-end drones and hum of machines, howling reeds and dense white noise pushing away the breathing space.
The acoustic sound almost suffocated beneath the dense mechanical sweep of furiously abusive digital cross-fire and unrelenting production line intensity. Hints of recognition as a voice from the environment shines through before moving abruptly back into the mechanical barrage of looping textures. Broken Landscapes is built on impenetrably thick walls of manipulated field recordings while the bass clarinet saturates the midrange, the massive swirling mesh of analogue and digital material painting pictures of the magnified terrain that surrounds us.
16,00€