Hyperdelia is happy to present Sun Kit’s debut record All The Patterns Inside. Sun Kit is an experimental band, formed in Berlin. The band consists of Jules Reidy (guitar) and Andreas Dzialocha (bass) and fuses both artists' singular sounds. Their debut album All the Patterns Inside is a moody and ecstatic ride that navigates distance and closeness, breaking and re-forming.The record was produced completely self-sufficiently at home, the two sending each other recordings and sketches back and forth, mostly as direct input signals. These layered interactions gradually turned into songs which increasingly were abstracted through electronics, filterings, effects, autotune and a whole lot of distortion. As a result, the album holds song-like structures with vocals (such as the title track, “Vain” or “Red”), electronically powered hyper-ballads (as on “Springtime Rain” or “Tunnel Vision”) as well as more grainy tracks which highlight the band’s experimental side (“All In”, “Release”).Sun Kit started as a friendship project of two musicians who traverse similar musical communities in Berlin. Hyperdelia has provided a home to both artists before through the Serenus Zeitblom Oktett (HEX 001), Andreas Dzialocha’s solo record For Always LP (HEX 005) as well as Stellan Veloce’s Complesso Spettro (HEX 006). All The Patterns Inside now shows Andreas’ and Jules’ different instrumental aesthetics in a band context. Consequently, Sun Kit teases out both musicians’ sonic sensibilities, highlighting the spectral complexities of their two instruments, an admiration for the engulfing power of distortion and a deep fascination for sound detail. Paired with Jules Reidy’s lyrical conjuring of seasonal change – its emotional intensity and healing powers –, Sun Kit at times takes inspiration from Low’s edgy mellowness, Cocteau Twin’s ethereal echoes or reminds of My Bloody Valentine’s blurred inwardness. All The Patterns Inside is the result of a friendship becoming band, a debut record thick with twists and turns and one bursting with feels.  --- Music by Andreas Dzialocha and Jules ReidyLyrics by Jules ReidyMixed and mastered by Joe Talia at Good Mixture --- Thank you Arthur Janssen, David Walker, Johanna Markert, Malte Kobel, Marta Forsberg, Sarah Saviet, Shusha, Silvia Maggi

Hyperdelia is proud to present “splitter musik” - the first Splitter Orchester album solely consisting of the ensemble’s own music. Previous recordings have highlighted the orchestra’s vast genre-bending output in collaboration with George Lewis, The Pitch and Felix Kubin. This 3CD release aptly titled “splitter musik” showcases for the first time the orchestra’s very own musical process.As a large scale improvising ensemble, Splitter Orchester has no central leader and is organised through direct democratic principles. Founded in 2010, Splitter is a unique collective of composer-performers with various backgrounds in the Echtzeitmusik, free improvisation and experimental music scenes in Berlin. Despite the long lasting collaboration and the mostly consistent line-up of musicians, the band maintains an incredible dynamism, continuously reinventing concert formats and composition processes. Collective and free improvisation involves risk-taking: Splitter’s endeavour of integrating up to 24 musicians takes this motto to heart. The result is a music characterised by an inherent possibility of failure.Splitter has also always been a social experiment, questioning hierarchies of composer and interpreter, of work and event. Sonically and musically non-homogenous but still ensemble, a togetherness in difference. This is also heard in the three different pieces on “splitter musik”.Vortex is a recording of a concert at Berlin’s silent green in November 2019. More than 30 individual tracks have been mixed so as to approximate the listening situation in the former crematorium: musicians were positioned on the balconies of the circular chapel, while the audience was seated below. What listeners of the recording can hear is Splitter in its natural habitat of collective improvisation: various noises of indeterminate origin, miniscule bird-like chirping, tendencies of Postrock cues with culminating crescendi, at other points radical breaks and quiet, drone-like passages or moments of Lynchian haunting.Imagine Splitter - the second piece of the record - takes a more conceptual approach. During the Covid pandemic, the band had to find a different way of collaborating. As a result, Kai Fagaschinski asked all members of the ensemble to record themselves “solo”. The title of the piece carries the instructions: Imagine Splitter. What listeners hear is a synthesis of 22 musicians playing to themselves while imagining what it would sound like to play with the whole group. The piece is not only a fantastically fictitious music but also a reflection on improvisation as a whole and the group in particular. It sounds both strangely familiar and like a music that would never have happened in a live setting.For the last piece PAS, Splitter played their first ever outside and site-specific gig in August 2020. Musicians were positioned on one side of the river Spree, on the docks of the venue Petersburg Arts Space in Berlin Moabit, while the audience was listening from the opposite side. The recording captures this unique theatrical musical event. PAS is an environmental music, a collective improvisation of the group itself and its (in)voluntary collaboration with the sounds of the surrounding: the dogs barking, boats crossing, kids laughing, beer bottles popping, water squelching, ducks singing and of course the characteristic playful searching for one another in the midst of the music.Throughout these pieces, the 3CD release “splitter musik” takes a snapshot of the abundant and ever-shifting organism that is Splitter Orchester. 

Stellan Veloce’s first record for Hyperdelia is not only their debut album but simultaneously the inception of a band: Stellan Veloce’s Complesso Spettro. At Veloce’s disposal, the players have turned into a Frankensteinian super group: with Andreas Dzialocha on electric bass, Bridget Ferrill doing electronics & processing, Julia Reidy on guitars, Marta Tiesenga on baritone sax, Earl Harvin and Jesse Quebbeman-Turley on drums, Elena Kakaliagou playing horn, Carlo Spiga aka Makika at the launeddas, Pierpaolo Lorenzo playing harmonium and Stellan Veloce on cello.The A-side (‘Brackish’), initially recorded live at Robbie Moore’s Impression Studio, is the result of hours of improvisations loosely based on Veloce’s graphic scores. In the hands of the composer, the recording material soon turned into an abstracted collage. Despite the asynchronous addition of further drums and saxophone, the piece remains the outcome of a noisy live band due to the heavy leakage on the different takes and spatial distancing effects inherent in the recordings. The B-Side (‘Briny’) responds to the staggering layers of space and time. ‘Briny’ is a drone piece that emerges from the interplay of cello, bass and horn and acts as a Romanticist counterpart to ‘Brackish’ while the addition of launeddas – a Sardinian woodwind instrument –, harmonium and electronics returns it to rougher timbral territories.Stellan Veloce’s Complesso Spettro is an exceptional music that combines the power of band playing with Veloce’s sense for deconstruction and rearranging. The record takes its cues equally from Talk Talk’s meticulous recording and editing processes, the grand narratives of Nate Wooley’s Seven Storey Mountain, Animal Collective’s textured noise or the free-wheeling play of Zeena Parkins. The album is the work of a shoegaze ensemble that is indebted to Italian prog rock and Free Jazz as much as to pastoral post rock and spectral composition.Stellan Veloce is a Sardinian composer, performer and cellist living and working in Berlin. They compose pieces for acoustic instrumental ensembles and develop installations and performance pieces focusing on timbre, repetition and sound densities. Veloce also works as a touring band member and studio musician, recently with Peaches, Kat Frankie, Dear Reader, Kenichi & The Sun. They have collaborated with composers Marta Forsberg and Neo Hülcker, choreographer Sheena McGrandles and others. They are co-founder of the collective and online platform Y-E-S.org and are part of the group Fem*_Music*_.  ---   Composition, editing, production by Stellan VeloceStellan Veloce - cello, additional bass (A, B)Andreas Dzialocha - electric bass (A, B)Bridget Ferrill - electronics, processing (A, B)Julia Reidy - guitars (A)Marta Tiesenga - baritone sax (A)Earl Harvin - drums (A)Jesse Quebbeman-Turley - drums (A)Elena Kakaliagou - horn (B)Carlo Spiga aka Makika - launeddas (B)Pierpaolo “the coach” Lorenzo - harmonium (B)Recorded by Robbie Moore, Stellan Veloce, Andreas Dzialocha and Ole Jana in Berlin; and by Marta Tiesenga and Jesse Quebbeman-Turley in Los Angeles. Mixed by Robbie Moore at Impression Studio, Berlin. Mastered by Stephan Mathieu at Schwebung Mastering, Bonn. Artwork by Ale Rodriguez, Design by Xerox Martins.Grazie a Silvia e alla Monterico Fam.

On Hyperdelia’s first release 'Erster Teil - Zweiter Teil - Dritter Teil' the recording studio takes eight musicians on astral travelling. The Serenus Zeitblom Oktett’s album is the beautiful result of a complexly processed abstraction of a live acoustic jazz ensemble becoming a hyperdelic space tentacle, reaching into bass depths and pop dimensions: one moment zooming into microscopic miniature sounds only to branch out into free floating airy planes in the next. Erster Teil - Zweiter Teil - Dritter Teil is the debut LP of the Berlin based ensemble Serenus Zeitblom Oktett. The Oktett from Berlin consists of musicians with a broad pop, free jazz and contemporary music background. All eight musicians have worked in various formations and with various musicians, ranging from Efterklang’s Martyn Heyne (who also did post-production on the record) and Matthew Herbert to Ingrid Laubrock, Stargaze, Andromeda Mega Express Orchestra and many more. These diverse backgrounds inform the Oktett’s artificial but organic live sound-production aesthetic.The ensemble is accompanied by a ninth member, the Klanggestalter. Both in the studio as well as live every instrument is being amplified and processed by filters and live algorithms, neutralising the difference of acoustic and electric instruments.The LP comes with a special video documentary by Roman Hagenbrock (i am just a video girl). The video adds another poetic layer of abstraction: confusing sound, action and image. --- Andreas Dzialocha (electric bass, composition), David Meier (drums), Moritz Bossmann (electric guitar), Karsten Lipp (electric guitar), Els Vandeweyer (vibraphone), Isabelle Klemt (violoncello), Shasta Ellenbogen (viola), Richard Koch (trumpet), Matthias Erb (Klanggestaltung)Production: Andreas DzialochaRecording: Antonio Pulli (Vox-Ton Studio, Berlin)Mix Fuzz & Fairy Dust: Martyn Heyne (Lichte Studio, Berlin)Mixing: Matthias Erb, Andreas DzialochaMastering: Francesco Donadello (Calyx Mastering, Berlin)Video: Roman Hagenbrock

A few more layers, a few more places and times of emanation. Kajsa Lindgren’s »WOMB« was released as an album, performed as an underwater concert, virtualised as a floaty web installation (inanimate.world) and will now is treated to another re-imagining and re-living as 'For Distorted Worlds'. Three artists and two anthropologists/writers have waded through WOMB’s archive: material from the recording session, field recordings, voices, memories, swimming pool impulse responses, notes, drawings and thoughts. The results and processes – very different in sound and aesthetics – overgrow 'Distorted Worlds', the WOMB Remix EP. --- Source Material: Kajsa Lindgren (WOMB, HEX 002)Compositions: Stefan Helmreich & Eva Hayward, Felicia Atkinson, Teresa Winter, David GranströmMastering: Rupert ClervauxCover: Stefan HelmreichFunding: Kulturbryggan

Andreas Dzialocha creates an enchanting ghost music. Animated by his solo bass playing and haunted by aleatoric acoustics, 'For Always LP' unearthes the instrument’s low end harmonics.  For Always LP is produced in collaboration with Sam Slater (Hildur Guðnadóttir, Shapednoise, Zebra Katz, Mica Levi) and with support by composer/violist Marta Forsberg (Passepartout Duo, Ellen Arkbro, Stellan Veloce) and sound artist/singer Fågelle (Henryk Lipp). Dzialocha recorded the initial bass material residing at the Baltic Sea in Lithuania. Afterwards and in collaboration with Sam Slater, he reworked the material in Stockholm: there they re-amped the original stems and turned the studio itself into a living dub creature. Dzialocha, who is also a programmer, created an algorithm to sequence and filter the bass inputs. This software in turn randomly enables loudspeakers, headphones and tape machines that were placed in corridors and staircases. As an eerie result, we hear both Dzialocha’s stripped-down bass playing, the (non)logic of the algorithm as well as the specific resonances of the room acoustics: all of these have merged into one sentient instrument. ‘For Always LP’ is populated by a myriad of these machinic, acoustic and indeed personal traces. Marta Forsberg and Klara Andersson join by providing viola (on IV) as well as guitar, voice and lyrics (For Always). The record is animated by all of these forces and in ensemble they sing a wonderfully abstracted ghost music: for always.

»WOMB« is a musical narration for abstracted ears and bodies – engulfing a listener simultaneously in subaquatic sonic environments, distant dreams of childhoods, memories and voices from the unknown: where time and space fold into each other. The initial material of field-recordings of nature and body sounds, interviews and compositions has been re-recorded and re-amped underwater in a swimming pool – and has been re-arranged (partly by way of the impulse responses of the pool) now for stereo home listening. It’s like we’ve travelled from the outer space fantasies into the alien underworlds to surface in your homely headspace. »WOMB« at times resembles Gustav Mahler’s offstage soundings, dramatised by Björk, in other moments the sounds become tiny and intimate, when »WOMB« makes one think of Felicia Atkinson’s music, while the environmental ambiences reminisce the static music of Kevin Drumm. The delicate layering of field recordings, re-recordings and environments makes »WOMB« a fascinating phonopoetic fiction that conjures its own surreal virtual ecology: of remote strings, filtered through hydrophones (on cocoon), deep sea creatures singing to a de-tuned toy piano (the garden), of folk songs sung through telephone hiss (on all the other children), of waves crashing at the sea shores of Narnia (the inanimate world pt. 2).