klās’tĭk “Night’s Highest Noon” is now available in store in digital format and digifile cd packaging.


Listen and buy here

“Night’s Highest Noon” is the debut of duo klās’tĭk based in Berlin/Warsaw. This full-length is the result of two years in studio recording where wordless vocals and drums communicate with each other looking for a new musical language. There is something ancestral in this concept that struck me immediately, something that transported me to the origin of the human being. However, on the other hand, thanks to the use of electronic elements, the architectures of these eight tracks look to the future in a perfect and complex whole.
Masaya Hijikata and Andrea Koch created a unique universe in which it is possible to feel a kaleidoscope of emotions that will hardly leave indifferent.


It’s a pleasure for me to introduce Andrea Koch and Masaya Hijikata and their duo-project in KrysaliSound.

Respectively based in Berlin and Warsaw, but with Italian origins the first and Japanese the second, it would have been impossible for them not to find in their music a sort of new language that melts all of their multicultural life experiences.

klās’tĭk is a spectacular new musical planet with a rich and complex DNA, such a multi-layer genre so hard to identify, that captures at the first listening. Music for minds with expanded boundaries….

Below is the excerpt of their debut album, to be released October 5.

KrysaliSound is pleased to introduce the first release of the season available from October, 5 in digital format and in elegant digifile packaging.
“Night’s Highest Noon” is the debut of duo klās’tĭk based in Berlin/Warsaw. This full-length is the result of two years in studio recording where wordless vocals and drums communicate with each other looking for a new musical language. There is something ancestral in this concept that struck me immediately, something that transported me to the origin of the human being. However, on the other hand, thanks to the use of electronic elements, the architectures of these eight tracks look to the future in a perfect and complex whole.
Masaya Hijikata and Andrea Koch created a unique universe in which it is possible to feel a kaleidoscope of emotions that will hardly leave indifferent.

Album: klās’tĭk “Night’s Highest Noon”
Genre: Experimental / Improvisation
Release date: October, 5 2018
Type: Digital / CD

Buy Link: https://krysalisound.bandcamp.com/album/nights-highest-noon

Dear all,
finally summer is close to the end and KrysaliSound is ready to prepare the first release for the season 2018/2019. I like to start every season with a brave strong album, something unexpected that break the rules.
Last year the album of the duo GALATIMOSCONI was the perfect opening for a rewarding season, this year I want to do a little step out from ambient and introduce the debut album of the Berlin/Warsaw based duo Klās’tĭk.
I love experimental music because is not a genre but a language where artists and musicians can communicate in different ways. Andrea Kock and Masaya Hijikata, voice and drum, sent me a work very different from the usual KSnd releases but so aligned to my idea of music language that I could not refuse this opportunity.
Every step “out from the circle” is a chance to expand the horizon and to improve more and more. I feel lucky every time I receive works like this, it’s a privilege for me when I can publish an album that I definitely would buy as listener!
Soon more details of this new release…

Ciao a tutti,
Finalmente l’estate è alle porte e KrysaliSound è pronta a preparare la prima release della stagione 2018/2019. Mi piace dare il via a ogni stagione con un album coraggioso e potente, qualcosa di inaspettato che esca dagli schemi.
Lo scorso anno l’album del duo GALATIMOSCONI è stato il perfetto inizio per una stagione gratificante, quest’anno invece voglio fare un passo fuori dall’ambient e presentare l’album di debutto del duo di Berlino/Varsavia Klās’tĭk.
Amo la musica sperimentale perché non è un genere ma un linguaggio in cui gli artisti possono comunicare in tantissimi modi differenti.
Andrea Koch e Masaya Hijikata, voce e batteria, hanno prodotto un lavoro diverso dalle classiche uscite KSnd ma cosi allineato con il mio linguaggio musicale che non ho potuto rifiutare questa opportunità.
Ogni passo “fuori dal cerchio” è un’occasione per espandere l’orizzonte e migliorare sempre di più. Mi sento fortunato ogni volta che ricevo album di questo tipo, ed è un privilegio per me poter pubblicare album che avrei sicuramente comprato da ascoltatore!
Presto altre news per la nuova uscita…

Previously self-released as a limited edition cassette in 2015, this single track 30-minute piece is a slow-release pill of organic and ambient bliss that begs to be on repeat in the morning hours. Danish collage artist (responsible for his own cover art) and musician Paw Grabowski is back on my rotation with Stilhedens Strømmen I Fuglenes Blod for KrysaliSound imprint. His previous appearance was with Væv which was released by Eilean in 2016. Centered on solo-guitar motifs, Grabowski uses repetition of phrases, offset by field recordings of a natural environment, to create a neo-folksy reverie, played around the campfire in a brisk and quiet dusk. “The result is a spiritual and meditative flow where the listener can dive and let himself be lulled by repeating melodies, evocative small variations and a great hypnotic style.” Besides the latter citation, I also want to quote Brian Housman‘s words for Stationary Travels, calling this a highly meditative piece: “[…] this is one of Grabowski’s most sparse, delicate, and beautiful works as he allows generous space around the clean guitar lines, bathing them in light filtered through the sheerest of veils. Cue the subtle chorus of birdsong in the background and we are gently transported away to an Arcadian dream…” Be sure to also check out Grabowski’s alternate soundtrack to Chris Marker‘s 1962 film, La Jetée, which is titled He remembers there were gardens, along with nearly 20+ releases in the last four years alone from this prolific artist. Things can only get better from here on out.


Tonal Glints is the second of three albums James McDermid dedicates to his sister Harriet, who passed away in August 2016 after 2 years of illness. Most of the music was written for her and for himself, to deal with the grief, ‘to articulate what I was feeling’.

‘After she’d passed away, there was the question around what to do with the many tracks I had written; they had, in all honesty, been written for her. For me to perhaps leave them sitting on a hard-drive seemed a disappointing end to what amounted to, in my mind, a tribute to her.’

decided to publish the tribute when he was offered to release the 25-track(!) Ghost Folk on Polar Seas Recording in April 2017.
And now the follow-up is released by Krysalisound40 minutes in twelve personal musical sketches.

Knowing about such a heavy and personal background possibly defines what you hear in the music. And although, on one side, it is important to know about the process that lead to the creation, on the other side it might be better to nót know about that and let the music come to you aligned to your own personal frame of mind. (Alas, if you read until here, I’m afraid that is impossible now).

The inspiration for this music may have come from a very sad personal situation, but the music is not necessarily ‘hard’ or ’emotional’ to listen to. On the contrary perhaps: it offers a lot of consolation. What it is defined by the perception of the listener, it may offer whatever he/she needs at that moment.


James A McDermid is an English Ambient artist who has appeared on Polar Sees Recordings, Cathedral Transmission and 1834. This is possibly his most personal album.

This album is dedicated to my sister, Harriet, who died in August 2016. Throughout the 2 years she was ill – leading up to her death – I had started writing music as a way to privately articulate what I was feeling. After she’d passed away, there was the question around what to do with the many tracks I had written; they had, in all honesty, been written for her. For me to perhaps leave them sitting on a hard-drive seemed a disappointing end to what amounted to, in my mind, a tribute to her. About 6 months later, I was fortunate enough to be offered a 25 track album release (titled Ghost Folk) though Canadian label, Polar Seas Recordings, in April 2017. 
Her death is the worst thing that’s ever happened to me; once the original shock dissipated, a wall of grief fell on me and, as a result, I found it an almost impossible task seeing my world in quite the same way as I once had. The wear and tear of life became suffocating, so I continued with the idea of channeling what I was feeling, into music; however, coming to terms with Harriet’s death, rather than her illness, started to cloud and confuse what I was doing.

“The Vagabond” is a short and sweet opener utilizing various chimes and a slightly cold drone which comes in waves. The chimes resonate out and cast light against the drones. You get the feeling that this is a bit of letting go, as if it is environmental and the chimes are making the music by a breeze rushing through them.

“All the Shutters Are Closed” a slow building series of drones and field recording build up enveloping the listener in a storm of sound. Buried deep other drones start to become noticeable with their darker textures. They start to force their way through and are able to shine, They are deep and low drones with tendrilous sound that have a somewhat melancholic edge to them. As the track continuous the drones become more pronounced taking centre stage  and proceed to wring out as much emotion as they can. A howling drone takes in the background coating the track and adding another layer before eventually taking over the track towards the end.

“I Put A Letter In My Pocket” the types of drones contained herein are ones that I always associate with being airborne and flying over everything, looking down and surveying the territory. They have that floating feeling, as well as one that has fluctuating synth generated sounds. Having the slightly experimental flourishes of the fluctationg drones give the music an extra layer of freedom, as if something is being blown away and taken by the wind.

“I’ll Take One Who Loves Me” a lo-fi opening with static/distortion and a rollicking somewhat free form acoustic guitar which is a change of flavour to the music. Music that is of a lo-fi nature for me has a more intimate nature than that of something highly produced it. It also has a sense of immediacy. In the back ground the faintest of shape shifting drones can be heard and they have sounds that compliment to the tones generated by the guitar. The drones pulse, chop and resonate as their presence becomes more defined, switching with guitar as being the tracks focal point. The guitar finishes off the track with a nice repeating section at the end.

“Bunny” Harsh storm, Field Recordings and Ghostly apparitions give this the feeling commonly associated with Ambient music that is centred around memory and how it informs our lives. What this all means is possibly only known by the artist himself.

“Within Reach” the music isn’t crystal clear, but it feels like dawn is upon us and the day is just starting with all possibilities available. Shimmering sounds radiate over a collection of drones, fractured sounds and possibly a voice buried deep within. The music is constant in the way it flows with a relaxing feel present and only briefly extends outwards. The ending of the track is the converse to the opening where it feels like things are coming down.

“Worse Than The Last Look” distorted and wind-swept sounds battle it out to be heard. The piece feels a bit more experimental than the others as a lot of the elements are buried and you can hear melodies deep within, that if not for the distorted approach to the track could totally change the effect of the music.

“If You Concede” from silence acoustic guitar, quiet voices and drones appear. The repetitive nature of the voice whispering the title forms part of the music which is loop based with acoustic parts also repeating. The music is joined by a collection of rumbling, dark distorted drones which are threatening to overflow and drone out the voice and acoustic guitar. Hypnotic in nature the track feels like a bit of tug of war between the two elements, resulting in the darker side winning, but with the clarity of the voice and guitar still being heard. Sonicly a rich track, it is more than just two sound types with a lot of layering and textures involved in creating such a heavy sound.

“Eastern Block” A relaxing warped drone track with backwards loops and icy tones that cut across. Chimes are featured, but have a very cold sound to the track, which sounds like it’s being played backwards and consists of a series of short drones. As the piece builds, the more layers are added and more complex it gets. Vocal elements add a melodic touch to it, which steers it away from being too cold.

“Last Year” Completely manipulated sounds that sound positively Sci-Fi based warp and pulse in this short-lived interlude which seems quite different from the rest of the album. I am not sure of its position on the album.

“I Saw Red, And Through The Red, Nothing” rumbling, cloaked drones that sound like they are broken up and not linear from the basis of the track. Minimal in nature, the movements are not deep troughs and high valleys, rather more entrenched in frequency and slight variations. They are layers to the piece with the top layer being more haunting, as well as a slightly ominous one that is best heard in the last thirty seconds of the track as the other elements make way.

“Faraway Too Close” field recordings of rain feel like they are washing away something. McDermid is adept at slowly drawing out the depths in the pieces and this is best displayed in this track. A horn like drone forms a rhythm while a whispered indecipherable voice repeats something that  feels over and over. Melodic drones billowing in the wind add a feeling of hopefulness to the music. The contrast between the penultimate and final tracks are outstanding and show the many dimensions to McDermid’s work.

You get the feeling of McDermid’s sisters passing in the music. The album is  quite moody, at times dark and at other times shrouded and buried. It’s not totally in despair, but you get the feeling that the artist is coming through the other side, such is the balance of light and dark that is either included in the same track or on different tracks.  If you like music that plays with colour and shade, “Tonal Glints” may be for you.


The title “Stilhedens Strømmen I Fuglenes Blod” (it should be Danish for “the flow of silence in the blood of the birds”) could fit to the sound you’ll meet in this release by Danish visual artist (I guess he made the meaningful collage of the cover artwork) and musician Paw Grabowski aka øjeRum: initially issued in a very strictly limited edition of 30 self-made cassettes in 2016 and recently re-issued by Italian label KrysaliSound, which kept the hiss of the tape during the mastering, the sound gets unrolled over a one single 30 minutes lasting track, based on repetitive loops of a slightly pinched acoustic guitar, sparse elongated sounds, abstract field recordings and other evanescent resounding entities (including birds, of course!). Paw shows he learnt the minimalist lesson by the way he stacks identical chords through unperceivable (the tonal ones) or clearly (the length of the whole phrase or of single tones) listenable variations, but besides some insertion like the hits on glass (following the same speed of the guitar chords after 7-8 minutes), the fading of music overwhelmed by almost silent field recordings in the middle of the recording and an unexpected flooding of an ambient ghostly pad in the last minutes, the composition is quite flat. It can match a vague sense of loneliness, a romantic (in the authentic meaning of the word…) dazed melancholy or a merely hermetic detachment, but a mushrooming of this dark-tinged ambient-folk in the music (more or less independent) market is getting closer to those cliches, that should maybe have been antithetical in the guise of many musicians orbiting around these sonorities.



Besides an almost scientific approach to recording techniques and the general “sonic strategy” based on the idea that music can be squeezed from matter, one of the linking ring between this “Untitled_” (the tag that starts any title of his outputs) and the previous one (“Untitled_TeVeT”) on Francis M.Fri’s imprint KrysaliSound by Venetian musician and concrete performer Federico Dal Pozzo is maybe only water: the one turning into a 380 kilos weigh ice block on the latter, and the mini acousmatic concert of delays, echoes and a series of odd reverberations and mutations (where the liquid sonic source paradoxically seems to turn into a hiss or a fire crackle) of the dropping ones on the former. The other one could be its detachment into two related parts: as for “Untitled_TeVeT”, “Untitled_VNZ” (being VNZ, a sort of code derived from the first three consonants of Venezia, Italian for Venice, the conceptual and the material framework of this release) sounds like a bipartite acousmatic progression, whose watershed (occurring after 20-21 minutes) is an Italian sentence by a female voice, that appeared shredded in the first part saying something meaning “one second before I ask myself how it will be, one second after I think to the next time, but when I do that, it’s nice and I don’t think to anything else”. As the dropping water is the sparkle element of this first progression, the sparkle of the second part is another concrete distinguishing element of the sonic landscape of Venice, the toll of some church bells (I guess they’re the ones of St Mark’s Basilica), gradually re-morphed and melting with the likewise transformed sound of chirping birds; this intriguing amalgamation sounds like fading into an obscure synth pad, that Federico suddenly turns off, as if he can control the voltage of this sonic electric film. The isolated resounding frequencies, wisely extracted from the initial tolling bells, will soon fade into a maze of hissing noises, similar to the white noise related to broadcast of no signals on TV screens or radio, a disturbing chaos that Federico channels into a “balancing” sound before the final minutes where he seems to give voice to poltergeist musicians of Venetian ghosts, who seems to play a classical romanza in between the dying atoms of Federico’s pulverization. It’s everything but a cliched romantic sonic postcard of Venice, that maybe mirrors the shadow on that same cliche.