Bogdan & Haggari Nakashe — Split [RZR25SBHN] [2025]

RZRecords cat: RZR25SBHN · UPC: 5063845650811 · New-ish Release · Digital

Split by Bogdan & Haggari Nakashe

RZRecords is proud to re-introduce Split, a meeting of two beloved, distinctive minds within experimental electronica. Bogdan, a Serbian electronica and hip-hop artist, and our very own Haggari Nakashe. A match made in ambient heaven.
Originally released in August 2025, then released again in September due to some tech difficulties, this project highlights the sonic duality between Bogdan’s meticulously fractured, mostly ethereal ambient approach and Haggari Nakashe’s expansive, contemplative sound design that's ambient passing yet deeply rooted in noise music.

Across eight tracks, four from each artist, the release unfolds as both contrast and complement: Bogdan’s sounds balance against Nakashe’s drift toward hubbub abstraction. For this version of the digital re-release, RZRecords adds a special ninth track, a collaboration that merges deep modular synth work with manipulated field recordings and dreamy soundscapes. The result is an immersive composition that bridges Bogdan’s forward-leaning ambient–hip-hop inspired sensibility with Nakashe’s textural and spatial explorations.

 

What emerges is more than a split release; it’s a dialogue suspended between form and atmosphere. Split rewards close listening, revealing subtle cinematic layers that shift between melody, noise, and industrial-inspired timbre. It stands tall as one of RZRecords’ most introspective and technically refined cross-artist ambient pairings to date.

As with previous RZRecords releases, Split reinforces the label’s commitment to showcasing left-field voices in electronic and sound-based art. The label continues to cultivate projects that thrive at the edges of genre, where rhythm dissolves into texture and experimentation becomes narrative.

In this spirit, Split [RZR25SBHN] acts as a testament to collaboration in its purest form: two independent sonic identities intersecting without compromise, yet forming a unified experience. It captures RZRecords’ enduring aim, to present work that invites deep listening, emotional resonance, and an ongoing dialogue between artist, technology, and space.

Our Commitment to Artistic Dialogue
At RZRecords, we are dedicated to creating these specific dialogues between artists. We believe that when two independent sonic identities intersect without compromise, they form a unified experience that neither could achieve alone. Our label continues to cultivate projects that thrive at the edges of genre, where rhythm dissolves into texture and experimentation becomes a narrative. Split stands as a testament to this mission: a dialogue suspended between form and atmosphere, inviting deep listening and emotional resonance between artist, technology, and space.

The Architecture of Dissonance: A Deep Dive into xPhin’s Tableaux, Vol. III

RZRecords cat: RZR2025xPtv3 · UPC: 5063845256297  · New-ish Release · Digital

A Note on Our Bias: Full disclosure, this release comes to you directly via our label. While that technically makes us biased, the truth is far simpler than any conflict of interest, we are, first and foremost, massive, unabashed fans. We've been following and actively supporting xPhin's evolution for some years now, watching him grow into one of the most interesting, distinctive and uncompromising voices in experimental sound. We're only releasing this because we genuinely believe it is an essential addition to the experimental canon, a work that deserves to exist in the world and find the ears it was made for. We are deeply honored to act as the vessel for this unique transmission, and we don't take that responsibility lightly.

Tableaux, Vol. III by xPhin

The Evolution of a Sound Architect

xPhin has carved out a singular status operating at the volatile intersection of electronic, ambient, and noise music. For those who joined us for our previous release of his album Takahashi, you’ll remember the "certified bangers" and melodic synth drones that eventually gave way to face-melting HNW assaults. While Takahashi showed xPhin as a skilled storyteller guiding us through a specific journey, Tableaux, Vol. III finds him in a more architectural, conceptual headspace.

Beyond the Song Structure

This isn't a collection of tracks in the traditional sense, and it would be a disservice to approach it as one. It is, once again, a conceptual series of "aural trips" that are defined by thematic exploration over conventional melody (that's present, btw), by a dense atmosphere over accessibility. xPhin treats sound as a physical material, meticulously arranging a broad variety of shapes, textures, and depths across the noise spectrum with the precision of a sculptor and the patience of an architect. Every frequency feels placed with intent; every shift in texture feels earned. Where Takahashi sometimes offered a "punchy" minimalism, moments of rhythmic clarity that gave the listener something to hold onto, Tableaux offers something altogether more immersive: a shifting, pulsing, breathing soundscape that is designed to be felt as much as it is heard. There is no handrail here. You are simply asked to step inside.

The Dynamics of Silence and Sound

Throughout the nine tracks of this expansive release (one hour and thirty six minutes), xPhin demonstrates a masterful and deeply considered control over tension. He builds multi-dimensional compositions by placing overwhelming blasts of textured sound and noise in deliberate dialogue with moments of stark, clinical silence and complex sub-rhythmic throbbing beneath the surface. The quiet is never truly quiet. The loud is never merely loud. It is a work of "tactile" electronics, you don't just simply sit and listen to these frequencies; you feel them, navigate them, and at times, you brace against them. 

The album consistently challenges the listener to identify the melody and find deep emotional resonance buried within the static. Whether it is a subtle, haunting hum drifting at the edge of perception or a dense, suffocating wall of melodic digital grit, every element is purposeful, every sound serving the larger conceptual whole. Nothing is accidental. Nothing is wasted. It is, in the truest sense, a masterclass in experimental composition, one that requires your undivided attention and richly rewards every moment of it.

How to Listen

In an era of disposable background music and algorithmically optimized streams, xPhin demands, and deserves, a fundamentally different approach. This is not music for the commute, for the gym, or for passive consumption of any kind. Clear your schedule. Put your phone face down. Find a comfortable space, close your eyes if you need to, and simply allow the Tableaux to unfold around you at its own pace and on its own terms. Trust the process. 

While his work is available across various streaming platforms, the most meaningful and direct way to support the artist's vision and the broader craft of independent noise music is to go straight to the source. Skip the algorithm. Own the work.

Experience the full sound experiment here: xphin.bandcamp.com/album/tableaux-vol-iii 

A Note on Timing

Tableaux, Vol. III is a very late 2025 release that, due to a storm of technical failures and personal chaos, never got its moment. It slipped out quietly when it should have arrived like a thunderclap, and that is a failure we feel in our bones every time we listen to it, which is often. Because here is the thing about this record: it is the kind of work that stops you mid-sentence, mid-thought, mid-whatever-you-were-doing, and reminds you why experimental music exists in the first place. It is the kind of record that people should have been talking about in late 2025, that should have been quietly passed between the obsessives and the devoted, dog-eared and worn down from repeated listens. That conversation should already be happening. The cult should already be forming. And if you are reading this and you haven't heard it yet, if this record somehow passed you by too, then understand that you are standing at the edge of something. There is a before and an after with music like this, and right now you are still in the before.

That ends now. We refuse, flatly and permanently, to let this record become a footnote. We refuse to let it gather dust in the corner of a Bandcamp page (or Spotify, or Apple Music) while the world moves on to the next disposable release. Some records are too important, too singular, too alive to be left to the mercy of bad timing and unfortunate circumstance, and Tableaux is unquestionably one of them. There are artists who make noise, and then there is xPhin, who makes you understand, perhaps for the first time, what well-done noise is actually capable of. Missing this record is not just missing a release. It is missing a moment of genuine artistic reckoning, one that does not come around often and does not wait for you to be ready.

So consider this our attempt at correction, our reclamation, our loud and unapologetic insistence that great art does not have an expiry date and does not quietly accept being overlooked. Tableaux is here. It has always been here. It is vital, it is uncompromising, and it demands, not requests, demands, to be heard. We are simply making sure the world finally knows it. Get there before everyone else does. You will want to say you were early on this one.

EXPLORING NOISE TEXTURES by Haggari Nakashe

 

Usually, it's best to write original content so search engines won't tag you as a spammer copying texts from elsewhere. I guess this time is a perfect opportunity for an exception, as Haggari pretty much sums everything up perfectly, so rewriting his promo blurb into something else would just harm the message, his message.

What's left to add is that this very (sad but) enjoyable release (catalog no. RZR25HNENT)  is available on Bandcamp, and should hit streaming services sometime next month. 

Follow Haggari's Instagram for more updates.

Here's what Haggari had to say:

My latest offering, "EXPLORING NOISE TEXTURES", is a two-track album that delves deep into the interplay between sound and sadness, rethinking personal experiences that might resonate with the listener's emotional landscape via sounds. Each 25-minute track serves as an exploration, where dissonant layers of synth noise weave together delicate ambient-like textures, challenging the inner peace and further exploring notions of music and art in therapy. I feel that in the noise genre, the often-overlooked spaces of sadness and introspection are neglected as the genre tends to sometimes be more anger-driven, transforming raw emotional responses and angst into an auditory assault; where this is an attempt to turn negative emotions into something that serves the purpose of healing, venting and sharing, both haunting and profound, but not as aggressive as HNW tends to feel. I invite listeners to embrace the beauty of chaos and the significance of emotional vulnerability, hoping this could leave you pondering upon your own rich tapestry of sadness and sounds long after the final note fades.

What makes this release particularly compelling is how it challenges the listener's relationship with discomfort. While many noise artists use harshness as a form of confrontation or catharsis through aggression, Haggari opts for a more meditative descent into emotional terrain. The extended 25-minute format of each track isn't just ambitious, it's essential to the work's purpose, allowing the synth textures to gradually build and shift, creating space for genuine introspection rather than immediate impact. This is noise as a slow burn, where the therapeutic potential emerges not from explosive release but from sustained immersion in carefully crafted sonic unease.

For those new to our corner of experimental music, "EXPLORING NOISE TEXTURES" serves as an unexpectedly accessible entry point into the broader world of ambient noise and drone. The album rewards patient listening, ideally with headphones in a darkened room, allowing the layers to reveal themselves over time. We hope that you see how the effort by Haggari Nakashe to continue and demonstrate that he's vital to the underground experimental community since the early 2000s, consistently championing work that refuses easy categorization. If this release resonates with you, make sure to explore the rest of Haggari's catalog and keep an eye on RZR's ongoing split series, which regularly pairs complementary artists in ways that spark unexpected creative dialogue.

Beyond Bandcamp and streaming platforms, Haggari has been steadily building a visual dimension to his sonic explorations through the RZRecords YouTube channel, which he currently operates. The channel features videos accompanying his music, adding another layer to the immersive experience he's crafting. For those who want to dive deeper into his creative process or experience his work in a different format, the YouTube channel offers an evolving archive of his output. It's worth subscribing not just for the music itself, but to witness how Haggari continues to expand the ways listeners can engage with his brand of introspective noise, visual accompaniment often transforming these already meditative pieces into something approaching installation art.

One Eighty Seven by Haggari Nakashe

Haggari Nakashe’s "One Eighty Seven" immerses listeners in a haunting soundscape that poignantly encapsulates the deep, often overwhelming emotions tied to seasonal affective disorder. As the seasons shift, so does the listener's mood, and these droning dark ambient textures create an atmosphere that echoes the melancholy accompanying this cyclical change. The synth layers evoke a sense of desolation, mirroring the stark contrast between the vibrant summer and the mournful winter. Each note echoes the feelings of isolation and introspection that many experience as the days grow shorter, enveloping the listener in a blanket of sorrow that is both familiar and profound.


The structure of "One Eighty Seven" effectively mirrors the rhythmic nature of seasonal depression, using a semi-pleasant yet unsettling drone that feels like the weight of impending darkness. This slow build never culminates, as feelings constantly twist and turn, perfectly capturing the unpredictable emotional landscape of those affected by this condition. As the track progresses, it invites reflection, encouraging listeners to confront their own seasonal struggles while reveling in the haunting beauty of the composition, mirroring the feeling a cold cloudy day leaves behind, where the clear air and the smell of rain mark one's soul with invisible melancholy. By the time the piece fades into silence, it leaves behind an echo of sadness that lingers in the air, a reminder of the yearly cycle of depression that many face. In this way, "One Eighty Seven" serves as a musical exploration of internal turmoil and a deeply resonant emotional experience that speaks to the universal struggle with the changing tides of life.


RZRecords catalog number: RZRx25x1

For fans of dark ambient music and experimental electronic soundscapes, "One Eighty Seven" represents a masterclass in synth-based composition and atmospheric production. Haggari Nakashe utilizes modular synthesis techniques and layered drone textures to create an immersive listening experience that appeals to followers of artists like Lustmord, Tim Hecker, and The Haxan Cloak. Available for streaming on Spotify, Bandcamp, and other major music platforms, this dark ambient album showcases the producer's ability to craft emotionally resonant electronic music that transcends typical genre boundaries. The album's production quality demonstrates professional studio techniques combined with raw experimental elements, making it essential listening for anyone interested in ambient noise, drone music, or contemporary experimental electronic music in 2025.

Mental health awareness through music has become increasingly important in experimental and ambient music communities, and "One Eighty Seven" contributes meaningfully to this conversation by addressing seasonal affective disorder through sonic exploration. The album serves as both therapeutic soundscape and artistic statement, joining a growing catalog of mental health-focused ambient releases from independent labels like RZRecords. Listeners searching for music about depression, winter blues, or emotional wellness will find this dark ambient release particularly resonant, as it authentically captures the psychological weight of seasonal depression without resorting to cliché or oversimplification. The track is available as a free or name-your-price download on Bandcamp, making it accessible to anyone seeking cathartic electronic music or atmospheric soundscapes for meditation, reflection, or emotional processing during difficult seasonal transitions.

"3" by cÆNINEZ, Haggari Nakashe & gaop, and SMEGMASMOG is finally out on all platforms!

"3" is a split release by cÆNINEZ, Haggari Nakashe & gaop, and SMEGMASMOG, showcasing just how interesting, layered, dynamic, and complex noise music can be.

This release is a standing proof of the greatness of a genre, which is often blamed for being diluted by an infinite number of artists on their home computers. 

With only three tracks, and clocking just under half an hour, this release brings forth a potpourri of haunting sounds, the darkest of ambients, drones, shrieks, and beeps. 

With the sheer amount of music released every second, this testament to the remarkable side of noise might get lost to time, only to be occasionally remembered by the participants themselves. But such is always the nature and risk of music. This is especially true for noise music genres. The constant fate of extreme, independent, and experimental releases that have little to no mass appeal to begin with.

At the end of the day, it is up to each and every one of us to make sure that the music we love is not overshadowed by the passage of time. The artists, the labels, the listeners, the people sharing links online, we each do our tiny part in appreciation and preservation. It's a delicate ecosystem, and we hope that our work on bringing forth "3" is nurturing enough for you to keep on flourishing. 

Releases like "3" face constant risk of being lost to algorithmic noise. By writing about, sharing, and archiving these works, listeners become active participants in experimental music preservation. Every stream, download, and blog mention acts as evidence that this corner of the underground exists. If you create avant-jazz, drone, HNW, or noise rock, we want to hear it. Read our guide, then hit us up for a spot on our split series. The ecosystem survives only when we each do our tiny part.

Unlike solo albums, splits foster direct dialogue between artists. They are the most accessible entry point for listeners new to depressive blackened noise or electroacoustic improvisation. They require no expensive studio time, only the willingness to share space with another artist's vision.

In Drone We Trust, by NishMa, Haggari Nakashe and gaop

 A while back we told you about an upcoming special release that wasn't only a collaboration between artists, but also a joint effort between RZRecords and Ranger Magazine.

Ranger Magazine was the first platform on which we released IN DRONE WE TRUST, the dreamy, spooky, wonderfully haunting album by NishMa, Haggari Nakashe, and gaop.

This release is interesting as it's almost a meditative trance of sorts, while also being heavy-hitting (bordering on doom metal aesthetics) at times, and ambient-like, droning, and experimental enough to contain elements of noise and free jazz.

We're now glad to announce that this album is available on all streaming platforms, and if not all then surely most of the big ones. 

Please, go on and enjoy this thing of beauty.

One last note: while this year our main focus is releasing and distributing digital albums, we are considering releasing this gem in physical format. This will mostly be up to our listeners, which is based on the play statistics.

Every now and then we toy around with the thought of doing new CDR releases, cassettes, and even vinyl, but as of now, there was no special demand that we noticed. If you feel strongly about owning 

our releases or merch, please let us know!!!

ohrr - Excerpt

Our good friend ohrr is back with a brand new single!

Ambient that turns into a groovy, guitar (and synth) led, electronica.

Good stuff!

You can hear it and his other tracks via ohrr's Spotify, or on this very embed:

There's another great release by ohrr we've yet to post about, but promise we will soon.

It's called "Put Your Hand in Mine and Call Me Missy", a superb collab album he released with gaop a couple of months ago.

Introspection by Intro Vertic & gaop

 

Close your eyes and let your imagination take you on a journey to a magical place where the ethereal sounds of electronic ambient music blend seamlessly with the rich notes of a clarinet. This four-track EP is a delightful exploration of that space, taking you on an enchanting expedition that yields a plethora of wonderful results. Each track is a unique masterpiece, crafted with precision and care to showcase the beauty and harmony that can be achieved when two seemingly disparate genres of music come together. So sit back, relax, and let the music transport you to a world where anything is possible. 

In "Introspection", Intro Vertic and gaop have collaborated to create a wonderful EP that is a true representation of a unique blend of ambient, IDM, jazz, and an innovative approach to free music. The result is a captivating soundscape that takes the listener on a (too short of a) journey through a variety of emotions. It's an impressive work that showcases the skill and creativity of both artists in a way that is sure to delight fans of the genres, and I honestly wish there was more of it, much more.

[UPCOMING] In Drone We Trust - in collaboration with Ranger Magazine

We're very excited to share that the soon to be published issue #4 of the wonderful Ranger Magazine will include a premiere release of In Drone We Trust, the long awaited collaboration between NishMa, Haggari Nakashe & gaop.

This nine track album has been in the works for the entirety of 2023, with a few singles (with earlier versions of the tracks) appearing throughout the year on compilations.

The album is (obviously) drone heavy, incorporating elements of dark ambient, noise, experimental or avant-garde metal, and just a dash of woodwind instruments and world music motifs.

Ranger magazine is a web publication (with printed copies) dedicated to experimental art, poetry, music and film. We encourage you to explore past issues and stay tuned for issue #4.

In Drone We Trust, by NishMa, Haggari Nakashe & gaop

gaop - Jar of Fears

We have wonderful news, there's a brand new release from gaop!
t's dark, it's jazzy, it's piano-lead dark ambient with sad undertones. A 47 minute long odyssey with a winter feel to it. 

Jar of Fears

The aforementioned piano is accompanied by metallic percussion, woodwind shrieks and a generally brooding atmosphere created by layered effects. The sound is one of minimalism, but not in an uneventful way.

The release is free to stream on most platforms, but also available for digital purchase on gaop's bandcamp.

This release is another one in gaop's experimental celebrations of post-jazz and post-classical sounds, via a mesmerizing dark ambient, a contrast to his harsh noise releases but not venturing far from "noise" in general, it might be more user friendly, but the color palette is the same. The feedback, the humming drones hiding in the background, those are dead giveaways.

The album is a hauntingly beautiful collection of sounds that delve into the depths of fear and anxiety. With tiny, broken down elements of jazz and modern classical music infused into the atmospheric soundscape, gaop creates a dark sonic journey that really captivates the listener from start to finish.

"Jar of Fears" is a must-listen for anyone who loves immersive and experimental music that takes you on a journey through your own emotions.

From a visual arts perspective, "Jar of Fears" is a fascinating study in how sonic textures can mimic artistic techniques. The album’s minimalistically layered production mirrors the process of glazing in oil painting, where thin, translucent layers are built up over time to create a final image of deceptive depth and richness. gaop applies this principle aurally; the "metallic percussion" acts as an initial sketch, the droning hums are the underpainting, and the shivering woodwinds are the final, delicate highlights applied to the canvas.
This approach transforms the album from a mere listening experience into a piece of sonic art that rewards deep attention.
It invites the audience to dissect its construction, to listen not just for melody, but for texture and negative space. 

In an era of instant gratification, "Jar of Fears" stands as a testament to the power of immersive atmospherics, proving that the most profound emotional landscapes are often painted in shades of shadow and silence. 

For curators and collectors of experimental music, and connoisseurs of post-classical minimalism, this release is not just a digital file; it is an album as art object, a 47-minute exhibition of mood and restraint that deserves a permanent place in the library of modern dark ambient composition.

RZRecords 6 WAY SPLIT, Vol.2

Hot on the heels of Vol.1 it's out extreme pleasure to present: RZRecords 6 WAY SPLIT, Vol.2 !!!

We were lucky enough to be presented with enough materials for two back to back releases. 
This made the process a bit longer because we had to find the right concept for the releases to work in a harmonious way, but this is far from a complaint, it was a pleasure to be trusted with the participants' art, and to come up with a result we are very proud of.

As always, our goal is to find interesting collaboration, to do our tiny part in the promotion of artists you might have not heard of, and in the process to discover new music that excites us.

This is yet again a purely online release, which is spread across several streaming platforms. 
Feel free to share it anywhere, and look for other instances it on other platforms that might pop up later.

The participants in Volume.1 are:

(in order of appearance)

• ohrr
• Intro Vertic
• DEEP DOWN
• NishMa
• xPhin
• Mierdia

Generically this is a very interesting release, so per our usual MO, there's a huge mash up of genres going on.

While as always, the color palette stays dark, this compilation travels between electronic subgenres such as techno, IDM and ambient, into a more nu-metal inspired side of electronics, followed by low end, dark ambient sound art, finishing with a string of highly creative and very interesting noise tracks.

We can only hope that you enjoy is as much as we did while compiling, and still having fun listening to it.

A huge thanks to participants, listeners, and all the RZRecords folks who worked on it and obviously their families for accepting the weirdos that we are, blasting noise in the middle of the night, running away to our computers to fix stuff, corresponding 24/7 on stuff that "normal" people don't care about.

Synth & Sax for the Elderly by Haggari Nakashe & gaop

Now here's a fun little treat!

A new collab album by Haggari Nakashe & gaop.

It's been on repeat at RZRHQ since we got the master files, happy days indeed.

This one is a bit of everything thrown into the lab, a tad of jazz, ambient, drone, beats, noise, a very good listen.

A word from the artists:

Synth & Sax for the Elderly, a collaboration between gaop and Haggari Nakashe, paying homage to our ancestors via noisy drones, sax abuse and a few beats. Inspired by life itself.

 

'Topic to Topic #2' by gaop & Haggari Nakashe

The following release sparks much joy in our hears.

It's a collaboration between Haggari Nakashe and gaop that's both beautiful and intelligent.

The rich, dark, ambient sounds of this track, are haunting and lovely, blending piano with synths in a droning and slows manner, suitable for both active and passive listening.

Here are a few words from the artists:

'Topic to Topic #2' is a musical experiment that seeks to examine what would happen to a piano composition ripped out from the modern or post modern genres, into the realms of downtempo, electronic drone music, effect-heavy and synth-laden.

The result is this atmospheric, 34 minute track. Beeping, humming, dragging like doom metal, yet retaining its grace.

Reflections by Haggari Nakashe & gaop

Reflections, by Haggari Nakashe & gaop, is an hour long drone / dark ambient piece, with electroacoustic and musique concrète overtones.

It's suitable for trance like states, deep thinking, meditation, frightening trips, horror movies and probably nature movies too.

Available on all streaming platforms, but mostly for purchase on Bandcamp (below) and on Spotify.

The Jazz of Shapes to Come, by gaop

 We're super excited to present The Jazz of Shapes to Come, a brand new gaop album.

It's a celebration of electro-acoustic pianos, woodwind instruments, bells and tape recorder hiss sounds.

While the title obviously references the Coleman masterpiece, The Jazz of Shapes to Come is a different take on free jazz or avant-garde, with an approach that's more mellow, rooted equally in ambient as it is with musical giants such as Art Ensemble of Chicago.

The album is available on most streaming platforms, purchase via BandCamp and is do for a limited physical release in the future.

Haggari Nakashe - Tis the Season for Revenge

Haggari Nakashe has released a holiday themed EP titled "Tis the Season for Revenge" and we love it.

Three dark ambient tracks, it's all you ever wanted, all you ever needed, here in your arms.

NishMa / gaop split

 A super fun collaboration by NishMa and gaop.

The first thee tracks are by NishMa. They're wonderfully cinematic, larger than life soundscapes that conjure sci-fi drama, vast futuristic dystopias, dark skies filled with rusted flying cars.

The last three tracks are by gaop. They're conceptual attempts at deconstructing traditional IDM music into easy listening piano ambient music, using the usual tools of the trade and an electric piano.

The track "Marcel will return", sandwiched right in-between the other tracks, is a joint effort by both gaop and NishMa, delivering top execution from both artists.

Software Bondage / gaop split

Software Bondage and gaop provide four tracks each, eight tracks in total.

Software Bondage brings crunchy, minimalistic, noise oriented sounds, a really interesting take on noise, with rhythmic patterns, melodies, granular distortion and lots more stuff that makes it stand out in the genre.

gaop mixes woodwind instruments, ambient, electroacoustic, IDM, avant-jazz and some other stuff thrown into this weird beautiful mix.

Split album by Yasuyuki Uesugi and gaop

We are proud to present a split release featuring the music of Yasuyuki Uesugi and gaop. The result is a harmonious blending of two distinct schools of electronic music, finding a shared frequency between the abrasive and the ethereal.

Split album by Yasuyuki Uesugi and gaop.

Yasuyuki Uesugi offers layered, textured, and repetitive works of sound art that feel deeply ritualistic. His contributions honor the long-standing tradition of Japanese noise, but they do so with a violent yet sophisticated sense of pacing. These aren't just walls of sound; they are shifting environments where the texture itself becomes the melody, drawing the listener into a trance-like state through rhythmic density.

On the other side of the split, gaop brings a different variation to the table. This work exists in the realm of electronic ambient, but it is heavily informed by classical, minimalist, and avant-garde sensibilities. There is a "surgical" precision to the arrangements here, where silence and space are used as effectively as the sound itself. It provides a necessary counterweight to the intensity of the opening half, leaning into a more contemplative, structured form of experimentation.

The juxtaposition of these two approaches creates a unique tension, one side pushing outward with noise, the other pulling inward with minimalism. May this combination be a blessing to your ears and a testament to the infinite possibilities of electronic sound.

Gemini said

Together, these two artists create a dialogue that transcends geographical and stylistic boundaries. By placing the heavy, ritualistic textures of the Japanese noise tradition alongside the sparse, neoclassical structures of minimalist ambient, this split becomes more than just a collection of tracks, it is an exploration of how electronic music can simultaneously feel ancient and futuristic. It is a vital addition to the RZRecords catalog, reinforcing our commitment to bridging the gap between seemingly disparate worlds of sound.

gaop - Moth

This type of post is really fun (for us to do), a blast from the past if you will.
We hope you appreciate it cos sometimes nostalgia can be a bit like smelling your own farts. That said, so is experimental music, so there's that. We can only hope you like it.

This post is dated back, but we're actually writing it in the future, or present, because while the release is from the past, the update is of the here and now type.

The release, Moth, by gaop, is one of the first physical copy releases by RZR. Dating back to 2004-2005.
Originally released as a four track EP (tracks 1-4). Later released with three additional tracks (and another hidden gem that kicks in after three minutes of silence).

The CDR came in a paper sleeve, with the art and details xeroxed and glued on both sides. Some versions of the CDR were numbered, some were spraypainted, there were several batches. Everything was put together after hours, in various living rooms.

Here are pictures of a copy of the release, taken by Bulletproof Socks, which also provided a short review (click the link). Hope they don't mind we use it, cos in the present we don't have any more physical copies of it to photograph.

Primitive stuff, but those were the glory days of DIY.

The release itself is a wonderful journey into dark ambient, experimental sounds (mostly voice based sound art), feedback, drones and noise. 

This humble release got lots of reviews that made us proud, both the positive and the negative. Unfortunately, most blogs, zines and sites the provided those reviews are no longer in existence, so there's nothing to link to, nowhere to copy paste from. 

In those days, MySpace was our biggest platform (it catered mostly to emo kids, but we found some great collabs on it, and traded our releases with some of the biggest names in noise back then), YouTube wasn't yet what it is today, and the review sites were our way to get the word out there.
So much changed since then, it's no wonder that some of our stuff is now lost to time.

Uploading everything to streaming services makes everything easier, but the above also serves as a lesson - platforms die, so do hard drives. Always back up your stuff and save copies!

Above is the Spotify embed, but you can also find it on lots of other platforms.

Please make sure to follow our various profiles to get updates about the stuff we do, or in this case DID, sometime in the past.

PS:

I was now reminded that there in fact were some inserts that came with the CDR, but we don't have any recollection as to what they were.

Maybe some day we'll reach out to people that have the release according to our Discogs, but we're probably not going to do that anytime soon. Also, Discogs is not really friendly towards us, so please, feel free to add or edit our releases, we're not good at it.