bod [包家巷]
Limpid Fear [清澈恐惧]
Cat #: KNV007
Format: Cassette / Digital
Artwork & Calligraphy: Tea Stražičić, Jade Novarino
August 2018


Knives are proud to present an album by LA based artist, Nicholas Zhu aka bod [包家巷]. Presented as multiple arrangements forming a continuous ‘mixtape’ of sorts, ‘Limpid Fear [清澈恐惧]’ is a limited edition cassette which highlights Zhu’s contemporary songwriting, drawing heavily from the instrumentation of their Chinese heritage, as well as classical chorus and composition. The pieces meander between sentimental ambient pop, traditional string ragas, harsh noise and digital textures. The cassette is packaged with a double sided risograph print, with artwork by Tea Stražičić and calligraphy by Jade Novarino.


Cat #: KNV006
Format: 12″ / Digital
Artwork: Thomas Hauser
November 2017


At its core, ‘Organn’ is a record about love and duality. Taking inspiration from Isidore-Lucien Ducasse’s poem ‘Les Chants de Maldoror’, the record is antagonistic yet often drops its temper to reveal blistered beauty within the fray. Such are the contradictory elements within the compositions themselves: widescreen claustrophobia; glimmering sludge; piercing VHS ambience.

Visuals come courtesy of French mixed-media artist, Thomas Hauser. Hauser’s imagery similarly evokes retrograde surrealism and further insists on a narrative at work here, with obscured characters playing out alongside mantric piano, filmic vox and hyperspeed jungle.


Grace - Obsequies/Organn/KNV006
Asthme - Obsequies/Organn/KNV006


Cat #: KNV005
Format: 12″ / Digital
Artwork: Maren Karlson
May 2017


v1984, real name Christopher Ramos, is of Korean/Filipino descent and the title ‘Pansori’ reflects his Korean heritage. It has the dual translation of a ‘gathering place for sound’ and it specifically refers to traditional storytelling, which in turn is a neat description of the EP.

Musically the EP references both the classical music Christopher studied as a child and contemporary electronic music, but it’s shattered and smeared into unusual shapes that are, in the more abstract tracks, his musical interpretation of lucid dreaming. Even the club ready tracks have an element of the sublime, such as ‘Too Much’ which sounds like a synthetic take on the emotional soundtracks of Joe Hisaishi with crafted contemporary hip hop beats woven in, or the damp neon melancholy of ‘Aria of Dawn’ which colours a mood with a simple gentle glassy melody over tip-tapping drums.

As with every Knives release, visual communication is an integral part of this project. Berlin-based Maren Karlson’s illustrative practice is absurd, technically sharp and walks a fine line between beauty and the corruption of aesthetics. Maren has provided the artwork for ‘Pansori’, and these traits align perfectly with Christopher’s compositions. Christopher says of the EP’s imagery: “There was something immediately beautiful, yet maybe a bit unsettling as well, that felt quite tangible to me and resonated within my work. For me, the image depicts some of these moments, between the real and unreal, like lucid dreaming.”

SPfiNAL-TAP-re-JUVENescence - v1984/Pansori/KNV005
Too Much - v1984/Pansori/KNV005


J. G. Biberkopf
Ecologies II: Ecosystems of Excess
Cat #: KNV003
Format: LP + Book
Artwork & Texts: Maximage, Deforrest Brown Jr.
November 2016


‘Ecologies II’ is dense, flowing with ideas and sonic undercurrents, made for deep listening. The album itself is an assemblage of field recordings that are manipulated and fused with digital programming, melody and design to startling effect, resonating with power. The album is like a supple, accelerated take on musique concrète and its techniques, subsumed into the digital realm, to the point where it’s hard at times to work out where the digital and the real start and end, but at others, the contrast is violent and raw.

There’s drama and melody in the music; there’s implied narrative. The album is of course indebted to some of the familiar tropes of club music but only in the sense that its forms are a starting point. The familiar use of melodies and the driving energy are forced to breaking point and intensified, escaping easy categorisation or perfunctory uses. But that’s not all. Tracks such as the melodic ‘Dust’ stop and start with trapped sampled voices underpinning the lush strings, ‘Preacher’ throws the pleading of a minister into a tense mesh of flickering voice and pumping heartbeat-like kick drum. Other parts are more or less ambient, such as ‘Irreversible. Black Atlantic.’ where underwater recordings exhibit creaking depth, against a swelling horn part. Other tracks seem to be ecosystems of their own. It’s a complex album rewarding repeated listening.

The narrative of the LP is extended further via a book housed in the record’s packaging. The book includes an essay based on the concepts behind the LP, by New York based writer DeForrest Brown Jr. (NPR, Rhizome, Tiny Mix Tapes). The sleeve and book are designed and illustrated by cult design studio Maximage, who have won numerous awards and residencies based on their exploration of colour, typography and psychedelic forms of publication design.

View a video for ‘Dust’ here. Click the screen to toggle Deforrest Brown Jr.’s essay to and from viewing mode.

From Infinity To Here - J. G. Biberkopf/Ecologies II/KNV004
Transfiguration II: Amplification - J. G. Biberkopf/Ecologies II/KNV004

Yearning Kru

Yearning Kru
Copper Vale
Co-Release w, Planet Mu
Cat #: ZIQ371
Format: LP / Digital
March 2016


Croydon’s Yearning Kru uses digital technology and specifically sampling to make a unique lo-fi psychedelic environment. There is a large visual element with all his artwork self-made and live performances accompanied by his own distinctive visual montages. His work is inspired by the world-building aspect of various literary fantasy environments, especially Gormenghast and Dune, and the music is a psychedelic representation of landscapes rather than narratives of characters (as more song-based music might represent). The tracks function as viewpoints into a world for a brief period of time, and the world represented is one of small workshops toiling and churning in the shadow of great hives of technology. The title “Copper Vale” is meant to hint at something both pastoral and bucolic, a valley or secluded glade, but also recognising the industry and electricity that drives our world, something that is often set at odds against nature; also the genres of fantasy and sci-fi, that show ideas of past and future through these archetypal cultural ideas.

His previous albums were the two-part cassette “Cracked Lacquer/Vanadium” on Patten’s Kaleidoscope records (and it’s remixes), his own self-released “Red Ice” and “Forways” on Quantum Natives as well as various self-released EPs. Much of “Copper Vale” was created in South Korea and Taiwan where he is now based.


Foxconn / Trios
Cat #: KNV003
Format: 12″ / Digital
Artwork: Tobias Madison
November 2015


‘Foxconn/Trios’ is a previously unreleased record originally recorded by d’Eon in 2012 during their time of involvement with the Hippos In Tanks label. While d’Eon’s past releases have been varying in genre, a unique aesthetic has nonetheless emerged. Though the new release consists of compositions not entirely unheard (tracks have previously popped up in their mixes), the density created by the release’s overall form showcases ‘Foxconn/Trios’ as a completely new side of d’Eon. Presented here is a mutated micro-strain of that d’Eon aesthetic extracted and radically over-intensified, employing a distilled version of their sound pallet but bent into entirely new shapes. On first listen structure and tempo steal focus from the tracks’ varying instrumentation, presenting a more singular expression than d’Eon’s previous releases… The songs are presented as simply out of this world. Its nearest contemporaries however, could be the audio-materialist studies of Mark Fell, post ‘Oversteps’ Autechre, late period OPN, or Lorenzo Senni.

‘Foxconn/Trios’ is accompanied by a work from Swiss artist, Tobias Madison, whose practice often involves collaborative projects whilst themes in the work itself suggest a staunch independency and celebration of self-organisation. Madison’s roles are varied (artist, curator, client), as are the mediums he works in. Video, text and installation are regularly used as tools for continuous recording, distribution and thinking. Tobias Madison is represented by Freedman Fitzpatrick (LA) and Galerie Francesca Pia (Zürich).

Transparency Part III Part ii - d'Eon/Foxcon / Trios/KNV003
Samsung India Software Operations II - d'Eon/Foxcon / Trios/KNV003


Assertion Of A Surrounding Presence
Cat #: KNV002
Format: 12″ / Digital
Artwork: Joshua Petherick
July 2015


Jamie Teasdale, best known as Kuedo, makes a timely return with the sci­fi designed ‘Assertion of a Surrounding Presence’ ­ his first solo release proper since 2012, and the 2nd issue on his fledgling Knives label after J.G. Biberkopf’s ‘Ecologies’. His celebrated production style remains anterior to modern dance music and electronica, largely by virtue of unbending futurist focus and careful attention to detail. Here flanked by collaborations with erstwhile Vex’d partner, Roly Porter, plus Berlin’s Phoebe Kiddo a.k.a. Mind:Body:Fitness, and Canada’s Egyptrixx, the next chapter in Kuedo’s odyssey expands his sci­fi dimensions with ever sharper contouring gradients, and hyperreal spatialisation structured around recalibrated footwork, drill and techno engines. Scaling from the vertigo­inducing opener to a finale of panicked gamelan drama, ‘Assertion of a Surrounding Presence’ renders Kuedo’s most affective, elaborate reflection of a nowness, divining a metaphysical, cybernetic zeitgeist in the vaulted reverb structures of his Ghost In The Shell nod, ‘Eyeless Angel Intervention’, or the trance fluid T­2000 techstep momentum of ‘Boundary Regulation’, whilst pursuing more tangled emotions and ethereal sensations in the recursive, hyaline gamelan cadence of ‘Border State Collapse’ and ‘Event Tracking Across Populated Terrain’.

Providing the visual framework for ‘Assertion Of A Surrounding Presence’ is Joshua Petherick. Petherick works across a variety of media, including video, textiles, sculpture and sound, creating esoteric puzzles which often re-contextualise objects and materials using a mixture of both digital and anolog processes. Addressing the complexity of function, his work, like Kuedo’s, plays with a sense of the uncanny – fracturing object or image, whose role is questioned and ultimately framed as a residual artifact in an ongoing sequence of possible outcomes. Joshua Petherick is represented by Croy Nielsen (Berlin), Minerva, (Sydney), and Robert Heald (Wellington).

Vertical Stack - Kuedo/Assertions Of A Surrounding Presence/KNV002
Boundary Regulation - Kuedo/Assertion Of A Surrounding Presence /KNV002


Joshua Petherick
Artist Edition
Cat #: KNV002B
Edition: 50
Format: 841 x 594mm, Fujiflex
August 2015

(Out of Stock)

Limited artist edition by Joshua Petherick, produced as part of Kuedo’s ‘Assertion Of A Surrounding Presence’ project. The A1 sized edition is specially printed on Fujiflex – a reflective silver halide color printing material on a super glossy resin base. Each edition is signed and numbered by the artist, and printed full-bleed.

J G Biberkopf

J.G. Biberkopf
Cat #: KNV001
Format: 12″ / Digital
Artwork: Joe Hamilton
June 2015


J. G. Biberkopf’s work spans club, theatre and digital radio contexts. The tracks here float between cyberambience and slamming rhythmic constructions; distant trails of web-filtered grime, and beatless studies of net phenomenology. His collage compositions are intended as a field trip into the represenations of nature that emerge from the digital-social media scape. He says of the project’s inception, that he was intrigued by an oddly “naive idea of nature that seemed strikingly prevalent in my social environment.. I was curious to know how these simulations of Nature work in digital media, how do we do experience these simulated materials”. J.G. Biberkopf appears as part of an newly emergent wave of intensely thoughtful, rhythmically physical, net-aware young artists, such as v1984 and Sentinl.

Exploring similar themes to Biberkopf within his practice is Australian visual artist Joe Hamilton, who also employs technology and found material in order to create complex and intricate environments – both offer an experience which is oddly romantic; stripped of it’s tangibility, yet provided with a synthetic vitality. Hamilton’s multimedia project, ‘Hyper Geography’ (2011), is cited by Biberkopf as a key influence in the development of ‘Ecologies’. These work analogously in investigating evolving relationships with our immediate, often juxtaposed, environments and the concept of nature within an age of an increasing, network based interdependence. Here, Hamilton provides visual reference to ‘Ecologies’ with a new work for the record sleeve.

Air. Coltan. Carbon. Lithium. - J G Biberkopf/Ecologies/KNV001
Waters - J G Biberkopf/Ecologies/KNV001


Joe Hamilton
Artist Edition
Cat #: KNV001B
Edition: 50
Format: 841 x 594mm, Fujiflex
July 2015

(Out of Stock)

Limited artist edition by Joe Hamilton, produced as part of J.G. Biberkopf’s ‘Ecologies’ project. The A1 sized edition is specially printed on Fujiflex – a reflective silver halide color printing material on a super glossy resin base. Each edition is signed and numbered by the artist, and printed full-bleed.


Dark Energy
Co-Release w, Planet Mu
Cat #: ZIQ356
Format: 2xLP / CD / Digital
March 2015

As the popularity of Footwork has continued to soar, the range of sounds within the genre has expanded. From the angular, minimal beats of RP Boo to the widely admired sound of DJ Rashad, the genre has continued to innovate. Gary based producer Jlin, known for her track “Erotic Heat” (Bangs and Works Vol.2 – Planet Mu 2011), or her providing music for fashion designer Rick Owens’ F/W 14 Paris runway show, presents an eleven track debut album “Dark Energy” showcasing her unique and bold new sound. Her track titles are as evocative as the music is intense and hint at deeper themes – “Black Diamond”, “Guantanamo”, “Abnormal Restriction”. She notes “The titles I chose are based off failing and learning.” Album track “Expand” also features a vocal from another important female artist – respected experimental West Coast producer Holly Herndon whom Jlin has been collaborating with. “Dark Energy” is so called because of where it came from and how it came to be; the dark monolith on the cover also encapsulates it – “This album took my entire life to make. Every moment in my life lead up to this album. My musical sense of expression comes from sadness, and anger. I can’t create from a happy place. It seems pointless in my opinion. I don’t make the tracks as much as I feel them. Creating for me is about feeling and impact.” The album was project managed by Knives, including music supervision and art direction.

Erotic Heat - Jlin/Dark Energy/ZIQ356
Expand ft. Holly Herndon - Jlin/Dark Energy/ZIQ356
Video directed, shot and edited by Keith Deverell
Featuring Lilian Steiner
Clothing by Verner
Styling by Emina Dzananovic
Hair and makeup by Amy Butcher
Produced by Knives