Get all 43 czaszka (rec.) releases available on Bandcamp and save 75%.
Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of The Interview, Conrad Snea, npm, Albatross, Plié, How The Cookie Crumbles, self titled, Imaginary Friends II, and 35 more.
1. |
||||
2. |
German Army - Kiiking
04:30
|
|||
3. |
Palace Lido - Nystagmus
03:03
|
|||
4. |
||||
5. |
||||
6. |
M/M - Bus Ride Ambient
03:18
|
|||
7. |
||||
8. |
||||
9. |
If you like For Safety Reasons Can I Ask What Is Inside, you may also like:
C90 & C60
by Hassni Malik & Nicholas Langley
supported by 13 fans who also own “For Safety Reasons Can I Ask What Is Inside”
go to album
Paralysis: Live at Silent Night #8
by The House in the Woods
supported by 12 fans who also own “For Safety Reasons Can I Ask What Is Inside”
This live album in a great way can create curious, immersive and intriguing dreams in the minds of listeners. Through a combination of degraded tape loops, drones, noise and field recordings The House in the Woods leads us into situations and places recognisable and familiar but also alien and more like mind images. Great live album :)
go to album
Everywhere at the end of time
by The Caretaker
supported by 12 fans who also own “For Safety Reasons Can I Ask What Is Inside”
How did I find about this album exactly?
go to album
Nils Quak/Flamingo Creatures
by Nils Quak/Flamingo Creatures
A split from modular synth wizard Nils Quak and free-form psych duo Flamingo Creatures splits the difference between cosmic and organic.
go to album
Death of Natural Light
by Deuce Avenue
As Deuce Avenue, Noah Anthony explores an unhurried, warm style of drone music that is less abrasive and more subliminally soothing.
go to album
[UDG 0.11] "01112012"
by Richard Francés
Official debut of French solo artist Richard Francés. Sci-fi influenced synth work, recalling pioneers like Tangerine Dream and Terry Riley.
go to album
Joy Boy
by Julius Eastman
supported by 11 fans who also own “For Safety Reasons Can I Ask What Is Inside”
“With Julius, he was based in repetition, but here was a spirit of openness and improvisation. His scores, if they were written out that way, were often like jazz scores. He loved multiplying instruments – four pianos, ten cellos – so there was a real feeling of the presence of the instrument, not just using an instrument in some kind of equation, as a means to an end.” ~ Mary Jane Leach Enough said.
go to album
