The debut album by pq, 'You'll Never Find Us Here,' is now a digital download and digipack compact disc.
Cathode's latest album, Sparkle Plenty, is available in digital download and digipack compact disc format.
Twenty Systems, the latest album by Benge, available from Cargo, "A brilliant contribution to the archaeology of electronic music"—Brian Eno.
Look through all Idaho forms and PDF templates below to select and prepare the required documentation.
Marital and Separation Documents
The Idaho prenuptial agreement form outlines the distribution of assets and financial obligations between spouses in the event of a divorce or death, helping couples set clear financial expectations before marriage.
An Idaho separation agreement provides a framework for couples who decide to live apart without formally ending their marriage. This agreement covers asset division, spousal support, and child custody during separation.
Business and Contractual Agreements
The non-compete agreement in Idaho restricts individuals from starting or working in a competing business within a specific geographic area for a specified period after leaving an employer, protecting businesses from direct competition.
A non-disclosure agreement in Idaho helps maintain confidentiality in business dealings. This agreement ensures that sensitive information shared during business transactions remains confidential.
The LLC operating agreement in Idaho establishes the structure of decision-making, profit distribution, and other operational procedures for a limited liability company, setting clear rules and expectations for its members.
Vehicle and Property Sales
The Idaho vehicle bill of sale documents the details of a vehicle transaction, providing proof of transfer and specifics needed for vehicle registration, such as make, model, VIN, and purchase price.
The Idaho trailer bill of sale has a similar purpose for trailer transactions. It details the trailer’s characteristics and sale particulars to facilitate ownership transfer and registration.
The firearm bill of sale in Idaho is crucial for documenting the sale of a firearm, including details such as make, model, serial number, and buyer and seller information, ensuring compliance with local laws.
Estate Planning and Powers of Attorney
The last will and testament in Idaho allows individuals to specify how their assets will be distributed upon their death, appointing an executor to manage the estate and ensure their final wishes are honored.
The durable power of attorney in Idaho PDF gives someone the authority to handle financial and legal matters on behalf of the principal. This power continues even if the principal becomes incapacitated.
A Idaho medical power of attorney designates a person to make healthcare decisions on behalf of the principal if they cannot do so, ensuring decisions align with the principal’s wishes.
Real Estate and Living Arrangements
The Idaho lease agreement stipulates the conditions under which a property is rented, detailing the responsibilities and rights of both landlords and tenants, such as payment terms, lease duration, and maintenance obligations.
Landlords issue an eviction notice in Idaho to tenants to initiate the removal process for violations of the lease terms, providing legal documentation required for eviction proceedings.
The Idaho quit claim deed is used to transfer property rights quickly and without warranty, often used between family members or to clear up title issues effectively.
Health Directives and Beneficiary Designations
An Idaho living will articulates an individual’s preferences for medical treatment and interventions in end-of-life situations, guiding healthcare providers and loved ones in making informed medical decisions.
The Idaho transfer-on-death deed form allows property owners to name beneficiaries who will inherit their real estate automatically upon the owner's death, bypassing the probate process and simplifying the transition of property ownership.
Artists
Teho Teardo is half of Modern Institute, and with Martina Bertoni, they released the album 'Excellent Swimmer' on Expanding Records in 2006.
The album 'Soundtrack Works 2004-2008' is a selective compilation of Teho's film music, winning him many significant awards and critical acclaim. The album includes incidental music from the international hit and Cannes jury prizewinner' Il Divo,' for which he also won the Ennio Morricone prize at the Italia film festival. Ennio Morricone presented the prize to Teho, and the Il Divo soundtrack won the David di Donatello prize, the most important prize for music in Italian cinema.
We are proud to expand to release this extraordinary record of the early work of an important new name in film music.
"Experience tells me that sooner or later those who seek will find, and in the passages between searching and finding, there are important moments, such as the ones we hear on this beautiful album." - Ennio Morricone.
'You'll Never Find Us Here' is the debut album from pq, Samir Bekaert, and Maarten Vanderwalle from Bruges, Belgium. In their own words: 'PQ is a cinematic tapestry of lush ambient-acoustic melodies, merging endless layers of prepared guitars with crisp clouds of electronica. Propagating on - though not necessarily drawing from - influences ranging from Canadian apocalyptical post-rock to Nordic indietronica, and occasionally incorporating classical elements along the way.'
'Sparkle Plenty' is the second album from Cathode - Steve Jefferis, from Newcastle-upon-Tyne, UK. 'Special Measures,' Cathode's debut album, was released by Expanding Records in 2004 following early releases on Static Caravan and 555 Records. The album was acclaimed for its winning combination of precision-glitch electronics and a warm melodic sensibility, gaining the judgment of 'first class' from John Peel and neatly summed up by Metro as '...a moody, melodic soundscape of carefully controlled clicks, beats and bleeps, producing a crescendo of beautifully blended electronic rhythms ... a sound as emotive as it is creative'.
'Sparkle Plenty' finds Cathode coupling the precision and warmth of the debut with a richer sonic palette - for instance, the skittering improv percussion of 'Dream Feeder,' the strings, flutes, and piano of 'Without Memory Or Desire,' or the battered acoustic guitar and ticking clocks of 'Nightly Builds.' Centrepiece of the album is 'Structure Hunger,' a juddering serialist-krautrock wonder, which has its origins in a collaborative project with film-maker Adam Finlay at Newcastle's Tyneside Cinema to provide new soundtracks to a batch of vintage color-saturated summertime movies.
Along with releasing remixes for Bauri and d_rradio, and a 7-inch single for Newcastle's Distraction Records, Steve has been spending his time since the debut album working on other music and film projects. These include membership of The Matinee Orchestra, Tyneside's pastoral-acoustic ensemble that released an acclaimed debut album on Isan's Arable record label, and the Warm Digits, a guitar-noise/electronics/free-improvisation collaboration with the Matinee Orchestra's Andrew Hodson.
Steve's day job as a clinical psychologist obliquely influences the new record. The title 'Sparkle Plenty' comes from developmental psychologist and psychoanalytic psychotherapist Daniel Stern's work on infant development. 'Sparkle Plenty' is his phrase for children whose way of coping with caregivers who are unresponsive or depressed is to 'sparkle' - with lots of smiles, activity, and excitement that masks the child's authentic (possibly much lonelier) emotional state. It's an apposite title for the record; Cathode's music has always been unashamedly about creating something beautiful, which acts to sweeten something that's much more melancholy underneath.
The debut release from pq on expanding records is the 7" single 'Louise on Earth.' This represents the first in a new series of singles released on Expanding; it indicates a slight departure from previous releases as it contains a vocal track and is made with (almost all) acoustic instruments.
PQ is Samir Bekaert and Maarten Vanderwalle from Bruges, Belgium, but apparently, 'You'll never find them there' 'Louise on Earth' is the prequel to a full-length album by pq due later in 2009.
"Beautiful... listen to this with enough booze in your belly, and you'll be in floods of tears" - Norman Records - Record of the Week
Twenty Systems is the latest release from electronica artist and Expanding Records founder Benge and marks his tenth solo album. This project combines an audio CD of new music with a full-color 60-page book containing photos and diagrams of the electronic instruments used, along with a detailed history documenting the development of synthesizers between 1968 and 1988.
The booklet includes a foreword by Robin Rimbaud (aka Scanner).
'Presented here are twenty pieces of music created on twenty different synthesizers, one from each year between 1968 and 1988. This record aims to demonstrate the synthesizer's development from the first commercially available systems in the late 1960s to the introduction of fully digital systems in the late 1980s. This is not intended to be a comprehensive history of synthesizers. However, the listener will gain some insight into the character of each instrument and, on a more general level, experience the evolving sound of synthesis over the years that you hear on each track is the pure sound of an individual instrument. No additional processing, sequencing, or effects were applied to any recordings. If a system was equipped with an in-built sequencer, I used it on the particular track. I often used the process of recording sound-on-sound, where a track is made up of multiple layers of the same synthesizer recorded in parallel put simply, I wanted to let the instruments speak for themselves as much as possible, to let the instruments influence the way I composed the pieces' Ben Edwards (Benge).
'A brilliant contribution to the archaeology of electronic music' - Brian Eno
'Indicates what a deliriously desirable thing the synthesis of sound has historically been' - The Wire.
'Absolutely cast iron irrefutable proof that synthesizers are better than guitars' - Vice Magazine
Smallfish online review: If the file extension in the title hadn't already given the game away, this latest from Vs_price (aka Vincent Papon) is another bulletin from the post-IDM electronica hinterlands. As ever, Expanding and its roster of artists should be commended for sticking to their guns in a climate that attempts to sweep the genre under the rug at every opportunity. While there's plenty of bit-crushed chaffe to go around, there remains a healthy supply of compelling new home-listening electronica records, and Vs_price has been doing his bit in this field since his 2002 Expanding debut. For this latest full-length, the French producer tweaks the formula of muted, melancholic synths and glitched-out beats to evoke more organic sounds, placing greater emphasis on acoustic instrumentation and more contemporary-sounding 12k-style manipulations (as heard on the excellent 'Boiteziq'). The brightly reverberant refrain of 'Neuf' provides an excellent summation of Papon's skills, marrying a fluttering, granular rhythmic motif with a haunting synth loop reminiscent of Arovane's 'Thaem Nue.' The IDM backlash starts here. Possibly.
Barcode magazine: Nottingham-based Tom Hill shifts course from his beat-driven electronica releases on Wichita Records to sculpt an eccentric album of classical guitar and organic environmental samples for the Expanding Records label. Cracked Mirrors and Stopped Clocks opens with impending doom as cinematic strings and spidery guitars emerge from a tunnel of noise, fading into estranged solo acoustic guitar refrains. The following Noshi is just beautiful, as Hill plays out a delicate guitar track, with the microscopic creaking of chairs and strings deliberately heightened in the mix - it has a wonderfully natural, melancholy feel, and the chords are gorgeously arranged. The album fluctuates between these states, classical guitar merged with spotlessly organic creaks and clicks, all intermittently manipulated, although it's hard to pinpoint where the line is drawn. There are some very bizarre tracks here, too, like Dissect Ephemeral, where the components mentioned above are bewildering, diced, and spliced, then joined by strangely filtered computerized vocal mutterings. Bizarre but good.
Meanwhile, perhaps a career in soundtrack beckons for Hill, The Last of Its Leaves succeeded in building a climax of foreboding strings and plucked/picked guitars. Elsewhere the track Remnants demonstrates Hill's qualities as a sound designer - a much slower combination of wooden instruments and electronics, where every critical tone, guitar string, and studio technique is available for detailed inspection. If there is a damaging, too many tracks are similar in their characteristics; much of Cracked Mirrors and Stopped Clocks wanders gracefully but retains a heavily fractured uniformity that can leave the listener detached - it's also a little too slow in places. Still, there's about enough diversity here; the eerie Unknown In The Walls is a true ghost story of an effort, its spindly guitars wriggling like evil worms over a threatening, slow-building cascade of sound - if they remake The Shining, this should be first in the soundtrack queue. One thing's for sure; if you fancy something a bit different, the Expanding label has come up trumps yet again.
Boomkat online review: Oblong is the latest project from Ben Edwards (aka Benge), which sees the electronic musician collaborating with live instrumentalists to fashion a highly emotive brand of acoustic electronica. The trio of long-term friends behind this record (completed by Dave Nice on double bass, guitar, field recordings, and Sid Stronach on piano, Fender Rhodes, and acoustic guitar) made this album over two years at a secluded farmhouse in Somerset. These sessions were then manipulated and edited at Edwards' London studio, where a deft blend of analog and digital sound sources was finalized in this album's (rectangular?) shape. This is highly melodic, atmospheric music, all magnificently produced and held together by electronics and environmental field recordings. Particularly worthy of note is the closing track, 'Rendezvous,' which features the usual high standards of Ben Edwards programming in conjunction with the kind of stately post-rock cello arrangements you'd find on Rachel's album. Lovely.
The debut album of Tui uses the pseudonym Orla Wren for this fine album release. Tui travels to Scotland selling various countryside photos of plants and organic life from a van before returning to the English highlands to create ambient abstractions using manipulated acoustic sounds. Tui's tender respect for the natural environment is immediately apparent in the beautifully carved, speckled haze of the opening track, Closure - fusing gentle piano chords with weaving strings within an atmosphere of swimming microscopic sound particles. Movement And I are just as appealing, using glockenspiel-type sounds to create an oriental-flavored wicker tapestry of intertwining tones that are mesmerically melodic. Much of Butterfly Wings Make oozes with introspective sadness; the ghosts and memories of past experiences and dormant emotions impatient for a creative channel litter the album - as many debuts do. However, Tui's expression is not torment but rather peaceful acceptance, love, and a general appreciation for the natural order of things. Between The Rain And My Skin so delightfully encapsulates its subject matter that one's breathing is almost taken away - Tui is truly capable of reanimating the simplistic beauty of the natural environment, washing over the listener with delicately chugging, discordant electronic rhythms, resuscitated by sumptuous sun-speckled sound droplets. The track Weir is most peculiar; I imagined gently rocking in an old wooden chair - in a shack in the forest, utterly impervious to time constraints. Tui paints these images, probably different to one and all, with seemingly effortless ease. As the album progresses, it becomes increasingly elusive; She Smiles When He Calls Her Friend uses crisp digitized sound sources to mimic insect life, although I suspect some field recordings were also used. Sequenced synthesizer tones offer thawing melodics, phasing out ornately as the track slowly closes - again, Tui gets the balance right between abstract sound painting and musical empathy: a fantastic debut and an album to be coveted.
Boomkat online review: Proving that Perth isn't just where unwanted Neighbours characters move upon expiry, Dave Miller has spent the past few years putting the Aussie city on the musical map through a series of micro-founded emissions. Evidently, after a bit of company to see through the Southern-hemisphere nights, Miller has popped the little black book and sought out fellow Oz-bloke Fiam (aka Harry Hohnen) to get collaborative with - the result being 'Modern Romance.' Coated in a fine layer of wispy atmospherics, Miller + Fiam has one speed; inoffensive Electronica, a status they stick to with dogged enthusiasm. Sharing a great deal with last year's 'Et In Arcadia Ego' from The Village Orchestra, 'Modern Romance' opens with the heat-haze of 'Tempest In A Teacup' - wherein a swell of electronic squall gradually consumes the chittering core of metallic chimes and pulsating bass. From here, 'Tired Neighbourhood Bird' adds more tacit substance through skittering Electronica and dusty piano, 'Edge Of Midnight' tricks a nursery-rhyme melody into a rotating heart of digitalis, while 'Slowing To Stop' introduces a double-bass for oddly malignant atmospherics. Closing with the shimmering static of 'Dead Sea' (the kind of music you'd expect to soundtrack a dream sequence in a beatific Manga film), 'Modern Romance' is an undeniably appealing journey to the soft-centered core of Electronica. Dave Miller is now the keyboards man for Warp's new Pivot signings.
Barcode magazine: I always look forward to releases from this excellent label, always something different and melodic - one of the most underrated labels around. Modern Institute's Excellent Swimmer is no different, a profoundly expressive instrumental album that combines Teho Teardo's melancholy cello with electronic synth sounds and guitar. It's always good to hear an artist who knows how to play a traditional instrument well and then skilfully focuses electronic elements around it - and that's certainly the case here. The album opens, however, with the solely electronic track ECM Haircuts - as glitchy sounds flicker around swirling, calm synths. Teardo's cello is first incorporated into the following, Stairs, weaving to and fro amongst speckled tones and a churning rhythm - it has a semi-classical feel. Teardo is also an accomplished guitar player, as proven by the delicate refrains of the ambient Munibabe, where plucked strings reign over swelling brass tones and complex found sounds.
Excellent Swimmer continues this modus operandi throughout but improves towards its close. The haunting Ambientone, again centered on Teardo's cello, has a darkly cinematic ambiance and is highly passionate; the acoustic-led Sign, Everyone In Iceland, flourishes to become even more so - perfectly integrating string harmonies with iridescent melodies. Meanwhile, Two Hours Without Ego is another sumptuous ambient drifter, this time using the piano as its primary focus and surrounding it with splintered sound fragments to a delicate beat. The album closes with Me Neither, this time more abstract and introspective as gritty feedback delays over piano droplets and heaving cello. All in all, a tremendous little ambient-acoustic album and one of the best from the Expanding label to date.
Smallfish online review: The second compilation from London's Expanding label includes an enviable tracklisting. Featuring cuts taken from the second series of colored vinyl 7"s plus a selection of remixes, it has the sort of high-class Electronica pedigree that the label has become renowned for. Benge, Flotel, Vessel, Praveen, Myrakaru, Bauri, Holkham, VS_Price, Monoceros, Maps + Diagrams, Tunng, AM/PM, and Cathode all features, and the sounds on offer are chilled, beautiful, ambient, and yet always rhythmic. A superb compilation that comes with a hearty recommendation.
Smallfish online review: This is a superb album. Co-produced by Tim Diagram and Steve Broca, it could be one of my absolute favorite albums on Expanding, both looks-wise and musically. While it's not exactly a revolution in sound, there's an evolution here, and the combination of both artists is potent. The sound design is icy, fragile, and generally beautiful, with the rhythm structures coming across as crunchy and intricate without being overly fussy. Delectable music from beginning to end and a massive recommendation for fans of both the label and the style of Electronica. Brilliant.
Smallfish online review: Vessel delves deep into this lovely album for the excellent Expanding label. It's the best work he's produced so far, and the wonderfully melodic and delicate sounds he has created are truly luscious. While it remains an Expanding album, it has a slightly darker feel to the textures, possibly, than some of the earlier releases, and the loving production makes it shine. This is another absolute recommendation; Oceanic in its scope and wonderfully crunchy in the beats department. Superb.
Smallfish online review: Benge appears to have become obsessed with cars on this release. From the model kit Lamborghini on the cover to the track titles such as 'Jensen' and 'Scimitar,' there's an automotive theme. The music, however, is as far removed from the idea of boy racers as possible. Deep, melodic, beautifully gentle Electronica has been crafted with exceptional attention to detail. A labor of love, and one that you will probably adore. As ever, a quality release from Expanding.
Smallfish online review: Having previously recorded for Robin Saville's Arable imprint, Flotel's second release on Expanding Records sees Leigh Toro channeling his sometimes scattershot sound into a much tighter and disciplined unit. Seemingly enthralled by both ends of the spectrum, Toro delights in creating broad, broiling landscapes, concentrating his focus on the precision-tooled Electronica littering the foreground. The opening track 'Carry Water, Chop Wood' is a perfect example. Flotel first introduces a finely detailed linocut of rustic Electronica before drawing the ear away from the minutia to admire the grand IDM vista above. Taking a different approach, but with similar results, is 'Sorrel Sea,' an agile excursion into blunted minimalism that is one part, Susumu Yokota, one part Terry Riley. At the same time, 'Fold Up and Put Away' is a Rephlex-esque fusion of atmosphere jacking and splintered, near drum & bass. Also, nice to see the multi-talented Morgan Caney on this album's closing title trace.