In Solace Publishing

09/04/2026

ISP.12: Larzeš (لرزش) is a Persian word meaning vibration, tremor, or oscillation — a movement sensed rather than seen, and one that often precedes conscious interpretation.

The album centers on a single track “Vater-Pacini,” drawing on lamellar (Pacinian) corpuscles as a conceptual reference point to explore the mechanics of proprioception.

This program contains high-amplitude digital clipping and intentional signal saturation. The use of headphones or loudspeakers is advised.

Proceeds support organizations working on human rights documentation and advocacy in Iran.

Formats:
1 x 3” CD: WAV (16-bit / 44.1 kHz)
1 x 5” CD: WAV (16-bit / 44.1 kHz)

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Kamran Shafii (Persian: کامران شفیعی) is an Iranian sound artist working in the field of electroacoustic music. His recent work is characterized by its concern with anthropogenic sound and complex auditory experiences, drawing from his interest in psychoacoustics and acousmatic theory.

A primary focus of his practice is the study of acoustic ecologies through measurement devices and piezoelectric accelerometers, asking how infrastructure, distributed systems, and physical matter produce emergent, site-specific sounds with shifting morphologies.

His programs integrate multi-channel field recordings of distributed infrastructure with specialized measurement devices, channeling mechanical stress and structural vibration to reveal non-human, virulent acoustic topologies of subterranean systems.

Shafii has produced multichannel installations and performed internationally alongside artists including Lea Bertucci, Kevin Drumm, RM Francis, Daniel Menche, and Marcus Schmickler.

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kamranshafii.com
Mastered by Noel Summerville at 3345 Mastering, London.
Art and design by Kevin Gan Yuen.
Special thanks to Samantha La Marca, Kevin Gan Yuen, and the ISP family.

For SRL.

09/04/2026

ISP.10: Saðr - The Folly of Severalty

Saðr was conceived in 2014 as an anonymous outlet, more primal and cathartic than the work Ritter had pursued through Kinit Her or Circulation of Light: blackened tribal industrial and dark ambient, a personal purgative effort familiar to consumers of kindred media. The two EPs released that November, Unascended Master and The Differentiated Man, were issued without attribution, their titles and track names speaking a language of severance, limitation, and opacity.

“Differentiated,” “A Coppice,” “Poles Rise”: appellations that gestured toward a rarefied form of knowing but in truth named what has not yet penetrated the surface of things, the husks that form when mind hardens its perceptions into bounded things. Yet the apophatic thread that runs through the whole of Ritter’s catalog was already present here, operating from the inside out. It is no small irony that he was so thoroughly exploring themes of differentiation while unwittingly presencing the plenum.

Much of his earlier work functions this way: as a key cut blind that only fits a lock encountered years later, synchronizing retroactively with more conscious explorations as though the work had always known what it was about before its maker did. When the luminosity of the ground outshines the apparent separateness of its constituents, even the densest enclosures are realized as primordially transparent.

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CD/digital

Originally recorded and released anonymously in November 2014 as the digital-only EPs Unascended Master and The Differentiated Man

Produced by Nathaniel Ritter
Cover art by Saðr
Layout + packaging design by Kevin Gan Yuen

04/23/2026