Future Noise are proud to announce that Paul Catten‘s latest opus entitled ‘Themes And Variations For Strings And Electronics’. For this release Catten has surrounded himself with his instruments of choice and morphed into the typical hermit (de)composer and has written his most haunting yet most beautiful music to date.

The album was written, recorded, mixed and mastered by Catten himself over the course of late 2010 to early 2011 resulting in a disturbingly dark amalgam of experimental noise and sumptuous classical compositions, recalling the likes of Ben Frost’s acclaimed By The Throat album and Brian Reitzell’s soundtrack for 30 Days Of Night.

Limited to 200 copies, hand printed on an original Victorian letterpress in a gatefold sleeve and is available now for £7 + shipping from our Big Cartel Store.

Here’s some initial comments from the press.

“Powerful and provoking.” ALTERNATIVE MATTER

“Demands repeated listens.” ONE METAL

“An eclectic mix of subdued beauty mixed with feedback and distorted noise. The mix works well, and the whole idea and presentation of the album gives the idea as this being a labour of love. An album that could easily be misunderstood as just noise, but when you take the time to listen to it fully (and through headphones), it is half an hour well spent, and you seem to discover something new on every listen.” THIS IS NOT A SCENE

“What Paul Catten is doing here is using over twenty years of experience in making music to take us on a musical trip.” FLUID RADIO

“Genius song titles (“The Jedi And The Selective Mute”) and bursts of Theremin created static that would burst a dogs eyeballs (“An Army Of Narcoleptics Swa! rm Among Us”)…A Jolly good record.” SITTING NOW

“A dark, isolating and yet exciting experimental record.” SONIC SHOCKS

“It’s an album of ranging textures and moods, making effortless transitions between delicate minimalism, sweeping orchestral majesty and punishing noise.” WHISPERIN AND HOLLERIN

“It is at times brutal, egotistical and wilfully obtuse. Even where it is outstandingly beautiful, it is a fragile beauty, hard-won and constantly threatened. That is why it is so inspiring and rewarding, and why the juxtaposition of strings/piano and electronic future noise is so apt. You can’t dance to it, but it may well inspire you.” TREBUCHET