HERB012 Mosca - Swimmer

Release Date - June 15th 2009 - "Suitable touchstones would be the metallic dronescapes of BJ Nilsen and Biosphere’s more ambient works. This is particularly true of the three ten minute plus epics that dominate the middle of the record. “You Were Always So Charming” has the ghostly Arctic chill of horizon-free grey/white snowscapes. “A Grim Winter Awakes Us” is equally cold in atmosphere, but darker and, well, grimmer. The choral ghosts of “Nosferatu” conjour up visions of outer space horror movies, be they psychological like Solaris, or deal with a very real physical threat like Alien." Sic magazine

HERB011 Kingbastard - Tied Up To Machines

Release Date - 27th April 2009 - "The EP's opener “Boombox” is an epic, prime-time mover that would remain ear-catching in either context, while “F47G4M3R” perpetuates Kingbastard's penchant for zesty melodicism. The equally titled-challenged “4M813N7RK” provides a delicate, church-like ambient interlude, after which Weeks unashamedly declares his love for all things mechanical in the funky stepper “The Secret Life of Machines” where sampled factory noises collide with rapturously churning rhythms and synth melodies. “Say When” ends the set with a dizzying mix of jaunty beats, turntable scratching, sing-song vocals, and assorted other madness." Textura

HERB010 Skytree - Windings Of The Dragon Track

Release date - April 13th 2009 "Windings of the Dragon Track, an ever expanding and unfolding album that delves into downbeat grooves with a (dare I say) trip hop aesthetic that is both seductive and mind inducing. The wobbly basslines and acidic overtones of "Muskeg" alone simply unleashes this albums creative punch. Of the three releases highlighted, Skytree exemplifies a new direction of electronics and further solidifies the imprints mission of eclecticism." Igloo Mag

HERB009 Zerova - I Think We've Lost

Release Date - 31st March 2009 "Twirling like a lullaby, I Think We’ve Lost explores the soundscape of múm, with its vast impressionistic meditations of multiple instruments pouring daydream magic into our ears. In “Fukka’jo”, keyboards emulate an organ melody of gamelan-like inspiration, setting up the rhythm to which electronic beats contrast as added sounds as much as rhythmic markers. A sweet voice makes an intervention as the intensity scales with the aid of heavy guitar distortion, and this doom which is about to befall us borders with the tangible, imminently concrete. A minimal electronic transition ensues, and “Drift” embraces us with an accordion melody that welcomes us home: that special, tranquil place we always carry with us, that moment in time in which hope appears and begins to dissolve its context of darkness with uncertainty of a lighter type. Toy-like sounds enrich the experience of hope not as innocence, but as faithful promise, that conscious belief of possible well-being; after all, we might have lost…" The Silent Ballet