I’m very excited about this new netlabel from Belgium, who in name—and perhaps, cryptically, in aesthetic—pay homage to ambiguous existence of the “s” at the end of Rolling Stones guitarist Keith Richards’ surname throughout the band’s earlier years. So far, Liam Kramer-White’s release Every Moment Worldwide is definitely my favorite: a frigid but flourishing slice of domestic improv to send us off into the bleak winter months. “Welcome Out the Window,” the first of the two eight-plus-minute tracks that comprise the short release, features a mobile, agile microphone that at first captures blunted clatter and fiddling with what sounds like an assortment of tools accompanied by the soft chirp of crickets. At first you aren’t sure where exactly things are taking place in relation to the outdoors, but just before the five-minute mark there’s an unexpected but spellbinding shift in perspective as the world outside whatever shelter or dwelling to which we were confined before unfurls in all its lush glory. My best theory for what Kramer-White is actually “doing” during this recording is setting the mic on a windowsill, messing around for a bit, picking it up and taking it to the shed out back or something, and then messing around some more. but of course that’s probably at least a little incorrect, and a tremendous oversimplification regardless; the subdued magnetism of Every Moment Worldwide originates in its meticulous attention to texture and contrast, perception and obfuscation, purpose and accident. The latter two pairs are more representative of what goes on in “Self Portrait,” which undergoes much less sonic development than the preceding piece—it sounds like something has been wrapped around the microphone and is being rubbed and crumpled into crunchy gusts of noise. It’s a testament to Kramer-White’s instincts that he keeps the listener just as engrossed with both palettes.