First Edition: Delible, Karl Fousek  2016-10-15 11.24.44.jpg ,  2016  LTD-2, LTD-3. Los Angeles, CA  4032 × 3024

First Edition: Delible, Karl Fousek
2016-10-15 11.24.44.jpg, 2016
LTD-2, LTD-3. Los Angeles, CA
4032 × 3024




Curated by Alessandro Cortini (SKARN, SONOIONine Inch Nails) and Ted James Butler (Head Dress, Norelco Mori), Limited Interest features new experimental and electronic recordings from artists both familiar and not yet known. Strictly limited editions. 

Fall 2019: Updates soon.



Split release featuring 2 tracks from Anthony Ferreira and Ted James Butler’s FEELS project; backed by a pair of pre-Head Dress tracks from Butler’s solo project, Death Club.

Collage, layout and printing courtesy James Livingston of Black Horizons.

Limited to 50 copies.


DELIBLE (2016, 2017)

Alessandro Cortini and Ted James Butler’s Limited Interest label present a heady session of modular synth expressions by Eric Avery, the co-founder and original bass player for LA rock band, Jane’s Addiction. Safe to say you won’t hear this one on VH1 any time ever.

Veering sharply away from his early work with Jane’s Addiction and more recent solo exploits such as Life.Time [2013], Avery’s latest picks up where he left off on a remix of Cortini’s Scientist as Sonoio in 2011, channelling himself thru the wires of a modular synth setup and samplers and into vast recursive spaces and spooling synth noise scapes more akin to fellow west coaster Jefre Cantu-Ledesma than anything else you’dnaturally associate him with.

Whilst belied by a title that hints at fragility and ephemerality, Delible’s widescreen panoramas are painted in broad, confident strokes and shot thru with a rich melodic pathos, helping it to stake a fine balance of grounded modesty and star-clawing ambition from the windswept Gas-like spell of German Requiem to the bittersweetness of his Aldeburgh Sea (Sunset) and Aldeburgh Sea (Sunrise) numbers which engulf the B-side, and ‘fessing up a sort of nerve-shot but determined new age and kosmiche spirit in the spaces between.”




Alessandro Cortini and Ted James Butler’s Limited Interest label introduce Montréal’s Karl Fousek to their fold with a mesmerising solo follow-up to his clutch of tapes for Denmark’s Phinery Tapes and, more recently, a collaboration with Roger Tellier-Craig and Devon Hansen for LA’s Spring Break Tapes.

One Another reveals itself in slowly unfolding, melting waves of golden synth tone indented with the scrabbling wriggle of spannered modular synth scree, sounding something like the alchemical experiments of a garden shed chemist who is systematically feeling out every integer of curling combinations along a strange cosmic scale previously charted by the likes of Robert Aiki Aubrey Lowe or Pat Murano’s Decimus.

The almost palindromic structure of One Another plays out the same on both sides, and if allowed to run for a long enough duration, it is liable to twist and reconnect your hemispheres into an eternal figure of eight.”




Berlin’s Stefan Paul Goetsch imagines a gorgeous, free-floating sort of chamber music with Cello Pattern on Alessandro Cortini and Ted James Butler’s Limited Interest label.

The label's 3rd release firmer grasps the light that broke thru the clouds in previous instalments by Karl Fousek and Delible, locating a quietly unhurried and centred space to play out 11 pieces framed around wistful melodies and elusive structures, all recorded in the Black Forest, 2015.

There’s a deeply sylvan quality to Cello Pattern which almost unmistakably recalls a passing time of fading light in the midst of nature, when ferns phosphoresce and the first murmurs of avian chorusses begin to colour the air, celebrating the day and warning of night to come.

In this liminal cusp-like zone, he crosses paths between the coruscating string like tones of Anne Guthrie and the quivering etudes of Six Swords’ Feireenesse, or even elements of NYZ’s inimitable acousmata and AFX’s SAW II - in essence a deeply narcotic, oneiric and transportive sound that soothes as well as haunts the listener.





Alessandro Cortini and Ted James Butler’s Limited Interest label pull out a reel bewt with Shasta Cults’ bittersweet ambient extraction, Arguments For Trivialism; joining the likes of former Jane’s Addiction bassist Eric Avery (Delible) and Karl Fousek on one of the most intriguing cassette series in circulation right now.

The work of one Richard Smith, who’s previously collaborated with Sarah Davachi and played in Von Bingen, Arguments For Trivialism sounds like a proper, heat-warped LA fever dream, traversing sweeping symphonic strokes thru to Terminator II flashback drones and abattoir chiller pads, delivering his sound in thick lustrous density, but with plenty of attention to timbral detail and gripping texture.

It starts out kind of positive with Augur, like the smog’s not too bad today, but soon enough descends into apocalyptic heaviness with The Shape, while Chroma offers some light-headed new age respite, and we’re again exposed to strong outside forces with the glacially impending new age/horror trajectory of CMOS and the epic fantasy drone of Dropship, which could feasibly soundtrack the arrival of an alien craft over Hollywood.”


c/o Fonorama

c/o Fonorama