Diego Herrera aka Suzanne Kraft looks back on 10 years of his seminal album Talk from Home. Truly one of our favorite and most played albums of the […]
Métron Records and the Power of Music That Whispers
With releases by Audrey Carmes, Li Yilei, Lucy Sissy Miller, and others, the label creates intimate works that reward deep, attentive listening.
Amid the constant roar of new music and the come-hither allure of old music, Métron Records works in a near-whisper, quietly issuing tiny recorded revolutions on wax. Founded in Hampshire, England seven years ago, Métron curates intimate, slow-burning works from artists based in Tokyo, Paris, London, Shanghai, Baku, and beyond. The catalog gravitates toward the interior — music that feels conjured in quiet rooms, full of hushed voices, curious instrumentation, field-recorded moments, and manipulated textures. It’s ambient-adjacent but emotionally direct, shaped as much by feeling as by form.
One release that captures Métron’s sensibility is Music for Parents, Florian TM Zeisig’s third full-length LP, composed in response to his parents’ chronic sleep issues. Inspired by a vibroacoustic mattress installed in their home, the album is a miraculous, genre-busting work of “sleep music,” built around low-frequency sound therapy and released with cover art by his father.
Crafted in solitude with little more than a laptop, headphones and a midi sampler, another Métron gem, Indentations, is Grant Chapman’s stark and resonant debut — a meditation on grief, rupture and the fragile architecture of memory. Drawing on YouTube-sourced sounds, choral fragments and ASMR textures, the album traces the quiet devastation of a relationship’s collapse with an intimacy that feels both deeply personal and strangely universal.
Then there’s MIOS, originally released on CD in 1991. It captures Yumiko Morioka’s ambitious Synergetic Voice Orchestra — an ensemble of street musicians and self-taught players interpreting global traditions through an Okinawan lens. Remastered and issued on vinyl for the first time, the album remains a radiant one-off: percussive, playful and shaped by Morioka’s fascination with Buckminster Fuller’s collaborative ideals.
Morioka’s genre-blurring vision offers a fitting prelude to the label’s broader catalog, a zone where personal history, place, and sound intersect in striking and unexpected ways. What follows is a selection of five remarkable titles from Métron Records — each available now on vinyl through In Sheep’s Distribution. Curated with care, these albums reflect the label’s quietly radiant ethos: intimate, exploratory works that reward deep listening.
Lucy Sissy Miller – Pre Country
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Most music bears familiar fingerprints, but Lucy Sissy Miller’s Pre Country radiates such singular force it’s almost confounding that tastemakers haven’t rushed to claim it. Released in 2024, Miller in an Instagram post described the record as “a mixture of poems, very personal recollections and encounters. It was very much inspired by what I think or more so imagined to be « country ».”
She continued:
I went in with the intent of making a country record, using the lap-steel and other country elements, but found myself making magic sounds, pitching up and down my voice, using autotune to imitate many instruments(cello, saxophone…) and mixing, rearranging those elements altogether to make Pre Country.
This time I used recorded sounds for my story telling, and found magic in making music again.
Oscillating between accoustic guitars and my new found love for auto-tune, I’m fully out on my love of horses and mermaids.
That sense of cinematic magic threads through Pre Country, her quietly spellbinding release for Métron. A French-British artist based in Paris, Miller uses 16 hushed and haunted tracks to reimagine Americana through the lens of memory, fantasy, and introspection. Anchored in folk but layered with Auto-Tune, field recordings, and ghosted pop motifs, the album moves through journal entries, voice memos, and sonic fragments that dissolve the border between recollection and dream.
Early Fern – Perpetual Care
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Early Fern’s Perpetual Care traces a breakup — not with a person, but with a place. After being evicted from a small campervan parked on a farm in rural Central New York, where they’d been living and working with their partner, Early wrote the album as a way to hold onto what had been lost.
Built from field recordings, a cheap digital piano, a gifted bass guitar and a clarinet, the record documents that time and space with a delicate but deliberate touch. Kindred spirits include Jon Hassell and Joseph Shabason, the latter of whom contributes to the lead track “Softly Brushed by Wind.”
It’s Early’s first release since beginning hormone replacement therapy, an experience they say shaped their relationship to memory and sound. “Creating music was a refuge,” they write, “a place where I could create freely and openly both within and beyond my emotional state.” The album’s title comes from signs spotted in nearby cemeteries — Perpetual Care — a phrase Early reimagined as an ethos: “When the people and places I love are gone from my life, their memories dwell inside me in perpetual care.”
Li Yilei – Nonage
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“Growing up has always been a solitary journey, marked by forward-looking anticipation, anxiety, unripe potential, aspirations, and closures.”
That’s how London-based Chinese composer Li Yilei begins to frame NONAGE, their second full-length release for Métron. An intimate, highly textural reflection on childhood, the album pieces together scraps of memory using damaged instruments, self-built electronics, and fragments of old TV soundtracks. It drifts between recollection and reconstruction, where smell, color, and location become compositional tools and the past remains just barely out of reach. Says the artist:
The Chinese title for “NONAGE” is “垂髫,” which translates literally to “childhood” or “disheveled hair,” This term encapsulates the carefree phase of life when children let their hair down.
This album is journey to retrace and reimagine fragments of childhood memories and nostalgia associated with smells, sounds, and locations.
Audrey Carmes – Quelque Chose S’est
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“This album was conceived as a contemplative journey, a remedy spelt with whispers, hushed soundscapes and repetitive patterns, it hosts the wish to find both appeasement and peaceful strength.”
Audrey Carmes emerged from Paris’s experimental arts scene with a background that blurs visual art, poetry, and sound. A graduate of the Paris School of Fine Art, she first engaged with electronic music as an extension of her writing practice, treating sound as another kind of language, equally capable of ambiguity, rhythm, and pause. Her debut album Quelque chose s’est dissipé extends that sensibility into a spacious, deeply introspective record.
The album’s eleven tracks unfold in subtle gradients: layers of synthesizer coil around spoken word fragments, while vibraphone, flute, and bass guitar drift in and out of focus. Drawing on krautrock, ambient minimalism, and avant-electronic forms, Carmes builds pieces that feel like whispered entries in a private archive. The title, loosely translated as “something has dissipated,” frames the project as a meditation on transience, interiority, and emotional reconstruction. That sense of self and sonic care is echoed in the album’s artwork, which features her ink drawings, yet another layer of voice folded into the record’s architecture.
Tenka – Hydration
After three albums released as Meitei—Kwaidan, Komachi, and Kofū—the Japanese artist returns under a new name: Tenka. Where his earlier work explored memory and loss through traditional Japanese imagery, Hydration marks a shift inward, toward sensation. Composed in and around the mountain forests where he lives, the album draws on the sounds, textures, and atmospheres of daily life—rainfall, air movement, changes in light and mood.
Originally recorded in 2019, the material didn’t feel complete until Tenka connected with Ryoko, a Berlin-based scent designer. Together they created a companion fragrance to deepen the experience, offering a physical point of entry into the album’s world. “There needed to be another essential element,” he said. “And that it must be a fragrance.”
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