Composed, performed, and produced by Shane Aspegren
Mastered by Matthewdavid McQueen
℗ & © 2026 Shane Aspegren under license to Prohibited Records
PRO 074
shaneaspegren.com // prohibitedrecords.com
1. Spiritual Cannibalism (6:50)
2. Passing Beneath The Sea’s Floor (7:32)
3. Resonant Harbour (12:54)
On Spiritual Cannibalism, Shane Aspegren descends—literally and metaphorically—into submerged territory. The three-part long-form EP is anchored by Resonant Harbour, a 12-minute composition originally commissioned for a project of the same name and partially built from processed underwater field recordings captured in Hong Kong’s Victoria Harbour, historically known as the “Fragrant Harbour.” These hydrophone recordings—dense with tidal movement, industrial hum, and unseen propulsion—form the elemental source material for the entire release.
The two additional pieces, Spiritual Cannibalism and Passing Beneath The Sea’s Floor, expand upon that same sonic excavation, incorporating accidental underwater captures of trains passing beneath the harbor. These subterranean mechanical swells, along with the submerged acoustics, create an uneasy yet meditative convergence of the natural unknown and human infrastructure. The result is a body of work that feels suspended between immersion and transit,
pressure and propulsion.
Aspegren shapes these raw materials into slow-building, psychoacoustic environments. The compositions unfold with a patient sense of architecture—drones swell and recede, low-frequency vibrations pulse against fragile high-end textures, and subtle harmonic shifts continuously emerge. There is a tactile quality to the sound design: the listener senses density, proximity, distance, and motion. Documentation transforms into abstraction, and the industrial somehow becomes devotional.
The title Spiritual Cannibalism suggests a process of internalization—of metabolizing experience, influence, and environment. In this sense, the EP continues Aspegren’s long-standing interest in the relational and physical dimensions of sound: how vibration moves through space, through architecture, and through the body. Over the past decade, his practice has increasingly bridged experimental composition with somatic awareness, installation work, and interdisciplinary performance. The music here carries that dual lineage—rigorous in its construction yet immersive in its effect.
Widely known for his work across experimental music, contemporary art, film, and movement-based projects, Aspegren first gained international recognition as co-founder of the Paris-based electronic duo The Berg Sans Nipple (2001–2012), later forming Ça Va Chéri and co-founding Blood Wine or Honey during his years in Hong Kong. As a drummer, composer, and multi-instrumentalist, he has recorded, toured, or collaborated with artists including Arto Lindsay, Bright Eyes, Conor Oberst, dj sniff, Don Nino, Françoiz Breut, Songs: Ohia, Woodkid, and many others.
His compositional and multidisciplinary work has extended into contemporary art institutions and film scoring, with a long list of projects presented internationally.
In recent years, releases such as Emblems of Transmuting Heat and the EP Describing The Thing signaled a deeper shift toward hypnagogic ambience, drone, and trance-inducing structures. Spiritual Cannibalism continues this trajectory, but with a heightened focus on environmental source material and site-responsive composition. Where earlier works blended installation fragments and meditative experiments, this EP feels singular in origin—everything
emanates from beneath the harbor’s surface.
Now based in Los Angeles, Aspegren continues to operate at the intersection of experimental composition and embodied listening. Spiritual Cannibalism stands as both document and transformation: a sonic descent into tidal currents, mechanical underworlds, and the quiet psychic pressure of moving beneath the visible surface.
