New entries
  • Phil Tomsett, Aaron Martin : At Sea - 2xCD (Fluid Audio, 2022)

  • 'At Sea' returns home with the ever popular 'Book Editions' series. Vintage books dissected, re-assembled and re-structured into book-bound CD covers. Considering it’s theme, At Sea actually began life in the city, when I was staying with a friend in London. In the house was an accordion and over a period of a couple of weeks I recorded several sessions, just improvising parts, creating loops, layers and adding effects. I was well aware that accordions can get cliched very quickly, so tried to find interesting ways to play and record the instrument. At the time I had no idea what I would do with these recordings. About a year later I did actually move to the sea - on the South Eastern coast of England, a place bright and breezy and where giant seagulls roam the shoreline like packs of wild dogs. The rest of the album was made here with the sea becoming a direct influence on the themes and music / At Sea grew out of my walks along a particular part of the coastline. I took this walk at least once a day and over time built up a relationship with the sea, as if it were a sentient being observing me as much as I was observing it. Here I was trapped on dry land and the sea was another realm entirely, free from and uninterested in whatever dramas were going on in my world. It was this indifference, (which i’ve often found in nature but particularly with the sea) that became the main theme for the album- the unknown and the unknowable. I had also been reading Virginia Woolf’s ‘To the lighthouse’ (Woolf lived and worked in this part of South East England) and I wanted to capture my own sonic version of her ‘internal narrative stream of consciousness’. I wrote text of my own, which was read by actor Lizzie Mcphee and recorded by Annie Needham. I layered the spoken word into the music with Lizzie’s voice a subtle guide for the listener, but one which never explains or reveals anything / Back in the studio, I asked Aaron Martin to once again collaborate (we had worked together on my album ‘The Sound of Someone Leaving) and to be as freeform and experimental as he liked. Aaron recorded beautiful passages of cello that weave in and out of the music, although this time around Aaron’s playing is more illusive- layers of sound and hidden meaning. And the title- At Sea- refers as much to the psychological state of ‘not being on stable ground’ as it does to the all consuming environment within which the music is set. - Phil Tomsett, November 2022

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  • The Black Dog : Music For Real Airports - 3x12" (Dust Science, 2023)

  • Music for Real Airports is a series of exciting live art events and installations in art galleries/spaces that are artistic response to the reality of occupying the semi-public space of an airport, and a contemporary reply to Brian Eno´s work from the 70s. Produced by musicians and artists with an international reputation - the Black Dog and Human - the project will portray airports as they really are, rather than idealised utopian vision of what they should be. Combining performances of electronic music and live-mixed animation and digital video projected on multiple screens, Music for Release Airports will be a unique, immersive experience that will draw in new audiences to art galleries

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  • 222 : Song For Joni - LP (Studio Mule, 2022)

  • A pure journey inward into the headspace of an artist, that reveals his gaze at the earth-ly zones he walks in: “Song for Joni”, the new album by Japanese musician Shunji Mori, brings pure natural music full of artificial nuances who create in conversation with ana-logue tones a new kind of musical nature, loaded with vibrant seasons, unknown to us, the unwise humans. moreover, the album is a fine continuation of Japan’s rich ambient leaning music traditions, carrying them into Lorren Connor’s like pending guitar galaxies

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  • Aritomo : Acacia Y Suministro De Agua - 2xLP (Hakanairo, 2022)

  • Each handmade fabric sleeves are colored with real coffee and silk-screen ink, and the density and placement of the colors will vary from copy to copy. A mirror with the title engraved is pasted on the front of the sleeve. Gate-fold sleeve attached pages. Come with insert / Acacia y suministro de agua is the new double lp made by the gentle and determined Aritomo (also in Mamitri Yulith Empress Yonagunisan), recorded at his own Alritmo studio in full analogue. A unique blend of latin american folk music influences and acute contemporary compositional skills. Aritomo is at the same time out of this world and time but also at the vanguard of some utopian communal forward thinking

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  • Peter Brötzmann, Keiji Haino : The Intellect Given Birth To Here (Eternity) Is Too Young - 4xLP Box (Black Editions, Purple Trap, 2022)

  • Heavy custom tip-on box with pure black uncoated paper throughout and stamped black ink pigment frame. Mounted white paper insets printed with metallic silver foil. Nine full size inserts including 8 full color art prints by the artists. Solid black paper inner sleeves / “It’s common for these musicians to be labelled muscular (and other testosterone-laden terms), but it is perhaps more fitting to register them with the female archetype Kali, who enacts destruction in order to make way for new life. As we embark on a new century amidst socio-political upheaval, the Brötzmann/Haino duo feels like an artistic expression of the moment we are living in and experiencing every day.” Philip Greenlief “Ode to Destruction", Art Forum, August 2018 on Peter Brötzmann / Keiji Haino Duo at the Chapel, San Francisco / The first music on record by the iconic free music duo of Peter Brötzmann & Keiji Haino since 1996. Two complete performances recorded in Los Angeles and San Francisco in the summer of 2018. The intellect given birth to here (existence) is too young presents the artists traversing a sprawling range of sound and modalities; achieving a stunning unreplicable alchemy and perhaps the defining work of their decades-long collaboration. Presented in a deluxe 4LP boxed set edition of 800 including full size, full color art prints by both artists

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  • Jim O'Rourke : Corona: Tokyo Realization - CD (Columbia Music Entertainment, 2006)

  • Japanese-only release of two studio performances of Toru Takemitsu's "Corona", performed by Jim O'Rourke. "Corona for pianist(s)" (1962), played by O'Rourke on piano, Hammond organ & Fender Rhodes. Recorded in Tokyo, 2006. "To be performed, Takemitsu's score must be 'realized,' either ahead of time or improvisationally; what O'Rourke plays here is his own 'Tokyo realization' of the piece; there is also a well known 'London version' recorded by Roger Woodward in 1973, reissued on CD in 2006 by Explore Records." --Seth Tisue. Booklet includes a 34 x 48 cm foldout print of a 1969 painting by Fumio Nambata. An eloquent recording, one of the most crystalline of O'Rourke's serious works; with packaging to match

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  • Bitchin Bajas : Bajascillators - 2x12" (Drag City, 2022)

  • Bajascillators rolls four unique numbers that act on their own AND as extensions of each other, phases in perfect flow...wave after wave of analogue synth tones and zones extending into a stratospheric arc. Each time, as the needle cradles into the playout groove, you the listener are becalmed, in stasis, forever changed. Until you flip the side — and forever changes again…

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  • Giovanni Di Domenico, Jim O'Rourke : Arco - LP (Die Schachtel, 2015)

  • Collaborative effort of Belgium-based talented composer Giovanni di Domenico (of Italian origins) and avant-everything master Jim O'Rourke. A long composition for string and electronics, Arco is a piece for sustained tones and drones,a vividly immersive, almost physical; the subtly shifting tones, the way the overtones interact with each other, the evolution of the piece, are all impeccable, much in the vein of acclaimed composers like Catherine Christer Hennix, Eliane Radigue and David Behrman, although with a warmer" soul

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  • Satoshi Ashikawa : Still Way - CD (We Release Whatever The Fuck We Want, 2019)

  • Glossy gatefold digipack. WRWTFWW Records is honored to announce the much anticipated reissue of Satoshi Ashikawa’s undeniable classic of Japanese environmental/ambient/minimalism, Still Way (Wave Notation 2). The album, available on vinyl (first time since 1982) and digipack CD (with one bonus track), comes with a cover artwork by Hiroshi Yoshimura and liner notes by Midori Takada, Satoshi Ashikawa himself, and Irish producer Gareth Quinn Redmond (whose Still Way-inspired album Laistigh den Ghleo is being released simultaneously on WRWTFWW) / Initially released in 1982 as part of the Wave Notation series, Still Way is, without a doubt, a seminal Japanese environmental/ambient/minimalism album, often mentioned alongside Midori Takada’s Through Looking Glass and Hiroshi Yoshimura’s Green as one of the genre’s most important pieces / "Like the moment of stillness, after the wind passes through the garden, when the rain stops for a brief second…" Notably inspired by Erik Satie’s Furniture Music and Brian Eno’s ambient work, Satoshi Ashikawa aimed to compose music "intended to be listened to in a casual manner, as a musical landscape or a sound object…not something that would stimulate listeners but music that should drift like smoke and become part of the environment."

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  • Kleistwahr : Do Not - LP (Fourth Dimension, 2022)

  • Released by Fourth Dimension. A reissue of the cassette album from 1986. Only contains the two side-long tracks from the cassette, not the additional tracks from the digital version. This is the fourth Kleistwahr album. It was only previously available on cassette on the Broken Flag label (BF52). It was released in 1986 and has been unavailable for over 30 years

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  • Arnold Dreyblatt, The Orchestra Of Excited Strings : Nodal Excitation - LP (Drag City, 2015)

  • Originally released in 1982 by India Navigation Records, now finally reissued on vinyl for the first time! / Absolutely great record and label as cult as Shandar & related minimalist label from early '70. India Navigation has also produced the wonderful first Yoshi Wada LP called "Lament For The Rise And Fall Of The Elephantine Crocodile" & two classic drone releases by Phill Niblock to name just a few / Nodal Excitation is a mesmerising drone composition in six movements with a sound far larger than the instruments with which it was made. Recorded in 1981, it totally rocks. Never mind that the music is consistently melodic and absolutely beautiful. And while not much happens on the small scale of listening, if you let yourself just listen to the whole thing, you’ll feel at least as swept away as you were by Minor Threat’s cover of “12XU”... This music will rattle yor skull and shake the worms out of your apples. It’s pretty good

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  • Ryuichi Sakamoto : Esperanto - LP (Wewantsounds, 2021)

  • Ryuichi Sakamoto's 1985 electronic and ambient classic released outside of Japan for the first time since its original release. ‘Esperanto’ is a fascinating instrumental work mixing electronica, ambient and synth pop. This special reissue comes with original artwork including a 2 page insert with a new introduction by Journalist Andy Beta. The audio has been remastered in Tokyo by Seigen Ono / ‘Esperanto’ was composed for a performance by New York avant garde choreographer Molissa Fenley. Produced and performed by Sakamoto with contribution by Arto Lindsay and Japanese percussionist Yas-Kaz, "Esperanto" originally came out in 1985 and was Ryuichi Sakamoto's sixth solo album. It is composed of eight tracks displaying a varied mix of influences. "A Wongga Dance Song" comprises pulsating rhythms while "A Rain Song" adopts a minimalist mode with its distinctive repetitive patterns. "Dolphins" and "A Carved Stone" are captivating ambient pieces showcasing Sakamoto's talent for setting beautiful abstract melodic ornaments over atmospheric tones / One of the highlights of the album is "Adelic Penguins", a fascinating proto techno piece with a funky twist stretching over six minutes which echoes the electro funk of 1981's album "Hidari Ude No Yume." "Ulu Watu", a collage-like piece featuring bird motives and a tropical soundscape closes the album with an experimental note

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  • Zavoloka : Amulet - LP (Prostir, I Shall Sing Until My Land Is Free, 2022)

  • Ability for the impossible / Ukrainian folk instruments dissolve into abstract psychoactive sounds from the improvisational universe. The meditative engine of multi-instrumental music drives the magical means of influencing perception. This is the sonic amulet, which is decorated with radiant tones and the colorful ceremonial musical outline. Mythological music is spirited by epic historical times and ideas of freedom, dignity, and bravery. The acquired knowledge of ancient generations is infused into the present tense and crystallized into the art of liberation / Transform pain into gratitude, fear into love, rage into action, self-importance into empathy, fatigue into inner peace, anxiety into courage, and hatred into strength. Say "no" to darkness and direct the light on it, disagree to compromise with yourself, create on the destroyed, free yourself from stipulations, believe in wonders, burn and resurrect free. Always remember your own path to walk. And plant the blossoming cherry tree in the funnel from the bomb on the heart. Dedicated to free Ukraine

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  • The Humble Bee : Susurration - MC (Dauw, 2022)

  • Printed on risograph sleeves. The Manchester based artist Craig Tattersall aka The Humble Bee returns to Dauw with 2 longform compositions centered around piano. The recordings were partly captured by a contact mic attached to his garden bird feeder adding an organic and intimate touch to the music. Hence, the album presents itself as a more outside experience and complements the Autumn season quite well. Susurration is available as a limited risograph cassette edition and digitally with artwork for Skrew Studio / For the occasion, the label decided to reissue Craig's earlier Dauw cassette releases including "Instruction booklet n. 1232", "Deathless songs" and "Things are sweeter when they're lost". These albums sold out shortly after their release or were not even available publicly until now. The original silkscreen artwork by Femke Strijbol has been reinterpreted with risograph techniques. These albums will be available separately on limited cassette editions

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  • Seabuckthorn : Of No Such Place - LP (Laaps, 2022)

  • Solid silver vinyl, handnumbered. Seabuckthorn is the alias used by Andy Cartwright for his solo works. Cartwright uses finger picking & bowing techniques combined with various open tunings to form a mixture of approaches, often with layered accompaniments. Generally the songs lean towards to the experimental genre, whilst on the edge of the ambient and folk / Having grown up in Oxfordshire, Cartwright studied sound engineering in Cornwall and then lived in the cities of London, Paris & Bristol working as a broadcast wireman. He now resides in the French Southern Alps making music. Cartwright has been actively touring internationally for several years performing in festivals and events throughout Europe / Various songs have been featured in documentaries, film and contemporary dance. His works has been released since 2009 on labels such as Dead Pilot Records, Bookmaker Records, Lost Tribe Sound, Eilean Rec., IIKKI and Fluid Audio. "Of No Such Place" is his 13th solo releases

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  • Chris Abrahams : Follower - LP (Room40, 2022)

  • Black vinyl. On the opening track, Costume, bass piano meanders through a wilderness of de-tuned bells and organ swells; a strange sort of festival. Low frequency sighs evenly punctuate, like a pump or a heartbeat. It’s a procession that takes it time as it wanders the terrain, brought to a close with transcendent distortion. On track 2, New Kind of Border, muscular modal piano surfs among waves of percussion and analogue synthesisers. A buffeting travel / Follower is Abrahams’ 6th album for Room 40 and showcases his continuing interest in the ambiguous spaces between music and noise; tonality and atonality; rhythm and texture. All four tracks have piano as a key factor: in one instance, high-pitched and atonal; in another, emotive yet distant as if projected on to a screen. Follower presents the listener with a sound world of colourful juxtapositions, rich orchestration and organically open forms

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  • Lol Coxhill, Pierre Courbois, Jasper Van’t Hof : Toverbal Sweet - LP (Lantern Heights, 2022)

  • Released on cultish London based label Mushroom in 1972, this album brought together the anarchic genius of saxophone player Lol Coxhill, with the pure magic of a dutch rhythm section: Pierre Curbois on the drums and keyboard player Jasper Van’t Hof. A clash of the titans as a matter of fact, with the more classical and impro sounding lines of Coxhill and the straight – almost jazz-rock – harmonies of the other two players. A fascinating record comparable to Keith Tippett small groups and the rise of the most peculiar impro-jazz scene

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  • Crime : Murder By Guitar - LP (Superior Viaduct, 2018)

  • Black vinyl. San Francisco's first and only rock 'n' roll band, CRIME loomed over the entire Mabuhay Gardens scene with their blistering 1976 single Hot Wire My Heart. The group's loose, damaged rock 'n' roll was as immediate as it was controversial. They were punk by any definition, yet shunned the label with a guttersnipe sneer. Their meticulously cultivated aesthetic of S&M graphics and police uniforms produced some of the era's most indelible imagery. One of their finest moves was playing in the San Quentin prison yard / Formed by guitarists/vocalists Johnny Strike and Frankie Fix, CRIME enlisted bassist Ron the Ripper and drummers Ricky "Tractor" Williams (later of The Sleepers), Brittley Black, and Hank Rank. Joey D'Kaye later joined on keyboards and bass duties / For the first time, this LP release collects the sick energy of CRIME's three singles along with nine previously unreleased studio recordings from 1976 to 1980. The visceral churn and unwieldy leads on tracks like "Frustration" and "Piss On Your Dog" make Murder By Guitar the definitive statement from this prescient American underground band

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  • Various Artists : Sound - LP (États-Unis, 2022)

  • 'Sound: An Exhibition Of Sound Sculpture, Instrument Building And Acoustically Tuned Spaces' opened at the Los Angeles Institute of Contemporary Art in the summer of 1979 (and was also on view later that year at PS1 in New York). Curated by Bob Wilhite and Robert Smith, the exhibition surveyed the field of sound art / The forty-four participants were painters pivoted toward performance, conceptual artists attracted to time-based mediums, self-styled creators of environments, and musicians (formally trained and otherwise) fashioning new instruments from household items and consumer electronics. They were more or less object-oriented and, at the same time, more or less music-oriented. What brought them all together, as the exhibition catalog gamely asserted, was sculpting in three-dimensional space. The 'Sound' exhibit included installations, recordings played in the exhibition space and a series of live performances, demonstrating instruments that otherwise rested inert in the gallery / For a broader sense of the show than a single visit provided, the curators also produced a compilation album featuring short pieces, or excerpts from longer works, by many of the participants. (Artists in the exhibition, but not on the LP included Alvin Lucier and Mike Kelley.) Selections from bright lights of the 20th century avant-garde - such as composers Bill Fontana, Yoshi Wada and Paul DeMarinis; conceptual artists and performance artists Terry Fox, Tom Marioni and Jim Pomeroy; experimental vocalist Joan La Barbara; and Los Angeles Free Music Society members Tom Recchion and John Duncan - feature alongside the sounds of Jim Hobart's tuned jars, Ivor Darreg's fretless banjo, Doug Hollis' aeolian harp and Richard Dunlap's rubber bands. This first-time reissue is limited to 500 numbered copies. Comes with poster

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  • Hauschka, Hildur Gudnadottir : Pan Tone - LP (Sonic Pieces, 2022)

  • 2022 repress, white vinyl, full tone cover artwork, incl. printed inner sleeve. Volker Bertelmann and Hildur Gudnadóttir hardly need an introduction - their distinct styles have graced the speakers of pretty much anyone enamored with experimental music in the last decade, and between them the two have chalked up an enviable canon of successes / Bertelmann, under the Hauschka moniker has explored the extremities of prepared piano improvisation, and Guðnadóttir has taken cinematic, explorative cello music into a new era of depth and passion, so to hear them both together is a rare and unexpected treat. Rare is putting it lightly even - „Pan Tone“ is a recording of a single concert which the duo performed on the 26th of February 2010 as part of Arctic Circle - Bubbly Blue and Green festival at Kings Place in London, and documents an event that would truly never be repeated. Sure, they could attempt to re-create the event, but the spontaneity and glorious serendipity in this particular recording is a pleasure to behold

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  • Various Artists : I.D. Art #2 - LP (États-Unis, 2022)

  • Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk / Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground artists. LAFMS primarily reached outside Los Angeles via word-of-mouth and the United States Postal Service, foreshadowing the self-publishing and cassette trading networks of post-punk and industrial subcultures / In 1976, Joe Potts solicited recordings from LAFMS affiliates and admirers to edit and compile 'I.D. Art #2,' utilizing correspondence art's technique of "assemblings." (The first installment in this series was a magazine, and the third was a coloring book.) Potts received dozens of pieces by members of Le Forte Four, Doo-Dooettes, Smegma and Ace & Duce as well as painters, filmmakers and non-artists with few recording credits to their name, creating a delirious, winking sound-art collage of field recordings, voicemails and improvisations. Participants purchased time on the record and received one copy each of the finished LP, realizing the philosophy contained in LAFMS' motto: "The music is free, but you have to pay for the plastic, paper, ink, glue and stamps." This first-time vinyl reissue is limited to 500 numbered copies. Comes with insert

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  • The Humble Bee : Things Are Sweeter When They’re Lost - MC (Dauw, 2022)

  • Printed on risograph sleeves. Originally released in 2019, Craig Tattersall unspooled a gorgeous tape of disintegrated piano meditations and dusty lower case ephemera / On the A-side it’s a dreamily searching, silty flux of piano notes peeling in slow motion. Strings drift over, connoting cold breezes and infrasonic, spectral presences, but the effect is far from menacing, it’s more a tranquil shade of sublime, like those hours after midnight when the meridian sounds of road traffic and human life have ebbed off into the distance and you’re left with the sighing creaks of a room / The sound is remarkably different on the B-side. Here the air gradually thickens with murkier sub-harmonic distortion, bordering on a seething sense of aggression relative to most of Tattersall’s other output, pushing the grim murk to a logical entropy that precipitates elegiac pauses for reflection and warbling closure

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  • Full Circle : From Back There Again - LP (Good Morning Tapes, 2022)

  • A vinyl-only regression session of modal chopped & screwed trance and ambient dance music from Alexis Le Tan and Joakim’s super collectable Full Circle project, newly minted by Good Morning Tapes.A febrile, downtempo melange of screwed classics and original productions, ‘From Back There Again’ is Full Circle’s 5th full-length session in this fertile zone of dance music’s imagination. Serving the spiritual need for slower, more sensual movements in light of the contemporary BPM arms race, Full Circle look back to go forward - or, more pertinently - perpendicular to the dance music continuum; corkscrewing classic early ‘90s trance and cosmic Italian disco models along lines of inspiration from Middle Eastern and Subcontinental musics to open dancers’ third eyes and weave their chakras into sexier shapes

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  • Space Afrika, Tibyan Mahawah Sanoh : Untitled (To Describe You) [OST] - 10" (Sferic, 2021)

  • Gold metallic pantone printed on reverse board sleeve. Space Afrika follow last year's heartbreaking x perception-bending mixtape "hybtwibt?" with an anxious patchwork of drill bass, reflective musique concrete and after-hours surrealism >> singular deep headspace exploration to file alongside Mark Leckey, Perila, Burial or Klein. Assembled to accompany a short film from Manchester-born visual artist, poet and filmmaker Tibyan Mahawah Sanoh, Joshua Inyang and Joshua Tarelle’s newest is a cinematic audit of identity and ancestry. In the film, Sanoh works hard to visually illustrate an honest and vulnerable picture of her soul. Inyang and Tarelle respond by doing the same with sound, collaging disparate elements together in a way that should be familiar to anyone who heard "hybtwibt?" or their jawdropping RA mix from earlier this year / Warped field recordings, overdriven rhythmic pressure, syrupy pads and disorienting vocals are cut and pasted over each other, generating a living, breathing study of the duo's Northern working class Black British reality. Unlike the duo's acclaimed "Somewhere Decent To Live" full-length, elements mutate and transform: mushy noise bends into street sounds, haunted vocals into echoing drill melancholia and muffled howls into shattered digital remnants / The main event is the full 10-minute soundtrack, that's layered with Sanoh's disorienting and deeply personal poetry and echoes Mark Leckey's recent "In This Lingering Twilight Sparkle". Then the EP is bumped up with three sketches from the same sessions, two of which never made it to the final mixdown. 'Version 3' is a particular highlight, pasting heartbreaking piano and blowtorched vocal loops over winding drill bass > sounds like Burial remixing Unknown T into pure syrup

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  • Autumn Fair : Autumn Fair - LP (Recital, 2022)

  • 175gram black vinyl, gold foil printing, printed ticket, mechanically numbered. To celebrate the 10th anniversary of Recital, we present Autumn Fair. A group LP comprised of 44 guest players (full list below), curated and edited together by Sean McCann. Autumn Fair aptly embodies the feeling of Recital as a record label; the infusion of abstract sound art and sentimental beauty – performed by both younger and older generations of artists / Oren Ambarchi - guitar, Ed Atkins - paper shredder, Jason Bannon - family, Derek Baron - keyboard, Karla Borecky - upright piano, Andrew Chalk - guitar, crys cole - birds, Loren Connors - guitar, Philip Corner - grand piano, Maxwell August Croy - whistle, Sarah Davachi - electronics, Aaron Dilloway - SFX, Delphine Dora - voice, Giovanni Fontana - voice, Scott Foust - trumpet, Peter Friel - impression, Malcolm Green - camera, Judith Hamann - cello / voice, Mark Harwood - speech, Forest Juziuk - voice / Johnny Kay - tapping, Kajsa Lindgren - hydrophone, Rob Magill - guitar, Lia Mazzari - whip, Molly McCann - flute, Sean McCann - editing / voice, Nour Mobarak - voice sampler, Azikiwe Mohammed - interview, Charlie Morrow - MIDI piano, Kiera Mulhern - SFX, Zachary Paul - violin, claire rousay - SFX, Michel Samson - violin, Troy Schafer - strings, Eric Schmid - tone generator, Ben Schumacher - SFX, Tom James Scott - keyboard / SFX, Asha Sheshadri - reading, Patrick Shiroishi - winds, Sydney Spann - voice, Matthew Sullivan - instruments, Flora Sullivan-Kelly - percussion, Connor Tomaka - SFX / synth, Alex Twomey - upright piano

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  • Daniel Teruggi : Sphæra - LP (Recollection GRM, 2023)

  • Embossed outersleeve with printed heavyweight innersleeve. While the theme of the four elements has been a constant source of inspiration in the arts, its setting to music using electroacoustic techniques seems highly auspicious, since the notion of matter and its transformation is consubstantial with the concrete approach. In Sphæra, Daniel Teruggi precisely addresses this question, transcending matter with the help of novel digital audio techniques so as to draw out forms, trajectories, layers, and musical objects, all of which result from the merging or sublimation of primordial sounds. Indeed, this is where Daniel Teruggi’s music and compositional approach stand out: by engaging sounds, with strength, will and inspiration, in a close encounter with energies, whether tectonic or electrical. Such collisions, such metamorphoses, are then appeased in the whole space of the composition, a fascinating landscape, the final destination of all transmutations. François Bonnet, Paris, 2021

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  • The Humble Bee : Deathless Songs - MC (Dauw, 2022)

  • Printed on risograph sleeves. « Deathless Songs », originally released in 2015, was the 2nd album for Dauw by The Humble Bee. Fragile tapestries of forgotten artifacts, teetering rhythmic pulses, melodic counterpoints, hazy, blurry, nostalgic

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  • Het Zweet : Het Zweet - 2xLP (Staalplaat, 2022)

  • Double LP 180 gr heavy white vinyl, two color, hand stitched and numbered limited edition of 400 copies on special Gmund paper. Marien Van Oers work under the name Het Zweet (“The Sweat” in English) originally came out in the 1980s (specifically 1983-1988), but listening to the new reissue of this self-titled album from 1987 can feel like one is listening to something that’s both much more current and also much, much older than that. Van Oers, who passed away in 2013, made music that tended to get classed as “industrial”, and tracks here like the steady, clanging churn of “From the Lowland” or “On Earth” show why, but he was as or more inspired by tribal music intended to produce trance-like effects via rhythm and (percussive and vocal) repetition / Using instruments made by himself out of anything from shopping carts to cardboard tubes, the music of Het Zweet locks into grooves that somehow feel more elemental and physical than many of his contemporaries. It never quite feels like Van Oers is emulating or echoing the music of any particular region or tradition so much as trying to synthesize all the ones he’s heard into some sort of ur-pulse, an overtone so powerful as to compel the “Massive Trance” the title of the last song on the record evokes / The tribal drumming, the invocations, and the loops of acoustic sound add an entirely different rhythm to the game ('Red Robe', for instance). Z'EV meets early Muslimgauze and Test Department, less the political connotations. In the back of my mind, I thought the Dossier LP wasn't his best work, but I am sure I must have misremembered this. Maybe I had moved on in 1987? I no longer know. Hearing this, I realize this is an excellent record, remastered with great care by Radboud Mens and hopefully the start of a re-issue campaign of Van Oers' earlier work.(vital-FdW) 

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  • Beatriz Ferreyra : Senderos De Luz Y Sombras - LP (Recollection GRM, 2023)

  • Embossed outersleeve with printed heavyweight innersleeve. In memoriam Bernard Baschet, Bernard Parmegiani and Carlos Pellegrino. A 16-channel piece inspired by astrophysics, the mystery of the pre-Big Bang era and some of the uncanny motions of the unconscious mind, where strangeness meets the ordinary / The themes that permeate Senderos de luz y sombras simultaneously engage the overwhelming, unyielding immensity of the beginnings of the universe and the forces at work in the unconscious mind. What connects these themes are the dark energies operating outside our knowledge, far beyond the conceptual scope of our limited thinking. How to convey all this and build music from these concealed forces? What Beatriz Ferreyra achieves, thanks to her trademark virtuosity, is precisely to summon energies, to bring in the raw forces that govern the laws of Acoustics, so as to trigger sonic storms as one would call the rain, to transform all sound matters into the core of a ritual. Indeed, Beatriz Ferreyra addresses the mind-body reconciliation, for in providing this unique sound and musical experience, with a rare sensitive intensity, the great composer simultaneously invites us to engage in a personal experience. François Bonnet, Paris, 2021

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  • Smegma : Glamour Girl 1941 - LP (États-Unis, 2022)

  • Smegma's roots lie in the Los Angeles Free Music Society (LAFMS) scene of the mid-1970s, and yet this long-running avant-rock collective, are one of the few groups from that era that are still active today. With the musicians hidden behind ridiculous pseudonyms, Smegma offered a strange psychedelic improvisational music, throwing in all sorts of odd instruments as well as tapes, and turntables. The group began in Pasadena, California in 1973 as a reaction to the bloated fusion rock of the day. They were unaware that other nearby groups had also formed to perform similar freeform experimental music / They became part of a gang of similar noise artists who gathered almost nightly in the backroom of the Poo-Bah record store in Pasadena, which in 1975 merged with the LAFMS. Smegma have always been a loose run collective, and early members included Amy Zonbambi, Chucko D. K. Fatts, Juk Suk Reet Meate, Dennis Duck, Cheezit-Ritz, Cheese-Bro, Dr. Id, Dr. Odd, and Reed Burn. Ace Ford Farren, who joined the group in early 1974, introduced Smegma to crazed street performer and Zappa-protégé Wild Man Fisher and in two sessions, on New Years Day of 1975 and a few months later, they recorded some tracks with Fisher on vocals. Smegma moved to Portland, Oregon by the end of 1975 but remained in touch with the rest of the LAFMS crowd / After appearing on various LAFMS compilations, their first LP, Glamour Girl 1941/Five Years Wasted was recorded and produced in their own studio in July 1978 and released by LAFMS the following year. They also released several 7" singles that same year on their own Pigface label. The next year found them sharing a 7" with industrial pioneer Non (Boyd Rice), released by Mute. Throughout the 1980s Smegma kept a low profile and continued to put out LPs, singles and cassettes on their own label, and occasionally gigged live. With their worldwide reputation firmly cemented, their LP Nattering Naybobs of Negativity was released by the UK label Dead Mans Curve and the LP Smell the Remains by the German label Dom. More albums came out in the mid-1990s on the Portland label Tim/Kerr, including the LP Smegma Plays Merzbow/Merzbow Plays Smegma with Japanese noise artist Merzbow

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  • Various Artists : Blorp Esette Volume One - LP (États-Unis, 2022)

  • Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena / Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground artists. In 1977, LAFMS released Blorp Esette, one of several compilations tracking the collective's growth and wild-eyed experimentation. Ace Farren Ford, an early LAFMS recruit from the Poo-Bah circle, produced the album and solicited cover artwork by Don Van Vliet (Captain Beefheart) / Ford appears in various configurations alongside members of Smegma, Le Forte Four and "unknown artist" (as the credit for more than one piece reads). The Residents, showing their affinity with LAFMS, contributed "Whoopy Snorp" for their first non-Ralph Records release. Blorp Esette shows the artists grasping for new, non-idiomatic voicings and collaborative modes, anticipating LAFMS affiliates and offshoots such as Airway, Human Hands and Monitor. A second volume would come out in 1980, featuring Ford's punk band The Child Molesters. If you're looking for the missing link between mid-'70s art practice and outsider music, then look no further

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  • Muslimgauze : Turn On Arabic American Radio - 2xLP (Staalplaat, 2023)

  • 'Arab American Radio' is one of Muslimgauze's rarer cassettes, salvaged from his impressive vault in 2020. Spanning unusual genre experiments for Bryn Jones, from big beat to house, it moves away from his preferred experiments in dub, in favour of horrible noise bursts and integrations of steel hangdrum and electronic beat. There's even a rather weird attempt at jungle on the B1, which we'll wager doesn't follow the 4/4 time grid

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  • Le Forte Four, Doo-Dooettes : L.A. Free Music Society Live At The Brand - 2xLP (États-Unis, 2022)

  • Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground artists / Live at the Brand documents the second performance of newly formed LAFMS core groups Le Forte Four and Doo-Dooettes on July 8, 1976 at the recital hall of the Brand Library in Glendale. Le Forte Four (now joined by Tom Potts) did not actually perform live, but rather created 44 pyramid-shaped headphone helmets with internal quadraphonic speakers and countless wires in order to share their latest tape assemblages with showgoers deprived of sight / The recordings delivered in this Fluxus-inspired manner feature the Buchla synthesizer at nearby CalArts, radio interpolations, group improvisations, addled outbursts and splices from source material lost to time. Doo-Dooettes – Tom Recchion, Harold Schroeder, Juan Gomez, Dennis Duck and Fredrik Nilsen – performed a series of alternately droning and chaotic duets with guitar, percussion, piano, tape loops and synthesizer, all improvised around loosely structured compositions and culminating in a spontaneous group composition at the end of the program. Originally released in 1976, the double LP would be LAFMS' third release

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  • Tujiko Noriko : Crépuscule I & II - 2xMC Box (Editions Mego, 2023)

  • In the early days of Mego prior to it’s transformation into Editions Mego a most unexpected release appeared amongst the radical roster. Out of all the twisted hard drive activity from Pita, General Magic, Farmers Manual etc appeared a very different kind of release. One made from a computer, but one with a softer atmosphere, cloud-like in sonic shape and even containing discernible melodies (!). This was the debut release from Japanese artist Tujiko Noriko which not only launched her career to a larger audience but opened the doors of Editions Mego to a broader range of experimental musical forms / Noriko’s particular synthesis of electronic abstraction, melody, voice and atmosphere has few peers as sound gently circles her mystical words morphing into a succession of emotive aural experiments framed as songs. Noriko’s evolution since her debut Mego release has seen further solo works alongside collaborations as well as a shift into cinema, both acting and as director / On Crépuscule one can hear the influence the film medium has had on her music as visual insignia are invoked in the evocative audio at hand. Instrumental interludes further conjure a film landscape alongside the titles which also reiterate the cinematic form. This is synthetic music with a deep human presence. The mind of a human captured wandering the fantastic realms of the internal sphere is exquisitely rendered through machines which usually prompt one to disfigure such humanistic tendencies. The warmth, serenity and dream-like environment that Noriko conjures from her tools is what makes her such a unique and outstanding artist and Crépuscule is an epic testament to these powers

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  • Takehisa Kosugi : Catch-Wave - LP (Superior Viaduct, 2018)

  • This first-time vinyl reissue is recommended for fans of Tony Conrad, Eliane Radigue and Fennesz / Composer, multi-instrumentalist and mixed-media artist, Takehisa Kosugi has stood on the forefront of the Japanese avant-garde for over six decades. In the 1960s, he was part of Japan’s first improvisational music collective, Group Ongaku, and contributed to Fluxus in New York. In 1969, he founded the influential, experimental ensemble The Taj Mahal Travellers, and in 1975 he would release his first solo album, Catch-Wave

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  • Merzbow : Rainbow Electronics - MC (Urashima, 2022)

  • Tape comes with O-card 300g wrapping clear box with j-card and laser print orange shell plus download code. If you looking for a great starter title by Merzbow, an amazing piece of art, or something to get high to, this tape is perfect! / Originally released on CD in 1990 by Alchemy Records as part of the Good Alchemy Series, Rainbow Electronics marks the pinnacle of Merzbow's late 80’s noise phase. Selected and transformed from about 21 hours tape of primitive raw material recorded during three years (1987-1990) in 14 fragments lasting about 74 minutes, this monumental work is an aural trip through a cold plotted universe of intergalactic space ships and golden celestial bodies. Remastered in December 2019 and split into two parts directly by the artist for the cassette version it opens up with a slow, kind of creepy tempo, reaching from dirty harsh noise flows coupled with eerie reverbed screeches and scrapes of iron objects / Noise and blasts come from every angle, and all you can do is sit and take it. Then continues with solid drumbeats briefly emerging from the static and disappearing just as quickly, again long stretches of subdued electronic drones buzzing along sleepily and the occasional sudden shift of noise into something more violent, though it all happens kind of slowly and gradually. A truly mesmerizing and immersive body of sound and its intense finish is something of pure artform. “I don't need a lot of words about Merzbow. All you have to do is immerse yourself in the sound.” translated from Japanese liner notes of Alchemy Records CD by Toshiji Mikawa

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  • Grim : Message - LP (Urashima, 2022)

  • Visionary, wild, and weird, LP with 12” original insert plus sheet with new liner note. It is an absolute must for any fan of Grim, Japanese noise, and '80s DIY psychedelic pop. Grim is the one-man project of Jun Konagaya - formed from the ashes of White Hospital, his legendary early 1980s noise duo with Tomosada Kuwahara - which, accepting a long hiatus in the middle, has bridged the worlds of industrial music, power electronics, and noise for nearly three decades. Belonging roughly to the first wave of Japanese noise, Konagaya is particularly noteworthy among his peers for casting an eye further afield, drawing influences from bands like Whitehouse and SPK, rather than members of his own scene, as well varied reference points as far afield as the traditional folk music of Tibet. That understood, nothing was likely to prepare the context of Japanese noise for what was delivered by his 1987 EP “Message” / It belongs to a body of three releases created by Grim during the 1980s, including the full length, “Folk Music”, issued by Eskimo Records in 1986, and the EP, “Amaterasu”, released by G.A. Propaganda in 1985. While its two predecessors are brilliant and more or less what you might expect from a seminal artist of Japanese noise, “Message” follows a markedly different path, delving toward the realm of pop and folk via a series of six songs that emit a stronger connection to Daniel Johnson, Syd Barrett, Sebadoh, and Tenniscoats than anything the noise scene has ever produced; it feels like walking through an ancient fairy tale forest, all hazy, magical and slightly eerie / Dreamy and meandering, drawing on '60s psychedelia, DIY aesthetics, and folky undercurrents, Grim’s “Message” is a masterstroke in underground Japanese pop, pushing radically forward, while challenging the boundaries of the scene to which the project predominately belongs. Following the album’s original release in 1987, Jun Konagaya followed different paths beyond the world of sound, before unexpectedly relaunching an incredibly prolific career, returning to more explicit territories of noise. As such, “Message” remained a coveted, rare artefact of a road less traveled and a window into the diverse talents and temperaments that rest below all of his output

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  • Merzbow : Green Wheels - MC (Urashima, 2022)

  • Tape reproduces the original art work and comes with O-card 300g wrapping clear box with j-card and laser print green shell plus download code. Yet another crucial reissue that towers with historical importance, this one is impossible to recommend enough. Green Wheels is Merzbow in its most straightforward, most genuine, most uncontrolled and refined form. Originally released by the legendary US label Self Abuse Records in 1995 on CD and 5-inch vinyl record, both housed in a foil-lined cardboard box with the abstract and impressive art work created by the artist himself, which has become another of the fetishist objects of Merzbow and now incredibly hard to find. Like all of his work since the early nineties, Green Wheels is an uncompromising cascade of brutal noise. In this album you find nothing of the minimalism of his early 80s, completely overwhelmed by synthesizers and handmade objects that become his unconventional weapons to create bursts of noise / The three tracks of the original CD, radiate the listener from the rackets of a rain of nails on metal plates, the synthetic crashing bombing, industrial percussion and the metal (green) wheels that roll and scrape. The two very short 5-inch tracks hurt you with thousands of jabs in just a matter of minutes. Then closes with two unreleased tracks from the same fantastic mid-1990s period which can undoubtedly be considered two wonderful discoveries for their intensity and beauty; musical pieces that blend perfectly and complete the reissue on this cassette. When you get to the end of the tape, you will feel purified, once the granite landslide subsides. It is like mental liposuction, eradicating all anguishes and hesitations. Everything was perfectly recorded and mixed in March-May 1995 at ZSF Produkt Studio, Masami Akita’s home studio from the late 80s to late 90s; the outcome it's warm and bright as the bare steel of Shinjuko skyscrapers under the (rising) sun of hot Japanese summers

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  • Space Machine : Space Tuning Box - 3xLP Box (Urashima, 2022)

  • Comes in a wooden box (digital printing on the lid), contains a series of photos of the impressive equipment used by Maso Yamazaki taken by Masahiko Ohno and notes in Japanese by Satoru Higashiseto, translated into English by Alan Cummings. Vinyls are housed in a black sleeve. From around 1998 Yamazaki Maso (Masonna) started to incorporate trippy, spacey electronic elements into Masonna performances. In order to better pursue these elements alone, in 2000 he started Space Machine, his self-labeled "analog electronic cosmic sound project". For as long as he had been performing under the Masonna moniker, Yamazaki had been ardent fan of early electronic music from the 50s and 60s, and in order to research the impact that electronic sounds had upon the spiritual lineage audible in sixties US and British psychedelic music and seventies krautrock, Yamazaki began collecting analog synthesizers and vintage electronic equipment / The violent extremity of Masonna live performances made no allowances for avoiding inevitable and direct physical damage to the body. In 2000 Yamazaki was forced to temporarily cease Masonna activities due to ill health, and this allowed him to concentrate more fully on Space Machine. Space Machine - the end result of Yamazaki's daily inner trip explorations of music at his Space Machine Systems Studio - and Masonna are like two sides of the same coin. Space Machine's concept exists at the opposite pole to Masonna's screaming noise action and extreme one-man rock band style. In Space Machine, all vocals, physical action and rock elements have been comprehensively excluded in favor of a non-rhythmic, pure electronic sound that cannot even be considered as part of the noise genre / While the sound does have points in common with what is generally known as electronica or onkyo, what sets it firmly apart is the music's tenaciously psychedelic viewpoint. The absence of a beat signals its difference to the hedonistic physicality of trance dance music. And of course there is no connection to old synthesizer music with its whiff of religion and its leanings towards new age naturalism. However, in the fervent and endless cosmic spaces of Space Machine, in the infinite floating weave of its future retro electronic tapestry, in its mixture of the organic and inorganic we can perceive an uncanny vibration. In order to improvise a reflection of the flow of spiritual cosmic space in Yamazaki's subconscious, he has naturally adopted a psychedelic sense of development”

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  • Various Artists : Fluxus Anthology 60 Year Anniversary 1962-2022 - 10xMC Box (Slowscan, 2023)

  • Limited edition of 80 hand-numbered copies. In custom made wooden box with many inserts

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  • Jean-Jacques Lebel : Kozmik Zigzag - LP (Slowscan, 2023)

  • Jean-Jacques Lebel is a French artist, poet, poetry publisher, political activist and scholar born in Paris in 1936. He is known primarily for his work with Happenings, and as an art theory writer and art curator. He is the son of Robert Lebel, art critic and friend of Marcel Duchamp. Lebel had his first exhibition in 1955 at Galleria Numero in Florence, Italy. After a brief period of time with Surrealists, Lebel exhibited in Milan and Paris, and then went on to exhibit at various museums and galeries

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  • Bladder Flask : One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling - LP (Sonoris, 2022)

  • First vinyl reissue after 42 years! / Remarkable LP of Richard Rupenus and Philip Rupenus (from The New Blockaders, Masstishaddhu, Metgumbnerbone, etc.) producing some unbelievably beautiful nonsense! The album was originally released in 1981 in a numbered edition of 500 on the obscure Orgel Fesper Music (001) label, the album is comprised of two 25-minute side-long tracks of extended Dadaist reverie, a sublime mixage of musique concrete and instrumental collage. Bladder Flask and their ilk were spiritual forefathers to today's "Clicks & Cuts" generation. Incredibly, this sounds as fresh and startling today as it must have sounded 20 years ago / For fans of the Mixed Band Philantropist, Masstishaddhu, The New Blockaders, Alien Brains, Metgumbnerbone, Nurse With Wound, HNAS, Faust, Pierre Schaeffer, etc.

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  • Jérôme Noetinger : Sur Quelques Mondes Étranges - 2xLP (Gagarin, 2022)

  • The music on this solo vinyl album was recorded live in the studio with no overdubs. Signals were sent through tube broadcast monitors and picked up with room microphones. Tracks 11-22 are locked grooves on the LP. Long-time touchstone of international experimental music presents his monolithic (and first) solo vinyl "Sur quelques mondes étranges" on Felix Kubin’s Gagarin Records. Jérôme Noetinger is known to most for the audio-visual trio Cellule d’Intervention Metamkine, alongside his countless recorded & live collaborations, compositions for radio & stage, and breathtaking multi-channel diffusions in the acousmatic tradition / Discovering the ReVox B77 tape machine as his tool for live electro-acoustic music in 1987, Noetinger has doggedly investigated his instrument over 35 years, establishing him as a vital contemporary composer/performer of the medium. His work is radical and interrogatory, using a pan-historical array of analogue devices to construct soundworlds which sidestep digital monochrome, landing in a galaxy of simmering malfunction, dynamic physicality & rhythmic debris. Programming Le 102 in Grenoble for over a decade, as well as directing Metamkine distribution for over three, his encyclopaedic knowledge of manifold sonic traditions is on display here; unified by a staunch discipline, impressive dedication and flat rejection of empty trends / The results synthesise his tireless timbral research into 11 striking sonic investigations which combine modern studio possibilities with years of performance experience worldwide. An ominous malaise hovers over proceedings; yet it never feels nihilistic, presenting solutions which electrify the listener with ecstatic discovery. The perceptual orchestration therein - from throwing our ears right against the body of the tape machine to flinging them into cavernous space alive with the aurally strange - is both delirious & calming. Noetinger is all too aware things are bad, but his drive for discovery and joyous belief in music somehow coruscates brilliantly through contemporary gloom

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  • P16.D4 : Distruct - LP (Sonoris, 2022)

  • First vinyl reissue after 39 years! Assemblage of transformed, organized and (re)structed sound material submitted by: Bladder Flask, Déficit Des Années Antérieures, De Fabriek, The Haters, Philip Johnson, Hiroki Kocha, Merzbow, Fredrik Nilsen, Nocturnal Emissions, Nurse With Wound, Onnyk, Harold Schellinx, Die Tödliche Doris, Vortex Campaign / “On this, their second LP, P16.D4 solicited tapes from several artists from Europe, England, the U.S., Canada, and Japan, and mixed that with their own material. Though in the current digital age collaborations from artists thousands of miles apart is quite normal, this was a quite radical approach back in 1982, when work on this LP began – an interesting concept that actually works quite well, since these artists, which include Bladder Flask, DDAA, the Haters, Merzbow, Nocturnal Emissions, Nurse With Wound, and several others – work in a similar free-ranging experimentalism as P16.D4, and their particular elements, usually just vocals or one instrument or noise implement, blend well without diluting P16.D4’s own peculiar brand of avant-garde post-industrialism, but merely give it another facet / One of the best tracks, “Aufmarsch, Heimlich,” consists of a choir submitted anonymously from Eastern Europe phasing in and out of static while a skronky alto sax bleats away. Most of the pieces exist somewhere just beyond the borders of free jazz, industrial, and even classical avant-garde, full of jarring noises and strange transitions and with a heavy overlay of electronics. What started out as an experiment yielded one of P16.D4’s best albums.” Rolf Semprebon / AMG

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  • P16.D4 : Kühe in 1/2 Trauer - LP (Sonoris, 2022)

  • First vinyl reissue after 39 years! / In 1980 the group P.D. was founded. After several personal changes the name became P16.D4 in 1981. Ralf Wehowsky (RLW), Roger Schönauer (RS), were the original members. Küche In 1/2 Trauer appeared no earlier than 1984, due to the fact that P16.D4 contributed lots of just recorded tracks to international compilations. P16.D4 was a German band whose music bordered on the industrial and on the cacophonous. They managed to fuse the playful irrationality of dadaism and the oppressive tones of expressionism. P16.D4 existed from 1980 (in 1980 as Permutative Distortion or PD and in 1981 as P16.D4) to 1988 as a continuously working group. Kühe In 1/2 Trauer was original released in 1984 on Selektion (SLP 003) and later re-released on CD in 1994 by Odd Size

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  • Esplendor Geometrico : Compuesto de Hierro+ - 2xLP (Geometrik, 2022)

  • Clear red vinyl mailorder only edition. Originally released 20 years ago on CD only and now for the first time on vinyl, this extended version also includes 4 new and unreleased tracks recorded in 2022! inspired by the songs of the original album / Esplendor Geométrico, the influential industrial pioneers of the pulsating, hypnotic and mechanical rhythms, present the extended version of their album "Compuesto de Hierro" to celebrate the 20th anniversary of its release. "The rhythms, hypnotic and very elaborated, are combined with mastery with lots of manipulated voices, analogical electronic sounds, and oriental (mostly Chinese) music recordings." label press

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  • Esplendor Geometrico : Compuesto de Hierro+ - 2xLP (Geometrik, 2022)

  • Black vinyl. Originally released 20 years ago on CD only and now for the first time on vinyl, this extended version also includes 4 new and unreleased tracks recorded in 2022! inspired by the songs of the original album / Esplendor Geométrico, the influential industrial pioneers of the pulsating, hypnotic and mechanical rhythms, present the extended version of their album "Compuesto de Hierro" to celebrate the 20th anniversary of its release. "The rhythms, hypnotic and very elaborated, are combined with mastery with lots of manipulated voices, analogical electronic sounds, and oriental (mostly Chinese) music recordings." label press

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  • Various Artists : Paredo EP - 12" (TAL, 2019)

  • Paredo presents new and exclusive works by three female Japanese music producers: Kopy, Tentenko, and Miki Yui, and a radical reinterpretation using elements of the featured works by Lena Willikens. All four contributions showcase their highly individual approaches to contemporary electronic dance music

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  • Hinosch : Hands - LP (TAL, 2018)

  • Hinosch are a duo of Koshiro Hino (YPY) from Osaka and Stefan Schneider from Düsseldorf. Fully instrumental, their first full-length album Hands offers a more steeply focussed approach than its largely improvised predecessor. The overall sound of the album has been honed down through meticulous studio engineering. One of the outstanding qualities of Hands certainly is an unprejudiced approach of sound and song structures. The instrumentation is con?dently reduced to a small range of analogue and digital machines. Snatches of tape-loops deliver lower-pitched vocal and drum machine samples

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  • Oswaldo Lares : Musica De Venezuela 1972-81 - LP (TAL, 2017)

  • "After a concert of Kenyan singer Ogoya Nengo in Berlin in 2015 in a pleasant conversation Guillermo Lares told me about his father, Oswaldo Lares, a studied architect who, parallel with his professional activity, began to make field recordings of the traditional and indigenous Venezuelan music from the early 1960s onwards up until today. His search and fascination for finding the musical roots of his country led Oswaldo Lares to visit the rural villages outside Caracas, investigating the many and varied musical cultures of the region and the complex relationship between Venezuelan folk music and its various origins, including the African (mu´sica afrodescendiente) / The vast amount of music documents in the form of sound recordings, photographs and videos accompanied by notes and studies reflect the scope of this entirely self- taught sound engineer's work and represent a passionate documentary, making his work today one of the most comprehensive and systematic that has ever been assembled by a single person in Venezuela. Oswaldo Lares as an ethnomusicologist remained an amateur in the most direct meaning of the word: amare. Whereas most studied ethnomusicologists travel around the world to explore far away continents and foreign cultures, Oswaldo began to devote much of his spare time to the generally overlooked folk traditions that existed right in his very neighbourhood / Currently Guillermo Lares has started to promote his father‘s work through the Achivolares Foundation, turning it into a living archive that preserves an essential part of Venezuelan musical memory. It is a pleasure and honor of our label TAL to support the invaluable work of Oswaldo and Guillermo Lares with this album." Stefan Schneider

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  • Nicholas Addo-Nettey, Mapstation : Drumira EP - 12" (TAL, 2020)

  • Handstamped artwork. Drumira features four heavyweight tracks by Stefan Schneider and Ghanaian drummer Nicholas Addo-Nettey. Nicholas Addo-Nettey was a former percussionist with Fela Kuti and his famous Africa 70 band during the most legendary years of his career. He has left the band in 1979 in Berlin where he has been living ever since. His early solo album Pax Nicholas from 1971 has gained fame through a reissue in 2009 / It is interesting to note that Drumira was first released anonymously in 2011 in a minuscule private pressing edition which only had a Spiegelmotiv hand stamp on the sleeve. Due to legal issues in 2009 with some of the mapstation releases, Stefan Schneider decided to put his project on hold until things got cleared. After nine years the record finally finds a place in the mapstation catalogue and gives full credit to all musicians involved. The EP comes with a luxurious hand assembled sleeve in a small edition. Musicwise this EP is most distinguished by the combination of slow paced dark electronics and inimitable percussion patterns by Nicholas Addo-Nettey

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  • Mapstation : Present Unmetrics - LP (TAL, 2019)

  • Since 2000 Mapstation has been the moniker for the solo work of TAL Label founder Stefan Schneider. Schneider has won international acclaim as a founding member of Kreidler and to rococo rot as well as through unique collaborational works with artists such as Joachim Roedelius (Cluster/Harmonia), Bill Wells, Katharina Grosse, Dieter Moebius (Cluster/Harmonia) Sofia Jernberg or Jochen Irmler (Faust). There has not been a new Mapstation release since 2009's The Africa Chamber which had former Fela Kuti member Nicholas Addo-Nettey on percussion / The new album Present Unmetrics, is not entirely a stand-alone creation either. There are guest appearances by Thomas Kein (Kreidler) on percussion, Michael Acher (The Notwist) on Sousaphone and an outstanding vocal contribution from japanese singer Haco, all deeply woven into the digital topographics of the music. Present Unmetrics offers a collection of radically subtle music. The guiding principle of the album was to construct direct and nuanced tracks which embody a sense of open-ended incompleteness and heterogenous dynamics. Out of sync bass arpeggios, infused with uneven rythms, fractured synth stabs and intimate melodies, frequently created here with a Schlumberg sine wave generator, are continuously engage with experimentation, both on sound and structure / Expertly pieced-together and produced in timeless fashio, Present Unmetrics displays all the coherence and artistic authority of an album on a constant quest so vital to the music of Mapstation. An album that couldn't have been made by any other than Mapstation

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  • Sam Prekop : The Sparrow - LP (TAL, 2022)

  • On his first solo release for Düsseldorfs label TAL, electronic experimentalist Sam Prekop offers his most captivating yet stripped down modular music. All compositions on The Sparrow were gradually developed piece by piece. Best known for his jazz-leaning tropicalismo with The Sea And Cake, a key part of the Chicago scene with the likes of Tortoise or Chicago Underground Duo, he has in recent years established himself as a modular synthesist, building his instrument meticulously to create a unique system that allows him to create highly individual music through mechanical patterns, repetitions and chance. In this context his widely acclaimed community forming public tutorials on fb should be noted as well. The Sparrow is an exciting new chapter in his development as a constant creative influence

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  • Mapstation : Reime - LP (TAL, 2022)

  • Cool electronic landscapes tangled with the warm colors of the bass clarinet. Serene, cheerful melodies inviting you to close your eyes and drift away / Together, Stefan Schneider and Susanna Gartmayer form the project So Sner, which owes its existence to a concert in 2015 at the Approximation Festival in Düsseldorf. Gartmayer's bass clarinet polyphonies so impressed Schneider that he quickly suggested a collaboration. That same year, they began recording the album Reime in Kraftwerk's former Kling Klang studio, which in 2015 became workspace and concert venue simply called Elektro Müller.The second part was recorded in the summer of 2020 in Düsseldorf-Kaiserswerth at Stammhaus church, whose interior wood paneling facilitated organic acoustics / So Sner's sound is oriented towards experiment and tradition, whose roots can be traced back to the UK of the early 80s: an era in which soul and synth, jazz and industrial, avant-garde and polyrhythm were blended with the help of intellectualism and punk attitude in such a way that manifold sketches of possible music emerged which are only being colorized today

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  • Anthony Moore : CSound & Saz - CD (Touch, 2022)

  • CD in large format DVD package; artwork and photography by Jon Wozencroft / "Touch.40 live at Iklectik. I received an invitation to perform at the 40th anniversary gathering, June 2022. Previous works for the label, "Arithmetic in the Dark" and "Isoladrone2020" illuminated the landing strip for a new work. It should be continuous – a further play on moving and remaining. I wanted to balance the digital output of a CSound orchestra with an analogue instrument and chose the Turkish saz, a sound I've loved and lived with for the last 6 decades. I prepared the ground for the live performance with a graphical interface for CSound and an e-bow for the Saz (along with some short pre-recordings of picking and strumming). Then, a few days before the concert, I got Covid. On the suggestion of Jon and Mike I recorded a live performance-for-one, (myself at home) which was played back at Iklectik. Unedited, unchanged, here it is." / Three pairs of thin, wire strings on the Turkish saz are struck, and the resulting sound is harmonised, filtered and then sustained in an infinite but gradually shifting chord of harmonics. In addition, an ebow is used to excite the strings in realtime. This sound is natural, untreated, and adds layers to the sustained chord. Subsequently, two Csound programs running in parallel are 'fed' the natural sound of the saz and the output is heavily effected with filters, resonators, vocoders etc. These sonic gestures are allowed to take over as the original chord fades to leave the more transparent sounds of the Csound outputs. The organum returns with much more warm, low end. The saz transformations thin out to leave a keening call. And finally the last minutes are filled with a deep chord which fades to silence

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  • Noémi Büchi : Matter - LP (-ous, 2022)

  • Noémi Büchi’s debut album ‘Matter’ captures the tension between growth and decay, consonance and dissonance, mirroring Büchi’s own catharsis through music. Her most personal material to date, ‘Matter’ is an opus of refined, sculpted beauty, one that aims to blur the distinction between ephemerality and physicality. Inspired by late romantic classical music and early 20th century contemporary music, ‘Matter’ is driven by the compositional methodologies of Igor Stravinsky, Alexander Skrjabin, Gustav Mahler and György Ligeti to modern sound forms, adapting and expanding upon their ideas in an awe-inspiring exploration of cutting-edge potency and tactility / Büchi structures the electronic works that constitute ‘Matter’ in movements, stratifying myriad instrumental parts like the constituent sections of an orchestra. During her work on the album, Büchi engaged in extensive research, obsessively studying specific chords and progressions, and searching for transcendent intonations with resonant properties; complexions of sound with the ability to connect with the listener’s body. Transforming our inner worlds into zones of suspension and levitation, Büchi exposes the listener to intoxicating slipstreams of sound. Prominent voices ascend, tectonic disturbances threaten the foundations, perception and sensation becomes subject to elemental countercurrents and inversions. ‘Matter’ illustrates the fraught pursuit of momentary equilibrium, and makes the fragility of euphoria tangible / Composer & sound artist Noémi Büchi creates electronic, symphonic maximalism. Her music is defined by delicate electronic-orchestral forms and textural rhythms. She strives for a combination of harmonic and dissonant sonorities, to evoke both intellectual and emotional euphoria. Büchi has appeared on the Light of Other Days and Visible Dinner labels, and is now an affiliate of -OUS, releasing ‘Hyle’ her debut EP on the label in spring 2022. As well as her solo output, Noémi Büchi is currently working with Feldermelder on their collaborative project Musique Infinie. Their debut album will also be released via -OUS in the near future

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  • Holmes, atten Ash : Saturnian - LP (Blackford Hill, 2022)

  • A limited edition 12" vinyl pressing featuring cover drawings by Simon Kirby. Includes a 12-page booklet featuring essays by writer Julian Cowley and astrologer Catherine Heymans. The moons of Saturn are the inspiration for this brooding, often soaring and searching odyssey of dark electronica. The second largest planet in the solar system after Jupiter, and the sixth planet from the sun, Saturn is orbited by 53 confirmed moons, with another 29 that are unnamed and still being studied / 'Saturnian' is a suite of thirteen choral tracks taking their names from some of Saturn’s known moons; Dione, Daphnis, Phoebe, Prometheus, Rhea, Janus, Titan, Enceladus, Tethys, Telesto, Mimas, Hyperion and Iapetus, all named after figures from Greek and Roman mythology, each loaded with their own turbulent back stories. It is the debut release by Holmes + atten Ash, written, recorded and produced remotely in Edinburgh and Bristol by the duo Simon Holmes and Paul Nash / "Sharing its name with a moon and a mythic figure, each track on Saturnian makes connections through space and time. Individual listeners may choose to pursue those trajectories, within and beyond the music, or they may prefer simply to savour the persistent air of mystery and sense of cosmic drama that Holmes + atten Ash have caught so effectively in these compositions." Julian Cowley

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  • The Souvenirs : Bush Lark Ritual - 7" (Fortuna, 2022)

  • A mysterious 45 from Fortuna Records by The Souvenirs. Two spiritual meditation clappers, sounding like ancient rituals for percussion and flute. Hallucinogenic music for healing and exorcism, echoing Tunisian stambali where spirits of ancestors are called to heal the sick. Smokey 4x4 rhythms make way for a primitive wooden shepherd's flute. A special one for connoisseurs of everything dubby and the obscure

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  • Biosphere : Patashnik - 2xLP (Biophon, 2016)

  • Biosphere is the main recording name of Geir Jenssen, a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. Patashnik was originally released by R&S Records/Apollo in 1994. It was number 1 in NME's Independent Chart in March 1994 and reached number 50 in the UK official album chart. The track 'Novelty Waves' was used in Michel Gondry's Levi's 501 Jeans "Drugstore" spot, and holds - according to the Guinness World Records 2004, the record for "Most awards won by a TV commercial" / One reason why Jenssen's work stands out from the flood of early '90s ambient/techno releases is his strong sense of the quirkily creepy -- not in an Aphex Twin mode, but in his own particular way. The contrasting samples of a child quaveringly saying, "We had a dream last night," followed by a rougher sample saying, "We had the same dream," gives opening number "Phantasm" an unsettling feeling. Intensified by the, on the one hand, pretty, on the other, disturbing music, buried synth strings and a soft pulse accentuated by clattering noises deep in the mix, it kicks off the striking Patashnik very well

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  • Daniel Szlajnda : Order in Chaos - LP (U Know Me, 2022)

  • Transparent vinyl housed in embossed sleeve. Two years after the premiere of his debut "Komorebi", Daniel Szlajnda returns with his second album "Order In Chaos", which will be released on November 8 by U Know Me Records / The starting point for "Order In Chaos" was the assumption that even the most complex system consists of simple elements. Even in chaos, order and repeatability can be encountered, and each complex phenomenon can be broken down into a series of smaller, easier to observe. This idea also translated into the way the album was composed. In "Order In Chaos", Szlajnda consciously rejects all the elements that can distract the listener, focusing on the search for beauty in an economical and ascetic sound and hypnotizing repetitiveness / The album was recorded entirely on a modular synthesizer designed around the Sputnik Modular Dual Oscillator, a construction based on Don Buchla's designs from the 1970s

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  • Josh Burke : A Life of Mystery - MC (Possible Motive, 2022)

  • Pro dubbed c-30 black cassette with 4–colour pro printed inlays. Josh Burke is a guitarist/keyboardist/programmer from Chicago, USA, who specialises in a music that could, perhaps, best be described as an amalgamation of drone, kosmische and ambient, all with a distinctly euphoric flavour, as though these sounds were channelled rather than thoroughly composed / He has over 30 solo releases to his name as well as splits with Jeffrey Astin (of Xiphiidae), Spirals and Body Morph, and also - like most of his peers - operates under several additional aliases - Ocean Diamond, Futuresport, The Masque, Silk Fountain, 56K, Sky Limousine and Nehal Shah - as well as ensemble and collaborative projects including Bermuda Link, Cartoon Drips, White Prism, Practical Applications Of The Chaossphere, Starfox, Camp Crystal Lake and Holographic Communications Of The Third Sky

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  • Tachycardie : Autonomie Minérale - LP (Un Je-Ne-Sais-Quoi, 2023)

  • Clear vinyl. Autonomie Minérale is the apex of a triptych that sprang up in less than three years, with a feeling of urgency. There is nothing fortuitous about this name, “Tachycardie.” Jean-Baptiste Geoffroy, is a musician and a composer (Pneu, I N S T I T U T R I C E, La Colonie de vacances) as well as a plastic artist, and in this project he continues his very singular exploration of the depths of sonic matter / After Probables (2019) and Sommé-e (2020), his previous intuitions have developed into goldsmithery: this piece resulted from the alloying and balancing of the mechanical oscillation of a stone that is hit, stricken, and the electronic oscillation of a home-made synthesiser. Thus, no one can tell where synthesis starts and where sonic naturalism ends. Tachycardie is therefore a game of chaos where chance looms large, as usual with the way things are, from the commonest to the most beautiful of all things. A stone like a windfall, somehow. The drawings featuring on the cover are by DoubleBob, an illustrator and cartoonist at the origin of innovative comic books, notably for Frémok / Autonomie minérale emerged from the wish to bring percussion and electronic composition together on the same level, be it in terms of timber, sound definition or musical modes. The idea to build percussive pieces in which the acoustic elements function like an arrangement while the electronic element builds a rhythmic backbone goaded me into using new methods, which consisted in examining the smallest sonic details of a single percussive element, a stone, or plants, and turn them into a material at the service of compositions based on the use of a single and unique synthesiser tailor-made by Frédéric Mancini

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  • Sote : Majestic Noise Made in Beautiful Rotten Iran - LP (Sub Rosa, 2023)

  • Green vinyl. It's an all electronic affair, harmonically maximalist, predominantly symphonic-synthetic, requiring active listening. Some pieces function as challengers of musical structural habits, provoking the short attention span culture, others present a problem-solution scenario, collectively via a neoteric noise aesthetic and detailed melodic weaving. Ultimately, the objective was to engineer an assortment of works full of sound, euphonic and vivid in nature / The making of this album was intentionally a very personal process, going into self therapy territory at times interpreting the composer's contemplating mind dealing with tolerance, destruction, compassion, misery, grace and tyranny in an auditory manner. Some pieces function as challengers of musical structural habits, provoking the short attention span culture, others present a problem-solution scenario, collectively via a neoteric noise aesthetic and detailed melodic weaving. Ultimately, the objective was to engineer an assortment of works, awash with euphonic sound vivid in its essence, with a deep focus on various synthesis techniques within a compositional framework. Dedicated to Peter Rehberg aka Pita

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  • Diseño Corbusier : El Alma De La Estrella - LP (Munster, 2022)

  • Formed in Granada by Ani Zinc, who also recorded under the name Neo Zelanda, and Javier G Marín, Diseño Corbusier were a fascinating and unique project of avant-garde electronics. Their second LP, "El alma de la estrella" (1986), is a marvel of sound craftwork that gathers elements of industrial music, minimal techno and vocal manipulation through a dadaist and completely personal approach

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  • Christina Vantzou, Michael Harrison, John Also Bennett : Same - 2x12" (Séance Centre, 2022)

  • 45RPM double LP accompanied by a risograph printed insert featuring track credits and Harrison’s handwritten tuning charts used on the album. A suite of raga-inspired compositions and improvisations that grew from a fertile collaboration between Christina Vantzou, Michael Harrison and John Also Bennett centered around a devotion to just intonation tuning, deep listening, and resonant spaces / Michael Harrison is a composer and pianist who is a dedicated practitioner of just intonation and North Indian classical music. He was La Monte Young's protégé and piano tuner during The Well-Tuned Piano years and a disciple of Pandit Pran Nath, and has since developed his own customized tuning systems. Guided by conversations with Christina Vantzou, who provided structural frameworks for each piece and directed the sessions, the compositions drew from Harrison's daily raga practice, using its ancient forms as starting points from which the compositions could blossom and morph. A resonant backdrop of modular synthesizers played by John Also Bennett, who also contributed piano improvisations played on Harrison’s custom tuned Steinway concert grand, expanded the sessions into true collective praxis / As noted by Parul Gupta, a conceptual artist based in New Delhi who contributed the stunning artwork for the album, “the songs feel like an extension of silence.” The notes from the piano emerge, resonate, and dissolve in measured and meditative sonic fields, allowing for a concentrated listening experience where every sound lives, breathes, and ultimately returns to silence. Contained within these aural ecologies are potentialities that emerge from a collective listening and improvising experience, and a resonant rebuttal of the standard equal tempered tuning system that has dominated Western music for centuries. This release collects the verdant recordings from the trio’s 2019 Berlin sessions on two 45rpm records, accompanied by a risograph printed insert featuring track credits and Harrison’s handwritten tuning charts used on the album

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  • Agata Morio : Norimono Zukan - LP (Mesh-Key, 2022)

  • Japanese folk-rock legend Morio Agata stunned fans with this way-outta-left-field dispatch - a synthesizer-laden, new-wave/post-punk classic. Originally released by Osaka’s Vanity Records in 1980 and back on vinyl for the first time in nearly 40 years, this fully authorized reissue has been newly remastered from the original analog tapes. In sturdy tip-on sleeve, with double-sided insert

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  • Dylan Henner : You Always Will Be - LP (AD 93, 2022)

  • The follow up to 2020's well received 'The Invention of the Human', the new record touches on themes of nostalgia & longing for times passed; innocence yielding hardships and vice versa; ageing; the soul; life changes; parents and children; loss; love / Dylan says: "The piece tells the story of a single life, from birth to death. I've been thinking about the passage of life a lot recently as I lost all four of my grandparents but celebrated the birth of my daughter all within a short period of time. The brevity and preciousness of being really hit me."

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  • Takayuki Shiraishi : Photon - 2xLP (Camisole, 2022)

  • Double LP reissue, originally released on CD only in 1997. A fascinating Japanese ambient techno excursion. Takayuki Shiraishi is no stranger to Camisole Records. With projects like BGM, MLD, or Tristan Disco, he is considered as one of the most prominent figures of underground Japanese music. Following those '80s industrial projects he continued his path and recorded numerous electronic tracks without forgetting his experimental roots / After an EP on the highly revered label Apollo with his alias Planetoid, he released on a very limited run his first album Photon only on CD in 1997. Mixing techno and ambient, those works were recorded between 1987 and 1996 to create a trancey ride of dreamy tunes. A journey through spectral dances and afterglows, dreamy incantations and Solar rituals devoted to euphoria. Experimental techno who never forget to keep your mind and body aware. Remastered by Krikor Kouchian

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  • Steve Roach : Structures From Silence - LP (Telephone Explosion, 2021)

  • “Structures From Silence remains one of the most important ambient albums ever crafted…. its enduring influence has been unmistakably visible in the four decades since its release. It has never been more relevant.” – FACTmag / Released in 1984, Structures From Silence remains an iconic American release in the ambient and electronic genres. It’s a well-respected soundtrack for contemplation, relaxation, meditation, and focused creativity. The album continues to appear at the top of charts and is mentioned as one of the best releases in the genre; even more importantly, it is a meaningful touchstone for thousands upon thousands of listeners who have lived many years within its nurturing embrace. The album has endured, growing more potent over time, especially in the accelerated pace of today’s life. Emotional, powerful, and enriching, it is a living example of the true healing quality that music can hold / For Structures’ 30th anniversary, Steve went back to the original analog mixes for a 24/96k remaster by Howard Givens that reveals luscious quality and subtle tonal detail not heard since the 1984 master. “With today’s evolution of audiophile analog mastering tools,” Steve says, “we were able to reveal the original beauty, detail and essence-of-tone captured on the 30 ips analog master which has not been heard like this until now.”

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  • Amm : Ammmusic - LP (Black Truffle, 2016)

  • Black Truffle is honoured to present the first vinyl reissue of the classic debut album from AMM, AMMMusic. Coinciding with the 50th anniversary of its recording in 1966, this reissue makes one of the cornerstones of the experimental music tradition available again in its original form, replete with Keith Rowe's beautiful pop art cover and the terse aphorisms by the group that served as its original liner notes. A testament to the interaction between the experimental avant-garde and the countercultural underground, the album was originally released on Elektra, recorded by Jac Holzman (the label's founder, responsible for signing The Doors, Love, and The Stooges) and produced by DNA, a group that included Pink Floyd's first manager Peter Jenner. (Pink Floyd paid tribute to AMM's influence on their improvisational sensibility with the track 'Flaming' on their debut album, named after the piece that occupies AMMMusic's first side, 'Later During a Flaming Riviera Sunset')

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  • Ian Humberstone, David Chatton Barker : Theo Brown And The Folklore Of Dartmoor - 2x12" (Folklore Tapes, 2021)

  • Reissue of the 7x7" released in 2014. Housed in a litho-printed gatefold sleeve with 30x page full colour stitched booklet featuring expanded research and photographs / Theo Brown and the Folklore of Dartmoor is the sixth volume in the Devon Folklore Tapes Series. The album provides acousmatic soundscapes for fourteen Dartmoor tales collected by the late Devon folklorist Theo Brown, whose spirit and research guided the project throughout. Initially released as a limited-run box-set in 2014, this long-awaited second edition contains all the original content in the more wieldy format of a double LP release (with the project film included as a download code). To ensure the highest quality, both the audio and film have been comprehensively remastered from their magnetic tape and celluloid sources for this reissue. An extensive booklet sew within the gatefold will contain extended research notes, new essay on Theo Brown and additional photographs

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  • Sam McLoughlin, David Chatton Barker : Environmental Meditation Music - LP (Hood Faire, 2022)

  • Comes in handpainted sleeve, each one different. Environmental Meditation Music (EMM) is a collaborative project with the natural world. Developed by the artists Sam McLoughlin and David Chatton Barker since 2017, the project has collected many hours of recorded material, which has been hewn into a long form digital edition and this two sided 46min long playing record / "Water and air dance and sing. A play of constant ecstasy. We are forever embedded in atmospheric flow. Space held by soft animation. The eardrum moves, mostly beyond attention, and so each leaf, each laughing brook, dripping rock and whistling reed. The same something, always different, forever variegated, changing yet remaining its self." The instruments are made using a variety of materials, ranging from guitar strings, rubber bands, saw blades, clock chimes and jars. Many are amplified using contact microphones, often proving an essential part of capturing the frequencies / For the record sleeves, a paintbrush was suspended on a branch using string. The sleeve was cut and placed upon a table with string passed around four bamboo canes in order to keep the brush contained above the card. Windy days were chosen to animate the brush. The brush was dipped into black drawing ink and begun at the middle of the card. Once the ink had all been applied the process was finished and the sleeve left in the rain for a few seconds. In total 305x card sleeves were created using this process

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  • S.V. Skirling, R.D. Kirdiv : Devon Folklore Tapes Volume VII - Two Ruins - LP (Folklore Tapes, 2020)

  • Housed in a litho-printed sleeve with research notes, A3 photo & map insert. Flesh soon yields, but stone is greater; the works of man survive the maker, yet, given time, new flesh brings breath; and fastens song to stone’s unrest. Stone ruins prick the Devon map like starlight in the night sky. Each one reaches us as a distorted image of a bygone age: a past-pulse, rippling out through time to meet us in the present, beaten and ragged from a long journey / Devon Folklore Tapes marks its seventh iteration with sound-investigations into two such time-travellers: Frithelstock Priory and Okehampton Castle. The former was once the home of an Augustinian fraternity, but since its dissolution in 1536 has continued to shelter monks of the spectral kind in its slow decay. The latter is a Norman motte and bailey castle, situated in a leafy valley on the edge of Dartmoor, where a revenant spirit wanders the byways in her carriage of bones / The movements featured on this vinyl tune in to these tales and others, informed by fieldwork and automatic improvisations conducted on location in 2017. The 12" vinyl comes housed in a hand-numbered litho-printed sleeve including an insert detailing photography of each site. The works were executed by R.D. Kirdiv and S.V. Skirling – two longstanding members of the Folklore Tapes ensemble who, with this release, are finally stepping out from the shadows and into the ferric

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  • Two Kings : Two Kings - 12" (Folklore Tapes, 2020)

  • Housed in a litho-printed sleeve with a booklet containing essay and photographs. Somewhere, lost in another plane of existence, a banished king searches in vain for his kingdom. This is King Herla, a man stricken by the spells of an unruly dwarf king and destined to ride the stormy skies for all eternity. But on All Hallow’s Eve, when the boundaries that separate his world from our own are somewhat porous, our protagonist spies his opportunity to return to the realm of flesh and blood. Without warning, on a dingy stage somewhere in present day Edinburgh, a crack appears in the air itself and a regal figure steps out from the void. But he is not alone… / The record features two long expository songs recorded to half-inch tape by the Kings in a former watermill on the banks of Loch Tay. Vocoder and tape delay, grit and noise, wow and flutter: all are present in abundance, coalescing into a thick analogue soup – the musical equivalent of the haze on an old VHS tape. The booklet features an essay outlining the legend of King Herla, alongside recording notes and stage directions. Scattered throughout are hitherto unseen 35mm photographs, documenting the exploits of our two otherworldly kings abroad in the world of men

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  • Franciska : Tryghed - LP (Discreet Music, 2023)

  • Tryghed is the debut album from Franciska, the alias of the now Copenhagen-based artist Jonas Torstensson. As one of the key figures in the young, vivid scene around the Forlaget Kornmod imprint, Jonas has released a good deal of music under different names during the last few years, often in very limited cassette editions with barely no distribution. In many ways, Franciska pretty much captures the very essence of the sound world their label now is associated with: melancholic and rather loose tape compositions made with a hands-on approach, usually performed on organ, piano, synthesizers and acoustic instruments and often room recorded with environmental sounds leaking in / Truly DIY ambient music, closely connected in spirit with some of the more melodic Förlag För Fri Musik moments, Astrid Øster Mortensen etc. With crude stop/rec editing, sizzling magnetism and tape scuffs left intact, the A-side consists mainly of piano recordings made while on break from classical music rehearsals in school, while the B-side incorporates more electronics and field recordings though still having the piano as the focal point. Wintery minimalism at its very best. Mastered by Joakim Karlsson

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  • Sandoz Lab Technicians : Plastic Carved Out In The Shape Of The Music - 2xCD (Fördämning Arkiv, 2023)

  • Six-panel digipack with a 12-page booklet. Plastic Carved Out In The Shape Of The Music compiles all the non-album releases of the 1990s by Dunedin free improvisation quartet-cum-trio, Sandoz Lab Technicians. One of many hermetic enclaves of creative endeavour in the nineties NZ underground, Sandoz Lab Technicians are James Kirk (also of King Loser, The Stumps, Black Boned Angel, Renderizors, etc.), Nathan Thompson (Sleep, Renderizors, Eye, Expansion Bay, etc.), Tim Cornelius (Sky Blue Lodge, Three Forks, Ray Off, etc.) and, for their first few years, Mark Curragh / Like many of their peers, Sandoz Lab Technicians also ran their own label, Blunt Instrumentals, on which they released lathe-cuts of their own music, both with Sandoz, and in other configurations (The Cornelius Brothers, Unspecified, etc.); once word had spread, particularly thanks to the release of their debut album on Siltbreeze, their music also leaked out via an international network of small labels dedicated to underground experimental music. Plastic Carved Out In The Shape Of The Music features all their Sandoz self-released EPs, and a few extra bits and pieces, offering the listener an excellent overview of their music’s development, from their very first sessions, through to the wildly sophisticated free noise sculpting of their later material / Sandoz Lab Technicians were always a curious proposition, even within the NZ free noise ‘scene’ (such as it was, or was not). Their early material has a particularly loose, suburban cast, not without some humour: the material sounds like it’s been recorded in scungy lounge rooms, dimly lit hallways, kitchens full of bric-à-brac, sharehouses with dusty curtains. Neighbours drop by to ask about their cats; guitars clang, drums tumble, all kinds of incidental instruments clatter and pulse, in a matter not unlike collectives like Smegma or Los Angeles Free Music Society (as mentioned in the excellent liner notes by Mike Trouchon)

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  • Motohiko Hamase : Intaglio - LP (Studio Mule, 2018)

  • Currently the rediscovery of long forgotten japanese electronic, jazz and new age music is at a peak like never before. But although many re-issues already flood the record stores around the world: the large, diverse musical culture of japan still got some gems in store that are really missing. For example, it is still quiet around the the work of japanese bass player, new-age and ambient musi-cian motohiko hamase. when the today 66-years old artist started to be a professional musician in the 1970’s, he quickly gained success as a versed studio instrumentalist and started to be part of the great modern jazz isao suzuki sextett, where he played with legends like pianist tsuyoshi yamamoto or fu-sion guitar one-off-a-kind Kazumi Watanabe / He also was around in the studio when legendary japanese jazz records like “Straight Ahead” of Takao Uematsu, “Moritato For Osada” of jazz singer Minami Yasuda or “Moon Stone” of synthesizer, piano and organ wizard Mikio Masuda been recorded. In the 1980’s Hamase began to slowly drift away from jazz and drowned himself and his musical vision into new-age, ambient and experimental electronic spheres, in which he incorporated his funky medi-tative way of playing the bass above airy sounds and arrangements. His first solo album “Intaglio” was not only a milestone of japanese new-age ambient, it was also fresh sonic journey in jazz that does not sound like jazz at all. Now Studio Mule is happy to announce the re-recording of his gem from 1986, that opens new doors of perception while being not quite at all / First issued by the japanese label Shi Zen, the record had a decent success in japan and by some overseas fans of music from the far east. With seven haunting, stylistically hard to pigeonhole compositions Hamase drifts around new-age worlds with howling wind sounds, gently bass picking and discreet drums, that sometimes remind the listener on the power of japanese Taiko percussions. also, propulsive fourth-world-grooves call the tune and all composition avoid a foreseeable structure. At large his albums seem to be improvised and yet all is deeply composed. Music that works like shuffling through an imaginary sound library full of spiritual deepness, that even spreads in its shaky moments some profound relaxing moods. a true discovery of old music that oper-ates deeply contemporary due to his exploratory spirit and gently played tones

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  • Eiji Nakayama : Aya's Samba - LP (Johnny's Disk, Studio Mule, 2019)

  • Reissue of Eiji Nakayama 1978 debut album "Aya's Samba" from the legendary label Johnny’s Disk Record, vinyl only! Johnny’s Disk Record is an independent jazz label run by the owner of jazz cafe Kaiunbashi No Johnny located in Rikuzentakata city in Iwate prefecture, Japan. The legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz, avant-garde jazz to left-field pop. albums such as “Farewell My Johnny / Left Alone” and “Aya’s Samba” has reached cult status among fans as some of the best works to come out of the japanese jazz scene / Another japanese jazz classic, Aya’s Samba was a debut effort by bassist Eiji Nakayama, who played as part of Elvin Jones’ jazz machine and toured with Don Friedman. This album is an important release in the Johnny’s Disk catalogue, not only because it is the first ever release, but also because the owner hearing the band play was the reason why the label came to be / “Aya’s Samba” is a mellow jazz samba in minor key that’s considered a japanese jazz classic. slow ballad “Yellow Living” is drenched in melancholy with emotive keys and sax notes, while the dreamy “Sea Sea Town” impresses with a captivating, expressive sax solo. the 4 tracker ends with “Far-away Road,” an uptempo tune with rhythmic keys

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  • The Miracle : The Miracle - LP (Mr. Nakayasi, 2020)

  • In its 6th release, Mr. Nakayasi Records treat us with a rich and adventurous recording by The Miracle, a group of musicians with individual and collective links to Belgium’s free-improv music scene. The Miracle is a live capture of the ensemble's epic debut at Studio Grez, Brussels in December 2018. Recalling the spirits of Mirakle, uncompromising Derek Bailey’s album with Jamaaladeen Tacuma and Calvin Weston, this release presents an inspired, innovative and immediate intersection of free funk and improvisation

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  • Pak Yan Lau, Lionel Malric : Duo Pour 454 Chordes - LP (El Negocito, 2018)

  • Bring together 2 grand pianos? What a funny idea! To make a duo of prepared pianos! The obviousness and simplicity of this duet was in the air. We seized it, the time of a week in the spring of 2014, without objective other than a meeting, ephemeral and confidential. We installed the pianos, we installed the microphones, it sounded ... and surprise, it sounds all on it's own! When replaying the recording, releasing an album seemed logical, essential

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  • Ruben Machtelinckx, Hilmar Jensson, Joachim Badenhorst, Nathan Wouters : Flock - LP (El Negocito, 2014)

  • The music is played by guitarists Ruben Machtelinckx and Hilmar Jensson, Joachim Badenhorst on reeds and Nathan Wouters on double bass. These atypical occupation produces a distinctive and soothing sound. Strong melodies and earthy progressions form the basis of the compositions that often have a melancholic undertone. The music consists of atmospheric, warm, poetic sounds, and allows the individuality of each musician to come forward. The emphasis is on the sound texture and homogeneity of the music, which among other things means that the musicians think as more composers than as solo act / Ruben Machtelinckx - guitar,baritone guitar, banjo, Hilmar Jensson - guitar, Joachim Badenhorst - sax, clarinets, Nathan Wouters - acoustic bass

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  • Giovanni Di Domenico, Abschattungen : The Ear Cannot Be Filled With Hearing - LP (El Negocito, 2017)

  • Abschattungen is the band Di Domenico formed to pay hommage to everything that goes under the name ‘funk’. Strong grooves are laid under a forest of psychedelic textures and intense melodies, filling the auditory space with dense metaphysic dance movements / Taking inspiration from albums as Sun Ra’s Lanquidity and Gruppo Di Improvvisazione Nuova Consonanza’s Feedback, black music inspired pulsations are fused with contemporary music’s sensibilities and the power of free jazz, resulting in a futuristic sound but still very indebited to the marvelous history of black musics

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  • Linus, Øyvind Skarbø, Frederik Leroux : Linus + Skarbø / Leroux - LP (El Negocito, 2015)

  • 12" black vinyl with stunning artwork from Ante Timmermans and graphic design silk printed by Levi Seeldraeyers of Smeraldina-Rima. Linus, a duo of two composers and improvisers, brings the listener into a bubble. The intense sound of tenor saxophone and acoustic baritone guitar produces melodies that take you on a journey of simplicity, purity and longing. Their first album Onland has been praised and well received. Ruben Machtelinckx and Thomas Jillings choose for this recording to share, compose and perform their fragile musical concept with these two interesting musicians Øyvind Skarbø and Frederik Leroux.The goal is to use free improvisation as a tool, not as a genre / Øyvind Skarbø is one of the leading young drummers in the Norwegian and Scandinavian improv scene. He is leader of 2 limprov groups; 1982 (with ECM artists Nils Økland and Sigbjørn Apeland) and Bly the Blyant (with Shahzad Ismaily and Hilmar Jensson). He studied African rhythms and contemporary music in Cuba, Nigeria, Berlin, New York and South Africa. He has played with Fredrik Ljungkvist, Per Jørgensen, Ståle Storlokken, Ingar Zach, Tony Buck, Kresten Osgood etc / With a great respect for tradition, Frederick Leroux is trying to tread new paths continuously. He not only draws inspiration from jazz, but contemporary concert music, minimalism, surrealism and free improvisation seep through in his music. Leroux explores the endless possibilities of his instrument. From romantic Ennio Morricone songs to experimental soundscapes - a wide range of styles are invoked and are systematically approached till it unmistakably sounds like Frederik Leroux

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  • Nug : Napping Under God - LP (3XL, 2022)

  • NUG is the duo of Florian T M Zeisig (enmossed, Métron Records) and the enigmatic PVAS -- previously spotted on the XPQ? label. Together they conjure their vision of ambient soaked drum & bass where the percussive energy is kinda restrained by gloopy, plasmic, liquid electronix that seem to mould themselves around the breakbeats. This is music for that early morning, sleep-deprived, hallucinatory zone

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  • Peter Knight : Shadow Phase - LP (Room40, 2022)

  • Black vinyl. The memory of Jon Hassell lives not only in his own legacy. Many trumpet players adapted a style of playing their instruments that immediately reminiscences his style. It’s almost impossible to listen to Peter Knight‘s Shadow Phase without being reminded of what Hassell has meant for music in general and trumpet playing in particular. ‘Through the simple process of exhalation, I explored my relationship with the trumpet, which has been through so many twists and turns. I let the tones produced by my breath unfurl on long tape loops and degrade beyond recognition through pedal and plugin chains, until the only imprint of the initial gesture remained.’ / But with that, we don’t do enough justice to the art of Peter Knight. He’s not simply a Hassell copycat: he’s an artist in his own right, an award-winning composer who has released 12 albums on various labels and who was the Artistic Director of one of Australia’s leading contemporary ensembles: the Australian Art Orchestra. In addition, Shadow Phase is not ‘fourth world music’. In fact, it is hardly classifiable music – it’s ‘a meditation on the nature of connection’, created mainly in 2020’s long winter lockdown. The music was created with his old friend and teacher Ania Walwicz in mind, who sadly passed away in September of that year (Ania’s voice can be heard on the closing of the track A Wordless Song For Ania) / ‘Ania’s practice as a writer relied on ‘automatic’ processes. Her work was informed by everything she had read (a lot) but it was created in the manner of dreams. In a state where the subconscious might bubble up and the words arrange themselves into meaning bearing forms that resonate more than represent.’ This approach can be felt all over this album. Honest, heartfelt, mindful

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  • Luc Ferrari : Music Promenade / Unheimlich Schön - LP (Editions Mego, 2022)

  • "Music Promenade" contains electroacoustic music from 1964-1969, as the world premiere for the Théâtre de la Musique, from March 16, 1970. Version for four stand-alone tape recorders. A series of colliding realistic sounds and sonic images / "Unheimlich Schön" (1971) contains musique concrète made in 1971 in the studios of the Sudwestfunk in Baden-Baden. Voice by Ilse Mengel

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  • Kensho Nakamura : Electric Rust - MC (Mappa Editions, 2022)

  • To decay is also to transform. Rusting metal is the visible traces of passing time, as the oxidation process accumulates dampness in our atmosphere and imprints it as unpredictable patterns onto hard iron and steel. Working in construction for a year now, Kensho Nakamura sees rust all the time, clambering up ageing chunks of material. Normally discarded as waste, Nakamura began discerning beauty in the phenomenon, organically spiralling around and consuming some of the very hardest of manufacturing stuffs into unique new forms / ‘Electric Rust’ continues the conceptual electronic composition mode of Nakamura’s previous works with a series of fractured musical dioramas. These scurrying notes, sparse hums, and quivering bleeps explore the topics of rust and the accumulation of time. The music ticks like a clock, drips like a tap, and manifests unknowable inorganic shapes. Recognisable musical snippets of bells, pianos, or murmured voices are buried inside counterintuitive synthetic rhythms and tension / On ‘wet air’ piano notes tinkle and pipes gargle, digital detritus tap dances and arpeggios stumble. On ‘unique faces’, idle marimbas and malfunctioning animalistic squeaks flounder. This is music from the promethean space between being forgotten and being conceived. ‘Electric Rust’ is a topography of a world of rust, where corroding structures evolve into new — and beautiful — patterns of life

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  • Valentina Magaletti, Yves Chaudouët : Batterie Fragile - LP (Un Je-Ne-Sais-Quoi, 2022)

  • White vinyl. The Batterie Fragile was conceived by Yves Chaudouët, made out of porcelain under the expertise of Marjorie Thibault, at the Ecole superieure d’art des Pyrenees, Pau-Tarbes in 2016. The Batterie Fragile is part of FRAC Aquitaine Collection, Bordeaux. On March 2017, on the occasion of the Festival Super Flux (Tours, FR), co-organized by Le Temps Machine and Le Petit Faucheux, Yves Chaudouët has been invited to exhibit his Batterie Fragile, a drum kit made out of porcelain, in the museum des Beaux Arts de Tours while Valentina Magaletti, drummer for the duet Tomaga, has been invited for a gig of said band in le Petit Faucheux. The performance was recorded live and later released as a record on Un je ne sais quoi label. There must have been a meeting between Valentina and the Batterie fragile… A new version of the Batterie fragile ready to tour with Valentina is being made. This solo show on an unlikely sounding instrument is as poetic and unique as you may expect

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  • Antonina Nowacka : Lamunan - LP (Mondoj, 2022)

  • Clear vinyl. Forged alone in a cave on the island of Java, and recorded in a fortress in Poland, Antonina Nowacka’s “Lamunan” is an intimate exploration of a mysterious darkness and the earliest of musical forms. Nowacka has co-created raw electronics and audiovisuals as half of WIDT and the enigmatic Mentos Gulgendo, but her solo practice focuses solely on the voice’s inherent connection to mental states, its ability to speak wordlessly, and the apparatus of speech itself – leading her to a six-month trip to study traditional music in Indonesia / A day trip to visit a Javanese volcano turned into days of exploring, Nowacka eventually stumbling across a cave. “Rarely does anyone come there because Indonesians are afraid of the dark and the cave is poorly lit,” explains Nowacka. “I could sit there and sing for hours without feeling the passage of time.” / Hours spent in the dizzying darkness and echoes of Seplawan Cave produced a series of unaccompanied vocal motifs. Moans, chants, hums, and wordless cries met with the multi-million year-old facades of the stone walls. The freely flowing compositions seem forged from the same natural material as that stone, carved into shape by nothing but water, time, and solitude. Upon returning to Poland, Nowacka recorded with Rafal Smoli?ski in the cave-like sonic conditions of the Modlin Fortress some 50km north of Warsaw. The intimate and surreal sound of the cave is recreated, Nowacka overlapping multiple vocal lines to create delicately interwoven chamber choral pieces, musically minimalist and emotionally maximalist. The album’s title – "Lamunan" – comes from the Indonesian word for ‘dreaming’ or ‘fantasy’

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  • Bernard Parmegiani : De Natura Sonorum - 2xLP (Recollection GRM, 2022)

  • This 1975 opus by French composer Bernard Parmegiani is startlingly ahead of its time, even today, nearly 40 years later. Receiving a new restored and remastered vinyl treatment by Recollection GRM [a sublabel of Editions Mego], it’s especially wonderful to hear Parmegiani’s electronic explorations of nature with more brilliant clarity than ever, presented here for the first time with all four of its musical movements / The electronic and acoustic experimentation that led to the sounds that comprise De Natura Sonorum are bewildering to me considering the time this was conceived and created. At times the organic sound of traditional instruments comes through, like the tooting baritone sax of “Conjugaison Du Timbre,” but even then it’s entirely for the convenience of meditative manipulation per its title. At others, the sounds are predominantly non-musical objects, like the wild precipitation of “Étude Élastique“‘s percussion or its even more confusing succeeding counterpart, “Matiéres Induites.” But the real star of De Natura Sonorum is Parmegiani’s knack for electronic manipulations, heard most clearly on the beguiling sputter of “Natures Éphémères” or on the slick cut-up edits of “Accidents/Harmoniques.” / I’m humbled as someone who makes electronic music (which I’m probably better at than writing!) attempting to even do justice here to what is undeniably a master class in technique and sound design. Parmegiani’s work is a startling testament to his ingenuity, creativity, and mastery of his craft. Anyone unfamiliar with this piece and interested in the history of electronic music should dedicate some serious attention to what is such an expansive and moving musical experience

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  • To Move : To Move - LP (Sonic Pieces, 2022)

  • Handmade textiled artwork, including printed inner sleeve. 'To Move' is a new project by the trio of Anna Rose Carter (Moon Ate the Dark), Ed Hamilton (Dead Light) and Alex Kozobolis. Four-handed piano meets analogue manipulations to absolute wondrous effect from the London based friends / We're carried into a time and place not afraid to embrace a sense of optimism - even if it comes wrapped in a certain distorted shape. Transporting, blissful tones emanate free of concerns from the unifying keys; at least until the melodies are pulled and dragged from purity to become something wholly else – their own lived life; fitted with obstructions and unpredictability. The intertwining pianos linger like lovers in unison, full of drift, rhythm and life; all while analogue electronics and tape manipulations degrade and move them from their original form and closer towards earth itself / The album came to light while Anna and Ed were temporarily residing in the English countryside between 2016 and 2019. Musical weekend visits from Alex turned into the fruitful collaboration presented here. 'To Move' is a compelling musical storyboard with a name that captures the essence of their music better than any written essay could do. This is music to resonate to, music to dance to, music to engulf your being. As for fans of the Sonic Pieces sound – if there is one – this record hits as close to home as it could do

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  • Mads Emil Nielsen, Chromacolor : Constellation - 10" (Arbitrary, 2022)

  • Clear vinyl. Arbitrary presents the first in a series of remix collaborations and releases by Mads Emil Nielsen and Chromacolor, a project from the German sound artist and producer Hanno Leichtmann / Mads Emil Nielsen’s Constellation (side A) was created by combining several granulations and textures based on a single short recording, extracted from improvisations made with the Buchla synthesizer at EMS, Stockholm – combined with randomly looping orchestral samples, edited and produced in his studio in Copenhagen / After having heard Nielsen’s live performance in Berlin in 2017, Hanno Leichtmann suggested remixing various of his tracks including Constellation (Remix – side B). For this rework, Leichtmann provides an ambient feel by working with various sources, all of which generate sound using vibrating metal plates in different sizes – including a Premier Vibraphone, a Fender Rhodes and a Hohner Guitaret

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  • Ura : Baby with A Halo - LP (Motion Ward, 2022)

  • Baby with a Halo is the newest record by Montreal based artist Ura. The songs on here feel like little organisms. While familiar genre references may shadow the pieces, from the faint ash of reminiscence comes something tactile and singular to the person who sat with the sounds and felt how they might coexist. Everything is rhythmic, the textures arrive, disappear and respond to each other in ways that could make you forget there was someone behind the controls all along. The result is full of love and ambiguity ~ choose ur own journey

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  • Hüma Utku : The Psychologist - 2xLP (Editions Mego, 2022)

  • Glossy print, black poly-lined inner sleeves. Editions Mego presents The Psychologist, the sophomore album by the Istanbul born and raised, Berlin based electronic music composer and sound artist Hüma Utku. As the title suggests, The Psychologist, is a series of sonic essays based around themes of psychological phenomena and can be read as a musical enquiry into the human condition. With Utku’s background as a graduate of Psychology and her current practice as a conceptual music composer we see the two main threads in her professional career intertwine on this unique and ambitious release / Including recordings of Buchla 200 from Utku’s Elektronmusikstudion residency in October 2020,The Psychologist is a genre aversive work that embodies elements of synthesiser music, electroacoustic, experimental techno, industrial, modern composition and spoken word. Piano, string compositions and vocals hold weight throughout a number of pieces providing a dramatic acoustic edge to the psychological explorations contained within. The foreboding mood of much of this release is the product of investigation that lends the unsettling theme of anticipatory grief to the mood of the tracks Light of All Lights and Continuing Bonds. Islands of Consciousness refers to Jungian metaphor for consciousness whilst the unnerving Rüya twists around dream analysis in Gestalt psychology. Fuel For The Flames proceeds as a buzzing and swirling representation of alchemy and psychological symbolism / Dissolution of I is haunted by a strange sensation of dissociation whilst defense mechanisms support the sublime Sublimation. The bright shapes of Chironian Wound represent archetypes and analytical psychology whilst the fried soundscapes and rhythms of Ataxia encapture neurological states. The results unravel with both the clockwork rhythms of the human body and the unpredictable nature of the psyche, the pieces follow arrhythmic patterns in a harmonious way. It tells the raw and intimate story of the human experience with a new work whereby the predictable operates in parallel with the unexpected and like human experience itself, is dark and complex

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  • Raed Yassin : CW Tapes - 12" (Discrepant, 2019)

  • Includes clear PVC sleeve. In this 24-minute composition, released here in its original name for the first time, Yassin encapsulates and condenses the aural and sonic landscapes experienced by those who bore witness to the war. In the 1980s, while the Lebanese Civil War, which ravaged the country between 1975 and 1990, was raging, television but particularly transistor radios were the only means through which people heard the news during interminable periods of power cuts or waiting in basement shelters / The audio material was collected by Yassin on his regular trips to the dispersed and neglected archives of militias and political parties, radio and TV stations, and record shops across Lebanon. Built from over 300 hours of material, Yassin has woven together a composition using political speeches; radio and television commercials; news flashes and jingles; local 80s pop music; dubbed Japanese anime songs; propaganda, resistance, and revolutionary party songs; snippets from Ziad Rahbani plays and many more / The recordings in CW Tapes are the sonic equivalents of Proust’s madeleines to any individual who was old enough to remember the war and its immediate aftermath; they effortlessly conjure the collective memory of children, teenagers and adults alike. Commercials, songs and speeches collide and intertwine as if Yassin had plugged a radio tuner into his mind, sounding out a deeply personal sonic terrain that echoes the hidden sonic memories of his contemporaries in which sounds ebb and flow as if they were heard in a dream (or nightmare)

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  • Stone : Earth FF - LP (3XL, 2022)

  • Comes on clear vinyl. A new avatar on 3XL, someone you may or may not have encountered before on the experiences / west mineral axis, tending to the inner life with a lush fantasy of sound-bathing beatdown and mossy atmospherics somewhere between Ulla x Malibu x Headz-era Mo Wax / ‘Earth FF’ yields a delicate bouquet of synaesthetic ambience designed to sooth yr frayed nerves. The album transposes a flickering vibe to inner sanctums, painting an organically detailed vista that hinges around late ‘90s/early ‘00s illbient/trip hop atmospherics referencing classic Mo Wax / Headz, and melting out into a sanguine bbblisss enhanced by a patina of field recordings / Distinguished by a tender grasp of tongue-tip thizz and lysergic nuance, the 10 tracks fan out in pruned designs between pads and whispered vox reminding us of Kenji Kawai or Nozomu Matsumoto on ‘Evil Day’, via the silvery contrails of ‘Beacon’, the eyrie illbient of ‘Root Loop’, to purest writhing-in-the-floatation tank kiss-off on ’Sunn’ replete with ASMR gynoid vocals on a Perila x Ulla x Malibu tip. With no sharp edges to snag your tumescent skin, it’s all low-lit neon, palm trees gently swaying in the breeze, eyes-rolling in the early-hours, blissed sorta gear

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  • Nighte : Pin Down The Dust - MC (Mappa Editions, 2022)

  • By its very nature, intuition is something of which we easily lose sight. Music however, as both bridge and secret technology, connects the natural, artificial, and the earned. It can act as both a reminder of cultures and people gone, while materialising and alchemising from thin air elements not to be found on any periodic tables, and visions no human can see / “Pin Down The Dust'' is the first meeting of Nighte - Christina Carter (Charalambides) and Mari Maurice (more eaze) - and it feels both automatic and natural. The collaboration stems from a spontaneous decision by the duo to start playing together weekly. “That's how this music was made,” explains Carter, “with gut feeling as the guiding principle. Mari understands the music I've made on such a deep level that playing with her feels so natural.” / The result of this meeting is inarguably some of the most beautiful music to ever emerge from either Carter or Maurice. The structures are spacious, generous, and gentle, with scraped violin strings and seemingly ancient moans strewn sparingly like falling leaves on a picnic blanket. Having begun life as freeform interplays between the duo recorded live at Maurice’s house, overdubs were later added and the material mixed by Maurice alone into finalised pieces

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  • Cucina Povera : Tuhka EP - 12" (Infinite Greyscale, 2022)

  • One-sided 12" with screen-printed b-side. Tuhka, like its titular cinder or ash symbolises new beginnings, fertile ground and creativity after a long lapse. In the same vein, the tracks on this edition were created after a long fallow period. Tuhka was created out of archival snippets and new vocal loops created on the sunny top floor of Merlijnstraat in early 2022. Late lockdown there was spent writing on the balcony and walking or playing in nearby parks. This creative but relaxed time is embodied in the feeling on ’Tuhka,’ a release wrapping itself around the core of two long-form tracks / Kärpässieni is a soft, pensive number, with an archival cheap synth track and a chopped-up mystery field recording mingling with a simple subdued vocal loop. There is a titular reference to amanita mushrooms, a fungi encompassing the mystery and the melancholy bitterness present in the track. The feeling is akin to a frosty morning spent on a walk to the Mercatorplein library and feeling your toes start numbing / Varisevalehti means ’shudderingleaf’ and it consists of an airy, optimistic voice loop that progresses and winds around the length of the track. Alongside it, at times you can hear tape-manipulated samples from a ’learn Italian’ record I used to own. The feeling is more of a wander around Westerpark when the blossoms have started come loose and fly around in the air, forming soft pink deposits in the corners of streets

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  • Tape : Rideau - LP (Morr Music, 2022)

  • On their third album, »Rideau«, Swedish trio Tape made their great leap forward. Released in 2005 on Häpna, following two albums of pastoral folk meets electronica, »Rideau« saw the trio of Andreas and Johan Berthling, and Tomas Hallonsten, working with an outside producer, Marcus Schmickler (best known for his post-rock outfit Pluramon). On »Rideau«, Tape’s music opened out considerably, embracing traditional minimalism, and luscious melodicism / Now, seventeen years later, »Rideau« has a new home with Morr Music, who are reissuing the album on vinyl, marking its first appearance on the format, including an extra track. It’s only logical that »Rideau« should reappear via Morr Music. Like Tape themselves, Morr Music was a significant part of the worldwide gang busy reconciling electronica, pop, and acoustic, group- oriented sound across the 2000s, and »Rideau« sits neatly alongside other releases of similar heritage. And yet, »Rideau« feels contemporary, suggesting the creative discoveries made by the trio have ongoing resonance; their elliptical poetry echoes through recent music from the likes of Tara Clerkin Trio, and Tape’s sometime collaborators, Tenniscoats

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  • Andrew Oda : Back To The Body - MC (Mappa Editions, 2022)

  • The wound, as the saying goes, is the place where the light enters you. Even without a god though, the sensation of trauma, and the phenomenon of healing can be a sacred and enlightening experience. Experience always imparts something on those of us still here, for worse or for better. It’s this journey, from trauma to healing and understanding, that inspired Andrew Oda’s beautiful new album: Come Back To The Body. More delicate and plaintive than his previous work, but no less adventurous in its broad palette of synthetic and acoustic sounds, this music is the topography of a descent into the wisdom of the body, “as frightening and unsafe as it may feel” as the composer puts it / A sweet piano, a gently plucked guitar, and a mournful cello sit alongside garbled synth melodies, rustling field recordings, and sweeping cosmic backdrops throughout, a mimic of the counterintuitive harmony of sensations that meet the traumatised body. Emotions become deformed and bleed into each other. A ruptured sense of oneself collides with engulfing thickets of tension, and yearning. Come Back To The Body demarcates a new step in Andrew Oda’s catalogue, evolving his previously synthesised sui generis ecosystem mockups, into a more natural reflection of the human self, in light of trauma and unknowable emotions best put into music / Creaking synth chords hove into view on several of Oda’s new pieces, resembling the first rays of dawn and an imminent sense of absolution. A dull electric hum and submersible bass rumble similarly haunts many moments, like lingering tinnitus, only to be swept away by a host of fresh musical lifeforms, sounds, pulse, and melodies wandering spritely into Oda’s music. Healing isn’t simply the forgetting of a trauma; it’s the process of attuning to a wound and evolving into something new. It’s about moving towards a place “where true intimacy can happen,” as Oda describes it. “A place of forgiveness of self and other.”

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  • Luc Ferrari, Gol, Brunhild Meyer-Ferrari : Exercices d'improvisation - LP (Planam, 2010)

  • Includes an insert with the complete score by Luc Ferrari. Luc Ferrari conceived this work in 1977 as a sequence of seven individually or collectively improvised exercises for tape and any instrument or group of instruments. Never performed before, "Exercices d'improvisation" have been released by the GOL collective and issued now on LP by PLANAM. The seven exercises follow each others in a suite of growing intensity where GOL acoustic and electric instruments react to Luc Ferrari's tape, lively re-interpreted by Brunhild Ferrari: from a more meditative form, the music turns into free mental spiraling sections to finally culminate in a live musique concrete drama / The tracks were recorded at Ferrari's Atelier Post-billig on April 12th and 13th, 2010, a few days before the world premiere performance at La Maison Rouge in Paris. "Exercices d'improvisation" on one hand presents a new perspective on Ferrari's music and on the other pays a panorama-like tribute to his rich and eclectic corpus; somewhere between "Tête et Queue du Dragon" and "Tautologos" with a touch of "Danses Organiques". The front sleeve shows a four colour wild collage by the French artist, film-maker and Ferrari's collaborator Jacques Brissot based on photo sessions done by Myriam Tirler who also shot the back cover and inner sleeve images presenting GOL members and Brunhild Ferrari in Kagel-Exotica-like appearances / Please note: this previously unpublished work revealing a hidden part of Luc Ferrari poetics is not included in the INA 10CD boxset. Only available on this LP edition

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  • Vincent Epplay, Samon Takahashi : Sountracks for the movies of Pierre Clementi - LP (Planam, 2010)

  • Parisian sound artists, Vincent Epplay, and Samon Takahashi present five often delirious, lysergic cut-ups of Pierre Clementi soundtracks: from abstracted psych-rock grooves to dynamic electro-acoustic scapes and outre collaging. Mind bending, but with an underlying sense of collected organization / First performed at the CAPC Museum of Contemporary Art in Bordeaux in March 2009, "Soundtracks for the movies of Pierre Clemanti" is an electronic concrete music including many references to psychedelia, kraut, spontaneous sound creation of the 1960s-70s, building an intense dialogue with the specific universe of Pierre Clementi. Even if psychedelia and electroacoustic music seem to have little in common, they got intersected in the work of some advanced artists. On one side electronics entered rock and free jazz, on the other electric guitar and drums have been manipulated by adventurous modern composers. We could take Joseph Byrd, Friendsound, Faust, Supersister or Brainticket as a reference as well as Luc Ferrari, Jacques Lejeune, Bernard Parmegiani or Pierre Henry. A complete list of exchanges and collaborations would be too long to compile / Full-color sleeve, inner sleeve and insert, reproducing some very inspired scenes from the movies of Pierre Clementi."

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  • Eliane Radigue : In Memoriam-Ostinato / Danse Des Dakinis - LP (Alga Marghen, 2022)

  • Gatefold cover. Alga Marghen presents the last chapter from the Feedback Works documentation series, a brand-new LP including "In Memoriam-Ostinato" and "Danse des Dakinis", two previous unreleased tracks by Eliane Radigue. Among the works of fixed duration from the feedback period, "In Memoriam-Ostinato" is the link between "Jouet Electronique" and "Opus 17", and allows you to understand the evolution of her approach. "In Memoriam-Ostinato" is a game of mirroring symbols which glide into a non-measured, bent and elastic, temporality. Eliane Radigue's working method and her aesthetic direction are evident in this work from 1969: her very own unique temporal space of sonic experiences. Even though it bears the same name as the third part of "Adnos III", "Danse des Dakinis" is a peculiar work in Eliane's oeuvre / Conceived in a short time, with all kind of tapes from the composer's past work, it fluently shows a kaleidoscopic vision of Radigue's sensibility for sound. In 1998 she put together a curious self-portrait in sound. There is a feedback ostinato conceived around 1969 and which refers to "In Memoriam-Ostinato" and "Opus 17". All through "Danse des Dakinis" you plunge into the sound of a creek recorded at Mills College campus that brings you back to the field-recordings from the beginning of the 1960s, made on the coasts of the Mediterranean Sea. Such elements construct "Elemental 1" as well. There are also some discreet interventions on the ARP 2500 synthesizer. It is indeed a peculiar work, which doesn't have the same features of her other compositions, especially at that time of her compositional path / There is an explanation for the composer producing this kind of sound material in 1998, and not limited to the sound waves of the ARP synthesizer. Invited to a workshop at Mills College in 1998, Eliane Radigue could not load herself down with her bulky instrument on such a trip. So, she left with just a few tapes taken from her own collection, drawn from different periods, and composed "Danse des Dakinis" with those old elements. There is tension in this composition, a certain wildness, an unpredictability of elements, those which are recognized as fundamental elements, which give structure to the universe. "Dance des Dakinis" is an intimate and wild symphony, alive and unpredictable, which is to be the next-to-last gesture of the composer before completely stopping her work with electronics

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  • Derek Jarman : Through the Billboard Promised Land Without Ever Stopping - MC (purge.xxx, 2022)

  • Previously unheard and unreleased audio recording of Derek Jarman reading his only work of narrative fiction, Through the Billboard Promised Land Without Ever Stopping (1971, 55 minutes). This release has been made possible by House Sparrow Press, an imprint of Prototype Publishing, and with the support of The Estate of Derek Jarman

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  • Nkisi : Avebury - LP (purge.xxx, 2022)

  • Avebury is the new 12” vinyl from Nkisi, consisting of two twelve-minute tracks by the Congolese-Belgian musician and artist — her first solo release since 7 Directions (2019), her acclaimed debut album on Lee Gamble’s UIQ imprint / Avebury channels the landscape of and around the world’s largest megalithic stone circle: in Wiltshire, southwest England. The score was commissioned for artist Stanley Schtinter's shot-for-shot video remake of Derek Jarman’s film, A Journey to Avebury (originally scored by Coil) / Numbered + handmade in an edition of 250 copies only; 180gr vinyl in custom-made screen-printed outer (sealed), containing two risograph inserts with a specially commissioned essay by Sukhdev Sandhu

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  • Black Ox Orkestar : Everything Returns - LP+7" (Constellation, 2022)

  • This special edition includes exclusive 7" flexi disc with track “Mizrakh Mi Ma'arav”, originally produced by Jewish Currents and given away with the magazine's Winter 21/22 issue / Everything Returns reconvenes the original Black Ox Orkestar lineup after a 15-year hiatus. Arising from the fertile Montréal post-punk scene of the early 2000s, the band comprises Scott Gilmore, Jessica Moss and Thierry Amar of Thee Silver Mt. Zion (Amar also continues to compose and play bass for Godspeed You! Black Emperor) and Gabriel Levine of Sackville / Black Ox made two acclaimed albums of roiling acoustic avant-folk in the mid-2000s, exploring Eastern European and North African folkways through the lens of a gritty, resonant indie rock sensibility, juxtaposing interpretations of instrumentals from various Jewish, Romani and Arabic traditions with originals led by Gilmore’s politically-charged Yiddish vocals. These early albums have since become lodestars for many among a new generation of Yiddish, Klezmer and radical Jewish diasporic music practitioners and fans

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  • Florence Cats : Ys - MC (Edições CN, 2022)

  • Comes in a Risograph cover with liner notes and a poem by the artist. Florence Cats is a poet, visual artist, sound composer, performer and acupuncturist. Born in Vilvoorde in 1985, she is currently living and working where Brussels meets the Sonian forest. Ys is a generous debut. A genuine personal statement. It's raw and courageous. Sunken Cathedral is Florence interpreting Claude Debussy’s La Cathédrale Engloutie (trans. the Sunken Cathedral). The track reminds me of one of those fabled Charles Ives home recordings. Recording himself on Speak-O-Phone - an old brand of recordable aluminium phonograph discs - while practicing and composing his music. But unlike Charles Ives who used these home recordings as personal sketches, Florence Cats shares her captured moments as compositions for the public / Similar to the Speak-O-Phone recordings, we now meet the piano as a physical expression - not as an archetype. We are together with Florence in a room. The pedal. The keys. The hiss of the room. Learn, repeat. Trough Florence’s hands and feet, La Cathédrale Engloutie is brought out of its pupa stage to become a presence. Instead of being grounded in luxurious concert halls or on high end recordings, the piece is now natural. Sunken Cathedral is a template, an affirmation for amateurs. The piece was originally created for the group exhibition "Here Comes the Wave” at Project(ion) room, Brussels, February 2020 / In Fall Call, we find ourselves at QO2, a sound art initiative in Brussels. This piece was captured during a residency Florence took over the summer of 2022. We listen to the moment when a summer storm just washed the city. Fall Call is a testament to Florence’s magical - humanistic way of playing her custom-made theremin. By straining the settings of the instrument, her whole body - instead of just her hands - takes control over the instrument. So when she walks across room, the instrument answers in full color. And then, a phone-call. Giving it a bit of a Poulenc vibe. For the last piece, Drop Out, we find ourselves in Florence’s apartment. When Florence opens the windows, the ambience of the surrounding Sonian Forest trickles in. This is an adorable moment. It predicts new beginnings. The smell of wet dirt and dripping leaves in the air. The poetry of rain

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  • Delivery Health : SuperDeLuxe! - 2xLP (Holidays, 2022)

  • After nearly five years of silence, the all-star power trio of Giovanni Di Domenico, Jim O'Rourke, and Tatsuhisa Yamamoto, working as Delivery Health, return with “SuperDeluxe!” a stunningly beautiful double LP of material, issued by Holidays Records. Encountering three of contemporary experimental music's most remarkable minds locked in the rigorous conversations of live improvisation, across four sides the trio darts and dodges across a startlingly range, never revealing what might come next, in one of the most thrilling bodies of collective sonority we've encountered in the last year / For more than a decade, Giovanni Di Domenico, Jim O'Rourke, and Tatsuhisa Yamamoto have been coming together in various combinations - duos, trios, and larger ensembles - slowly becoming one of the most noteworthy, understated collaborations in the landscape of experimental sound. In 2015, the trio recorded a brilliant LP entitled “Delivery Health” ?for Silent Water, laying the groundwork for an enduring project that adopted that album’s title as its name, debuting properly in 2017 with the stunner “Hard Off” / Over the years since, we’ve encountered Di Domenico, O'Rourke, and Yamamoto playing together in Bonjintan, their project with Akira Sakata, and in further collaborations with Eiko Ishibashi and Joe Talia, not to mention O'Rourke and Di Domenico’s prolific work as a duo. A bit more than five years on from “Hard Off”, Delivery Health finally return with “SuperDeluxe!”, a stunning new double LP on Holidays Records. Comprising roughly four years of early activity from the trio that rests at a fascinating juncture of electroacoustic composition, free improvisation, and noise, it’s easily among the most engaging and intoxicating efforts we’ve yet to hear from one of the most dynamic bands working today

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  • Pygmy Unit : Signals From Earth - LP (Holidays, 2022)

  • Deluxe edition with two booklets, perfect replica of the original. Joining their rapidly growing catalog of radical gestures of creative sound, Holidays Records returns with one of their most important releases to date, the first ever vinyl reissue of Pygmy Unit’s “Signals From Earth”, a towering private press obscurity, originally released by the band in 1974. Blending Native American references into a body of sonority that draws on free improvisation, experimental electronic music, and Spiritual Jazz, it forges a singular and almost entirely unknown path, and stands almost entirely on its own in the history of west coast American jazz / A holy grail for a handful and an inevitable revelation for most, Holidays has truly upped the game with this masterstroke. First appearing on the San Francisco scene sometime during the early 1970s, almost nothing is know about the Pygmy Unit, a seven piece band that have been steered by Darrel De Vore, who contributed flute, bass, percussion, piano, and vocals to the band's lone LP, had first appeared with its percussionist, Terry Wilson, within the psychedelic outfit, The Charlatans, who belonged to the legendary Family Dog scene / While undeniably jazz - riding a remarkable line between avant-garde electronic music, Spiritual Jazz, and free improvisation - the band was very much a product of the diverse creative ferment that developed in their hometown of San Francisco during the 1960s. Jim Pepper, a Native American tenor saxophonist who cut his teeth as a member of the Mal Waldron Quartet, played with Charlie Haden, Don Cherry, and numerous others, and produced the cult favourite, “Pepper's Pow Wow”, for Embryo Records in 1971. John Celona, who contributes parts on sax, synthesizer, and percussion, would later go on to be regarded as an electronic composer of some note. Of the remaining members, saxophonist Frank Albright, bassoonist Ron Grunn, and percussionist Marvin Kirkland, very little else in know. It seems this LP is more or less all they recorded

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  • Sidney Sager : Children Of The Stones - 12" (Trunk, 2022)

  • One-sided 12". Previously unreleased music from the 1977 TV series. Music by Sidney Sager performed The Ambrosian Singers / Yes, here it is for the first ever time. Sidney Sager / The Ambrosian Singers performing possibly the spookiest and scariest of all kids TV music. Legendary series, legendary music. Artwork by Julian House. Sleevenotes by COTS obsessive Stewart Lee and further notes by Alan Gubby (from Buried Treasure Records without whom this release would not exist). This LP also comes with a printed inner sleeve. This is a one-sided LP (there is only 17 minutes of music in all across the series)

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  • Jocelyn Pook : Blight - 12" (purge.xxx, 2022)

  • Jocelyn Pook had composed and recorded only one film score before she was commissioned by Stanley Kubrick for Eyes Wide Shut - and that was Blight by John Smith. Newly remastered, the soundtrack is presented here in full for the first time, with an additional track composed by Pook (revisited and extended for this release): Tango with Corrugated Iron / This record has been produced to coincide with John Smith: Introspective (1972–2022), the most complete survey of his film work to date, presenting 50 films from a 50-year career. Introspective will launch at the ICA on October 1 with Pook and Smith in conversation, and a music-themed film programme / Numbered + handmade; 180gr vinyl in custom-made screen-printed outer (sealed), containing two risograph inserts with a specially commissioned essay by David Roberts; no digital

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  • Trevor Mathison : From Signal to Decay: Volume 2 - LP (purge.xxx, 2022)

  • Best known as Black Audio Film Collective’s composer and sound designer, this is the debut LP by Trevor Mathison / Numbered + handmade; 180gr vinyl in custom-made screen-printed outer (sealed), containing two risograph inserts with a specially commissioned essay by Kodwo Eshun; no digital / Produced to coincide with Mathison’s first solo exhibition in a UK institution, curated by Appau Jnr Boakye-Yiadom and Oliver Fuke (From Signal to Decay: Volume 1) at Goldsmiths CCA (London), from 12/08/2022 until 18/09/2022: the exhibition’s closing event (16/09/2022) will be the first opportunity to hear this release in full, with Mathison and Ain Bailey in conversation

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  • Glenn Branca : The Ascension - LP (Superior Viaduct, 2022)

  • Glenn Branca's first full-length album The Ascension is a colossal achievement. After touring much of 1980 with an all-star band featuring four guitarists (Branca, fellow composers Ned Sublette and David Rosenbloom, and future Sonic Youth member Lee Ranaldo) with Jeffrey Glenn on bass and Stephan Wischerth on drums, Branca took his war-torn group into a studio in Hell's Kitchen to record five incendiary compositions. Originally released in 1981 on 99 Records, The Ascension effectively tears down the genre-ghettos between 20th century avant-garde and ecstatic rock 'n' roll / On "The Spectacular Commodity," chiming, shimmering tones unfold into sinister drone-territory à la Tony Conrad, while abrasive guitars and repetitive beats retain the raw primitivism of No Wave. The title track attains a densely packed, larger-than-life sound and (as author Marc Masters says best) "never stops climbing skyward." / With artist Robert Longo's stark front cover that depicts Branca battling an unidentified man, The Ascension is a must-have record not only for fans of early Swans and Sonic Youth, but also of Steve Reich or Slint's Tweez

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  • Interior : Interior - LP (We Release Whatever The Fuck We Want, 2022)

  • WRWTFWW Records is very happy to announce the official vinyl reissue of the highly sought-after Haruomi Hosono-produced Interior self-titled debut, originally released in 1982 on legendary label Yen Records. The LP comes in a heavy 350gsm sleeve / Interior is Daisuke Hinata, Eiki Nonaka, Mitsuru Sawamura, and Tsukasa Betto. Their classic 1982 debut, produced by Yellow Magic Orchestra’s Haruomi Hosono, is one of a kind - a very rare breed of feel-good ambient music blending instrumental synth-pop, soft electronic minimalism, and cozy sound design in the most heartwarming ways. It evokes the intimate pleasures of daydreaming in a hotel lobby, holding hands in a museum, or napping by the pool. It depicts the urban landscape as a caring environment, where simplicity and repetition is mind soothing and smile inducing / Interior takes you into an alternate reality, where nostalgic modernism makes the present time feel like the fondest memories. The unique sound of Interior caught the attention of William Ackerman and Anne Robinson who re-released the album in 1985 on their famed label Windham Hill Records (with a slightly different tracklisting) and then proceeded to put out their follow-up, Design, in 1987. After that, members of the group continued their careers separately, Daisuke Hinata notably recording an overlooked but absolutely amazing solo album, Tarzanland, in 1988

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  • Surface Of The Earth : Surface Of The Earth - 2xLP (Thin Wrist, 2022)

  • Since its release in 1996, Surface of the Earth's self-titled first album has gradually been recognized as an unlikely minimalist masterpiece and an essential work to emerge from New Zealand’s 1990’s Free Noise movement. Embracing elements of drone and ambient music, yet free from tonal / musical conventions, the Wellington trio created an album that defied easy categorization / It has been called "one of the most important albums to ever drag the subterranean vibe of unending drone into the stifling, weirdly beautiful vista of urban decay", and has drawn parallels with the works of Phill Niblock, William Basinski and Éliane Radigue, as well as Tony Conrad and John Cale. It is a rare album where players, instruments and space coexist and play equal parts - coalescing to create a new, monumental kind of music - one that is both haunting and embracing, dark and transcendent

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  • Grouper : Dragging A Dead Deer Up A Hill - LP (Kranky, 2022)

  • "The third full-length release for Portland, Oregon-based Liz Harris. Harris might have achieved a significant fan base thanks to the whispering, near-ambient vocal crusades of her debut album Way Their Crept and its follow-up Wide, but those with a careful ear would have heard slightly more trapped beneath her fuzzy chain of effects. Dragging A Dead Deer Up A Hill marks a departure of sorts for Liz, which sees her turn down the fuzz boxes which caged (and to some degree defined) her sound and allows her voice to ring out above everything else / It is an album steeped in the world of dream-pop and far from shying away from the reference, Liz has instead grabbed on with both hands, creating an album's worth of perfect, left-field pop songs. Using delicate song structures which are at once both familiar and somehow alien, her vocals cry out hauntingly over stripped-down guitar lines and looped environmental recordings. These are the future soundtracks to love, despair and ultimately, hope." "This remarkable album is actually what I personally always wanted 4AD records to sound like, only they never quite delivered the hazy pleasures their beautiful sleeve art promised." --Pitchfork (8.2)

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  • The Dead Texan : The Dead Texan - LP (Kranky, 2022)

  • Eighteen years after its initial release, The Dead Texan’s eponymous LP has received the vinyl treatment. The only record released by the duo of Adam Wiltzie (Stars of the Lid) and Christina Vantzou, this 2004 album is a dreamy, unhurried delight which moves back and forth between ambient and post-rock stylings. We’re glad to see ‘The Dead Texan’ again

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  • Arthur Russell : Love Is Overtaking Me - 2xLP (Audika, 2021)

  • Compiled from over eight hours of material, three years in the making, Love Is Overtaking Me reaches back further to Russell’s first compositions from the early `70s and spans forward to his very last recordings, made at home in 1991. Chris Taylor of Grizzly Bear contributed mixing, restoration and editing to the album, whose tracks were selected by Audika’s Steve Knutson, Ernie Brooks and Russell’s companion, Tom Lee. A number of the songs feature prominently in Wild Combination: A Portrait of Arthur Russell, Matt Wolf’s film, which had its world premiere this year at the Berlin International Film Festival and will be released theatrically and on DVD this fall by Plexifilm / Love Is Overtaking Me is the fifth release of Russell’s material by Audika Records, whose work has proven that the music remains as contemporary today as when it was first recorded. The label launched with the disco/new wave collection Calling Out Of Context (2004) and continued with a reissue of the cello-and-voice masterpiece World Of Echo (2005); the instrumental compositions double-disc First Thought Best Thought (2006); and the hip-hop-inspired Springfield EP (2006), which includes a DFA remix of the title track

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  • Raum : Daughter - LP+12" (Yellow Electric, 2022)

  • Raum = Jefre Cantu-Ledesma + Liz Harris from Grouper / Daughter captures a strange time spent in the desert, later added to, edited and finally made sense of after we lost the friend we’d been there with. There are fragments of beginnings and a deep sense of loss.   A requiem, a lullaby, goodbye / This album works best as one long piece. Each track transitions into the next without pause

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  • Baba Commandant, The Mandingo Band : Sonbonbela - LP (Sublime Frequencies, 2022)

  • Sublime Frequencies is honored to release the third LP from Baba Commandant and the Mandingo Band. Sonbonbela was recorded in the beginning of 2022 in the Republic of Burkina Faso. The group continue to hone their trademark fusion of Mandingue and afro-beat styles. The Mandingo Band are a hit machine, sculpting seven new tracks of near Beefheart/Magic Band dynamics, Fela inspired groovers dusted out in the Sahel zone, rather than the humidity and sweat of Lagos, creating one of the most original and propulsive musical statements to come from the contemporary West African cultural juggernaut / As with previous releases, the band features the legendary guitar pyrotechnics of Issouf Diabate, truly one of the greatest West African (or Earth for that matter) guitarists of the last forty years. The band is completed by a near bottomless barrel of artistry from the Ouagadougou and Bobo Dioulasso musical talent pool. On bass guitar, Wendeyida Ouedraogo, on drums Abbas Kabore, and on percussion and balafon, Nickie Dembele. Leading the charge again is the captain himself, Mamdou Sanou on the Doso Ngoni featuring one of the most distinctive voices of the modern era. The opposite of the banal trends of auto-tune that have pervaded most of West African popular music, Baba’s voice still impresses with its gravel and grit, showcasing a range that is ancient and defiant in equal measure. This LP is a non-stop hit parade of afro-beat bangers destined to light dance floors and living rooms ablaze!!! / This album is dedicated to the memory of Massimbo Taragna, the bass player extraordinaire who was an integral part of the Mandingo Band’s trance stun musical power who passed away in early 2022

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  • Pan American : The Patience Fader - LP (Kranky, 2022)

  • The glacial distillation of Mark Nelson’s “romantic minimalism” achieves unique fruition on his latest Kranky collection, The Patience Fader. A suite of solo guitar instrumentals accented with lap steel, harmonica, and twilit atmospherics, the strings smear and sparkle in elegant, windswept swells, a guitar mode once described by Brian Eno as “Duane Eddy playing Erik Satie.” These are elegies as much as songs, lulling and lilting in private currents of beauty and bereavement. Nelson speaks of the notion of “lighthouse music,” radiance cast from a stable vantage point, sending “a signal to help others through rocks and dangerous currents.” / Composed during the highly isolated summer of 2020, the pieces took shape as meditations on “roots and mourning, trying to connect with those deep hidden rivers that lead to a greater communality.” There’s something ageless, scarred, and American about this music, both displaced and devotional, the ghost of rust belts and dust bowls looming in a horizon of deepening dusk

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  • Earthen Sea : Ghost Poems - LP (Kranky, 2022)

  • Jacob Long's third Earthen Sea outing for Kranky, Ghost Poems, further refines his fragile, fractured palette into fluttering arrhythmias of dust, percussion, and yearning. Composed during the first wave of lockdowns in New York, the pieces took shape patiently from samples of piano, texture, and domestic sounds (sink splashing, room tone, clinking objects), filtered through live FX to imbue them with an intuitive, immaterial feel. Wisps of melody splinter, shimmer, and refract, like light on water; pulses accrue and dissipate, as if mapping shifting sands. Throughout, there's a sense of matter made animate, of absences felt

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  • Valentina Magaletti, Fanny Chiarello : Permanent Draft - 7" (Horn of Plenty, 2022)

  • Two-track black square flexi + 32 page photo/poetry zine / Conceived as a manifesto for eponymous all-female label Permanent Draft, this limited flexi comes with a booklet of poetry and pictures based on the prime number 13. Permanent Draft aims to highlight works showing a certain taste for fragmentary, irrepressible creative eruption and lo-fi experiments. Leaving the grandiose apart to pay and bring attention to the sounds, details and anecdotes of everyday life, picking up raw material from the ordinary. Bitter truths, migrainous fulfilments, dead clowns, broken gods, taffeta fairies, fruit foxes and non-binary empty frames outline these very aesthetics

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  • Nova Scotia : Old Light - LP (Horn of Plenty, 2022)

  • Horn of Plenty excavates the shadowy depths of the New Zealand/Aotearoa underground with Old Light, a collection of previously unreleased recordings by Nova Scotia, the experimental trio of Dean Brown, Dick Whyte, and Rick Jensen. Resting at the borders of free improvisation, noise, drone, and ecstatic ritualism, across seven tracks - recorded sporadically between the early to mid-2000s - the LP unveils a widely unacknowledged flowering of singular, real-time creativity from the southern hemisphere, with few parallels before or since / As though Faust, Marginal Consort, and the free-wheeling psychedelia of Parson Sound and International Harvester had birthed a delicate, inward-looking child, Old Light embarks on a journey through doomy noise dirges, clatter-threaded drones, spirited DIY clamour, and joyously experimental, real-time improvisation, culminating as a body of creatively brilliant sonority that recalibrates our understanding of what flowered from the NZ/Aotearoa underground at the dawn of the new millennium

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  • Black Ox Orkestar : Everything Returns - LP (Constellation, 2022)

  • Standard edition without flexi. Everything Returns reconvenes the original Black Ox Orkestar lineup after a 15-year hiatus. Arising from the fertile Montréal post-punk scene of the early 2000s, the band comprises Scott Gilmore, Jessica Moss and Thierry Amar of Thee Silver Mt. Zion (Amar also continues to compose and play bass for Godspeed You! Black Emperor) and Gabriel Levine of Sackville / Black Ox made two acclaimed albums of roiling acoustic avant-folk in the mid-2000s, exploring Eastern European and North African folkways through the lens of a gritty, resonant indie rock sensibility, juxtaposing interpretations of instrumentals from various Jewish, Romani and Arabic traditions with originals led by Gilmore’s politically-charged Yiddish vocals. These early albums have since become lodestars for many among a new generation of Yiddish, Klezmer and radical Jewish diasporic music practitioners and fans

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  • Murcof : Remembranza (2022 Remaster) - 2xLP (Leaf, 2022)

  • Laurel green vinyl. In conversation with fellow modern classical composers like Arvo Pärt, Henryk Górecki and Giya Kancheli, Remembranza pairs acoustic pianos, strings, and harp alongside treated electronics in order to create a sort of uncanny exploration of rhythm. Lengthier tracks like ‘razon (en 3 partes)’ and ‘rostro’ build a rich tapestry of slow moving and repetitive loops while the tertiary interludes brilliantly add movement

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  • SoiSong : qXn948s - LP (Dais, 2022)

  • Black vinyl. SoiSong is the stunning but short-lived partnership of Coil co-founder Peter “Sleazy” Christopherson and veteran Russian electronic experimentalist Ivan Pavlov. Though friends since 1997, the project birthed roughly a decade later in Bangkok, where Christopherson relocated following the death of his Coil collaborator John Balance in 2004. Named after the Thai word for ‘two’ along with a notorious red-light district street nearby, the duo dialed into a cryptic language of lurching synthetics, Eastern minimalism, and interdimensional glitch, oscillating between elegance and mayhem. qXn948s collects some of their earliest recordings, and remains as transgressive and transcendent a listen now as it was upon its release a decade and a half ago / Pavlov characterizes SoiSong as less a musical group than a “utopian, semi-alien platform for collaboration, devoid of pronounced personality or centralized authority… more like a message from elsewhere that anyone is welcome to participate in and spread.” Every facet of the project was disruptive and oblique: self-released CDs packaged in elaborate origami that had to be destroyed to be accessed; a website with password protected sections, where different passwords were provided for different events, objects or releases; performance merchandise of headphones and a Walkman melted shut so the music can only be heard as long as the set of batteries last. Theirs was a muse as unprecedented as it was uncompromising, equal parts pranks and profundity / qXn948s began with samples and software composed intuitively in tandem before a large monitor, then progressively processed and scrambled into bewildering arrangements of digital frequencies, alternately spartan and claustrophobic, uneasy and uncanny. Vignettes of small melody emerge and are obliterated; gamelan-esque tones spiral above cybernetic pulse programming and funereal didgeridoo; skeletal piano meanders in the distance while flickering circuitry pummels patterns of white noise. Pavlov describes his and Christopherson’s chemistry as “unspoken and sincere, and very efficient.” That music this aggressively disorienting and complex congealed in a smoothly organic fashion is testament to the rare vision of its creators

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  • Murcof : Martes + Utopia (20th Anniversary Edition) - 3xLP (Leaf, 2022)

  • Cloud white vinyl. Murcof"s first three albums are to be reissued on vinyl to mark the 20th anniversary of the release of his seminal debut album, Martes. Out of print for many years, these albums have been hugely influential in the worlds of minimal and ambient electronic music in their use of modern classical instrumentation, and are significant landmarks in the history of The Leaf Label. Each of the reissues is presented in a new gatefold sleeve featuring updated artwork, with Remembranza and Cosmos featuring fully remastered audio, and Cosmos including a previously unreleased bonus track

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  • SoiSong : qXn948s - 12" (Dais, 2022)

  • Transparent clear vinyl. SoiSong is the stunning but short-lived partnership of Coil co-founder Peter “Sleazy” Christopherson and veteran Russian electronic experimentalist Ivan Pavlov. Though friends since 1997, the project birthed roughly a decade later in Bangkok, where Christopherson relocated following the death of his Coil collaborator John Balance in 2004. Named after the Thai word for ‘two’ along with a notorious red-light district street nearby, the duo dialed into a cryptic language of lurching synthetics, Eastern minimalism, and interdimensional glitch, oscillating between elegance and mayhem. qXn948s collects some of their earliest recordings, and remains as transgressive and transcendent a listen now as it was upon its release a decade and a half ago / Pavlov characterizes SoiSong as less a musical group than a “utopian, semi-alien platform for collaboration, devoid of pronounced personality or centralized authority… more like a message from elsewhere that anyone is welcome to participate in and spread.” Every facet of the project was disruptive and oblique: self-released CDs packaged in elaborate origami that had to be destroyed to be accessed; a website with password protected sections, where different passwords were provided for different events, objects or releases; performance merchandise of headphones and a Walkman melted shut so the music can only be heard as long as the set of batteries last. Theirs was a muse as unprecedented as it was uncompromising, equal parts pranks and profundity / qXn948s began with samples and software composed intuitively in tandem before a large monitor, then progressively processed and scrambled into bewildering arrangements of digital frequencies, alternately spartan and claustrophobic, uneasy and uncanny. Vignettes of small melody emerge and are obliterated; gamelan-esque tones spiral above cybernetic pulse programming and funereal didgeridoo; skeletal piano meanders in the distance while flickering circuitry pummels patterns of white noise. Pavlov describes his and Christopherson’s chemistry as “unspoken and sincere, and very efficient.” That music this aggressively disorienting and complex congealed in a smoothly organic fashion is testament to the rare vision of its creators

  • SEALED

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  • Murcof : Cosmos (2022 Remaster) - 2xLP (Leaf, 2022)

  • Lunar silver vinyl. With the 20th anniversary of Murcof’s debut comes a reissue of his first four albums for The Leaf Label. Full of wonder and cinematic textures, Cosmos is composed almost entirely of classical instruments filtered through a glitchy, microbeat lens. These lurching space opera meditations constantly fluctuating between the sounds of minimal techno, ambient, and modern classical, from the eerie deep space murmurs and bursts of organ on ‘Cuerpo Celeste’ to the visceral orchestral surges from the farthest regions of the Solar System on ‘Oort’

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  • Arv & Miljö : Vålnad Av Fornskog - LP (Discreet Music, 2022)

  • Gloss laminated sleeve with double-sided insert.* Coming full circle, Vålnad Av Fornskog is the fourth and final part in Arv & Miljö's suite of seasonal ambient albums initiated with Svensk Sommar I Stilla Frid (Omlott, 2018) and continued with Himmelsvind (Discreet Music, 2020) and Ensam Är Nattens Rymd Över Vita Vägar (Discreet Music, 2021) / Heavily inspired by the Swedish countryside autumns of the 80's, the album starts just at the tail end of the summer. Fragmentary memories of things like rain on a tin roof, empty playgrounds and windy days walking home in the dark comes alive throughout the five segments on the album, sounds integrated with dissolving melodic synth primitivism and crude tape techniques / While arguably not miles away in sound and ambience compared to the previous parts, the broken new age music of Vålnad Av Fornskog is further pushing the fidelity boundaries with everything almost falling to pieces at the end. Glimpses of early Pacific City Sound Visions or Dreamtime Taped Sounds releases meets 90's Tangerine Dream through speakers on fire with an undeniable dose of 'Swedish tape noise'. Features a guest apperance by Mark Anderson of Greymouth fame on drums

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  • Aroma Di Amore : OnderStroom - 6xLP+7" Box (OnderStroom, 2022)

  • Comprehensive box-set of 6 LPs / EPs and their first rare 7inch / Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987 / Box includes: Gorilla Dans De Samba 7" (1983), Voor De Dood 12" (1984), Koude Oorlog LP (1984), De Sfeer Van Grote Dagen 12" (1985), Zonder Omzien 12" (1986), Harde Feiten LP (1986), Koudvuur LP (1987)

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  • Baldruin : Kleine Freuden - LP (Mappa Editions, 2022)

  • Johannes Schebler's musical output is all about establishing a dreamlike territory where sonic settlements can spread at ease. While Grykë Pyje (Johannes Schebler's duo with Jani Hirvonen) presents musical landscapes as open and clear spaces, Baldruin's miniature pieces tend to narrow them down, zooming into domestic sceneries that shift like malleable rooms inside a magic building. These are the quarters where the inhabitants of Schebler's musical world are configured / Rendered in a tender manner, the tunes in Kleine Freuden (in English: small joys) unfold like a collection of fairy tales and bedtime stories. Fables and lullabies performed in whispering tones seem to carry us through a child's dream where images blend into each other. Compact, yet gauzy and free flowing melodies gather up revealing an ensemble of households where fanciful entities play care freely, leading us along their musical maze. The music is placid, childlike and playful. It wanders around in unwavering estrangement, organizing an unprecedented and intimate space as seen from a bird's eye view / In the landscape of a bedroom where the night lamp is the sun, we take part in a lively journey, as wonder is warrant and keeper of a warm and pristine environment. Perspective shifts as we rise from bed sheet folds that turn into fragile mountain ranges. We crawl behind furniture and take shelter in secret hideouts while dust falls upon us like a blizzard. Transfiguring notions of scale and time, we are left wondering how long have we been here, wondering if music is the only true measurement of time

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  • John Cage : Cheap Imitation - LP (Cramps, Sony Music, 2022)

  • 180gr purple vinyl housed in a gatefold sleeve with printed inner sleeve. Reissue of the 1977 Cramps Nova Musicha imprint n.17. The music is a "cheap imitation" of Erik Satie. Nice meandering piano music played by John Cage himself. Registered at Center for Contemporary Music of Mills College in Oakland, California, Cheap Imitation is a piece for solo piano by John Cage, composed in 1969. It is an indeterminate piece created using the I Ching and based, rhythmically, on Socrate by Erik Satie; it consists almost exclusively of a single melodic line, with occasional doublings, as an “imitation” of the original score

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  • Philippe Maté, Jef Gilson : Workshop - LP (Souffle Continu, 2022)

  • Reissue with obi strip. Made up of two long improvisations each of over 22mn, “L'Œil” on side A and “Vision” on side B, this “Workshop” by Jef Gilson, with the gifted young saxophonist Philippe Maté, plunges you into the depths, attempting to drown you in electronic waves, dragging you back to the surface by the collar, giving you a good shakedown, before showing you the light, leaving you breathless on the shore after 46mn of the most intense music French has to offer / The album was recorded on 4 February 1972, at the Foyer de Montorgueuil, where Gilson had set up his studio, with more or less the same team found on “La Marche Dans Le Désert” by Sahib Shihab + Gilson Unit (recorded ten days later). This was drummer Jean-Claude Pourtier and pianist Pierre Moret (regular Gilson accomplices since “Le Massacre Du Printemps”), alongside Maurice Bouhana and Bruno Di Gioa on various percussions and/or wind instruments. On bass is Didier Levallet, of the now mythical Perception, (Jean-François Catoire would replace him with Shihab) and Philippe Maté who took top billing, rather than the American saxophonist afterwards / The two albums are however quite different. This “Workshop” is more abrasive, more free. Made up of two long improvisations each of over 22mn, “L'Œil” on side A and “Vision” on side B (Gilson specialists would recognise the nod to one of his albums from the 60s), the album plunges you into the depths, attempting to drown you in electronic waves, dragging you back to the surface by the collar, giving you a good shakedown, before showing you the light, leaving you breathless on the shore after 46mn of the most intense music French has to offer

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  • Morton Subotnick : The Wild Bull - LP (Karlrecords, 2014)

  • Re-issued on vinyl for the first time since its original 1968 release! Based on an ancient Sumerian poem, Morton Subotnick’s follow-up to his highly influential milestone “Silver Apples Of The Moon” is no less an adventurous sonic trip on the Buchla synthesizer. Limited edition (500 items) audiophile 180gr LP, especially mastered for vinyl / Born 1933, Morton Subotnick is a key figure in the progress of electronic music: along with Pauline Oliveros and Ramon Sender he co-founded the San Francisco Tape Music Center in 1961 and from 1963 on he worked with Don Buchla on the development of the early synthesizer “Buchla Series 100”. In 1967 the composer and musician released his debut “Silver Apples Of The Moon”, which proved to be one of the most influential albums and an undoubted milestone in electronic music (which was even selected for the Library Of Congress in 2009). A year later Morton Subotnick presented his adventurous follow-up “The Wild Bull” / Loosely based on / inspired by an ancient Sumerian poem of the same name - a lament about loss and death caused by war - the two parts embark on further explorations into the hitherto unimagined creative possibilities of the synthesizer. 46 years after its initial release, “The Wild Bull” has not lost a single bit of its visionary magnitude and is still an adventurous sonic trip, finally available on vinyl again as audiophile 180gr LP that was cautiously remastered for vinyl

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  • Simon Shaheen : The Music Of Mohamed Abdel Wahab - LP (Zehra, 2022)

  • Reissue of the oud / viola virtuoso Simon Shaheen’s interpretations of pieces by one of the Middle East`s most important 20th Century composers, Mohamed Abdel Wahab. Produced by Bill Laswell, remastered for vinyl at D&M Berlin / “Shaheen`s violin soars over a slicing string section and a bed of percolating percussion, while accordion, oud, finger cymbals and a chorus of singers weave in and out. Produced with sparklingclarity by Bill Laswell … this record opens a new world of harmonic and melodic possibilities to ears accustomed to Western pop.”Greg Kot / Chicago Tribune

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  • Zeitkratzer : James Tenney - LP (Karlrecords, 2022)

  • By zkr director Reinhold Friedl’s personal request now available on vinyl for the first time: Zeitkratzer's critically acclaimed interpretations of groundbreaking compositions by James Tenney / James Tenney (1934 - 2006) was a composer, music theorist and pioneer especially in the field of microtonal music, being an influential part of the so-called New York avantgarde scene (Cage, Feldman). Besides his compositonal work, Tenney was teacher at various universities with students like Charlemagne Palestine, Carl Stone or Catherine Lamb, and a close friend with Eliane Radigue / This album by Zeitkratzer presents three compostions by Tenney whose music has been part of Zeitkratzer’s repertoire since their beginning: # „Critical Band“ – Tenney’s late classic – with maximum clarity and precision of bearing tone rhythms and microtonal tuning as light effect. # the first recording of „Harmonium #2“. Both works demonstrate the remarkable power and resplendent sharpness which Tenney achieved with his microtonal settings. # „Koan: Having Never Written A Note For Percussion“ (incl. in the download) is an orgiastic listening experience in the form of a huge crescendo on a tam-tam - from whispering to singing, culminating in shrill roaring and blustering – and it’s dark decay. Zeitkratzer’s approach to Tenney’s music as a sensual sound adventure, finally available on vinyl!

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  • Iannis Xenakis : Hibiki Hana-Ma / Mycenae Alpha / Polytope De Cluny - LP (Karlrecords, 2022)

  • "Hibiki Hana-Ma" was created in 1969 for the Steel Pavilion of the Japan Iron and Steel Federation at the Expo 1970 in Osaka as musical part of a multimedia show. Even though the work does not bear the designation in its title, it can be already regarded as a Polytope: it was created for a specific architectural location, lasers and mirrors have been installed: a light choreography by the Japanese artist Keiji Usami accompanied the spectacle. This concept of synchronized laser and light choreographies -- now directed by Xenakis himself -- can soon be found in Polytope de Cluny 1972 and 1978 again in the Diatope (La Légende d'Eer) / But Hibiki Hana-Ma is also a hermaphrodite in another sense: on the Japanese record release from 1970 Seiji Ozawa is credited as conductor of the Japan Philharmonic Symphony Orchestra and Kinshi Tsuruta as Biwa-soloist (a traditional Japanese string instrument). By listening one quickly realizes that the music is not orchestral or Biwa music, but only uses electronically processed recordings as source material for an electroacoustic music. Xenakis's first explicit Polytope (Polytope de Montreal 1967) was originally conceived for four orchestras, and then transferred to tape for practical and financial reasons. The first concept of a Polytope was an installation with live-orchestra-music -- as the tape version is a recording without further electroacoustic treatment, it is not included in this release / Like Hibiki Hana-Ma, Mycenae Alpha is also a special case but for another reason: it was composed for his last Polytope (Polytope de Mycènes 1978) and consists exclusively of synthetic sounds, realized with his graphic system UPIC. The result is rough and sober and marks the beginning of his last electroacoustic compositions, shifting back to purely electronic music. With Hibiki Hana-Ma and Mycenae Alpha, the first side of the record vividly demonstrates the vast musical range of the Polytopes, from recorded orchestral sounds to purely electronic parts. The synthesis of the most diverse musical materials had taken place in between, especially in compositions like Persepolis (1972) and the joyful-noisy Polytope de Cluny (1972) that is presented here on Side B

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  • Iannis Xenakis : Taurhiphanie / Voyage Absolu Des Unari Vers Andromède / Gendy 3 / S.709 - LP (Karlrecords, 2022)

  • This album is disc V Late Works of the 5 LP / 5 CD box set Electroacoustic Works that celebrates the 100th anniversary of Xenakis (on May 29th, 2022), one of the most influential 20th century avantgarde composers. All tracks have been newly mixed by longtime zeitkratzer sound engineer Martin Wurmnest and mastered by Rashad Becker and finally reveal their full sonic range and dynamics

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  • Iannis Xenakis : Diamorphoses / Concret Ph / Orient Occident / Bohor - LP (Karlrecords, 2022)

  • Iannis Xenakis's early electroacoustic works define already the compositional space he is using later in his mature, almost one-hour long works like Persepolis or La Légende d'Er. After arriving in Paris as a Greek refuge in 1947, Xenakis quickly found a work as construction engineer with the architect Le Corbusier. He tried in vain for several years to become a member of the Groupe De Musique Concrète (GRM) and thus to gain access to the electroacoustic studios at the French radio. Pierre Schaeffer accepted him only when not only Messiaen pushed for it, but also the conductor Hermann Scherchen lobbied for him / Diamorphoses was his first attempt at composing musique concrète and was to remain his only one. He carefully recorded small sounds and worked on them systematically in weeks of tape-snapping. But he also combined sound material that presumably came from the GRM's Sonothèque, and here his fable for powerful sound masses was already apparent. Concret Ph originally was a sound installation: as Le Corbusier's assistant, he had been allowed to completely design the architecture of the pavilion for the Brussels World's Fair 1958, but his music was only to serve as a break filler between the repetitions of the main attraction: the Poème électronique by Edgar Varèse with projections by Le Corbusier / Under the title Interlude Sonore, Xenakis created a tape consisting of the most minimal tape snippets sticked together and got something that sounded almost like the tickling of glowing coal. Xenakis anticipated granular synthesis in analog tape form: the combination of little sound grains giving birth to a new sound. Orient Occident is an extract from music for a documentary film about the encounter of Eastern and Western cultures, shortened by about half

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  • Iannis Xenakis : La Légende d'Eer - LP (Karlrecords, 2022)

  • Release #2 in the Perihel series is one of the most famous electroacoustic compositions by Iannis Xenakis. Mixed by Martin Wurmnest, mastered & cut by Rashad Becker, “La Légende d’Eer” is available as vinyl (180gr, DL code, insert with liner notes by Reinhold Friedl) and download for the very first time. When Iannis Xenakis (1922-2001), who had fought against the occupation as part of the communist Resistance, moved to Paris in 1947 it was the start of a highly creative and impressive career. Xenakis not only studied composition with Messiaen and became one of the most innovative composers of the 20th century, he also worked as assistant to Le Corbusier and realized a.o. the Philips Pavilion for the World Exhibition in Brussels 1958 / His compositions often are based on mathematical principles (in 1966 he founded the CEMAMu - Centre d'Etudes de Mathématique et Automatique Musicales), which give his music an unprecedented aesthetic and “shocking otherness” (The Guardian). The most famous works of Xenakis, who won the Polar Music Prize (considered the unofficial Nobel Prize for music) in 1999, are his compositions for orchestra Metastasis, Pithoprakta and Terretektorh (where the 88 musicians are spread within the audience) and the electroacoustic compositions Persepolis (to be re-released later on as part of the Perihel series), Concret PH, Bohor and La Légende d’Eer where Xenakis integrated his stochastic synthesis sounds for the first time / As legendary as this piece itself is the impenetrable thicket of versions and stories around La Légende d’Eer - it exists in different releases, wrong sample rates, digitized backwards … this now is a new version, using the 8-track-version that Xenakis himself presented at Darmstädter Ferienkurse in august 1978. As the automatic spatialization is lost, this became the only original version of this composition and is presented here (mixed down to stereo by Martin Wurmnest who tried to preserve the spatial movements as perceptible as possible – mastered by Rashad Becker at D&M) for the very first time. La Légende d’Eer not only became a milestone of electroacoustic music but is also an important reference for noise and industrial musicians up to the present day!

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  • Giulio Aldinucci : Real - LP (Karlrecords, 2022)

  • Italian sound artist Giulio Aldinucci returns with his 4th album on Karl: “Real” is again a truly masterfully composed and sound-designed ambient masterpiece and a more than worthy follow-up to the critically acclaimed “Borders And Ruins” (2017), “Disappearing In A Mirror” (2018) and “Shards Of Distant Times” which all made it onto several year’s best lists / With now his 4th album for Karl, the sound artist from Siena / IT has proved a steady and prolific artist on the label roster. And each time, Giulio Aldinucci delivers a new ambient masterpiece that clearly carries his signature as composer / producer and yet reveals a slightly different approach to his modus operandi. Aldinucci’s massive layers of sound, built from field recordings and an array of electronic gear, blend droney ambient with heavenly voices / sacred music that create an atmosphere of a consolatory melancholy – alien, but with a graspable presence of human souls. And each album deals with a topic that Aldinucci came across in his observations of and reflections about today’s society / In the words of Giulio himself: “The digital media we live with shape and define reality by filtering it, letting us run the risk of living without our personal and unique one. My new album expresses a need of something unmediated and authentic. “Real” is a reflection on the endless possibility of sonic transformation, the ability we have to create new realities transmuting the soundscape around us and the inner soundscape inside us, even only by imagining it. A (deep)real experience permeated by dreamy lyricism.”

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  • Iannis Xenakis : Persepolis - LP (Karlrecords, 2018)

  • Perihel series. Reissue of one of the most expensive collector’s item of electroacoustic music! / After "La Légende d’Eer" in 2016, the Perihel series presents one of the milestones of electroacoustic music: Iannis Xenakis' mindblowing 54-minutes oeuvre "Persepolis", mixed from the original 8 track tapes by Martin Wurmnest and mastered / cut by Rashad Becker

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  • Coil : The New Backwards (It’s In My Blood Edition) - 3xLP Box (Infinite Fog Productions, 2022)

  • 185g picture 3LP set in heavy sleeve with hotfoil embossing and insert. Includes free TNB slipmat. Brilliantly chaotic and outrageously rhythmic material from 1993-1996, originally meant as the follow-up to “Love’s Secret Domain”. “The New Backwards” effectively became the final official Coil studio release of all new material whilst Peter was still alive. Mastered by Grammy nominated Jessica Thompson. Artwork by Ian Johnstone, licensed by The Estate of Ian Johnstone / “The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, Coil’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance / Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other Coil release

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  • Lex (de Kalhex) : Cairn - LP (Akromégalie, 2018)

  • I conceive each album as a continuation of the previous one, but also as an incentive to break with it. So far, each release was based on a journey I made and the inspiration and feelings it sparked within me. Each time I visit a new country — in case of « Cairn » it was my trip to Scandinavia — I dig for records and discover new landscapes with unique colors. All of this helps me to picture the music I’m looking for / Usually it starts with an analog photograph I take of that place. In succession to that I create sound that could tell my story of this picture. To me, the record cover is as important as the music. It doesn’t have to illustrate the album’s title but has to complete the sound experience by giving the listeners clues on how I understand it / A cairn is a heap of stones piled up as a memorial or as a landmark. I like the idea of a sculpture made from natural elements. And while the materials used are products of nature, a cairn is the result of human interaction in his/her environment. To me this sums up what we are doing as artists. We com-pile elements that surround us to create something new, that hopefully people will refer to. Lex (de Kalhex)

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  • Louis Moholo Octet : Spirits Rejoice! - LP (Otoroku, 2019)

  • Remastered reissue / Here we have another of those highly sought-after records that people pay large amounts for in the second had market. Spirits Rejoice! By Louis Moholo Octet is a free jazz masterpiece, originally released in 1978. Now it is reissued at a more palatable price. Moholo is a South African drummer who has played in South African jazz bands, The Blue Notes and The Brotherhood of Breath as well as Afro-rock combo, Assagai

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  • Evan Parker : Saxophone Solos - LP (Otoroku, 2021)

  • Otoroku is proud to reissue Evan Parker's first solo LP "Saxophone Solos". Recorded by Martin Davidson in 1975 at the Unity Theatre in London, at that time the preferred concert venue of the Musicians' Co-operative, Parker's densely woven and often cyclical style has yet to form; instead throaty murmurs appear under rough hewn whistles and calls - the wildly energetic beginnings of an extraordinary career. Reissued with liner notes from Seymour Wright in an edition of 500

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  • Evan Parker : Six Of One - LP (Otoroku, 2021)

  • Originally recorded and released in 1980, "Six of One" beautifully captures the detail in Evan Parker's high frequency split tones for which he is now perhaps better known. Five years on from "Saxophone Solos" and with circular breathing and polyphonics well worn into his live performances, Parker's experimentations here produce sustained passages of brilliant flight. Set into the echoes and resonances of a St Judes On The Hill church, the results are stunning / Transferred from the original master tapes and released in an edition of 500

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  • Benoit Pioulard, Jogging House : Communiqué - MC (Private, 2022)

  • Brown transparent cassettes with white on-body printing. Each cassette includes a different small-format print of one of Pioulard’s photos. A collaboration forged in mutual respect and the quiet of winter. Recorded in the US & Germany across the wires

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  • Andrew Pekler : Tristes Tropiques - LP (Faitiche, 2016)

  • Faitiche welcomes back an old friend: Andrew Pekler was the musical director of the 2011 album Sonne=Blackbox (Ursula Bogner, faitiche05 lp/cd/book). Known for his albums on Senufo Editions, Entr’acte, Dekorder, Kranky and other labels, Andrew Pekler’s new work Tristes Tropiques is now released by Faitiche. Tristes Tropiques is an album of synthetic exotica, pseudo-ethnographic music and manipulated field recordings

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  • Funcionário : Cavalcante - LP (Holuzam, 2022)

  • Look around you. In recent years ambient music has changed and encountering Jon Hassell's fourth world design has become easy. Most of the time there’s no feeling, no narrative, a nothingness of ideas through layers and layers of pastiche and boring bedroom music. This is not bashing. Just a reminder that sometimes the information trap delays an understanding of how good music really is / “Cavalcante” is the new release by funcionário (born Pedro Tavares). You’ll find Jon Hassell in these eleven pieces. And yes, sometimes you’ll think about ambient music. Most of the time you’ll wonder about what is really happening. And why it's only now you’re hearing about this twenty-something musician from Setúbal, Portugal

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  • Dale Cornish : Traditional Music of South London - LP (The Death Of Rave, 2022)

  • Spanning 12 tracks, Traditional Music Of South London serves as a "psychosexual-geography of London's lost gay club haunts," according to a press release, which also adds that it includes songs about "masculinity, [Cornish's home base] Croydon and trainers." The record marks the producer's debut for Manchester-based label The Death Of Rave

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  • Clarice Jensen : For This From That Will Be Filled - LP (Miasmah, 2022)

  • Silver vinyl with metallic artwork. For this from that will be filled is the debut album by Clarice Jensen, artistic director of the American Contemporary Music Ensemble (ACME). The album explores the variable differences between acoustic and electronic sound as well as depiction of the simulated and the unconscious. It was originally conceived as a collaboration between Jensen and the artist Jonathan Turner as an audio-visual work, but is here presented in it´s pure audible form / Building on a long and romantic tradition of solo cello repertoire, Jensen expands and confuses the familiar sound of the cello through the use of effects pedals, multi-tracking, and tape loops recorded at variable speeds, presented in works she has written for herself as well as a piece she conceived together with Icelandic composer Jóhann Jóhannsson. Also featured is Michael Harrison’s Cello Constellations for multi-tracked cello and sine tones, written for Jensen, which meditates on long, sustaining tones / With For this from that will be filled, Jensen has made an incredibly strong first album that feels like a surreal and futuristic journey through an alternate timeline

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  • Marja Ahti, Judith Hamann : A Coincidence Is Perfect, Intimate Attunement - LP (Second Editions, 2022)

  • After their distinguished duet ‘Portals’ for Cafe Oto's Takuroku label, ‘A coincidence is perfect, intimate attunement’ is a wonderful sophomore collaborative work pieced together over two years of changing seasons, ideas, moods, and feelings. The release is formed from a shifting field of sound correspondence that pivots on moments of coincidence, of a tuning in / What are we opening ourselves to when we tune in to sound? How can one be truly open to a sound? How can the activity of recording move beyond notions of capture and release into more generative frames? Rather than a tool purposed for preservation or ‘conservation’ of memory, of time and place, can recording sound instead form new vibrant or vibratory spaces of attunement? / ‘A Coincidence..’ is an LP length composition of multiple interlocking parts, created through exchange, alignment, unpredictability: the title borrowed from poet Fanny Howe falling right into place, a flock of birds in flight, pitches matched and moved across different geographies and temporal frames. Marja & Judith have created an intuitive, lyrical longform piece that considers the idea of attunement itself as, in some sense, the smallest form of measure or denominator connecting their respective practices: across field recording, just intonation, electronic sonorities and instrumental bodies. ‘A coincidence..’ reflects a sense of a willingness to tune in to impulses given, or gifted to the other, a position that embraces an intimate synchronicity

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  • Andy Stott : Passed Me By - 2x12" (Modern Love, 2022)

  • Clear vinyl repress. Taking influence from an array of seemingly incoherent noises, from the indefinable and unforgettable mindtricks of Arthur Russell to the slowhouse of Kassem Mosse, from the alternate VHS realities of James Ferraro and Jamal Moss to the Linn Drum classics of the vintage Prince era - these seven tracks create their own pace and agenda, largely shying away from the dancefloor in favour of something more complex and hard to define. Following on from the tribal malfunctions of opening intro Signature, New Ground heads into a chasm of layered loops, creating a decimated and re-wired funk template coloured in with frayed percussion and dislodged vocal samples / North To South starts off from similar ground but adds a shuffling vibe at a deceptively intoxicated 110 bpm. Intermittent is something altogether different, taking perfectly formed Boogie templates and screwing with them until nothing quite fits, brittle elements floating in and out of time yet somehow keeping it together, before Dark Details delivers the most dancefloor compatible six minute stretch of the set, all clanging stabs and dense percussion, somewhere between Shackleton and Bam Bam. Execution and Passed Me By end things off on a slowed down tip, the former deploying an anaesthetised and padded 4/4 template sunk deeper into the abyss by deformed, time-stretched vocals, the latter ending off proceedings with a more delicate palette, letting go of all that pent-up emotion with nothing but that rumbling low-end and some strings for company

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  • Jyl : Jyl - LP (Minimal Wave, 2021)

  • Minimal Wave is honored to present a reissue of Jyl‘s self-titled full-length album from 1984, originally released on Klaus Schulze’s Inteam label. Born and raised in California, Jyl travelled to Europe in her twenties to dance and met several talented and like-minded collaborators along the way. She ended up in Germany, and worked with Ingo Werner, Angela Werner, and Klaus Schulze, on what would become one of the most important and forward thinking electronic albums of the time. Shortly after its release, the song “Computer Love” became a mini-hit along with the album’s opening track “Mechanic Ballerina”. The lyrics of “Silicon Valley” and “Computer Generation” are reflective of the times and have become even more relevant now, 36 years later / The production and song arrangement on the album is immaculate. The synthesizers, drum programming and vocal contributions complement Jyl’s voice perfectly. The album contains an incredible depth beyond a regular dance album likely due to the spirit of the people behind it – the list of contributors add to its significance and near-mythological mystery / After years of searching to no avail, the master tapes were finally located and we were able to remaster them for the best possible audio result. The record is pressed on black 180 gram vinyl and comes housed in a glossy heavyweight sleeve. The sleeve features an updated version of the original artwork, and is accompanied by a 12 page LP sized booklet, featuring large scale portraits of Jyl from the time, an interview (thank you, Anders Larsson), and all of Jyl’s previously unpublished lyrics

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  • Laila Sakini : Paloma - LP (Modern Love, 2022)

  • Clear vinyl. Laila Sakini's new album 'Paloma' arrives via Modern Love and is her most striking and ambiguous to date - a pointed and timely meditation on hope and hierarchies that riffs on Zbigniew Preisner's magical "The Double Life of Veronique" score and enduring outsider music tome "The Langley Schools Music Project". Subtly transcendent, fathoms-deep music that's had us in cold sweats for months - highly recommended if you’re into Dominique Lawalrée, Grouper, Bruce Springsteen’s ‘Streets of Philadelphia’ / When Laila Sakini's debut album ‘Vivienne’ arrived in 2020, it felt like the record we were waiting for to map out our tangled reactions to an uninvited reality. Never self-consciously strange, it revealed itself slowly and cautiously, like a shadow in the corner of the eye, or an alchemical symbol in a bowl of alphabet spaghetti. This time around Sakini has worked her unique world-building to an even finer point, forming six tracks around a theme that's so close to our heart it's almost beating in time. Initially inspired by Krzysztof Kie?lowski's 1991 arthouse classic "The Double Life of Veronique", the cult Polish director's enduring modern fairytale that serves as a cosmic rumination on identity and choice. Detailing two identical women - both singers, both in love - the film lets one live as the other dies, forcing us to consider the implications of art and endurance in the face of life's myriad challenges / Sakini takes Polish composer Zbigniew Preisner's influential score for the film and uses it as a jumping-off point for ‘Paloma’, bending the more grandiose moments into baroque awkwardness on opening track 'Fluer D'Oranger' and evoking the mood of scene-setting cues 'Weronika' and 'Véronique' on the recorder-led 'The Light That Flickers In The Mirror'. And while Preisner's score zeroed in on the musical virtuosity of the film's lead characters, Sakini reinterprets that as a metaphor for self-discovery. Playing piano, violin, glockenspiel, timbale, recorder, and occasionally singing, Sakini captures a mood of innocence that immediately transports the listener back to simpler times. Her music isn't self-consciously simplistic, but forcing herself to interface with instruments impulsively rather than studiously, her sounds are all heart, no filigree

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  • Läuten der Seele : Die Mariengrotte als Trinkwasseraufbereitungsanlage - LP (Hands in the Dark, 2022)

  • The prolific German musician Christian Schoppik is dropping his second solo record of 2022 under the moniker Läuten der Seele, following up his critically acclaimed self-titled debut album released at the start of the year / Once again, 'Die Mariengrotte als Trinkwasseraufbereitungsanlage' (The Mother Mary Grotto as a Drinking Water Treatment Plant) is a work based on a mix of sample collages and recorded instruments that are often used sparsely but as load-bearing elements. However, this time, Schoppik came up with two long tracks where the narrative evolves in multiple and intricate movements to tell mysterious stories that have to be imagined by the listeners as the music unfolds / If the title of the tracks 'Opferkerzen weihen das Betonbecken' (Votive Candles consecrate the Concrete Pool) and 'Der Heilige Geist aus der Leitung' (The Holy Ghost from the Water Tap) give a starting point to these stories, the ethereal, mystic and dreamy sounding minimal atmospheres presented in this recordings let each one of us contemplate our own soothing experience against the continuous chaos surrounding us

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  • Gavin Bryars : The Sinking Of The Titanic - LP (Superior Viaduct, 2022)

  • Gavin Bryars was born in Yorkshire, England in 1943. His first musical forays were as a jazz bassist working in the early 1960s with improvisors Derek Bailey and Tony Oxley. Bryars later worked with composers John Cage and Cornelius Cardew, founded the Portsmouth Sinfonia and collaborated with Brian Eno on his famed Obscure imprint / The Sinking of the Titanic, Bryars' first major composition, was inspired by the tragic event of the British passenger liner's cross-Atlantic maiden voyage. Bryars eloquently reconstructs the passengers' experience – at once forlorn and eerily calming – through assemblages of understated strings and indeterminate elements. A core principle of the piece is that the ship's band continued to play as the vessel went down. One of the most sublime works in the modern classical canon, Titanic remains Bryars' magnum opus / Jesus' Blood Never Failed Me Yet, the album's second sidelong track, is based on a tape loop of a London street singer captured in the early 1970s. Featuring Derek Bailey, Michael Nyman and John White, Bryars' composition gradually builds around the cripplingly poignant voice until its emotional force is almost too much to bear. It's no surprise that Jesus' Blood is known as Tom Waits' all-time favorite piece of music. Produced by Brian Eno in 1975 as the inaugural release on Obscure, The Sinking of the Titanic draws the listener in to a majestic world. While these exquisite, hymn-like recordings have not changed in nearly 50 years, their deeply personal nature and the audience's attention to their subtlety have only strengthened over time

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  • M. Zalla, Piero Umiliani : Problemi D'Oggi - LP (Black Sweat, 2022)

  • Don't let the name mislead you! The enigmatic M. Zalla is one of the numerous aliases of the italian maestro Piero Umiliani who, during his period of fascination for psychedelic and electronic atmospheres, started to compose a good number of musical portraits dedicated, as the title reveals, to the problems of his time / We are at the beginning of '70 and italians are worried by mafia, terrorism and social conflicts: so it has sense that the music choosen to represent this anxious problems has a sperimental nature; dark and disturbing, a sort of unicum in the long and extremly productive Umiliani career / And if, in 2015, titlesas “Mondo in Crisi”, “Problemi Sociali”, “Azione Sindacale”and “Mafia Oggi” sounds still sadly actual, it's even more surprising find that the music of “Problemi d'Oggi” (Today Problems) is projected on the future, sounding still alien and uniques. The record presents a various styles: Pink Floyd atmospheres (or Braen's Machine if you prefer...) and compositions characterized by a wide use of drum machines and synthetizer (MOOG and Sinthy). We just have to listen to the opening track “Produzione” to give sense to the words of Sean Canty (Demdike Stare) that defines it the first techno/trance track of the history; but between the grooves of this vinyl it's easy to find intuitions that many other artist and musicians – from Residents to Aphex Twin and Four Tet – will be able to catch during their carrers

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  • Everest Magma : Alto/Piano - LP (Black Sweat, Maple Death, 2022)

  • Everest Magma rediscovers the folk roots of his dreamy alter ego Woodcutter. Once again he appears as a minstrel crossing moonstruck woods inhabited by gnomes, butterflies and crawling creatures. Nature is sublimated into a personal alien vision in which a lysergic approach triumphs in the arrangement of sound material and immersive musique concrète / Pure acid-folk fingerpicking communicates directly with the forest’s humus, steeped in wild and ethereal moods. Between schizoid or more lyrical moments, a persistent taste for subtle subterranean noises, electric flashes, radio and ufological interferences, deviant scents and psychological drifts permeates the flow. The abstracting structure of voices and singing expresses the cyclical beingness of living, a decontextualizing dimension of space and time. It's the pantheistic feeling of a parallel naturalistic universe, which also takes cues from the psychedelic eccentricity of Claudio Rocchi’s ‘Suoni di Frontiera’, the Incredible String Band or Holy Modal Rounders. Co-produced with Maple Death Records

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  • J.D. Emmanuel : Electronic Minimal Music - 3xLP (Black Sweat, 2022)

  • The recent rediscovery of J.D. Emmanuel by critics and audience, and his comeback to underground scene from 2010 was crucial to reweave the development of electronic music in the early Eighties. This new publication cast new light on his first activity of composing and performing electronic music during 1979-83, experiments totally unreleased and never before published on vinyl. Certainly seminal minimal works such as Four Organs or Violin Phase by Steve Reich, A Rainbow in Curved Air by Terry Riley as well Cluster, Harmonia or Peter Michael Hamel's works of the early Seventies had a decisive impact on the Emmanuel's debut / However, since the beginning he proves to reshape and reformulate the lymph of his sources of inspiration with a consolidated maturity and accurate vision unparalleled. His poetry it's  closely tied to the will to expand consciousness and explore his altered states, but more than a "cosmic courier" he rather appear as "courier of soul and heart" and "a student of metaphysical Nature of the Universe". Magician of a incredible variety of analog keyboards JD conceives the sound as dynamic translation of forces and organic fluid expanding flows of energy mass / The cyclicity of patterns and phrases refer to minimalist iteration but his music has little in commune with something purely mathematical; but also using an approach to improvisation filtered by his interest in jazz and in the temporal expansion of rock-jams, harmonic sections are charged with a intimate spontaneity and freedom without boundaries. These 14 "vaporous drawnings", released in a deluxe edition with photos, writings and digital download code donate a primordial state of grace to the listener, in parallel to contemporary ancestral work Wizards in 1982 (containing two tracks that was originally included in Wizards, but replaced by other tracks just before the final master)

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  • Pefkin, Roxane Métayer : Split - LP (Morc, 2022)

  • Mutual admirers of each other’s work, these titans of Scottish and French dronefolk team up for a split lp – 2 tracks by Pefkin, 3 by Roxane. The fact that these like-minded artists explore the boundaries of what connects them, makes it a very exciting release. The Pefkin side is Gayle at her most melodic, whereas Roxane goes down a poetic and rhythmical path. Dream combo / Pefkin is the alter ego of Gayle Brogan, Ayrshire-based creator of slowly-unfolding, ritualistic hymnals that draw heavily on the landscape and natural world. Gayle has been a key figure in the experimental music scene since the mid nineties. The past 10 years, we’ve been fortunate enough to release three of her albums on morc – on those last couple of records, she proves she’s the rare kind of artist that actually still gets better and better, decades far in her career. A true force of nature / Born in France and currently residing in Brussels, Roxane Métayer is truly a multidisciplinary artist. Learning the violin at a young age, she also developed herself as a visual artist, creating drawings, sculptures in uncommon materials as soap, and in recent years video. Her work as a musician is of an equally spontaneous nature. She debuted in 2021 on morc with the lp ‘Éclipse des ocelles’, to overwhelming positive response, and a series of live-shows in which she easily met all expectations

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  • Blod : Pilgrimssånger - LP (Discreet Music, 2022)

  • Repress with green screenprinted cover and slightly reworked lyric book / Pilgrimssånger is the first of two new Blod albums deeply inspired by the Swedish Christian parish culture. The songs deals with human connection and solitude in a life built upon faith. The lyrics depicts exposure and anxiety but also joy and belief among free church members, the complexity of the relationships in the community with its leaders and priests and - ultimately - God / The songs are mainly influenced by Swedish folk music, psalms and choral music. While being an heavy album, Gustafs' intention has still been to fill the listener with hope and light rather than the opposite. As usual with Blod, the approach has been to highlight the beautiful things in generally ugly contexts, something that has probably never been as evident as on Pilgrimssånger. Pilgrimssånger features guest apperances by Elin Engström and Anna Johannesson on vocals and percussion. Joakim Karlsson mixed and mastered the album

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  • Edward Vesala : I'm Here - LP (Svart, 2022)

  • Drummer and composer Edward Vesala, the most internationally renowned jazz musician from Finland, was very keen on percussion instruments. Oddly enough, this broad and enduring interest is hardly evident on his albums. Whether playing on his own albums or contributing to other musicians’ work, Vesala played a standard drum kit most of the time. He hardly used external percussionists on his own albums either. And most of all: his music was almost never percussive, at least in the traditional manner. Perhaps even stranger is the fact that he barely played any drum solos on his own albums / That’s why I’m Here (Blue Master Special, SPEL 311, 1974), recorded in Helsinki in 1973, is such a rarity. Of course, being a limited release has also made it an expensive treasure among collectors. Additionally, I’m Here is Vesala’s only solo album and only percussive album, and one of the few where he can be said to play drum solos, albeit in his own idiosyncratic way / The idea of a jazz drummer making a solo album was in itself quite rare in 1973, although not entirely unheard of. French Pierre Favre had already made two solo albums (in 1970 and 1972), and Dutch Han Bennink and Swedish Sven-Åke Johansson one each, both recorded in 1972. It wasn’t exactly Vesala’s first time either. He had already played drums alone on the second side of the album Yksi, kaksi, kolme, neljä soul jumppaa (One, two, tree, four soul gymnastics, Gross Records, GRLP-27, 1969), though for purely instructive purposes, showcasing different rhythms and tempos

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  • Eiko Ishibashi : Imitation Of Life - LP (Drag City, 2013)

  • O'Rourke does Ishibashi! This Imitiation is her western bow, plus also a progressive sci-fi pop album featuring the best playing on any albums released in Japan in 2012. New music, no matter in what year you hear it!

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  • Joel Vandroogenbroeck : Far View - LP (Drag City, 2021)

  • Distinctively exotic drifts of library music suffused with psych and next wave ambience, all collected from Joel Vandroogenbroeck's cult-classic Coloursound releases of the 1980s. Leagues beyond the top-shelf work he'd done throughout the 70s with kraut-progsters Brainticket: these were new musical idioms to be explored. All tracks remastered from their original analog tapes!

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  • Bill Nace : Through A Room - LP (Drag City, 2022)

  • Using the looped-and-screwed methodology of Both, Nace takes a seismic step, building the process into a larger compositional process, employing guitar plus tapes, hurdy gurdy, doughnut pipe, quelle est belle and the nu Nace ax of choice, taishogoto. Phrases talk to and obliterate each other, expanding and emerging into brave new unheard vistas

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  • Héron Cendré : 3-4 - LP (Moli Del Tro, 2022)

  • Black vinyl. Born in la Hague near Cherbourg and based in Rennes for 7 years, Héron Cendré builds a poetic world made of sounds from modular synthesizers, field recordings picked up in schools and other minimal lofi weirdness / The album 3-4 is a perfect example of this. It's « a pure, minimal, chaotic, holy, cosmic, tender skill, somewhere between a movie soundtrack and a signal from outer-space » (Gonzaï) / His influences include Terry Riley, Philippe Glass, Hiroshi Yoshimura, François de Roubaix, Jean-Jacques Perrey and Pierre Bastien

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  • 7Fo : Music For Himitsu - LP (Métron, 2022)

  • Three colour vinyl. For Métron Records' tenth album release, the label welcomes back Japanese artist 7FO (RVNG, Bokeh Versions, EM Records) for his second album on the imprint. Originally created to accompany a 2014 exhibition by Osaka art collective Himitsu, Music For Himitsu has now been remastered and pressed to vinyl for the first time / Made up of ceramicist Shiori Nishino, photographer Hiroshi Nakamura and landscape gardener Takashi Torigoe, Himitsu showcased an elemental combination of light (photography), water (plants) and earth (ceramics) to explore a locale of beauty where harmony and discord coexist / Realising their show was missing one final piece of the puzzle, they asked fellow Osaka native 7FO to create a soundtrack for the show. The work was played on a loop throughout the run and on one occasion was performed live

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  • Tenka : Hydration - LP (Métron, 2022)

  • Transparent ochre coloured 140g vinyl / Following the release of his album trilogy (Kwaidan, Komachi and Kofu), Meitei has established himself as a defining voice in contemporary Japanese music. By sharing intricate sonic stories and impressions of his nation's rich culture, he has built an aural world around his notion of the ‘lost Japanese mood’ / His latest project, under the new moniker Tenka, aims to work without the boundaries of theme, storytelling or audience expectations. Spending many hours in the mountain forests that he lives close to, his latest project Hydration explores the rich sensory pleasures of his natural surroundings, focusing on colour, sound, smell, humidity, touch, atmosphere and taste

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  • Li Yillei : OF - LP (Métron, 2021)

  • Translucent 140g ‘natural' colour vinyl. « Z / OF is a word that can be used as a preposition to express the relationship between a part and a whole. It is an unfinished tone, a broken sentence, a start and a whole. It is sustainable, full of potentials and longings. » / London based performance and sound artist Li Yilei shared an experience familiar to many migrants during the past year of COVID-19 chaos. With their UK visa set to expire, and family back in China, Li made a last-minute dash to return to their nation of birth. Able to board one of the last few flights to China during the initial turmoil of the coronavirus outbreak, Li made it back to Shanghai for a two-week stint in a quarantine hotel / Though Li had already begun creating OF, the reality of the pandemic began to seep into the recordings. Each of the 12 tracks is a study in horology, using metaphorical sound transcriptions and atmospheric extractions to focus on the temporal relationship between experience and surroundings. Li’s awareness of their own understanding of time became increasingly heightened during quarantine and the emotional involvement found within these new realities informed many of the sounds created

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  • Ernest Hood : Back To The Woodlands - LP (Freedom To Spend, 2022)

  • Noonday yellow vinyl. Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods. A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind / Working closely with his estate to maintain his original vision, Freedom to Spend has restored and remastered this never before released, lost masterpiece by Ernest Hood from the original tapes. Ernest Hood’s Back to the Woodlands will be issued on vinyl, as well as on CD in combination with its contemporary Where the Woods Begin, with new liner notes by Michael Klausman

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  • Akio Suzuki, Takehisa Kosugi : New Sense Of Hearing - LP (Blank Forms Editions, 2022)

  • 12" on black vinyl, pressed at RTI and housed in a heavy-duty jacket manufactured by Stoughton. Available from Blank Forms for the first time since its original 1980 release on ALM-Uranoia, New Sense of Hearing documents a collaboration between Takehisa Kosugi and Akio Suzuki, two luminaries of Japanese experimental music in the lineage of Fluxus. Blank Forms’s high-quality reissue of the sought-after, long out of print LP, is produced by musician-artist Aki Onda and mastered from the original tapes recorded on April 2, 1979, at Tokyo’s Aeolian Hall / Described by Suzuki as the “culmination” of their sound, New Sense of Hearing features the two musicians improvising together in that empty Tokyo theater, Kosugi on vocals, violin, and radio transmitter and Suzuki on the Analapos, his namesake glass harmonica, spring cong, and kikkokikiriki, all apparatuses of his own invention

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  • Ernest Hood : Back To The Woodlands - LP (Freedom To Spend, 2022)

  • Black vinyl. Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods. A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind / Working closely with his estate to maintain his original vision, Freedom to Spend has restored and remastered this never before released, lost masterpiece by Ernest Hood from the original tapes. Ernest Hood’s Back to the Woodlands will be issued on vinyl, as well as on CD in combination with its contemporary Where the Woods Begin, with new liner notes by Michael Klausman

  • SEALED

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  • Léon Francioli, Jean-François Bovard : Musique - 2xLP (Plainisphare, 1984)

  • Sticker lower right. Recorded in Lausanne on July 21 1984

  • NM/NM

  • € 16

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  • Michel Portal Unit : À Chateauvallon - No, No But It May Be - LP (Le Chant Du Monde, 1973)

  • Gatefold sleeve, first press

  • NM/NM

  • € 22

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  • Lee Konitz, Hans Koller, Lars Gullin, Roland Kovac : Lee Konitz - LP (Swingtime, 1989)

  • These somewhat rare recordings were made in 1956 when altoist Lee Konitz went on tour with the great Swedish baritonist Lars Gullin. Konitz, who also plays tenor on one tune and baritone on two others, works well with this complementary group which includes the tenor of Hans Koller, a second baritonist and a German rhythm section. Pianist Roland Kovac contributed three of the originals, Konitz brought in three others, Gullin contributed "Late Summer" and the group stretches out on the lone standard "I'm Getting Sentimental over You." The fresh material and interesting combination of saxophonists make this European import LP of above average interest to bop and cool jazz fans

  • NM/NM

  • € 18

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  • Les Rallizes Dénudés : Heavier Than A Death In The Family - 2xLP (Phoenix, 2010)

  • Cover still in shrink, first press on back vinyl. Unofficial live album by Japanese noise rock band, Les Rallizes Dénudés. Most of the songs were recorded at a performance on 12 March 1977; the fifth track is taken from a 1973 performance. The album was released in 2002. In 2010, Phoenix Records repressed the album on vinyl and CD / The "sound is primitive guitar rock à la the Velvet Underground crossed with the Troggs, but their simple guitar riffs are fed through so much reverb, fuzz, and echo that it's like a dub mix of psychedelic garage rock... it retains a primal rock & roll throb...[the album] is essential listening for anyone who wants to understand [the Japanese underground rock] scene." / It reached #3 on Julian Cope's top 50 albums of Japanese rock. Cope writes, "It's relentless to the point of becoming meditative, and cylindrical to the point of being useful

  • NM/NM

  • € 89

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  • Colin Potter : Two Nights - LP (Deep Distance, 2013)

  • Half red/green transparent vinyl. I guess the first thing I should say about Two Nights is that it was my first experiment at playing 'live', albeit in the studio. I set up some synths, a sequencer, a drum machine and some basic effects and, with a vague plan in mind, picked up a guitar and pressed 'record' / I did this on two consecutive nights (hence the clever title) and what you hear is exactly what happened, no overdubs and no editing, which explains the bum notes here and there. I enjoyed the experience and had some idea about perhaps doing it in public, bt several things occured which put things on hold for a while. 17 years later, I finally got round to playing live in public. And it sounded nothing like this. But I'm still doing it / Some people never learn..... This was originally released on cassette by ICR in 1982, on CD by Ultra Mail Prod. as part of the Ancient History boxset, on vinyl by Deep Distance in 2013 and on cassette again in 2014

  • NM/NM

  • € 25

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  • John Renbourn : Sir John Alot Of Merrie Englandes Musyk Thyng & Ye Grene Knyghte - LP (Transatlantic, 1968)

  • An instrumental album (originally called Sir John Alot of Merrie England) featuring John Renbourn with his Pentangle bandmate Terry Cox on percussion and Ray Warleigh on flute. Released in England in 1968, the same year that Pentangle started to record, Sir John Alot was steeped largely in English folk music / Highlights include "The Trees They Do Grow High" (aka "Long A-Growing"), solo guitar miniatures such as "Lady Goes to Church," the epic "Morgana," with its sharply nuanced tempo and timbre changes, and the sprightly "My Dear Boy." Some parts of this album are surprisingly contemporary sounding, such as the bluesy "Transformation," which sounds like "What'd I Say" transposed for acoustic guitar and African drums; "White Fishes," which veers dangerously close to quoting George Gershwin's "It Ain't Necessarily So" and Rodgers & Hammerstein's "My Favorite Things"; and "Sweet Potato," which sounds like a folk-rock song without words, even as Renbourn quotes "Satisfaction" at one point

  • NM/NM

  • € 39

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  • Bonne Humeur Provisoire : Mèrak - LP (Animal Biscuit, Fougère, La République des Granges, Be Coq, Tandori, Et Mon Cul C'est Du Tofu?, Do It Yourself !, Les clampins d’abord, Gurdulu, Maison de retraite, 2019)

  • This record "Mèrak" is the first release of the band from Lille "Bonne humeur provisoire" (meaning temporary good mood, something we can all relate to). The album is a mixture of fun, energy and idio(t)syncratic postures liquified into outstanding productions of what seem to be improvised jam sessions ("il y a") or shamanic rituals trying to exorcise bad spirits of their home studio ("Qui va là"). The whole listening of "Mèrak" becomes addictive especially thanks to tracks with twisted and looped lyrics just like "Questions" / Between free-jazz, story-telling and "dada noise", Bonne humeur provisoire take classical instruments (double-bass, fanfare drum and their harmonized voices to adopt a theatrical approach to their performance

  • NM/NM

  • € 12

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  • The Nazgûl : The Nazgûl - LP (Mental Experience, Pyramid, 2018)

  • Shrouded in mystery Kosmische / Kraut / Avant-Garde artefact, produced by Toby Robinson aka The Mad Twiddler circa 1975 for his private Pyramid label / Tolkien inspired dark ambient soundscapes with spooky / ritualistic atmosphere, treated percussions, gongs & guitars, trippy Hammond & Mini-Moog, tape loops, weird noises, drones… / File under dark ambient, proto-industrial, kraut, experimental...

  • NM/NM

  • € 19

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  • Hiroki Tamaki : Kumoi Nohototogisukoku - LP (CBS/Sony, 1979)

  • Includes obi and two inserts. Not much info on the net about this japanese jazz rock musician.

  • NM/NM

  • € 39

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  • Roger Doyle : Oizzo No - LP (Cacophonic, 2018)

  • This manifesto of outsider orchestrations, teenage symphonies and cultivated concrete is the debut album of experimental Irish avant garde and electro acoustic innovator Roger Doyle. A pianist, composer and improvisational jazz drummer with a penchant for experimentation that would marginalise him from traditional seats of learning in his native homeland but embrace him to the bosom of Europe’s leading forward-thinking research centres for electronic and computer music. Here he would piece together two highly sought after experimental albums before returning home to channel his multi-disciplinary work ethic into the agit pop theatrical company Operating Theatre and play a leading role in the burgeoning Irish new wave scene as an early signing to U2’s Mother Records / A collection of some of Doyle’s earliest works as an indomitable scholarship student of composition at the Royal Irish Academy Of Music in Dublin and then as founding member and drummer of experimental jazz rock outfit Jazz Therapy (who would later become Supply Demand & Curve), this patchwork 1975 debut long-player draws from what was an already bulging portfolio that included academic assignments, living room compositions and soundtrack collaborations with Irish filmmakers / Originally part-recorded and subsequently aborted when the would-be label vanished without trace overnight, Oizzo No was shelved indefinitely until a scholarship at the prestigious Institute Of Sonology at the University Of Utrecht in Holland afforded Doyle not only the opportunity to partially revise his humble opus in their state of the art studios (as well as those of the EMS Studios in Stockholm) but also the money to press a limited run of 500 copies and help further cement the foundations of his future status as one of Ireland’s leading and most versatile contemporary composers

  • NM/NM

  • € 16

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  • The Electric Flag : The Trip: Original Motion Picture Soundtrack - LP (Sidewalk, 1967)

  • US Stereo pressing ST5908. Early pressing with yellow label / Starring Peter Fonda and Dennis Hopper, written by Jack Nicholson and directed by Roger Corman, The Trip practically defines the psychedelic exploito film genre. Its superb soundtrack was originally released in September 1967, and features 18 tracks by the nascent Electric Flag, with outstanding guitar from the great Mike Bloomfield, and prominent contributions from Moog maestro Paul Beaver. Showing influences from rock, blues, jazz and classical music, it is simply one of the best psychedelic albums of the period

  • G/NM

  • € 19

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  • Nurse With Wound : Automating Volume One - LP (United Dairies, 1986)

  • Black vinyl, no insert. Collecting several Nurse With Wound tracks from various compilations from the early to mid-'80s, the Automating albums are a good place to start for someone who doesn't want to jump into the more conceptual releases with longer tracks. Not all the pieces are the same as the compilation tracks, with some being drastically changed / One example, the opening piece on Vol. 1, "Dueling Banjos," is actually two different compilation pieces superimposed on each other with added sounds for something completely new. Clunky military rhythms, noisy squalls of feedback, and a hilarious comedy bit about becoming a registered nurse add up to a strange and memorable cut. The delightfully titled "Stick That Chick & Feel My Steel Through Your Last Meal" is creepier and more jarring, as mutated sax and bizarre female vocals are collaged with crashes of percussion and abrupt juxtapositions / "Nana" and "Ciconia" offer more in the way of weird collage, while "I Was No Longer His Dominant" has spoken word with a minimalist backdrop of slowly shifting drones and silences. "Fashioned to a Device" is probably the weirdest piece among several very strange tracks, with bizarre chanting loops and a background guitar drone that changes textures, while the claustrophobia of the piece builds and builds. All in all, Automating, Vol. 1, like the companion Vol. 2, offers a great selection of material from this unusual artist

  • NM/NM

  • € 25

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  • Los Brincos : Mundo, Demonio, Carne - LP (Si-Wan, 1993)

  • South Korean pressing. In 1969, Los Brincos, probably the most famous Spanish ‘60s pop band - often dubbed “the Spanish Beatles” – added a new member to their line-up: Colombian born Oscar Lasprilla, an accomplished keyboard / guitar player who had previously been part of pioneering Colombian psych bands Time Machine and the Speakers / Influenced by psychedelia, prog-rock and underground sounds, Los Brincos (now simply named ‘Brincos’), led by drummer / main songwriter Fernando Arbex, decided that their new album would be a conceptual work - something never seen in Spain until then - similar to what other international bands like Beatles, Who, Moody Blues or Pretty Things were doing. The concept behind the album was supposedly to be based on the three enemies of the soul: the world, the flesh and the devil, hence the final title: “World Devil Body”

  • NM/NM

  • € 35

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  • Lucio Battisti : Amore E Non Amore - LP (Sony Music, 2015)

  • If Lucio Battisti was Italy’s answer to France’s Serge Gainsbourg, then Amore E Non Amore is his own Histoire De Melody Nelson, a concept album that’s widely regarded as a formative artistic achievement (if far from the most hit packed album) of his respective career. Both albums were released in 1971. For Battisti, the concept came from that dichotomous title: there’s a rocky ‘non-love’ side of the album, which has songs about obsession and adultery, and a ‘love’ side of dreamy, prog-rock instrumentals / The album saw Battisti working with lyricist Giulio ‘Mogol’ Rapetti, with whom he’d collaborated closely since 1965, enjoying huge hits with the likes of “29 Settembre" and “Sognando La California,” an Italian version of “California Dreamin’". It was Mogol who first convinced Battisti to perform his own songs, and who conceived the idea for this record. Mogol supplied the inspiration, the title and the titles of its songs, many of them evocative sentences that flesh out the visual picture where lyrics are absent. Take, for example, “Davanti Ad Un Distributore Automatico Di Fiori Dell’aereoporto Di Bruxelles Anch’io Chiuso In Una Bolla Di Vetro,” which translates as “In Front Of A Flowers Vending Machine In Brussels Airport I Am Closed In A Glass Bowl Too” / Amore E Non Amore was to be a watershed moment for Battisti. His label considered it to be too experimental and advanced for the Italian audience, and refused to release it. They were wrong: it instead set Battisti on a liberating course of artistic freedom and widespread success, and gifted the world one of Italy’s greatest musical exports

  • NM/NM

  • € 22

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  • Sonny Rollins : East Broadway Run Down - LP (Columbia, 1969)

  • Reissue, German perssing with insert. Around the ten-minute mark of the title track, things get very interesting indeed -- moody and spooky as Jimmy Garrison hangs on a single note, making his bass throb along while Elvin Jones widens the space and fires drum and cymbal hits in all directions. Coming off bass and drum solos that never seem to fit anywhere in the piece, it's a supreme moment of tension-building, one that gets repeated after Rollins and trumpeter Freddie Hubbard restate the theme in unison. This is the sound of Rollins' group working in unity / For much of "East Broadway Run Down," though, the rhythm section is off doing their thing, usually together, while Rollins meanders about in limbo, seemingly trying to figure out what it is that he should be doing. That Rollins was having an off day for this recording is a suspicion that's strengthened by Hubbard's part -- where Rollins is wandering, Hubbard is charging ahead, focused and tight, fitting with the rhythm section, keeping the tension up / The remainder of the album is more on the mark, with "Blessing in Disguise" being quite enjoyable -- it starts out in a cheerfully traditional vein and gradually, subtly, starts to slide off into an improvisational area only to come back again to the traditional, and so back and forth. Rollins floats his sax line around the melody with only occasional excursions toward the outer regions. "We Kiss in a Shadow," though, is charmingly straightforward, a ballad rendering supported by Jones and Garrison locking together on a nice rhythm construction that lets Rollins float around the melody

  • NM/NM

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  • Guy Bernard, André Hodeir : Les Statues Meurent Aussi - LP (Doxy Cinematic, 2016)

  • 'Statues also die' is a 30 min. short film with a very complicated history of censorship that at one time elevated it to a somewhat mythical status... The Alain Resnais and Chris Marker's film exhibits a series of sculptures, masks and other traditional art from Sub-Saharan Africa projecting a passionately anti-colonial, anti-racist-, even anti-capitalist message in a stunning audio-visual collage accompanied by an intense and immersive musical score by Guy Bernard' (Doxy). Orchestra led by André Hodeir. Released for the first time ever on vinyl

  • NM/NM

  • € 14

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  • Ennio Morricone, Gillo Pontecorvo : Battle Of Algiers - Original Motion Picture Soundtrack - LP (United Artists, 1967)

  • Promo cut-out. US press UA-LA293-G / Ennio Morricone is perhaps the preeminent film composer of the last half century, an enormously influential artist whose iconic melodies and imaginative orchestrations grace some of the greatest films ever made. In this edition of Observations on Film Art, Professor Jeff Smith analyzes Morricone’s masterful score for Gillo Pontecorvo’s revolutionary bombshell THE BATTLE OF ALGIERS, an explosive portrait of the Algerian struggle for independence from France. Exploring Morricone’s use of two distinct themes—one representing the French fighters, the other the Algerian resistance—Smith illuminates how the latter’s perpetually unresolved harmonics come to mirror the unending nature of the war itself

  • VG/VG+

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  • Zebra Puke : Untitled - LP (Catatonic, 1997)

  • Paste-on cover. Not much info on the net about this free improv' combo from Germany

  • NM/NM

  • € 19

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  • Joel Grip : Pickelhaube - LP (Umlaut, 2012)

  • “Pickelhaube” is the first solo album of the improvising musician, swede Joel Grip. It was released in a period when he was more or less constantly under way playing concerts internationally. In anycase, the music was surely inspired by squeaking transportation, queuing waiting gnawing minds and the openness in confronting new meetings. This LP-vinyl (and download) is the result of an completely analogue recording and reproduction, and brings to you the very full body of a wooden battle ship of an instrument, the contrabass, and the wondrous breath of a musical mind

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  • Virus : Thoughts - LP (Long Hair, 2013)

  • Originally released in 1971 on famous German Pilz Label, Thoughts was the second and last album of a band which is often regarded as one of the most legendary krautrock bands. While 1st album Revelation was full of inventions and surprises within long tracks with extensive guitar workout, swirling organ and lots of improvisations, Thoughts showed a different style to the debut / With two different lead vocalist (Jürgen Schäfer and Werner Vogt) Virus' music was now more song oriented, more hard-rock and blues focused. That meant a step towards more song oriented Frumpy, but with a wild psychedelic edge and lyrics about drugs and paranoia, close to Pilz label-mates Dies Irae. Album comes with detailed liner notes by Virus singer (also bass and guitar player) Werner Vogt. For the first time officially released on vinyl. Limited edition, includes two bonus tracks. A must have!

  • NM/NM

  • € 25

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  • Various Artists : Neptunalia - LP (Lal Lal Lal, Ikuisuus, 2018)

  • Neptunalia, a festival of Neptune, celebrated at Rome, of which very little is known. The day on which it was held, was probably the 23rd of July. The festival was celebrated with games. Respecting the ceremonies of this festival nothing is known, except that the people used to build huts of branches and foliage, in which they probably feasted, drank, and amused themselves

  • NM/NM

  • € 18

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  • Jad Fair : Best Wishes - LP (Iridescence, 1985)

  • Includes insert. Fair is one of few singer-songwriters who expresses his feelings without the usual vanity and emotional overkill. His songs, about the human condition, are composed with open, raw rhythms. His voice is that of a rebellious youth, and he does not overuse his guitar. 'Best Wishes' is an instrumental work on which Fair's virtuosity comes into play

  • NM/NM

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  • Jacques Bekaert : Jacques Bekaert - LP (Metaphon, 2022)

  • First vinyl reissue after 41 years! Jacques Bekaert's 1981 eponymous LP - following 1979's "Summer Music" for Lovely - containing three tape pieces composed between 1969 & 1978, featuring contributions by a who's who of 60s & 70s Avant Garde & Fluxus figures - Takehisa Kosugi, Shigeko Kubota, David Behrman, David Rosenboom, Maggi Payne, George Lewis, "Blue" Gene Tyranny, Ryo Koike, amongst many others / The extended "Late Lunch" - at 28 minutes barely fitting onto an LP side - was composed in 1978; it's a bizarre pastiche of instrumental Concrète figures, subtly tape-delayed per each stereo channel & bordering on the inaudible at times that has, in spots, the same aleatoric Tape-Collage energy of pieces such as Dub Taylor's "Lumiére" or Luis De Pablos's "We (Nosotros)". "A Summer Day At Stony Point" was composed in 1969 Brussels' Studio de Musique Electronique APELAC & comes out of the gate with all pistons firing via a spectacularly bleep-oriented phase of errant electronics & backwards-masked squawks before heading into a long section of tape-echo'ed insectoid formations & vague held-tone Oscillator drift / Finally, "Mon Petit Album" was prepared in 1974 at Mills' CCM - Center of Contemporary Music & consists of Bekaert & Kosugi's flute & violin phrasings wrapped around a subtly transfigured array of processed sounds, both alienating & simultaneously quite welcoming. Both "Late Lunch" & "Mon Petit Album" were used as scores to experimental films by Akiko Iimura. An amazing selection of pieces that straddle the divide between Ensemble Composition, Live Electronic augmentation & GRM styled assemblage of constituent instrumental playing; if you've only heard the - frankly, tepid - Lovely outing, this should rewire your brain suitably as to Bekaert's range & prowess

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  • Michael Ranta : Azabu - CD (Metaphon, 2022)

  • Comes with 8 page booklet in gatefold cardboard sleeve. Even though only being fully terminated 50 years after its conception, ‘Azabu’ can be regarded as the starting point of Michael Ranta’s creative self-discovery. The recordings that form the base of ‘Azabu’ were mostly made in the Tokyo district with the same name (Azabu-Juban). Next to abstracted field recordings ‘Azabu’ is also pervaded by a rich variety of percussion, string and wind instruments, all played by Ranta himself / Subsequently Ranta edited, layered and processed the recordings at the NHK electronic music studio in Tokyo. Both pieces display a vast array of acoustic, electronic and concrete sound events meticulously sequenced to a complex fusion symbolizing the entire spectrum of earthly and heavenly sounds. Dynamic extremes evoke a restless flight through space, or through the depths of human subconsciousness, between dream and reality. Ultimately the music disappears, like a dot in the sky gradually fading into nothingness – an “ascension” that closes the loop in a ritual of life that can begin anew again at any time

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  • Sarah Davachi : Laurus - MC (Late Music, 2020)

  • This EP cassette was put together as a footnote to 'Cantus, Descant', a more raw and improvisational representation of the composition process in its early stages. These were actually the very first recordings I gathered when I began working on this record in August of 2017. A week or two before I moved from Canada to LA, I did several recording sessions at Pacific Spirit United Church in Vancouver and Chapelle Saint-Louis in Montréal on two beautiful Casavant organs from 1964 and 1916, respectively / 'Ruminant', from 'Cantus, Descant', comes from the Vancouver sessions and is "thematically" related to the 'Laurus I-III' material here. Nothing from the Montréal sessions actually ended up on the LPs, but I vividly remember recording the 'Accord of Voice I-II' series. I had just returned from six weeks in Europe and went in to do the first set of recordings the very next day at 7 am, before the church opened to the public, and my mind was kind of a mess. 'Accord of Voice I' was the first thing I worked on, it is the seedling of 'Cantus, Descant' even though it didn't make it to the album, and I still perform it for myself sometimes when I'm starting with any particular organ as a way of getting my head in the right place

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  • Sarah Davachi : In Concert & In Residence - 2xCD (Late Music, 2022)

  • Comes in 4 panel gatefold wallet. Sarah Davachi has explored all manner of extensive electroacoustic compositions throughout her career, often with droning ambience immense both in scale and beauty. Released earlier in the year, Two Sisters details patient resonances between sound and space to dazzling effect. Its supplemental collection of live performances In Concert & In Residence takes all of these themes to an exciting zenith, with 10-minute plus recordings containing enveloping swathes of sound / Composed for various organs, strings, and electronics, these are pieces that revel in subtlety and stillness. Gargantuan notes move at slow pace like the giants of nature: mountains, oceans, stars; changing over centuries but, to the human eye, remaining in a state of frozen beauty. The mesmerising tones of ‘In The Grand Luxe Hall’ are totally absorbing. The acoustic and electronic merge into one inseparable sonic texture, with the stroke of the cello’s bow and the occasional sound from the audience being the only things to indicate that time is still moving / Amongst the solo organ pieces is ‘Harmonies In Grey’, making apparent the whistling, howling, and soothing winds flowing through the instrument’s lungs, its bellows and pipes of wood and metal. ‘Harmonies In Green’ is a more active rendition of the Two Sisters track, its hushed, celestial chords broken halfway through by an intense eruption of reedy exhalations, showcasing the grand capabilities that the organ possesses. It closes In Concert & In Residence with a celebration of the physical force exerted by these instruments, powered by Sarah Davachi’s masterful compositions

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  • Sarah Davachi : Antiphonals - MC (Late Music, 2021)

  • "Antiphonals was borne of a desire to merge my studio practice with the tonal characteristics and sound-on-sound tape delay processes that have informed my approach to live performance for many years. Historically I’ve tended to somewhat separate the two (studio practice and live performance) in order to emphasize the type of listening experience that each domain is particularly well suited for. I produced two demo EPs in the early stages of this album, Five Cadences and Gathers, both of which were released in the spring of 2020 / Antiphonals is a return to the sound palette of Mellotron, electric organ, piano, and synthesizer that was developed on 2018’s Let Night Come On Bells End The Day, and in many ways the two can be seen as sister albums for a subdued moment. The Mellotron is removed of its typical progressive rock connotations here, in favour of the lesser heard English horn, bass flute, clarinet, recorder, oboe, French horn, chamber organ, and nylon-string guitar tape samples. An array of quiet companions joins the keyboard quartet: violin, voice, harpsichord tuned to meantone temperament, pipe organ, and acoustic guitar. The album was recorded in a restricted manner, using only an RE-501 Chorus Echo and a TEAC A-2340 four-track reel-to-reel / This is a collection of studies that began as a way of giving reverence to repetition and modality within a harmonic space. It is a minimalist music that is as much concerned with the vertical experience of texture as it is with the elongation of intervallic progressions across the horizontal realm – an occurrence that we might typically refer to as ‘melody’, but which becomes obscured here in the continual undoing of its staying power. Over time these somewhat generative articulations offered to me a meaningful expression of negative space and pervasive absence, a feeling of objects slowly being thrown into relief."

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  • Sarah Davachi : Antiphonals - LP (Late Music, 2021)

  • Canadian-in-LA electroacoustic composer Sarah Davachi has rediscovered her muse since releasing work on her own label, Late Music. Having explored hitherto unheard realms of enchanting melodic organ and electronics drones on her 2020 album Cactus, Descant, Antiphonals further explores these ideas using a sound palette of Mellotron, electric organ, piano, and synthesizer / Referring to church music sung or recited alternately by two groups in its title — Antiphonal is a studied solo affair in which Davachi weaves seemingly embattled tones to create an unearthly whole by combining two approaches to her production. The tonal characteristics and sound-on-sound tape delay processes used for live performances over the years as well as studio practices. The record’s first piece, ‘Magdalena’, a limitless 10-minute exhalation of organ murmurations which could just as easily be sourced from an entire brass ensemble, slowed to a titanic glacial movement. ‘First Cadence’ and ‘Gradual Of Image’ follow at a similarly frosty pace, echoing the subtle microtonal adjustments of La Monte Young and Harry Partch transposed into an uncannily spiritual atmosphere / "This is a collection of studies that began as a way of giving reverence to repetition and modality within a harmonic space.  It is a minimalist music that is as much concerned with the vertical experience of texture as it is with the elongation of intervallic progressions across the horizontal realm – an occurrence that we might typically refer to as ‘melody’, but which becomes obscured here in the continual undoing of its staying power.  Over time these somewhat generative articulations offered to me a meaningful expression of negative space and pervasive absence, a feeling of objects slowly being thrown into relief." - Sarah Davachi

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  • Celer : Xièxie - 2xLP (Two Acorns, 2022)

  • Covered in rain, during the days and even the nights, Shanghai was lit in a glow, a mist turning to a constant grey fog. Buildings lined with neon and lcd screens flashed, and from around corners and behind buildings, the night was illuminated much the same as the day. Cars separated the classes, their horns voices punctuating the streets, as pedestrians in groups loosely scattered the streets, talking and walking on speakerphone / Standing by the metro escalators, there in the square with the overhanging trees of a park, there is construction all around. The buildings seem to be climbing into the darkness at this very moment. Leaving behind and moving forward. We seem to know everything already, our illusion of experience. I imagine taking your hand, I imagined taking your hand, and the lights in the subway flicker as we go deeper. Transit bookmarks each experience, every daydream, and in the end they're interchangeable and indistinguishable between reality and imagination. Try to remember which is real / To Hangzhou the maglev reached 303 km/h, the towering apartment buildings hunch under construction, passing by in blurs on the flat farmland landscape. I fell asleep, as you were dancing but to no music. The lilies on the lake nodded in the rain, dipping into the water. There was a Wal-Mart near the hotel where I won a pink bunny from a claw machine. I remember the beauty of the architecture of Hangzhou station, birds swirling around the pillars near the top, the echoes of the deep station interior, and the laughing at being lost. There at least we have each other, that memory, or that daydream. Everything moves faster than we can control. Days are just flashes, moments are mixed up but burned on film, and all of the places and times are out of order. If it could only be us, only ours. If it was ours, if it was us. Sometimes everything goes faster than you can control and you can't stop, much less understand where you are

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  • Copenhagen Clarinet Choir : Organism - 12" (År Og Dag, 2022)

  • Organism is the debut album from Copenhagen Clarinet Choir. With track titles like ’Flocking’, ‘Hive Mind’ and ‘Water Piece’, the work is situated at the intersection of composition and improvisation, and at the nexus of nature and music. Led by Irish woodwind player and composer Carolyn Goodwin, the clarinet sextet takes an egalitarian approach in the way it assembles its players. In the music of Organism, interdependent parts find an overall shape as organically as a living entity. Much like a choir, the individual voices of the six homogenous instruments are synergized, creating a warm, pulsating body of sound / Goodwin says, “There is a strong feeling of unity that comes from everyone playing the same instrument and producing one sound together. As an instrumentalist, it allows you to dissolve into the combined body of sound, much like one does in a vocal choir. It creates a tangible physical connection between each of the players, and it allows us to explore the clarinet as an extension of the body- through breath, fingering and posture.” / Organism strikes an often elusive balance between what is pre-determined and what is spontaneous, a balance that classically trained Goodwin admits is a constant occupation for her and is what led her to form Copenhagen Clarinet Choir. Exploring compositional ideas within the field of improvised music, she uses the ensemble to experiment with various sound concepts such as the representation of patterns found in subaquatic movement, swarming of insects and flight patterns of birds, and to investigate the ever-dissolving line between her role as composer and performer

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  • Maiya Hershey, Steve Jansen : Neither Present Nor Absent - LP (The state51 Conspiracy, 2022)

  • Steve Jansen, the English multi-instrumentalist, composer, and producer, is best known for his work with the art pop band Japan and subsequent solo works. Maiya Hershey is Portugal-based audiovisual artist and sound designer whose interest in anthropology and philosophy forms part of her creative process. The duo’s musical collaboration - Neither Present Nor Absent - is a work meant to expand upon its title and their mutual interest in experimenting with sonic techniques and exploring their connectedness with identity and the past / This state51 Conspiracy release is a welcome rendering of ‘Neither Present Nor Absent’ as a physical artefact, with James Ginzburg of Emptyset and other projects remastering it for vinyl. Certainly, its five quiet instrumental pieces, fashioned via piano and electronics, have a dignity and depth that deserves corporeality. Assembled remotely over some 12 months by Steve Jansen and Maiya Hershey, who live in London and Beirut respectively, this is their first collaborative release / Age-wise, they may be a generation apart – Jansen’s first record, as a core member of high-minded art-rockers Japan, was released 15 years before Hershey was born – but share much in their musical philosophy, with instruments (Hershey’s piano, often, but also saxophone, cello and bells) manipulated and folded into various field recordings and other aleatory sonics. And yet, while this is by any measure experimental music, there is a pop sensibility in the kernel of ‘Neither Present Nor Absent’: take the central melody of ‘Toward The Surface’, or the mournful, cinematic ‘As We Drift’. Jansen can claim over 40 years’ experience forging experimental/popular music links, while Hershey has rather more modern credentials, with a solo piano piece heard by several million people thanks to its inclusion on a meditation app

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  • Andrew Wasylyk : Hearing the Water Before Seeing the Falls - LP (Clay Pipe Music, 2022)

  • Turquoise vinyl. ‘Hearing The Water Before Seeing The Falls’ is Andrew Wasylyk’s second LP for the esteemed Clay Pipe Music label. It sees the Scottish composer and producer reach for new ground, finding quietly sublime imagery in rich and immersive worlds; horizon-less oceans and limitless landscapes / The initial seed of inspiration for this work was conceived as a commissioned response to ‘The World’s Edge’ exhibition, by American contemporary landscape photographer Thomas Joshua Cooper, at the National Galleries of Scotland. Andrew journeyed with Cooper to Inchcolm Island in the Firth of Forth to learn of the artist’s practice. Specifically, his three decades of travel across five continents, capturing cardinal points and extreme locations surrounding the Atlantic Ocean. Many of which will be under water within 35 years as a result of the impact of our changing climate / From the deep allure of the sea to the symbolism and folklore of flowers, a dreaming to leave or a longing to stay, “Hearing The Water Before Seeing The Falls” utilises the ideas behind TJC’s work as a point of departure. Exploring outwardly in search of a better understanding within, themes of longing, self-discovery, new parenthood and premonitions weave through a Wasylyk album of melodic succour. Previously described as a "spiritual-jazz salve bathed in the cinematic”, Andrew Wasylyk is accumulating a growing body of work. With this seven song suite he distills these ideas and offers perhaps his most bold record yet. ‘Hearing The Water Before Seeing The Falls’, the follow-up to 2021’s ‘Balgay Hill: Morning In Magnolia’, (longlisted for Scottish Album Of The Year Award, 2022) is framed in a hypnagogic fog of wonder and possibility. A place to shade your dreamtime in subtle colour

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  • Celer : The Everything and the Nothing (Remastered) - 2xLP (Two Acorns, 2022)

  • Packaged in reverse board sleeve. Remastered by Stephan Mathieu / This was the sister release to 'Discourses of the Withered'. Subtitled, outtakes and ephemera from 'Discourses...' in 13 parts. 'The Everything and the Nothing' is a stand-alone recording in its own brilliant right. The heavenly tape loops are there, mixed in with field recordings by Danielle from her time living in India

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  • Steve Jansen : Slope (Remastered) - 2x12" (Headcount, 2022)

  • Steve Jansen, the co-founder of new wave legends Japan and bona fide collaboration multi-hyphenate, is reissuing his first two solo studio albums: Slope and Tender Extinction. But how to accurately parse Steve Jansen’s path through music? It’s a journey that’s taken him from 80s royalty as what The Guardian calls “a key component” of one of the UK’s premier new wave acts, releasing classic records like Tin Drum and Quiet Life, to a renowned collaborator, working with artists as diverse as Ryuchi Sakamoto, Anja Garbarek, Annie Lennox, and, most recently, Maiya Hershey. His is a career of ever-changing styles and genres, from blissed-out electronica made with YMO’s Yukihiro Takahashi, to his work with jazz-rock group Nine Horses, to the heavy atmospheres of his transcendent Exit North project, and far, far, beyond / Based on his consistently excellent creative output, it’s not surprising that he’s also had time to fit in a clutch of excellent solo albums. Although on first listens the music on Slope and Tender Extinction can seem austere and chilly, it certainly bears further listening. Songs that might seem impenetrable can shyly give up their secrets - a moment of tenderness, say, or soaring strings, or a wistful chord change. Slope, his debut, was described by The Observer upon its release in 2007 as “unclassifiable”, a description that goes some way to detailing the album’s crystalline synthetic peaks, dusty analogue depths, and wide experimental sweep. To hear the icy IDM of ‘Grip’ rubbing up against the drone-led modern classical in ‘Sow The Salt’, and the strange sound experiments in ‘Gap of Cloud’ juxtaposed with the fractured emotion of ‘Playground Martyrs’ is to hear an artist capable of ploughing his own unique furrow through music / Although nine years and another glut of projects (an ambient album called A Secret Life made with John Foxx and Steve D'Agostino, an array of instrumental pieces, Jansen and Japan bandmate Richard Barbieri’s fifth album, Lumen, and the list really does go on and on) came between Slope and second album. But why this album and why now? It’s a special piece of work, and place the talents of an artist that often stays in the shadows front and centre. Jansen is someone whose every action is in service of The Project, shapeshifting and adapting in relation to how he can improve the music. He’s said in that past that “I remove myself from any references to other people or popular culture. I explore sound and composition without any preconceptions about the finished piece or its place in the world.” Though this is a humble approach that clearly pays dividends Slope allows for the full range of his influences, experimentation, and ideas to come to the fore

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  • Steve Jansen : Tender Extinction (Remastered) - 2x12" (Headcount, 2022)

  • Tender Extinction is a more meditative affair than its predecessor, one where comet tails of synthesiser stretch across a song and fathomless sonic depths simmer and roll like an ocean. James Ginzburg’s brand new remaster will render the hiemal beauty and sumptuous arrangements of tracks such as ‘And Birds Sing All Night’,‘Captured’, and ‘Her Distance’ even more perfectly than before / In 1978 Japan released their debut album Adolescent Sex and kick started a career that would span decades. With Steve Jansen on drums the band enjoyed huge success whilst simultaneously creating a back catalogue of music that still inspires today. Fast forward to 2007 and after many years working and collaborating with artists such as Richard Barbieri, Yukihiro Takahashi, Ryuichi Sakamoto & Bernd Friedmann, Steve released his debut, solo album Slope. Steve Jansen's second solo album 'Tender Extinction' is an evocative blend of songs and instrumentals enlisting some of the singer/songwriters that appeared on Jansen's previous solo work 'Slope', namely Tim Elsenburg (Sweet Billy Pilgrim) (UK) and Thomas Feiner (Anywhen) (Norway), as well as featuring new collaborations with Perry Blake (Ireland), Melentini (Greece), Nicola Hitchcock (UK) and including some vocal performances by Jansen himself / Atmospheric sound design creates a bed of complex, often atonal qualities, with delicate synth and orchestral arrangements drifting throughout to produce a multi-layered, emotive and hauntingly intimate album. Some titles are punctuated with Jansen's characteristically minimal drum patterns and off-kilter time signatures while others are structured with more classical elements such as piano, cello and orchestral string arrangements. All music and arrangements are by Jansen with guests vocalists providing their own lyrics and vocal melodies on five of the tracks. Steve: "I spent a long time with the material, honing it down to those elements that blend together well in an attempt to allow the dissonance that weaves throughout much of the music to settle into its own space and not overly distract from the more harmonious content

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  • Roland Kayn : Infra - 4xCD Box (Reiger-Records-Reeks, 2022)

  • Mastered by Jim O’Rourke. Recent years have seen the release and reissue of dozens of hours of Roland Kayn’s music, on several labels and in both physical and digital formats. Our interconnected yet chaotically imbued age seems to be the setting in which Kayn has truly found his audience. The scene is now set for one of the most momentous works in his oeuvre to return to the shelves. ‘Infra’ / One of the titanic cybernetic works Kayn originally released on the Colosseum label in the late 70s and early 80s, ‘Infra’ (1978-79) has come to occupy a very special place in the hearts of fans lucky enough to have copies of the original vinyl box sets. Now lovingly remastered from the original archive masters by Kayn devotee Jim O’Rourke, ‘Infra’ has finally found its way to CD for a new generation of admirers to discover / For the newcomer, it should be mentioned that Kayn’s electronic music exists in a category all its own, bearing precious little resemblance to that of any of his composer peers. His work perhaps sits more naturally in today’s non-idiomatic landscape of drones, field recordings, and modular synthesis, yet arrives accompanied by a poise and near-epic suggestion of natural phenomena simply found nowhere else. Stretching forwards across four decades to suggest new possibilities even now, ‘Infra’ represents a musical world ripe for rediscovery

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  • Phill Niblock : Sound Collages - CD (Koo Editions, 2021)

  • Handnumbered digipack including art book. Selected tracks and images from the exhibition "Working Photos" at Fridman Gallery, NYC (2019), specifically in reference to the black-and-white photo and video series "Light Patterns", here represented in a ten-page booklet by seven selected pictures and an exclusive retrospective story by the author related to memory and place. The tracks include aquatic elements, crickets, bells and other stories from the Greek islands, Belgium, the Danube and the Rhine Delta in a real-life experience that comes back to mind as a fluid sensation / This CD celebrates Phill Niblock's personal history, recounting episodes from his personal life, from the purchase of his first tape recorder in 1953, to his nocturnal activity as a DJ in the radio station during his military service, to the beginning of his musical career in 1968. A journey through magnetic tapes, through what today would be called "sound art", the transition to digital processing, up to this celebratory adventure developed at a distance together with Giovanni De Donà of Koo Editions during the pandemic isolation. This project is not only about the canonic digital edition in CD, digipak with booklet, of material selected by the artist from an art exhibition. Includes Leporello booklet that includes seven selected images from the exhibition "Working Photos"at Fridman Gallery NYC (2019) and a personal Phill Niblock story that celebrates his 60 years career; edition of 200 (numbered)

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  • CoH : Live At GES-2 - CD (Koo Editions, 2022)

  • Recording of the entire session performed at "Geometry of Now", the audiovisual festival organized by the V-A-C Foundation and curated by Mark Fell that took place at the former power station GES-2 in the hearth of Moscow (2017). CoH, the alias of Ivan Pavlov, is a Russian word for both sleep and dream, spelled in Cyrillic and pronounced as "son" / Having left Russia for Sweden in 1995, CoH produced an extensive catalog of releases, including several notable collaborations with leading figures in industrial music, such as Cosey Fanni Tutti and Peter Christopherson of Coil/Throbbing Gristle. His dreamlike progression resonates here within GES-2, an exceptional monument of industrial archeology from the early 20th century, which Renzo Piano transformed into a multifunctional exhibition space whose renovation was completed later in 2021

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  • Ali Phi : Elemaun - 12" (Koo Editions, 2022)

  • The electronic audiovisual project, inspired by ritual and regional music from the Iranian plateau The term "elemaun" (loanword from French) is equivalent to the English word element, commonly used in mathematical terms of the surface integral in Persian. The components and smaller surfaces that are selected to study the whole surface are called "elemaun." Such elements can contract in size to a considerable degree to estimate the limit value of the intended surface / The set consists of six compositions of digital and analog synthesizers, field recorded samples, ambient soundscapes, and synthesized drum machines referencing different cultures, music, and narratives and the same approach has been taken for computer-generated motion pictures and real-time edited video footage. The tunes are sampled as abstract, minimal, and repetitive motifs from different cultures of Baluch, Azeri, Southern Iranian Arabs, Khorasan, etc. After the Linz Ars Electronica premiere in 2016 it was presented in Poland, Iran, United Arab Emirates, Qatar, Germany and finally in Canada in 2019, where the artist is based

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  • Ratkiller : Leather Squeaking Softly - MC (Possible Motive, 2022)

  • 'The sound mutations of Estonian based museum security guard Mihkel Kleis, aka Ratkiller, has found its nest on the upcoming oeuvre "Leather Squeaking Softly". A unique sound composition and rare glimpse into visions of being stuck in a whirlpool of forgotten debris and plastic remains, discarded non-recyclable objects and broken hi-fi equipment. An audio memorandum rendering irregular sound compositions of desolated dumping grounds, faulty drum machines and field recordings of distorted memories. It's as if your whole life was a theme park built on a hazardous waste site' / Leather Squeaking Softly consists of two different Movements extending a bit over 33 minutes

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  • Accou : Rhyme Nor Reason - MC (Possible Motive, 2022)

  • There was a time when a person would pick up an instrument to compose yet another song for a loved one. A sad figure humming into a microphone, pronouncing the most basic words and forms to convey quantity, quality, fact, statistics and similar sounds describing pain, loss and sorrow. The human brain would perceive the melody sad and perhaps within herself feel a sense of melancholia / In another parallel world a new composition would then appear. But not one composed on a wooden built instrument, no, sounds made into structures and tables that would assists the listener into providing an additional context and meaning through digital synthesis and quantised harmonies. But who could really tell if these sounds were real? Or where they just sounds impersonating an idea of something? / Rhyme nor reason is as abstract in its shapes and ideas as it is concrete and elegant in its narratives. A carefully crafted wooden cabinet with an over-whelming amount of different drawers and hidden compartments. Each box storing blissful arrangement; a fluorescent stone, a paper note saying something about lunch, some collectible objects, a forgotten token or perhaps an autograph, all so very vibrant and joyful for its possessor. Deleted files stored on rapidly rotating platters coated with magnetic material. Small, easy to loose SSD memory cards of recorded corrupt files and digital artefacts. Software engineered compositions trying to grasp the shared belief of an upcoming future, vivid and uncertain; birds, waters and long lost recollections. A release unconcerned with the literal depiction of things from the visible world. At least not for now

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  • Sunda Arc : Night Lands - LP+12" (Gondwana, 2022)

  • Crystal clear vinyl. Sunda Arc are brothers Nick Smart and Jordan Smart, best known as two-thirds of jazz-influenced minimalists Mammal Hands, and on the 18th November, they are set to release their sophomore album 'Night Lands' via Gondwana Records, home to such artists as GoGo Penguin, Portico Quartet, Hania Rani and Forgiveness / Releasing their debut EP 'Flicker' in 2018, Sunda Arc have performed live at AB Brussels, Blue Dot Festival, The Roundhouse, Jazz Café, Reworks Festival, the Royal Albert Hall and Albert Hall, Manchester with GoGo Penguin. Their debut album 'Tides', released in 2020, received high praise from numerous tastemaker media including DJ magazine who described their music as "sounding like John Hopkins' long-lost sibling" / Sunda Arc channels Nick and Jordan's love of electronic and dance music, without losing any of their deep musicality. Drawing on techno, electronica, neo-classical and post-rock influences, Sunda Arc compose and perform using both electronic and acoustic instruments, including analogue synthesisers, home-made software patches, piano, saxophones and bass clarinet – all finessed and channelled through their own unique creative strategies. Integrating electronic elements and experimentation with the expressiveness and energy of acoustic instruments and live performance, Sunda Arc's music is expansive and compelling

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  • Biosphere : N-Plants - 2xLP (Biophon, 2022)

  • Repress. An incredible record and an even eerier context to this album. At the beginning of 2011, Geir Jenssen under his Biosphere project became concerned about the safety of certain Japanese nuclear plants and their proximity to earthquake-prone areas. Focusing on the beautiful and majestic structures, he used his Biosphere pseudonym to soundtrack these architectural wonders whilst expressing his concerns for the concern for the cost of human life. Completed on February 13th, a month later - Japan was devastated by the earthquakes and ensuing nuclear meltdowns and evacuations

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  • Biosphere : Dropsonde - 2xCD (Biophon, 2020)

  • First released in 2006, Biosphere's Dropsonde was part of his catalogue of deep ambience. Though beloved of listeners of aquatic, immersive techno, Biosphere also found his music regularly heard in TV adverts and idents. Nothing that should put you off delving into this re-issue which adds seven previously unreleased recordings to the package. Otherworldly bliss throughout

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  • Crys Cole : Other Meetings - LP (Black Truffle, 2022)

  • Following on from last year’s acclaimed Sylva Sylvarum, the epic double LP from Ora Clementi (her collaborative project with James Rushford), Crys Cole returns to Black Truffle with Other Meetings. Originally commissioned and released on cassette by Boomkat Editions in 2021, Other Meetings is a major addition to the body of carefully hewn solo work cole has released over the last decade, offering up two side-long suites of her radically intimate approach to sound. After many years dominated by touring and travel, cole found herself in lockdown in her Berlin apartment, working in a limited space with minimal equipment. Digging through archives of recordings taken overseas and exploring the sonic potential hidden in the objects surrounding her (including a coffee pot and a vase of dying flowers), she crafted what in her liner notes she calls ‘an internal dérive, a journey that drifted through many places without a defining compass’

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  • Uri Katzenstein : Audio Works - 2xLP (Black Truffle, 2022)

  • Deluxe 2LP set presented in a gatefold sleeve with extensive liner notes and an insert with track info. Black Truffle is pleased to announce Uri Katzenstein’s Audio Works, produced in collaboration with Holon’s Centre for Digital Art. Spanning sculptural installation, performance, video art, and many other media, Katzenstein’s absurdist, poetic, and often hilarious work made extensive use of sound and music. This, however, is the first release dedicated to the artist’s audio work, collecting 28 tracks produced between the early 1980s and 2017. Compiled from dozens of hours of recordings left uncatalogued (and in some instances unheard) at the artist’s death in 2018, these four sides are a treasure trove, offering a captivating glimpse into a uniquely uninhibited creative practice / Predominantly recorded alone, with some contributions from regular collaborators such as Ohad Fishof on the later pieces, many of these tracks stem from Katzenstein’s time living in New York in the 1980s. Feeding on the cross-pollination of post-punk energy, radical art practice, and new media possibilities that characterised the New York scene at this time, many of Katzenstein’s recordings squeeze multilayered vocal experimentation into synth-based miniatures with a distinctively pop twist, their forms ruptured with anarchic bursts of free-form electronics, sounds from self-built instruments, and field-recorded snatches of the outside world / Moving from bent, outsider synth pop to snatches of Jo Jones-esque automated instrumental clang and absurdist linguistic experiments, these are far more than footnotes to an artist’s gallery works. Accompanied by extensive, beautifully written liner notes by Roee Rosen and the little information that exists on the individual tracks, Katzenstein’s Audio Works inhabits an outer fringe of DIY pop and sonic experiment reminiscent of Pascal Comelade or Die Welttraumforscher, where accessible forms convey radical interrogations of song, word, and sound

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  • Naomie Klaus : A Story Of A Global Disease - LP (B.F.E Records, Moli Del Tro, Teenage Menopause, 2022)

  • After a crush at the Brussels World Fair in 1900, King Leopold II decided, for his own personal pleasure, to have the Japanese Tower and Japanese Gardens built. In order to create this little relocated asian paradise, he had the wood, sculptures, paintings, ornaments, trees, workers and their know-how imported. For a few years he invited his entourage to enjoy it during large banquets and private receptions. He then had the idea of transforming the Japanese Tower into a luxury restaurant, but he died. This magnificent place remains closed to the public except during an annual opening / "A Story of a Global Disease" is a short tale about artificial paradises of globalisation, a melancholic walk through the exotic relics of free trade, where whim, appropriation and appearances take precedence over otherness. Here, geishas eat chips, europeans confuse Tokyo and Beijing, and tribal ceremonies begin with samples and drumkits / These tracks have been initially recorded for the “ON THE GO” Beursschouwburg’s project in Oct. 2020 It has been originally and properly released on shiny pinky tape by the fantastic Bamboo Shows imprint. Following an Abstrakce/B.F.E. proposal, we asked Rude66 to remaster these gems and pressed it on vinyl with a third party : beloved Moli Del Tro from Brussels. Here is a co-release of 3x100 copies batch of records. To be picked up fast and quick !

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  • Colin Potter : Ago - LP (B.F.E Records, 2022)

  • An original and particular approach to rhythmic electronics, with an incredible sound, like in all of Potter's works. Six hypnotic tracks from Colin's archive of rarities, for the first time on vinyl, perfect to play really loud. These six pieces were recorded between the late 80s & mid-90s at IC Studio, which was then located in Tollerton, North Yorkshire / “I wanted to make some tracks which were much more rhythmic. By then the studio was a 16-track and I had acquired more equipment for making sounds and changing sounds. There was an Akai S950 sampler, an Emulator II, Roland TR727 and Yamaha RX11 digital drum machines, a Roland Juno 60, and some new effects processors. I even, briefly, used an Atari for MIDI sequencing, but using a computer in the studio felt a bit weird in those days. Ironic really, given the situation now. There were a lot of new methods to learn and the tracks on this album were the result of some of these experiments, during which I also found ways of integrating the old analog synths with the newer machines. Mixing was still done hands-on, in real-time, with alternative and often radically different takes being made of the same multitrack. Very different to the way things are done now. Better or worse? Who knows? But different.” - Colin Potter, IC Studio, London 2022 / Colin Potter is a sound engineer and musician currently based in London. He has worked within the fields of electronic and experimental music for over 40 years, collaborating with the likes of Current 93, The Hafler Trio, Organum, Andrew Chalk, and most notably as a key part of Nurse With Wound alongside Steven Stapleton. He started the esteemed ICR (Integrated Circuit Records – still active today) label in 1981 releasing a several wonderful home studio recordings of his own, as small run cassette releases. Artwork by Jonathan Coleclough

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  • Jeff Greinke : Big Weather - LP (Abstrakce, 2022)

  • First ever vinyl release of this tribal ambient gem. A plethora of exotic rhythms and sonic meteorological phenomena. Loops, leftfield beats, and all kinds of textures from the 4th world and beyond. Originally released in 1994 on CD, it is a true beauty of electronic hypnotism and sonic exoticism. Through a highly developed process of layering, Jeff composes and performs music rich in texture, depth, mood, and subtle detail. His blend of electronic and acoustic instruments and textures produces haunting yet inviting soundscapes with a strong sense of place that hover somewhere between the exotic and the familiar. Moreover, you will find here collabs from other great artists: Dennis Rea (Savant) on guitar and Rob Angus with drum programming / Jeff Greinke began composing and performing music in 1980 while studying meteorology at Pennsylvania State University. After moving to Seattle in 1982, Jeff formed the production company and recording label, INTREPID, through which he produced his first LP, Cities in Fog. He has since released twenty other recordings on various U.S. and European labels. He has composed music for film, video, dance, theatre, radio, and art installations. Jeff has toured throughout the United States and Europe and has performed in China, Canada, and Mexico. He has also been a member of numerous ensembles and is founder of the group LAND

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  • Lee Evans : Animist Pools - LP (Oryx_, 2022)

  • A shifting center in a stream of rippling analog tones, the music of Lee Evans is orchestrated to transfix, echoing sounds heard in nature with modular synthesizers and the powerful element of chance. Evoking the Fourth World Music of Jon Hassel or the kosmische innovations of Cluster, Animist Pools marks its composer, Lee Evans’ first full- length release / Citing his background in painting as a chief influence on his musical approach and thought process, Evans composes with a strong sense of space –– each sound an event in a slowly expanding landscape, zooming out to reveal a world of scale in which depth and contrast take precedent over rhythm and melody / Embracing the generative compositional nature of working with the modular synthesizer, Evans himself is the final filter through which all sounds pass. The boundary between programmed repetition and human choice is subtle, but detectable, highlighting Evans’ careful, nuanced guidance of his autocompositions. The result is ultimately an improvised structure –– a living, breathing, musical creature, acting on a mixture of impulse and memory

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  • Jonathan Scherk : Toon! - LP (Faitiche, 2022)

  • As his split album It’s counterpart (faitiche19, 2019) made abundantly clear, Jonathan Scherk is a master of his craft. Toon! immerses us in a highly distinctive world of plunderphonics-sampledelica-variations acousmatiques that’s impossible to classify while feeling familiar nonetheless. Following a strict two-minute format, thirteen complex sound constructions offer a range of experiences – as if the neurosciences had developed an acoustic formula capable of triggering illusions of memory. 13 tracks = 13 déjà-vus

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  • Zeitkratzer : Alvin Lucier - LP (Karlrecords, 2022)

  • By zkr director Reinhold Friedl’s personal request now available on vinyl for the first time: Zeitkratzer's critically acclaimed interpretations of compositions by Alvin Lucier / Alvin Lucier (1931 – 2021) was one of the most influential American minimalists. Some call him „sound physician“ as his compositions are often based on acoustic research settings. His pieces tend to turn inside-out the properties of space and instruments: poems based on acoustic settings! / Zeitkratzer worked with the composer in Dijon, France in 2008, and presented his music in various places. These recordings have been realized at Philharmonie Luxembourg that turned out to be the ideal space for this music. On this album you can hear how Lucier enables zeitkratzer to create sounds a lot of people have never heard before. Ringing overtones, a singing piano, a thrilling concert triangle, pencils on little objects, and how irritating a violoncello, a viola and a piano can sound together creating shifting sonic interferences. Sound phenomenology, evoking a sensual listening experience

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  • Ahmad Jamal : Live in Paris 1971 - LP (Transversales Disques, 2022)

  • Lost tapes. Recorded live on June, 25th 1971, Grand Auditorium Studio 104 - Maison de la Radio. Excerpts from the full performance / "While be-bop musicians practise one-upmanship in terms of speed, Ahmad Jamal develops a crystal-clear touch and praises silence: "I was an angel among devils ! The boppers made notes explode. I let them resonate until the end of their lives"

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  • Ecovillage : The Road Not Taken - LP (Laaps, 2022)

  • Red transparent vinyl, handnumbered. Emil Holmström and Peter Wikström are a duo from north of Sweden. The duo have collaborated with many artists over their almost twenty year long music career such as 4th Disciple, Dwight Trible, Carlos Niño, Fennez, Green-House, Laraaji, Lo-Fang, Masayoshi Fujita, Purl and many more / "The Road Not Taken" is the tenth released studio album from Ecovillage and the first one released on vinyl. The album has a more sacramental and human feel to it compared to their previous work

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  • Vivid Oblivion : The Graphic Cabinet - LP (Downwards, 2022)

  • Clear vinyl. Downwards’ deep bonds with NYC catalyse the immense debut LP by Vivid Oblivion, a reveberating post-industrial salvo produced by adopted Brooklynite Karl O’Connor (Regis) / Invoking the density, vertiginous scale, and dark grimy nooks of NYC, ‘The Graphic Cabinet’ was realised by Jim Siegel - hardcore legend and occasional/regular drummer with everyone from Raspberry Bulbs to Damo Suzuki and Boredoms, made in close collaboration with Karl O’Connor aka Regis during 2021

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  • Model Alpha : Perceptions - LP (Obliques, 2022)

  • Deluxe edition 12" tip-on jacket. 7 years on after their first album; Model Alpha is back. « Perceptions », the duo's second album, was entirely composed on analog synthesizers, guitars and drums machine. Model Alpha is inspired by electronic artists such as Kraftwerk, Laurie Spiegel, Manuel Göttsching or early Detroit techno productions. Including remix by Chloé (Thévenin)

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  • Cube : Decoy Street - LP (W.25TH, 2019)

  • Cube is the prolific and chimeric nom de plume of one Adam Keith, formidable tape experimentalist and artist / abraser currently operating in Oakland, California's vibrant subterranea. After countless cassette releases, 2016's well-received My Cube LP and a tenure in no-wave faction Mansion, Keith reaffirms Cube's pledge with Decoy Street – his second album and the most developed work he has made under any guise to date / Opener "In This House" serves as the ideal introduction to Cube: cellular interference, colliding circuitry, metal-on-metal grind and simplistic guitar distortion meet a towering and damaged beat. While "Habit" merges downtempo and industrial touchstones via layers of heavily treated vocals, "Sanctuary" tilts further towards propulsion – a dark treatise on discomfort, yet contagious enough to charm DIY and post-punk devotees / Released on W.25TH, Superior Viaduct's sub-label for contemporary bands, Decoy Street is recommended for fans of Prurient, Puce Mary and Alan Vega

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  • Kali Malone : Velocity of Sleep - LP (XKatedral, 2021)

  • Nuclear waste takes 100,000 years to cease to be a danger to human life: recorded in R1 Reaktorhallen, Sweden’s first nuclear reactor (as well as the electroacoustic studio EMS, and at the Royal College of Music in Stockholm) Kali Malone’s slow, oneiric debut ‘Velocity Of Sleep’ sonifies some of the eeriness of human action’s long timeframes. Disregarding tired notions of western classical composition, the works here - incorporating justly tuned Theorbo, frippertronic tape delays, tuned sine waves, Double Bass, Gongs and Viola de Gamba - seek to explore tone, timbre and tuning from the ground up, approaching an experience listeners to Indian classical drone music will be more familiar with. A mesmeric, transcendent listen limited to 1000 copies, this reissue offers listeners an insight into the compositional work that would become Cast of Mind and The Sacrificial Code

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  • Ekkehard Ehlers : Plays - 2xLP (Keplar, 2022)

  • Ekkehard Ehlers' seminal plays series was originally released on three 12inches (Staubgold) and two 7inches (Bottrop-Boy) in very limited runs. The entire series was previously only available as a CD compilation or digitally. Keplar finally presents it on double vinyl for the first time, featuring a new cover artwork

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  • Laila Sakini, Lucy Van : Figures - LP (Boomkat Editions, 2022)

  • Clear vinyl. Laila Sakini and Lucy Van’s sought after 2017 EP Figures resurfaces on a newly expanded and remastered edition, deploying taut poetry and creeping electro-pulses for an alchemical suite of slowly encroaching trip hop x dub-pop - highly recommended if you’re into CS + Kreme, Laurie Anderson, Leslie Winer, YL Hooi, Bullion, Jonnine, Kallista Kult...

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  • Oren Ambarchi, Jim O'Rourke : Behold - LP (Editions Mego, 2015)

  • Behold is the second collaborative release from Oren Ambarchi and Jim O'Rourke following on from the 2011 release 'Indeed'. Seamlessly blending field recordings, electronics, guitar, drums and other acoustic instruments into a subtle combination of Krautrock, minimalism and classic free flowing electronics. Side A takes the listener into the Fourth World adventures pioneered by Jon Hassell whilst the flip seems like an unlikely pairing of Krautrock aesthetics and the slow building repetitive structures of The Necks. This is sharp, focussed contemporary music, one where minimalist motifs meet maximalist tendencies. Behold is another landmark recording made by two of the most enthusiastic experimental explorers active today

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  • Carla dal Forno : Come Around - LP (Kallista, 2022)

  • Carla dal Forno resurfaces with the news of plans to release her third album, Come Around, via her own Kallista Records imprint. Now, based in the township of Castlemaine, Central Victoria, the Australian artist returns self-assured and firmly settled within the dense eucalypt bushlands. Dal Forno grapples with ideas of home, disorder and insomnia in the swift pop structures of her DIY/post-punk forebearers such as Young Marble Giants, Virginia Astley, and Broadcast

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  • Goat : Oh Death - LP (Rocket Recordings, 2022)

  • Blackened black vinyl. Swedish psych juggernaut Goat return with new album ‘Oh Death’. The allusive band released a furry of intense, transformative psychedelic albums through Rocket Recordings, accompanied by some heavy duty live shows. Disappearing in somewhat mysterious circumstances, rumours have circulated Goat ever since / Out on October 21st, the record is trailed by fantastic new song ‘Under No Nation’. An intense, fuzz-driven peace of psychedelic funk, it finds Goat picking up exactly where they left off – driving, urgent, face-melting music with a lysergic quality / Goat comment… “This year Goat were invited to the Gods annual feast at the ‘Round Table of Funk’. After a very wet evening, and after Goat was pretty funked up, we were handed the manuscript to ‘Under No Nation’, and ordered to play this divine ‘funk’ to the humans – as the gods felt the human spirit is in deep need to get grooving properly again!”

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  • Un Caddie Renversé dans l'Herbe : Nighturns - CD (Cellule 75, 2022)

  • Comes packaged in 6-panel fold-out cardboard sleeve. Nighturns (deliberate spelling) finally introduces a new album by Bilal Dídac P. Lagarriga aka Un Caddie Renversé dans l'Herbe (lives in Barcelona, born in São Paulo, Brazil, 1976) after several years of silence. Dídac was the first artist on my old Dekorder label back in 2003 so our relationship goes a long way back. He released one album (Like A Packed Cupboard But Quite…) and two 3"CD's on the label to wide critical acclaim / This new album on the Cellule 75 label continues and refines his explorations of African minimalist music played on mbira, kalimba, balaphon, vibraphone, melodica and flute, combined with field recordings of African soundscapes and ritual chants, several collaborations and electronic interventions. Always interested in reductionism (both in melody and rhythm) the music on Nighturns is finally condensed to its essential nucleus and spirituality, tranquil and deeply moving, seemingly at peace with itself, still always evocative / While previous releases have been compared to the likes of Pascal Comelade, Asa Chang & Junray, early Penguin Café Orchestra and Steve Beresford on Nighturns the African influences are becoming more prominent and the whole album is even more singular, more personal and liberating, more intimate and inimitable. “Dídac P. Lagarriga, a man capable of atomising and blending a global array of influences without succumbing to the cloying blandishments of "World Music" or "fusion", just a series of steadily hypnotic, subtle and deeply satisfying revolutions.” (THE WIRE)

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  • Marc Richter : MM-XX Vol. 1 & 2 - 2xCD (Cellule 75, 2022)

  • Comes packaged in 6-panel fold-out cardboard sleeve. Here's the second of three (forthcoming) albums on Cellule 75 by Marc Richter (aka Black To Comm) following the (very different sounding) Diode, Triode LP (recordings made at INA GRM and ZKM) that came out this month / MM-XX is a virtual orchestra Richter initiated during the Covid-19 lockdowns. Isolated at his Hamburg studio he started to reach out to former collaborators and old friends, picking up on previous conversations as well as asking people to post short previously unused sound recordings for a collaborative piece of music. He then assembled, transformed and mixed these generous offerings (by 33 artists) into perpetually evolving compositions to be published and performed in different constellations, formats, versions and mixes over the course of 2021. Not only did he get these lovely sonic gifts from his many collaborators - he received messages about childbirth and death, marriage and divorce, building houses, buying houses, happiness and depression, everyday life / The resulting pieces were premiered at the lockdown editions of Rewire and Papiripar Festival in 2021 and are now compiled into this lavishly produced Double-CD set with mastering by Rashad Becker and Bora Baskan's beautiful paintings on the cardboard sleeve. The music is as unpredictable as the guest list yet it all gels in unexpected ways. Some of the pieces are surprisingly beautiful while others are deliberately comic and ridiculous

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  • Goat : Oh Death - LP (Rocket Recordings, 2022)

  • Cloudberry swirl vinyl. Swedish psych juggernaut Goat return with new album ‘Oh Death’. The allusive band released a furry of intense, transformative psychedelic albums through Rocket Recordings, accompanied by some heavy duty live shows. Disappearing in somewhat mysterious circumstances, rumours have circulated Goat ever since / Out on October 21st, the record is trailed by fantastic new song ‘Under No Nation’. An intense, fuzz-driven peace of psychedelic funk, it finds Goat picking up exactly where they left off – driving, urgent, face-melting music with a lysergic quality / Goat comment… “This year Goat were invited to the Gods annual feast at the ‘Round Table of Funk’. After a very wet evening, and after Goat was pretty funked up, we were handed the manuscript to ‘Under No Nation’, and ordered to play this divine ‘funk’ to the humans – as the gods felt the human spirit is in deep need to get grooving properly again!”

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  • Muslimgauze : Veiled Sisters - 3xLP (Alter, 2022)

  • Gold vinyl, packaged in triple gatefold sleeve, reissue of 2002 Soleimoon CD. It's by some strange inversion that since his untimely death in 1999 Bryn Jones' Muslimgauze project has become evermore enigmatic as his publicly available recordings have become evermore vast. The Mancunian artist's sudden passing at the age of 37 prematurely resolved a body of work that remains as experimental as it is diffuse, with an informal archive that was left spread between favoured labels and confidantes. And though this monadic project never abided by genre specifications, it all feels as if it is taking the critical pulses of its time and rendering them into something other than the sum of its obscure compulsions. Jones' double album 'Veiled Sisters' from 1993 is no exception, and it persists as a magnificent outlier in his singular and bewildering discography / Originally released by the label Soleilmoon, an early and lifelong supporter of Jones' work along with Staalplaat, the album is a notable example of the uniquely recombinant fragility and fervour of Jones' work. This 3LP edition marks the album's first appearance on vinyl. Like much of the Muslimgauze catalogue, 'Veiled Sisters' is dedicated to the Palestine Liberation Organization, with its two halves—Sister One and Sister Two—calling on the history and conflicts of the modern Islamic world through opaque titles and snatches of musical oration / Forgoing the raucous timbre and abrasion that Jones could occasionally employ, this album balances a medley of shrill instrumental bursts with a complex patterning of ambient atmospheres. 'Veiled Sisters' moves with a hypnotic gait across its extended runtime with a dynamic ensemble of electronics grounded in a pulsing yet evasive combination of low-slung kicks and dub-soaked bass. The hissy wash of drums, both played and machined, decorate a restless patina all over, and the cacophony of samples send impressions scattershot into Jones' idiosyncratic yet readymade psychedelia. With a quiet intensity that is not often captured this succinctly in the Muslimgauze catalogue, this new edition of 'Veiled Sisters' is a reminder of the haunting wonder that Jones was capable of manifesting

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  • Coil : The Ape Of Naples (Expanded) - 3xLP Box (Infinite Fog Productions, 2022)

  • Hardcover triple gatefold black vinyl. The Infinite Fog version is the third Coil record receiving the fully remastered and enhanced 3LP/2CD treatment supervised by Danny Hyde. "The Ape of Naples" is a deeply emotional and uniquely rewarding album. In its immediate accessibility it is somewhat reminiscent of Coil's mid-1980s classic "Horse Rotorvator" sharing that album's wild variety of sounds and styles as well as its overriding sombre mood. Originally released in 2005 and in many ways the band's ultimate swan song, it is now considered one of the go-to albums for introducing new listeners to the unparalleled magick of Coil / Compiled and released by Peter Christopherson one year after Jhonn Balance's tragic deadly fall, it includes reworkings of the live favourite "Amethyst Deceivers" and "Love Secret's Domain"'s "Teenage Lightning" as well as several songs originally intended for the ill-fated "Backwards" album like the haunting and preminiscent "Fire of the Mind" and the superb "Amber Rain". Other tracks were created using unfinished song ideas from around "Backwards", sampling tiny bits of Balance's live vocals from songs only ever performed in concert once like "Triple Sun" / Using the lyrics of the theme tune for the 1970s BBC sit com series "Are you being served?" for the unbelievably haunting "Going up", this album's final track and the last song Coil ever performed live, is maybe the most poignant example of Balance's and Christopherson's method of turning base matter into pure sound gold, and like the title of the album, derived from an imaginary adult video an equally fine example of the often underappreciated humour of the boys

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  • Various Artists : Wilderness America, A Celebration Of The Land - LP (Ebalunga!!!, 2022)

  • Black vinyl 47th anniversary reissue of this holy grail for collectors. Mastered from original tapes by Grammy-nominated Jessica Thompson. For fans of of Walter Hawkins, Iasos, Sugarloaf and Psychemagik. This is the ultimate collector's item for those who are deeply in ambient/new age music history. Includes the original artworks from 1975 / "Before I'm gone I'd like to see us turn the corner and give up being spoilers of the land..." In 1975 Wallace 'Wally' Smith Broecker published a paper that popularised the term 'global warming' and against a backdrop of change and environmental uncertainty, a musical concept album was commissioned. 'Wilderness America, A Celebration Of The Land' is a musical exploration of our place within the cycle of living things. All compositions were specially commissioned for the album and blended with natural sounds recorded in the wild, lending the entire project a conceptual air that still feels fresh today. The journey begins with the sun rising in the atmospheric haze of 'Dawn', a track composed by new-age innovator Iasos / Gospel singer Walter Hawkins soon drops in with the soulful but ever so funky 'Metropolis' backed by a heavy array of session musicians with Patrick Gleeson, Ed Bogas and Tom Salisbury all adding their own misty magic to the album. David Riordan is the sorcerer conjuring up many of the compositions and also takes vocal duties on the evocative 'Mountain' and the climatic 'Before I'm Gone'. ‘Wilderness America / A Celebration of the Land’ was born when environmentalist Emily DeSpain Polk assembled a group of California residents to participate in a groundbreaking conservationist project. Christening the group SWAP (Small Wilderness Area Preservation) Emily needed funds and began a project to produce a promotional nature based music album. To acquire the financial backing Emily would need to source a musician of some calibre. Contacting Cliff Branch from ‘Warehouse Sound Co.’ she was told the man she was looking for was David Riordan

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  • Coil : The New Backwards - LP (Kontakt Audio, 2022)

  • Clear-black vinyl. "The New Backwards" was conceived by Peter "Sleazy" Christopherson in 2007, revisiting stray tracks which hadn't seemed to gel with the material he had chosen for the more somber "Ape of Naples" from 2005, COIL's initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance / Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to "Love's Secret Domain". These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate's former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London's Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release

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  • Coil : The New Backwards - LP (Kontakt Audio, 2022)

  • Ultraclear vinyl. "The New Backwards" was conceived by Peter "Sleazy" Christopherson in 2007, revisiting stray tracks which hadn't seemed to gel with the material he had chosen for the more somber "Ape of Naples" from 2005, COIL's initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance / Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to "Love's Secret Domain". These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate's former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London's Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release

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  • Gabor Szabo : Live in Cleveland 1976 - LP (Ebalunga!!!, 2022)

  • Clear vinyl. "Hungarian guitarist Gabor Szabo (1936-82) issued only three live recordings during his lifetime. Significantly, the first of these, The Sorcerer (1967), remains the most popular album in the guitarist’s all-too abbreviated discography. But there were also More Sorcery (1968) and Gabor Szabo Live with Charles Lloyd (1974), offering Szabo totally in his element and at his bewitching best / Several more of Szabo’s concert recordings have surfaced in the intervening years, including this one, superbly captured for radio broadcast live in 1976 at the 600-seat Agora Ballroom in Cleveland, Ohio. It is a revelation. There is a sense here that concert patrons may have been hearing an altogether different Gabor Szabo than record buyers

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  • Coil : The New Backwards - LP (Kontakt Audio, 2022)

  • Black vinyl. "The New Backwards" was conceived by Peter "Sleazy" Christopherson in 2007, revisiting stray tracks which hadn't seemed to gel with the material he had chosen for the more somber "Ape of Naples" from 2005, COIL's initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance / Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to "Love's Secret Domain". These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate's former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London's Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release

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  • Bonjintan : Dental Kafka - 2xLP (Trost, 2020)

  • Jim O'Rourke (of Gastr del Sol and Sonic Youth fame) plays a lot with Japanese Free jazz legend Akira Sakata in various formations. Together with Italian composer and pianist di Domenico and the drummer Yamamoto they form this powerful band. Their second release combines contemporary Avantgarde and Free Jazz in a beautiful way. Akira Sakata - sax, clarinet, voice; Jim O'Rourke - double bass; Giovanni Di Domenico - piano, hohner pianet; Tatsuhisa Yamamoto - drums. Recorded at Hoshi to Niji studio 30th June 2018. Recorded by Jim O'Rourke

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  • Cleared : Of Endless Light - CD (Touch, 2022)

  • Comes in full colour DVD case with artwork and photography by Jon Wozencroft. Cleared is the longstanding project of Steven Hess and Michael Vallera, based in Chicago, Illinois. The six tracks complete the longest release to date by the duo, who were resolute in utilizing the maximum time available on the compact disc format. Cleared has produced a series of critically recognized recordings since its self-titled debut in 2011. Working with the Touch label on The Key (recorded in spring 2019, released in October 2020) was a leap forward, prompting remixed tracks by Philp Jeck, Fennesz, Bethan Kellough, and Olivia Block / Of Endless Light is a patient listen, distilled into a sonic environment specific to Hess and Vallera's lens. Cleared created its crepuscular moods using the core methodology of their previous records while expanding their music's range, artistry, and subtlety. Deploying careful instrumentation, sampling, and mixing to experiment with tone and atmosphere, Of Endless Light breathes and drifts through layers of sound that veil, reveal, and intrigue. The result gives a listener much to discover, examine, experience, and consider - as well as the incentive to return again and again. [Bruce Adams, 2022] 

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  • Fennesz : Venice - CD (Touch, 2004)

  • In gatefold sleeve, photography and design by Jon Wozencroft. "Venice" was recorded on location in the summer of 2003 and subsequently assembled and mixed at Amann Studios, Vienna in January/February 2004 / "Venice", the fourth studio album by Christian Fennesz, finds electronic music at a crossroads between its early status as digital subculture, and the feeling that there has to be something more, an emotional quality that rises above noise and moves towards melody and rapture

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  • Sunda Arc : Tides - LP (Gondwana, 2022)

  • Clear vinyl. Sunda Arc are brothers Nick Smart and Jordan Smart. Best known as key members of folk and jazz influenced minimalists Mammal Hands, their Sunda Arc project takes inspiration from the likes of Jon Hopkins, Rival Consoles, Moderat and Nils Frahm as well as their own music world. Their debut EP ‘Flicker’ was released in December 2018 and now the duo are set to release their debut LP, ‘Tides’ on 7th February 2020 / Named for a volcanic arc in the Indian Ocean, created by the process of massive tectonic plates colliding, Sunda Arc strives to mingle electronic and acoustic sounds until they become almost indistinguishable from each other. It's a process where they draw the acoustic properties and quirks out of electronic sounds and find the electronic potential in acoustic sounds / ‘Tides’, their debut album, takes its name from the idea of unseen forces that can affect our lives in myriad ways, being pushed and pulled and at the whim of powerful forces outside of our control as well as offering a nod to things such as the tides on our planet, tectonic plate movements and weather systems. There are often chaotic elements in these systems that function in a way that produce a type of controlled randomness on a large scale. This is something they try to reflect in their music by adopting some of the ways these systems work into musical sequences, and using ideas such as chaos theory to control musical parameters

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  • ifsonever : ifsonever - LP (Jazz & Milk, 2022)

  • If you ever wondered what ambient music of the 21st century could sound like, then you should explore the musical spheres of “ifsonever”. This colorful debut-album draws a blueprint of an urban ambient club record of a parallel universe. A collage of beautifully improvised pieces, strictly recorded in “one takes”. A gripping fusion that brings together the warm analog textures of classic vintage synthesizers and electronic urban ambiences. Two old friends have been invited to contribute overdubs in hindsight. MillianX is a film composer and noise artist, a colleague from the viennese filmacademy. Both worked together on the film score for the science fiction movie „Rubikon" while the album was in its final stages. So a collaboration was an obvious choice. The creamy arpeggiated synthline created for „jonesy dreams of birds”' was extended by Millianx with some field recordings and a big cloudy synthwave that dips into a vast sea of noise / Guido Spannocchi is a london based jazz musician. Both knew each other for several years but never had the chance to work together. When Daniel Helmer wrote „an unknown error has occured" he imagined a saxophone layer to accompany the existing synthline. But when the two musicians finally got together to record in the legendary jazz club „Porgy & Bess", Guido just let his creativity flow and jammed freely to the track with a totally unique jazz vibe / Between film, music & sound Daniel Helmer is continuously searching for a spot to call his own. Expanding boundaries, pursuing the unheard and breaking genre definitions are byproducts of his curiosity and his drive to avoid repetition. Daniel Helmer resides in Vienna where he studied at the local film academy. He became one of the founding members of the techno-punk band “Gudrun von Laxenburg” with album releases on the legendary Skint label, collaborated with Sam Irl on “International Major Label” as the production duo “Mantra Mantra” and released an album as “Yogtze” on Gerd Janson’s imprint “Running Back Incantations”, together with Feater. At the moment he is focusing on his work as a film composer and is currently working on two feature films in Austria

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  • Feldermelder : Euphoric Attempts - 2xLP (-ous, 2022)

  • «While focusing on the current conditions we find ourselves in and bracing for what seems like the collapse of humanity, I made this collection of music in an attempt to ignite the essential remnants of my inner euphoria, and perhaps yours too» - Feldermelder / For this album, Feldermelder draws together compositions from his extensive archives, focussing on material that reflects the simple joy of making music. As a counterpoint to the abstract complexities and intricate rhythms of his live performances, here Feldermelder creates candid compositions of purity and minimalism, finding a sense of elegance in the details. «Euphoric Attempts» discovers the prospect of liberation and vitality in concealed intimacies, capturing their resemblance in gentle, elaborate, and prodigious movements of sound / Feldermelder is a Swiss musician, sound designer, producer, and installation artist. He is co-founder of -OUS and part of the audio-visual collective Encor.studio. He has previously released several releases on -OUS, both as a solo artist, and in collaboration with Sara Oswald and Julian Sartorius. Feldermelder’s influences range from pioneering early electronic music to contemporary analogue electronics to classic jazz and beyond. The diversity of the music that inspires him is mirrored in his own work, which illustrates an ever-evolving sound, and indicates that influence is seen as both map and compass, guiding divergent inclinations

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  • Øyr : Øyr - LP (Lomas Productions, 2022)

  • ØYR is the fourth release from the Oslo based 'Lomas Productions' consisting of musicians/producers Lars Mellgren and Thomas Hauge. The Norwegian duo has been composing music for 20 years, exploring various musical paths and recording styles. Their 2020 release Coastal County soon became a sought after Discogs treasure / Being the duo's first ambient record, ØYR is a 5 piece installment experimenting with blending electronic soundscapes and analogue recordings. The work encompass sonic landscapes that can be described as meditative but also has room for noise and the post-apocalyptic

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  • Alva Noto, Ryuichi Sakamoto : Summvs - CD (Noton, 2022)

  • Special folding package / Alva Noto and Ryuichi Sakomoto’s near-decade long V.I.R.U.S. series saw the pair break new ground in the ambient sphere simply by leaning into their respective strengths. Sakomoto’s haunting piano work and Alva Noto’s digitally decaying samples proved to be natural bedfellows whether they were chasing glitchy interference (as on 2002’s Vrioon) or droning repetition (2008’s utp_). The final piece of the puzzle, 2011’s Summvs acts then as a sort of epilogue, a tidy summation of their progress in collaboration. Even its title pays tribute: a portamento of the Latin “summa” and “versus” loosely translated as towards a sum. The German label NOTON has been periodically reissuing the entire series leading up to this thrilling conclusion, which includes a fresh remaster as well as two previously unheard rarities. Through this lens Summvs still remains a singular entry in both Noto and Sakomoto’s tremendous catalogues.

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  • Linea Aspera : Linea Aspera - LP (Dark Entries, 2022)

  • 10th Anniversary edition pressed on clar vinyl / Dark Entries is proud to present the debut album of contemporary British band Linea Aspera. Linea Aspera is the London duo of Ryan Ambridge (Synths/Programming) and Alison Lewis (Vocals/Synths). They began the project in November 2011, technically drawing inspiration from electronic music from the early 1980s. Within the duo, Alison writes and performs all vocal elements, while Ryan is responsible for the writing and performing of the electronics, as well as recording and mixing of the final recordings / For their debut album they utilized small, simple analog synthesizer set up: Roland SH-09, Roland Juno 6, Vermona DRM MKiii, Korg Poly 800 and Analogue Solutions Semblance. Linea Aspera's sound includes clear influences from early electronic body music, classic synth-pop and, in some instances, industrial and noise. Lyrically the band incorporates the sciences of osteology, neuroscience, and anthropology weaving a new medical language around themes of desire, despair and renewal. Linea Aspera serve up an icebox of dark doom riding on Alison's powerful vocals with a soft but sharp touch. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a specially designed jacket by Dovile Shurpo and includes a full sized insert of all lyrics

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  • Steve Reich, Terry Riley : Six Pianos / Keyboard Study #1 - LP (Film, 2016)

  • After the widely noticed performance at the "Acht Brücken Festival 2016" at Cologne's Philharmonic Hall, Gregor Schwellenbach, Hauschka, Erol Sarp (of Grandbrothers), Daniel Brandt and Paul Frick (both of Brandt Brauer Frick) and John Kameel Farah release their interpretation of Steve Reich's "Six Pianos" as a studio recording via FILM. The re-recording of this piece is an interpretation of Reich's composition but still far more than just that - it is a modern approach to his idea behind it / The basic idea came up at the beginning of the '70s at the Baldwin Piano & Organ Company in New York. During a rehearsal phase, which Steve Reich spent in this very piano store, the idea emerged of writing a composition for all the grand pianos available to him at the company. By the time of the finished piece, the actual number of pianos had settled down to six, where "Six Pianos" developed in 1973. On the occasion of his 80th birthday, the six pianists declare their love to Steve Reich with this release. Shaped by electronic club music as well as their classical education, they form "Six Pianos" in dignified modernity and top it off with today's sound aesthetics and technical recording possibilities. Presented here is not the recording from the Kölner Philharmonie (Cologne Philharmonics), but the ensemble playing six different grand pianos in six different locations throughout Germany / Each pianist performed his part on his piano using his typical studio equipment and passed the recording over to the next one. Thus the six characteristic and individual timbres of the performers overlay to create the overall picture - "Six Pianos" the way it should be looked at in 2016. Jan Brauer mixed "Six Pianos" in the studio while Lukas Vogel provided delays for the "Keyboard Study #1". "Keyboard Study #1" by Terry Riley is a worthy companion for Reich's composition. The piece is kind of a building set of ever lengthening, repetitive patterns played against each other with the right and left hand displaced. The composition proposes various possible combinations for the performer to choose from and repeat at will. And what the performers have chosen proves Gregor Schwellenbach's assumption: "Terry Riley's and Steve Reich's music are open doors for pianists socialized by pop music and their audience."

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  • Alva Noto, Ryuichi Sakamoto : Summvs - 2xLP (Noton, 2022)

  • Alva Noto and Ryuichi Sakomoto’s near-decade long V.I.R.U.S. series saw the pair break new ground in the ambient sphere simply by leaning into their respective strengths. Sakomoto’s haunting piano work and Alva Noto’s digitally decaying samples proved to be natural bedfellows whether they were chasing glitchy interference (as on 2002’s Vrioon) or droning repetition (2008’s utp_). The final piece of the puzzle, 2011’s Summvs acts then as a sort of epilogue, a tidy summation of their progress in collaboration. Even its title pays tribute: a portamento of the Latin “summa” and “versus” loosely translated as towards a sum. The German label NOTON has been periodically reissuing the entire series leading up to this thrilling conclusion, which includes a fresh remaster as well as two previously unheard rarities. Through this lens Summvs still remains a singular entry in both Noto and Sakomoto’s tremendous catalogues

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  • Andrew Tasselmyer, Blurstem : Duets - 2xCD Box (Fluid Audio, 2022)

  • If the majority of “lockdown albums” in 2020 were marked by introspection and solitary effort, Chris Bartels (Blurstem, Elskavon) and Andrew Tasselmyer (Hotel Neon, Gray Acres) took a different path in creating 'Duets.' / Looking beyond their own four walls for inspiration, they began a dialogue with musical fragments – specifically, a file folder of late night felted piano recordings from Bartels in Minnesota that eventually found their way into the samplers, loopers, and digital tools of Tasselmyer in Pennsylvania. Over several weeks, these 'Duets' eventually grew from a set of loose ideas and improvisational concepts into a unified album of seven songs, all made originally from homemade piano recordings but embellished to varying degrees with violin, synthesiser, and voice along the way / Analog mastering from Ian Hawgood preserves the raw, immediate nature of the original home recordings that began the conversation. 'Duets' makes its home with the ever popular 'Book Editions' series. Vintage books dissected, re-assembled and re-structured into book-bound CD covers...

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  • Open To The Sea : Watering A Paper Flower - 2xCD (Fluid Audio, 2021)

  • "There is a small light of hope in the end and you know that even the briefest spark shines…” - Hiroshi Yoshimura (1940–2003) / Open to the Sea are Enrico Coniglio and Matteo Uggeri. Recorded in Venice and Milan, Watering A Paper Flower leaks light into the darkness. Nostalgia is a powerful force, pulling at the heart no matter the age. It can still be felt today, is still relevant and real, extending into and influencing present actions and decisions. It seeps through and enters from the past, as if it were delayed sunlight / 'Watering A Paper Flower' sees the 'Book Editions' series return. Beautiful old books have been dissected, re-assembled and re-structured into book-bound CD covers, once again highlighting the theme of fragility...Packaging includes 1 x vintage (circa:1885-1959) hardback clothbound book (re-assembled / book binding taped together into CD covers, 2 x CD, 15-20 pages of writing / images, 20 x A7 polaroid prints on luxury uncoated paper (designed by Craig Tattersall), 1 x stamped library card, 1 x vintage photograph, 1 x vintage book-mark, 1 x vintage numbered photo negative, 1 x vintage 35mm glass slide, 1 x 35mm reel to reel film strip, stamped / hand numbered / scented, All of the above rests inside Japanese wax bags, made with love...

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  • Joe Borreson, Craig Tattersall : 12 tapes | 10 years - MC+Book (Fluid Audio, 2021)

  • The click of a cassette tape. The warm hiss of analog recording. A lingering piano chord held a in the air with an unidentifiable crackling loop that swims around it all: thus begins the first sounds that started 10 years ago / Made by hand, 1 x hand assembled / screen printed folio (all completely unique). Printed on 300gsm recycled card stock, 1 x A5 28 page booklet printed on uncoated paper. The book documents the journey both artists went on to create the album, 4 x A6 double sided postcards / printed on luxury Acquerello card stock (280gsm), 1 x A7 double sided print / printed on luxury Acquerello card stock (180gsm), 1 x pro-dubbed C-90 matt black cassette tape : Side A 45 mins / Side B 46 mins, 1 x Stumptown cassette cover (315gsm) / edited hole cut design. Stamped / hand numbered / scented, All of the above rests inside screen printed folio covers, Made with love...

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  • Maxime Denuc : Nachthorn - LP (Vlek, 2022)

  • Nachthorn takes its name from one of the 78 stops that make up the main organ in St. Antonius Church in Düsseldorf. This instrument, equipped with a system developed by the German company Sinua, offers the possibility of controlling all of its keyboards and timbres via a computer. The organ thus becomes a powerful synthesiser. This set-up allowed me to fulfil an old dream of mine : to create an entirely acoustic dance music piece with the organ as sole actor. Oscillating between dub techno, harmonic locked grooves or after-hours pop, Nachhorn proposes a hypnotic music piece whose lines sketch the outline of an imaginary warehouse

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  • Kiyoshi Mizutani : Inferior's Betrayal - 2xLP (Ferns Recordings, 2022)

  • Reissue of the self-produced K7 in 1994 on Kiyoshi Mizutani's Ulcer House label. Mizutani was a member of Merzbow in the ’80s and has done solo work since 1989. He has recordings on Ulcer House, ZSF Produkt, Shirocoal Recordings, NEdS, Sounds For Consciousness Rape, Pure, Artware, Kaon, e(r)ostrate, Povertech Industries, and Flenix Records

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  • Small Cruel Party : È Vago Fior Del Tempo - LP (Ferns Recordings, 2022)

  • Originally released on Penultimate Press in 2021. The four pieces on this record all date from the late 1980s and predate any officially released material : "Cords" was entirely realised in Chicago, and the others realised, or at least finished, upon arriving in Seattle in 1990 / The pieces were originally privately released on cassette in micro-editions of 5 to 7 copies and given to friends. In 2009/2010 Petri Supplies, which had a complete set of those early privately released tapes, rereleased some of that material (including these four pieces) in small-run bootleg cassette editions

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  • Giovanni Di Domenico, Jim O'Rourke : Immanent in Nervous Activity - LP (Die Schachtel, 2022)

  • Printed in deep black and metallic silver on extra matt white heavy cardboard, includes black/silver limited "Zepelin" poster cm 30x90. Riding the razor’s edge between bristling electroacoustic wizardry and the constrained structures and harmonic interplay of musical minimalism, we’re thrilled to announce pre-orders for “Immanent in Nervous Activity”,  Die Schachtel’s brand-new release from the creative partnership of Giovanni Di Domenico and Jim O’Rourke / Comprising a single long-form work, divided into two movements that culminate as a second chapter to the duo’s 2015 LP, “Arco” - an album which endeavored, on visionary terms, after the potential of waiting and patience as means toward musical form - their latest adventure - recorded in Japan with further contributions by Eiko Ishibashi on flute and Tatsuhisa Yamamoto on snare - rolls at a glacial pace, deftly weaving tension into restrained sheets of tonality, texture, and harmonic dissonance that ripple with microscopic detail and a stunning sense of structure / A bristling intervention the terms and possibilities of electronic music by one of the most exciting partnerships in the contemporary landscape of adventurous sound, “Immanent in Nervous Activity” will be issued in late September by Die Schachtel in a very limited deluxe edition of 400 copies, housed in deluxe sleeve with original artwork by Bruno Stucchi/Dinamomilano. Truly incredible from the first rotation to the last and not to be missed

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  • Giovanni Di Domenico, Zugzwang : Wesen - 2xLP (Silent Water, 2022)

  • Final chapter on the trilogy about Funk music and German existentialist philosophy after "The Ear Cannot Be Filled With Hearing" (2017, Silent Water) and "Reflection Is Circular" (2019, Silent Water) / Imagined (?) dreams of being chased, false awakenings, etc. analyzed through a lens of the gestaltpsychologic understanding. Perceptions containing qualities that do not result from the arrangement of simple sensory qualities. An example of Gestalt-qualität, as Christian von Ehrenfels writes, is a melody that may consist of individual tones, but is much more than just the sum of these tones. Individual tones could combine to form completely different melodies, but the melody remains the same even if it is shifted to a different key and therefore contains different individual tones...the Gestalt laws are, however, nearly universally applicable

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  • Lard Free : I’m Around About Midnight - LP (Replica, 2022)

  • Released in 1975 with a slight line-up change, I’m Around About Midnight shifts from rock to a more electronic approach thanks to Richard Pinhas (Heldon) skills with keyboards. More experimental and sophisticated than ever, it shows a band searching for constant musical absoluteness

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  • Lard Free : Lard Free - LP (Replica, 2022)

  • Released only one year prior to their split, III digs even deeper into electronic and experimental territories. Lard Free’s music has never sounded more cinematographic and spacey than on this record which perfectly blends the players, their instruments and some kind of dialog with the Universe

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  • Lard Free : Gilbert Artman’s Lard Free - LP (Replica, 2022)

  • Recorded in 3 days only and released in 1973, mixing jazz, kraut and prog rock, Lard Free’s first album is a musical landmark in the French underground scene. To this day, it still matches the perfection of their English and German fellows like Soft Machine and Amon Düül. A true masterpiece

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  • Bourbonese Qualk : The Spike - LP (Mannequin, 2022)

  • Bourbonese Qualk's third album "The Spike" was recorded during the period 1984-1985 and published by the Berlin based Dossier/Atonal label while Bourbonese Qualk were involved in organising the Berlin Atonal festival. Parts of Side 2 of the album is a recording of pieces made for a dance and film performance at the Bloomsbury Theatre in London in 1985 / Bourbonese Qualk were an experimental music group from England, active from 1979 through 2003. They were always obsessively and uncompromisingly focused on controlling their work: they ran their own record label, recording studio, tour organization, and music venue (the notorious Ambulance Station). They refused to integrate into the commercial music racket and turned down publishing deals from major labels, stubbornly opting for total independence / They're also known for their political activism, formed in the crucible of 1980s Britain amid such influences as the UK miners' strike, The Falklands War, Thatcherism, monetarism, local government corruption, squatting, anti-capitalism, anti-fascism, and anarchism. Their work was often ambiguous and directly critical of cynical power-politics of any color, often irritating members of the traditional organized left. In 1984 Bourbonese Qualk occupied a large empty building - The Ambulance Station - on the Old Kent Road in South London, which they turned into a base for their activities, a cooperative space for artists, musicians, and writers, and a center for radical political activism -- specifically as a coordinating center for the Stop the City anti-capitalist riots of 1984. This is music as much for then and today, a radical, revolutionary cultural force that acts as a positive social charge

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  • CC Sorensen : Phantom Rooms - MC (Mappa Editions, 2022)

  • A house is something that is so deeply temporary, yet it can hold so much energy. How do we carry or leave behind those energies while transitioning into new spaces? How does each space we occupy for some time shape us and how do we tear ourselves away from it and its influence once it’s time to go? These are some of the core questions behind CC Sorensen’s new album for mappa, ‘Phantom Rooms’ – it’s a record about movement, change, transformation, family, juxtapositions… but most of all, home / CC Sorensen was reflecting a lot on their childhood home in rural Kansas, USA while working on this music. The album could be characterised by a familial, chamber feel and both of CC Sorensen’s brothers, Ryan and Nyal Ruehlen, make an appearance on ‘Phantom Rooms’, among other instrumentalists. Using a wide palette of sounds – CC Sorensen alone in charge of keyboards, software instruments, voice, electronics, percussion, trumpet, guitar and field recordings, in addition to guests on pedal steel, voice, chimes, saxophone and drumset – the American musician crafts music as mysterious as it is inviting / The idea behind it would be almost surrealist – ghostly rooms in houses where we live – if we all didn’t know exactly what CC Sorensen means. Home isn’t something concrete, but it’s also not just an abstract concept. It’s a space beyond space; home in itself is a phantom room we enter. And what enables us to enter is the object of exploration here

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  • Max Loderbauer : Petrichor - LP (Marionette, 2022)

  • Max Loderbauer’s career in music spans the last 3 decades, yet he’s still managed to keep his listeners hungry by releasing only 3 solo albums to date. Two of those releases (Transparenz, 2013 and Donnerwetter, 2020) were on Tobias Freund’s label Non Standard Productions - his long time collaborator and Templehof studio mate. In between those releases, Loderbauer graced Marionette with Greyland in 2016, revealing a previously unheard youthful and sentimental side. Now in 2022, the seasoned mind voyager is back with Petrichor, making yet another rare and treasurable solo appearance / Petrichor distills the elements of Loderbauer’s work that are fundamental to the initiation of the label. With his Buchla, modular synth, and Haken fingerboard, Loderbauer’s improvised studio maneuvers dilate into imagined journeys from glacial peaks into the exosphere. This is Maxi at his most exhilarating state, morphing through bittersweet and optimistic soundscapes to bleak moments of throbbing unease - all while maintaining a sense of grace and elegance. Petrichor is a reflection of Loderbauer’s impactful trips to the mountains, and returning from these summits with an electrifying urge to paint this mighty perspective. The harmonies and melodies on the tracks simulate emotional peaks and valleys, with vibration and rhythm rooted in the foundation of the sound, as though it's woven into the fabric of the fauna and flora / Legendary collaborations like Vilod (with Ricardo Villalobos), the Moritz Von Oswald Trio, Non Standard Institute, Sun Electric in the early nineties, and the newly formed Ambiq ensemble have gained this unique artist the respect of the underground and avant garde scenes alike

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  • Laure Boer, Laurent Boer : Echonomy Split Series #5 - MC (Otomatik Muziek, 2022)

  • The fifth installment of the Echonomy Split Series presents a special father and daughter collaboration. In 2021, Berlin-based Belgian artist Laure Boer found by chance old tapereels of her father, French conductor Laurent Boer. In 1981, the latter participated in a GRM workshop in Paris, during which he created the twenty-minute self-explanatory piece »Musique électroacoustique«. Afterwards, he turned to his career as a conductor, which was beginning in parallel / Forty years later, his daughter Laure now formulates a musical response to these recordings. Laure Boer's music constantly oscillates between electroacoustic explorations, the incorporation of traditional instruments, loop-based rhythms and delicate approaches to melodies. It's amazing to hear and follow where their sound worlds converge or drift apart. What's exciting is that while Laure's recordings were made based on her father's music, they fit perfectly into her previous sound language (listen to her releases on Chinabot or Kashual Plastik for comparison). Both share a radical aesthetic of sound that is at once tender and brutal, working with traditional instruments without falling into strategies of cultural appropriation, but where Laurent's piece is a through-composed cut and paste work, Laure relies on the energy of a live improvisation / A very intimate and personal album in an edition of 70 tapes. The riso-printed booklet is accompanied by a multi-page conversation between Laure and Laurent

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  • Roméo Poirier : Living Room - LP (Faitiche, 2022)

  • Living Room (faitiche 28) is the third solo album by Roméo Poirier and, following his much praised Hotel Nota, his debut for Faitiche. The French musician and producer transforms the layering of different times into a free-flowing pulse that sounds both nostalgic and mysteriously ahistorical. Poirier takes music seriously as a time-based art – not just in the sense of duration, but also in the way time is refracted into autobiographical experience, historical dimensions and stages of evolution. By immersing and reflecting himself in these different layers, he creates a succession of new balances between various tempos, iterations and developments / Poirier’s music emerges from a continual questioning and reformulation of his own oeuvre and thus of his own past, drawing on an ever-expanding archive of self-recorded loops. “I always resample myself, using fragments of a track to make a new one, as an ongoing process,” he explains: “The sound is evolving with me in parallel and the loops carry in their DNA all transformational stages, filled with previous tracks, sedimented.”

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  • Kreng : Works for Abattoir Fermé 2007 - 2011 - 4xLP+10" Box (Miasmah, 2022)

  • 2022 repress, edition of 300 copies, 4 LPs with original artwork inside 350g slipcase with silver tone print. 10 year anniversary edition of Kreng's massive »Works for Abattoir Férme 2007 - 2011”« 4 LPs worth of slow, skin crawling cinematic ambience made for the Belgian theatre group Abattoir Fermé / It could hardly be a better time to again dive deep into Kreng and Abattoir Fermé's disturbingly beautiful underground worlds. Through 8 full- length vinyl sides we are transported through the most terrifying, shadow- filled, down-right bizarre moments of the subconscious. What could be the sound of your darkest dreams or most surreal fantasies gradually unfolds throughout the three and a half hour duration. Exactly this is what Abattoir Fermé specialises in, and Pepijn Caudron's scores perfectly reflect and accompanies both this theatricality as well as our own fears and desires in a masterful way / Each extended side is crafted from an arsenal of samples, disintegrating vinyl and corroded tape, and Pepijn Caudron manipulates these sounds in a way that belies the sources. Rather than allow the sounds to emerge, they stay trapped beneath swathes of noise, tape delay and oppressive bass giving us a compositions that emerge like a cross between William Basinski, Jerry Goldsmith (circa Alien) and Henryk Górecki.’ »Works for Abattoir Fermé« is not for the faint of heart, but for the rest of us it might be just what the Doctor ordered...

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  • Bourbonese Qualk : Bourbonese Qualk - LP (Mannequin, 2022)

  • The self named LP marked the fifth album and end of the first incarnation of Bourbonese Qualk. Julian Gilbert left the group after ‘The Spike’ (1986) to concentrate on writing and theatre, leaving Steven Tanza and Simon Crab who parted ways after touring in Europe in early 1986 and recording this album. Steven Tanza went on to found the group ‘The State’ and while Crab continued as Bourbonese Qualk (with the new line-up of Miles Miles,Crab and Owen If), dissolved the Recloose Organisation label and founded ‘New International’ as the outlet for future Bourbonese Qualk and Recloose Org releases / "If we were awarding prizes for making people rush out of the room in blind panic Bourbonese Qualk would have a trophy cabinet to match Bayern Munich’s. Strange, because whilst some of their music is damned uncomfortable listening, an equal part is pleasantly ambient. Pretty, even. Their 5th album is no exception with different types of track side by side throughout, so that the listener can neither drift along in a state of slumber nor masochistically subject themselves to the audio equivalent of the chinese water torture. This makes it all a very stop-start thing but all the more rewarding as a result." / Bourbonese Qualk were an experimental music group from England, active from 1979 through 2003. They were always obsessively and uncompromisingly focused on controlling their work: they ran their own record label, recording studio, tour organization, and music venue (the notorious Ambulance Station). They refused to integrate into the commercial music racket and turned down publishing deals from major labels, stubbornly opting for total independence. This is music as much for then and today, a radical, revolutionary cultural force that acts as a positive social charge

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  • Alexandra Spence : A Veil, The Sea - MC (Mappa Editions, 2022)

  • A Veil, The Sea is Alexandra Spence‘s second sea-themed release of the summer, arriving on the heels of Blue waves, Green waves on Room40. Her Mappa album retains the drone-like fascinations of the prior work while increasing the amount of field recordings. From the start, one hears the gurgling of currents, the ebb and flow of tides, the crashing of waves.  Spence then adds her own music, similarly fluid, a seamless integration. Submerged tapes, ceramic pipes and blown bottles foreshadow what is to come / When Spence speaks, her voice is so light that it bobs on the sea. An old, recurring dream: I’m floating in a big, big wave. The artist is in love with the ocean; it nourishes her, sustains her. The first half of “a veil” is awash in wonder, although the juxtaposition of waves and motors leads one to pause. And then the message, delivered in a litany of objects reminiscent of Last Days’ “thoughts of alice” ~ the Great Barrier Reef, the Great Pacific Garbage Patch … water bottles, humpback whales. Spence makes no distinction between natural and unnatural, original presence and awful disturbance. The reading produces a cumulative effect akin to that of oceanic desecration. She writes of new species born of the old, changing their color and composition due to noise pollution and climate change. Her words may be gentle; their implication is not / In “the sea,” the listener begins to feel the difference humankind has made in the oceans. There are few “pure” hydroponic recordings anymore. As above-ground field recordings are disturbed by planes, underwater field recordings are disturbed by motors.  Even those who want to hear the sea cannot hear only the sea. This deliberate discomfort rests on the outskirts of the sonic field, growing more insistent when combined with the utterances of large sea mammals. Amid the thrums and hulls lie buzzes and hums; has the sea developed its own tinnitus? Spence’s final notes are an elegy for all that has been lost: a mournful goodbye to species we have known, and many we never had the chance to meet. (Richard Allen)

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  • Pauline Oliveros : Reverberations: Tape & Electronic Music 1961-1970 - 11xCD Box (Important, 2022)

  • Dense 11 disc collection of Pauline Oliveros' early and unreleased electronic work including her very first piece for tape made in 1961. The majority of these pieces have never before been released. Organized chronologically by studio, this set not only documents Pauline's earliest electronic music but it also functions as an early history of electronic music itself. Extensive liner notes including essays from Pauline Oliveros, Alex Chechile, Ramon Sender, David Bernstein, Corey Arcangel and Benjamin Tinker. This box set is being released in conjunction with Pauline Oliveros' 80th birthday celebrations / Pauline Oliveros, composer, performer and humanitarian is an important pioneer in American Music. Acclaimed internationally, for four decades she has explored sound - forging new ground for herself and others / Through Deep Listening Pieces and earlier Sonic Meditations, Oliveros introduced the concept of incorporating all environmental sounds into musical performance. To make a pleasurable experience of this requires focused concentration, skilled musicianship and strong improvisational skills, which are the hallmarks of Oliveros' form. In performance, Oliveros uses an accordion which has been re-tuned in two different systems of her Just Intonation, in addition to electronics to alter the sound of the accordion and to explore the individual characteristics of each room

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  • Deaf Center : Neon City - 12" (Miasmah, 2022)

  • »Neon City« is the debut release by Erik K Skodvin & Otto A Totland's Deaf Center project, finally re-issued 18 years since its first appearance / Listening to »Neon City« in 2022 is like taking a melancholy journey down rainy city streets of the early naughts, made by the then two young Norwegians in their mid 20s after spending time together in a basement full of vintage items. Armed with young optimism and a sense of musical experimentation, they started sampling everything around them, be it an old television broadcaster, tape recorders, a game of table tennis or conversations on film and merging it with pianos, plucked guitar, strings and anything in-between. The record turned out as something unique in the fields bordering post classical and ambient music, though without landing on any set genre. The record was filling a place in music that was barely touched upon and made them further experiment with samples and classical music which landed them on the 2005's classic »Pale Ravine« / Although Erik and Otto both had been making music solo before, »Neon City« was the start of their more focused future paths as purveyors of both light and darkness in music that seeps through your soul to battle the anxieties of the world. We're glad to see this important start again be available to new ears. The record comes with a remix of the opener track “Dial” by Helios aka Keith Keniff, taken from the same original

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  • Roman Flügel : Balmy Evening - LP (Mule Musiq, 2022)

  • Beautifully drunken it hums, the piano in “PianoPiano”, the last tune of “How to Spread Lies”, the first EP by Roman Flügel for the Hamburg based label Dial in the year 2010. Or take “Strich”, a peculiar electrical slow-motion grinder, out on his “Mutter” EP for Klang Electronic in 2006. Since long, the renowned Berlin based DJ and producer is investigating in spheres beyond the dance, the groove, the ecstasy. Zones, where the molecules harmonize, senses relieve, and the soul quietens. All his last albums, “All The Right Noises” (Dial), “Themes I-XIII” (ESP Institue), “Eating Darkness” (Running Back) have moments of tension and relaxation in a deep harmonious connection / Now “Balmy Evening”, a sundown record for sunup’s. Eleven notions in adventurous journey music, embracing the freedom of structure, blurring the musical pulse into harmonic meditation and mysteriously grooving zones, leaving all unnecessary accessories behind. A quality, that many of his collaborative and solo productions from past 30 years comprise. Still, most of them squint on the dance floor, where jack is king. Not so “Balmy Evening”, where real party bangers are absent. There are moving tunes like the slow Kraftwerk-melody-leaning funkateer “Duftschulter”, or the artificially jacking “Greenhouse”, where nervous Synth patterns ball along soft breaks and decreet kicks. Also, “Super Sonne”, an odd, seemingly improvised synth conversation might ask some souls out for a dance / But all others, like “Atmosphere”, “Frei”, Dolphins, “Goth”, or “Ambienteuse”, rather seek for the tranquil in each one’s spirit. Listeners need be ready for surprises. Ready for impulsive ideas, linked to a harmonious flow, always ready to grow. An album full of silence, utterly loud, beautifully diverse humming, displaying a playful, exploratory side of a celebrated club music producer, to whom atoms dance in manifold ways

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  • Moin : Paste - LP (AD 93, 2022)

  • White label, die-cut sleeve. The follow up to their well received debut album ‘Moot!’, the record draws influences from alternative guitar music in its many forms, using electronic manipulations and sampling techniques to redefine it's context, not settling on any one style but moving through them in search of new connections / By exploring these relationships, Moin delivers another collage of the known and unknown, punctuated by words that are just out of reach

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  • Michel Banabila : Echo Transformations - LP (Knekelhuis, 2021)

  • Michel Banabila is an indispensable part of the Dutch experimental music scene, where he has acquired a special place with many, in the 40 years that he has been releasing music. Michel is also just as active as a composer for the theater and ballet world, as well as for TV productions, to considerable fame. The threat of drowning in the sea of his oeuvre is real in view of the unprecedented amount of output, but once sailing unmissable monolithic rock formations loom up rapidly / Echo Transformations' is one of them. It's a magical album, where everything falls into place in a rich domain inspired by the Fourth World dimension. A world of sound arises from our imagination, stimulating the senses. A concept album where every sigh has its place and where no superfluous tone can be heard. What remains is to embrace the inevitable surrender that accompanies unstoppable change. This is Banabila at his best

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  • MLO : Oumuamua - 2xLP (Music From Memory, 2021)

  • Music From Memory are excited to present the first compilation of works by British electronic pioneers MLO aka Peter Smith and Jon Tye. Titled ‘Oumuamua’ and second up in the Virtual Dreams series, the compilation is an in-depth artist focused release containing twelve thoughtfully selected tracks that touch on highlights from the duo’s discography as well as newly (re)discovered music drawn from a vast archive of unreleased pieces, sketches and extended jams recorded between 1993-1995 / MLO’s ambient explorations began when Pete and Jon, having first met in rival punk bands during the late ‘70s, found themselves with unlimited access to an incredibly well-equipped studio, having been hired to produce an Icelandic pop star’s record in the early ‘90s. Particularly charmed by the Korg PS 3300 and an Emulator 2, Smith and Tye were also deeply fascinated by outer space and set about developing a musical landscape informed by both this new state of the art musical equipment and what lay beyond the Earth’s limits. Painting with a palette informed by classical minimalism, new age and the works of Cluster & Eno; the duos primary colours were drones, sustained tones, washes, calming tides, gentle temple bells and soft angelic voices with flickering glimpses of percussion and drums that hinted at the possibilities of a dance floor

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  • Gigi Masin : Talk To The Sea - 2xLP (Music From Memory, 2017)

  • Part of only a small and very much underground music scene in his hometown of Venice, Gigi Masin self released two modestly pressed LP's 'Wind' (1986) and 'Wind Collector' (1991) and appeared along side Charles Hayward for the Sub Rosa compilation LP "Les Nouvelles Musiques De Chambre Volume 2" (1988). Having met with little commercial success in Italy at the time, Gigi Masin's solo albums remained for the most part totally unknown. His music has though in recent years, and seemingly by pure word of mouth, developed almost something of a cult following / Gigi Masin's uniquely intricate and at times deeply emotive compositions take the listener into a realm of contemplation, a spellbound mind state where time and space appear to dissolve. His sparse and hypnotic often loop-based compositions seem to draw parallels with Detroit Techno's earliest beginnings, all at once conjuring those same feelings of both melancholic longing and ecstatic joy / With access to Masin's large body of work, far greater than that of the handful of released recordings, Music From Memory's new compilation covers a period of over 30 years, from the mid 1980's up until recent works . Including seventeen compositions, most of which have remained unreleased or unavailable until now, 'Talk To The Sea' aims to shine a light on Gigi Masin's unique and heartfelt talent. This is electronic music from the soul."

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  • Joseph Beuys : Hier Spricht Fluxus - 12" (Edition Bierammer, 2022)

  • One-sided record in silkscreened cover, with double-sided A2 poster and inlay / Originally published in 1969 as a Reel-to-Reel tape in the series “Ung Dansk Kunst” at the initiative of Danish curator John Hunov. This tape-piece was composed for Beuys’ legendary ”Manresa” action at Galerie Schmela in Düsseldorf, Germany on December 15th, 1966

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  • Marc Richter : Diode, Triode - LP (Cellule 75, 2022)

  • This album presents two multichannel works recorded at the seminal INA GRM Studio in Paris and ZKM Institute in Karlsruhe respectively, mixed to stereo at the composer's Cellule 75 Studio in Hamburg with excellent mastering by Rashad Becker. While his releases under the Black To Comm moniker often touched the fringes of acousmatic techniques and Musique Concrete this is Richter's first foray into a more abstract spatial music / Recorded in the week leading up to the Paris terror attacks at the GRM studio, "Diode, Triode" (21:57) is loosely based on a reading of (and, in parts, a failure to understand) "Le Parasite" (1980) by Michel Serres, a philosophic metaphor about human interaction and communication (which can also be interpreted as a lyrical essay on capitalism; part confusion, part enlightenment) / Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and under the Mouchoir Ètanche and Jemh Circs monikers for his own Cellule 75 imprint. He collaborated with visual artists such as Ho Tzu Nyen, Jan van Hasselt and Mike Kelley. Under his own name he is composing for film and installations

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  • Vindicatrix : One or Several Tigers - CD+Book (Cellule 75, 2022)

  • The CD comes packaged in A5 book. This album presents music created by Vindicatrix for Ho Tzu Nyen’s One or Several Tigers, a theatricalized installation using ancient and contemporary cinematic techniques including shadow puppetry, CGI, motion capture (taken from a suspended Vindicatrix’s body and facial movements) and animatronics, exploring the histories, cosmologies and ecologies of Southeast Asia through the figure of the Malayan tiger

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  • Khan Jamal's Creative Art Ensemble : Drum Dance To The Motherland - LP (Aguirre, 2022)

  • Originally issued by Jamal in 1973 in an edition of three hundred copies on ‘Dogtown’ records, Drum Dance To The Motherland was effectively a myth until eremite’s 2005 CD reissue. With the master tapes long vanished, the audio was transferred at Sony Music's 54th street studio from a minty copy of the original LP. Includes an insert with Ed Hazell's detailed telling of Drum Dance's incredible history. Under License From Eremite Records / Finally available again, a really stunning document of musical exploration, a classic session. In its improbable fusion of free jazz expressionism, black psychedelia, & full-on dub production techniques, Drum Dance remains a bracingly powerful outsider statement fifty years after it was recorded live at the Catacombs Club in Philadelphia, 1972. Comparisons to Sun Ra, King Tubby, Phil Cohran & BYG/Actuel merely hint at the cosmic otherness conjured by The Khan Jamal Creative Arts Ensemble & by sound engineer Mario Falana's real-time enhancements / There’s not another album on the planet that sounds even remotely like vibraphonist Khan Jamal’s eccentric, one-of-a-kind masterpiece, Drum Dance To The Motherland. Thirty years after its release, the album’s tapestry of sound, fearless abstractions, relentless grooves, cool swing, flashes of ecstasy, & pan cultural embrace remain powerful & beyond category. One of only three albums released on the Philadelphia-based Dogtown label, it was barely distributed beyond the city’s limits when it came out in the early ‘70s

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  • Tibor Szemzo : Skullbase Fracture - LP (Fodderbasis, 2022)

  • Issued by Leo Fegin's visionary record label in 1993, this refreshed and revised reissue collection of Hungarian composer Tibor Szemzo's chamber pieces with spoken text – composed at 1980s for the legendary GROUP 180 – is unlike anything else of its kind / No one has survived life. Everyone has died from it so far. Man must realize that He is responsible for His own life and fate and must insist upon this responsibility beyond all limits. And since Man has dissociated Himself from the sphere of irrationality, He has no way of getting in touch with death, or of establishing control over it. How we achieve the final result is merely of secondary importance. If the vision is clear to everyone, there is no need at all to look back. In a time of complete mental disturbance, only one chance remains to us: crystal-clear thinking. This leads us back to total mental disturbance, which everyone has died from so far. (Pavel Havlicek – Miklos Erdely – Tibor Hajas) / Text and Music - Language and Speech - Sound and Music. The common basis of the three works by Tibor Szemzo heard on this album is the inalienable relationship to text – as an a priori principle. Text and music: the formal attributes of significance, intentions, and levels of meaning inherent in verbal communication as it is transformed into audible code. Language and speech: the structural level of communication, where it becomes purposeful expression, acoustic statements of variable modality. Vocalization as sublimation. Sound and music: By becoming an auditory signal, communication is deprived of its sense and reduced to musical articulation and abstraction

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  • Popol Vuh : Sei Still, Wisse Ich Bin - LP (Wah Wah, 2017)

  • Originally released on Klaus Schulze's Innovative Communication label in 1981, 'Sei still, wisse Ich Bin' is Popol Vuh's 13th LP. Fricke and Fichelscher worked under the production of Klaus Schulze himself and were helped for the occasion by Chris Karrer on soprano sax, Renate Knaup on vocals and the Chorensemble der Bayerischen Staatsoper. Two of its songs, Laß los and ...als lebtendie Engel auf Erden where used on the soundtrack of Werner Herzog's film Fitzcarraldo, from 1982. There is also a film directed by Florian Fricke, inspired by The Bible and filmed in the Sinai Desert, which staged the music contained within this album

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  • Cos : Postaeolian Train Robbery - LP (Wah Wah, 2022)

  • Usually regarded as the Belgian Zao, Cos develops an European type of chamber-rock, built on onomatopeic vocals or sung in French or German. The band displays beautiful themes interwined with complex orchestrated rhythms. Its music evokes the Canterbury School (Caravan, Hatfield And The North...), the anguished and dark music of King Crimson or Quiet Sun and Terje Rypdal's atmospheric jazz-rock. Pascale Son uses her high-pitched voice, able to perform the most incredible modulations, and this allows her to become one of the best singers in that style / The leader Daniel Schell is a guitarist extraordinaire, and proves to develop ideas as original as Robert Fripp's. The Musea CD reissues of ""Postaeolian Train Robbery"" (1974) and ""Viva Boma"" (1976) include several unreleased tracks. ""Babel"" has been initially published in the year 1978, and the seven tracks of the original album have been completed by a ballet music (""Pro Arte Gymnastica"", directed by Jac Delsing in Anvers, March 3rd 1979.), as well as three tracks captured live two years later in Hannover (Germany) / The latter are the product of a band reduced to a trio, made of Daniel Schell (Using the Chapman Stick for the first time), Nicolas Fiszman (Guitar) and Philippe Allaert (Drums). The band's fourth album, ""Pasiones"" (1983), is a mini-opera based on the story of three soldiers during the Spanish Civil War. The lyrics are made of a mix between Spanish, French, English, German and Dutch. The music is a fine fusion of jazz, classic, rock and folk music, with top-notch instrumental work all around. The band uses complex arrangements and subtle instrumental combinations, with a great sense of humour and originality. This reissue includes more than 35 minutes of bonus music: a performance in Toulouse (France) in 1984, a rehearsal from 1981, and two tracks from the maxi-LP ""Hôtel Atlantic"" dated back from 1984. A great album !

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  • Cos : Babel - LP (Wah Wah, 2021)

  • The origins of Cos date back to the second half of the sixties when Daniel Schell joined forces with Jean-Paul Musette, Pascale Son and Robert Pernet to form Classroom. When Classroom split, Daniel Schell and Pascale Son moved ahead and formed Cos together with Charles Loos, Alain Goutier and Bob Dartsch. They produced an experimental jazz rock sound linked to the influences above mentioned, but without being mere copycats since they always managed to keep to their own personality / Babel was Cos' third long playing release, issued in 1978. It represented a new step in the band's evolution with the addition of new influences that ranged from musique dodécaphonique, minimalist droning, or even a hint of disco, without turning their backs to their earlier love for Canterbury sounds or more conventional jazz-rock. Dirk Bogaert, Francis Cahen and Marc Moulin all played in its sessions, making this a superb sample of what was going on through the Belgian music scene in those days / The Wah Wah reissue comes housed in a beautiful reproduction of the original sleeve. Limited edition of 500 copies, licensed from and with the collaboration of Daniel Schell

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  • Cos : Viva Boma - LP (Wah Wah, 2021)

  • The origins of Cos date back to the second half of the sixties when Daniel Schell joined forces with Jean-Paul Musette, Pascale Son and Robert Pernet to form Classroom. When Classroom split, Daniel Schell and Pascale Son moved ahead and formed Cos together with Charles Loos, Alain Goutier and Bob Dartsch. They produced an experimental jazz rock sound linked to the influences above mentioned, but without being mere copycats since they always managed to keep to their own personality / Viva Boma was their second LP, originally issued in November 1976, and added some African influences to the mix, including the cover which, designed by Alain Goutier upon a concept by Daniel Schell, depicted a trio of hipopotamus that made reference to Boma, a portuary city at the banks of the river Congo, and Bomma, Belgian word for grandmother (hence the title appearing either with one or two m's on different parts of the artwork) / The Wah Wah reissue comes housed in a beautiful reproduction of the original sleeve and an insert with photos and liner notes. Limited edition of 500 copies, licensed from and with the collaboration of Daniel Schell

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  • Ibliss : Supernova - LP (Wah Wah, 2022)

  • Back by popular demand here is a very limited repressing of this krautrock masterpiece with connections to Kraftwerk. Lengthy and strongly percussive cosmic fussion instrumentals with a middle-eastern flavour by this Kraftwerk-related outfit led by Basil Hammoudi (Organisation). A great, unknown album from the jazzier end of the krautrock spectrum (think of Kollectiv, Thirsty Moon, Niagara, Annexus Quam, Embryo…). Remastered sound, faithfull gatefold sleeve reproduction, insert with liner notes. A limited repressing of only 500 copies - please note that the first pressing sold like hot bread and has been unavailable ever since, do not miss this killer edition repressed by popular demand!

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  • Various Artists : Irida Records: Hybrid Musics from Texas and Beyond, 1979–1986 - 7xLP Box (Blank Forms Editions, 2022)

  • Presented in an oversized (13-1/8" x 13-1/8"), fabric-covered drop-spine box, with a handsewn booklet of interviews, essays, and ephemera. Irida Associates U.S.A., an obscure and short-lived record label formed by composer-performer Jerry Hunt, offers a glimpse into the revelatory world of new music and composition in the artist’s native Third Coast. Based first in Dallas and later in Hunt’s home outside the rural town of Canton, Texas, Irida presented the innovative and daring experiments—into aleatoric methods, environmental acoustics, improvisation, homemade technologies, and more—pursued by Hunt and his select collaborators, primarily working in or near Texas between 1979 and 1986. Irida’s brief and compact output—seven non-sequentially numbered LPs released in unknown quantities—shared work by artists whose practices often challenged the limitations of vinyl recording / Hunt called the label a “vanity project” and frequently talked of a tax loophole he could claim if it all went belly up, but in its short lifespan Irida captured a tremendous period of creative experimentation by the artist and his friends and collaborators. This boxed set gathers Irida’s complete discography for the first time. These records include early attempts by Hunt to record his generative and highly permutable scores and performances on vinyl in Cantegral Segment(s) 16.17.18.19. / Transform (Stream) / Transphalba / Volta (Kernel), as well as his only composition for piano, “Lattice,” on Texas Music (both records 1979) / The label distributed solo and group recordings by those in Hunt’s circle as well, including Larry Austin’s electroacoustic, syncretic compositions in Hybrid Musics; James Fulkerson’s unique, extended techniques for the trombone on Works; a fusion of three overlaid compositions in Dary John Mizelle’s Music of Dary John Mizelle; spontaneous pieces and riff-based “character improvisations” in Music of BL Lacerta by the four piece “orchestra in miniature” BL Lacerta Improvisation Quartet; and experiments in compositional “mapping” by external structures in Cartography, featuring Austin, Gene De Lisa, Robert Michael Keefe, and Rodney Waschka II

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  • Black Ox Orkestar : Nisht Azoy - LP (Constellation, 2006)

  • The second record by Montreal’s Black Ox Orkestar placed the group at the forefront of a ‘new Jewish music’ that rejected contemporary fusion and musty nostalgia in equal measure. With backgrounds in folk, punk-rock and free jazz, the group’s four musicians distilled Balkan, Central Asian, Arabic and Slavic sources into a coherent, impassioned sound that gave teeth to old Jewish songs / Never relying on museum-piece reverence or an obvious, forced collision of musical forms, Black Ox rewrote a Yiddish songbook in ways that sound organically anchored to tradition without being suffocated by it. Nisht Azoy (Not Like This) built dramatically on Black Ox’s debut (Ver Tanzt?), striking a similar balance between vocal and instrumental tunes, but with more intensity, mystery, and a readiness to stretch things out, whether in the incantatory opener “Bukharian” or the clomping crescendos of “Az Vey Dem Tatn” and “Tsvey Tabelakh”. Further upping the ante with greater use of percussion and group singing, the band’s entirely acoustic instrumentation pumps and pulses with explosive energy and emotion. Radwan Moumneh captured the 4-piece band (at Montreal’s (original) Hotel2Tango studio) with a detailed warmth and authority, and a large cast of guest players expanded the group to bona fide orchestral size on “Tsvey Tabelakh” / The slow plaintiveness of vocal songs “Ikh Ken Tsvey Zayn” and “Golem” rank among the group’s most spine-tingling, mesmerising moments. “Ratsekr Grec” summons a Balkan dance rhythm in one of the album’s more overtly traditional arrangements, adding a flurry of colliding horns down the home stretch. Taken as a whole, the cycle of songs on Nisht Azoy further opened up a world, inspired by Jewish diasporic culture and politics, that challenged conventional appropriations and forged music that is highly original, deeply felt and very much alive. As the band wrote: “Nisht Azoy is the melancholy and uncompromising sound of our mongrel music splitting at the seams, the boat creaking as we drag our friends on board. As we sing in Tsvey Taybelakh: ‘When you come to a strange city, my love / Think of my words / When you come to deep waters, my love / You will not drown in sorrow / When you come to great fires, my love / You will not be burnt in sorrow.’”

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  • Matana Roberts : Coin Coin Chapter Three: River Run Thee - LP (Constellation, 2015)

  • LP is pressed on 180 gram virgin vinyl at Optimal (Germany) and comes in a heavyweight jacket with black poly-lined audiophile dust sleeve, credit insert, 2 pull-out art posters and download code for 320 kbps MP3 copy of the album. Matana Roberts is one of the most acclaimed, socio-politically conscious and aesthetically intrepid avant-jazz practitioners of the 21st century. The critical accolades for her multi-chapter Coin Coin work place her at the vanguard of stylistic innovation and radicalization, while confirming the deep substance and soul that guides her compositional agenda. Roberts has long employed the phrase "panoramic sound quilting" to describe Coin Coin, and with this third chapter in the series she implements this metaphor most overtly, creating a sound art tapestry from field recordings, loop and effects pedals, and spoken word recitations, alongside her saxophone and singing voices / Coin Coin Chapter Three: river run thee unfolds as an uninterrupted album-length flow, in what Roberts calls "a fever dream" of sonic material, inspired by a solitary research-based road trip Roberts took through the American South in early 2014.  Fragments of traditional song are the album's main touchstones, with Roberts' singing voice riding atop waves of radiophonic texture, layered spoken word, and an often dislocated, wandering horn. It is the first explicitly solo work in the Coin Coin series, and a fascinating extension of the cycle; yet another adventurous, socially engaged definition of what Jazz can mean in this day and age

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  • Matana Roberts, Marie Davidson : Coin Coin Chapter One: Gens De Couleur Libres - 2x10" (Constellation, 2011)

  • Matana Roberts is one of the leading lights of contemporary African-American experimental music, combining her widely recognized gifts as an alto saxophone player and improviser with an intensely engaged re-definition of American Jazz traditions / Matana's COIN COIN project is the centerpiece of this engagement and re-definition: a multi-chapter work that combines conceptual scoring (graphic notation, 'chance' strategies), storytelling and historical narrative, performative theatre (personae, costume, multi-media), and a deeply considered channeling of personal ancestry and the 'universal' experience of Africans in America / COIN COIN Chapter One: Gens De Couleur Libre is the first official recording of this ambitious and powerful project. We invited Matana to assemble her Montreal group for a live in-studio performance at the Hotel2Tango facility, before a small but capacity audience of about 30 friends and supporters. The performance was stunning, literally bringing audience members to tears, and went to tape beautifully. The full 90-minute performance was then edited down to around 60 minutes. While it may sound trite, we truly feel this music speaks for itself. It rallies adventurous improv, experimental voice and narrative, a wide array of black folkways, and Matana's impassioned lead playing to tremendous emotional and conceptual effect

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  • Black Ox Orkestar : Ver Tanzt? - LP (Constellation, 2006)

  • Evenly split between instrumentals and vocal tunes, this debut album is a compelling blend of originals and new arrangements for pieces pulled from various Eastern European songbooks. The band aimed to expand the definition of Jewish diasporic music, by learning and reinterpreting songs and rhythms from all over Slavic and Balkan Europe. Lyrics are in Yiddish and speak forcefully to the bloody history and intractable contradictions of Jewish diaspora and ‘return’. With backgrounds in punk-rock, free-jazz, and other liberation musics, the all-acoustic playing on this record benefits from a genuinely spirited delivery and intensely original approaches to arrangements that never feel forced. This is modern folk music from Eastern European sources played strong, unburdened by antiseptic production and/or cheap sentimentality / Songs range from the propulsive to the sublimely restrained. “Fishelakh in Vaser” explodes with a pumping free-music rhythm section, “Cretan Song” is a staccato Balkan dance, and “Ver Tantz?” is an angry, politically-charged klezmer-punk original. Instrumentals “Shvartze Flamen…” and “Nign”, along with the brilliant original “Toyte Goyes” (lyrics taken from a poem by Yiddish writer Itzik Fefer) are meditative and heartrending. Jessica Moss (violin, bass clarinet), Thierry Amar (contrebasse) and Scott Levine Gilmore (vocals, mandolin, cymbalom, drums) all play or played in Silver Mt. Zion, and Gabe Levine (clarinet, guitar) was chief songwriter in Sackville

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  • Matana Roberts : Coin Coin Chapter Four: Memphis - LP (Constellation, 2019)

  • Matana Roberts returns with the fourth chapter of her extraordinary Coin Coin series — a project that has deservedly garnered the highest praise and widespread critical acclaim for its fierce aesthetic originality and unflinching narrative power. The first three Coin Coin albums, issued from 2011-2015, charted diverse pathways of modern/avant composition — Roberts calls it “panoramic sound quilting”—and ranged sequentially from large band to sextet to solo, unified by Roberts’ archival and often deeply personal research into legacies of the American slave trade and ancestries of American identity/experience / Roberts also emphasizes non-male subjects and thematizes these other-gendered stories with a range of vocal and verbal techniques: singspeak, submerged glossolalic recitation, guttural cathartic howl, operatic voice, gentle lullaby, group chant, and the recuperation of various American folk traditionals and spirituals, whether surfacing in fragmentary fashion or as unabridged set-pieces. The root of this vocality comes from her dedication to the legacy of her main chosen instrument, the alto saxophone. On Coin Coin Chapter Four: Memphis, Roberts convened a new band, with New Yorkers Hannah Marcus (guitars, fiddle, accordion) and percussionist Ryan Sawyer (Thurston Moore, Nate Wooley, Cass McCombs) joined by Montréal bassist Nicolas Caloia (Ratchet Orchestra) and Montréal-Cairo composer/improviser Sam Shalabi (Land Of Kush, Dwarfs Of East Agouza) on guitar and oud, along with prolific trombonist Steve Swell and vibraphonist Ryan White as special guests / Memphis unspools as a continuous work of 21st century liberation music, oscillating between meditative incantatory explorations, raucous melodic themes, and unbridled free-improv suites, quoting archly and ecstatically from various folk traditions along the way. Led by Roberts’ conduction and unique graphic score practice, her consummate saxophone and clarinet playing, and punctuated by her singing and speaking various texts generated from her own historical research and diaristic writings, Coin Coin Chapter Four is a glorious and spellbinding new instalment in this projected twelve-part Gesamtkunstwerk

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  • Oiseaux-Tempête : What On Earth (Que Diable) - 2xLP (Sub Rosa, Nahal Recordings, 2022)

  • Black vinyl. For almost a decade, Oiseaux-Tempête has been slipping through the cracks of any music genre or definition one tries to apply and perhaps it is because, like the wild and furtive creatures that escape all tracking, it disappears then is reborn under new forms, sketches playful mirages where we eagerly come to collide. Not quite a collective nor a conventional band, Oiseaux-Tempête rather takes the form of the radioactive nucleus of an atom whose electron cloud is in constant mutation / At the center of this project, which blurs lines and genres, the duo turned trio of multi-instrumentalists Frédéric D. Oberland, Stéphane Pigneul and Mondkopf have been building dialogues between their own reality, their vocabulary, and those of fellow travelers met all around the surface of the world. From their Mediterranean trilogy (S/T, ÜTOPIYA?, AL-'AN!) to their forray into Canada with the explosive From Somewhere Invisible, deeply instinctive albums shrouded in mystery take shape, in parallel with feverish and incendiary live performances, punk in their urgency to tell the world by blasting the boundaries of space and time / Oiseaux-Tempête unveils a new facet of its mythology through a dense work that carries darkness towards the light of day, that rumbles, calms down and warms up again. Like the silhouette of a lighthouse that reveals itself as its torch rises and shines, the powerful beauty of WHAT ON EARTH (Que Diable) radiates into an expanding musical cosmos

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  • Oiseaux-Tempête : What On Earth (Que Diable) - 2xLP (Sub Rosa, Nahal Recordings, 2022)

  • Yellow vinyl. For almost a decade, Oiseaux-Tempête has been slipping through the cracks of any music genre or definition one tries to apply and perhaps it is because, like the wild and furtive creatures that escape all tracking, it disappears then is reborn under new forms, sketches playful mirages where we eagerly come to collide. Not quite a collective nor a conventional band, Oiseaux-Tempête rather takes the form of the radioactive nucleus of an atom whose electron cloud is in constant mutation / At the center of this project, which blurs lines and genres, the duo turned trio of multi-instrumentalists Frédéric D. Oberland, Stéphane Pigneul and Mondkopf have been building dialogues between their own reality, their vocabulary, and those of fellow travelers met all around the surface of the world. From their Mediterranean trilogy (S/T, ÜTOPIYA?, AL-'AN!) to their forray into Canada with the explosive From Somewhere Invisible, deeply instinctive albums shrouded in mystery take shape, in parallel with feverish and incendiary live performances, punk in their urgency to tell the world by blasting the boundaries of space and time / Oiseaux-Tempête unveils a new facet of its mythology through a dense work that carries darkness towards the light of day, that rumbles, calms down and warms up again. Like the silhouette of a lighthouse that reveals itself as its torch rises and shines, the powerful beauty of WHAT ON EARTH (Que Diable) radiates into an expanding musical cosmos

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  • Keiji Haino, Jim O'Rourke, Oren Ambarchi : Caught in the dilemma of being made to choose” This makes the modesty which should never been closed off itself Continue to ask itself: “Ready or not? 2xLP - 2xLP (Black Truffle, 2022)

  • The renowned trio of Keiji Haino, Jim O'Rourke, and Oren Ambarchi return to Black Truffle with their 11th release. Demonstrating once again their commitment to continual experimentation in instrumentation and approach, the record begins with a long-distance collaboration made in response to a commission from New York's Issue Project Room in 2021 during widespread lockdowns and travel limitations / A unique piece in the trio's extensive body of work, this side-long epic finds Haino performing on metal percussion, O'Rourke on electronics, and Ambarchi on gongs and bells. Initially dominated by rapid patterns on resonant, high-pitched tuned percussion, the piece sets Haino's dynamic and dramatic performance against a calm backdrop of cycling electronics, thrumming gong strikes and hanging bell tones. The performance develops a heightened, intensely concentrated atmosphere reminiscent of Haino's classic Tenshi No Ginjinka or his Nijiumu project. The remainder of the double-LP documents the trio live at Tokyo's SuperDeluxe (the location of all but their very first recording) in a wide-ranging set recorded in December 2017

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  • Lard Free : Unnamed - LP+7" (Replica, 2022)

  • Replica Records’ brand-new reissue of this stunner beautifully reproduces the 1997 cover, and is pressed on 180 gr. vinyl in a limited edition of 500, and also includes a bonus 7". Not for the faint of heart! / Never heard before until its release on CD in 1997 (on Spa-lax Records), Unnamed was recorded a year before Lard Free’s first album and shows a band that totally foresaw the Rock In Opposition movement. Aventurous, never afraid to explore unknown musical lands, Lard Free definitely owns its place in the great History of Rock Music.Recorded in 1971/1972, these  Lard Free "lost" recordings document an interesting, primitive period of the band and shows Artman and Co. moving freely in different directions : jazz, noise and the most radical musical improvisation / Truly stunning from start to finish, Lard Free’s “lost” album, “Unnamed”, is a truly groundbreaking body of work. It’s both tragic and mind-boggling that it remained unreleased as long as it did

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  • John Cage : John Cage - LP (Cramps, Sony Music, 2022)

  • White vinyl reissue. One of the better realizations of John Cage's work, this was also the first “Nova Musicha” collection release. The LP contains five John Cage’s compositions for "prepared" piano, played and performed by various artists: Juan Hidalgo, Walter Marchetti, Gianni-Emilio Simonetti and Demetrio Stratos.  In these perfomances, the sound of the piano was altered by placing objects (preparations) between or on the strings or on the hammers or dampers. Toy pianos and radio systems were used too. Demetrio Stratos performed “Sixty-two mesostics Re Merce Cunningham / The most famous composition is “ 4’33” which represents a turning point for  Cage’s experience and for contemporary music. The Cage piece which has caused most tabloid apoplexy, written in 1952 and included on this album. It has three movements, lasts four minutes and 33 seconds, and not a single note is played. At the premiere, David Tudor sat down at the piano and did nothing except close the lid and open it again at the beginning of each movement. The piece is not, as often described, an exercise in silence, but about the perception of ambient sound. Anyone could have written it – but, as Cage pointed out, no-one else did. Cage was already thinking along “4’33”” lines in 1928, when in a prize-winning college-graduation speech he proposed a day of quiet for all Americans. “By being hushed and silent,” he said, “we should have the opportunity to hear what other people think.”

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  • Gruppo Di Improvvisazione Nuova Consonanza : Azioni - 2xCD+DVD Box (Die Schachtel, 2006)

  • Deluxe boxed set, three individual digipak, a 72-pages italian-english booklet and a poster / Il Gruppo was a brilliant and prolific composer's collective exploring extended techniques and new sound sources through the medium of improvisation. Although very much a product of its time, their music remains timeless. They were instrumental in founding a radical tradition of western musical improvisation that owed little or nothing to anybody and created some of the strangest music ever made. They were utterly unique. From John Zorn liner notes, NYC 2006 / This deluxe boxed edition presents some of the most compelling improvisations of this extraordinary improv group active in the 60s and featuring such names as Ennio Morricone, Ivan Vandor, Roland Kayn, Franco Evangelisti, Walter Branchi, Mario Bertoncini and John Heineman. Spanning from free-jazz to total abstract noise and wild electronic sounds, these pieces were recorded between 1967 and 1969 are released here for the first time. The enclosed video DVD, shot in a stunning black and white, is a unique document that captures the rehearsal of the thrilling concert that the group gave in Rome in 1967. It features both english and Italian subtitles. The cloth-covered box contains three individual digipak, a 72-pages italian-english booklet and a poster. Mastering by Giuseppe Ielasi

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  • Michael Ranta, Toshi Ichiyanagi, Takehisa Kosugi : Improvisation Sep. 1975 - LP (Metaphon, 2022)

  • Special mailorder edition with textured sleeve and japanese insert. Official reissue of this underground classic from 1975, originally released in a tiny edition on the small Japanese Iskra label. As the original master tapes of these recordings seem to be lost, the master had to be taken from an unplayed original LP copy. It was carefully restored and mastered by Jos Smolders with amazing result. Offset printed sleeve and insert (English text sheet) / Toshi Ichiyanagi, Michael Ranta and Takehisa Kosugi originally got together in the summer of 1975 for an open-air concert in Sapporo. The concert felt like a great success but was unfortunately not recorded. As the desire arose to record together, they managed to arrange a studio session in the NHK Studio in Tokyo, with presence of sound engineers / What was supposed to be a soundcheck for this session became the session itself: a haunting 50-minute séance of intense avantgarde improvisation using a large instrumentation and live processing (tape echo, ring modulation, phasing). A trident travelogue of the momentum masterfully controlled by the ensemble spirit, transcending the boundaries of psychedelic underground

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  • Biosphere : Substrata (Alternative Versions) - 2xLP (Biophon, 2022)

  • Substrata was the third studio album by the Norwegian electronic artist Biosphere, released 25 years ago by All Saints Records in London. In 2016, Pitchfork ranked it at number 38 on its list of the 50 Best Ambient Albums of All Time. Here are ten alternative versions picked from the Substrata recordings sessions that took place between 1995 and 1996 / David Stubbs'review of the original album in Melody Maker, July 12th 1997: / Biosphere, aka Norwegian Geir Jenssen, is transmitting from a cold, polar outpost of the imagination. "Substrata" is the best ambient album I've heard in an ice age, an album of terrifying, desolate and all-enveloping beauty, the music of a man who's stared too long and too hard at the Northern lights, a music of distant rumbles, tremors underfoot, stray radio signals, yawning chasms and indistinct, grainy images in the half-light when the mind begins to play tricks. "Poa Alpina" reminds me of recent, frightening TV footage of vast chunks of iceberg cracking and falling away into the sea under the duress of global warming. As for "The Things I Tell You", imagine what Oasis would have sounded like had they been born Eskimos. "Sphere Of No Form" is shot through with a frantic peal like the Mayday song of the world's last whale and, best of all, "Kobresia" looms with a vast, mournful, symphonic motif, like the ghost of the Titanic. Chill out has never been this chilling

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  • Giuliano Sorgini : Zoo Folle (Extended Reissue) - 2xLP (Four Flies, 2022)

  • First official reissue ever for this Italian holy-grail soundtrack, finally back to life in a long-waited 180gr. limited edition, supervised by Mr Giuliano Sorgini himself, who also wrote his personal liner notes. Remastered from the original master tapes that were preserved for more than 40 years in almost perfect shape, Zoo Folle is a highly sought after psych-funk album, a true masterpiece for all breaks-beat lovers, full of rhythmic percussion, acid flute, synth work, dark electronics, drum machines, and crazy hand-claps / The score was composed for an Italian TV movie in 1974, directed by Riccardo Fellini (brother of the most well-known Federico), and originally released on Ricordi Label in the same year. Featuring Edda Dell’Orso and some of the best and leading Italian session players in the soundtrack and library landscape, such as Maurizio Majorana and Antonello Vannucchi (from I MARC 4), Nino Rapicavoli on flute, and Giuliano Sorgini himself on organ, keyboards, piano, drums, and percussion

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  • Biosphere : Substrata (Alternative Versions) - CD (Biophon, 2022)

  • Digipack. Substrata was the third studio album by the Norwegian electronic artist Biosphere, released 25 years ago by All Saints Records in London. In 2016, Pitchfork ranked it at number 38 on its list of the 50 Best Ambient Albums of All Time. Here are ten alternative versions picked from the Substrata recordings sessions that took place between 1995 and 1996 / David Stubbs'review of the original album in Melody Maker, July 12th 1997: / Biosphere, aka Norwegian Geir Jenssen, is transmitting from a cold, polar outpost of the imagination. "Substrata" is the best ambient album I've heard in an ice age, an album of terrifying, desolate and all-enveloping beauty, the music of a man who's stared too long and too hard at the Northern lights, a music of distant rumbles, tremors underfoot, stray radio signals, yawning chasms and indistinct, grainy images in the half-light when the mind begins to play tricks. "Poa Alpina" reminds me of recent, frightening TV footage of vast chunks of iceberg cracking and falling away into the sea under the duress of global warming. As for "The Things I Tell You", imagine what Oasis would have sounded like had they been born Eskimos. "Sphere Of No Form" is shot through with a frantic peal like the Mayday song of the world's last whale and, best of all, "Kobresia" looms with a vast, mournful, symphonic motif, like the ghost of the Titanic. Chill out has never been this chilling

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  • Amanda Whiting : Lost In Abstraction - LP (Jazzman, 2022)

  • The eagerly anticipated follow-up to last year's incredibly well-received debut album 'After Dark, Welsh harpist Amanda Whiting is back with another glorious offering. The trio is joined again by the mesmerising lines of flautist Chip Wickham, resuming their conversation reminiscent of Dorothy Ashby and Frank Wess / ‘Lost in Abstraction’ was written during a period of the unknown when Whiting, like most, explored her own sense of self. The world paused, with no timeframe, and the fragility of life was laid bare. A time when humanity was left searching for purpose. Freedom and the dependable structures of familiarity were dissolved in most aspects of life. But music stayed constant. Creativity kept weaving its thread, connecting music and its makers in an indissoluble bond / The album explores the questions and realisations whilst confined. The spiritual findings, the playful curiousness and the reflective moments of loss. Whiting’s writing indulges the listener with the spiritual ethereal washes of sound demanded of the harp, whilst also embracing her influences across many genres. Classically trained, her roots are evident. But with an emotionally charged energy and spiritual questioning, a new soundscape of modernity has emerged. So often associated with Ashby and Coltrane, the harp finds itself in the hands of a new voice which tells the story of a period of time where the world was unified in reflection

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  • Eliane Radigue : Feedback Works 1969-1970 - 12" (Alga Marghen, 2022)

  • Small repress. Alga Marghen very proudly presents a remastered version of the complete documentation of Eliane Radigue sound installations from 1969-1970, including the broad tectonic vibrations of "Omnht," the celestial voices of "Usral," the massive chant of "Stress Osaka," and more -- the works of this artist's feedback period finally revealed. It is amazing that Radigue could build such formidably organic sonic edifices in her home studio with the primitive machines given to her by Pierre Henry: three tape recorders, a mixing board, an amplifier, two loudspeakers and a microphone. Eliane previously worked for Henry at the Studio d'Essai of the R.T.F. from 1955 to 1957, after having met Pierre Schaeffer almost by chance, who invited her to learn the techniques of musique concrète

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  • Smegma : Infringements - LP (Alga Marghen, Pigface, 2022)

  • This is alga marghen’s third installment of Smegma’s original “Suburban Primitive Avant-folk music” Period (1973-1975) based in Pasadena, featuring three previously unreleased tracks from the deep vault of their home recordings. In the beginning, the Band Smegma had only one rule. No Musicians / Starting from scratch, they took the Road much less traveled. They were inspired by outsider musical artists of the time such as John Cage, Sun Ra, Captain Beefheart, Wild Man Fisher, Art Ensemble Of Chicago, etc. and they recorded every experiment with youthful enthusiasm. Mostly they only succeeded in tormenting their own friends and neighbors (except for the few who joined the band), but somehow they never chose imitation, but stumbles on a path that allowed Past (shamanistic) and Future (space) sounds to lead the way / The titled track gently pulls you in and carries you off with a way-out inner-mind group Jamming/not-Jamming trip, featuring Prepared Piano, Modular Synthesizer, Human Mouth sounds, Pan Pipes, Tabla and Electric Bass Guitar. “Rainy Day Mushroom Pillow” (definitely not the 1960s pop Hit) rips you straight into a high energy New Year's Eve Party Jam, in a romping free jazz style with stream of consciousness vocals and exuberant alto sax solos. Side B starts with Beatnik finger Popping and wild dogs barking from a record player, while breathless flute playing leads you down the rabbit hole of mysterious group vocalizing, including imitating the cry of the wild Tropical Parrots that lived in the palm trees in the front yard of the house in Pasadena that they had lived in. Always out of sync with their own time, 49 years later, these tracks still throb and pulsate Beautifully with their own inner logic

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  • Eliane Radigue : Jouet electronique - Elemental I - LP (Alga Marghen, 2022)

  • Alga Marghen presents the new edition of Eliane Radigue's "Jouet Electronique" (1967) for feedback on magnetic tape and "Elemental I" (1968) for feedback of natural sounds on magnetic tape. This LP was first issued in 2010, and it's now presented for the first time with its own specific artwork and layout. Both works were recorded at Pierre Henry's Studio Apsome in Paris. Between 1967 and 1968, Radigue was Henry's assistant, mainly for the editing of L'Apocalypse de Jean (1969). Henry also put her in charge of organizing his sound archive; Radigue enjoyed doing this work, even if it took a long time / She decided to set the machines of the studio to do some work of her own. "Jouet Electronique" and "Elemental I" were born this way during her time as an assistant; working with feedback is something that Radigue learned through Henry. Do you remember Henry's Voyage (1969)? There's that fluid part which is made of feedback constructed with a microphone. Everything had to be set at a precise distance from the loudspeakers because that is the specific problem with feedback; one has to be at the right distance. Afterwards, these high tone recordings were slowed down in order to discover the deeper character of their color. This work with feedback was in the end quite limited and the composer preferred working with two reel tape machines to produce sounds / The first was set on the recording mode while the other was playing and it was the accidents happening in this phase that made the feedback richer. Fine-tuning could yield beautiful results: low pulsations, high-pitched sounds (sometimes both at the same time), or long sounds. All of these could be slowed down or accelerated, which gave beautiful source material. With "Jouet Electronique", Radigue had a lot of fun, hence the title. As far as "Elemental I" is concerned, it was the first attempt at something which was important to her based on the theme of the basic elements: water, fire, air and earth. Eliane had the chance to record in open air thanks to a small Stella Vox that Arman gave her in the beginning of the 1960s. Using it, Radigue built a minimal sound library, consisting of not more than ten reel tapes. This was the starting point; in 1968 she used these recordings for her work with two reel tape machines

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  • Various Artists : Sounds of Silence - 2xLP (Alga Marghen, FRAC Franche-Comté, 2019)

  • 2019 repress. Sounds of Silence is an anthology of some of the most intriguing silent tracks in recording history and includes rare works, among others, by Andy Warhol, John Lennon, Maurice Lemaitre, Sly & The Family Stone, Robert Wyatt, John Denver, Whitehouse, Orbital, Crass, Ciccone Youth, Afrika Bambaataa and of course, Yves Klein / In their own quiet way, these silences speak volumes: they are performative, political, critical, abstract, poetic, cynical, technical, absurd. They can be intended as a memorial or a joke, a special offer, or something entirely undefined. The carefully-chosen silences of this anthology are intrinsically linked to the medium of reproduction itself and reveal its nude materiality. They expose their medium in all its facets and imperfections, including the effect of time and wear. At the most basic level, these silences are surfaces / And it is in their materiality that they distinguish themselves from the conceptual experiments of John Cage with "4'33". Since the 1950s, silence has found a place in the economic structure of the record industry and since then it would increasingly be appropriated by a vast array of artists in a vast array of contexts. Indeed, the silent tracks seem to know no boundaries. The LP presents the silences as they were originally recorded, preserving any imperfection that the hardware conferred upon the enterprise, without banning the possibility of being satisfying to the ear. The liner notes provide historical background for each track, revealing the stated (or presumed) motivations for these silences, while providing novel sound correspondences or interferences. This album is meant to be played loud (or not), at any time, in any place: a true aural experience. Gatefold, iconic sleeve

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  • Eliane Radigue : Opus 17 - 2xLP (Alga Marghen, 2021)

  • “Opus 17”, a major turning-point in the musical course of Éliane Radigue, was finished in 1970, and consistes of five distinct scenes. It was the last work composed with feedback materials. It is also the one in which Éliane Radigue returned to definitive time-frames, after several years of building “Musique sans Fin” (Endless Music) intended for ad libitum broadcast in a specific space (gallery, museum), an approach which intuitively joined music and the visual arts / From that experimental period “Opus 17” preserves the plastic character : a music made of rough sonic phenomena, at once harsh and granular, possessing a quality of materiality and tactility. Its vibrations structure the air surrounding the listener with densities, thicknesses, indeed with palpable movement. And yet one must recognize that Éliane Radigue has given her life to an essentially artificial material / One so very simple from which she has known how to draw out colours, tastes, and unheard-of intensities. Her procedures, of feedback and slowed-down by working with magnetic tape, are intrinsically animated: they have their own voice, lyric quality, “expressive force” as Éliane Radigue tells us. In other words, before she began composing she learned how to produce sounds which live and sing and touch us. Her compositions are frames which let us hear these phenomena, open frameworks from the sonic installations of her “Musiques sans Fin” (cf. “Feedback Works 1969-70” double LP) and here reinserted in the five scenes making up “Opus 17”. Éliane Radigue probably feels that the infinite can nest itself in a reduced time-scheme, which she will work on her whole career

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  • Eliane Radigue : Vice - Versa, Etc. - LP (Alga Marghen, 2022)

  • Repress. Alga Marghen very proudly presents a remastered version of Vice-Versa, Etc..., an LP originally included in the first 400 copies of Eliane Radigue's Feedback Works 2LP. Vice-Versa, Etc... was originally a small handmade box, signed and numbered and released on the occasion of a show at Lara Vincy's gallery in 1970. The box contained a reel of magnetic tape and the instructions for use / It indicates that all playback speeds are possible, forward or backward, as well as any combination of two channels, on several recorders, ad libitum. This LP presents two versions done by Emmanuel Hoelterbach following the indications of Eliane Radigue to the letter, respecting her composition methods / There is no doubt that Eliane Radigue's vocabulary is based on observing and entering into dialog with the fundamental behavior of sounds: pulsing, beating, sustained, very light, a subtle and delicate evolution. When she moved from feedback sounds to the ARP synthesizer, she naturally continued the same music -- a continuity where the original use of feedback sounds stands out for its cruder and more savage inner character. One could say that somehow it's the very texture of the sounds, which leads the form of her compositions. At the same time, this approach favors an intense sensuality in the listening

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  • Jim Jarmusch, Marc Urselli, Balazs Pandi, Lee Ranaldo : Churning of the Ocean - LP (Trost, 2021)

  • Clear vinyl. Extended Instrumental tracks from the nocturnal studio session of director and musician Jim Jarmusch, Sonic Youth's Lee Ranaldo, Balázs Pándi (Keiji Haino, Venetian Snares, Merzbow) and producer Marc Urselli (John Zorn, Mike Patton, Laurie Anderson a.o). All was recorded live and analog, and in the moment. Mixed, mastered, recorded and produced by Marc Urselli at EastSide Sound Studios, NYC, 2019. Artwork by Italian artist Sara D'Uva

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  • Jim O'Rourke, Mats Gustafsson : Xylophonen Virtuosen - 2xLP (Trost, 2022)

  • Dedicated to Derek Bailey. The quiet beauty of the improvised duets of legendary guitarist and composer Jim O’Rourke and saxophone player extraordinaire Mats Gustafsson finally pressed on extenisve double vinyl! The 1999 recordings for Incus Records were taken in all their glory and remastered by O‘Rourke – now the full versions of the tracks plus some unreleased songs

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  • Akira Sakata, Takeo Moriyama : Mitochondria - 2xLP (Trost, 2022)

  • Spectacular live recording from 1986 of two seminal figures of the Japanese avantgarde - Akira Sakata on saxophone and Takeo Moriyama on drums / Mitochondria captures the reunion of the two free jazz masters, who started playing together in the Yosuke Yamashita Trio in 1972 until 1975. For both, the experience with the trio was an important step in the development of their own career and musicianship. The recordings are a remarkable performance in which each successfully highlights the essential elements of his playing while giving of room for the other musician

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  • The Peter Brötzmann Octet : Machine Gun - Alternate Takes - LP (Cien Fuegos, 2018)

  • Comes in handscreened cover / Alternate versions, never before released on vinyl from Peter Brötzmann Octet's Machine Gun (1968)

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  • The Peter Brötzmann Octet : Machine Gun - LP (Cien Fuegos, 2018)

  • Remastered reissue with handscreened cover / Cien Fuegos present a reissue of the Peter Brötzmann Octet's Machine Gun, originally released in 1968. One of the most important albums of European free jazz, finally in the Cien Fuegos series. Recorded May 1968 at "Lila Eule", Bremen

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  • Brannten Schnüre : Geträumt hab ich vom Martinszug - LP (Aguirre, 2022)

  • The third stanza of Friedrich Hölderlin’s poem ‘Dem sonnengott’ evokes a narrator who is tortured by Spleen until slumber makes his childlike gloom disappear with music. Although today’s readers might judge these nineteenth century musings of the Imagination as mere stylistic platitudes, they also still speak beyond the grave as universal truths. A mere two hundred years later similar anxieties and hopes are still channeled through various art forms, with changing success and reverberation. Brannten Schnüre are one of those neo-romantic music experimentalists who add to a long tradition of celebrating folk tale and exoticism. Their meticulously crafted loops, hesitant melodies and heavily nostalgic lyricism could easily be translated to what the late philosopher and music critic Mark Fisher called ‘hauntology’, a postmodern longing for a lost future. To describe the beauty of ‘Geträumt hab’ ich vom Martinszug’, however, the term seems somewhat dissatisfying / Romanticism is a hard nut to crack in the Anthropocene, and Brannten Schnüre’s realms of the cerebral are too deeply ingrained in a German tradition of story telling to define them within popular paradigm. ‘Geträumt hab’ ich vom Martinszug’ was recorded in 2014 in Würzburg and functions as the autumn part of the band’s seasonal cycle quadrilogy (the other segments being ‘Aprilnacht’ (SicSic), ‘Sommer im Pfirsichhain’ (Aguirre) and ‘Durch unser zugedecktes Tal’ (Youdonthavetocallitmusic)). It deals with the Saint Martin’s parade, a mostly European tradition to celebrate the medieval spirit of Saint Martin of Tours, friend of children and patron of the poor. Around 11 November children come out on the streets with lanterns and sing ancient songs in exchange for sweets. It’s a period of snugness and expectation, of yearning and dreaming, and therefore a consummate subject for the duo to scrutinize / To the adult’s ear the dream of the Saint Martin’s parade isn’t all that consolatory. The dark and slow loops of Christian Schoppik rather sound like motifs for a welcome paralysis. Sometimes as a gentle backdrop for vocals by Katie Rich and Schoppik himself, the repetitive structures serve as tricksters that trade innocence for the uncanny. The dream becomes a fever dream which quickly absorbs the listener into a vacuum, an eternal post-panic attack semi-relief. Maybe that’s the amazing paradox of Brannten Schnüre. The space they occupy is never comforting – as if being locked up inside a Carl Grossberg painting – but it’s also a subliminal aural zone you do not want to leave. It’s music as being, as a stream, devoid of climax or catharsis. And because it is flux and being, and exists to be taken, it speaks in art’s purest form. ‘In place of a hermeneutics we need an erotics of art’ Susan Sontag famously concluded her essay ‘Against Interpretation’ with. Well, look no further…

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  • Metabolismus : The Universe if full of Nothing - MC (Sloow Tapes, 2022)

  • Companion piece to Metabolismus' classic Brimborium Sloow Tape from 2013. An extented free/folk/jazz/stoned reinterpretation of the Fugs 'Nothing' backed with a classic rendition of 'The Garden is Open', which features lengendary Eugene Chadbourne on vocals and suitar

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  • Joseph of Kirezi : Session and Live in Tokyo - MC (Sloow Tapes, 2022)

  • Formed in Ikebukuro (Tokyo) in 2012 Joseph of Kirezi has been roaming the outermost corners of the black clad psychedelic underground ever since. Amorphous visions of insanely loud guitars smeared all over a distorted obsidian night sky

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  • Delphine Dora : In Illo Tempore - MC (Sloow Tapes, 2022)

  • Follow up to Morc's 'Hymnes Apophatiques' that came out earlier this year, In Illo Tempore was also recorded at the church of St. Saphorin in Switzerland last year. Atmospheric organ melodies acompanied by wordless vocals descending into timeless devotional ambience

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  • Pit Piccinelli, Fred Gales, Walter Maioli : Amazonia 6891 - 2xLP (Black Sweat, 2022)

  • Released for the first time on vinyl in 2016 and immediately sold out, this is one of the best long-lost treasure from the 80s – and it's one long composition filled with raw sounds from the jungle, natural objects and electronic treatment. The idea to evoke a deep journey in the Amazon rainforest has affected various musicians in the history of popular and experimental music, but comparing to other works this rare Amazonia 6891, released only on cassette in 1986, appears as totally original and extreme in his conception / Here, the interest in ethnomusicology of the expert Walter Maioli (mind of Aktuala and Futuro Antico projects) is linked to a precise and comprehensive ecological, botanical, ethological and ethnographic perspective. In fact, starting from the sound recording of the ethnographer Pit Piccinelli's collection of natural objects, the collected material for this work is re-elaborate in different times by the anthropologist and electronic pioneer Fred Gales and by Maioli him-self. The result of this multi-disciplinary approach its 'a long concrete poem of plant organisms, fields recordings of verses and calls of tropical animals futuristically mixed with electronic sounds, as already happened for the great experimental trials of Futuro Antico and Ariel Kalma's Osmose / Listen this imaginative collage look like to entering in a precious cabinet of antiquities and curiosity whose wonders of multi-coloured cellular fragments are shaped in the synthesis of a single universal sound matter. The merger between the wild jungle, the mysterious voices of the Indians and the oscillation of the electronic waves creates a spasmodic tension between amazing and heavenly moments that leaked also obscure paths and alien sequences. So, Amazonia 6891 it's a magic trip into the unknown wild, into abyss of creation of kaleidoscopic floras and faunas, simply a proposal for a synesthetic experience and multi-sensory

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  • Art Of Primitive Sound, Walter Maioli : Strumenti Musicali Della Preistoria: Il Paleolitico - LP (Black Sweat, 2022)

  • Art Of Primitive Sound is a sensational journey to the origin of Music. In his crucial research chapter on the Paleolithic, Walter Maioli between 1986 and 1991 investigates the soundscape of different geographical, climatic and botanical environments, in which the mystery of the ancient human-nature relationship resides. What emerges is an expanded and unprecedented Paleorganology, with a range of acoustic and natural instruments from all over the World. Rubbing of fossils, animal artefacts, plant elements of all sorts, everything becomes sound and each object opens up forms of imaginary communication, psychic effect and unexplored languages / Whistles, flutes, leaf and shell rattles, rhombuses, horns, bone pipes, slate slabs, bamboo arches, stones, vertebrae, seeds, stalagtites etc...how great can be the Natural Orchestra inherent in the spirit of forests, rivers, caves, seas, swamps or Amazon jungles? Thanks to an interdisciplinary partnership (Anthropology, Archaeology, Botany, Ethnomusicology) of collaborating friends, Maioli directs an Opera of universal character inspired by the archaic essence of sound and infrasonic dimension

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  • Piotr Kurek : Edena (10th Anniversary Edition) - LP (Black Sweat, 2022)

  • 10 years anniversary reprint of the amazing record of Piotr Kurek! As a composer and multi-instrumentalist with a penchant for vintage sound equipment, as well as the practical sense to know where their limitations are, his musical compositions –part melodic narrative, part sound collage –distil a sense of nostalgia into a romance for the present. Using a Moebius comic he had never seen (Le Monde d’Edena) and an instrument he would never have (a Mellotron) as a conceptual starting point, the Warsaw-based, Polish artist presents Edena.a hypnotic, circular motion pervades all of Edena; a cyclic life force that gives the impression of forward motion, while really folding back on itself, reflected by the infinity symbol of the cassette cover

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  • Ash Ra Tempel : Join Inn - LP (MG.ART, 2022)

  • MG.ART announce the reissue of Join Inn as part three of the authorized 50th anniversary "A.R.T." re-edition series. Join Inn is the fourth album by Ash Ra Tempel. It was recorded at Studio Dierks and originally released on LP by Ohr Musik-Produktion Each side of the LP comprises one long track. In 1972, Ash Ra Tempel teamed up again with Klaus Schulze during the recording of Walter Wegmüller's Tarot album, and after one of the recording sessions, Ash Ra Tempel members Enke, Göttsching and Rosi, together with Klaus decided to "play it again" in a late-night session / This recording led to the birth of the Join Inn album, as well as two legendary last concerts in February 1973 in Paris and Cologne. Manuel Göttsching recalls Hartmut Enke on bass and Klaus Schulze on drums being a dream-team rhythm section for him to play his guitar, especially here to hear on "Freak n' Roll", that was ingenious and not to replace ever since. It was the last recording ever where Klaus Schulze (who sadly passed away in 2022) played the drums and also Hartmut (the Hawk) Enke soon after quit the bass and music forever. Join Inn marks the end of the collaboration with Klaus Schulze. However, together with Ash Ra Tempel, their eponymous first album, it is considered a highlight of the Krautrock movement. Re-cut overseen by Manuel Göttsching

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  • Klaus Weiss : Open Space Motion - LP (Be With, 2022)

  • Contemporary synthesizer sounds illustrating wide open space activities, environment and research. 2022 re-issue, 140g vinyl, mastered for vinyl with audio from the original tapes Repress from this superheavy library album - mostly beatless, great synths - huge tip!! / As cult as it gets when it comes to library music, the Klaus Weiss sound was built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums. AND YET! Open Space Motion departs from his drum-heavy approach by being completely...BEATLESS! That's right, the virtuoso beat smith, Mr "drumcrazy of Deutschland", a man known for snapping necks at will, crafted one of the most horizontally sumptuous, elegantly sweeping electronic masterpieces, sans-drums, a good decade before chill-out rooms became a thing. It features organic instruments married to pulsing synth bass atop brilliantly subdued yet irresistibly funky percussion. Possessing a very special vibe, that's at once futuristic yet cinematic, it overflows with atmosphere

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  • Yutaka Hirose : Trace: Sound Design Works 1986-1989 - 2xLP (We Release Whatever The Fuck We Want, 2022)

  • WRWTFWW couldn't be happier to announce the release of Yutaka Hirose’s never-heard before 11-track collection TRACE: Sound Design Works 1986-1989, available on double LP and double CD, with liner notes from the artist. TRACE is a collection of 11 unreleased tracks produced by Yutaka Hirose during the Sound Process Design sessions, right after the release of his classic Soundscape series album Nova. Sound Process Design was Satoshi Ashikawa's label, home of his Wave Notation trilogy (Hiroshi Yoshimura’s Music For Nine Postcards, Satsuki Shibano's Erik Satie 1866-1925 and Satoshi Ashikawa's Still Way). Following Wave Notation, Sound Process Design worked with museums, cafes and bars to create site-specific soundscapes, starting with the sound design of the Kushiro Museum. Yutaka Hirose was called to work on sound for these spaces / Rather than simply providing pre-recorded compositions, Hirose sought to create a "sound scenery". To achieve this, he participated in the conception of the space and paid particular attention to the accidental combination of sounds by placing the speakers and using a multi-sound source, and following the concept of "sculpturing time through sound". The composer explains: "sculpturing time through sound means that the time, the space itself, the sound played in it, and the audience all become one sculpture. It is close to the idea of a Japanese tea ceremony where you use all of your 5 (or 6) senses to taste the tea." / TRACE: Sound Design Works 1986-1989 is divided into two parts. "Reflection" is based on an ambient soundscape. It narrates "a sleep that starts with the sound of water droplets at dawn and slowly disappears into darkness" and feels like a natural and soothing progression of Nova. It was played at entrances of spaces, at events, in cafes and bars. "Voice from Past Technology" expresses the dream world born out of that sleep and is based on what Yukata Hirose calls hardcore ambient, environmental music with a noise approach. It was played in museums and science centers. All in all, TRACE is a crucial addition to every Japanese environmental music fan’s collection, alongside Midori Takada’s Through The Looking Glass, Hiroshi Yoshimura’s Green, Satoshi Ishikawa’s Still Way, Motohiko Hamase’s Notes of Forestry, Inoyamaland’s Danzindan-Pojidon, and Yutaka Hirose’s very own Nova

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  • Alva Noto, Ryuichi Sakamoto : Utp_ - CD (Noton, 2022)

  • Special folding cover. Released for the first time in 2009, ‘utp_’ is the third installment of Alva Noto and Ryuichi Sakamoto’s V.I.R.U.S.'s series. It was commissioned for the 400th anniversary of Mannheim, Germany. The flowing 10-section multimedia work derives its shape from a rasterized structure of the southwestern city, founded in 1608. The recording documents the work’s debut performed by Ensemble Modern at the National Theatre in Mannheim. The music embraces the electronic, piano-based palettes, an expanded array of avant-garde chamber instrumentation and natural timbres. It combined the digital visual score created by Carsten Nicolai and Simon Mayer, and lighting design by Nigel Edwards / Album art designed by Carsten Nicolai Mastering by Bo @ Calyx Released for the first time in 2009, ‘utp_’ is the third installment of Alva Noto and Ryuichi Sakamoto’s V.I.R.U.S.'s series

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  • Para One : Machines Of Loving Grace - 2xLP (Animal63, We Release Whatever The Fuck We Want, 2021)

  • Machines of Loving Grace, available in half speed mastered 180g double lp housed in a heavy sleeve with UV spot varnish. Machines of Loving Grace, the new album by Para One, whose real name is Jean-Baptiste de Laubier could be called fiction. It is an object freed from constraints, formats, genres, territories: the gospel of a new world. Six years after Club, eight years after Passion, his previous LP, this lover of electronic music, who has also been putting his sensitivity to the service of movies (soundtracks for Céline Sciamma in particular) opens with this record a new dimension in his artistic career / “I needed to break away from patterns and systematisms of formats, and take unexpected turns. To do so, I had first to allow myself to do so”. Allow oneself and maybe above all confront oneself – with one’s childhood, with one’s childhood’s ghosts, and what fantasies, ideals, memories, and grey areas they harbor. He had to go back – without giving up on his position as an adult, as a full-fledged artist – to the sources of his imagination, to the moment when music was holding almost mystical power. And then revisit it to make something new out of it. Just like Sanity, Madness & the Family (the feature film directed by Para One that he just finished and of which it is a consubstantial part), Machines of Loving Grace has an investigation around a family secret and the father figure as its starting point. “When you go down the path – of a work, of a person, of the past – you never really find out what was / Incredible work with influences (Kenji Kawai, Midori Takada, Steve Reich, Drexciya, The Orb etc) that will make WRWTFWW listeners happy

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  • Alva Noto, Ryuichi Sakamoto : Utp_ - 2xLP (Noton, 2022)

  • Released for the first time in 2009, ‘utp_’ is the third installment of Alva Noto and Ryuichi Sakamoto’s V.I.R.U.S.'s series. It was commissioned for the 400th anniversary of Mannheim, Germany. The flowing 10-section multimedia work derives its shape from a rasterized structure of the southwestern city, founded in 1608. The recording documents the work’s debut performed by Ensemble Modern at the National Theatre in Mannheim. The music embraces the electronic, piano-based palettes, an expanded array of avant-garde chamber instrumentation and natural timbres. It combined the digital visual score created by Carsten Nicolai and Simon Mayer, and lighting design by Nigel Edwards / Album art designed by Carsten Nicolai Mastering by Bo @ Calyx Released for the first time in 2009, ‘utp_’ is the third installment of Alva Noto and Ryuichi Sakamoto’s V.I.R.U.S.'s series

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  • Ash Ra Tempel : Seven Up - LP (MG.ART, 2022)

  • 50th Anniversary edition; gatefold album with 4 page inlay including original manuscript by Timothy Leary and photos from the recording session / “Seven Up” is the third studio album by Ash Ra Tempel and their only album recorded in collaboration with American Ph.D. in psychology, Dr. Timothy Leary. The Coverart for “Seven Up” was designed by famous Swiss Artist Walter Wegmüller. Recorded in August 1972 at Sinus Studio in Berne, Switzerland, remixed September 1972 at Dierks Studios in Stommeln, Germany. First release in spring 1973 by OHR Musik - the first release on the new sub-label "Kosmische Kuriere", Kat-Nr. KK 58001

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  • Sarah Davachi : Two Sisters - 2xLP (Late Music, 2022)

  • Black vinyl housed in gatefold sleeve with 20 page booklet. Two Sisters by Sarah Davachi is a collection of extended compositions for chamber ensemble and solo pipe organ including carillon (a keyboard instrument comprised of very large cast-iron bells), choir, string quartet, low woodwinds, and trombone quartet, alongside sine tones and electronic drones. The Canadian-born and Los Angeles-based composer has prowess in both analog and digital mediums, and has centered her practice around the push and play between the two / A dazzling performer and arranger whether behind a pipe organ or a paired down synth setup, Davachi has written wondrous music largely edited down from hours of home recording. Her records are largely about the art of making, whatever instruments at her disposal often inform the intent before she shapes them into tangible statements of purpose. They also are largely about Davachi as a musician: Recurring motifs and approaches appear across her body of work. While some of that comes naturally to modern classical music, it's clear that there is intention behind these moves. Her latest LP entitled Two Sisters continues this practice to great effect.Sarah Davachi is an artist that understands the power of conceptual thinking. The title is borrowed from dialogue in the 1981 film Possession in which Isabelle Adjani’s character describes her psychological state as being a battle between “two sisters of faith and chance.” / The events and themes of Possession are governed by a similar binary. While not directly inspired by the content of the film itself, Davachi applies a like-minded intention in two fold with the instrumentation and sequencing. The album starts and ends with nearly identical bell phrasing, while the tracks between the bookends deal with mirrored organ, string and chamber pieces. While undoubtedly meant to be referential to the film, these sonic ideals are also a reflection of Sarah Davachi’s natural and intensive progression as a musician. Far from a concept album in the traditional sense, Two Sisters is instead another demarcation of her continued mastery of composition, albeit one intertwined with a movie that speaks a kindred language

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  • Andy Stott : We Stay Together - 2x12" (Modern Love, 2022)

  • Clear vinyl repress. We Stay Together, the sequel to its predecessor, the critically acclaimed 'Passed Me By', arrives from Andy Stott who seems to be still in the pensive and merciless mood that spurned on his most recent work. Paying even less attention to the dance floor and any kind of bodytonic needs this time round, Stott packs in a humid atmosphere of alienation that even though murky and detached in parts still has an undeniable groove underneath it all. This is techno pulled tight to its extremes and then detuned and rewound to an agonisingly slow pace / The downshifts in tempo provide the record with a naturally unsettling tone, lending each sound element a slightly sinister effect. Like shining a light down a dark alley, some things are revealed that maybe should have been left alone. However, there’s a certain perverse excitement to We Stay Together as well. Andy Stott provides a new path forward for experimental electronic music, one that rubs grubby elbows with the dancefloor without fully committing to hedonism. It’s house for the mangled cassette deck set / We Stay Together opens with a trap door in the form of ‘Submission’, a mostly pleasant slice of ambient that runs dungeon dwelling synth tones against drum brushes that rise and fall in timbre. Eerie stuff for sure, but far from the turmoil that ensues. In fact, the middle section of ‘Bad Wires’ and ‘We Stay Together (Part One)’ cut an imposing figure across the entire LP. ‘Bad Wires’ is an apt title as its skipping rhythm and waterlogged production sound kinda like the turntable connection was made faulty, while the equally queasy would-be title track is about as far from a love song as one could imagine

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  • Caterina Barbieri : Spirit Exit - (Light-years, 2022)

  • Black vinyl. The musical vortexes of Caterina Barbieri rewire time and space. Listening to the Italian composer and modular synth virtuoso has felt like traveling at light-speed and slow-motion all at once since 2017’s breakthrough double-album Patterns Of Consciousness. 2019’s acclaimed Ecstatic Computation pushed even further with the lead single “Fantas”, where a haunting melody hurtling towards its supernova climax felt like witnessing the life and death of a burning star. Far beyond any new age trope or modern synth trend, her music stands alone in its ecstatic intensity and cataclysmic emotional impact. Marking the debut album on her new label light-years, Barbieri now delivers her most profound work yet — a journey through inner-space as vast as a universe and as intimate as a heartbeat. The Spirit Exit opens and we fall in / Spirit Exit is Caterina Barbieri’s time machine, primarily composed with a modular synth rig she thinks of more like a mechanical fortune teller. Whereas previous releases were constructed on lengthy tours, capturing only snapshots of continually evolving works, Spirit Exit represents the producer’s first album fully written and recorded in her home studio amidst Milan’s two-month pandemic lockdown in 2020. It was during this extended isolation she found inspiration from female philosophers, mystics and poets spread across time, but united in their strength at cultivating vast internal worlds. St. Teresa D’Avila’s foundational 16th century mystical text The Interior Castle, philosopher Rosi Braidotti’s posthuman theories and the metaphysical poetry of Emily Dickinson act as thematic anchors throughout Spirit Exit, imbuing a life and death gravity into the composer’s most perception-altering music to date

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  • Eivind Aarset, Vladislav Delay : Singles - LP (Room40, 2022)

  • Finland’s Sasu Ripatti aka Vladislav Delay has been responsible for some of the most radically positioned rhythmic electronic music of the past few decades. His willingness to abandon measured and progression senses of repetition in favour of multi-layered unfolding pulses has become a touchstone for a new sensing of time. In a similar way, Norwegian guitarist Eivind Aarset has reappraised the harmonic and timbral capacities of his chosen instrument, the guitar, and unlocked new perspectives on this seemingly familiar instrument. His experiments have unsurprisingly caught the ear of similarly restless artists such as Jon Hassell or David Sylvian, with whom Aarset has collaborated / It’s little wonder then that these two musicians have gravitated towards one another on Singles. Gravity seems a fitting metaphor too, in that this record is a series of orbits, elemental materials catching onto one another and hurtling the music in directions not really expected, nor traceable. Singles is a record of dimension too, opening outward and collating, sometimes simultaneously, texture and pulse into ultraviolet sonic nebula, as ecstatic as they are enveloping / From moments of fluid improvisation, emerge deeply morphic compositions that fold into and on top of themselves, forging an ever deepening sense of pressure and energy. At times open, reductive and spatial, this record also has moments of explosive force, an excessive spilling over that speaks to the fearlessness of these two artists. These are unbounded works, pulling ever closer towards the very edges of what is knowable, in sound

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  • The Transcendence Orchestra : Orchestra: Feeling The Spirit - 2xLP (Editions Mego, 2020)

  • “Like La Monte Young and The Incredible String Band stuck in an elevator." / In the process of relocating to Den Bosch's Willem Twee Studios, The Transcendence Orchestra let love slip deftly out of its gate and reverberate around the walls of the studio's main hall, a high ceilinged former synagogue in the city's old town. Working intensively to capture its echoes, they coaxed it to appear in pipes and strings, directed it through resonant circuits and shepherded it round the room with beaters, horns and rattles / Having returned home with the recordings, a purpose began to emerge. Through a process of extensive reconfiguration and testing it became clear that the love contained within could transform perception. Under the right circumstances, and accompanied by appropriate technology, it could serve as a map for navigating beginnings and endings. Like some distant mesmerising chant or a psychedelic folk song, it could connect us and reassure us that we can pass through the boundaries and survive. Perhaps not intact but at least whole. Here is that map, love soaked diligently into its lines, ready to guide those at a loss or reassure those willing to explore

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  • Civilistjävel! : Järnnätter - LP (Felt, 2022)

  • There isn’t much to go on other than the soundscapes when it comes to Civilistjävel! What is rumoured to be a figment of the pre-internet era tapping into a similar consciousness as Biosphere, Chain Reaction or early Fax +49-69/450464 is ultimately left up to second guessing. For the average listener crossing paths with the project, a steady run of small-run, minimally packaged LPs has cemented Civilistjävel! as a leading force in the dub techno/glacial drone scene of present / However niche that may sound, this collection of tracks for Perko’s new FELT imprint navigates the same territories as the previous outings but with the folkloric tag “Iron Night” to help guide our ears. A Swedish expression for long nights of frost that damage plants and crops, the spectral and foreboding atmosphere of the opening cut already hints at the direction of the album. Combining dense ambient synth layers with hard to place industrial motifs (sometimes in rhythm, sometimes chaotically arranged) are what Civilistjävel! does best, indeed Järnnätter unfolds as a piece of work you can really spend time with / At points it feels as if the machines in some old factory complex have spluttered back to life through some unknown force and have begun to sing to one another. Other times the atmosphere is akin to a hydrophone placed deep into an ice-covered lake and the synthetic pulses of ‘A2’ are the only vaguely human touch. However, the sparse melodic flourishes across the record stem from an interest in psalms and early Swedish folk music, the juxtaposition of machine-led intuition and personable studiousness adding a hidden depth to the album

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  • Luc Ferrari : Solitude Transit - LP (Transversales Disques, 2022)

  • Never before released. Innersleeve with exclusive pictures & liner notes. Transversales Disques is very glad to announce the release of « Solitude Transit » (1989) unpublished archives by electroacoustic music pioneer Luc Ferrari. Music composed for contemporary dance, choregraphed by Anne-Marie Reynaud / « Affiliated with French Radio’s Groupe de Musique Concrète, co-founder of the GRM with Pierre Schaeffer in 1958 Luc Ferrari (1929-2005) major figure of musique concrète and electroacoustic music broke away to pave his own path of individualistic expressions of minimalist music, musical theatre, field recordings, orchestral music and soundtracks…»

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  • Marsen Jules : Herbstlaub - LP (Keplar, 2022)

  • Originally released on City Centre Offices in 2005, Marsen Jules' debut has been remastered by Stephan Mathieu and still feels as if it captured a moment in time, augmenting Wolfgang Voigt's Gas style with the sublime austerity of Arvo Pärt / Martin Juhls was inadvertently part of a movement in 2005, a wave of artists who, inspired by movies and TV soundtracks, would merge classical sounds and electronic production methods and kickstart a new genre in the process. "Herbstlaub" is one of the scene's enduring full-lengths, and while it's undoubtedly informed by Wolfgang Voigt's Gas material and Mexican innovator Murcof, the album's repetition and minimalism still helps it stand out. Stephan Mathieu's new master brings out some of the subtle elements that help propel each track; since they're usually based on just a couple of distinct loops, the tiny changes are crucial to the listening process

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  • Coil : Constant Shallowness Leads To Evil - 2xLP (Dais, 2022)

  • The first-ever official vinyl edition, completely remastered by Josh Bonati. The turn of the millennium ushered in an apex visionary phase for English esoteric duo Coil. Relocating from the city to the coastal quiet of Weston-super-Mare freed them to follow even more fringe obsessions, fully untethered from peer influence. During a single six-month stretch in 2000 they released the devious underworld sequel to Music To Play In The Dark, arcane drone summit Queens Of The Circulating Library, and a malevolent hour-long synthesizer exorcism prophetically titled Constant Shallowness Leads To Evil. This latter work remains one of the group’s most miasmic and mind-expanding creations, on par with Time Machines – a sustained divination of shuddering, psychoactive noise, rippling with the motion sickness of an all-seeing eye / Thighpaulsandra characterizes the album as “an exercise in brutality,” born from a thorny patch of his Serge modular unit that Peter “Sleazy” Christopherson found entrancing. Processing this sliver of electronics into a ravaged labyrinth was a trial and error process, aided by Christopherson’s visual sense of sound, stretching and manipulating it for maximum spatial disorientating. Frequencies nauseously crawl across the stereo field, burrowing into the ear like a sinister brainwashing experiment / An outlier / centerpiece is the 13-minute alien tribalist sea shanty, “I Am The Green Child,” guided by John Balance’s sung-spoken free verse concerning vengeance, oblivion, and insanity, culminating in the memorable refrain, “We're swimming in a sea of occidental vomit.” But the rest of the record seethes in unhinged instrumental chaos, divided into 18 micro-movements of a composition called “Tunnel Of Goats.” Intended to scramble the functionality of a CD player’s shuffle mode, the piece throbs, thrashes, and flatlines in compressed frenzies of twisted synthesis, at the threshold of some bottomless purgatory, forbidding and unknown

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  • F.S. Blumm : In Sight - LP (Sonic Pieces, 2022)

  • Handmade textiled artwork, incl. printed inner sleeve. F.S.Blumm is a man most might not know. He's no pop artist, and not overtly experimental either. But somehow with In Sight he has done the impossible: put his own sound in that perfect middle point, leaving his voice behind to deep-dive into some truly memorable, fully composed pieces / In Sight is the kind of record you can put on at first crack of dawn, to enjoy its beautiful instrumental varieties during morning routine, while equally fitting as a listening experience towards the darker time of day, in the background or as highly rewarding deep listening experience. It's the kind of album that would be great to encounter played in a tiny Japanese jazz bar on a vintage, top notch speaker system together with a handful of local oddities. It sounds incredibly well produced and is full of beautiful, heart-warming, melancholic moments performed on everything from guitars to percussion, vibraphone, strings, piano and who knows what else. Frank shines on this record. He has created quietly composed pieces for moments one could only wish were real / As often with F.S.Blumm's music, it's hard to pin down where to categorize it. He might be best known as frequent collaborator of Nils Frahm. Together they made three great duo albums for Sonic Pieces previously. Although this is far from his first solo album, it is his first for the label, and after listening to it on repeat for some time, we can only say that this is Frank on his finest, creating some of the most thought provoking instrumental music you can find in these parts of the world

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  • € 26

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  • Sarah Davachi : Two Sisters - 2xLP (Late Music, 2022)

  • Dark green vinyl housed in gatefold sleeve with 20 page booklet. Two Sisters by Sarah Davachi is a collection of extended compositions for chamber ensemble and solo pipe organ including carillon (a keyboard instrument comprised of very large cast-iron bells), choir, string quartet, low woodwinds, and trombone quartet, alongside sine tones and electronic drones. The Canadian-born and Los Angeles-based composer has prowess in both analog and digital mediums, and has centered her practice around the push and play between the two / A dazzling performer and arranger whether behind a pipe organ or a paired down synth setup, Davachi has written wondrous music largely edited down from hours of home recording. Her records are largely about the art of making, whatever instruments at her disposal often inform the intent before she shapes them into tangible statements of purpose. They also are largely about Davachi as a musician: Recurring motifs and approaches appear across her body of work. While some of that comes naturally to modern classical music, it's clear that there is intention behind these moves. Her latest LP entitled Two Sisters continues this practice to great effect.Sarah Davachi is an artist that understands the power of conceptual thinking. The title is borrowed from dialogue in the 1981 film Possession in which Isabelle Adjani’s character describes her psychological state as being a battle between “two sisters of faith and chance.” / The events and themes of Possession are governed by a similar binary. While not directly inspired by the content of the film itself, Davachi applies a like-minded intention in two fold with the instrumentation and sequencing. The album starts and ends with nearly identical bell phrasing, while the tracks between the bookends deal with mirrored organ, string and chamber pieces. While undoubtedly meant to be referential to the film, these sonic ideals are also a reflection of Sarah Davachi’s natural and intensive progression as a musician. Far from a concept album in the traditional sense, Two Sisters is instead another demarcation of her continued mastery of composition, albeit one intertwined with a movie that speaks a kindred language

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  • Caterina Barbieri : Spirit Exit - 2xLP (Light-years, 2022)

  • Silver vinyl. The musical vortexes of Caterina Barbieri rewire time and space. Listening to the Italian composer and modular synth virtuoso has felt like traveling at light-speed and slow-motion all at once since 2017’s breakthrough double-album Patterns Of Consciousness. 2019’s acclaimed Ecstatic Computation pushed even further with the lead single “Fantas”, where a haunting melody hurtling towards its supernova climax felt like witnessing the life and death of a burning star. Far beyond any new age trope or modern synth trend, her music stands alone in its ecstatic intensity and cataclysmic emotional impact. Marking the debut album on her new label light-years, Barbieri now delivers her most profound work yet — a journey through inner-space as vast as a universe and as intimate as a heartbeat. The Spirit Exit opens and we fall in / Spirit Exit is Caterina Barbieri’s time machine, primarily composed with a modular synth rig she thinks of more like a mechanical fortune teller. Whereas previous releases were constructed on lengthy tours, capturing only snapshots of continually evolving works, Spirit Exit represents the producer’s first album fully written and recorded in her home studio amidst Milan’s two-month pandemic lockdown in 2020. It was during this extended isolation she found inspiration from female philosophers, mystics and poets spread across time, but united in their strength at cultivating vast internal worlds. St. Teresa D’Avila’s foundational 16th century mystical text The Interior Castle, philosopher Rosi Braidotti’s posthuman theories and the metaphysical poetry of Emily Dickinson act as thematic anchors throughout Spirit Exit, imbuing a life and death gravity into the composer’s most perception-altering music to date

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  • Régis Renouard Larivière : Contrée - LP (Recollection GRM, 2019)

  • Embossed outersleeve. Printed innersleeve. Allégeance volatile and Esquive each tackle the same issue in their own way. Overcoming time: whether it be successive, additional, enumerative, or repetitive. However, there is nothing here about the ensuing nature of so-called "repetitive" music. These are types of high-end music. And it is more about insistence, the obstinacy of an individual who keeps knocking on a door that will never open / Allégeance's rustic drumming, talkative, acidulous, colourful and overarticulated, with almost clownish desinences, eventually dies out in this very respite. The iterative and puffy shimmering of Esquive with its dull, thin and precise sounds, shifts and is engulfed into another sonic world — which appears as a gaping and collapsed response to this prime insistency. This is, indeed, a ‘volatile allegiance’ and ‘avoidance’ from the sonic to the musical elements: the musical phenomenon anticipated and pursued as the non-sound of sound — or, in other words, the void of sound. This seems to be the lesson of the concrete attitude in music. Such is the kind of questioning that stirs the composer / He returns with another title: Contrée, which, once again, speaks of a counter-event. Here, the movement is broader, more generous, more confident. Time spreads and stretches out. What seems to be a landscape of entanglements, trajectories, influx, masses and points emerges. “Something” rises and presents itself out of the sounds - these escaping beings, these "relatively short combustion flames " (Schaeffer). The piece consists of five consecutive and uninterrupted parts: Entrée and Stance I — Véhémence de l’air and Stance II — Grande Allure. It is the central section of an electroacoustic triptych with Sables (2011) as the first and Nil (2017) as the last. Contrée is dedicated to Philippe Mion, whose friendly ears have been entrusted with my music for so many years

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  • Lucrecia Dalt : ¡Ay! - LP (Rvng Intl., 2022)

  • Translucent red vinyl. Lucrecia Dalt channels sensory echoes of growing up in Colombia on her new album ¡Ay!, where the sound and syncopation of tropical music encounter adventurous impulse, lush instrumentation, and metaphysical sci-fi meditations in an exclamation of liminal delight. In sound and spirit, ¡Ay! is a heliacal exploration of native place and environmental tuning, where Dalt reverses the spell of temporal containment. Through the spiraling tendencies of time and topography, Lucrecia has arrived where she began

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  • Esmerine : Everything Was Forever Until It Was No More - LP (Constellation, 2022)

  • Comes in die-cut sleeve. Rooted in a distinct and immediately identifiable sound—with the cello of Rebecca Foon (Saltland, Set Fire To Flames, Silver Mt Zion) and the marimba of ex-Godspeed You! Black Emperor percussionist Bruce Cawdron at its core—Esmerine has long embroidered emotive chamber works using threads of post-classical, post-rock, Minimalism, neo-Baroque, jazz, pop and a wide array of folk traditions. Multi-instrumentalist Brian Sanderson, who joined the group in 2012, has furthered Esmerine’s melodic and ethnomusicological sensibility ever since, expanding the ensemble’s palette as its third core member with guitars, ngoni, ekonting, hulusi, brass horns of all sorts, and more / After six stately albums, Esmerine now shares Everything Was Forever Until It Was No More, its first in five years. The band surprise-dropped the full album digitally on 06 May 2022, with the CD and deluxe 180gram LP editions hitting stores on official release date 26 August 2022. Following an acclaimed run of mid-career records on Constellation through the 2010s Esmerine began working on new music at decade’s end. Under the auspices of a grant from the Canada Council for the Arts and a summer 2019 residency at Le Château de Monthelon in France, compositional seeds were planted before the pandemic rooted everyone in place. In between lockdown waves, at the respective rural Québec homesteads of Cawdron and Foon, longtime co-producer Jace Lasek (The Bernard Lakes) began capturing the band in various stripped-down configurations with spartan remote equipment / More fulsome arrangement and overdub sessions at Foon’s converted barn during the summer of 2021 brought the album to full fruition—where a notable increase in the use of acoustic piano also poured forth, with just about every band member having a go. The record also signals the definitive integration of bassist Philippe Charbonneau—having joined Esmerine as a touring member pre-pandemic, he plays throughout the album on upright and electric bass, with turns on piano and synth, as well as sound design contributions via tape echo and other processing

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  • Hijokaidan : Zouroku No Kibyou (40th Anniversary Edition) - LP (Urashima, 2022)

  • Superbly pressed with fully remastered for this 40th anniversary vinyl edition by Nobuki Nishiyama, that bring as well as possible on analogue format the stunning original audio master, and released with original iconic cover art with draw by Hideshi Hino, plus all the inserts that were on the original 1982 LP: live photo book (two A3 double face foldable), one Japanese sheet and a lucky triangle card with, exclusively for this edition, extensive liner notes by JOJO in Japanese and English and 40th anniversary adhesive / It’s hard to call anything to mind quite like these sounds. Truly brilliant and an inevitable revelation for anyone yet to encounter this body of work, Zouroku no Kibyo is easily one of the most mind-blowing archival releases of the year. Available in an edition of just 299 copies, this one isn’t going to sit around for long / ‘’Zouroku no Kibyo is the first album by Hijokaidan, released in April 1982. It is a compilation of live recordings from 1981, when the extreme performances of Hijokaidan first attracted attention, and is a record of the chaotic inner energy of young people in their early 20s, influenced by rock, jazz, contemporary music, and avant-garde art, erupting outside. It was first released on the independent Osaka label Unbalance Records and came to be regarded as a historical masterpiece of independent recordings in Japan. It was later released on CD several times by "Alchemy Records," and was also released by the major Japanese label Teichiku Entertainment. An analog reissue of the album was released in 2006 by the German label Vinyl-On-Demand in the form of a double LP set. This will be the first time that the album will be reissued in its original form as a single analog disc, this time on Urashima in 2022. ‘’ JOJO Hiroshige

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  • Incapacitants : Feedback of N.M.S. - 2xLP (Urashima, 2022)

  • Issued on double vinyl in a very limited edition of 299 copies, with six cards reproducing Takuya Sakaguchi's original drawings and adding an unreleased drawing and extensive notes in Japanese and English, it’s impossible to recommend enough. Ten out ten, and mind-bendingly good. Once the word gets out, this one isn’t going to sit around for long. Incapacitants are the best noise band to ever come out of Japan; the group was formed in 1981 in Osaka, as the solo project of Toshiji Mikawa, a member of the amazing noise group Hijokaidan. Mikawa later moved to Tokyo, where he joined with Fumio Kosakai (also an occasional member of Hijokaidan, as well as a former member of C.C.C.C.) to make Incapacitants a duo and they released its first album Feedback Of N.M.S. on Alchemy Records CD in 1991 / Sometimes it’s the result of luck. In others it’s due to years of rigorous work or through unlikely combinations of individual creative practices. In the case of Feedback Of N.M.S., the first release to feature the collaborative duo of Mikawa and Kosakai, all three are in play. Comprising three tracks of visionary expression - incorporating elements of junk metal, modular synthesis, hand-made noisy objects, and real-time instrumental and vocal improvisation - it encounters each artist entering a new stage of their career, harnessing the challenges posed by the other as a means to drive toward new creative unknowns. Central to this is the pair’s unique approach to structure and form, in addition to their chosen instruments and electronics / The first track 'Curse Of Ceau?escu', played on two sides of the first vinyl is something incredible. A truly stunning, visionary expanse of texture and tonality - pushing noise practice and the very notions of language into uncharted realms. The others two tracks that fill the sides of the second vinyl complete this masterpiece increasingly pushing into more constrained of electronics phenomena, site specific resonance, and complex harmonic interplay, that consistently rethink the terms of noise, infusing it with tension, dissonance, and a deeply emotive, human touch. An absolutely masterful piece of work, threaded with risk, ambition, raw immediacy, and precision. While astounding artists in their own right, deserving every bit of the accolades they’ve thus far received, Toshiji Mikawa and Fumio Kosakai seem capable of something profound together that has yet to have heard. Feedback Of N.M.S. is everything we hope to hear from an experimental endeavour and so much more

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  • € 32

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  • Henning Christiansen : Op. 176 Penthesilea - 5xCD Box (The Henning Christiansen Archive, 2022)

  • Music for a tragedy/play, Penthesilea (tragedy in 24 scenes), by director Carlo Quartucci, 1986, Playwright: Heinrich von Kleist. First performance at Teatro Olimpico, Rome, Italy, on November 8, 1986. This four and a half hour audio work heavily expands on the foundation laid out for Rosenfest in 1984 as featured on the HC4 2LP release. This lavish 5CD set presents the full backing tape prepared for the performances at Teatro Olímpico, Rome in 1986 as directed by Carlo Quartucci (the live recordings of the performances remain elusive to this day). The most ambitious project Henning undertook, the Penthesilea project is also one of the most successful as it explores the numerous experiments and techniques he had developed throughout his creative life culminating in this ambitious and significant work / Unheard until now and required listening now. The full narrative of Kleists text unfolds as an audio excursion for the mind to wander. An audiobook presented as sound. The field recordings featured in Rosenfest recordings are featured alongside a wealth of new sonic environments. Horses trot, a box