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We are excited to present to the world the debut solo album by Lily Mullen. A songwriter / poet in her early 20s, residing in Northwest Oregon. Lily was born with Down Syndrome and is a fierce advocate for disability justice and other underrepresented voices. This album has a playful and magical quality - like found in the self-contained worlds of the Raincoats or the Slits. There are both rockers and ballads - with echoes of the Velvet Underground and Modern Lovers. Folky and poetic songs à la Patti Smith, Nico or Neil Young. Songs that vocally AND musically evoke Mark E Smith and The Fall. Of course, those are all just reference points! Lily’s voice is unique and original and forging new and beautiful artistic territory. Clever wordplay, cosmic themes, surrealist poetry, heart on sleeve laments, tearjerkers - this album has it all. Recorded at Sonic Lodge in Eugene, Oregon by Justin Higgins. Musical contributions from Chris Gunn (Lavender Flu), Miranda Soileau-Pratt (Spatulas), Scott Simmons (Lavender Flu), Kate Williams and Justin Higgins. Be wild. Be free. Experience Lily!

The 2015 edition of Winnipeg’s send + receive festival, focussed on rhythm, turned out to be a generative meeting of minds. There, Mark Fell encountered the music of Will Guthrie, a meeting that was eventually to result in the frenetic acoustic drumkit and digital synthesis pairing heard on Infoldings and Diffractions (2020). At the same festival, Limpe Fuchs first heard and appreciated the music of Mark Fell, planting the seed of a collaboration that came to fruition when Fell (along with his son Rian Treanor) visited Fuchs at her home in Peterskirchen, Germany in September 2022. Black Truffle is pleased to announce the release of the results of this extensive session in the audacious form of a triple LP, housing over two hours of music across its six sides. The collaboration might appear unlikely: what common ground could exist between Fuchs, classically trained pianist, legend of improvised music, instrument builder and sound sculptor active since the 1960s, whose group Anima Sound connected the dots between free jazz, krautrock and ritual, and Fell, proponent of radical computer music, known for his bracingly austere productions that twist remnants of club music into algorithmic stutters? For all their seeming disparity in technology, approach and background, the music on Dessogia/Queetch/Fauch makes it immediately evident the pair share a great deal in their essentially percussive approach and ability to, in Fuch’s phrase, ‘establish silence’. Recording at her home studio, Fuchs had the use of her entire array of instruments, found, invented, and traditional, and treats the listener to some that don’t often make their way to concerts, including extensive passages performed (with Gundis Stalleicher) on pieces of wooden parquetry. Alongside metallic, wooden and skin percussion of all kinds, sounded and struck in every conceivable way, we also hear bamboo flute, viola, and Fuchs’ distinctive free-form vocalisations. Fell also stretched himself, with his contributions ranging from characteristically fizzing pitched percussive pops to swarms of sliding tones and abstract digital noise. Showing both remarkable restraint and improvisational freedom, much of the music consists of duets between a single percussion instrument and a distinctive mode of digital sound, often lingering in one timbral-rhythmic space for minutes at a time. Improvisational forward momentum coexists with a free-floating, wandering quality. On opener ‘Dessogia I’, the shimmering almost-gilssandi tones of Fuchs’ enormous set of microtonally tuned metal tubes ripples across Fell’s rubbery pulse, which moves up the frequency spectrum as Fuchs becomes more animated and switches to horn. At some points, as on the metallic chiming tones that open ‘Fauch I’, only the unexpected dynamic behaviour of Fell’s sounds distinguish them from Fuchs’ acoustic instruments. At others, like on ‘Queetch III’, the waves of sliding tones and noise textures are bracingly synthetic, joined by piercing squeaks and scrapes from Fuchs’ metal objects. Epic in scope, immersing the listener in an entirely distinctive world of sounds, and thrillingly bold in its melding of the most ancient musical procedures with cutting edge technologies, Dessogia/Queetch/Fauch is an unexpected major statement from two of the great mavericks of contemporary music.

A classic Balearic masterpiece from 1986 that still attracts many audiences, and was featured on the famous blog that led the New Age revival! "Rise Of The Heart", one of the gems left by Italian singer Linda Di Franco, produced by president Don Was, reissued on analog from in 2022. Balearic mellow soul that silences crying children, Chee Shimizu also covered "TV Scene" in Discossession, Balearic bossa "My Boss", etc. A masterpiece!

Caligula is the third studio album by American musician Lingua Ignota, released July 19, 2019 through Profound Lore Records.[1] Recorded after the signing with the record label in 2018, the album features collaborations with several other musicians, a departure from the recording process of her previous album All Bitches Die (2017), which was done alone in a shed in the woods, and features more acoustic instrumentation than the aforementioned record. It thematically explores themes of abuse, misogyny, hate, vengeance and violence in its lyrics, inspired by Hayter's own experiences in Providence, and features influences from both classical and extreme music. The album received universal acclaim from music critics, and made appearances on several year-end lists.

Linkwood returns to AOTN in 2022 with Stereo, the follow up and part two, to his killer and hyper focussed LP Mono, which turned heads in 2021. All recorded live at the AOTN studio, he's kept the essence of the first LP which worked so well, but moved it on in a much deeper direction. Fusing many of his influences, Boogie, Detroit and early 80's synth joints to name a few, stereo has its own identity and showcases Linkwoods ability to write and produce on the fly but maintain that warm, fuzzy and intricate sound we all love him for.

LINTD, a pseudonym of Iyunoluwanimi Yemi-Shodimu, a notable musician from Nigeria, based in Manchester, will release his latest work in 2025 on vinyl from HEAD II, the cutting edge of the London underground. A strange work that can be called a modern dark audio fairy tale, with a strange fusion of gothic sensibility and experimental structure. The acoustic space woven between decadent and mysterious narration, strange beats, distorted melodies and silence is like a dark fable drawn with sound. A sharp and solitary strange work that reminds us of the narration x acoustic structure after Dean Blunt and even the illusion of The Shadow Ring.

FUMU christens the promising new label Return To Zero (RTZ) with Funeral Rites on Planet Saturn, the surrendering sophomore album from Nigerian artist, self-described “negro-producer”, hedonist, and iconoclast LINTD. With production collaboration from Porter Brook and features from Samrai (Swing Ting), Porter Brook, Sam Scott Francis (GOMID), Rizmi, and Imani Jendai. LINTD’s work emerges as a call and response between the tender, dynamic sounds of Black music across history and the surreal reality of contemporary, vulnerable Black life – a haunting dialogue. These themes are catalysed in the Black Impossible LP Trilogy, reclaiming Black utopia through sound technologies via ‘Smooch Soundsystem [Live at The White Hotel]’ for Second Born (Kop-Z, Porter Brook), and ‘DOGTOOTH. And Other Such Tales of the Macabre’ on The White Hotel’s HEAD II outlet. While earlier works engaged with the mania, joy, and paranoia of this impossible experience, Funeral Rites on Planet Saturn arrives at a soulful conclusion, allowing grief to tell a truer story. In the vein of Sun Ra, Alice Coltrane, and Octavia Butler, LINTD introduces the speculative planet Saturn as a site where impossible Black being across the world can come and rest: a site for liberation and emancipation. “This one is an act of care towards myself, and hopefully others like me. I have proven everything I want to prove this year; this one is my elixir from all the lonely grief, a place of rest.” — LINTD “The results serve to consistently fuck with presumptions of Black music within a contemporary context that’s been prised open, upended by likes of Klein & Space Afrika in the modern field, and also tie back to historic, progressive Black music of Sun Ra and Alice Coltrane, and their shared extra-musical themes in the work of sci-fi writer Octavia Butler.” — Conor Thomas, Boomkat

The distinctive sound of Linus is born from a delicate balance between folk, jazz, minimalism, chamber music and free improvisation. Starting as a duo, Ruben Machtelinckx and Thomas Jillings have always tried to infuse their compositions, which tend towards poetry and simplicity, with the ungraspable spirit of true open-minded improvisation. In the search of new stories to tell, it therefore did not come as a surprise that they chose to expand their palette by including both an eclectic mix of instruments (from banjo and Hardanger fiddle to electronics and an orchestral bass drum) and a range of collaborations with some unique voices in the world of improvised music. Showing much affinity for the thriving Norwegian scene, they collaborated with the likes of Nils Økland, Ingar Zach, Christian Wallumrød and Øyvind Skarbø, as well as Jakob Bro, Frederik Leroux and Niels Van Heertum.

On Light as Never, the second album by this constellation and the fifth by Linus overall, one no longer hears a meeting of different worlds, but rather the creation of a new one. A world where the blending of Scandinavian fiddle-tunes, abstract electronic soundscapes, meditatively repeating melodies and jazz-inspired free improv is no longer an experiment, but simply a state of mind. From the joyful interplay of Playful to the serenity of Ostinato, the microtonal alientation of Affirms Nothing to the wide-eyed energy of Conway, the almost bluesy warmth of Light as Never to the cold emptiness of Echo, nothing about these connections feels contrived. They simply represent a new outlook on improvised music.

XKatedral proudly presents the split full-length album Four Works by Stockholm based composers Linus Hillborg and Theodor Kentros. Four Works consists of two pieces by each composer with music written and recorded during 2019-2021. Two pieces for organ and electronics, a piece for violin and electronics and a piece for bass clarinet and electronics. Since both composers on this release mainly operate within the field of electroacoustic music these four pieces deviate from the composer's ordinary practice to a certain extent. However, they still retain an imprint shared with both composers' larger body of work.

'Negrea Love Dub' is a substabtial dub project featuring Linval Thompson produced riddims, which were laid at Channel One studio by The Revolutionaries – at the time a celebrated studio band led by drum and bass partners Sly Dunbar & Robbie Shakespear – and mixed at King Tubby’s renown studio at 18 Dromilly Avenue in Kingston by Prince Jammy. 'Negrea Love Dub', is a bit of a curious affair. The 10-track dub set starts off with riddims long-time reggae fans will instantly associate with tunes from Gregory Isaacs’ self-produced LP “Cool Ruler” that came out on the African Museum imprint in 1978. Especially striking is the fact the these riddims aren’t re-cuts. They are exactly the same as the original versions – assuming that Gregory Isaacs was the one who used them first, although it easily could be the other way around.

I wonder if my fascination for clouds (without being an obsession) may have risen at the end of the 80s as, whilst composing Micro-climat, I would regularly wander between the Vercors mountains and the high plateaus of the Monts du Forez discovering, through my eyes, body, breath, active observation and walk, that natural forms when constantly changing and yet swollen with a unity of matter (in this instance, water) open one up to a deep, fundamental breath and a clear field for the mind.
The sky and its forces: our ally.
A model for a natural music which, although fixed, as in musique concrète (a rule of the genre), moreover on a recording tape, will remain charged with such a poetic quality that (isn't it its role or rather its reality?) it will ensure a perpetual renewal for our senses, so as to reach another idea of the world, far more open and richer than what we could have imagined.”
Lionel Marchetti, 2011

Lionel Marchetti is a major figure of the “third generation” of concrète musicians, a term he values. Listening to these works, imbued with poetry and traversed by micro-narratives, one can indeed retrieve the original concrète spirit, the one that draws from the sonic world, with ears wide open, so as to extract a fertile, rich and multiple substance then shaped and conveyed towards a formal and musical abstraction. Lionel Marchetti has mastered this process, but his real distinctive feature is a truly unique talent for setting climates (as one sets traps) and keeping us on constant alert. The two pieces in this record perfectly illustrate the entrancing dimension of Lionel Marchetti's music, whose charm leads us, through each successive listening, to become voluntary captives so as to better liberate ourselves
François Bonnet, Paris, 2020

Lionmilk, the primary solo project of Los Angeles musician/composer/producer, Moki Kawaguchi, for some time now, operates in an explicitly therapeutic mode. 2021’s I Hope You Are Well was originally self-released during the onset of the pandemic as a limited run of home-dubbed cassettes, which Kawaguchi hand-delivered to loved ones’ mailboxes in a sort of guerrilla care campaign—a modest attempt to mitigate the sudden, profound alienation that prevailed during those early lockdown months. When Lionmilk and Leaving Records later collaborated on an official release for I Hope You Are Well, this once humble project’s impact grew exponentially, with countless fans (old and new alike) granted access to the warmth and beauty of Lionmilk’s inner circle. Intergalactic Warp Terminal 222, out March 17, 2023 on Leaving, presents the listener with yet another opportunity for deep cosmic healing. When discussing Lionmilk, Kawaguchi regularly foregrounds the absolute necessity of music-making as a form of self-care. First and foremost, he produces sounds and songs that provide him with some modicum of solace — “music to feel less whack to.” One gets the sense that he’d be doing exactly what he’s doing (exactly the way he’s doing it) even if he was the last man on earth. But he isn’t. And, in fact, one of Lionmilk’s primary concerns—evident across track titles, as well as the sung and spoken words that dot his releases—is community, or more specifically, what it means to exist and act in his community. Intergalactic Warp Terminal 222 ventures deeper into the paradoxes explored to great effect on I Hope You Are Well. How might we transmit our solitudes via music and to what extent? What does a shared solitude sound and feel like? And, in the context of this transaction, what novel relationships arise between the recording artist and the listener? The record begins with a radio transmission from the depths of Lionmilk’s celestial innerspace— “Hello. Is anybody out there? This is Lionmilk speaking, and you are tuned into the Intergalactic Warp Terminal 222. Standby. We are commencing broadcast” — a retro sci-fi movie motif that recurs throughout Intergalactic Warp Terminal 222’s 26 tracks. But space travel here functions more-so as a metaphor for deep soul work, for journeying inward, through the vast unknowns of one’s own consciousness. What follows is an intimate, diaristic song suite, grounded in the struggle to keep our hearts alive and open amidst an onslaught of daily indignities. Tracks like “daily i dream,” “lover’s theme,” and “hopeful i can change,” function as brief, instrumental meditations on those moments when hope suddenly, inexplicably eclipses despair. The soulful standout “treat yourself like a friend” contains perhaps the lyrical apotheosis of Lionmilk’s current iteration: “...I get up / to pee and drink water / treating myself a little bit softer / you do your best / today will be better / I’ll do my best / I’ll do my best / I promise.” Composed of loops, sketches, improvizations, and voice memos recorded directly to a single cassette tape, Intergalactic Warp Terminal 222 flutters, warbles, and lilts along seamlessly — an hour-long, lo-fi and jazzy paean to compassion, while clearly indebted to the ambient idiom, nevertheless constitutes some of the most politically engaged and energizing music yet from Lionmilk.

Paige Emery is an ecological artist interweaving music, painting, and plants through healing rituals to explore ways of remembering the Earth. She catalyzes ritual to illuminate the way our practices co-write our cosmologies and to find cyclical resonances that bring us back home. Works such as sound pieces to guide ecological journeys, paintings alchemized with herbal concoctions, ecopoetic tea ceremonies, plant remedies, and starting mutual aid guerrilla gardens with her community are among the ways this practice manifests itself. Intercommunications follows a cyclical journey of healing with plants. The album was seeded from her ritual of singing to her plants every morning after she meditated with them. As an inquiry into communicating with the nonhuman, the songs grew through deconstruction of language layered with sounds of the environment, a communication shaped by honest forms of harmony and chaos, death and rebirth. Each song represents a different state of connecting with plants, while the album as a whole serves as an arc through a healing journey with their medicine - opening, sensing, letting, washing, waking, dancing, calling, following, swelling, enduring, decomposing, which in the end leads to another opening. These states of being sing along with the cycles of nature that we can continue to learn from.

How do I know if my cat likes me? is the first offering from organists Ellen Arkbro and Hampus Lindwall with visual artist Hanne Lippard, an existential meditation on the empty expanses of our automated everyday. First developed during Arkbro and Lippard’s 2023 residency at La Becque in La Tour-de-Peilz, Switzerland, the album satirizes, in prim deadpan, the stultifying aesthetics of corporate life, from hold music to online banking. How do I know if my cat likes me? extends the lineage of Roberts Ashley and Barry’s droll concept poetry, hammering at the sounds of language until they dislodge all signifieds through pleasurably numbing repetition. Listening to the record is like doing a Captcha over and over until all the characters fuzz to hieroglyphs, or finding yourself mired in a tautological customer-service argument—except that, after you dead-end at nonsense, you stumble into an unexpectedly transcendent beauty, where language flips from pure function to pure aesthetic, shimmering with possibility.

Even subtle ruptures in lyrical or musical patterns can trigger a fundamental shift in the world of the song. Throughout the record, strict formalism and minimalism beget narrative. “The long goodbye” imagines an excruciating dialogue between acquaintances who can’t politely disengage: “It’s my pleasure!” deadpans Lippard, who replies to herself, “Pleasure is all mine! / See you soon! / See you next time! / See you then!” Though the lines recycle the same few parting words, a mysterious causality accumulates in the minute variations, creating a narrative arc less for the characters of the song than for the listener, who might confront despair, nihilistic humor, or profound gratitude at the capacity of art to encompass any of this—not necessarily in that order. Elsewhere, as “Modern Spanking” free-associates its way from the phrase “online banking” toward “breathing down your neck banking” and “sexy but bankrupt banking,” a whole world of perfunctory pleasures comes into focus. While minimalist movements in music and visual art foster a certain situatedness of the view, “Modern Spanking” evokes the slick, frictionless minimalism of an upscale mall: a crowd of desultory passersby drifting between sex and money, fantasy and reality, scattered attention and intense distraction. In a world like this, the distinction between banking and spanking becomes negligible.

RIYL: Jacqueline Humbert and David Rosenboom, Robert Ashley, Robert Wyatt.

DFA no doubt owes a very large part of its existence to the incredible, indelible Liquid Liquid, so it is with great and humble honor that we release this 12” from the New York no wave legends, a double a-side package featuring sorta-new versions of classic Liquids tracks. This torrential take on “Bellhead” was recorded and produced by James Murphy and Tim Goldsworthy in 2004 and originally appeared on DFA”s “Compilation #2.” It’s an all-timer percussion workout, bursting at the seams with marimba, drums, and, yes, all manner of bells, a far cry for the see-saw slouch of the original. The other side is a heretofore unreleased instrumental remix of “Optimo,” which (bear with us here) was rerecorded by the Liquids in 2008 and then remixed by Optimo (Espacio), the Glaswegian duo who are named in tribute to the song in question. If you followed that, then you know. If not, just remember that we’re all showing up here because of how important and essential this band remains.

Endless piano and tape loop variations by Australian composer and multi-disciplinary artist, Lisa Lerkenfeldt. A music for three pianos in the advent of isolation. A poem to Xerochrysum Viscosum, an everlasting daisy native to Melbourne, Victoria. An unfolding fantasy through the field of time. A proposal for multiple players and machines. 'A Liquor Of Daisies' is the prelude of Lisa Lerkenfeldt's forthcoming album 'Collagen', out summer 2020 on Shelter Press.iframe style="border: 0; width: 350px; height: 208px;" src="https://bandcamp.com/EmbeddedPlayer/album=892168959/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless>A Liquor Of Daisies by Lisa Lerkenfeldt

‘Halos of Perception’ releases on November 3, 2023 with a hyperreal film in collaboration with Chinese-Malaysian Australian video artist Tristan Jalleh. Drawing from Lerkenfeldt's field work and electroacoustic practices, piano, cello and tape loop arrangements light up lost chambers and underground histories in a patchwork of reflective musique concrète, instrumental composition and surreal cinema. The artist's sophomore LP on Shelter Press spotlights underground networks opening questions of reality, virtuality and perception through oral traditions, experimental AV composition and diary-like vignettes.

Lerkenfeldt explores the hallucinatory nature of refraction alongside electroacoustic experiments in the storm water network on ‘Halos Of Perception’ (Shelter Press, 2023). Arrangement of new textures and web-like structure reveal another side to her immersive practice. With friends and guest artists eight works are remixed and represented as a suite for the drains ahead of her first European tour in 2024 on limited edition cassette.

For piano and tape: Lerkenfeldt explores minimalist structures with stillness and intensity. Her imaginative process is poetic and precise; distilling new registers in the field of consciousness through electroacoustic composition, like a torchlight in the dark. Alongside classical instrumentation, she augments abandoned technologies into new hybrid forms through handcraft, digitisation and experimental digital processing. Flickering piano, tape systems and their spatialised distortions unfold in repetitive motifs on With Water Up To Her Knees. In Before They Were Clouds, multi-layered acoustic refractions speculate on atmospheric systems. With Water Up To Her Knees is produced by Shelter Press in small series cassette single edition and digital with a limited pullout poster and poem by the artist. The work has its world premiere at eminent electronic arts centre The Substation, Melbourne on 24-25 November 2022, with an audio visual performance in collaboration with filmmaker Tristan Jalleh. Written and recorded on unceded Wurundjeri and Boon Wurrung country, Summer 2022. “I love the sound of mechanical failure, when the sophisticated machine collapses into itself.”

A hat to let others know when you are engaged in deep listening. Turn it backwards to activate a delicate request for silence from those behind you. Classic 6-panel cap with adjustable strap and large embroidered "I'm in the Listening Position" logo.

Ever wonder how many amazing unreleased or unheard acetates currently sit in total obscurity, on a shelf somewhere, with decades’ worth of dust, unreleased, or perhaps even completely unheard? Tempting as it is to get stuck feeling helpless about the sad and futile reality of forgotten recordings, it does allow each unshelved release to feel like a massive geological victory. Little Ann’s Deep Shadows is an example of such a victory to savor. American soul singer Little Ann, born Ann Bridgeforth, was originally from Chicago, but moved to Detroit with her family, where she sang in church, inspired by local gospel legend Aretha Franklin. She recorded an album’s worth of songs between 1967 and 1969, primarily with Detroit musician/producer Dave Hamilton, although, save for one song, the work never saw the light of day. Interestingly, the only released song was not “Deep Shadows,” which is now her most known, and perhaps the greatest example of the emotive power of her voice. Little Ann wrote in a letter to her mother, “If it doesn’t work out, I tried.” Cut to the 1980’s: two British soul collectors, Gilly and Andy Taylor, are digging through Hamilton’s personal music archive and find a box of reels labeled “The Possible Little Ann Album,” and it’s love at first listen. The dust is wiped off, and the music begins making the rounds, trickling out into the world by way of the British northern soul DJ scene, various compilations, covers, and samples, garnering enough attention that Little Ann was able to experience her own resurrection, and even perform one UK show, before her passing in 2003. Timmion Records’ 2009 compilation Deep Shadows was the first release to assemble all of her demos into one cohesive album, as originally intended in the 60’s. Little Ann co-wrote all but two songs on the album, which you can feel as you listen; there is a heavy sense of intimacy in her recordings, like being launched through a tunnel straight into the deep center of her aching heart.

Veteran avant-garde artist Little Annie teams up with South Florida producer Richard Vergez’s project Night Foundation for Inertia, a 7-inch release on Noir Age. A distinctive dark ambient single where their sensibilities subtly intersect, the A-side layers smooth bass and sustained tones with Annie’s restrained vocals, evoking an urban desolation, while the B-side offers a dub-inflected counterpart, steeped in reverb and spatial treatments that extend the track’s afterglow. Mastered by none other than KRAMER, famed for his work with Daniel Johnston, the release is further elevated by its visual and physical presentation: limited art editions, silkscreen packaging, and inserts that merge sound and image into a singular experience. Strictly limited to 300 copies.

A mixture of raw blues and reggae from Skip McDonald (Sugarhill Gang, Tackhead, Strange Parcels) with guest appearances from Ghetto Priest and Bim Sherman. Originally released in 2002.

Skip McDonald aka Little Axe is here assisted by Dub Syndicate and Roots Radics (whose backing tracks are a combination of previously recorded material, reworked and rearranged for the album). McDonald croons blues lyrics and plays aching slide guitar; the overall sound is dark and rich. Originally released in 2011.