All products

Roger Robinson is one of the most versatile voices in the dub poetry scene today, seamlessly blending the power of the written word with the raw energy of the soundsystem. Teaming up once again with Dub wizard Disrupt to conclude an album trilogy that began with “Dis Side Ah Town” and “Dog Heart City“, Robinson pulls a wide range of riddims straight from the Jahtari vaults to create “Heavy Vibes“, a killer fusion of bass, poetry, and social consciousness. With a voice oscillating between soulful falsetto and deep poetry thunder Robinson’s verses hit as hard as the bass, challenging the listener to confront uncomfortable truths, while Disrupt’s richly textured, dub-heavy production ensures the music moves both body and mind. You’ll find yourself dancing, but more importantly, you’ll find yourself thinking. Coming with stunning cover art by Kiki Hitomi and featuring deadly riddims by Tapes, Naram, Jura Soundsystem, Maffi and Bo Marley, “Heavy Vibes” balances the weight of oppression with a glimmer of hope – the belief that change is possible, that the beat goes on, and that through solidarity and art, new futures can be forged.

Great news for fans of electronic music: Reiger Records Reeks is set to release a new 5-CD box set dedicated to Roland Kayn’s Cybernetic Music. The collection is based on the original recordings from the Lydia and Roland Kayn Archive, which were sensibly remastered by Jim O’Rourke,

The box set includes the tracks from legendary opuses MAKRO I, II, III, created at the Institute for Sonology, and Elektroakustische Projekte, featuring works like Cybernetic I, II, and III, which were recorded at the Studio di Fonologia in Milan, alongside Entropy PE31, Monades, and Eon. These pieces – previously available only on rare out-of-print vinyl editions – highlight both Kayn’s innovative approach to musical structures and his significant impact on the development of electronic and cybernetic compositions.

A hitherto-unreleased electronic masterpiece from Roland Kayn, singular pioneer of cybernetic music.

Over a period spanning the late 70s through the early 80s, Kayn (1933–2011) issued a quintet of extended works that quietly but definitively redrew the map of electronic music. Informed by cybernetics and a desire to actualise analogue circuitry as an agency in the compositional process, this music adopted a form that can only be described as oceanic, as side after side of vinyl allowed a wholly new vocabulary of electronic sound to find its shape.

In the decades that followed, these multi-LP boxed-set releases became hallowed documents of contemporary music (as well as highly prized collectors’ items). Kayn’s initially subtle influence belied a gradual shift towards the widespread adoption of his ideas and practices in the 21st century, incorporating both the rise in popularity of modular synthesis as a music-making tool, and the huge advancements in machine learning and AI.

Following the recent reissue of ‘Simultan’ (1977) and the first-time release of late work ‘A Little Electronic Milky Way of Sound’ (2009), it was clear that a new generation of listeners and musicians were eager to discover Kayn’s vision in all its vastness.

Kayn's own label, Reiger Records Reeks, has been reawakened by his daughter Ilse, and her long-cherished dream of releasing this music is now finally a reality. Across 10 CDs of immersive audio, expertly remastered by Kayn aficionado Jim O’Rourke, listeners are now finally able to digest Kayn's little-known masterpiece, and to inhabit sonic territory that has waited unspoilt for decades.
 

A masterpiece returns.
The last five years have seen the reemergence of a towering figure of electronic music. Through multiple boxed set releases, and a dedicated Bandcamp page releasing unheard works at an unfaltering pace, the work of pioneering cybernetic composer Roland Kayn has reached a wider audience than ever before.
Now, a bedrock work in establishing this reputation is available once more, as Tektra, his overarching landmark work of the early 1980s, is finally restored to availability after decades out of print.
Reissued by Reiger Records Reeks – the composer’s own label, now presided over by his daughter Ilse – Tektra here unfolds across 5 CDs. The new edition was mastered by Jim O’Rourke from a transfer of the original tapes present in the Lydia and Roland Kayn Archive. It implements Kayn’s directions on crossfades and edits as fully as possible, while also reincorporating almost 5 minutes of music previously unavailable in digital format.
Kayn’s glacial, otherworldly electronic landscapes have always been somewhat at odds with the world of contemporary composition his background and training located him within. His rejection of compositional dogma and traditional musical structures eventually led him to discover a source of endless inspiration in the cybernetic generation of material, and the curatorial act of listening itself.
Perhaps this is why Kayn’s recognition is only approaching its zenith today: his work is far from the passive, unobtrusive world of “ambient”, but its embrace of extended duration, drone-like textures, and the exploration of space as timbre are undeniable shared attributes. Today’s most forward-looking musical practitioners – many of whom cite Kayn as a direct influence – have perhaps discovered a similar territory, at the threshold point where mindblowing complexity approaches the overwhelming sensation of true immersion.

Returning to the unreleased oeuvre of the master of cybernetic sound Roland Kayn, frozen reeds hereby unveils a new high watermark for longform electroacoustic composition, unfolding across 15 CDs in a luxurious gold-stamped boxed set. Big tip! In 1970, Roland Kayn began a decades-long period of research, development and creation at the Instituut voor Sonologie in Utrecht. In the mid to late 90s, he retired, relocated to the Dutch countryside, and began to realise new electronic works at Reiger Recording Studio – his modest home facility. “I finally came to the conclusion,” Kayn would later point out, “that I no longer needed studios to construct my own electronic music.” The working methods Kayn arrived at individually – without the room-filling synthesisers, mixing desks and signal-processing equipment of Sonology at his disposal – saw him turning his own career into a cybernetic process. From the hours of recorded sound amassed in prior decades, he began processing and assembling a mountainous quantity of new music. His works of this period are focused on reabsorbing and recontextualising his life’s work to produce yet another series of utterly alien landscapes. From his retirement until his death in 2011, Kayn was wildly prolific, leaving an archive of dozens of finished electronic pieces. Earlier source material is often re-sculpted using the technology Kayn had available to hand, while other techniques such as sampling radio broadcasts or the plunderphonic quotation of others’ works occasionally intercede. No notes accompany any of this music – no word of explanation or expression of intent. Only the works and their titles remain, the latter often simply deepening the mystery. Their durations range from around 20 minutes to almost 18 hours. ‘The Ortho-Project’, presented here in its 14-hour entirety, is among the longest. At this scale, Kayn’s music is perhaps at its most immersive; the listener senses they are being invited to envelope themselves in a rich environment of diverse timbral physicality rather than a programmatic work. This is simply electronic music as you have never experienced it before. With Jim O’Rourke applying his signature restorative touch to the audio, and Robert Beatty taking his cryptic cybernetics-inspired artwork several steps beyond the label’s previous Kayn box, ‘The Ortho-Project’ (2007) – in its 14-hour entirety – finally sees a fitting release.

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 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.

Reissue of the legendary 5-track first LP (plus 2 bonus tracks) from horn wizard & original underground FM radio DJ Young, featuring soprano sax, clarinet, and electronically-processed bass clarinet. An enjoyable outing from a neglected musician. Cosmic afro mimimal electronic winds recorded in 1970s San Francisco.

The fourth release from Roland P. Young on EM Records sees him moving ever deeper, earthbound and rooted, yet simultaneously flying further out, expanding his exploration of untethered celestial realms. Recorded in 2014 following a move to Tel Aviv, the title Confluences hints at the blend of cultures and histories in his new homeland, and is reflected in the music, which shows a range of cultural influences, filtered through Young's unique sensibility and vision. This is a calm, spiritual set, evidencing an inner comfort that was less prevalent on his Brooklyn-era recordings. This is not to imply that RPY is no longer searching; this release brings to fruition the promise of earlier recordings such as Isophonic Boogie Woogie [EM1045CD/HJLP] and Istet Serenade [EM1087CD/LP], made complete via Young's multi-instrumental chops on sax, bass clarinet, kalimba and keyboards working in tandem with his rhythm and bass programming skills, his multi-track studio mastery and an ever-evolving sense of musical form and drama. The confluences of cultures are of course swirling throughout this release, but also the confluences, as noted above, of the earthy and the celestial, as well as the temporal confluences of the past, present and future. Perhaps more than any of his previous releases, Confluences realizes Young's description of his own work as "Afro spiritual minimal electronic space music". Available on CD and LP, this release is the next stage of Roland P. Young's never-ending voyage. Get on board!

The fourth release from Roland P. Young on EM Records sees him moving ever deeper, earthbound and rooted, yet simultaneously flying further out, expanding his exploration of untethered celestial realms. Recorded in 2014 following a move to Tel Aviv, the title Confluences hints at the blend of cultures and histories in his new homeland, and is reflected in the music, which shows a range of cultural influences, filtered through Young's unique sensibility and vision. This is a calm, spiritual set, evidencing an inner comfort that was less prevalent on his Brooklyn-era recordings. This is not to imply that RPY is no longer searching; this release brings to fruition the promise of earlier recordings such as Isophonic Boogie Woogie [EM1045CD/HJLP] and Istet Serenade [EM1087CD/LP], made complete via Young's multi-instrumental chops on sax, bass clarinet, kalimba and keyboards working in tandem with his rhythm and bass programming skills, his multi-track studio mastery and an ever-evolving sense of musical form and drama. The confluences of cultures are of course swirling throughout this release, but also the confluences, as noted above, of the earthy and the celestial, as well as the temporal confluences of the past, present and future. Perhaps more than any of his previous releases, Confluences realizes Young's description of his own work as "Afro spiritual minimal electronic space music". Available on CD and LP, this release is the next stage of Roland P. Young's never-ending voyage. Get on board!

The fourth release from Roland P. Young on EM Records sees him moving ever deeper, earthbound and rooted, yet simultaneously flying further out, expanding his exploration of untethered celestial realms. Recorded in 2014 following a move to Tel Aviv, the title Confluences hints at the blend of cultures and histories in his new homeland, and is reflected in the music, which shows a range of cultural influences, filtered through Young's unique sensibility and vision. This is a calm, spiritual set, evidencing an inner comfort that was less prevalent on his Brooklyn-era recordings. This is not to imply that RPY is no longer searching; this release brings to fruition the promise of earlier recordings such as Isophonic Boogie Woogie [EM1045CD/HJLP] and Istet Serenade [EM1087CD/LP], made complete via Young's multi-instrumental chops on sax, bass clarinet, kalimba and keyboards working in tandem with his rhythm and bass programming skills, his multi-track studio mastery and an ever-evolving sense of musical form and drama. The confluences of cultures are of course swirling throughout this release, but also the confluences, as noted above, of the earthy and the celestial, as well as the temporal confluences of the past, present and future. Perhaps more than any of his previous releases, Confluences realizes Young's description of his own work as "Afro spiritual minimal electronic space music". Available on CD and LP, this release is the next stage of Roland P. Young's never-ending voyage. Get on board!

The latest work "Hear / Here", which is M's fifth work in total, was recorded in his hometown of San Francisco, where he produced the masterpiece 1st "Isophonic Bugiugi" (1980), which is his origin. He moved to New York in the early 80's. He suddenly moved to Israel in 2013, but returned to San Francisco last year. This latest composition collection "Hear / Here" was produced there.

Roland, who consistently produces works with improvisational composition, has a top-notch mix of electronics and acoustics, with a sense of Pharaoh Sanders, techno, electronic music, and classical music. The spirituality and ambientness, and the (

The latest work "Hear / Here", which is M's fifth work in total, was recorded in his hometown of San Francisco, where he produced the masterpiece 1st "Isophonic Bugiugi" (1980), which is his origin. He moved to New York in the early 80's. He suddenly moved to Israel in 2013, but returned to San Francisco last year. This latest composition collection "Hear / Here" was produced there.

Roland, who consistently produces works with improvisational composition, has a top-notch mix of electronics and acoustics, with a sense of Pharaoh Sanders, techno, electronic music, and classical music. The spirituality and ambientness, and the (

Highly awaited repress of the long sold-out compilation Hearsay I-Land, which encompasses Roland P. Young's 80s foray into synth-pop, dance, funk, soul, and new wave, including the downtempo classic, Ballo-Balla. Includes the I-Land 12" in its entirety, as well as most of the Hearsay Evidence lp.

"Istet Serenade" is foray into the area of music space that represents the core of Roland's sound philosophy, Isophonics. The theory of composed improvisation of stillness in the fluidity of constant change. The thingness of actualized sound in the nothingness of acoustic evaporation and recreation from the source of the indwelling presence. This occurs at a speed which defies conscious comprehension but which reveals abundant spiritual revelatory aspects.

It requires a state of emersion and a freedom to reach toward technical trust and semiconscious execution of the revealed composition. Upon returning to a conscious state one hears what was created as though it is being presented. The thought then thinks about what was thought and executed as a comprovisation of point instant mixed and remixed sound devices: Breath, Posture, Devotion, Bass Clarinet, Soprano G and Bb Clarinets and Saxophone, Kalimba, Native American Flutes, Electronic Accoutrements, Voice, Percussion, Mac Book, Family, Pen, Pencil and the One.

"The 10 pieces were chosen from 55 comprovisations created over the past year. My Travels to and playing in the atmospheres of Israel, Prague, Rome, London, Paris, Istanbul and Santa Fe, New Mexico combined with my formative years in Kansas City, Missouri then my years in the Bay Area of Northern California and my current residence in Brooklyn, New York inform my music with ever expanding inspirations and creative possibilities.Istet Serenade is a slice of the possible."

This is a sound that is thusly described as spaced acid drones of intense acoustic chill, embracing electronic, ambient, world, avant garde, cosmic, free and chamber jazz music.

In the previous work "Isted Serenade", the amplification was modest and the emphasis was on the deep acoustic sound, but in this work, his new frontier is heard with the electro sound that has been synthesized (synthesized). On the surface, that's the case, but his philosophy "isophonic" is still pierced in the core, and what is expressed through Young's unique conprovisation (composition and improvisational compound word) is "isophonic. His world that continues from "Bugiugi". Therefore, the degree of discipline of the sound is different from that of the electro guys there, and the density is able to withstand deep listening. Also, the sound pressure and facial expression of the sound was a problem until the end of completion, and his realism still living in Brooklyn is reflected in the tension of this aggressive and tingling sound.

EM Records celebrates Roland P. Young’s 80th adventurous year on the planet with “Spontaneous Bounce”, the sixth RPY solo release on the label. After a musical youth in Kansas City followed by audio activities in San Francisco and New York and elsewhere, he began releasing self-produced solo music in 1980 with “Isophonic Boogie Woogie”, the title of which hints at the forward-thinking yet earthy nature of his sound, a soulful and spiritual multi-world avant-music, drawing on elements of ambient, jazz, soul, new age and electronic music. His ‘Isophonic Music’ concept crystallizes these elements through a comprovisational use of soprano sax, keyboards, drum machines and the possibilities of the recording studio. This release features 13 new pieces, a diverse array of appealing and joyful celebrations of music and life. Available on CD, LP and (DL/download). Come and join the celebration!

EM Records celebrates Roland P. Young’s 80th adventurous year on the planet with “Spontaneous Bounce”, the sixth RPY solo release on the label. After a musical youth in Kansas City followed by audio activities in San Francisco and New York and elsewhere, he began releasing self-produced solo music in 1980 with “Isophonic Boogie Woogie”, the title of which hints at the forward-thinking yet earthy nature of his sound, a soulful and spiritual multi-world avant-music, drawing on elements of ambient, jazz, soul, new age and electronic music. His ‘Isophonic Music’ concept crystallizes these elements through a comprovisational use of soprano sax, keyboards, drum machines and the possibilities of the recording studio. This release features 13 new pieces, a diverse array of appealing and joyful celebrations of music and life. Available on CD, LP and (DL/download). Come and join the celebration!

Rolf Gehlhaar (1943-2019) was an instrumental and electronic music composer, and a pioneer in computer controlled interactive music. He grew up in the US where he studied philosophy and composition at Yale University. In 1967 he moved back to Germany to become Stockhausen’s personal assistant and member of his performing ensemble. In 1969 Gehlhaar co-founded, along with Johannes Fritsch (Metaphon 012) and David Johnson, the Feedback Studios in Cologne, a new-music performance center and publishing house. He later moved to England, where he became in 1979 a founding member of the Electro-Acoustic Music Association and later on senior lecturer in design and digital media. Gehlhaar's compositions include symphonies, instrumental works, experimental and electronic music, interactive computer controlled music and everything in between. The three previously unreleased tracks on this LP only show a glimpse of the versatility of his adventurous and innovative musical ideas. The LP comes with a foldout insert including photos and extensive program notes.

The tape Afrikan Klavierkonzert by Rolf Julius, recorded in 1980 and now reissued by Counter Culture Chronicles, reveals the German artist’s delicate approach to sound: sparse piano textures, environmental resonance, and a restrained poetics of listening that dissolve boundaries between music, silence, and space itself.

Counter Culture Chronicles is proud to reissue Afrikan Klavierkonzert, a 1980 recording that captures a rare side of Rolf Julius, the German artist celebrated for his “small music” and subtle environmental works. Known for creating soundscapes that merge with their surroundings rather than dominate them, Julius developed an approach that was at once intimate, fragile, and quietly transformative.

In this recording, the piano becomes less an instrument of virtuosity and more a source of resonance and atmosphere. Notes unfold slowly, placed with restraint, allowing silence and space to shape the listening experience as much as the sound itself. The title hints at a distant geography but functions more as poetic suggestion than cultural borrowing, underscoring Julius’s interest in imagery that evokes listening beyond the familiar.

Afrikan Klavierkonzert is not a concert in the conventional sense but a meditative work in which music and environment blur into each other, extending Julius’s lifelong pursuit of sound as a form of presence. This reissue offers a rare glimpse into the early 1980s period of his practice, reaffirming him as one of the quiet innovators who redefined the relationship between music, space, and attention.

Premiere LP by Portland's finest practitioners of Great Black Music. A spiritual record for the ages. Roman Norfleet And Be Present Art Group play deeply felt sometimes earthy and sometimes cosmic music. A trio (sax, drums and organ) are augmented by additional percussion, soaring vocals and even a vocal appearance by a toddler. This record will take you where you need to go. Don't miss history in the making. Across six expansive tracks, Roman Norfleet and Be Present Art Group build from free-flowing ceremony through meditative groove-based prayer and into full-on gales of improvised music. “We build our own time,” Norfleet said, a collective act of liberation through sound. Raised in the Baptist church and trained in the Hindu/Vedic philosophy of Swamini Turiyasangitanada (Alice Coltrane), Portland multi-instrumentalist and bandleader Roman Norfleet travels a lineage of Great Black Music and the world’s spiritualities on his debut for Mississippi Records. The album emerged out of drum gatherings in Washington DC’s Malcolm X Park - a pocket of freedom built on collective improvisation and shared rhythm. In Portland, Norfleet gathered a collective of artists including Jacque Hammond and members of Brown Calculus to transmit the spirit of those DC sessions. A formative encounter with Pharoah Sanders furthered the young saxophonist’s journey via the spaceways, through Sun Ra and into the universe of contemporaries like Angel Bat Dawid. The album culminates in the beautiful “Turiya the Butterfly,” sung by 2-year-old Turiya Raiah. A daughter of band members Andre and Mia and named after the great Alice Coltrane, Turiya completes both the intergenerational circle and a spiritual classic in the present. Record comes with a glossy band photo and insert

Romance & Dean Hurley smudge the collective timeline on a second collaborative album of youtube-sampling ambient fantasies, landing somewhere on the dial between meditation tape, social commentary and regression therapy. Stunning melodramatic wooze from the Lynchian paradigm - essential listening if yr into anything from The Caretaker to Julee Cruise. Continuing their prismatic dissection of daytime soap operas, David Lynch’s chief sound designer Dean Hurley and Celine Dion-worshipping enigma Romance slide into the darkest recesses of fantasy-based escapism on an immersive followup to last year’s ‘In Every Dream Home A Heartache’. While that album spotlighted the omnipresence of daytime tv re-runs and pervasive, endlessly-looped broadcasts, ‘River of Dreams’ examines the interior, mental imbalance sewn by obsessive fandom. As the pair explain, “…the same waters that harvest and transport buoyant dreams, often funnel into nightmarish, tumultuous oceans…” Just as Twin Peaks eyeballed the grotesque energy bubbling beneath the surface of suburban America, ‘River of Dreams’ looks at the same phenomenon using the passing of time as a magnifying component. Lynch's original series was tangled in 1980s and '90s soap themes that have almost lost their relevance four decades later, and so the album’s sanded-down pads, gooey, hyper-emotional loops and detached vocal snippets satirise the past just as much as they idolise it. 'My Heart Beats In Dreams' is an apt example, steering the mood into a bleak windswept landscape scored by tempestuous whistling. In the background, the faintest outline of a beat - memories of a (wavey black & white) dancefloor refracted thru our shared cultural dreamscape. Heavy machinery (a logging saw?) whirrs into the frame, a Hollywood-ready low-end rumbles beneath. Stop - we're back in the 1960s again, rousing from an underwater hallucination, tumbling through multiple timelines in a constant emotional flux. On the closing track 'Wake Up’, the pair use their faded loops to rotate us into the void for one last dance. A child calls out "it's time," and an eerily familiar VHS buzz serenades us into silence.

Romance's debut album proper 'Fade Into You' is a mesmerising journey through the emotions of love and heartbreak, with a masterful blend of symphonic textures and collaged samples into ethereal studies in sound. Loosely inspired by Rainer Werner Fassbinder’s acidic 1975 melodrama ’The Bitter Tears Of Petra Von Kant’ an unforgiving dissection of the toxic relationship between a haughty fashion designer and a beautiful but icy ingenue, it’s a story where elegant surfaces hide tooth-and-claw instincts. 'Fade Into You' is a deeply textured and beguiling album that transports the listener to that world of faded glamour, desperate longing and narcissistic fantasy. The swelling orchestral arrangements, cathartic cadences and bejewelled sound collages create a sense of nostalgia cut with glazed neurosis, providing a lush and cinematic backdrop that soundtracks the wrenching intimacy and mysteries of love. Following on the promise of 2022's iconic Celine Dion sampling 'Once Upon A Time’ and a brace of thrilling collabs with Lynch protege Dean Hurley and the mythological Old Testament ambient 'Eyes Of fade' collab album with Not Waving, 'Fade Into You’ provides a definitive and essential statement on the Romance sound.

French photographer, musician, and lifeguard Romeo Poirier is also known for his cult favorite "Plage Arrière," a meditative deep sea ambient cassette released on Kit Records. A long-awaited repress of this popular work, originally released in 2020! Is this truly a miraculous fusion of Andrew Pekler and Biosphere? Mastered at Schwebung by Stephan Mathieu. If you like Jelinek or Boards Of Canada, you will love this. Limited edition clear vinyl.

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.” Originally a drummer, Poirier connects his various sources almost without a clearly identifiable beat. He prefers an organic pulse, mutable like the human sense of time and its fluidity. The aquatic feel of certain tracks on Living Room is no coincidence: among other devices, he uses a waterproof loudspeaker and a hydrophone to play back and rerecord tracks in the bathtub. Drawing on a sample collection assembled by his father, also a musician, the human voice enters Poirier’s music for the first time. But it remains free of overly unambiguous signifiers. Besides its link to time, the fascinating thing about music is that it has meaning without needing to be decoded. Living Room goes back to the private but universal origin of human experience: “I liked the idea that a possible quest for a musician could be echoing the first encounter we had with language, in a prenatal state: its prosody, melody and tones, without being cluttered with meaning.”

Roméo Poirier’s Off The Record (faitiche 39) transforms the overlooked detritus of recording sessions into intricate, surreal sound pieces. Across fourteen short works, Poirier builds from accidental studio captures — engineers’ instructions, idle chatter, mic checks, false starts — fragments never intended for release. Drawing on the visual art concept of “Accumulation” pioneered by Arman, Jean Tinguely and Daniel Spoerri, Poirier assembles more than a thousand found sounds from archival tapes. Voices from old shellac grooves meet digital snippets lifted from YouTube, warped and reconfigured into vivid, shifting collages. The result is a series of miniature worlds where the mundane mechanics of music-making become the raw material for new sonic narratives. By reframing the prelude to performance, Poirier crafts a universal story about creativity in the studio — one that’s at once playful, intimate, and strangely cinematic.

French lifeguard and sonic artist Roméo Poirier’s long sold out debut tape finally gets a vinyl reissue. Plage Arrière is a deep sea meditation on a constellation of Greek beaches across three islands. Trumpets, echo-clicks and Harold Budd-esque shimmer piano whirl together on these sand-caked missives, tumbled and re-engineered by their surroundings like seaglass. Plage evokes the sub-aqeaous ambitions of Jürgen Müller, or Jan Jelinek inspecting a coral reef. The album has been remastered for vinyl by Sam Annand of Esk. Building on its original artwork, the vinyl edition features new photography by Roméo himself. Released alongside our friends SWIMS.