Ambient / Minimal / Drone

An album by a little-known guitar duo released in 1999. Their songs—composed solely of guitars and making heavy use of harmonics—are beautiful pieces that evoke an ambient-like tranquility; during their live performances at the time, they even collaborated with 8mm film projections. However, while the album received high praise from a select few, the overall response was very limited. At the time, the indie scene had not yet re-evaluated ambient sounds, and there were virtually no other groups performing such simple instrumental music live. I believe this made the music extremely difficult to categorize and left it in a precarious position. However, once Japanese ambient music began to be re-evaluated globally in the 2010s, this album was rediscovered, and the remaining stock of CDs sold out instantly. Amid calls for a reissue, we’d like to unleash this music anew with this first-ever vinyl release. KENKEN—now known as URBAN VOLCANO SOUNDS—also makes a guest appearance. Whether you want to take your time exploring this little-known hidden gem or use it as everyday background music, this acoustic guitar instrumental album creates beautiful moments that seep into the very air around you.

Dj Sprinkles’ debut full length album,continues with themes from 1998’s “Sloppy 42nds: A tribute to the 42nd Street transsexual clubs destroyed by Walt Disney’s buyout of Times Square” (a track recently featured on Ame’s “Coast2Coast” DJ mix compilation for NRK Records).

While the world celebrates the revial of New York House Music, constructing utopian fictions about the genre as it goes along, DJ Sprinkles retreats deep into the bowels of house. This is the rhythm of empty midtown dancefloors resonating with the difficulties of transgendered sex work, black market hormones, drug & alcohol addiction, racism, gender & sexual crises, unemployment, and censorship.

The title song of track1&2 is a real “strictly rhythm” house music. It’s a simple 4/4 beat with piano loop.maybe this is a real minimal house! Third track “Ball’r (madonna-free zone)” is a euphoric mid tempo house.this track reminds jan jelinek or larry heard.

Fourth track “Brenda’s $20 Dilemma” is a sequel of his fag jazz style.check the beautiful kuniyuki remix of this song(mule musiq 34). Fifth track “House Music Is Controllable Desire You Can Own” is a classic new york house style.if you like the record of jus-ed or that kind of artist,you like this song.

Sixth track “Sisters, I Don’t Know What This World Is Coming To” is a one of the highlight song on the album. Actually this track is not 4/4 beat house but very emotional powerfull music. Seventh track “Reverse Rotation” is a deep and madness beautiful song.When you listen this song,you associate the music of theo parrish or pepe bradock.

Eighth&nineth track are main songs of this album. “Grand Central, Pt. I (Deep Into the Bowel of House)” is associated the sound of jungle wonz or virgo. but this song is filled with somthing sadness.check the story about this album from terre,you will see…. http://www.comatonse.com/releases/midtown120blues.html This album is for a real house music lovers.

視聴-Midtown 120 Intro・ミッドタウン１２０イントロ
視聴-Midtown 120 Blues・ミッドタウン１２０ブルース
視聴-Reverse Rotation・後戻り
視聴-Grand Central, Pt. II (72 hrs. by Rail from Missouri)・グランドセントラル駅　パート２（列車でミズーリ州から72時間）

坂本龍一とのコラボレーション3曲収録。Lee BannonとしてもNinja Tuneなどで活躍する北カルフォルニアのプロデューサー、Fred Welton Warmsley IIIによる真打ちである、インダストリアル・ミュージックをノイズやポスト・アンビエント、モダン・クラシカルといった現代的かつ先鋭的なアプローチで革新する一大プロジェクト、Dedekind Cutの8年振りとなる待望の新作！
Dedekind Cutによる〈DED〉トリロジーの最終章『Dede-K-Tion』。長い時間をかけて構想・制作されてきたシリーズの集大成となる作品で、これまでの〈DED〉シリーズで展開されてきた音響的探究をさらに拡張し、微細でスピチリュアルな電子音響とミニマリズムが交錯する世界を形成。坂本龍一特有の洗練された静謐さも相まって、Dedekind Cutの新たな領域へ到達した重要作。

Occam Ocean is a series of acoustic compositions made for and with individual instrumentalists by the late French composer Éliane Radigue. Extending the interactive process pioneered in Naldjorlak (2005–2009), Occam Ocean employs a scoreless method of composing in dialogue with each performer. Dating back to 2011, the series has proliferated almost organically, growing out of a musical and social dynamic of combinatoriality and multiplication to a catalog of more than eighty discrete compositions. This body of work stands as one of the most extraordinary late-career outpourings in recent music history. The Occam series was catalyzed in part by a visit to the Natural History Museum in Los Angeles, where Radigue encountered a depiction of the electromagnetic spectrum—from radio signals to gamma rays—which impressed upon her the minuscule range of human hearing relative to the seemingly unlimited compass of universal wavelength and frequency. The Occam compositions seem to address this vertiginous confrontation with the infinite; each individual composition elaborates a radically reduced technique or sound process, frequently working outward from only a handful of fundamental tones, to expose the flickering, idiosyncratic spectral behavior of the instrument. The reference to William of Ockham indicates a principled commitment to parsimony; paradoxically, the reduction in material content makes possible an incommensurate richness in perceived acoustical detail. Notable in the Occam series is the inextricable identification of the composition with the performer for whom, and with whom, it was made. The particular sounds and techniques of each individual performer are thus indelibly stamped in the composition; the piece composes the playing of that musician, as much as the musician plays the composition. The time-honored division of labor between performer and composer is thus suspended and reconfigured, proposing a model for new music composition that has not yet been fully theorized or understood. Occam XIII, Occam River XI (presented here in two distinct readings, which reveal subtle variations in instrumental response), and Occam V feature two longtime collaborators of Radigue in solo and duo formations. Charles Curtis, the first instrumentalist for whom Radigue wrote an acoustic composition (Naldjorlak), performs on cello, while Dafne Vicente-Sandoval—whose parallel investigations into her instrument’s complex sounding properties led her to collaborate with Radigue—performs on bassoon. The works were recorded at Temple Saint-Théodule, La Tour-de-Peilz, Switzerland, during a 2024 residency at La Becque, a setting previously explored by the musicians for its distinctive acoustic properties.

Occam Ocean is a series of acoustic compositions made for and with individual instrumentalists by the late French composer Éliane Radigue. Extending the interactive process pioneered in Naldjorlak (2005–2009), Occam Ocean employs a scoreless method of composing in dialogue with each performer. Dating back to 2011, the series has proliferated almost organically, growing out of a musical and social dynamic of combinatoriality and multiplication to a catalog of more than eighty discrete compositions. This body of work stands as one of the most extraordinary late-career outpourings in recent music history. The Occam series was catalyzed in part by a visit to the Natural History Museum in Los Angeles, where Radigue encountered a depiction of the electromagnetic spectrum—from radio signals to gamma rays—which impressed upon her the minuscule range of human hearing relative to the seemingly unlimited compass of universal wavelength and frequency. The Occam compositions seem to address this vertiginous confrontation with the infinite; each individual composition elaborates a radically reduced technique or sound process, frequently working outward from only a handful of fundamental tones, to expose the flickering, idiosyncratic spectral behavior of the instrument. The reference to William of Ockham indicates a principled commitment to parsimony; paradoxically, the reduction in material content makes possible an incommensurate richness in perceived acoustical detail. Notable in the Occam series is the inextricable identification of the composition with the performer for whom, and with whom, it was made. The particular sounds and techniques of each individual performer are thus indelibly stamped in the composition; the piece composes the playing of that musician, as much as the musician plays the composition. The time-honored division of labor between performer and composer is thus suspended and reconfigured, proposing a model for new music composition that has not yet been fully theorized or understood. Occam XIII, Occam River XI (presented here in two distinct readings, which reveal subtle variations in instrumental response), and Occam V feature two longtime collaborators of Radigue in solo and duo formations. Charles Curtis, the first instrumentalist for whom Radigue wrote an acoustic composition (Naldjorlak), performs on cello, while Dafne Vicente-Sandoval—whose parallel investigations into her instrument’s complex sounding properties led her to collaborate with Radigue—performs on bassoon. The works were recorded at Temple Saint-Théodule, La Tour-de-Peilz, Switzerland, during a 2024 residency at La Becque, a setting previously explored by the musicians for its distinctive acoustic properties.

In Cyano, synthesist and composer Emily A. Sprague questions self, other, ecology, and life in a distant realm. Conjured around the idea of an imagined planet whose inhabitants are rebuilding forbidden capacities for expressivity and emotional connection, Cyano is a meditation on visibility, psychic transformation, light transmission, and worlds beyond our knowing materialized through an intuitive use of modular synthesizers and voice.

Introducing Unna, an invigorating synthesis of dark, ambient atmospheres and intimate, minimal piano. The album marks the inaugural release on Ojas Music, a new imprint from the NY-based high fidelity audio and design studio from artist and audio engineer Devon Turnbull, known for its devotion to analog sound and deep listening.

The second release from Ojas Music, Elyria Sound is a solo guitar album from Michael A. Muller, recorded to analog tape during a winter storm in Brooklyn in January 2026. Where Muller's previous work operated in darker, atmospheric territories, and 2024's Mirror Music wove together 11 collaborators, Elyria Sound strips everything back to a single voice: one instrument, one room, one take. Each piece was captured live in single passes to a one-inch tape machine, the most direct path from fingertip to magnetic oxide. The album title traces to 2018, when Muller began writing solo music while housesitting for a friend in Elyria Canyon in the East Los Angeles hills. The address became the name of his studio, and when he moved to LA shortly after, it became a way of life for the next six years. Elyria Sound is an intimate homage to his sensorial world of that time: the quality of light through a kitchen window. The lull of helicopters and sirens, the blurred glimmer of city lights stretching to the night horizon. Gravel, dust, lizards, birds. Clacking bamboo, white rose, jade, fig, and lemon. A dwelling. A resting place. The comfort of an exhale, and the looming awareness that nothing stays. To create the record, Muller developed entirely new guitar tunings, forcing himself to relearn the instrument's language from scratch. The result moves between lullaby and lament: spare, cyclical compositions where motifs recur at differing angles and tempos, variations on a central thread. One piece, "Arundel," pays tribute to David Pajo (Papa M, Slint, Tortoise), a nod to the lineage of guitar music that values texture and patience over drama. The cover artwork by Dennis Foster serves as a visual counterbalance to the music's intended simplicity.

code name: A-Z by Ryoji Ikeda comprises 26 sonic frequencies which form an audio conversation derived from the US military use of Morse code. Pressed on clear 12" vinyl with 13 locked grooves on each side and the title of each hand etched into the grooves.

Initially released on the occasion of Elevation 2017, an arts festival in Gstaad produced by LUMA Foundation, where Ryoji presented a site-specific installation of Test Pattern.

Japan’s leading electronic composer and visual artist, Ryoji Ikeda collaborates with The Vinyl Factory on a 12” vinyl-only release housing 10 locked grooves each consisting of a unique sine wave with a different frequency correlating to a different planet in the solar system.

Pressed on 180-gram heavyweight vinyl, housed in a bespoke screen printed sleeve, this unique edition has been produced in celebration of UK premiere of Ryoji Ikeda’s supersymmetry installation, showing at The Vinyl Factory Space at Brewer Street Car Park from 23 April - 31 May 2015.

Ikeda's supersymmetry is a fully immersive auditory and visual experience - an artistic vision of the reality of nature, an interpretation of quantum mechanics and quantum information theory from an aesthetic viewpoint. The work draws on his exchanges with scientists and engineers during his stay at the European Organization for Nuclear Research (CERN), the world’s largest particle physics laboratory.

The Vinyl Factory presents a brand new Ryoji Ikeda release. music for strings comprises three works written between 2020 and 2023, commissioned by Ensemble Modern, Muziekgebouw aan 't IJ, and DTzM, and built entirely around the physical behaviour of bowed strings.

“In 2016, I had a series of audiovisual concerts at a festival in Kyoto. Ensemble Modern from Frankfurt was there, performing a large piece by Heiner Goebbels. We became friends, and years later, in 2021, they commissioned me to create a new piece for their 2023 season,” Ikeda explains. “Through a workshop with their players, I decided to focus exclusively on strings”.

REFLECTION [for string nonet], op.13 has all nine players locked into a seven-eight rhythm, but staggered so the parts seem to answer each other.

PRISM [for string nonet], op.14 takes the idea of white light splitting into a spectrum and applies it to sound, with Ikeda working through almost the entire pitch range of the ensemble, pulling out clusters of notes the way a prism pulls out colour.

MIRROR [one for two], op.12 is built on a sheet of music where the staff notation is mirrored, allowing it to be read simultaneously from both the normal and opposite directions. As a result, two players share the single notation, performing together while reading it in opposite directions.

“For many years, I had ideas for MIRROR [one for two] that exists only as a dream. It seems simple, but it is extremely difficult to make sense of due to its very restricted rule. At the start, I decided to tackle this piece,” says Ikeda.

“Another dream of mine was to form a string ensemble arranged linearly on stage. Usually players perform in a semicircular formation to see each other. A linear formation, however, denies this visual connection. The challenge was implemented with PRISM [for string nonet] and REFLECTION [for string nonet].”

Performed by Ensemble Modern and recorded by SWR, the work premiered in Amsterdam on 8 February 2024 before its UK premiere at the Barbican on 20 February 2026.

" Overleaf is the new album by Paris-based musician Théo Martin, following Anti Atlas, released on LAAPS two years ago. Overleaf was recorded over the course of a few intense months in 2026. Every recording made during this period eventually found its place within the album, transformed, fragmented and reassembled, sometimes far removed from its original form. The process gradually became a kind of puzzle, built from accumulated sounds, accidents and imperfections. Tape remains at the heart of the album, but this time it is intertwined with a more extensive use of digital tools, opening new paths for transformation and layering. Overleaf is about carrying what remains into what is yet to come."

" Overleaf is the new album by Paris-based musician Théo Martin, following Anti Atlas, released on LAAPS two years ago. Overleaf was recorded over the course of a few intense months in 2026. Every recording made during this period eventually found its place within the album, transformed, fragmented and reassembled, sometimes far removed from its original form. The process gradually became a kind of puzzle, built from accumulated sounds, accidents and imperfections. Tape remains at the heart of the album, but this time it is intertwined with a more extensive use of digital tools, opening new paths for transformation and layering. Overleaf is about carrying what remains into what is yet to come."

Experimental musician Claire Rousay and visual artist Dani Toral have been in each others’ orbit since young adulthood in San Antonio, but it took a decade for them to find A Softer Focus. Before Rousay had put her compositional gray matter to task for the album’s music, she knew she wanted to work with Toral- being familiar with her past work centering her Mexican heritage. Toral’s vibrant color palette and reinterpretations of comfort in oneself and the natural, vegetative world connected easily with her explorations in communication and intimacy. Historically, Rousay primarily operated in non-melodic experimental music, sculpting compositions from obsessive field recordings, inserting voice-to-text, percussion played via text message sounds, conversations, and daily life. By contrast, the six-song collection and collaborative project A Softer Focus is lush and almost entirely melodic, even veering into pop at a couple points. Though Rousay created the album’s recordings, Toral created the artwork and visual narrative for the album - the recurring floral motifs and designs, the photography, the video work, and the ceramic whistles that accompany a special edition of the vinyl record. She also assisted in crafting the linguistic framework, assisting with song titles, and coming up with the name of the album - “A Softer Focus” became the album’s central motif, alluding to the meditative or recollective-dream state of creating. Toral, being primarily a painter and ceramicist, took on this challenge of working digitally to create a visual language accompanying the music. She wanted to explore the feelings of present familiarity she felt with Rousay, through warm light and glow while mimicking the flow of the music using her organic soft shapes melding together and creating a portal-like entry to the album. Fittingly, the songs gently amble from one to the next, creating a syrupy, hypnagogic narrative that uses string sections, field recordings, and vocals to touch upon love, friendship, endurance, and transcendence - sounding like what living inside a brain must feel like, oscillating on how far to let its guest in. Songs like “Peak Chroma” and “Stoned Gesture” are the closest Rousay’s gotten to pop, and are signposts of her growing compositional prowess. It’s on the third track “Peak Chroma” that the first and most wonderful surprise of A Softer Focus arises. The song begins with an airy drone that cuts out right as Rousay’s tastefully autotuned voice emerges alongside cello from Chicago musician Lia Kohl. “Stoned Gesture” also boasts autotuned vocals, though it is a more overtly melancholy composition, perhaps even dirge-like while Rousay brings in field recordings of percussive fireworks that dart around another of clinking ice in a glass. A Softer Focus is an exciting next step for both Rousay’s compositional practice and Toral’s visual work, showcasing both artists venturing into new territories, and coming out the other side with strengthened friendship and impactful creation. It’s a testament to their trust, playfulness, and candor that we’re allowed to come along for the ride.

The Loa of Music is the first recording project of Milanese composer and musician Roberto Musci inspired by Voodoo Religion; Vever (the magical voodoo paintings) and Loas, the dark and magic spirits. The deep charm of non-Western music has led him to travel for many years across Africa, India and Asia, studying rhythms, scales, performance and interpretation of the most varied traditional and indigenous music, as well he make many field recordings and collected ethnic instruments that would then be combined with synthesizers and electronics in The Loa of Music. Recorded in 1983 originally had 80 minutes of music but only half was released on original LP. SOAVE pressed for the first time the Complete Recording Session from original tapes of this masterpiece that combines in a natural, spontaneous and unforced manner the sounds of distant and historic cultures, loopped, cut and effected, with avantgarde and mystical approach creating a very personal and inspired innovative musical language.

Roberto Musci returns with *Dusty Colors*, an extraordinary new album by one of the leading figures of Italian minimalism. Staying true to his unique approach to electroacoustic composition—which was already revolutionary in the legendary *The Loa of Music* (1984)—Musci weaves together field recordings, samples, and instrumental elements, drawing primarily on sounds and recordings collected during his travels in India over the past two years. The result is an immersive and deeply sensitive work—an exciting new chapter in a career that defies convention.

All Songs Written and Produced by UNDER THE BIG BRIGHT YELLOW SUN

'Persistent Repetition Of Phrases' success comes from the attention it pays to the function of 'the loop', not only as a narrative ordering system in modern music, but as a means by which the brain itself recalls and interprets information; it's as old as recorded sound itself, but in this context the repetition of small shards of auditory information becomes an elegy to fading memory and the worn-out synapses of old age. The track titles offer signposts through Kirby's labyrinth of faulty remembrances, pointing their way towards the peculiarities dictating the manner by which the mind stores and attempts to recover information.

Ulla’s 28912 label returns with a gorgeous bouquet of lowercase wonders that'll cast a gentle spell over anyone on the line from Vincent Gallo to The Humble Bee, Sofie Birch to Tenniscoats.​ The fourth release on the label following Naemi's 'Breathless, Shorn' and Ulla's own 'Hometown Girl', and its ‘Other Girl’ companion piece, 'Puff' is a new album from Justin Cantrell aka J and the Woolen Stars, a core member of Naarm's underground scene as part of local supergroup Picnic, and the brains behind the excellent Daisart and se Dessaisir Publishing labels - we recommend you check in on both if you haven't already done so. ‘Puff’ is a glistening pool of lush refractions and music-box lullabies, featuring an array of acoustic instruments and fragile foley sounds that are gently peeled away until all we’re left with are the faded outlines of half-remembered songs. A sound that roots itself in the prophetic machinations of artists like Fennesz and the languid Japanese minimalism of Fourcolour or Moskitoo, 'Puff' strikes a delicate balance, sounding as bewitchingly informal as a Tenniscoats set, but also consistently muddling the perception of high and low-brow sound. Cantrell's skill lies in a sort of sonic conjuration, bamboozling the brains of those of us who grew up listening to stepped-on audio via ramshackle RealMedia streams by alchemising the content, turning found sound into gold. Just tell us you don't get chills from hearing the bitrate-impaired acoustic guitar on 'Dirty like an angel', set against a backdrop of windy, harmonic detritus. It's both meticulously contrived and gloriously off-the-cuff, like one of Vincent Gallo's classic 'When'-era demos reduced down to 96kbps. Similarly, 'She knows just what to say' provokes faint memories of folk music, with impromptu fiddle parts gently steamrolled to create a sound that’s nothing short of exquisite, like pressed flowers rediscovered in an old, discarded book. Even the more palpably electronic elements are hand sculpted in a way that belies the era we're living in - it's music for a digital age that sounds oddly unplugged, flawed and human. An unmistakably lovely antidote to the opiating nostalgia of our time.

Tomoyoshi Date and Stijn Hüwels's "Tatemono (建物)" via LAAPS "Tomoyoshi Date and Stijn Hüwels met for the first time in 2015 in Tokyo, being introduced to each other by Chihei Hatakeyama. That same evening, they recorded what would later become Hochu-Ekki-Tou, their first album, released on Home Normal in 2019, followed by 遠き火、遠き雲 (A Distant Fire, A Distant Cloud) in 2021 on LAAPS. Tomoyoshi Date creates acoustic and organic sounds with a little touch of digital processing. He began to create electronic music in 1998. In 2003, he forms the group Opitope with Chihei Hatakeyama (released by SPEKK), in 2012 the group ILLUHA with Corey Fuller (released by 12k), and the group Melodia with Federico Durand (Home Normal). His solo albums were released from Flyrec (2009, Japan) and Own Records (2011, Luxembourg). Also he worked as emergency doctor until 2014, and started his ambient oriental medical clinic "Tsuyukusa Clinic" in Tokyo since 2014. Tomoyoshi currently resides in Narita, close to Tokyo. Stijn Hüwels has a profound fascination for minimalism. He's using mainly layers of processed guitar and field recordings. He released on Dauw, mAtter, Eilean Rec., Home Normal, White Paddy Mountain and Slowcraft/Lifelines. He released albums in collaboration with Chihei Hatakeyama, Norihito Suda, An Moku and Ian Hawgood. Together with James Murray he forms Silent Vigils. Stijn lives and works in Leuven and Brussels, Belgium. He's also curating Slaapwel Records since 2014, a label dedicated to music to fall asleep with."

Tomoyoshi Date and Stijn Hüwels's "Tatemono (建物)" via LAAPS "Tomoyoshi Date and Stijn Hüwels met for the first time in 2015 in Tokyo, being introduced to each other by Chihei Hatakeyama. That same evening, they recorded what would later become Hochu-Ekki-Tou, their first album, released on Home Normal in 2019, followed by 遠き火、遠き雲 (A Distant Fire, A Distant Cloud) in 2021 on LAAPS. Tomoyoshi Date creates acoustic and organic sounds with a little touch of digital processing. He began to create electronic music in 1998. In 2003, he forms the group Opitope with Chihei Hatakeyama (released by SPEKK), in 2012 the group ILLUHA with Corey Fuller (released by 12k), and the group Melodia with Federico Durand (Home Normal). His solo albums were released from Flyrec (2009, Japan) and Own Records (2011, Luxembourg). Also he worked as emergency doctor until 2014, and started his ambient oriental medical clinic "Tsuyukusa Clinic" in Tokyo since 2014. Tomoyoshi currently resides in Narita, close to Tokyo. Stijn Hüwels has a profound fascination for minimalism. He's using mainly layers of processed guitar and field recordings. He released on Dauw, mAtter, Eilean Rec., Home Normal, White Paddy Mountain and Slowcraft/Lifelines. He released albums in collaboration with Chihei Hatakeyama, Norihito Suda, An Moku and Ian Hawgood. Together with James Murray he forms Silent Vigils. Stijn lives and works in Leuven and Brussels, Belgium. He's also curating Slaapwel Records since 2014, a label dedicated to music to fall asleep with."

Aquainted through their shared love of music technology, and now a friendship, this is the second-time pairing between two well-known musicians from the ambient and electronic scene since some decades: the German artist Arovane and the American artist Taylor Deupree. After their first release together in November 2022, "Skal_Ghost" on 12K, this new release explore once more an organic journey built around loops and layers or processed and re-processed sounds giving this particular color to a new must-have album.

Aquainted through their shared love of music technology, and now a friendship, this is the second-time pairing between two well-known musicians from the ambient and electronic scene since some decades: the German artist Arovane and the American artist Taylor Deupree. After their first release together in November 2022, "Skal_Ghost" on 12K, this new release explore once more an organic journey built around loops and layers or processed and re-processed sounds giving this particular color to a new must-have album.

Described as "one of the greatest musical achievements of the 20th century," The Well-Tuned Piano is the most important and revolutionary musical monument of La Monte Young's oeuvre. With the mysteries and traditions of the Orient, natural overtones, a Bösendorfer tuned to pure tuning over several weeks, and the ethereal lighting of Marian Zazeela, this is a unique opportunity to engage in the full scope of historical music that will probably never be performed again. A 52-page booklet is included to help you decipher this work, and although this is a large DVD (over 6 hours), the sound quality is good enough to be played as audio, even for those who have the Gramavision version. The link to the sound source is the Gramavision version.