Electronic / Experimental

Composed for Werner Herzog's documentary The Great Ecstasy of Woodcarver Steiner (Die große Ekstase des Bildschnitzers Steiner, 1974), this previously unreleased score by the German musical collective Popol Vuh accompanies the extraordinary flights of Swiss ski flyer and woodcarver Walter Steiner. Internationally celebrated for his record-breaking ski flying in the 1970s, Steiner (born 1951) became a two-time world champion and earned the nickname "the bird man." Popol Vuh's ethereal score elevates Steiner's flights beyond the realm of sporting achievement, giving musical form to what Herzog would later call "ecstatic truth": a poetic reality that reaches beyond objective fact toward a deeper emotional and spiritual experience. Herzog saw Steiner not simply as a medal-winning athlete, but as someone pursuing "dreams of flight," whose ski flying and work as a woodcarver were driven by the same desire to escape gravity. Together, Popol Vuh's transcendent score and Herzog's use of slow motion stretch each flight beyond its physical limits until it becomes almost sculptural - a suspended moment where human aspiration meets physical vulnerability and the fear of death. Rather than following the trajectory of the jump itself, Popol Vuh's music reaches its crescendo only after the decisive moment has passed. It is a crescendo not of triumph, but of suspension and profound solitude. Founded by Florian Fricke in Munich in 1969, Popol Vuh are considered one of the most influential German avant-garde groups to emerge from the progressive rock movement of the 1970s. After pioneering the use of the Moog synthesizer on their earliest recordings, the group gradually moved towards a more acoustic and spiritual sound, drawing on piano, guitars, percussion, and musical traditions from India, Africa, and South America. Fricke resisted labels such as "krautrock" and "new age," preferring terms like "magic music" or "cosmic space rock" when a description was needed. Beginning with Aguirre, the Wrath of God (1972), Werner Herzog and Florian Fricke developed one of cinema's most distinctive artistic collaborations. Across more than a decade of films - including Heart of Glass, Nosferatu, Fitzcarraldo, and Cobra Verde - Popol Vuh's scores became an essential part of Herzog's cinematic language, shaping the immersive atmosphere and emotional intensity that define his films. The Great Ecstasy of Woodcarver Steiner is one of Werner Herzog's most important films and marks an early expression of the themes that would come to define his cinema. Time and again, Herzog is drawn to individuals who push beyond fear and the physical limits of the body, pursuing visions and ambitions that exist at the very edge of possibility. To accompany this release, three contemporary artists - james K, ML Buch, and Lorenzo Senni - revisit Popol Vuh's original soundtrack. Their reinterpretations create a dialogue across five decades, revealing the enduring resonance of Popol Vuh's music and its remarkable capacity to continue evoking wonder, contemplation, and transcendence.

Spring Back, Ball Forward is the Soda Gong debut from Jung dj, nom de plume of shapeshifting multi-instrumentalist Randy Riback. Following a series of uniformly great self-releases and cassettes on the dearly missed Lillerne Tapes, this collection observes the spacious and angular dynamics of 1990s Midwestern post-rock through the lens of the bedroom electronic music producer. Perhaps surprisingly, amp worship lies at the center of the album: a fascination with the grain, pressure, and emotional charge of amplification and gain, refracted through the strange remove of digital amp modeling. Tubes, speakers, sag, and in-the-red textures are a critical part of the album’s expressive vocabulary, imparting density and colorful saturation while lending even its most weightless passages a vital sense of physical presence. Over the course of twelve tracks, wistful ambience gives way to blunt heaviness and roiling catharsis, underpinned by a palpable sense of loss and grief. The album’s auspicious cast of collaborators further complicates its emotional terrain. Spoken contributions from Natalia Panzer and Angelina Nonaj occupy strikingly different registers: Panzer’s diffuse and oblique, drifting in and out of the music’s contours; Nonaj’s a vivid travelogue, grounding the record in place and lived experience. Elsewhere, Soda Gong veteran Mister Water Wet joins a small constellation of guests whose playing folds naturally into Riback’s arrangements, blurring the boundaries between computer and ensemble music. For all of its attention to texture, process, and the material qualities of sound, Spring Back, Ball Forward is first and foremost an emotionally potent work, possessed of a directness that can feel rare within experimental electronic music. Riback draws from a rich and idiosyncratic musical vernacular, arriving at something deeply felt and difficult to place: a singular statement whose pathos exceeds the sum of its references.

"Tara Cunningham’s guitar glitch miniatures draw patterns in negative space on new mini-album Warm Ground. Operating predominantly within improvisational and experimental music, guitarist Tara Cunningham has developed a discrete sonic language that reveals the full textural and timbral range of her instrument. Marking a new chapter for Cunningham that builds on her solo debut, Almost – Not Exactly, released on Non Classical in 2025, Warm Ground unfolds across seven compelling instrumental dialogues - each a conversation of rhythms and found sounds, syncopated and juxtaposed, open to encounter. Implied by the title of first single ‘Following a Thought’, Cunningham weaves an exploratory melody into the spaces between field recordings. At once introspective and highly relational, each track ushers the listener into a world of different scales, seeking beauty and meaning in the everyday, from the discrete mechanisms of ‘Fridgelight’ to the delicately unhinged organism of ‘Flying Ant Day’. "Cunningham finds a natural home on Odda’s roster of artists sensitive to the details of their materials and surroundings, finding kinship alongside the intimate songcraft of Kirk Barley and Fohn in the gaps between composition and improvisation."

Andreas Tilliander released »Ljud« in 2001 as the first full-length album under his real name. The year before, the Swedish producer’s »Cliphop« album under his Mokira moniker had established him in the world of adventurous electronic music and the clicks’n’cuts scene. »Ljud« was just as minimalistic, warm, and playful as its predecessor while also notably inspired by house music. It is a timeless record based on happy accidents, playful loops, and lively spontaneity. For its 25th anniversary, Keplar presents a vinyl reissue with adjusted artwork by graphic designer Marc Hohmann and updated mastering by the artist himself. Tilliander laid the foundation for his two first albums when he got rid of most of his music gear in 1998 after meeting Joel Brindefalk, who was already releasing music on the legendary Börft label. Brindefalk was using a computer as his main instrument and introduced Tilliander to the audio editing suite Sonic Foundry Sound Forge. »What he did with that software is what made me sell most of the hardware except my Nord Modular and a Korg MS-20.« The former synthesizer played an integral role while Tilliander made the tracks for »Ljud,« working primarily in the modular studio environment Jeskola Buzz. »Ljud« came together in an intuitive process. »It’s still how I work 25 years later: I first make loops, create bits and pieces, and build up my own sound library as a foundation,« Tilliander explains. The Nord Modular and Buzz, which allowed him to swap samples and produce new sounds out of pre-existing ones, provided him with material for loops that formed the basis of the ten tracks. »I would start with a few elements, add more into the mix, then take them out again—arranging the pieces in real time while recording.« The casualness and vivacity of this improvisational approach becomes tangible throughout »Ljud.« »Ljud« was released on Achim Szepanski’s Mille Plateaux, which had published the seminal »Clicks_+_Cuts« compilation in 2000. »I was part of that scene and I liked the digital aesthetic of the label,« says Tilliander »Coming from a very analogue setup, working with computer music and this kind of minimalism was very inspiring.« When preparing »Ljud« for the Keplar reissue, he ran the music through an analogue outboard and noticed he was still happy with the way it sounded. »It brought back fond memories. I hope the same is true for people who heard it back then, and that everyone who discovers it now will enjoy it, too!«

Without turning anything upside down, the trio has released their second album, gracefully deepening the unique path they have carved out for themselves. It is an album that already stands in stark contrast to the attention-deficit culture of our times. Indeed, whilst music sometimes seeks to concentrate the intensity of its references and artefacts, the trio takes a step back, deploying an intensity that is subtly distributed. Thanks to their progressive instrumental tracks blending elements inherited from dub, jazz, folk and even musique concrète, the trio has never allowed the quality of their music to suffer from their experimentation; at the same time, they have never been afraid to venture off the beaten track to achieve the sound they desire. Every single track of this album cast like fragile bridges over various landscapes that explore cycles and the natural rhythm within. It is up to the listener to tread carefully and not lose their footing and embrace the cinematic movement of this music. The three artists have indeed achieved a musical expression so free that it possesses the power of illusion. We are suddenly swept up in all these illusions, to the point where our memories are in flux. Both haunting and in motion, this trio’s music offers an impregnable mental retreat and an invitation to dance. This album conveys a dreamlike conviction that time, in its relentless flight, might—if only for a moment—be brought to a halt. A halt that awaits you.

Garefowl is an international collective of musicians combining strings and electronics: Nathan Bontrager (viola da gamba/harmonium/banjo), Stuart Graham (bouzouki/harmonica/harmonium), Chris Jones (concertina/mandolin), Ewan Macdonald (fiddle/smallpipe drone), Richard O’Flynn (island sounds/percussion/XRD drones), Jess Whelligan (cello). "Garefowl is a project connected to the archipelago of St Kilda, Scotland. Ewan Macdonald and his father Murdo, relatives of one of the men who killed the last Great Auk (Garefowl), conceived the project to reflect on and mark this family history. Things That Vanish was recorded on Hirta, the main island of St Kilda, at night. The soundscapes of Hirta breathe across the record: a quiet rolling swell of winds, waves, birds, and the otherworldly thrum of the snipe. Taking influence from the traditional folk music of St Kilda, the tunes on the record are inspired by the threatened seabirds of the islands. The band were intrigued by the folk stories around these birds, and how they often are depicted to imbue a primal, dark and haunting nature. In such tales, the birds retain a quality akin to a sea monster: preying upon calves and sheep, and believed to be the pelagic souls of drowned sailors or the cursed spirits of cruel captains. No synthesizers were used on the recording. Instead, the production draws entirely on sampled and processed field and hydrophone recordings collected on St Kilda. Additionally, drones were created through a process pioneered by Richard O’Flynn and Joe Gardner. Rock or bone samples are analysed using X-ray diffraction (XRD), which creates a spectrum with peaks corresponding to the sample’s chemical composition; this spectrum can then be mapped to sine waves, forming a drone." Stock Status and Shipping Information In our checkout you can opt to group items in your order into a single shipment, or opt to ship them separately, as they become available. If a physical stock item shows as “On Backorder” that means that the item is, to the best of our knowledge, available from the supplier and should ship to you within the time-frame indicated. If there are any issues with availability, we will notify you. Please also note that all shipping dates for Pre-Orders are estimates and subject to change.

Fresh from ongoing actvities with cult entity The Crying Nudes alongside Dean Blunt, Fine Glindvad Jensen finally lands a new album, crooning across an impressionistic blur of chamber pop, Americana, doo-wop and blunted trip-hop, tipped FFO Cindy Lee, Mazzy Star, Jessica Pratt, Lana Del Rey. 'Jazz Dreams' isn't a jazz album in any sense of the word, but the record and its maze of hazy, almost-familiar earworms took shape like a Jazz improv session. And If you copped 2024's 'Rocky Top Ballads' - still one of the modish Escho imprint's finest - you'll already know just how special Fine's technical songwriting is. In a pop landscape dominated by brevity and ohrwurms, it's refreshing to get handed songs that make harmonic complexity feel like a completely carefree endeavour. None of it would matter, though, if Fine's informally exquisite vocals didn't keep us captivated from beginning to end. She welcomes us with 'The Thing', a seemingly offhand Badalamenti-does-dub jam that wouldn't have felt out of place on the 'Mullholland Drive' soundtrack. It's a perfect place to start - pulling us gently into her waking dream, letting us know early-on that anything can happen. A phone rings, and we half expect to hear Bill Pullman on the other end of the line, instead Fine welds a molasses-slow bassline to strangulated pads and snakelike strings. "Just breathe," she cries. "Just breathe with me." In its own way, 'Jazz Dreams' sounds like a Fine mixtape, putting her own spin on dusty faves she half remembers. 'Goodbye Brain' sounds like an intersection of classic girl group and post-punk, while the brief 'Sometimes I Rush' is a ruff-edged, C86-tinted glow-up of Massive Attack's 'Mezzanine' steeze. And even when the album threatens to veer into more placid waters on the downtempo single 'Run', Fine claws it back with whip-smart harmonies that wake us from the dream for a brief moment. Impeccably crafted from beginning to end - just tune into 'Portal' and some of the most subtle synthwork we've heard for years - the album is that most illusive treat, a pop album that never panders for a moment. Or maybe it's a collage of illusory experiments that just shows off Fine's superior understanding of pop history. Either way, it's gonna be on the listening pile for a minute.

Fresh from ongoing actvities with cult entity The Crying Nudes alongside Dean Blunt, Fine Glindvad Jensen finally lands a new album, crooning across an impressionistic blur of chamber pop, Americana, doo-wop and blunted trip-hop, tipped FFO Cindy Lee, Mazzy Star, Jessica Pratt, Lana Del Rey. 'Jazz Dreams' isn't a jazz album in any sense of the word, but the record and its maze of hazy, almost-familiar earworms took shape like a Jazz improv session. And If you copped 2024's 'Rocky Top Ballads' - still one of the modish Escho imprint's finest - you'll already know just how special Fine's technical songwriting is. In a pop landscape dominated by brevity and ohrwurms, it's refreshing to get handed songs that make harmonic complexity feel like a completely carefree endeavour. None of it would matter, though, if Fine's informally exquisite vocals didn't keep us captivated from beginning to end. She welcomes us with 'The Thing', a seemingly offhand Badalamenti-does-dub jam that wouldn't have felt out of place on the 'Mullholland Drive' soundtrack. It's a perfect place to start - pulling us gently into her waking dream, letting us know early-on that anything can happen. A phone rings, and we half expect to hear Bill Pullman on the other end of the line, instead Fine welds a molasses-slow bassline to strangulated pads and snakelike strings. "Just breathe," she cries. "Just breathe with me." In its own way, 'Jazz Dreams' sounds like a Fine mixtape, putting her own spin on dusty faves she half remembers. 'Goodbye Brain' sounds like an intersection of classic girl group and post-punk, while the brief 'Sometimes I Rush' is a ruff-edged, C86-tinted glow-up of Massive Attack's 'Mezzanine' steeze. And even when the album threatens to veer into more placid waters on the downtempo single 'Run', Fine claws it back with whip-smart harmonies that wake us from the dream for a brief moment. Impeccably crafted from beginning to end - just tune into 'Portal' and some of the most subtle synthwork we've heard for years - the album is that most illusive treat, a pop album that never panders for a moment. Or maybe it's a collage of illusory experiments that just shows off Fine's superior understanding of pop history. Either way, it's gonna be on the listening pile for a minute.

In celebration of the album’s 20th anniversary, MM..FOOD has been repackaged with all new artwork by Sam Rodriguez! Originally released in 2004, MF DOOM's MM..FOOD is hailed as a classic hip-hop album full of inventive production, remarkable wordplay, and unique themes. Celebrated for its seamless blend of humor, wit, and social commentary, the album ushers listeners into a bizarre world of food-related metaphors, painting a bitterly comedic portrait of a life tainted by vice, violence, and jealousy. It was a brilliant and novel concept that gave DOOM plenty of room to explore the album’s subjects. Throughout MM..FOOD, DOOM embeds complex ideas within seemingly simple narratives. Album opener “Beef Rapp” is a multi-pronged metaphor reminding listeners of the dangers involved in the glorification of conflict, especially within the rap game. “Hoe Cakes” borrows its name from the sweet, hot water cornmeal patties, which he uses as a symbol to rhyme about indulgence and excess. Continuing the motif, DOOM uses the Madlib-produced “One Beer” to fold layers of depth about escapism and ego, while the popular “Rapp Snitch Knishes” critiques the self-incrimination and contradictory behaviors of some rappers. Overall, MM..FOOD is both a social commentary and a piece of social satire, showcasing MF DOOM’s ability to blend serious themes with his unique, playful lyrical style.

Kakuhan, a unit of Hino and Hiroki Nakagawa, has released a self-released CD, which has been sold exclusively at live venues, on "Nakid," a hot label run by Koshiro Hino, who is also well known for his activities with goat and YPY and for running "birdFriend," and has released such powerful artists as Keith Fullerton Whitman and Mark Fell & Will Guthrie. The CD is a self-released CD by Kakuhan, a unit consisting of Hino and Hiroki Nakagawa, which has been sold exclusively at live venues and has won critical acclaim!

The CD includes a live performance by KAKUHAN, a unit consisting of YPY, Hino Koshiro, and cellist Nakagawa Hiroki, at the "Feldman meets freq 2022" event held at Kyushu University in February 2022.
KAKUHAN's first album "Metalzone", released at the end of 2022, was voted the 5th best release of 2022 by Boomkat and the 5th best album of the year by Music Magazine in the best electronic music category. The CD contains a total of six songs, including the previous night's "Prototype," a song from the same album, and includes a song that can only be heard on this CD.
As the unit name suggests, the various elements of both artists' activities-"electronic music/strings," "contemporary/club music," "traditional/contemporary," "physical/metaphysical," "composition/improvisation"-are literally "stirred" in the performance. It is highly recommended to listen to it together with "Metalzone"!

Ryoji Ikeda, Japan’s leading electronic composer and visual artist Ryoji Ikeda focuses on the essential characteristics of sound itself and that of visuals as light by means of both mathematical precision and mathematical aesthetics. Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media.

He elaborately orchestrates sound, visuals, materials, physical phenomena and mathematical notions into immersive live performances and installations.

Eklekto Eklekto is a contemporary percussion collective founded in 1974 in Geneva. Constantly seeking to reinvent percussion music, the group collaborates with living composers and contemporary artists through concerts, multimedia projects and artistic events that question the listener’s expectations towards new musical forms.

Eklekto has premiered over 100 new works and performed hundreds of internationally acclaimed shows.

Commissioned and produced by 180 Studios, Ryoji Ikeda’s site-specific audio- visual installation data-cosm [n°1] is a unique immersive experience charting the full spectrum of data on nature – from the microscopic scale of particle physics to the macroscopic of astrophysics, as was previously evident in the artist’s data-verse project.Premiered at 180 Studios in October 2025, data-cosm [n°1] functions as a giant microscope, a scientific apparatus, a clinical device, a monitoring system, and a window to an infinitely vast space. Visitors are invited to lie down on the floor and look up at the large LED screen set on the ceiling above them, their bodies surrounded by Ikeda’s soundscapes – a total sensory experience.

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.

If Surround can be listened to as music that’s as close to air itself, allowing us to enter each listener’s sound scenery, or as something that exists within a new perspective, expanding the middle ground between sound and music, and transforming it into a comfortable space, it would be much appreciated. — Hiroshi Yoshimura Originally released as an album in January 1986, Surround was recorded by Yoshimura as a commission from home builder Misawa Homes, intended to function as an “amenity” designed to enhance the company’s newly built living spaces. In his original notes for the album, Yoshimura recommends that Surround be placed in the same family of sounds “as the vibration of footsteps, the hum of an air conditioner, or the clanging of a spoon inside a coffee cup.” And, as he suggests, “with the addition of city noise from outside the window,” you may hear Surround in a completely new way. A pioneer in the field of environmental music, Yoshimura’s previous works included Music For Nine Post Cards (1982), originally produced to be played back inside a museum space, and designing sound environments for public spaces and subway systems. Surround was recorded almost concurrently with the acclaimed and popular GREEN (1986); the two albums are described by Hiroyoshi Shiokawa in his liner notes as being Yoshimura’s yin and yang. 12月上旬入荷。遂に満を持して登場。あの『Green』を凌ぐ人気を誇る、長年失われていた吉村弘最高峰のアンビエント・クラシックこと1986年作品『Surround』が〈Light in the Attic〉配給の〈Temporal Drift〉レーベルより待望の公式アナログ再発！日本の環境音楽のパイオニアであり、都市/公共空間のサウンドデザインからサウンドアート、パフォーマンスに至るまで、傑出した仕事を世に残した偉才、吉村弘。その最難関の音盤として君臨してきた幻の一枚が、今回史上初の公式アナログ・リイシュー。ミサワホームから依頼されて録音された作品で、これらは同社の新築居住空間をより充実させるために設計された「アメニティ」として機能することを目的としていた環境音楽作品。吉村自身による当時のライナーノーツに加え、オリジナル・プロデューサーであった塩川博義氏による新規ライナーノーツも同封（日／英）。 MASTERPIECE!!!!!!!!!!!!!!!!!

If Surround can be listened to as music that’s as close to air itself, allowing us to enter each listener’s sound scenery, or as something that exists within a new perspective, expanding the middle ground between sound and music, and transforming it into a comfortable space, it would be much appreciated. — Hiroshi Yoshimura Originally released as an album in January 1986, Surround was recorded by Yoshimura as a commission from home builder Misawa Homes, intended to function as an “amenity” designed to enhance the company’s newly built living spaces. In his original notes for the album, Yoshimura recommends that Surround be placed in the same family of sounds “as the vibration of footsteps, the hum of an air conditioner, or the clanging of a spoon inside a coffee cup.” And, as he suggests, “with the addition of city noise from outside the window,” you may hear Surround in a completely new way. A pioneer in the field of environmental music, Yoshimura’s previous works included Music For Nine Post Cards (1982), originally produced to be played back inside a museum space, and designing sound environments for public spaces and subway systems. Surround was recorded almost concurrently with the acclaimed and popular GREEN (1986); the two albums are described by Hiroyoshi Shiokawa in his liner notes as being Yoshimura’s yin and yang. 12月上旬入荷。遂に満を持して登場。あの『Green』を凌ぐ人気を誇る、長年失われていた吉村弘最高峰のアンビエント・クラシックこと1986年作品『Surround』が〈Light in the Attic〉配給の〈Temporal Drift〉レーベルより待望の公式アナログ再発！日本の環境音楽のパイオニアであり、都市/公共空間のサウンドデザインからサウンドアート、パフォーマンスに至るまで、傑出した仕事を世に残した偉才、吉村弘。その最難関の音盤として君臨してきた幻の一枚が、今回史上初の公式アナログ・リイシュー。ミサワホームから依頼されて録音された作品で、これらは同社の新築居住空間をより充実させるために設計された「アメニティ」として機能することを目的としていた環境音楽作品。吉村自身による当時のライナーノーツに加え、オリジナル・プロデューサーであった塩川博義氏による新規ライナーノーツも同封（日／英）。 MASTERPIECE!!!!!!!!!!!!!!!!!

Another late night oooooze from short span, this time from NYC’s Eden Aurelius doing that sticky, hazed thing you’ll love if you’ve a feel for False Aralia, 3XL, Emer… "A beautifully poised collection for Short Span. A gorgeous showcase of her singular talent within a sparkling scene. Recorded in Brooklyn, NY, this is an innovative, and graceful body of music that feels truly contemporary. This album felt important for us to have out in time for summer. Emerging out of the heat, a feeling brought alive with the sun. Music that evolves throughout seasons and carries a spectrum of emotional range. Entre Nous is tight, but expansive. Its depth and complexity is languid but has gravitational pull. Like much of her work, this record feels so refreshing because its tracks are both sensory and illusory tones built in gossamer and transitory layers of satin. They have a remarkable sense of presence and pressure - floating rhythmically without sharp edges. There is guidance and gentle control that lead throughout the record. The B side opens with “Ion” featuring Pontiac Streator. The song is formed out of a textural haze. A glistening, iridescent light appears, broken through fabric, projecting a blurred image onto the surface nearby. A hypnotic and evocative collaboration. The shared connection between the two artists’ command of rhythm and ambient language. Mastered and cut by Mike Grinser at Manmade.

Originally released on Mark Ernestus and Moritz von Oswald's Chain Reaction label in 1999, Hallucinator's Landlocked is compiled onto a 2LP for the first time. Created by London trio Anna Piva, Edward George and Trevor Mathison, the album became a quietly influential early dub techno release, built from deep bass, echo, fractured rhythms and carefully sculpted space. Across twelve tracks, sounds fade in and out with hypnotic precision, creating an atmosphere that values silence as much as texture. Beneath its abstract surface sits a dedication to the memory of Stephen Lawrence, lending the music a lasting emotional resonance. More than 25 years on, Landlocked remains a distinctive work of immersive, minimalist electronic music.

Chicago’s excellent, shapeshifting Kino Disk chase 8004’s ace dub abstractions with Eustress’ actions in familiar meadows of overgrown FX, farming post-dub techno landscapes highly tipped FFO Vladislav Delay, Echospace, False Aralia. Peripheral to the Windy City’s fecund undergrowth, Indianapolis-based Heath Gillespie aka Eustress practises forms of dub techno at gauzy arm’s reach from the OG source. On the six tracks of ‘Exit’, his 2nd release for the label, he distorts familiar tropes to taste, diffusing a palette of windswept dub chords and unanchored bass in space crackling with an iridescent grayscale filament. His approach broadly swerves dub techno’s club momentum in favour of soothing meditation, letting everything hang out and slosh, loosely suspended in gritty yet lush amniotic plasm with an effect calling to mind the etheric depths of Echospace or even Werkbund’s atmospheric enigmas. A hands-on background as mixing engineer comes to the fore in his work’s sensory tactility, convecting minds from a slow tempest to beatific bliss-out, rumbles of distant dub chord thunder and carpet rolling gouch-out, ultimately stranding up on the 8 min peninsula of ‘Exit 6’, under a borealis play of smudged, harmonised light, nerves combed into the breeze.

Carrier winds the rhythmic tension to breaking point on his 4th self-released 12”, flexing fine-tuned muscle memory and inch-tight production in acres of negative space across a trio of soundsystem phantoms that dance in the long shadow of D&B and broken beat science. Huge tip FFO Autechre, Burial, Photek, T++. Now three years into a generational run of inspirational plates - including an AOTY ’25 with ‘Rhythm Immortal’ for Modern Love - Carrier’s core sense of discipline and restraint continues to yield peerless reward on ‘Thresholds’. A lifetime’s love of, and immersion in, fwd UK dance musics has prompted him to chase a particular dragon of syncopated swerve and cavernous psychoacoustics to logical, next-level depths diffusing that dread pressure with an adroit, tendon-twitching precision and tactility. Carrier has been instrumental in reminding ravers what was lost when D&B went stadium and pop-chart scale over the past decades, daring to run against the grain, trust his instincts, to return a sense of mystery and bold experimentalism to what was once a thrilling paradigm. This new trio of cuts eke exquisite nuance from tweaked fundamentals, swivelling 2-step off the bone into smoky hall-of-mirrors reflections of ‘Cure’, and specialising in a razor’s edge, toes-off-the-ground sorcery in a recursive, wraithlike zinger, ‘Scout’ that dips to the sexiest, tongue-tip breakdown, beside the tantric, anticipatory chicanery of ‘Black Channels’ which finishes us off with an all-tension-no-release weapon for the ages.

Side A
1. 自分のことだけ考えよう (Remixed by Cornelius)
2. Flow (Remixed by YANN TOMITA  ”A BRAND NEW CADILLAC AND ETERNAL LIFE MIX”)

A massive personal favorite of Demdike Stare's, Shinichi Atobe's 2001 Ship-Scope 12" was the Chain Reaction label's penultimate release, and, with the benefit of hindsight, also one of its most sublime offerings. This necessary 2015 reissue arrives in the wake of Atobe's much-loved archival salvage, Butterfly Effect (DDS 010CD), which caused quite a ripple upon its release in 2014. Notable for its unusually sweeter, dreamier ambient tone, especially when compared with the rest of Chain Reaction catalog, this is a must-have for followers of the romantic streak in Ross 154, Convextion, and classic Chain Reaction.

Shinichi Atobe has managed to stay off the grid since he made an appearance on Basic Channel's Chain Reaction imprint back in 2001. He delivered the second-to-last 12" on the label and then disappeared without a trace, leaving behind a solitary record that's been selling for crazy money and a trail of speculation that has led some people to wonder whether the project was in fact the work of someone on the Basic Channel payroll. That killer Chain Reaction 12" has also been a longtime favorite of Demdike Stare, who have been trying to follow the trail and make contact with Atobe for some time, whoever he turned out to be. A lead from the Basic Channel office turned up an address in Japan and -- unbelievably -- an album full of archival and new material. Demdike painstakingly assembled and compiled the material for this debut album. And what a weird and brilliant album it is -- deploying a slow-churn opener that sounds like a syrupy Actress track, before working through a brilliantly sharp and tactile nine-minute piano house roller that sounds like DJ Sprinkles, then diving headlong into a heady, Vainqueur-inspired drone-world. It's a confounding album, full of odd little signatures that give the whole thing a timeless feeling completely detached from the zeitgeist, like a sound bubble from another era. This is only the second album release on Demdike Stare's DDS imprint, following the release of Nate Young's Regression Vol. 3 (Other Days) (DDS 007LP) in 2013. Who knows what they might turn up next? Mastered by Matt Colton at Alchemy.