Electronic / Experimental

During the last half-decade Joe Westerlund became engrossed in studying the clave, the metric pattern that first defined so much Afro-Cuban and Latin music and then drifted into almost every corner of jazz and rock. What did it mean for an idea to be so flexible, for it to fit so many forms while retaining its own essence? The result is aleap into the unknown for Westerlund: Curiosities from the Shift, a 12-track playground of endlessly interwoven beats and melodies, where Westerlund’s clave enthusiasm collides with his textural experimentalism, where his rhythmic symphony of one shakes hands with friends decorating this space alongside him.The three-piece suite that holds Curiosities’ first half begins with the junkyard percussion and delightful bass splashes that frame “Tem” and ends with the surrealistic boom-bap of thumb pianos and shakers on “Can Tangle.” There is a hard-won joy to these numbers, as if Westerlund is delighting in real time in spotting a potential dead end but finding his own way forward, anyway. Those songs became a kind of working roadmap for the terrain that Westerlund explores across Curiosities, from the call-and-response glory of opener “Nu Male Uno” to the uncanny amorphousness of closer “Felt Like Floating.” All of these songs are defined by an identifiable rhythm, like the loping strut at the center of “Midpoint” and the head-nodding pulse that winds through “Persurverance,” winkingly misspelled to suit his North Carolina-via-Wisconsin pronunciation. But those are springboards for other textures, moods, and notions, like the New Age references—shimmering metallophones, chattering birds, retiring flutes—that circle through “Midpoint” or the dub-indebted delays and gamelan hymns that bubble up through “Persurverance.” This is deeply multivalent music, each number’s propulsive core counterbalanced by a series of surprising choices. Bittersweetness and joy, grief and liberation, sighs and smiles: It all exists here, tangling toward infinity.In the months after the initial sessions were done, Westerlund reached out to friends—Califone’s Tim Rutilli, saxophonist Sam Gendel, trumpeter Trever Hagen, and violinists Libby Rodenbough and Chris Jusell among them. These were his most thoroughly composed and precisely built works ever, but he wanted to hear what happened when his pals responded in real time. They delivered grace, depth, and feeling, with their parts pulling back curtains on hidden recesses of rhythmic worlds.Westerlund readily admits he is surprised by the album’s insistence on groove and meter rather than drifting abstraction. Having lived and worked so long with bands, he assumed he was done functioning within basic meter. These 12 songs fuse so many of Westerlund’s loves into pieces that are endlessly fascinating, using familiar elements to render his adventures into the unknown. Playful but tender, wistful but wondrous, driven by beats but not bound by them, this is Westerlund’s definitive statement so far, the solo drummer record that opens wide to reveal a musical and emotional landscape richer than perhaps even he imagined he might find.

From the academy of deep soul and no ego, Reverend Baron delivers visions of liquor store East LA, the off-the-freeway dry mirage of slow motion graffiti and lonely seagulls. A nylon stringed zen fog with themes of woozy love, layered dimensions of nostalgia and glazed neighborhood tales that roll in with a natural ease. After notching a permanent status in the skateboarding orbit as Danny Garcia, he transferred his effortless style, dedication and authenticity into music. Practicing a philosophy of demystifying the process and doing it yourself, he has become a proficient multi-instrumentalist, engineer, and producer of his own and other artist's music. All streams of curiosity converge into the river. An enigma, Reverend Baron emerges from the proverbial gray overpass with no sense of urgency. He takes a sharp gaze at his surroundings and processes them through a factory of depth and gentle swag to yield a sound that sits as easy as fallen molasses on the bodega shelf. The songs are an unassuming invitation to either walk through the doorway or lean on the wall outside, either way something beautiful and rare.

Loraine James has processed the last two years of turbulence through her art. The North London producer started a monthly show on NTS radio, shared several projects on Bandcamp, and recorded two Hyperdub releases, the Nothing EP and Reflection, the proper LP follow-up to her 2019 breakthrough, For You and I (which landed James, then a teaching assistant by day, the top spot on year-end lists by Quietus and DJ Mag). She also returned to a distinct creative terrain uncharted since her teenage years. In contrast to her club music sensibilities, this mode embraces keyboard improvisations and vocal experimentation, foregoing percussive structure in favor of shaping atmosphere and tone. From this divergent headspace emerged new coordinates and climates, a new outlet: Whatever The Weather. A longtime fan of ambient-adjacent Ghostly International artists such as Telefon Tel Aviv (who she’d ask to master the album), HTRK (whose singer Jonnine Standish features on Nothing), and Lusine (whom she remixed at the start of 2021), James saw the label as the ideal home for this eponymous album of airy, transportive tracks as they began to formulate. The titling on Whatever The Weather works in degrees; simple parameters allowing James to focus on the nuances as a mood-builder. Her suspended universe fluctuates; freezing, thawing, swaying and blooming from track to track. James describes her jam-based approach for the sessions as “free-flowing, stopping when I felt like I was done,” allowing her subconscious to lead. The improvisations have an intrinsic fluidity to them, akin to sudden weather events passing over a single environment — the location feels fixed while the conditions vary. The album opens at “25°C,” a sunshower of soft hums and keys. As the longest piece, it serves to establish stability, the inflection point where any move above or below this temperate breeze breaks the bliss. Given James’ proclivity for organized chaos in her production, this scene is fleeting, naturally. From that utopia, we plummet to the most melancholic read on the meter, “0°C,” its isolated synth line traversing a hailstorm of steely beats and static. Next, the dial jumps for the propulsive standout “17°C.” Like a timelapse of springtime in the city, the single accelerates across a frenzy of frames; car horns, screeching brakes, and crosswalk chatter fill the pauses between rapid jolts of multi-shaped percussion. For portions of the work, James leans neo-classical, rendering pensive vignettes of cascading piano keys and warm delay. “2°C (Intermittent Rain)” ends the A-Side on a short and stormy loop; a resulting sense of reset permeates the B-Side’s opener, “10°C.” The producer mingles intuitively on echoed organ, locking into and abandoning atypical rhythms that suggest her jazz-oriented interests. “4°C” and “30°C” display the range of James’ vocal experiments. The former chops and pitches her voice to a rhythmic, otherworldly effect, the latter reveals James at her most straightforward (she cites Deftones’ Chino Moreno and American Football’s Mike Kinsella as inspirations), singing tenderly and unobstructed for nearly the duration before beats collide in the climax. Whatever The Weather closes at “36°C,” while a sweltering heat by any standards the track eases along comfortably on a chorus of synth waves, acting as an apt bookend for this evocative, sky-tracing collection that started in a similar state. Cyclical, seasonal, and unpredictable, true to its namesake.

Critical Thot is the bold new collaborative album from Bay Area-based rapper/producer Sha Ray, and producer/electronic musician DJ Haram—two uncompromising artists reshaping rap and experimental sound. It is an intriguing pairing; Haram is one-half of the duo 700 Bliss with rapper and poet Moor Mother and has several solo records under her belt—including 2025’s critically acclaimed Beside Myself (Hyperdub)—and high profile collaborations with BbyMutha, Fever Ray, Ghais Guevara, and Armand Hammer. Meanwhile, although Critical Thot is Sha Ray’s official debut album, her reputation as a next-wave talent precedes her. Haram got wise in 2022 when she saw Sha Ray perform at a show in Brooklyn. “We spoke at the venue and after that I followed her on social media. She gave an incredible performance, so later on when she slid in my DMs asking for beats, I was already on board,” Haram explains.An Armand Hammer/DJ Haram show in LA was the nexus for these connections to yield fruit. Sha Ray flew down from the Bay to link with Haram, and although the two didn’t end up recording anything that day, it was the springboard for the cross-country collaboration that culminated in Critical Thot. The whole album was made remotely: Haram cooking up beats in Brooklyn and sending them to Sha Ray, who would send back demos and notes. They got to know each other as artists, and as people, while they worked on this project.“Haram and I have had so many overlapping experiences working as women in the music industry, which really enriched our bond. That, and her very striking approach to production, really inspired a lot of the writing on this record,” Sha Ray says.That writing is razor sharp and refreshingly direct. Sha Ray quickly proves herself to be in a class of her own, navigating even the knottiest of DJ Haram productions without taking her foot off the gas. Haram digs deep into her bag with beats that run the gamut from experimental and abrasive to slinky fun to darkly foreboding. Percussive thuds and shots are layered with intricate details and soft linings. A trappy banger dissolves into a flood of strings. A sparse industrial soundscape slowly coheres into a cacophonous uppercut of a rap record. Sha Ray bobs and weaves her way through every drum break and synth with a defiant ease. “As a rapper I’m pretty exclusively interested in interrogating misogyny and sexuality in my work. Critical Thot is a deliberation on unapologetic feminine authority, while being very honest about the complicated truth of being a participant in self-objectification, and sexuality as a social currency,” Sha Ray elaborates. “This record focuses a lot on defining power in feminine sexuality as relational and ever-shifting, and thus inherently imperfect. However, it is a power that I have and I am going to use it.”Critical Thot features contributions from Nappy Nina, JWords, and Archangel.

Assembling a 'Kwaidan'-style anthology from chewed scraps of noir, horror and dystopian sci-fi movies, billy woods chronicles Black American angst on 'GOLLIWOG', running circles around his peers and arriving on the AOTY for fans of Ka, EARL, Aesop Rock, Westside Gunn or Cannibal Ox. Featuring production from El-P, The Alchemist, DJ Haram, Saint Abdullah, Shabaka Hutchings and others.

The English language is violence, I hotwired it woods coolly quips on 'Jumpscare', tossing out run-on cadences to juggle polyrhythms between beatless double-bass and vaudeville Pan Sonic-esque electrical interferences. Within a track, he fully establishes the concept for 'GOLLIWOG', an album that surveys the full spectrum of horror, splicing together creaking floorboards, ticking clocks, industrial clanks, Herrmann-esque stabs and detuned pianos, maniacal screams and blood-curdling laughs to accompany knotty tales of corporeal terror. It's horrorcore in a sense, cobbling together its scenery with the same congealed raw materials as Necro or Prince Paul, but woods uses the schlocky formula to lighten his death blows, landing some of the deepest lyrical lacerations of his lengthy career so far; 'Dead Body Disposal' it ain't. "Daddy longlegs stride your home like Cecil Rhodes," he nicks, equating the fear of (harmless) spiders with the terror of a real-life boogeyman - the coloniser of Zimbabwe (where woods' father was born), no less. And the track ends with a seemingly throwaway vocal sample: "a horrid sight, the blackest gnome." A description of the titular character from American author Florence Kate Upton's 19th century children's book 'The Adventures of Two Dutch Dolls and a Golliwogg', it's actually a clue to unpicking the album's title. What's fear, exactly, ponders woods, and what's merely ideology? And how does all of this become entertainment, let alone throwaway cutesy fodder for kids?

American horror as a genre has long broadcast the innermost fears of a nation who wears its ideology so boldly that it almost vanishes. Way back in the early 20th century, H.P. Lovecraft's racism manifested in stories of an ancient evil lurking beneath the New World's disturbed earth; later on, in the wake of the contraceptive pill and the subsequent free love movement, promiscuity was met with death and mutilation in an endless slew of slasher movies; and during peak neoliberalism, a taste for "torture porn" offset the stasis of safe liberal suburbia. woods accepts the history of horror, and proposes a true Black American Gothic archetype; just like Jordan Peele's 'Get Out' bolted together familiar tropes to signal how psychologically traumatic the Black experience can be within manicured white confines, woods bundles various cultural spikes to fabricate a more dangerous lyrical weapon. On 'BLK ZMBY', the ubiquitous zombie myth - a Haitian folkloric invention that was famously repurposed by George Romero in the '60s as a critique of American capitalism - is used as packaging for a barrage of knowledge that wraps references to Fela, Dune and Usual Suspects in thorny post-colonial theory. In Romero's 'Night of the Living Dead', the Black lead character spends 90 minutes fighting off zombies only to be shot in cold blood by beer chugging rednecks; now, woods' Black zombies have taken over the asylum, ignoring accountability and poisoning the water supply while the third world's corpse is sucked dry. "Zombies go home to platters of prawn and escargot," woods says, not letting Biggie off the hook. "New mothers struggle while the zombies suckle like baby goats."

DJ Haram handles the production on 'All These Worlds are Yours', dilating Shabaka Hutchings' transcendent improvisations with damaged '50s b-movie oscillations, rasping amp distortions and microtonal drones. "Today, I watched a man die in a hole from the comfort of my own home," woods recounts, accepting the day-to-day wartime horror-tainment we're fed on social media, 'Human Centipede'-style. "Trench fire, silent weapons, body horror, private booth," replies E L U C I D, woods' longtime Armand Hammer cohort. And woods coaxes out some of El-P's best production work in years on 'Corinthians', linking snippets of Lu Xun's 'Diary of a Madman' - that equates the Confucian ethical system with cannibalism - with the breakdown of late-stage Abrahamic morals that'll be closer to home for Anglophone listeners. "Best believe them crackers won't make it to Mars," he quips, double-underlining a verse that muddles St. Paul with Steven King, and Noah with the military industrial complex. By itemizing his own fears in a sequence of 'Cat's Eye'-style vignettes, woods launches hooks into the contemporary façade of terror-as-amusement, a fairground haunted house that's populated with very real demons. It's shockingly effective - the Pulitzer-ready rap album woods has been promising for aeons, and one of the very best things we've heard this year so far.

A Good Year is the collaborative project of producer and former Liss drummer Tobias Laust Hansen and filmmaker-turned-musician Albert R. Hildebrand. Play. moves between acoustic instrumentation, synthetic textures and loose-limbed rhythms, balancing baggy drums, bass-heavy electronics and understated guitar work with a reflective, road-trip atmosphere. Across the record, tender vocal performances and layered production give the songs a shifting sense of scale, from intimate sketches to expansive, anthem-like moments. Contributions from Horse Vision, Koilwood, Tiffi M, Quiet Light, Late Verlane, Alba Akvama, Suisse Air and MØ add further depth to its blurred mix of organic and electronic sounds.

The next installment of MFM's popular multi-artist compilation Virtual Dreams: 'Virtual Dreams - Ambient Explorations In The House And Techno Age, Japan 1993-1999'. As with Part One, released in 2020, 'Virtual Dreams II' shines a light on house and techno-adjacent music that helped redefine the definition of ambient music during the 1990s.

The focus of Part One heavily fell on music from techno and house producers in Europe, eagerly exploring new soundtracks for chill-out rooms and re-imagining the potential future of club culture from new perspectives. For Part Two, we narrow the lens to focus on a unique time and place, namely Japan between 1993-1999. Despite missing out on the 'Acid House Fever', club culture was beginning to take shape in Japan during the early '90s. In contrast to the rest of the world, where ambient techno / IDM emerged as a by-product or response to the scene, 'listening techno', as it is known in Japan, was a central pillar of the culture right from the start.

'Virtual Dreams II' aims to shine a light on this unique moment in time where the thread of ambient music weaved its way through the music of an emerging club culture. This period saw the birth of many great Japanese techno labels such as Sublime Records, Transonic Records, Syzygy Records, Frogman Records, and Form@ Records, following in the late '90s. 'Virtual Dreams II' features ambient, chill-out, and intelligent techno from these leading labels alongside other lesser-known but equally influential imprints, as well as ambient deviations from Japanese house producers. Much of the music featured has only ever been released on CD.

'Virtual Dreams II' is compiled by Eiji Taniguchi and Jamie Tiller, who have worked closely together on previous Music From Memory releases such as 'Heisei No Oto' and 'Dream Dolphin - Gaia'. It is also the final project Jamie Tiller worked on before his tragic passing in 2023. Jamie had been researching, planning, and compiling this version of Virtual Dreams even before the first chapter was released, believing that there were many great tracks in Japan that fit the concept of the series. Knowing how much love and energy he put into compiling it gives it an extra special place in our hearts.

Compiled by Jamie Tiller and Eiji Taniguchi with artwork by Kenta Senekt, design by Steele Bonus and liner notes by Itaru W. Mita,

“Great Doubt” is the third full length LP by Danish composer Astrid Sonne. Throughout her acclaimed discography, Astrid Sonne has been carefully crafting different moods through electronic and acoustic instrumental endeavours. On “Great Doubt” this skill is refined, now with the distinct addition of the composer's own vocal in front. The tone of each track is unmistakably Sonne’s, structured around contrasts through an impeccable sense of timing. Lyrics on the album are sparse, merely highlighting different scenes or emotional states of being, leaving the music to fill in the blanks. Yet they also form a pattern of ambiguity, consolidated through the album title, searching for answers through looking at how and what you are asking, questions for the world, questions of love. The viola, a trusted companion since Astrid Sonne’s youth, appears effortlessly throughout the album, fully integrated into the sonic universe; through a pizzicato driven arrangement in the poignant track “Almost” or along with booms and claps in mutated cinematic stabs during “Give my all”, paraphrasing Mariah Carey's 1997 ballad. Yet the string section also gives way to explorations of woodwinds, counterbalancing the bowed movements with digital brass and airy flutes. Finally, beats and detuned piano are fresh additions to the soundscape, cementing how Sonne’s practice is always evolving into new territories.

“Eero : Eesu” is a spiritual and experimental sound‑art work by Adey Omotade, a Lagos‑born artist whose experiences across Paris, Johannesburg, Berlin, Côte d’Ivoire, and other places inform his unique fusion of Yoruba traditions with contemporary sonic practices.

“Perfect Answer,” the latest release from US underground innovator Evanora Unlimited, is a singular pop record where destruction and lyricism coexist. Featuring striking guest appearances from Maria M, RockangelZ, She Diamond, and Taraneh, each track takes on its own distinct personality, giving the album a depth and dimensionality that grows with every listen.

Following The Pocket of Fever, Ambient Sans presents the second part of Masahiro Sugaya’s visionary collaborations with avant-garde performance group Pappa TARAHUMARA, founded by Hiroshi Koike in 1982. The company fused dance, theatre, music and visual art into abstract stage environments, with Sugaya’s music serving as their emotional and conceptual core.

Music From Alejo was his first full score for the troupe—a refined work where repetition and silence mingle with luminous synthesizers and drifting melodic fragments. More structured than The Pocket of Fever, it balances modern composition with subtle inflections of Japanese tradition, evoking a sense of movement suspended between dream and reality.

Reissued for the first time on vinyl, the album includes a printed insert with an exclusive interview and photographs from Sugaya’s home in Japan. A vital rediscovery for admirers of Hiroshi Yoshimura, Midori Takada and Brian Eno, it captures a quietly radical moment in Tokyo’s 1980s experimental scene.

Some 30 years after they first met in the DJ booth of Tokyo's Spacelab Yellow nightclub, close friends François Kevorkian and Dimitri From Paris have finally joined forces in the studio. The result is The Nassau Excursion, a dazzlingly good three-track EP inspired by their joint love of disco and boogie-era dance records made at Island Records' Compass Point Studio in the Bahamas. Featuring Dimitri's regular collaborator DJ Rocca, its is an expressive and fiendishly dubbed-out exploration of this distinctive sound - think echo-laden vocal snippets, thickset synth bass. D-Train style echoing keyboard motifs, jazz-funk flecked Wally Badarou riffs, colourful chords, dubbed-out congas and punchy drum machine beats, expertly arranged to include the kind of stylistic mixing traits and dancefloor dub tropes liberally employed by François and Dimitri over the course of their careers.

‘Desire’ is the sophomore full-length album by TLF Trio. On ‘Desire’, the group presents their signature, contemporised chamber music through their main instruments: piano, cello and electric guitar; now enhanced by a pervasive use of sampling and a distinct use of silence as musical material.

The album is an aesthetic voyage in a musical landscape of minimalism, classical music, free improvisation, left-field-electronica, and references to pop and house music. It blends into a sound that is experimental and unpredictable – yet at the same time strangely familiar and self-explanatory.

The album’s ten pieces balance an open-ended improvisational intimacy with a tight compositional intention. Each track's repetitiveness operates as a trickling plateau of layered sentiments of times and spaces through the sampling of different acoustic rooms, the playing in specific styles and the curated selection of sounds and instrumentations; a collage of memories and associations patched together to create new meanings.

Budapest-based concept label, Blue Sun is launching their new line of vinyl focused releases, aimed primarily on DJs and collectors: the Blue Series. A counterpart to the Orange Series launched last year that showcases a more upbeat side of the label, the new collection presents a darker, more experimental, and introspective musical vision.The first release in the Blue Series is a six-track EP by Budapest based multimedia artist, Virág Réti. Choosing her legal name as her artist persona (“Flower of the Meadow" in Hungarian) also with the track titles capturing the folk names of local fauna, Peremidő evokes the artist's innate connection to nature as a place of refuge from the noise of Eastern European urban life.The EP’s motifs point back to early memories of sitting by a river, simply observing time flowing by. The arc of the songs follow the passage of a day, beginning with the hesitant sounds of early morning, gradually moving on toward more defined, rhythm-driven forms. As the airy textures slowly give way to structure and percussion comes to the forefront, the sense of direction becomes clearer, letting moments of gentle disorder and unexpected sounds to surface.Virág previously appeared on the label’s Blue Sun VA II compilation with her track Bíbic. Since launching her ambient music project in the fall of 2024, she has become one of the promising newcomers in the Hungarian experimental electronic music scene. Her debut EP, Minden Ami Megmaradt (All That Remains), was released last November as the final offering of temporary nites label (2023–2025). She is also the founder and organizer of the Budapest-based experimental electronic event series Still Places.

For over four decades Mr. Fingers has been shaping the core of House Music. Now he returns with a new album that continues this timeless journey through deep rhythms, soulful melodies, and immersive atmospheres. Crafted with the warmth and musicality that define him, the record blends deep house, jazz-infused harmonies, and subtle R&B textures. On 'Leev Ur Mynd' Mr. Fingers once again reminds us why his music remains essential: hypnotic grooves and heartfelt compositions. Not just music for the club, but also for the quiet spaces...

Tastemaker and cult figure among some, noise vendor among others… lurking somewhere in the shadows between London and Paris, the man known as Sheet Noise emerges out of the blue with his debut LP, Shostakovich's 5th Played Backwards in a Concrete Silo.

A direct shock to the system: equally beautiful and evil, abrasive yet uncomfortably calming. The feeling that something is about to happen at any minute—impending love or hatred blaring from the speakers at breakneck speeds. Heavy-duty, reactor-melted junglism; twisted samples buried under layers of dust and static; familiar voices in unfamiliar places.

This eight-track album is as intense as it can get. Don’t call it ambient. Don’t call it jungle. Don’t call it noise. Just strap yourself into the electric chair and get ready for the end.

Julia Holter always knew there were multiple forms her song “Materia” could take. The tune’s dynamic, Hildegard von Bingen-inspired melody and dense modal chords stood on their own without a complex arrangement on her wondrous 2024 album Something in the Room She Moves, but she felt a lingering desire to expand the texture and stretch out the harmony. Though she could hear the potential orchestration in her head, Something was already abundant with layers of sound by the time she finished it. She stuck with the original form of “Materia,” then, her cresting voice and blue Wurlitzer hosting games of harmonic hide-and-seek above subtle electronics. But on the new Materia, a kind of companion LP or sequel to Something, Holter has realized not one but two distinct versions of the song. “Materia 2” is a hallucinatory dream of drum machine, fretless bass, and clarinet, Holter’s voice spiraling through the ether alongside that of Jessika Kenney. She reconsiders the lyrics, too, novel fragments of surrealistic images reinforcing the original’s link between spirit and body, between love and blood. And on “Materia 3,” Holter literally slows down the take from Something. (It’s intended to be experienced as a “bonus track” in an homage to the CD era of her youth.) The change not only emphasizes the unpredictable glory of the harmonies within but also reiterates the song’s emotional sophistication, the sense that it’s about learning how to live. Materia is only seven tracks long, but Holter works in nearly that many modes here. There is the slowed “Materia” and the version reimagined for two voices, of course, but there are also two tracks that spooled out of the DAW project files and full band she built for Something. There are two astounding improvisations: one where she manipulates her voice so that each word seems to contain a symphony and another that is one of Materia’s most spellbinding and emotional pieces, “My Twin,” from which Holter lifted a riff to build the song “Fantasy.” These seven songs show that Holter is among her generation’s most open writers of art-pop, moving among ideas and idioms with exploratory aplomb. Materia is a kind of playground for Holter, where each distinct scene steadily coheres into a moving whole.

"We're very happy to release Johannes Rød’s amazing new book Free Jazz and Improvisation on LP and CD 1965-2024. This is the complete guide to avant-garde/experimental/contemporary. Jazz/spiritual. Jazz/improvisation/modern composition. Electronic/abstract/noise. And a guide to 185 label. A monument of discographic research spanning six decades of freeform music. "

This is the debut album as bandleader by Ryo Kawasaki, a jazz and fusion guitarist whose talent was recognized by Gil Evans and who has made a name for himself internationally. The album showcases a cool, cosmic sound, featuring tracks such as “Agana,” which features breathtaking guitar playing set against a backdrop of fast-paced percussion, and “Phil,” a dazzling jazz-funk number.

Gilles Peterson presents International Anthem is a Deluxe Double LP compilation chronicling the infamous London-based radio host, DJ, label head, curator and cultural impresario's long-standing affinity for and interaction with artists and music from the Chicago-born record label International Anthem. The tracks on this compilation were chosen by Peterson via an extensive review of track lists from his broadcasts on BBC 6 Music, Worldwide FM, and various syndicated radio programs. The compilation also includes a previously unreleased track recorded live on the Peterson-founded online radio station Worldwide FM. The RSD exclusive 2LP is on "Frozen Lake Michigan" colored vinyl. This album is released via International Anthem as part of their "IA11" series of releases and events – where the label celebrates their eleventh year of existence by looking back on their first ten years while establishing new standards for the next ten years.

Pressed for Record Store Day 2025 for "Frozen Lake Michigan" Color 140g 2 x LP, in a heavyweight UV-Gloss jacket, with 12"x12" insert booklet, with IA OBI Strip & printed poly-lined inner sleeves.

"The origin of techno. The original crystallization of the artists who created the era as big names, immortal monuments beyond the masterpieces." Limited vinyl version reissued in heavy vinyl. The heavy-duty vinyl version in the original jacket supervised by Ryuichi Sakamoto is available in a completely limited edition.

Between 1999 and 2000, Merzbow entered a new artistic phase, embracing digital production and refining his sonic language. He moved away from the tape collages and improvised circuitry of his earlier years. In their place arose monumental sound structures, dense and meticulously sculpted. Harsh noise, tribal rhythms, and corrosive textures merged into a single, overwhelming sonic body.Yoshinotsune emerged during this especially fertile period and stands as one of Masami Akita’s most evocative works. The album weaves together historical, mythological, and personal references, drawing inspiration from the figure of Minamoto no Yoshitsune. From the outset, bird calls, radio interference, and electronic signals create an enigmatic atmosphere. The result is an unsettling soundscape suspended between nature and technology.Throughout the album, the sound continually transforms, alternating between ominous beats, unearthly moans, and ritualistic pulses. These elements evoke tribal rhythms filtered through circuitry and digital distortion. The music drives forward with relentless force while maintaining a constant tension between motion and stillness. Rather than simply overwhelming, it invites the listener to become immersed in its intricate details.What makes Yoshinotsune so compelling is its perfect balance between technical precision and creative instinct. Though meticulously constructed, its structures retain a raw and immediate vitality. Akita’s hand can always be felt, shaping the sound with intensity and sensitivity. This reissue fully restores the grandeur of one of Merzbow’s richest and most immersive recordings of mid 2000.

Iconic PULSE DEMON design printed on the front

Bowed MERZBOW script on the back

Front & Back Silver Prints on Black T-Shirt

Limited edition of 100

T-Shirt brand: GILDAN

*300 copies limited edition* A sporangium (from Ancient Greek sporá 'seed' and angeîon 'vessel') is an enclosure in which spores are formed. It can be composed of a single cell or can be multicellular. Virtually all plants, fungi, and many other groups form sporangia at some point in their life cycle. Sporangia can produce spores by mitosis, but in land plants and many fungi, sporangia produce genetically distinct haploid spores by meiosis.

Sporangium is brand new "merzsoniks"! Equipments used by Masami: handmade instruments / contact microphones / various fuzz / distortion / glitch pedals / synthesizer... And many other soft & hard-ware to be discovered...