Electronic / Experimental

An EP released in 2015 featuring an experimental concept of computer-controlled acoustic instruments. Its minimal, fragmentary compositions retain the physical resonance of piano and drums while crafting rhythms and phrases impossible for human hands. This peculiar sonic world, like a robot's improvised performance, possesses an avant-garde quality resonating with contemporary music and sound art. An important work regarded as emblematic of Aphex Twin's “experimental spirit.”

Influenced by the minimal music of the 60s and 70s, baroque music, and experimentation in studio environments, Canadian artist Sarah Davachi creates music using a variety of sounds including analog synthesizers, piano, electronic organ, pipe/reed organ, vocals, tape samplers, and orchestral music. Sarah Davachi, a Canadian artist who creates music with a variety of sounds, including piano, electronic organ, pipe/lead organ, vocals, tape sampler, and orchestral music, has released her latest album "Two Sisters" on her Late Music label. The album features a chamber ensemble and a pipe organ solo. A variety of instruments are used, including carillon (a keyboard instrument composed of very large cast-iron bells), chorus, string quartet, bass woodwinds, trombone quartet, and sine tones and electronic drones. The pipe organ is a 1742 Italian tracker organ, now located in the deserts of the American Southwest, and contains the sounds of a very rare pipe organ.

Influenced by the minimal music of the 60s and 70s, baroque music, and experimentation in studio environments, Canadian artist Sarah Davachi creates music using a variety of sounds including analog synthesizers, piano, electronic organ, pipe/reed organ, vocals, tape samplers, and orchestral music. Sarah Davachi, a Canadian artist who creates music with a variety of sounds, including piano, electronic organ, pipe/lead organ, vocals, tape sampler, and orchestral music, has released her latest album "Two Sisters" on her Late Music label. The album features a chamber ensemble and a pipe organ solo. A variety of instruments are used, including carillon (a keyboard instrument composed of very large cast-iron bells), chorus, string quartet, bass woodwinds, trombone quartet, and sine tones and electronic drones. The pipe organ is a 1742 Italian tracker organ, now located in the deserts of the American Southwest, and contains the sounds of a very rare pipe organ.

'Music for a Bellowing Room' is a collaborative durational work by musician Sarah Davachi and filmmaker Dicky Bahto, both based in Los Angeles.

With a performance/running time of three hours, 'Music for a Bellowing Room' is an exercise in resolution, inviting the audience to shift their concentration and perception through gradual changes in sound and image. This piece was originally commissioned by the Museum of Modern Art in New York, and received its premiere performance in September 2023.

From Recital:

"Recital is joyed to publish the newest record by Canadian composer Sarah Davachi. Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "Avant-Garde" (Calgary is the rodeo capital of the world). From a young age, Sarah was a driven pianist (and figure-skater, although that's a story for a different time). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel.

Sarah is a considered person. I find few people that have the diligence and resolve to take their time with music... especially in a live context. I respect that about her. The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty.

Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On..., recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion.

Two pillars of this album are "Mordents", which to my ears drops hints of her love for Progressive rock music - and "Buhrstone," comparable to a sombre funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics.

Writing this description now, I find it hard to separate "At Hand" from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship - frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul.

This is a lovely album to fill an evening living room with. A blanket, a cup of wine, a dim bulb, a wide window."

Ricky V runs wild on Mohammad Reza Mortazavi’s Persian tombak hand drum actions, expanding a 4 min kernel of inspiration into 24 minutes of mesmerising polyrhythmic traction. From an original 'Swamp' piece that practically recalls Ricardo’s style of slinky minimal techno sorcery to begin with, the Chilean-German maverick derives a more driving tract of rough hewn rhythmic grit bound to hypnotise dancefloors for the duration. Accentuating the undulating bass and dialling up the volume whilst retaining the frictional grind of the original, Villalobos gets right inside the groove with typically obsessive tekkerz, plucking out additional string motifs and tempering the flow with signature, taut but sinuous, loosey goosey flex that cross-pollinates cultures and gets right under the skin of the thing. Mohammad Reza Mortazavi (b. 1979, Iran) is a virtuoso percussionist known for his groundbreaking work with the tombak and daf, traditional Persian drums that he has radically redefined through new playing techniques and extended vocabulary. Mortazavi began playing the tombak at the age of six. By nine, he had already outpaced his teacher and won Iran’s national tombak competition — a distinction he would earn six more times. By his early twenties, he was widely regarded as one of the foremost players of the instruments. Since then, his music has continued to evolve, embracing new forms and vocabularies beyond tradition. Ricardo Villalobos (b. 1970, Chile) is a pioneering figure in minimal techno, celebrated for his hypnotic approach to rhythm. Raised in Germany after his family fled Pinochet’s regime, Villalobos was drawn early to percussion — he began playing congas and bongos at eleven, developing a tactile relationship to rhythm that would later inform his distinctive production style. Immersed in both Latin American folk traditions and the emerging house and techno scenes of late-80s Europe, he began DJing and producing in the early 1990s, quickly achieving cult status within global club culture. Swamp originally appears on the album Nexus, released in 2025 via Latency.

Having sold his instruments to fund a nomadic 1970s lifestyle, eccentric Irish experimentalist Michael O’Shea was forced to create his own handmade answer to the sitars and zelochords he’d become accustomed to playing on his travels around the globe. 

Using an old door, 17 strings, chopsticks and combining them with phasers, echo units and amplification, the new device was to become his signature sound, mixing Irish folk influences with Asian and North African sounds in a mesmerising and soulful new way that brought him to the attention of the leading improvisers of his day - Alice Coltrane, Ravi Shankar, Don Cherry and more. 

A logical follow up to AllChival’s recent reissue of Stano's debut LP, Michael O’Shea’s self titled LP was originally released on Wire's Dome Imprint in 1982. 

The background to the album is as interesting and inspiring as the artist who created it - born in Northern Ireland but raised in the Republic, O’Shea was keen to travel and escape the troubles of his home. 

Wandering throughout Europe and the Middle East, O’Shea found himself living and working as a relief aid in Bangladesh in the mid Seventies where he learned to play sitar while recovering from a bout of hepatitis. A later period spent busking in France accompanied on zelochord by Algerian musician Kris Hosylan Harp led to O’Shea’s idea of combining both instruments as a homebuilt instrument - Mo Chara [Irish for "My Friend"]. 

He later described the process on the back of the LP himself saying: "Having sold my sitar in Germany and being desperate for money to travel to Turkey, I conceived of the idea of combining both sitar and zelochord. The first Mo Cara was born, taken from the middle of a door, which was rescued from a skip in Munchen" 

A combination of dulcimer, zelochord and sitar, O Shea would play it with a pair of chopsticks, striking the strings softly using Irish folk rhythms mixed with the rich, nostalgic sounds of of the many Asian artists he’d encountered on his travels. 

It was a pan cultural sound standing at an unusual crossroads of folk, traditional, rock, progressive, jazz, electronic and post-punk worlds without hesitation. 

Perfecting the instrument on the streets, there were further spells spent busking in the underground stations and cafes of London's West End and Covent Garden during the heady days of the 1970s when they were full of eccentric street entertainers, jazz improvisers and musical pioneers. 

His work with Rick Wakeman never saw the light of day but O’Shea’s contact with the world of post-punk London ensured his name would live on. 

Introduced to Wire's Bruce Gilbert and Graham Lewis via cartoonist Tom Johnston, O’Shea eventually acquiesced to an open invite to record at their studio. Turning up unannounced in the first half of 1981 the LP was recorded in a day in the legendary Blackwing Studios and released on Dome the year after. 

The first side features the fifteen minute masterpiece "No Journeys End" with the B side featuring more input from Wire in processing the Mo Chara sound. 

Lewis himself said years later of the forgotten masterpiece: “I always said it was the best job we ever did.” 

After an aborted LP with The The's Matt Johnson the following year, O’Shea quietly disappeared from the formal recording world . His brief but unique contribution to the music world came to a sad end in 1991 when O’Shea was struck by a post van and died a few days later in hospital in London. 

This repress on All City’s AllChival imprint has been remastered and reissued with the approval of both Dome and his surviving siblings. 

Clairvoyant Dimensions is the first album by Mei Homeycomb, a new duo of Jordan Czamanski, renowned as a member of the acclaimed Juju & Jordash and the Magic Mountain High project, with solo work released as Jordan GCZ, and legendary saxophonist Jeff Hollie, known mostly for his work with Frank Zappa and Ike Willis. An explorative ambient album, Clairvoyant Dimensions is an exercise in distance and contemplation, and the exhilarating feeling of insight, however fleeting, like staring at the midnight flicker of an old VCR. Czamanski's music has a trademark tenderness and soft-spokenness, an ability to maximize minimalist musical elements and bring them to an open-ended conclusion. Jeff Hollie provides interpretative sax lines on all tracks, slipping into the scene like a shadow, silent and unexpected, touching upon emotional registers almost explicit, yet confounding. As musical signifiers keep turning around themselves, they set up a mood of euphoria, one that suggests understanding. Never explicitly spaced-out, there is continuous reference to cosmoses both inward and far away. Ambient music in modern form. Jordan Czamanski uses his experience in producing off-the-charts club music to come up with five tracks that at times are standstills, and at times dwell in forward momentum. Jeff Hollie provides both comprehension and beautiful confusion. As grainy images switch into focus, Clairvoyant Dimensions is a beautiful and contemplative trip that suggests its own reality in delicate ways. One of the five tracks, the gorgeous live-recorded Painted Desert Pastel, features composer, performer, and researcher Ilya Ziblat Shay on double bass and electronics.

Third volume in Dave Huismans' stellar ex_libris series, further exploring the outer edges of deep house and leftfield music across three cuts in a total runtime of 25 minutes. The A-side offers up a rough-around-the-edges, spirited 4/4 beatdown epic, while the B1 & B2 venture into equally vivid world-building and fluttering wildlife curiosity. Limited edition - once again housed in lovingly hand-stamped, full-color sleeves. Design by Bernie van Vlijmen. Mastered and cut by Anne Taegert at D&M.

A bearhug of chill-out room gouching gear from MFM spanning the golden era of ‘90s ambient dance music with gems from David Moufang, LFO, Global Communication, Kirsty Hawkshaw, Sun Electric and many more notables of that era. Since the world turned into a big chill out room in early 2020, albeit with a heavy sense of anxiety, this set could hardly be better placed for downtime in the comfort of your own home, rolling out mystic highlights such as LFO’s MDMA-tingle arps and pads in ‘Helen’ and the sublime suspension systems of Global Communication’s remix of ‘Arcadian’, along with Move D’s early nugget ‘Sergio Leone’s Wet Dream’, and the lush pads of his close spar Jonah Sharp’s Spacetime Continuum, plus a strip of killer slow acid in Sideral’s ‘Mare Nostrum’, and the blissed romance of ‘Love 2 Love’ by Sun Electric. One for the lovers and the ravers.

Formed in Taipei in 2013, Scattered Purgatory (破地獄) has occupied a liminal space between drone, ambient, psychedelic folk and ritualistic kosmiche experimentation. Their early work, including ‘Lost Ethnography of the Miscanthus Ocean’ (2014) and ‘God of Silver Grass’ (2016), blended dense instrumental drones, improvisational guitar, and ambient textures rooted in the heat, humidity, and urban pulse of Taiwan. Over the years, the duo-turned-band has drawn on Krautrock, minimalist electronic music, and heavy drone traditions while remaining firmly grounded in Taiwanese geography and culture. ‘Post Purgatory’ emerges after a three-year hiatus following the pandemic, a period the band describes as pivotal to the album’s conception. “The feeling of loss and uncertainty has later become the inspiration of this record, and ‘time’ is the main theme – it can heal or it can destroy,” they explain. Musically and lyrically, the record traverses Taiwanese, traditional Chinese, and English, reflecting the multilingual fabric of Taipei life. While there isn’t a linear storyline, metaphor and poetry imbue the lyrics with reflections on love, loss, and the human experience, interlaced with influences of Hokkien and Mando pop and traces of trip-hop. Recorded half in their home and half at the studio where they composed their first album, ‘Post Purgatory' integrates precision, clarity, and digital production techniques. Guest contributions—from White Wu’s dynamic drumming to Minyen Hsieh’s tenor saxophone and dotzio’s sci-fi-infused vocals—expand the band’s sonic palette, creating a doom metal record shaped by electronic sensibilities. ‘Post Purgatory’ is a statement of loss and re-empowerment, a bridge between their past and present. Through it, Scattered Purgatory reclaim their distinctive voice, presenting a sound that is at once rooted in Taiwan, informed by global musical traditions, and unflinchingly forward-looking.

Or Sobre Blau's 'Making Friends' on Stroom."Andreu G. Serra and Kiran Leonard first met in Lisbon nine years ago, arriving in the city within weeks of each other by chance. Living together in a crumbling warehouse in Alto São João, they recorded a series of improvisations that became The Piri Piri Samplers (Memorials of Distinction, 2019): Serra’s abrasive, tape-warped guitar lines colliding with Leonard’s stark, pedal-free counterpoint. They played a single gallery show, left Lisbon that summer, and then spent almost a decade living in different countries.When Stroom reissued The Piri Piri Samplers in 2024, the label suggested the duo make a new record. At first, it seemed impossible: Leonard was in London, Ubaldo in southern Catalonia, and their attempts at long-distance recording quickly collapsed into nothing. But the near-failure sparked something. Leonard travelled to Catalonia to restart the process in person; soon after, Serra moved to South London, and the pair began meeting every week.The result is Making Friends: a richer, more expansive album built over six months. Where The Piri Piri Samplers was assembled from raw improvisations, Making Friends transforms fragments into fully realised songs, weaving together nylon and steel-string guitars, piano, drums, bells, samplers and more. For the first time, Serra and Leonard sing together, each in his own language - Catalan and English - sometimes translating one another in real time.Musically, Making Friends still carries the jagged dissonance and free-blues spirit of the duo’s earlier work, while opening outward toward everything from emo and blown-out noise to fractured chamber pop. There are only three guests on the album, and they are worth mentioning: Rachel Leonard and Antonia Serra (the musicians' mothers) on the seventh tune, and the American poet Pete Simonelli (of Enablers) appears on Top of Duboce / Tyne Bridge Crossing, one of the album’s two sprawling centerpieces.At its heart, Making Friends is an album about friendship: about distance, reunion, family, and the stubborn need to make music together. It begins with uncertainty and disconnection, but ends somewhere stronger - with, as put on the closing track, “molta il.lusió per lo que pugue vindre” or “much excitement for what may come.”"

Intergalactic Music Is Of the Outer Darkness It is rhythm against rhythm in kind dispersion It is harmony against harmony in endless coordination It is melody against melody in vital enlightenment (Excerpt from The Outer Darkness by Sun Ra) From Detroit’s techno resistance to Berlin’s elastic minimalism, Lusaka’s ancestral futurism to Chicago’s house communion, When There Is No Sun is a global recording project, uniting visionary electronic music producers to reimagine the universe of Sun Ra. One of the most radical musical pioneers of the 20th century, Sun Ra used jazz, electronics, poetry, and performance to expand the possibilities of sound, identity, and imagination. Commissioned by Omni Sound and curated by Ricardo Villalobos, the series brings together Underground Resistance, Chez Damier & Ben Vedren, Calibre, A Guy Called Gerald, She Spells Doom, Barış K, and Ricardo Villalobos himself. Drawing from Omni Sound’s recordings of Living Sky by the Sun Ra Arkestra and My Words Are Music, a spoken-word album of Sun Ra’s poetry, the producers pull fragments of sound and text into their own creative orbits, passing through the portal that Sun Ra opened into a realm where the impossible is possible. Invocations by Saul Williams, Anthony Joseph, Mahogany L. Browne, Abiodun Oyewole, Tunde Adebimpe, and Tara Middleton turn rhyme into rhythm and resistance into revelation. Rooted in deep reverence for Sun Ra’s legacy, yet reaching forward as a living, generative force, When There Is No Sun is not a tribute but a continuum, balancing the pulse of electronic music with the spirit of experimentation, embodying Sun Ra’s promise that ‘there are other worlds’ if you are willing to see them.

Intergalactic Music Is Of the Outer Darkness It is rhythm against rhythm in kind dispersion It is harmony against harmony in endless coordination It is melody against melody in vital enlightenment (Excerpt from The Outer Darkness by Sun Ra) From Detroit’s techno resistance to Berlin’s elastic minimalism, Lusaka’s ancestral futurism to Chicago’s house communion, When There Is No Sun is a global recording project, uniting visionary electronic music producers to reimagine the universe of Sun Ra. One of the most radical musical pioneers of the 20th century, Sun Ra used jazz, electronics, poetry, and performance to expand the possibilities of sound, identity, and imagination. Commissioned by Omni Sound and curated by Ricardo Villalobos, the series brings together Underground Resistance, Chez Damier & Ben Vedren, Calibre, A Guy Called Gerald, She Spells Doom, Barış K, and Ricardo Villalobos himself. Drawing from Omni Sound’s recordings of Living Sky by the Sun Ra Arkestra and My Words Are Music, a spoken-word album of Sun Ra’s poetry, the producers pull fragments of sound and text into their own creative orbits, passing through the portal that Sun Ra opened into a realm where the impossible is possible. Invocations by Saul Williams, Anthony Joseph, Mahogany L. Browne, Abiodun Oyewole, Tunde Adebimpe, and Tara Middleton turn rhyme into rhythm and resistance into revelation. Rooted in deep reverence for Sun Ra’s legacy, yet reaching forward as a living, generative force, When There Is No Sun is not a tribute but a continuum, balancing the pulse of electronic music with the spirit of experimentation, embodying Sun Ra’s promise that ‘there are other worlds’ if you are willing to see them.

Intergalactic Music Is Of the Outer Darkness It is rhythm against rhythm in kind dispersion It is harmony against harmony in endless coordination It is melody against melody in vital enlightenment (Excerpt from The Outer Darkness by Sun Ra) From Detroit’s techno resistance to Berlin’s elastic minimalism, Lusaka’s ancestral futurism to Chicago’s house communion, When There Is No Sun is a global recording project, uniting visionary electronic music producers to reimagine the universe of Sun Ra. One of the most radical musical pioneers of the 20th century, Sun Ra used jazz, electronics, poetry, and performance to expand the possibilities of sound, identity, and imagination. Commissioned by Omni Sound and curated by Ricardo Villalobos, the series brings together Underground Resistance, Chez Damier & Ben Vedren, Calibre, A Guy Called Gerald, She Spells Doom, Barış K, and Ricardo Villalobos himself. Drawing from Omni Sound’s recordings of Living Sky by the Sun Ra Arkestra and My Words Are Music, a spoken-word album of Sun Ra’s poetry, the producers pull fragments of sound and text into their own creative orbits, passing through the portal that Sun Ra opened into a realm where the impossible is possible. Invocations by Saul Williams, Anthony Joseph, Mahogany L. Browne, Abiodun Oyewole, Tunde Adebimpe, and Tara Middleton turn rhyme into rhythm and resistance into revelation. Rooted in deep reverence for Sun Ra’s legacy, yet reaching forward as a living, generative force, When There Is No Sun is not a tribute but a continuum, balancing the pulse of electronic music with the spirit of experimentation, embodying Sun Ra’s promise that ‘there are other worlds’ if you are willing to see them.

L.A. composer and Leaving Records label founder Matthew David McQueen is largely known for his experimental production including releases on Flying Lotus' Brainfeeder label. After nearly a decade of evolution, Trust the Guide and Glide is at once a powerful statement of identity and a new door into cosmic consciousness."It’s Now! Eternally! Easy, Tender, Loving Sound.The Guide is You. The Glide is Life. Be Yourself, Live Fully –That’s what the Vibrations are Encouraging, Echoing,Waving, Glowing, Singing, Rippling, Radiating.Matthewdavid’s Mindflight is Heart Music. It’s a recordof beauty that has evolved from explorations into hisdeepest emotions, visions and imagination. The Flightswere most directly inspired by his profound connectionwith Michael Stearns’ Planetary Unfolding (ContinuumMontage 1981). You can feel that Trust is it’s Brother.Stearns speaks of Dreams, Resonance, Unity, and Ecstasy.Matthew adds that this journey has been one of Healing,Discovery, Finding, and Transformation. The two andtheir kindred are wondrous Sonic-Energetic-Midwiveshelping to usher in this age of Expanded Consciousness.The process and source are Extra and Terrestrial,Synthesized, Improvised (Live on Dublab Radio) Meditations.Sourced from the well of spiritual expression, theserecordings were further realized in Ableton. You’re flyingthrough the mystical world of Gilbert William’s cover,the software technology is dancing with circuitry, Flute,Harp, Hulusi, Water, Sonar, Quasar, and microtonallanguage are Tied and Dyed in the moment.The Mind is programmed by the Heart. With an openHeart the Mind can apply our gifts. I asked Matthewwhat he’s seen on / in his Mindflights: “Unconditional Love!Stillness – Centeredness,” he replied. “I’ve seen and feltmy ancestors, I’ve heard the songs of humanity . . .”Welcome, Listen, Hear, Here, Now, Celebrate!Joyously Written with Trust the Guide and Glide on repeat,Tuesday, December 8, 2015, in Woodland Hills, California– Carlos Niño

Parisian label Latency presents "Without References / Cindy van Acker (Variations)", a new release by goat (JP) and legendary producer Ricardo Villalobos. For this project, Villalobos reinterprets two tracks – "Orin" and "Factory" – originally composed by goat (JP) for choreographer and performance artist Cindy van Acker’s dance piece "Without References". The release follows Latency’s recent publication of Villalobos’ variation on percussionist Mohammad Reza Mortazavi’s "Swamp" (Latency, 2025), continuing the label’s exploration of reinterpretation and rhythmic dialogue. goat (JP), led by Osaka-based composer Koshiro Hino (YPY, Kakuhan, Boredoms, Mark Fell), is widely regarded as a leading force in contemporary minimalist composition. In “Without References/Cindy Van Acker”, goat (JP) transforms non-tonal rhythmic patterns into intricate, hypnotic structures with remarkable depth. In this new version, the group’s simultaneously tribal and futuristic sound is reshaped by Villalobos’ distinctive production style, which draws from both minimalist techno and Latin American rhythmic traditions. Ricardo Villalobos is a pioneering figure in minimal techno, known for his hypnotic and deeply rhythmic approach to electronic music. Born in Chile and raised in Germany after his family fled Pinochet’s regime, Villalobos developed an early fascination with percussion, beginning to play congas and bongos at the age of eleven. This tactile engagement with rhythm continues to inform his production work today. Influenced by both Latin American folk traditions and the emerging house and techno scenes of late-1980s Europe, he began DJing and producing in the early 1990s and quickly gained cult status within global club culture. Cindy van Acker’s dance piece "Without References" features scenography by visionary choreographer Romeo Castellucci. The stage environment evokes a space that shifts between a waiting room, a train station hall, and a mid-century installation. Eleven dancers interpret Van Acker’s precise yet fluid movements, interacting with goat (JP)’s percussive, stripped-down compositions to create a visceral and immersive performance. The artwork features photographs by Magali Dougados from a staging of "Without References" at the Maison de la Culture de Seine-Saint-Denis.

Lena Willikens X Elena Colombi live at Lux Fragil, Lisbon 2026 Cover art + design by Alicia Carrera Mastered by Lottie Lou Poulet at Wysyng Arts Centre Manufactured at Tapeline, UK Limited edition cassette tape NO repress 💚 Once they're gone they're gone...

Originally released in 1989 as Violin Solo. Sept. 3-4, '89. Takehisa Kosugi's improvisations, both with violin and miscellaneous sounding objects, have a sense of emerging from the bottom of a spiritual unconscious. From this place comes a music based more on the feeling of sounds than conscious arrangement. Memory, physical action, tactile perceptions, environmental conditions, and awareness of subconscious microcosmic and macrocosmic extremes inform his work as much as the intention to assemble sounds into music. When listeners connect with his sounds, a direct identification of experience occurs between audience and performer. Personnel: Takehisa Kosugi - electric violin.

2026 repress; clear with red color vinyl. "Standards, the fourth full-length recording from Chicago's Tortoise, boldly announces their return following 1998's TNT. Tortoise spent the bulk of 1998 and a portion of 1999 touring the world. Following tours of the U.S., Europe, South America, Japan, Brazil, and Australia, Tortoise members worked on other projects that occupied them until the spring of 2000 when they began to record Standards. In 1999 members of the band toured the US as the backing band for legendary Brazilian composer/singer Tom Zé's. Musically, Standards is their most concise statement of purpose thus far. The tunes are direct and immediate, yet they maintain the exploratory edge that has always characterized the group's output. The fusion of instrumental sounds (electric, acoustic, and synthesized) is subtle and subversive. Similarly, the group's fluency within the studio environment gives the finished work a quality that alternates between artifice and reality. Whilst TNT was constructed in the studio using segments recorded, improvised or altered electronically, the 'Standards' sessions began after a period of rehearsal and composition. The contrast, simply stated, is that the studio was used extensively as a compositional tool for TNT, whereas with Standards it was used predominantly as tool to realize and enhance the existing new compositions. The studio does not impose itself on the recording to the same degree listeners witnessed on TNT, and the resulting record is in many ways reminiscent of their unadorned self-titled debut. Sounds, notes and rhythms are manipulated but in general, processing is spare. Tortoise's highly lyrical melodies, rich and varied tonal palette and high level of musicianship were recorded in a studio designed by McEntire. The resulting record is the clearest demonstration of the band's many skills and strengths."

Modern Obscure Music presents The Bubble of Love, a new collaborative album by Pedro Vian together with Ustad Nawab Khan and Naved Nawab Khan — the 9th and 10th generation of a distinguished santoor lineage from Rajasthan, India. Recorded during an intense week of sessions at Pedro Vian’s studio in Barcelona, the album captures a rare and concentrated encounter between traditions, generations, and sonic languages. Ustad Nawab Khan, a 9th-generation master of the santoor and founder of Raaga Science, has devoted his life to exploring the emotional and psychological dimensions of Indian raaga music. His philosophy, “Raag se Ras utpan” — the creation of emotional states through specific raagas — forms a conceptual backbone for the project. Carrying the lineage forward, Naved Nawab Khan represents the 10th generation, bringing a contemporary global awareness while remaining deeply rooted in classical tradition. The Bubble of Love unfolds through four meditations that create a dialogue between ancient tonal systems and modern electronic exploration. In three of the four pieces, the chromatic subtleties and traditional scales of the santoor intertwine with Pedro Vian’s unexpected synthesizers and electronic textures. These compositions form a bridge between Occidental and Oriental musical worlds, where resonance becomes a shared language. In the fourth and final meditation, the collaboration shifts toward a more experimental dimension. While maintaining the same instrumental foundation — santoor and electronics — Pedro Vian explores alternative notes and scale structures, expanding the harmonic field. This movement reflects both understanding and incomprehension, alignment and tension between cultures. Rather than resolving differences, the music inhabits them, transforming contrast into a space of discovery. Released on Modern Obscure Music, The Bubble of Love is not merely a fusion record. It is a concentrated meeting point — lineage and futurism, discipline and experimentation — crystallized in a week of deep listening and creative exchange within an intimate studio environment. At moments, the record subtly echoes earlier attempts to translate ancient traditions through emerging technologies. It recalls the spirit of experimentation found in projects where Moog synthesis sought to interpret the tonal worlds of classical instruments — from the dialogues between Ravi Shankar and Philip Glass, to the exploratory journeys of Ariel Kalma, whose music continues to resonate powerfully in the very walls where this album was recorded. In this broader historical context, The Bubble of Love also resonates with the pioneering electronic explorations documented in The NID Tapes — the collection of early Indian electronic works recorded between 1969 and 1972 at the National Institute of Design in Ahmedabad. Founded with the support of composer David Tudor, who installed a Moog modular system in 1969, the NID studio became a radical space of post-independence experimentation, where composers such as Gita Sarabhai, I.S. Mathur, Atul Desai, S.C. Sharma and Jinraj Joshipura explored analogue synthesis, tape collage, voice and field recording — forging a meeting point between Western and Indian avant-garde traditions. Uncovered and restored through the long-term research of British artist Paul Purgas, and later presented alongside the publication Subcontinental Synthesis: Electronic Music at the National Institute of Design, India 1969–1972, The NID Tapes revealed a visionary chapter in South Asia’s sonic imagination — one where electronic instruments did not replace tradition, but refracted it into new forms. While separated by decades and geography, The Bubble of Love inhabits a similar philosophical terrain: not the fusion of opposites, but the coexistence of lineages — where electronic sound becomes not an imposition, but a listening device. A way of approaching tradition with curiosity rather than control. In this sense, the album stands both as a continuation and a renewal — a contemporary meditation on the enduring dialogue between heritage and experimentation, between memory and future sound.

The title “Mijin” comes from a Japanese word meaning very fine particles. The album gathers particle-like sounds and lets them resonate in space. As I watch the movements that arise between them a balance gradually takes shape. Within those relationships and the quiet tension between them I explored how silence can resonate with sound. The album begins with the most minimal piano chords then develops by reconstructing fragments of voice and percussion, Rhodes and synths along with traces of jazz and soul. Each sound exists like a particle drifting in air gently resonating with the others to form the structure. I hope that the spaces and silences created by this placement will appear with a presence equal to the sounds themselves. -Fumitake Tamura

Tortoise have been expanding the definition of rock music for almost 30 years, nodding to dub, rock, jazz, electronica and minimalism throughout its revered and influential discography. The resulting sounds have always been distinctly, even stubbornly, their own. Rhythms, Resolutions & Clusters has not been available on LP since it was released in 1995. The record ushered in a late 90’s remix craze, and launched a 12” series of remixes by a wide range of artists. This extremely limited re-press for our 30th Anniversary is a Tortoise record unlike any other, as Tortoise turned their iconic early songs over to their friends to play with. We love the sense of community & unlimited creativity that this record represents! Remixes include mixes by Steve Albini, Jim O’Rourke, Mike Watt (Minutemen), Brad Wood (Liz Phair), and Rick Brown (75 Dollar Bill). Original songs recorded by Dan Bitney, Bundy K Brown, John Herndon, John McEntire, and Douglas McCombs.

2025 repress; clear vinyl with white Hi-melt. "1998: Tortoise's third studio album TNT is released. In and out of print over the past decade we are happy to finally give everyone what they have been asking for - TNT on vinyl again! Pressed on high quality virgin vinyl, the two LPs are packaged in a deluxe old-style tip-on gatefold jacket fully replicating the original artwork and includes a download coupon for the first time!"