Electronic / Experimental

Alga Marghen/Formalibera present the first of a series of released documenting the work of Danish composer and multi-instrumentalist John Tchicai. This new LP features two previously unpublished recordings, "Beautiful United Harmony Happening" with Don Cherry and "Education Of An Amphibian" with Sahib Shihab. Tchicai returned to his native Denmark in July 1966 after spending a remarkable four years in New York City. In that short span, he helped redefine and expand the relationship between soloing, collective improvisation, and composition in small free jazz ensembles such as the New York Art Quartet, the New York Contemporary Five, and on albums such as New York Eye and Ear Control with Albert Ayler and John Coltrane's Ascension. It certainly counts as one of the most fertile periods in any artist's career. Yet when he returned to Europe, Tchicai turned his attention primarily (although not exclusively) to large ensemble music. The breakthroughs made in New York were not lost, but transferred to a large group context, opening up further avenues of exploration. "The Education of an Amphibian" by the John Tchicai Octet represents a first try at "Komponist Udøver Ensemble," or "Composing Improvisers Orchestra," an approach that further blurred boundaries between improvisation and composition. Recorded in October 1966, the piece presents Tchicai as composer and guiding presence; an organizer of sounds; and an explorer of a widening musical vocabulary drawn from contemporary classical and African influences. "Beautiful United Harmony Happening" is something different -- an opportunity to embrace new modes of interdisciplinary performance. From the beginning of his return to Denmark, Tchicai sought out not only musicians, but artists in all artforms and began to organize happenings. Although rarely noted, ideas linked to Fluxus, performance art, and happenings were a large influence of Tchicai's thinking at this time. All these related movements sought to blur or erase boundaries between media and set up juxtapositions between styles and artforms that disrupted received ideas of "high" and "low" art. Participation by non-artists introduced elements that challenged ideas about virtuosity and legitimate expression. Random elements were embraced, and non-Western music and concepts were welcome. This performance, heard here in an excerpt from the full two-hour performance, is very much in this vein. It is one of the last performances involving members of Cadentia Nova Danica, but they are only one component (and hardly the focus) of an ensemble that included a five-member chorus of disciples of the Swami Narayanananda (Tchicai lived at the yogi's ashram and had organized the choir himself), the Diane Black Dance Theatre, and trumpeter Don Cherry. Includes insert.

 

Joseijoi Banzai was released as an analog single disc only in Japan in 1973. It is now an ultra-rare disc that has become a premier item worldwide. It was one of the exhibits at the exhibition, and will be reissued again, this time only in Japan, and on white vinyl with a red label side, in a Japan-inspired format. The song is sung in Japanese in response to the “women's lib” movement in Japan at the time, appealing for women's liberation, assertion of women's rights, and improvement of women's status.

Squanderers are the glowingly new—2024 vintage—trio of guitarists Wendy Eisenberg and David Grubbs alongside multi-instrumentalist and legendary producer Kramer. The group sprung into action as the duo of Kramer and Grubbs with the single “Congress of Poodles” b/w “Lendrick Muir Bible Study Weekend,” part of Kramer’s 2023 Shimmy-Disc box set Rings of Saturn. Squanderers now enter the arena of live performance with the addition of bona-fide guitar slayer Eisenberg, a dream of a foil to Grubbs’s grubbslike guitarisms, setting the scene for Kramer to follow his musical divining rod. Divining urges not dirges. In Grubbs’s book-length poem, The Voice in the Headphones, “Squanderer” is the nickname that most deeply troubles of the book’s unnamed protagonist: “Hang your head, Squanderer. You’ll never darken the doorway of Studio A.” Will this trio of inveterate Squanderers redeem themselves?

Henry House is a recurring dream song. Combining closely tuned instruments and sinetones, tape-music editing techniques, field recordings, and voice, this eighty-minute, five-part song cycle is an evolutionary step away from the spontaneity of the free jazz/noise aesthetic usually found in the music of Nate Wooley. Henry House expands on the ecstatic, durational work found in Wooley’s Seven Storey Mountain, a six-part composition that has been premiered over the last ten years by an ensemble that now includes multiple drummers, guitarists, a twenty-one-person choir, and the composer on amplified trumpet. But its ritual is more serene, more natural, slower. Henry House is the first long-form piece that doesn’t feature Wooley’s trumpet. It is also the first to be constructed around his poetic writing. Wooley weaves a strange funeral mass for a fictional everyman from isolated phrases culled from essays, poems, and non-fiction written by Wendell Berry, John Berryman, Joseph Mitchell, and Reiner Stach. After organizing the fragments into a dream narrative, Wooley rewrote the text dozens of times, manipulating the stitched-together story until only glimpses of its sources remained. These texts become a slowly developing story of care and too much care in living. They are spoken by Mat Maneri and Megan Schubert and set amidst masses of instruments. The outer and middle movements explore the interactions between slowly shifting sine tone frequencies and massed, slightly detuned instruments—vibraphones, brass, pianos—to affect a warmly wobbling harmonic pad that undulates and revolves under Maneri’s performance of the text. The remaining movements move quickly, combining field recordings with hard cuts of Schubert’s singing voice constructed into a massive, tape-affected choir interspersed with her readings.

Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Musick To Play In The Dark.

Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowall. Although the creative process was admittedly “iterative” and “a bit of a drug blur,” the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: “This is moon musick / in the light of the moon.”

What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as inter-dimensional. Even within a catalog as eclectic as Coil's, Musick is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey.

The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral texture and high cathedral keys, like approaching the altar of some arcane temple. As the trance thickens Balance's voice rises, processed into an increasingly eerie, gaseous haze, but he resists these unseen forces, intent on delivering a final sermon: “Through hissy mists of history / the dreamer is still dreaming / the dreamer is still dreaming.”

Reissued for the first time in over 20 years, now on double vinyl LP with the complete, unedited versions of each song and an exclusive "D-side" vinyl art etching. Packaged in a sturdy matte jacket with embossed lettering and spot-gloss design elements. The compact disc version mirrors this design, and comes housed in thick tip-on "LP style" packaging. Both formats are completely remastered by engineer Josh Bonati with restored artwork and layout by Nathaniel Young - all under the project supervision of Drew McDowall and Thighpaulsandra. 
credits

Meditations bestseller! An encounter between an illusionary ambience that lets you experience an organic space and a classical house that shines deeply. The style is different, but the content is quiet, spatial, and artistic, and it is a universal content that is similar to Larry Heard's world view. It's a deep and radical masterpiece that silently tells us that house is an art and a noble message. A folded poster is attached to the PVC sleeve.

Actress marks an auspicious 20th year releasing music with a vinyl edition of his RA mix; a near hour-long collage or braque of some 100 unreleased cuts trawling his HD and traversing its depths of brisk 313 techno, silver haze synth noise and flashes of neo-classical beauty. Trailing ’Statik’ back in spring ’24, 'Дарен Дж. Каннінгем' is practically on par with the album for levels of engrossing and gritty noirish atmospheres, scattering a breadcrumb trail of puckered keys and teasing rave signals that go deep into the forest of his mind/sound at a strident pace that buckles into offbeats and practically stumbles, groggy and spangled to the close. As with all his work, an underlying, artful narrative thread ties it all together in an abstract storytelling style that has served him incredibly well thus far and continues to pique the imagination of listeners across the fields of hazed electronics and dance music who may not necessarily listen to one or the other style, yet can’t help but be snagged by his restless equilibrium of those vibes.

Ai Aso’s immaculately crafted form of minimalist pop music skirts the edges of tensity with the manner and with the skill of a tight rope walker, calmly balancing repeatedly at every step, with a combination of surety and the risk of a slip, a fall, and an unknown uncoiling of events. Aso's capacity to capture, or inspire, the tension and attention from within the listener and observer are quite pronounced. At Aso's concert the performance constantly teeters near the brink, a sharpened awareness in the hall emerges from all observing, with the will of that most delicate balance. On “The Faintest Hint” she brings a meta level to the proceedings, the dream of a singer in a bright sunlit room in the centre of the density of the society, simply and precisely searching for single ideas, single tones, a sense of sensuality and even a dream of a grandeur (rock dream) emerge. A stillness prevails, even a sharp set of instances of dreaming, melancholia, nostalgia… or even saudade. The album was recorded, mixed & mastered by Soichiro Nakamura at Peace Music between 2018-2020. Atsuo and I joined these sessions as producers, and moreso as catalysts, yet also became the skeleton of a band on the album (with the tender touch). The legendary Japanese rock band Boris accompany Aso on two pieces. A faintest hint of sharpness and la tendresse féroce quickly erodes into a fine brief cloud of the purest crystalline dust.

Thus far, Zach Saginaw's releases as Shigeto have been fragments, albeit singularly satisfying fragments--EP-length glimpses into the Brooklyn producer's creative psyche. After filling two EPs on Ghostly International, Shigeto's lush, sumptuous take on instrumental hip-hop has fully materialized. Full Circle, the artist's first full-length album, completes the journey begun with Shigeto's Semi-Circle EP, synthesizing the drummer/producer's signature themes of family, continuity, and musical boundary-pushing into a vibrant, fully unified artistic statement. The sounds on Full Circle come from four years of obsessive field recording and collaboration. Saginaw brought his Tascam mini-recorder with him everywhere, capturing the "glasses, chains, breathing, children, family meals, monks singing in cathedrals, walks in the south of France, and good friends offering their musical skill" that would all find homes in the record's compositional nooks and crannies. As a result of Saginaw's constant documentation, the songs on Full Circle play like chapters in an ongoing story--as in "Escape from the Incubator", whose initial rhythmic claustrophobia opens up into a boom-clap nocturnal chase, or "French Kiss Power Up", whose romantic digital strut gives way to discord and fragmentation as the waves of synthesizer give way to a shaky, neurotic coda. Full Circle is framed by the "Ann Arbor" diptych, a pair of beat suites named after Saginaw's hometown (one featuring a sample of Detroit MC SelfSays), all double-thick synths and triple-strength kick drums. Saginaw plays the majority of his rhythms by hand, and Full Circle's consistently deep pocket is the record's secret weapon, thumping and breathing like a living being. Having set the stage with Semi-Circle and What We Held On To EPs--twin treatises on Saginaw's Japanese grandmother's escape from a US internment camp--Shigeto is clearly ready to draw the tale to a close and take center stage. "This release represents the end of the beginning--or perhaps that there is no end and no beginning at all," says Saginaw. Regardless, Full Circle is the start of something great.

The first-ever official vinyl edition, completely remastered by Josh Bonati. The turn of the millennium ushered in an apex visionary phase for English esoteric duo Coil. Relocating from the city to the coastal quiet of Weston-super-Mare freed them to follow even more fringe obsessions, fully untethered from peer influence. During a single six-month stretch in 2000 they released the devious underworld sequel to Music To Play In The Dark, arcane drone summit Queens Of The Circulating Library, and a malevolent hour-long synthesizer exorcism prophetically titled Constant Shallowness Leads To Evil. This latter work remains one of the group’s most miasmic and mind-expanding creations, on par with Time Machines – a sustained divination of shuddering, psychoactive noise, rippling with the motion sickness of an all-seeing eye. Thighpaulsandra characterizes the album as “an exercise in brutality,” born from a thorny patch of his Serge modular unit that Peter “Sleazy” Christopherson found entrancing. Processing this sliver of electronics into a ravaged labyrinth was a trial and error process, aided by Christopherson’s visual sense of sound, stretching and manipulating it for maximum spatial disorientating. Frequencies nauseously crawl across the stereo field, burrowing into the ear like a sinister brainwashing experiment. An outlier / centerpiece is the 13-minute alien tribalist sea shanty, “I Am The Green Child,” guided by John Balance’s sung-spoken free verse concerning vengeance, oblivion, and insanity, culminating in the memorable refrain, “We're swimming in a sea of occidental vomit.” But the rest of the record seethes in unhinged instrumental chaos, divided into 18 micro-movements of a composition called “Tunnel Of Goats.” Intended to scramble the functionality of a CD player’s shuffle mode, the piece throbs, thrashes, and flatlines in compressed frenzies of twisted synthesis, at the threshold of some bottomless purgatory, forbidding and unknown.

After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter “Sleazy” Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group’s heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed “moon music” – post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group’s limitless insular synergy. Opener “Something” is stark and incantational, a spoken word experiment for windswept voids. “Tiny Golden Books” unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. “Ether” is an exercise in funeral procession piano and intoxicated wordplay (“It's either ether or the other”), while “Where Are You?” and “Batwings – A Liminal Hymn” lurk like liturgical murmurings heard on one’s death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination “Paranoid Inlay” captures the group’s oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. “It seems concussion suits you,” he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: “On a clear day I can see forever / that the underworld is my oyster.”

Limited to 200 copies on Yellow Pollen Color Vinyl. For the first time on vinyl, Masami Akita's 1998 masterpiece, Vibractance, originally released in France, this is one of the most unique and beautiful releases in the Merzbow library. It stands out as an analog dream of drone, noise, ambient music: a meditative journey on the psychedelic shores of experimental music.

Celebrating 20 years of one of the most brutally honest and experimental albums in the last 50 years. A true gem that is coming for the first time on vinyl as a double metallic gray colored LP. Newly remastered album by Masami Akita himself, this release includes 4 new tracks and new artwork revisiting the location of the famous Amlux tower 20 years in the future taken by the artist. This is limited to 300 copies Worldwide.

Every copy purchased through our Bandcamp will include a limited edition print of the artwork signed by the photographer Jose Moreno Rahn of one of the new artwork included in the 20th anniversary edition of the vinyl record.

Noise music emerged as a distinct genre in the late 20th century, influenced by various experimental movements, such as Futurism, Dadaism, and the Fluxus movement. Artists and musicians began to reject the traditional notions of music and sought to challenge the established norms and expectations of the medium. Merzbow is the moniker of Japanese artist Masami Akita inspired by dadaism and surrealism. Akita took the name for his project from German artist Kurt Schwitters's pre-war architectural assemblage The Cathedral of Erotic Misery or Merzbau. Working in his home, he quickly gained notoriety as a purveyor of a musical genre composed solely of pure, unadulterated noise. Embracing technology and the machine, first in an absolutely analog way and then welcoming digital innovation, Merzbow broke boundaries and pushed toward new territories of the extreme, arriving at a sonic space of uncontaminated, straight noise that, from its base in Tokyo, has continued, now for over 40 years, to set the pace for the entire genre of noise. During the mid-1990s, the Japanese artist went through his most prolific and inspired period of the analog era, releasing masterpieces such as Noisembryo, Venereology, Hybrid Noisebloom or Green Wheels. In that same period, one of his notable and iconic releases, Space Metalizer, released in 1997 under the Canadian label Alien8 Recordings on CD, stands as a testament to his ability to create immersive and mind-altering soundscapes. This album takes listeners on an otherworldly journey, fusing electro-psychedelic noise, EMS Synthesizer, filter and electronics with techno oriented resonance into a unique sonic experience. Opening with a surge of swirling noise and cosmic echoes, Space Metalizer pt.1 immediately establishes a sense of vastness and otherworldliness. Merzbow masterfully combines layers of distorted metallic sounds, oscillating frequencies, and disorienting textures, creating an immersive soundscape that feels like traversing the depths of the universe. The intensity builds gradually, capturing the listener's attention and propelling them into a sonic voyage. Closes the A-side of the first record of the vinyl reissue Mirage a sonic exploration of interstellar phenomena in non silent way. This track features a swirling combination of celestial textures, shimmering frequencies, and cosmic bursts of noise. The B-side, that include the bonus track Spaceout introduces a more pronounced metallic element, intertwining with the dense layers of noise, filtered with techno resonance. Merzbow's intricate use of metallic samples and distorted textures creates an industrial, almost mechanical, atmosphere with an interspatial rhythmic patterning. The tracks on second vinyl pulsates with a relentless energy, akin to the cosmic machinery of the universe. The cacophonous climax leaves a lasting impact, cementing Space Metalizer pt.2 as a standout moment on the album. Through a combination of cosmic atmospheres, metallic elements, the use of the EMS shynti, the Theremin and the filters, Merzbow takes listeners on a transcendent journey through the depths of space.

Merzbow stands as the most important artist in noise music. The moniker of Japanese artist Masami Akita was born in Tokyo in 1979. Inspired by dadaism and surrealism, Akita took the name for his project from German artist Kurt Schwitters's pre-war architectural assemblage The Cathedral of Erotic Misery or Merzbau. Working in his home, he quickly gained notoriety as a purveyor of a musical genre composed solely of pure, unadulterated noise. Embracing technology and the machine, first in an absolutely analog way and then welcoming digital innovation, Merzbow broke boundaries and pushed toward new territories of the extreme, arriving at a sonic space of uncontaminated, straight noise that, from its base in Tokyo, has continued, now for over 40 years, to set the pace for the entire genre of noise. When it comes to Japanese noise, few projects have pushed boundaries or risen to a more iconic status than Merzbow. Hybrid Noisebloom, originally issued by Vinyl Communications on CD in 1997, is the latest in this trilling bread crumb trail. It is also the first time that this seminal document from Merzbow’s '90s period has ever appeared on vinyl. Composed and performed on EMS and Moog Synthesizers, Theremin, Metal Devices, Noise Electronics, and Voice, all recorded at extreme volumes, Hybrid Noisebloom's five tracks present a fascinating sonic assault, heavily driven by the presence of electronic sounds, played against the sparse interjections of Akita’s heavily processed vocals, that push toward new territories of the extreme, while subtly nodding toward historical gestures from the early years of the avant-garde. A side opens with Plasma Birds comprising a series of banner that investigate timbral relationships, the fragmentation of melody, and abrasive, provocative noise - shifting from the sparse, airy, and restrained, to dance clusters of interplay and back again. Follows enclosed in just over ten minutes, Minotaurus, finding a strange middle ground between the intuitive logics of their instruments; synth and electronics taking on decidedly percussive approaches, while metal device’s fractured polyrhythms and beats often veer toward the presence of a notable tonality. B side is filled with a single long track, Mouse Of Superconcetion, formed by screeches and from swinging and chugging to stepped back and sparse combinations of rhythm and tone - moving from the lingering sensibilities of straight-ahead synth to radically out hard blow fire. Launching from a total wall of sound, C side track Neuro Electric Butterfly takes the listening on an endlessly surprising journey through its devices’ inner world, shifting between airy open passages that feature endless combinations of one or more effects, to furious moments of sonorous lashings where the sound falls in together in brilliant dialogical periods of conversant texture and psychedelic intervention. Closes The Imaginary Coversation Of Blue embedding bristling fragments, percolating tones, and poignant dissonances within a sweeping field of echoes rumbles and drones, taking sonic abstraction to startling heights. Despite its undeniable intensity, Hybrid Noisebloom is arguably one of Merzbow’s most accessible and engaging releases. Noise at its best - sophisticated and refined, more than twenty-five years after it first appeared, this album is long overdue for a return to the world, retaining every bit of potency and power as the day it was laid to tape. Never before available on vinyl, this beautiful pressing is issued as a deluxe double vinyl LP edition, limited to 299 copies. Needless to say, we can’t possibly recommend it enough.

Sound artist and filmmaker Joshua Bonnetta wants to know what happens when a human listener exits a landscape. How might the soundscape differ? How is our presence affecting the recording? His ambitious long-form work The Pines I-IV, released on February 28, 2025 via Shelter Press and The Dim Coast, looks to interrogate some of these questions, capturing the sonic life of a single pine tree in upstate New York over the course of a year via remote recordings, edited into four hours of audio which will be released as a 4CD set with essay by acclaimed nature writer Robert Macfarlane and a foreword by curator jake moore, who suggests the forest knows when it is being listened to. 

 

 

Macfarlane's luminous essay proposes that this project offers an answer to the question of whether a tree in a forest makes any sound at all if nobody is there to hear it. Bonnetta turns that question around - entangling it in the surrounding environment, to ask what sort of noise it and other plants and animals make when there is no human listener; asking what sounds come to the fore when we step out of the frame, and in what ways a microphone might alter the way we listen in the environment. 

 

 

A total of 8760 hours of audio were captured by a microphone strapped 10ft up a tree's trunk in Tioga County, which was then reworked into a single hour of sound for each season, each of which captured events in and around the tree's branches and immediate environment. We hear weather and wildlife; coyotes and owls; the creaking of branches under the weight of snow and ice - all act as a window into the sound of this place absent of humans; a time lapse of the audible world around the circumference of a single tree. The microphones used, and the methods of editing, are tech borrowed from conservation bioacoustics and passive acoustic monitoring, which offered Bonnetta a way to engage much more deeply than any standard field recording would. 

 

 

The Pines I-IV is not bombastic sonic work, but is subtle, often contemplative and sometimes soothing, as when rushes of rain sweep over the landscape, or a flock of geese pass overhead. It is not about exotic renderings of place or or mythically veiled field recording, but about accessing a new way of listening to something familiar, by removing a human presence and extending the listening window beyond usual human capacities. Bonnetta purposefully chose a site he already knew, and which he had easy access to, but which might show itself differently when captured with durational sound recording technology. "For over a decade I taught in Ithaca" he says "and spent a lot of time exploring southern central New York, but never made any projects there. We decided to relocate to Munich a couple years back and before I left I wanted to document the sounds of this environment that I spent so much time in and had come to love. This technology afforded me the opportunity to be able to keep a record across a year and when I started to listen back I was surprised with results and began to devise a system to edit the work. There are several great bioacoustics applications which can analyze and interpret the data but I wanted to manually browse and edit the materials so that I could collect sounds outside of what the applications might traditionally identify: mainly weather and the sounds of the tree itself. The Dim Coast saw the potential in the work as an installation and publication and helped me realize that there might be a project outside of it just being a personal document."

 

 

He returned every few weeks to collect and replace storage cards and batteries, editing lengthy audio files using a combination of listening and looking at the visualized audio spectrum. He spent time listening to re-familiarize himself with the soundscape and then scanned the visual data for 'events' in the files, a method of analysis more typically used by scientists mapping bird and wildlife

"Low-key R&B legend" Eddie Chacon returns with Lay Low, out January 31st. Having collaborated with John Carroll Kirby on his last two albums, Eddie Chacon teamed up with Nick Hakim to produce this new collection of songs of loving and letting go.

Tomoyoshi Date, a physician and musician known for his releases on prominent ambient labels such as 12K (US), LAAPS (France), and QuietDetails (UK), will release his piano trilogy, created between 2021 and 2024, on November 10 via Bandcamp in a limited edition of 150 cassettes.
This trilogy includes 438Hz, As it is, As you are, released by LAAPS and selected as one of Bandcamp’s Best Ambient albums in January 2023; Tata, composed for Silver Gelatin’s exhibit at Tata in Koenji, Tokyo; and Requiem, a piece dedicated in memory of a close friend who passed away too soon. All three albums are packaged in special jackets featuring found photographs curated by Silverわ Gelatin and are being released simultaneously.
Created with the theme of “objects and the passage of time,” this trilogy is characterised by elongated, repetitive piano motifs, microsound elements, and organic electronics, aiming to blur the line between rhythm and melody. Recently, Date has been working on a world-first program that auto-generates pure-intonation music (www.youtube.com/watch?v=O1BNEjMtL1o). This trilogy serves as a culmination of Date’s past compositions in equal temperament.

Tomoyoshi Date, a physician and musician known for his releases on prominent ambient labels such as 12K (US), LAAPS (France), and QuietDetails (UK), will release his piano trilogy, created between 2021 and 2024, on November 10 via Bandcamp in a limited edition of 150 cassettes.
This trilogy includes 438Hz, As it is, As you are, released by LAAPS and selected as one of Bandcamp’s Best Ambient albums in January 2023; Tata, composed for Silver Gelatin’s exhibit at Tata in Koenji, Tokyo; and Requiem, a piece dedicated in memory of a close friend who passed away too soon. All three albums are packaged in special jackets featuring found photographs curated by Silverわ Gelatin and are being released simultaneously.
Created with the theme of “objects and the passage of time,” this trilogy is characterised by elongated, repetitive piano motifs, microsound elements, and organic electronics, aiming to blur the line between rhythm and melody. Recently, Date has been working on a world-first program that auto-generates pure-intonation music (www.youtube.com/watch?v=O1BNEjMtL1o). This trilogy serves as a culmination of Date’s past compositions in equal temperament.

Tomoyoshi Date, a physician and musician known for his releases on prominent ambient labels such as 12K (US), LAAPS (France), and QuietDetails (UK), will release his piano trilogy, created between 2021 and 2024, on November 10 via Bandcamp in a limited edition of 150 cassettes.
This trilogy includes 438Hz, As it is, As you are, released by LAAPS and selected as one of Bandcamp’s Best Ambient albums in January 2023; Tata, composed for Silver Gelatin’s exhibit at Tata in Koenji, Tokyo; and Requiem, a piece dedicated in memory of a close friend who passed away too soon. All three albums are packaged in special jackets featuring found photographs curated by Silverわ Gelatin and are being released simultaneously.
Created with the theme of “objects and the passage of time,” this trilogy is characterised by elongated, repetitive piano motifs, microsound elements, and organic electronics, aiming to blur the line between rhythm and melody. Recently, Date has been working on a world-first program that auto-generates pure-intonation music (www.youtube.com/watch?v=O1BNEjMtL1o). This trilogy serves as a culmination of Date’s past compositions in equal temperament.

Limited 25 copies CD-R Signed.

Limited 25 copies CD-R Signed.

Merzbow's impact transcends the confines of traditional music, embodying an ethos of constant innovation and fearless exploration into uncharted realms of sound. Navigating through the annals of Merzbow's extensive career reveals an artist who, for over 40 years, has remained dedicated to reshaping our understanding of music and pushing the boundaries of sonic expression. We are thrilled to unveil the highly anticipated vinyl reissue of Merzbow's groundbreaking album Oersted. This album, originally released on CD in 1996, marked a significant milestone in the experimental noise music scene, showcasing the unparalleled sonic explorations of the legendary Masami Akita, known as Merzbow. Oersted is a sonic journey through realms of noise, texture, and intensity that have solidified Merzbow's status as a pioneer in the realm of noise music. The album features a collection of meticulously crafted tracks that push the boundaries of sound manipulation and composition, creating an immersive experience for listeners daring enough to delve into its sonic landscapes. The vinyl reissue, masterfully remastered for the first time by the esteemed James Plotkin, renowned for his unparalleled expertise, breathes fresh life and depth into the album's already rich and intricate sonic landscape, unveiling new detail within its reverberant dense tapestry and complex noise palette. Each track on Oersted is a aural sculpture, with layers of distorted frequencies, pulsating rhythms, and unexpected sonic artifacts that challenge conventional notions of music and sound. Features four untitled tracks originally on CD, each occupying an entire side of the vinyl, except for the track on side D, which shares the side with two bonus tracks. These tracks epitomize a profound and multifaceted sonic odyssey, harnessing various tapes and the raw power of analog instruments and tools such as EMS Synthia, metallic electronics, various filters, and processed audio mixer. Side A plunges the listener into a kaleidoscopic amalgamation of unrefined sound elements, steadily weaving together strata of intensity and textural richness that evolve dynamically over its duration. Side B embarks on a sonic expedition delving deep into mesmerizing rhythms and intricately woven soundscapes, crafting an immersive experience that challenges traditional notions of musical structure and form. Side C boldly pushes the frontiers of sound manipulation, employing dynamic tonal shifts and varying intensities to construct a visceral and immersive sonic landscape. Side D, in its initial segment, extends the sonic narrative into uncharted realms of noise and texture, maintaining a cohesive yet unpredictable sonic progression. The supplementary tracks in the latter part of Side D provide additional depth to Merzbow's sonic experimentation, showcasing distinctive sonic palettes and layers that harmonize with the album's overarching themes and exploratory essence. The original artwork for the 1996 CD digipack, curated by Masami Akita, stands out for its minimalism and visual impact. The pink outer cover, with only the artist's name and album title in silver-gray at the center, grabs attention with its bold simplicity, foreshadowing the sonic experience of the album. Inside, the green provides a pleasing contrast, with credits in silver-gray maintaining stylistic coherence. The vinyl reissue faithfully replicates the graphics with a gatefold cover, enhancing the visual impact of the original artwork. The blending of pink and green colors creates a striking visual effect, highlighting the beauty of simplicity in Akita's graphic design. Immerse yourself in the mesmerizing world of Merzbow's Oersted and experience the raw power and beauty of noise in its purest form.

The latest album by Melbourne, Australia-based experimental unit CS + Kreme, "The Butterfly Drinks The Tears Of The Tortoise", will be released on vinyl by the renowned London label, The Trilogy Tapes, run by Will Bankhead!