Electronic / Experimental

Stroom hold a light to the delicious Belgy dirge “pop” of Adult Fantasies, sifting Nico-meets-Coil and Jonnine-esque gems from their run of late ‘80s/early ‘90s LPs for Antler and Sub Rosa. This label is all nostalgia for shit we never knew existed but which we feel like we’ve known intimately before - same thing we always say - a kind of unheimlich fuckry that's pretty much a genre all of its own by this point. If that’s too vague, give this a listen if you’ve ever found yourself bawling to Martin Gore’s cover of ‘Motherless Child’, Sylvian & Sakamoto’s 'Bamboo Houses' or Lena Platonos’ 'Bloody Shadows from Afar’. yeah. ‘Towers of Silence’ plays thru a dark dream of urbane ennui and poetic mood enhancers that have somehow escaped our attentions until now. Marbled with fine mycelium veins of lowkey audness that link back thru the label’s NSRD and Pablo’s Eye to Fred A and Hessel Veldman, the sound of Adult Fantasies is faithfully brooding and darkly sexy if you like that kind of thing, and all sequenced to perfection for a quietly oozing and woozy sensation of a record. Drawing songs from ‘8 Neo-Pathetic Scenes’ (1988), ‘For The Time Being’ (1989), and ‘The No-Sleeping Feeling’ (1994), the elegantly druggy vocals of Dirk Seghers blend with his keys and synths by Gerrit Valckanaers and guitars from Gerry Vergult in a late night dedicated style, all slowly paced and sculpted in-the-mix to exquisite degrees. We’re talking about treasures like the Coiled dirges of ‘Twilight’ and ‘Life In Transit’, or the icy minimalist elan of ‘Cage’, or the ideal opener ‘Under A Steelplate Sky’ recalling everything from The Velvets to Jonnine and CS + Kreme. Spot on, this.

Improvisation on Four Sequences was performed live in quadraphonic sound on the Buchla 200e and the Animoog at Festival Antigel in Geneva, Switzerland on January 25th, 2020. This record is specially encoded to be played back in quadraphonic sound and is also stereo compatible. This is the first release in 25 years on Suzanne Ciani's Atmospheric label, which focuses on her live electronic music. "I didn’t know at the time that concert touring would disappear and that a pandemic would suddenly end my live Buchla performance era that had had a resurgence in 2016. For those years, I flew around the world, toting my Buchla 200e in checked baggage and prayed that it would survive the trip: Melbourne, Tokyo, London, Santiago, New York and on and on until this year when the world changed. So now, I have the time to release some of these quadraphonic performances. It’s not entirely feasible to release a quad performance on vinyl --- I did it, with help ---the first quad vinyl release in at least 30 years, complete with enclosed hardware decoder. As a collector’s item, that’s fine, but I want to make the quad files available in a more practical way. This Geneva recording is my first release solely on my Atmospheric label. The piece is titled “Improvisation on Four Sequences” and those four sixteen-stage sequences have been the “raw material” of most of my Buchla concerts since the early 70’s. We’re making this performance available in several formats, including quadraphonic, 5.1, stereo and ambisonic.; all at 44.1 and 88.2. I hope you enjoy this immersive sound" - Suzanne Ciani

The highly anticipated third full length album from the much loved Australian band. Currents is the follow up to 2012's Lonerism. Kevin Parker, the musician behind Tame Impala, explained that Currents is about the process of personal transformation. He said, "It follows the progression of someone feeling like they are becoming something else. They're becoming the kind of person they thought they'd never become." The cover art for Currents was created by Kentucky-based artist and musician Robert Beatty. Parker has said Currents' designs are based on a diagram of vortex shedding he remembered while trying to visualize the album's themes. Includes the single 'Let It Happen'.

Originally released in 1994, this landmark debut album stands as a defining masterpiece that would come to embody the very essence of trip-hop, leaving an indelible mark on modern music history.

Baroque Sunburst is proud to present "Meliponica", the unique and unheard music of the interdisciplinary Brazilian artist João Machado, entirely created by electronically processing the recordings of stingless bees. Machado's work with field recordings of native bees form a sound library held in international collections such as the British Library and the Animal Sound Archive in Berlin, and his research into stingless bee communication has unfolded into experimental electronic music, finally finding its way on vinyl for the first time. Within its 40 minutes of never-stopping music, "Meliponica" reveals its unique sonic universe, flawlessly moving from complex percussive rhythms to melodies and soundscapes that seem to come as much from earth as from outer space. With an impressive ability to explore the potential of its original audio sources while pushing it to the limits, João Machado's idea of music never loses musicality and groove, even in its more intimate moments.

Moritz von Oswald, who has created a foundation for deep interaction between authentic Jamaican dub and Detroit-style classic techno through his collaborations with Mark Ernestus, dub techno legend =Basic Channel and Rhythm And Sound, is creating ambient techno. Moritz Von Oswald Trio, a legendary trio teamed up with Max Loderbauer of Sun Electric, the pioneer of , and Vladislav Delay, a master of avant-garde electronic music from Scandinavia and Finland. Stock up on the first album "Vertical Ascent" released in 2009 from London's prestigious !

In November 2022 world-renowned kora player Ballaké Sissoko and acclaimed guitarist Derek Gripper spend just three hours recording a wordless album together. The kora and guitar in the hands of masters - a session where New Ancient Strings meets One Night On Earth. “Musically we tested each other,” says Sissoko, explaining that the most magical aspect of their initial encounter was the spontaneity of the whole thing. “We have the mastery of our instruments, the technique and a good ear. Derek is very curious, that’s very important.” “He’s just such a good listener,” says Gripper about Sissoko. “It’s not what he plays, it’s how he plays it. He’s an amazing interpreter, the prime master of timbre.” “It’s a remarkable album,” says Lucy Duran, professor of Music at SOAS. “It’s the furthest away that Ballaké has gone from his own idiom and it’s brilliant – not world music, it’s in a totally different realm, entering new territory”

 

A historic meeting point between Ethio-jazz and ambient jazz. Born out of Bristol’s Bloom collective, the eight-piece Afro-jazz band Tezeta sees their 2016 debut album Seventh Place finally issued on vinyl via KLANG TONE RECORDS. Exotic Fender Rhodes lines recalling Hailu Mergia, the psychedelic shimmer of vibraphone and marimba, fiercely jazzy saxophone, and the driving force of contemporary Afrobeat converge into a sound that is both refined and full of fire. The 6/8 rhythms radiate the spirit of Ethio-jazz, while the group’s modern sense of crossover resonates with European ensembles such as Debre Damo Dining Orchestra and Langendorf United. A meditative Afro-jazz gem, and one to recommend also to fans of ambient jazz.

This is the first full-length album in two years from NY-based genius Madteo, who has released strong titles on prestigious labels such as DDS, Sähkö Recordings, and Hinge Finger. The album is the first full-length album in two years, and it is a collection of unorthodox sounds, dub-wise memories, sweat, and blood. This is a huge album that is sure to attract fans of Actress, Demdike Stare, and Theo Parrish!

"When we say feral we mean killable and ungrievable; an animal for whom violent deaths are a possible outcome; that can be culled by slow poison, trapped and left to knaw its own leg off; that is worthless unless domesticated. When we say feral we point to an ideology of extermination and control. When we say feral we mean resisting When we say feral we mean unapologetic."

“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.

Sensible Soccers return to 8mm Records with a remix EP that hands three standout tracks to a trio of cult producers. Tolouse Low Trax transforms ‘Efeito Zandinga’ into a hypnotic collision of afrobeat rhythms and stripped-back techno, while Danilo Plessow reworks ‘Saravá’ into a driving acid house cut that balances club energy with the warmth of the original. Peaking Lights close the record with a spacious reinterpretation of ‘Rosa Mota’, drawing out its dub and psychedelic elements into a drifting, cosmic finale. Together, the three remixes offer contrasting perspectives on Sensible Soccers’ sound, connecting psychedelic dub, afro-futurist rhythms and adventurous dance music.

'Skinned' is the debut album from Danish composer, producer and singer ML Buch. After releasing her debut EP Fleshy in 2017 ML Buch is ready with her first full-length album Skinned that takes her expansive guitar work and catchy melodies to another territory. With her unique experimental pop and vocals that seem to slide into your ears as fluorescent liquid, ML Buch portrays the reality of intimacy in a digital era. Working primarily with synthetic midi sounds, the general love of songwriting and guitar music is ever present. The album comes with an extensive visual side in the form of five music videos acting as tableaus that echo the encounter between screens and skin and how the senses wriggle, flutter and weave in and out of our online presence and intimate lives. As if in search for something real, ML Buch takes the listener on the other side of the skin. Led by tender love songs like I’m A Girl You Can Hold IRL and Can’t Get Over You With You we journey through her throat and into her intestines, discovering a fascinating realm of shiny mucus and bile in flesh and yellowish colors. Panoramic images were captured by a small pill camera travelling through the body of ML Buch and act as extentions of the architecture of the music. This literal way of internalizing modern technology is symbolic of Skinned where eclectic instrumental compositions share the space with strong hooks and ML Buch’s spherical voice.

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.

Somewhere between revelation and delusion, Euphoria Bound maps a familiar trajectory: the irresistible pull towards dissolution, the gradual erasure of memory, the self rendered irretrievable. It moves between states of consciousness where such distinctions of enlightenment or self-deception are erased.

Across ten tracks, the album constructs a spectrum of sound that is both ambitious and uncompromising.

The approach here is more direct than recent releases, with textures that accumulate and disintegrate with renewed urgency.

Masahiro Sugaya, a Grammy-nominated composer whose works have been featured in the Japanese ambient compilation "Kankyo Ongaku" by the US label "Light In The Attic," has received remarkable acclaim from overseas in recent years. The world's first reissue and first LP of the stage music "Sea Zoo" (1988), created for a stage performance by Papa Tarahumara, a performing arts group to which Sugaya belonged at the time!

Masahiro Sugaya has been active as a composer since the early 80's, studying under eminent composers such as Shigeaki Saegusa, Joji Yuasa, and Teizo Matsumura, and also worked as an arranger for NHK Educational TV's "Diary of a Junior High School Student" and for the guitar duo "Gonchichi". This album was produced for the stage performance "Sea Zoo" by the performing arts group "Papa Tarahumara," for which he has worked as a composer since 1987, and was released only in CD format at the time. This album was released only in CD format at the time, and its tracks were included in the Grammy-nominated Japanese new age/ambient compilation "Kankyo Ongaku" by the US label Light In The Attic, and the compilation "Horizon Vol. 1" was released by the US label Empire of Signs, which also reissues leading Japanese ambient artists such as Hiroshi Yoshimura and Inoyama Yamaland. Although there have been reissues of single tracks, this is the world's first reissue of an album, and the first release in LP format! The album includes "Grains of Sand from the Sea" (M2), which is a mixture of delicate piano and soft electronic sounds from "Kankyo Ongaku", and "To the End of the World" (M7), which is full of floating feeling with minimalist soft sequences from "Horizon Vol. 1", This is a historical masterpiece that evokes the essence of Japanese ambient music, which has been reevaluated worldwide in recent years!

The deluxe edition of Ministry's "Twitch" highlights their early industrial sound with tracks like "Just Like You" and "Over The Shoulder." It includes remixes and extended versions such as "All Day Remix" and "Over The Shoulder (12" Version)." This edition offers a deeper dive into the band's innovative and brooding style.

Released on November 14, 1989, Ministry's fourth album, "The Mind Is a Terrible Thing to Taste," blends Description: industrial metal with thrash and electronic elements. Notable tracks include "Thieves," "Burning Inside," "Never Believe," and "Cannibal Song." The album's aggressive, politically charged sound helped it reach number 163 on the Billboard 200.

Karen y Los Remedios’ new album Bestiaria expands the introspective world they established earlier, drawing on Mexican mythology, folk traditions, and feminine symbolism to shape a dense, narrative-driven form of electronic music.

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

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

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

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

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

2025 limited restock. Deep, deep, earth music from Tsutomu Ōhashi and the Geinoh Yamashirogumi crew. A macrosymphony composed for the International Garden and Greenery Exposition in Osaka, Japan, 1990, Ecophony Gaia, was supposed to be the stunning, aural centerpiece for a light and water performance system echoing the sentiment of the venue: "Harmonious Coexistence of Nature and Mankind". Ecophony Gaia was in its truest essence the final part of a trilogy that began with 1986's Ecophony Rinne, continued, in 1988, with their most-known work the soundtrack to Katsuhiro Otomo's dystopian, cyber-punk film Akira (released as Symphonic Suite Akira), and this release mere months later. Looking back one can break up these releases into a holy musical trinity: Ecophony Rinne = spirit, Symphonic Suite Akira = body, and Ecophony Gaia = Gaia/earth. Ecophony Gaia is Geinoh Yamashirogumi's most hopeful release. Rebirth, the hardest thing to capture in music, is something Ecophony Gaia expounds upon through sonics and feeling. You hear this in light echoes from Symphonic Suite Akira coursing through Ecophony Gaia, acting as symbols saying: "not everything from the past needs to be discarded, that certain things, when rethought of, hold a heavier power". The Japanese Noh music you heard trapezing through Akira's "Illusion" walks positively untethered in Ecophony Gaia's "Euphony", Indonesian gong chimes that hit darkly in Akira's "Tetsuo" transform Ecophony Gaia's "Catastrophe" into the light sublime, serene music that it is. What's left over are the songs that point to new directions. Those that derive their influence from things that aren't easily quantifiable. The introduction of field recordings to a warmer palette of sound makes Ecophony Gaia Geinoh Yamashirogumi's first roots album. Of course, these roots belong to worldlier kind of music. Rhythms that sound like water coursing downstream from brook to ocean, electronic layers that hum and cycle through, string instruments that hover like atmosphere, wind instruments that sound like air and breath, and the powerful sound of human voices presenting divinity through communal chant -- those all constitute the ecosystem of Ecophony Gaia. Things that you've heard/felt before, renewed in a different luster. When you hear the album, notice how there are two sides to its whole: "Chaos" ending in "Euphony", "Catastrophe" ending in "Gaia". It would be a disservice to describe the way it sounds, it's an album based on belief not premonition. All you'll find in Ecophony Gaia are movements. Hopeful movements. Needed movement.

Experiments In Psychoacoustics, Timbre & Minimalism: 2011-2021

Late Music and Disciples are pleased to present the first and second volumes in an archival series of selected electronic and acoustic works by Sarah Davachi, all previously unreleased in the vinyl format. Featuring (way) back catalogue material from various CDs, cassettes, and EPs; singles and original film scores; as well as miscellaneous live and studio recordings.

“Something for everyone”

'The Will of Tongues' is the new studio album by Sarah Davachi, and it is certainly her most ambitious to date, spanning over two hours of music across three LPs. The album features five new solo compositions for historical pipe organs (recorded across the USA, Canada, and the Netherlands), a suite of three choral pieces, a collection of “interludes” for various microtonal ensembles (strings, brass, woodwinds), and a longform chamber piece for string trio, organ, and tape. The latter two pieces were commissions from the Experimental Media and Performing Arts Center (EMPAC) in Troy, New York, while the choral work was commissioned by Louth Contemporary Music Society in Dundalk, Ireland.

In addition to Davachi performing on organ throughout, 'The Will of Tongues' also features an incredible group of musicians and ensembles from across the USA and Europe, including Whitney Johnson (viola), Eyvind Kang (viola), Lucy Railton (cello), Diapason (an experimental/microtonal brass ensemble based in Los Angeles, consisting of Nev Wendell, Nicholas Ginsburg, Mattie Barbier, and Mason Moy), Phaedrus (a Renaissance flute consort based in Switzerland, consisting of Liane Sadler, Charlotte Schneider, Mara Winter, and Luis Martinez Pueyo), and Chamber Choir Ireland (conducted by Nils Schweckendiek).

'The Will of Tongues' engages the numerous compositional concepts and methods that have preoccupied Davachi over the past decade especially – including iteration, tuning theory, textural and timbral variation, extended duration, vertical harmony, intervallic affect, and canonic structure, all rooted in the minimalist tradition from which she operates – but with a more pointed and intentional touch than in previous forms. Across its thirteen tracks, ideas hocket from one ensemble or instrument to the next, slowly shifting in balance over the course of what is unmistakably a demanding length.

As a combined body of work, however, the music on this album seeks to articulate a deep reverence for the act of listening, and for the awareness that such listening can serve as a kind of imaginative negative space; one that critically promotes confrontation and creation rather than escape. This collection of music is not easy listening, and it’s not meant to be – when long durations and a reduction of materials are at play, the ear and the mind are forced to truly face the reality of sound itself and the significant mental spaces that it continually gives rise to, which can carry deep wells of meaning if the listener is willing to journey there. 'The Will of Tongues' is thus a celebration of iterative listening and of extreme engagement, of intimate aural experience and its vast psychic horizons.

Nothing expresses us beyond death, and I sometimes cried out: “that is how the will of tongues is made!”