MUSIC

Official remastered edition of COIL's 1998 drone/ambient masterpiece. “4 Tones to facilitate travel through time.” So begins the listeners’ journey into what has become one of the most treasured and revered pieces of COIL history ever released. Each of the four pieces on Time Machines is named after the chemical compound of the hallucinogenic drug that they were composed for, and the album was meticulously crafted to enable what John Balance referred to as "temporal slips" in time and space, allowing both the artist and audience to figuratively "dissolve time". Inspired by long form ceremonial music of Tibet and other religions, where the intent is to lose oneself in the music – to meditate or achieve a trance state – Time Machines became Drew McDowall, John Balance, and Peter Christopherson’s “electronic punk-primitive” answer to this tribal concept. Starting as a rough demo tape recorded solely by Coil member Drew McDowall, Time Machines started to take full form when McDowall enthusiastically delivered these demo recordings to Balance and Christopherson as sketches for a new Coil project with the primary goal of shifting Coil’s sound further into a more conceptually abstract direction. Largely recorded in 1997 using single takes with minimal post production, these four drones contain every intended fluctuation and tone, along with every glitch of the original – “Artifacts generated by your listening environment are an intrinsic part of the experience.”

WRWTFWW Records is very happy to present a new collaborative album by Japanese ambient/environmental legend Takashi Kokubo (Ion Series) and Italian & Swiss trombonist Andrea Esperti (Esperti Project): MUSIC FOR A COSMIC GARDEN. Recorded during the heights of the pandemic and completed in February 2021, the splendid ethereal soundscape created by Kokubo and Esperti is available in limited double LP, digipack CD, as well as digital. Takashi KOKUBO is a Japanese environmental musician who produces healing music that gently resonates with people’s hearts. He has recorded “sound scenes from nature” in countries around the world using a binaural “CyberPhonic” microphone of his own invention, and incorporates these dimensional sounds of nature in his work. The founder of Studio Ion, he has released more than 20 albums that include the highly sought-after Ion Series. His track "A Dream Sails Out to Sea, Scene 3" was featured on Light in the Attic’s Grammy-nominated Kankyō Ongaku compilation. Andrea ESPERTI is a Swiss trombonist and composer originally from Puglia (Italy). He plays in multiple genres (classical, pop, world, electro, jazz) in an eternal approach of exchange and encounters. He travels the world, listening to others and interacting with their cultures, crystallizing his globe-trotting emotions through music projects. More info at andreaesperti.bandcamp.com For fans of environmental, ambient, cosmic escapes, meditative atmospherics, and gardening in space.

Dj Sprinkles’ debut full length album,continues with themes from 1998’s “Sloppy 42nds: A tribute to the 42nd Street transsexual clubs destroyed by Walt Disney’s buyout of Times Square” (a track recently featured on Ame’s “Coast2Coast” DJ mix compilation for NRK Records).

While the world celebrates the revial of New York House Music, constructing utopian fictions about the genre as it goes along, DJ Sprinkles retreats deep into the bowels of house. This is the rhythm of empty midtown dancefloors resonating with the difficulties of transgendered sex work, black market hormones, drug & alcohol addiction, racism, gender & sexual crises, unemployment, and censorship.

The title song of track1&2 is a real “strictly rhythm” house music. It’s a simple 4/4 beat with piano loop.maybe this is a real minimal house! Third track “Ball’r (madonna-free zone)” is a euphoric mid tempo house.this track reminds jan jelinek or larry heard.

Fourth track “Brenda’s $20 Dilemma” is a sequel of his fag jazz style.check the beautiful kuniyuki remix of this song(mule musiq 34). Fifth track “House Music Is Controllable Desire You Can Own” is a classic new york house style.if you like the record of jus-ed or that kind of artist,you like this song.

Sixth track “Sisters, I Don’t Know What This World Is Coming To” is a one of the highlight song on the album. Actually this track is not 4/4 beat house but very emotional powerfull music. Seventh track “Reverse Rotation” is a deep and madness beautiful song.When you listen this song,you associate the music of theo parrish or pepe bradock.

Eighth&nineth track are main songs of this album. “Grand Central, Pt. I (Deep Into the Bowel of House)” is associated the sound of jungle wonz or virgo. but this song is filled with somthing sadness.check the story about this album from terre,you will see…. http://www.comatonse.com/releases/midtown120blues.html This album is for a real house music lovers.

視聴-Midtown 120 Intro・ミッドタウン１２０イントロ
視聴-Midtown 120 Blues・ミッドタウン１２０ブルース
視聴-Reverse Rotation・後戻り
視聴-Grand Central, Pt. II (72 hrs. by Rail from Missouri)・グランドセントラル駅　パート２（列車でミズーリ州から72時間）

Comatonse.000 was the project name, EP title, and catalog number of Terre Thaemlitz' 1993 debut 12-inch featuring the NY Loft classic A-side "Raw Through a Straw," and the bass-heavy ambient B-side that captured the attention of producers like Bill Laswell and Mixmaster Morris, "Tranquilizer." This CD compiles all Comatonse.000 related releases to date, including that other Comatonse EP working the "Scorpio" break so important to the early Loft house scene, Social Material's, Class/Consciousness. This is the first time "Consciousness" has been made available in digital format. The disc also includes a previously unreleased demo version of "Tranquilizer" as a hidden bonus track. Self- released on Comatonse Recordings with custom packaging hand assembled by Terre herself, the package includes one CD in an archival vinyl pouch with one double-sided insert card (100mm x 100mm), phonograph style anti-static inner sleeve, and 4x4 panel poster insert printed on newsprint (472mm x 472mm).
視聴-comatonse.000 comatonse.000.r3(Excerpt 1)
視聴-comatonse.000 comatonse.000.r3(Excerpt 2)
視聴-comatonse.000 comatonse.000.r3(Excerpt 3)
視聴-comatonse.000 comatonse.000.r3(Excerpt 4)
視聴-comatonse.000 comatonse.000.r3(Excerpt 5)
視聴-comatonse.000 comatonse.000.r3(Excerpt 6)
視聴-comatonse.000 comatonse.000.r3(Excerpt 7)
視聴-comatonse.000 comatonse.000.r3(Excerpt 8)

Snowflakes & Dog Whistles: Best Electroacoustic Ambient & Sexpanic 1995-2017 is a double-CD compiling twenty-nine of Terre Thaemlitz' best electroacoustic ambient and computer music works produced between 1995 to 2017, including many special edits only available on this release. The majority of these tracks have been physically out of print for decades, and were originally released on a variety of labels including Mille Plateaux, Daisyworld Discs (Haruomi Hosono of YMO's private imprint), Instinct Ambient, Caipirinha Productions, and of course Thaemlitz' own Comatonse Recordings. The first disc, Snowflakes, focuses on tracks that are more conventionally ambient or perhaps even "pretty." Dog Whistles, the second disc, compiles tracks featuring a chaotic array of samples and sounds that are more overtly related to themes of gender- and sexual variance.
Thaemlitz frames the tracks with a new 9000 word essay spread across two large posters, providing a basic introduction to the underlying topics, ideas, contexts and histories behind electroacoustic ambient - both as a genre in the broader sense, and in specific relation to her own work. From the text:

Most of the questions posed over the years in these tracks remain in tension with contemporary mainstream views, including those coming from the LGBT establishment. In this way, one might say a thread running through my projects is that they remain "unlistenable" to most. Any potential critical use value of these tracks emerges from understanding how they are utterly symptomatic of a particular social system - even in their dissonance. Or, to be more precise, because of their dissonance.
Self-released on Comatonse Recordings with custom packaging hand assembled by Terre herself, the package includes two CDs in an archival vinyl pouch with two double-sided insert cards (100mm x 100mm), phonograph style anti-static inner sleeves, and two 4x4 panel poster insert printed on newsprint (472mm x 472mm).

Will Long returns to Comatonse Recordings with Acid Trax, a double album of minimal trax conjuring the best of the early days of Chicago acid house. While there has been a resurgence in acid house from the UK and Europe over the past few years, it is almost always of the hyped up and overproduced techno-rave style. Long responds by turning the tempo down to classic house vibes, and bringing things back to basics with a simple setup of rhythm composer percussion and 303 bassline. Drawing upon his decades of minimalist ambient production as Celer, and his sparse take on house music that debuted here on Comatonse in 2016 with Long Trax (look out for Long Trax 4 coming soon on Will's own label), the result is over two hours of queerly evolving trax that remind us of what the acid genre really had to offer. DJ Sprinkles also drops in as a guest collaborator with percussion edits on "Acid Trax S," and takes things further into deepness with remixes of "Acid Trax N" and "Acid Trax B."

視聴-Acid Trax N (All Alkalis are Bases but All Bases are not Alkalis) remix by DJ Sprinkles
視聴-Acid Trax B (Acid Dog) remix by DJ Sprinkles
視聴-Acid Trax A
視聴-Acid Trax H
視聴-Acid Trax S (w/DJ Sprinkles) 

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.

Resynthese FAVN is a ten-CD box set and publication presenting a new realization of Florian Hecker’s 2017 thirteen-channel installation of the same name. First exhibited at Kunsthalle Wien in the exhibition “Halluzination, Perspektive, Synthese,” and elaborating upon ideas first presented in the 2016 project FAVN, the ten works that comprise Resynthese FAVN present iterations of a synthetic timbre produced using machine-listening processes of analysis and further resynthesis —the sonification of a machine caught in the act of listening to itself. Accompanying the audio are three booklets containing three new essays offering critical and historical context for the work, developed in collaboration with the British publisher Urbanomic. FAVN and its resynthesis point back to Stéphane Mallarmé’s 1876 poem “L’Après-Midi d’un Faun,” and its subsequent musical and choreographic interpretations by Claude Debussy and Vaslav Nijinsky. A faun, straddling reverie and reality, recounts a sensuous meeting with several nymphs. It is unclear whether the experience was an illusion; asks the faun, “Did I love a dream?” Hecker, in turn, asks listeners to examine their own sensory perceptions. What forms do our human minds make out of the algorithmic timbres and synthetic voices that unspool across the versions of Resynthese FAVN? Sound drags, ascends, chirps, warps, and growls with manic irregularity. Definite but indescribable differences emerge across the ten 53-minute tracks. Language—occasionally emerging through a synthetic voice, sourced from a libretto written by Robin Mackay—proves unstable within the hallucinatory textures set loose by Hecker’s composition. As chimeric shapes materialize and fade away, one might further ask: are we listening for the faun, or do we become faun through listening? Across the three newly published essays, Quentin Meillassoux contextualizes the character of the faun in Mallarmé’s poem; Noé Soulier assesses the embodied translation of “L’Après-Midi d’un Faun” in Nijinsky’s 1912 ballet; and Han Han and Vincent Lostanlen consider the trajectory of timbre, from the enlightenment to our computational present. Florian Hecker is a German artist whose works across synthetic sound, installation, and performance consider sensory perception and the audience's auditory experience. He has collaborated with artists including Aphex Twin, Cerith Wyn Evans, Russell Haswell, Mark Leckey, and Yasunao Tone.

Human Remains follows Creatures of the Deep and Black Sarabande as the final installment of a trilogy of piano based recordings by Robert Haigh for Unseen Worlds. The trilogy marks the end of the late era of solo albums by Haigh before he steps away from music production. The title, Human Remains, was initially based on a painting of the same name by Haigh that is suggestive of an ancient structure resolute in the wake of overwhelming forces. As a metaphor for our current times, it could be interpreted as human frailty in the face of nature’s unyielding dominion. Conversely, it could represent the persistence of human spirit and resourcefulness in the midst of catastrophe and upheaval. The album opens with 'Beginner’s Mind' – a semi-improvised motif develops into an impressionistic refrain. This is followed by "Twilight Flowers" and "Waltz On Treated Wire" – intimate, monochrome piano portraits. Later tracks such as "Lost Albion" and "Signs Of Life" build on skeletal piano motifs with subtle electronic washes, textures and field sounds. The album ends with the elegiac "On Terminus Hill" where a stately piano refrain explores a series of sparse harmonic variations evoking a sense of closure.

Black Sarabande expands upon pianist-composer Robert Haigh’s beguiling debut for Unseen Worlds with a collection of intimate and evocative piano-led compositions.  Haigh was born and raised in the ‘pit village’ of Worsbrough in South Yorkshire, England. His father, as most of his friends’ fathers, was a miner, who worked at the local colliery.  Etched into Haigh’s work are formative memories of the early morning sounds of coal wagons being shunted on the tracks, distant trains passing, and walking rural paths skirting the barren industrial landscape

The album opens with the title track — a spacious, plaintive piano motif develops through a series of discordant variations before resolving. On ‘Stranger On The Lake,’ sweeping textures and found sounds lay the foundation for a two chord piano phrase evoking a sense of elegy. ‘Wire Horses’ is an atmospheric audio painting of open spaces and distant lights. ’Air Madeleine’ uses variations in tempo and dynamics to craft the most seductively melodic track on the album.  ‘Arc Of Crows’ improvises on a single major seventh chord, splintering droplets of notes as ghostly wisps of melodic sound slowly glide into view. ‘Ghosts Of Blacker Dyke’ is a melancholic evocation of Haigh’s roots in England’s industrial north — intermingling dissonant sounds of industry within a set of languid piano variations. ‘Progressive Music’  is constructed around a series of lightly dissonant arpeggiated piano chords which modulate through major and minor key changes before resolving at a wistful and enigmatic refrain. In ‘The Secret Life of Air’, a nocturnal, low piano line slowly weaves its way through the close-miked ambience of the room, nearly halting as each note is allowed to form and reverberate into a blur with the next. The ambitious ‘Painted Serpent’ calmly begins with drone-like pads and builds with the introduction of counterpoint piano lines and an orchestral collage of sound underpinned by a deliberate bass motif. ’Broken Symmetry’ and ‘Lady Lazarus’ highlight Haigh’s gift for blurring the line between dissonance and harmony - opaque piano portraits of moonlight and shadows glancingly evoke the impressionistic palettes of Harold Budd, Debussy and Satie.

A new album of piano driven ambient music from British composer Robert Haigh. Following in the path of his albums for the Japanese Siren label, Creatures of the Deep is an underground vantage of a meeting between the musical worlds of Harold Budd and Erik Satie. With a storied musical career that has ranged widely in style ― from his industrial-avant-garde works on Nurse With Wound’s United Diaries label as SEMA to his legendary ambient drum and bass records as Omni Trio on Moving Shadow ― Robert Haigh's work occupies a space between music and mystery. With Creatures of the Deep, Haigh is at the peak of his powers. Among noir, minimal, neo-classical landscapes are robust scatterings of bright reflection and a musical expression that is subtle and elusive yet uniquely Haigh’s in its voice and masterful execution. The closer we examine, the more is revealed, and the less is defined.

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.

Mapache presents the first solo album by Tim Bernardes, singer and composer of Brazilian band 0 Terno. A magical Chamber Pop album that can be totally explained with just a word. Beauty. Sao Paulo talented jack-of all trades, Tim Bernardes Recomegar shines exquisitely from head to toe. So, cut off the overheads, turn on a lamp or light a candle, perhaps some incense, and listen to it. Might we suggest starting with “Quis Mudar” a breathtaking folk song punctuated by crystalline eruptions of strings and horns. Bernardes’ voice is truly next level. – J. Steele, Aquarium Drunkard

“I think one of the most exciting things about the reintroduction of Horizon Unlimited is the fact that young folk love our music, and are surprised at the upbeat tempo, and the lyrics, which are not only of today, but also very futuristic as well. Horizon Unlimited was our last album with Decca that came out in 1979. It’s been a long time since then and this really is part of a much longer story, but amongst one of the most significant things I remember was that we, The Lijadu Sisters, paid for all the studio and band session fees. At the time, this was unusual, and not the arrangement we had with that record label. We were originally meant to record at Decca West Africa in Lagos, but when we got to the studio, no one had told us that it was being upgraded – from eight tracks to twenty-four. So, we brought everyone to London and made the album there instead.” –Yeye Taiwo Lijadu

Half asleep you hear a guitar echo through the early morning haze, you're so zonked you cant tell if its a dream or if the droney reverb is coming from real life, you sit up, now starting to understand what is afoot. Thats right, its the errant kings of slowcore Duster returning with yet another surprise release - In Dreams. Disintegrated, half remembered melodies permeate this record like a slow tide of static soaking into a discarded slice of sponge cake, proving somehow inventive and nostalgic at the same time, in other words Duster on top form.

THE PLAIN TRUTH=we drifted through it, arguing.every day a new war crime, every day a flower bloom.we sat down together and wrote it in one room,and then sat down in a different room, recording.NO TITLE= what gestures make sense while tiny bodies fall? what context? what broken melody?and then a tally and a date to mark a point on the line, the negative process, the growing pile.the sun setting above beds of ashwhile we sat together, arguing.the old world order barely pretended to care.this new century will be crueler still.war is coming.don’t give up.pick a side.hang on.love.

Rediscovered and compiled for release shortly before her death in November 2023, Further Selections from the Electric Harpsichord presents a never-before-heard recording of composer and artist Catherine Christer Hennix’s early magnum opus. Originally debuted in 1976 at the festival Brouwer’s Lattice at Stockholm’s Moderna Museet, The Electric Harpsichord has steadily mystified fans and students of Western minimalist music for its implacable, transformative qualities, and the long-held, relative obscurity of its creator. Like the work of Hennix’s close friend La Monte Young, the piece is set in just intonation and focuses on the transcendental potentials of precise tuning, inspired by their studies with Pandit Pran Nath. Composed of bursts of oscillating, synthetic tones using a carefully retuned synthesizer and a tape-based system for feedback delay, the sounds swirl, twinkle, and appear to bend time, space, and perception. Additional, sustained chords on the sheng, most likely played by her Deontic Miracle bandmate Hans Isgren, are present at the opening of the piece and reemerge towards the end of the recording.The release of Further Selections constitutes the most comprehensive original recording of this foundational work to date. Originally billed as The Well-Tuned Organ during its debut in Sweden, The Electric Harpsichord has developed a legendary reputation, predicated on a twenty-six minute fragment salvaged and circulated by Hennix’s friend Henry Flynt. Promoting its importance on multiple occasions, Flynt aired the work on WBAI radio, organized a pair of tape concerts at New York alternative arts spaces in 1970s, and later penned a 1998 essay which served as the liner notes to its eventual CD release in 2010. For him, this work not only represented a sterling milestone in minimal sonic aesthetics, but also spawned a new genre that he dubbed “hallucinogenic/ecstatic sound environments (HESE),” which in turn inspired his own drone-like compositions. Gradually, interest in the recording led to a spate of archival projects, public performances, and new compositions by Hennix in the 2010s, in turn drawing into focus her multifarious practice, which includes serious contributions towards mathematics, poetry, sculpture, Noh drama, philosophy, and light art. Since 2018, Blank Forms has spearheaded a comprehensive publication effort in support of her work, including the writing collection Poësy Matters and Other Matters (2018); archival recordings like Selected Early Keyboard Works (2018) and The Deontic Miracle’s Selections from 100 Models of Hegikan Roku (2019); and recent compositions such as Blues Alif Lam Mim (2021) and Solo for Tamburium (2023).

Volume 4 of Nine Studies of Ephemeral Resonance takes the listening experience introduced by its predecessors to new heights, pushing the boundaries of sonic experimentation even further. This volume features three intricately crafted tracks that explore a diverse range of tones and dynamic interactions, seamlessly weaving together the traditions of sound with cutting-edge artistic concepts. The immersive soundscapes invite listeners into rich auditory worlds where each hue, echo, and resonance engages them on both sensory and emotional levels. The innovative dynamics and rhythmic explorations create a captivating journey filled with unexpected twists and nuanced discoveries, honoring and expanding upon Japanese traditional musical roots.This limited edition is elegantly encased in a skillfully crafted birch box, with each hand-numbered copy enhancing ownership with a unique sense of value. Every detail has been meticulously considered to complement and elevate the listening experience, from the refined exterior finish to the thoughtfully arranged interior, ensuring a flawless presentation. The CD is housed in a mini-LP replica with an inner sleeve, further enhancing the aesthetic. Additionally, there are two inserts printed on 300g white Fedrigoni paper, adding to the overall luxurious feel of the package. Together, the auditory tracks and packaging create a multisensory work that is destined to linger in memory and enrich the archives of passionate collectors.

Volume 3 of "Nine Studies of Ephemeral Resonance" enhances the listening experience created by its predecessors by exploring new depths in sonic experimentation. This volume features three carefully crafted tracks that showcase a wider range of tonal richness and dynamic interplay. The intricate textures blend the history of sound with modern artistic ideas. As the soundscapes unfold, they invite listeners into vibrant auditory environments where each distinct hue, echo, and resonance encourages a sensory and emotional connection. The engaging dynamics and creative rhythms set the scene for a captivating journey filled with surprises and hidden gems, providing an experience that both respects and goes beyond traditional musical roots. This limited edition is elegantly encased in a skillfully crafted birch box, with each hand-numbered copy enhancing ownership with a unique sense of value. Every detail has been meticulously considered to complement and elevate the listening experience, from the refined exterior finish to the thoughtfully arranged interior, ensuring a flawless presentation. The CD is housed in a mini-LP replica with an inner sleeve, further enhancing the aesthetic. Additionally, there are two inserts printed on 300g white Fedrigoni paper, adding to the overall luxurious feel of the package. Together, the auditory tracks and packaging create a multisensory work that is destined to linger in memory and enrich the archives of passionate collectors.

Limited 25 copies CD-R Signed.

Limited 25 copies CD-R Signed.

'noisembryo' definitively presented here on cd with bonus disc noise matrix including unreleased material from the same sessions as noisembryo and counterpart 'hole' and selected recording from the time period.

absolutely can’t be missed for fans of this period of noise deity merzbow. the bonus disc alone makes this essential for any merzbow fanatic as well as new listeners. When people ask where to start with merzbow? this is the answer!

the holy grail, not only of merzbow’s obsessive discography, but of the entire 90’s noise movement. you’ve heard the stories surrounding the infamy of this release, but beyond that stands the depth and wild energy over two decades later that ‘noisembryo’ encapsulates. velocity loops, roving automotive bass and cacophonic drum machine gel together with the surprising inclusion of a sound rarely heard within merzbow’s many years...masami akita’s own voice. akita’s surrealism of the past stands prominently relevant to this day. art images from unseen classic paintings and collages of masami from the original ‘noisembryo’ session.

The original 'noisembryo' on disc one as well as the following tracks included on the 'noise matrix' bonus disc:

1. Noisembryo Extra 01
2. Noise Matrix Extra 01
3. Noise Matrix Extra 02
4. Noise Matrix Extra 03
5. Noise Matrix Extra 04
6. The Amazing Maya H
7. 94526

Track 1: taken from original DAT tape which including ‘noisembryo’ recording on 1994.
Track 2-5: taken from original DAT tape which including ‘noise matrix’ (in ‘hole’) on 1994.
Track 6: a track recorded on 1995 for releasing eskimo compilation.
Track 7: taken from original cassette tape which recorded on 1994 and remixed on 2019.

all music by masami akita
all remastered on 2020 at munemihouse, Tokyo

portion of proceeds go to animal rescue. 

20th Anniversary Repress! 
Merzbow's Merzbeat is one the most unique and legendary titles in the artist's vast archive. This 20th anniversary repress is being issued at the same time as CD reissue of his 1983 album Material Action 2 and a brand new collaboration with Arcane Device, all on Important Records....

Includes bonus track not available on vinyl reissue

25th anniversary reissue of MERZBOW's legendary Tauromachine, now remastered by James Plotkin and featuring unreleased bonus material!