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2023 results

Shinichi Atobe - Ship-Scope (12")DDS

¥3,769

Shinichi Atobe - Butterfly Effect (2LP)DDS

¥5,764

Bartosz Kruczyński - Dreams & Whispers (Solid Yellow Vinyl LP)Balmat

¥4,863

KiF Productions - Music To Watch Seeds Grow By 010: KiF PRODUCTIONS (Passiflora) (CS)Music to Watch Seeds Grow By

¥2,864

Chaos In The CBD - A Deeper Life (2LP)IN DUST WE TRUST

¥5,589

Over the past decade, Chaos In The CBD, the brotherly production duo of Louis and Ben Helliker-Hales, have captivated global audiences with their spectral, jazz-inflected deep house sound. With over 100 million streams worldwide, the New Zealand-born, London-based artists are set to release their highly anticipated debut album, A Deeper Life on May 9, 2025 via the label head’s very own In Dust We Trust imprint.

To celebrate the announcement, Chaos In The CBD have shared the atmospheric lead single ‘Love Language’, featuring fellow New Zealander Nathan Haines on Saxophone. It’s an undeniable standout moment on the album—moody, ethereal, and naturally soothing. Speaking on the track, Chaos In The CBD explains: “‘Love Language’ is a track that suits almost any setting, evoking the laid-back, easygoing rhythm of life in New Zealand. Perfect for a road trip to the beach or those magical moments at an after party when the sun reappears. Love Language feels like a reflection of the journey that brought it to life and we hope you enjoy it as much as we do.”

The 14 track LP marks a significant evolution in Chaos In The CBD’s artistic journey. Known for their signature sound epitomised by their breakout EP Midnight In Peckham on Rhythm Section, the duo’s debut album unites live instrumentation and vocal collaborations for the first time, fusing together key musical influences such as Ambient, Soulful house, R&B, Jazz & Balearic into a melting pot of an epic journey that will surely become a future classic. If Midnight In Peckham was the duo’s coming of age; then their debut album is Chaos In The CBD coming full circle. It features contributions from legendary figures such as Josh Milan of Blaze, Lee Pearson Jr., Stephanie Cooke and UK grime MC Novelist, among others.

Though they’ve been based in London for over a decade, Louis and Ben (aka Beans) have never stopped feeling at one with their homeland. A Deeper Life is nostalgic for their nature-filled youth, exploring the magical coastline and lush rainforest of New Zealand. “The title refers to our childhood, which was idyllic,” says Ben. “It was just the sun, the sand, the sea, waterfalls, birds and fish...” The result is an international dance sound that feels unmistakably like Chaos and ebbs and flows from the beach party to the club to the afterhours. “It’s laid-back but still driving at the same time; it’s club ready, but still deep,” Ben explains. It’s also distinctly Balearic: The brothers found a particular affinity with 90s Ibiza chillout music, being from such a “chill place” themselves. “In its own way, New Zealand is incredibly Balearic, but without the party side” says Ben.

The brothers hope that their debut evidences their deep appreciation of 90s house music, from David Morales’s Red Zone mixes and Kerri Chandler to DJ Sprinkles, Larry Heard and beyond. “We didn’t go to the school of hard knocks, we went to the school of Carl Cox,” they wrote in one of their typically hilarious posts on Instagram. But while they’ve built a meme-driven online personality for their social media accounts, their album shows a deeper side to them too. “We joke around but we want this album to be taken seriously,” says Louis. “It’s music from all around the globe, and there’s a deep meaning to how it flows and sticks together”.

For Chaos In The CBD, A Deeper Life is more than an album—it’s a celebration of their roots, their community, and their enduring bond as brothers. “This is a love letter to home and the feeling of being within nature,” says Louis. “It’s also an ode to a slower pace of life.” The album is an invitation to journey through their world: from the beaches of New Zealand to the heart of London’s dancefloors, and everywhere in between. A Deeper Life is set to be both a club-ready triumph and a reflective escape for listeners worldwide.

Chaos In The CBD - A Deeper Life (CD)IN DUST WE TRUST

¥3,134

Vincent Yuen Ruiz - Trio (LP)FELT

¥3,861

FELT survey Copenhagen's contemporary jazz scene with RMC graduate Vincent Yuen Ruiz’s intimate and strikingly minimal rendition of stifled percussion, spacious piano and precise double bass work, tipped FFO of The Necks x Talk Talk, naturally. Ruiz is a seasoned jazz player who's also nursed a parallel reputation as a post-rocker, formerly playing bass in Plaistow. And it's this knowledge of a world outside of jazz that gives 'Trio' its edge. It's not a post-rock record, by any means, but it's not pure jazz either - or at least, it doesn't sound as if it's confined by the aesthetic. The ensemble formed in 2019, but their last record together, 2021's 'Le seul salut que je connaisse', was recorded as a six-piece. Ruiz strips the sound to its bare bones on 'Trio', relying on unusual percussive sounds (provided by drummer Anders Vestergaard) to fill in some of the gaps. And although Rasmus Kjær takes a de facto lead roll on piano, it's the rhythm section, commanded by Ruiz on double bass, that makes 'Trio' so fascinating. There's an almost meditative sense of calm to opener 'Choral', with Vestergaard's bowed cymbal tones providing a neat bed for Kjær's Bach and Ravel-inspired flourishes. The tension is only released when Ruiz's soft bass enters the frame, played somewhere between improvisation and composition, minimalism and decelerated chamber jazz. Just as he slimmed down his ensemble, Ruiz slims down the pieces themselves, condensing and distilling his ideas so the record never gets busy, or outstays its welcome. Just head to the central piece 'Weaving', beautifully balancing its measured piano with Vestergaard's odd flurries of percussion that sometimes appear for just a second. We can hear post-rock - particularly the variety that Talk Talk perfected - but our brains are also directed into filling in the gaps. 'Trio' is an album that lives and dies on its pauses, focusing on decaying notes and echoing rhythms in all their quiet beauty.

Pub - Summer (Transparent Blue 12")Ampoule Records

¥3,446

memotone - Warm Shadows (LP)Accidental Meetings

¥4,724

細野晴臣 - Yours Sincerely (LP)ソニー・ミュージックジャパンインターナショナル

¥4,400

Haruomi Hosono, the pioneering Japanese musician, producer, composer, and founding member of Yellow Magic Orchestra and Happy End, has “found his voice in a late career renaissance," writes The Wire. His five-decade legacy continues to grow and attract new fans, and has been cited by an acclaimed list of artists, including Mac DeMarco, Cameron Winter, Ginger Root, Vampire Weekend, and Harry Styles. Shaped by mid-century American music, Hosono's work now reverberates back through a new generation of Western artists—a remarkable circular exchange.

Yours Sincerely, his 23rd studio album and first collection of new music in over seven years, finds Hosono ever-pushing his exploratory songcraft: “I am now 78 years old, but from here on, I feel a growing curiosity toward the unknown music that my new self will create, while also embracing the music of my former self—as if I now carry two musical worlds within me.” Across arrangements that span tender psych-folk and bubbling avant-pop, Hosono contemplates the concept of a maternal force that envelops the Earth, “humanity’s understanding of the unconditional love possessed by those who give us life,” he says. Songs tap into a collective current, engaging the “deeply buried instincts—maternal compassion and mercy, things we rarely engage with in our daily lives.”

The work represents an artistic and subconscious shift. Several tracks feature female vocalists, such as “Note of Mothership”, a group-chanted expression of childlike wonder, “To a Wild Rose”, which delights with oceanside hums and prose, and on the elegant, marching “Figlio Perdute.” “This was a completely new approach for me,” he adds.

The unofficial title track, “Sincerely”, frames the legend in his signature mode, strumming, singing, playfully pondering the answer to a simple question. How do you express the Japanese ideas of omoiyari (compassion), jihi (慈悲), or boseiai (母性愛) in English? Hosono explains, “I searched, but no word felt quite right. Each came close, yet carried a slightly different nuance…I turned to a more familiar word often used to close a letter: ‘Sincerely.’”

“It is in this spirit that I offer this album to you—sincerely, from the heart.”

Cocteau Twins And Harold Budd - The Moon and the Melodies (LP)4AD

¥4,558

The Moon and the Melodies is a singular record within the Cocteau Twins’ catalog—unusually ethereal, even by their standards, and largely instrumental, guided by the free-form improvisations of Harold Budd, an ambient pioneer who had drifted into their orbit as if by divine intervention. Building on the atmospheric bliss of Victorialand, released earlier the same year, it signaled a possible future for the trio, yet it was a path the Cocteau Twins would never take again. Now, 28 years after it was first released, it has been reissued for the first time—remastered, from the original tapes, by Robin Guthrie himself.

The album was never actually meant to happen; no one can even recall exactly how it came about in the first place. As both Guthrie and Simon Raymonde remember it, the independent television station Channel 4 approached 4AD about a film project pairing musicians from different genres. In interviews in the 1980s, however, Budd, who passed away in 2020, believed that his music publisher had linked him with the Cocteaus after the group had expressed interest in covering one of his songs. In any case, the film never happened. “But we’d spoken to Harold, and we were all quite excited about it—in a very sort of downbeat Cocteau Twins way, where we were rarely excited about anything,” Raymonde recalls. “We’re like, well, let’s carry on and do it anyway—you’ve already booked your flight, let’s just hang out in the studio and see what happens.”

“There was a lot of hilarity,” Guthrie says. “It was strange to have an older man in our life, because Liz and I saw everybody around us—the contemporary bands, the people running record labels, the journalists—as grownups. We were literally kids. I thought, ‘Oh Christ, he’s going to be some pompous, you know, into his classical music,’ and he wasn’t. He was just a big man-child. We clicked in that respect.”

The Cocteau Twins had recently built their own recording studio in North Acton, in West London. It was the first time they’d had their own space, and they relished their newfound freedom. “We were in this lovely little bubble of making our own music,” Raymonde says. Budd fit right into their bubble world; all four musicians got on immediately. Over pints at the pub, they talked about everything but music, and in the studio, Raymonde and Budd both say that very little, if anything, was discussed, save perhaps for questions of tempo or key.

“Harold would sit down at the piano and start playing something, and then maybe I’d pick up a bass and start playing along with him,” Raymonde says. “They were very much noodles rather than songs. That was the way we tended to work anyway. Work out what kind of mood are we feeling, get a drum beat going, just a two-bar pattern; Guthrie would plug his guitar in, I would plug my bass in, and then we’d just jam for a few minutes and go, ‘Yeah, that was cool, let’s carry on doing that thing or that thing,’ really casually, and then all of a sudden we’d have a song. I know that sounds ludicrous, but that is how we did it, and with Harold it was exactly the same.”

Budd played a Yamaha CP-70 electric grand, and the group came armed with a growing arsenal of gear, like the Yamaha Rev7 multi-effects processor and Lexicon PCM60, perhaps an Ensoniq Mirage. Guthrie used an EBow on his guitars, along with a Gizmo, an electromechanical device invented by Godley and Creme. Guthrie remembers endless experiments in search of new sounds: “Lots of messing around, tuning the guitar strings all the same, getting droney sorts of things—really big, loud, sort of Metallica-like feedback sounds, but then put in the mix so quietly you can hardly hear them the first time you listen. All these psychoacoustic sort of tricks that I liked. It’s all in there, you know. Just being fearless—if it didn’t work out, it was never going to be a record anyway.”

The musicians’ contrasting approaches ended up shaping the album’s somewhat curious format—four instrumentals in Budd’s meandering style, more tone poems than actual songs, and four more structured pieces with verses, choruses, drum machine, and, of course, Elizabeth Fraser’s inimitable singing, as bold and inspired as anywhere in the band’s catalog. There was no conscious decision to have Fraser only sing on four songs. “That’s just what came out of the sessions,” Guthrie says. “It was a lightweight atmosphere making it, because we didn’t actually feel that we were making a record at the time. We were trying out some stuff in the studio, and it just evolved into what it did. Which is, essentially, a recorded version of some people trying out some stuff in the studio.”

The sessions were over in two weeks, maybe three. “And that was already getting a bit long,” Guthrie says, “because some of our earlier records had taken just a couple of days.” They fleshed out the material, he adds, with one more song that the trio wrote in Budd’s absence, after they realized they didn’t have quite enough material for a full album. (“Was I that drunk?” Budd asked, upon hearing the final version of the album, which included a song he had no recollection of making.) As much as it may pain fans to hear it, there is no more extant material from the sessions—no outtakes, no rough drafts, no alternate versions. “For the 13 years I was in the band, we have no spare tracks at all,” Raymonde says. “If after an hour or two a track wasn’t coming together, we’d just get rid of it. If it wasn’t good now, our attitude was, it’ll never be any good. So we’d think, tomorrow’s another day—let’s go to the cinema and come back tomorrow, and see how it goes. Let’s go bowling.”

The other curious thing about the album—the fact that it was credited to all four players under their individual names—followed the same intuitive logic as everything else that went into the record. “It’s because it wasn’t a Cocteau Twins album,” Guthrie says. Raymonde concurs: “It was simple. All four of us have gone into the studio and done something, but it isn’t a Cocteau Twins album.” But perhaps the passage of time has changed matters. These days, on streaming services, you’ll find the album filed chronologically alongside the rest of the band’s work. “What’s interesting,” Guthrie adds, “is that I got the tape boxes from the studio, and guess what it says on it? ‘Cocteau Twins plus Harold Budd.’” Perhaps, he seems to suggest, the group got hung up on a detail that never really mattered. In any case, Raymonde says, “The more credit that Harold gets for the work he did, the more people that find his music because it’s in the Cocteau environment, the better.”

Despite all its quirks, The Moon and the Melodies has attracted a passionate fan base over the years. Its most atmospheric tracks routinely turn up in ambient DJ sets. 'Sea, Swallow Me' is one of the Cocteau Twins’ most streamed songs on Spotify, second only to Heaven or Las Vegas’ 'Cherry-coloured Funk'; it has also found new life on TikTok, where it serves as the soundtrack to innumerable expressions of hard-to-express melancholy. For such a low-key affair, the album casts a long shadow—but Raymonde believes the record’s uniqueness stems directly from its humble, unpremeditated origins. “It’s always about making something that’s pleasurable,” he says, “capturing a moment in time between friends that are enjoying making music together. Really, that’s the essence of it—the music was just a reflection of how nice a time we were having in the studio.”

宮下富実夫 Fumio Miyashita - White Morning (LP)Ambient Sans

¥6,341

On White Morning, Fumio Miyashita distils his healing‑ambient language into two near‑half‑hour reveries: soft synths and gentle acoustic colours held in a discovered stillness that treats music as a space for rest, focus and quiet presence. White Morning, recorded in 1989 at Biwa Studio, captures Fumio Miyashita at the point where his music becomes less a sequence of notes and more a sustained state of being. Active through the late 1980s and early 1990s as a composer, arranger and multi‑instrumentalist, Miyashita carved out a singular niche between healing music, environmental sound and meditative ambient. While many contemporaries busied themselves mapping forests, cities and weather systems in tone, Miyashita turned inward. His pieces were designed explicitly for the body as much as the ear: music for rest, focus, presence, created to support breathing, posture and attention rather than to decorate a room. White Morning distils that vision into its purest form. The album consists of two extended works, 目覚め (See The Light) and 朝の祈り (Morning Prayer), each close to twenty‑five minutes in length. Built from soft synthesizer layers and delicate acoustic textures, they move with a slowness that feels less composed than discovered, as if Miyashita had patiently tuned himself to a particular inner frequency and simply stayed there. Harmonic changes are subtle, almost subliminal; motifs appear and dissolve without insisting on themselves. This is music that refuses to impose – no sharp edges, no dramatic arcs, just a gentle continuity of tone that invites the listener to sink, breathe and notice. In 目覚め (See The Light), bright but gauzy synth overtones suggest the first wash of morning illumination, a cautious opening of the eyes. Underneath, quieter figures pulse with the regularity of a resting heartbeat. The piece doesn’t build toward a climax; instead, it slightly increases its luminosity over time, like a room gradually filling with daylight. 朝の祈り (Morning Prayer) feels even more interior. Here, acoustic colours – faint chimes, possible string or flute traces – thread through the electronic bed, offering points of focus within the ongoing drone. The atmosphere is devotional without belonging to a specific faith: a sense of quietly held intention, of gratitude or petition expressed in sustained tone rather than in words. Originally released on CD in 1991, White Morning circulated quietly among devotees of kankyo ongaku and Japanese new age, passed hand to hand and mentioned in hushed tones alongside favourites by Hiroshi Yoshimura, Satoshi Ashikawa or Klaus Wiese. Unlike many environmental records designed explicitly around place – gardens, galleries, corporate lobbies – Miyashita’s work seems to address the interior “room” of the listener: the nervous system, the breath, the mind’s tendency to wander. That inward focus gives White Morning a particular intimacy. Even at low volume, you sense it re‑tuning the background; at higher levels, it can feel like stepping into a bath of sound. For its third release, Ambient Sans turns to this quietly beloved cornerstone of Japanese ambient, finally bringing White Morning to vinyl after decades of digital and CD‑only existence. The format shift underscores the album’s status as more than functional audio. As a physical object – a record you handle, place on a turntable, flip between sides of dawn and prayer – it becomes a ritual artefact, a tool for framing time at the beginning of a day or at any moment when the listener needs to withdraw without closing off. Essential for anyone drawn to Yoshimura’s environmental lightness, Ashikawa’s meditative depth or Wiese’s healing drones, White Morning stands as one of Miyashita’s most resonant offerings: music that stays, gently, until you’re ready to carry its stillness back into the rest of your life.

Carl Craig & Moritz von Oswald - ReComposed (2LP)DEUTSCHE GRAMMOPHON

¥9,895

maya ongaku - Nothing Space Music (LP)Guruguru Brain

¥4,950

The Melting Hours (12")BEYOND SPACE AND TIME

¥3,019

Argento - Miraggi (LP)Music From Memory

¥4,735

LA MARR - Mood Programs – Extended Play (12")Music From Memory

¥3,989

V.A. - Virtual Dreams II - Ambient Explorations In The House & Techno Age, Japan 1993-1999 (2LP)Music From Memory

¥5,293

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

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

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

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

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

ML Buch -Skinned (LP)ANYINES

¥4,921

Dagmar Zuniga - In Filth Your Mystery Is Kingdom / Far Smile Peasant in Yellow Music (CS)AD 93

¥3,659

Comatonse.000 - Comatonse.000.R3 (CD)Comatonse Recordings

¥2,398

Terre Thaemlitz - Tranquilizer 30th Anniversary Restored & Expanded Edition 1994-2024 (2CD)Comatonse Recordings

¥2,948

Silly track titles that are mostly in-jokes with my little brother, a.k.a. DJ Denim. A cliché unfair record deal. A conspicuously missing title track. A pretentious looking poem in French about the stupidity of poets. A grid of pillows on the cover that the Japanese audience mistook for bags of heroin, resulting in myths about my being a heavy user. Super nineties Photoshop swirls. A graphic overlay of a UFO turning into an oyster shell that opens to reveal a mountain inside? Those are just a few of the embarrassing things I had to come to terms with when preparing this thirtieth anniversary restored and expanded edition of my first full-length album, Tranquilizer. Originally released in 1994 by the New York label Instinct Records, Tranquilizer is admittedly a bit of a shit-show. The album followed up on my 1993 self-released vinyl EP debut, Comatonse.000, featuring "Raw Through a Straw" on the A-side, and "Tranquilizer" on the B-side. I put out that EP mostly for the experience of pressing a record, with no expectation of people actually buying or listening to it. Lacking a distributor, I loaded up my backpack and lugged copies to all the local record shops, a few of which took some on consignment. As I later found out, most shops never pay for consignment sales, nor return unsold copies, so in the end I basically gave away most of them for free. Then, to my complete surprise, David Mancuso began regularly playing the A-side, transforming it into a Loft house classic. Equally surprising, the B-side caught the attention of ambient producers like Mixmaster Morris and Bill Laswell. Those random bits of buzz caught the attention of Tak Uchida, a US-based buyer for the Japanese vinyl distributor Cisco Music, which would remain the leading supporter of Comatonse Recordings vinyl releases until they went under in 2008. All of that was just enough hype to catch the attention of Instinct, which offered me a textbook fucked up two album record deal. Not wanting to be taken for a sucker, I came in for a contract negotiation meeting with my bona fide real McCoy idiot lawyer who didn't give me an ounce of good advice, the paperwork was signed, and Tranquilizer was underway to becoming a reality. Instinct's plan was simple: grab control of as many tracks as possible on the off chance I (or anyone else they signed) might be the next Moby, who was their cash cow. With typical music industry sleight of hand, the album's title track "Tranquilizer" was cut and released separately on a compilation, contractually requiring me to come up with additional tracks to fill the album. So that solves the mystery of the missing title track. The majority of tracks on this album were actually already done before signing with Instinct. I recorded them as a hobbyist between 1993 and 1994 using heavily edited Korg M1 and E-MU Vintage Keys synthesizers, and two Casio FZ-10M samplers. Despite the silly titles and hobbyist approach, there were social messages to be heard. Many of them stemmed from my longstanding interests in constructivism, industrial ambient records, disco, and queer subcultures. All of these put me at odds with the new age spiritualism and "zippy" techno-hippy raver hooey that dominated ambient music in the US. For example, the opening track "040468," which is the date of Martin Luther King Jr.'s assassination, features a recording of the police radio during the chase and escape of his assailant James Earl Ray. Recorded at a time when King's "I Have a Dream" speech was still being dubbed over house anthems ad nauseam, it was an antithetical choice pointing away from dreams toward hideous reality. As one would expect, all of this was lost on music journalists who - assuming nothing could be more than a simplistic projection of the musician's ego - usually mistook the title for my birthday. "Fat Chair" is a critique of the colonialist fantasies latent in most ethno-ambient music of the time. Rather than taking the listener on a soothing armchair journey to a third world paradise, it focuses on a recording from the Nigerian-Biafran war during the late 1960s, in which a Western journalist's meddling gets a Biafran hostage killed. "A City on Springs" takes its title from a line in a constructivist manifesto calling for the prioritization of engineering over art. While I have never shared constructivism's optimistic faith in humanity's ability to achieve social equality, be it through communism or other means, it did inspire my career long criticism of the social and economic functions of art and music. And "Hovering Glows" features a monologue from a Hal Hartley film about scratched records as a metaphor for abusive family ties. I had planned on including a text on these themes in the original CD booklet to Tranquilizer, but Instinct quickly made it clear that wasn't going to happen. They feared it would alienate their audience. In response, I wrote the "anonymous" little poem against poetics above. Initially in English, I asked my friend/day-job-co-worker/Comatonse-Recordings-label-mate Erik Dahl to translate it into French so that the staff at Instinct would be less likely to understand it. In the end, they included it as a graphic element adding a bit of romantic flair. Still, it left me feeling dissatisfied. Two years later I managed to insert more meaningful imagery into the design of my second-and-last album for them, Soil, but I still was not allowed to include any text. In this thirtieth anniversary edition, disc one depicts the full-length album as I had initially intended it to be released, restored to include the title track, "Tranquilizer." Due to CD time constraints, this meant removing "Meditation of the Mountain Oyster." I also replaced the ending track "Fina•Departure" with its longer, original version. For the completists out there, the 1994 album versions of both tracks appear in their entirety on disc two. Additionally, the second disc includes a rare vinyl mix of "Hovering Glows," featured on Instinct's Untitled Ltd. Edition Ambient Double Vinyl Pack (US: Instinct Records, 1994, EX-291-1). Another rarity is "Get In and Drive," which found limited release through the compilations Muting the Noise (DE: Innervisions, 2008, IV CD02), and Comp x Comp (JP: Comatonse Recordings, 2019, CxC). "20min. Epoch," "Fina," "Fina•Departure (Original Long Version)," and "Hovering Glows (Little Guy Mix)" all get their first proper hi-fi physical release here, having been included as hidden MP3 bonus tracks in my Dead Stock Archive: Complete Collected Works (JP: Comatonse Recordings, 2009, C.018). Considering how few copies of the Archive exist, they are sure to be new to most peoples' ears. Last (and perhaps least?), "Pome" and "Day Off" are previously unreleased. Oh, in case you were wondering, Little Guy was the name of my cat. He loved sitting like a loaf in front of my speakers to feel the 808-style bass hits in "Hovering Glows." - Terre Thaemlitz, 2024

Mats Erlandsson & Gus Loxbo - Minnets Långa Kedjor (CD)Xkatedral

¥2,299

アルバムについて Minnets Långa Kedjor by Mats Erlandsson & Gus Loxbo is an intimately crafted musical topos moving through landscape of free improvised music, electroacoustic drone and doom metal according to an inherent dream logic. Their collaboration takes its starting point in a long friendship and a common frame of reference shaped by their upbringing environment in Bergslagen, with the specific moods that a shared past geographical location can give rise to. Through associations and memories - geographical, poetic and imaginary - immediate musical impulses shaped by an interplay that has developed over 25 years were captured instantly. These impulses formed the foundational material for a process of transformation where the music has been amplified, obscured and refined through extensive studio work carried out by Mats Erlandsson in the electroacoustic music tradition using editing and audio transformations through digital processing and analogue tape work. As a composer, musician and sound artist, Mats Erlandsson is part of the vibrantly reemerging field of drone music in Stockholm, Sweden, and is associated with practices characterized by the extensive use of sustained sound. Erlandsson presents his work both as a solo artist and in various collaborations utilizing synthesized and recorded analog and digital sound, contaminated field-recordings and extensive tape processing. Gus Loxbo has had a long career in improvised music primarily as a double bass player both solo and with groups such as Pombo and Silence Blossoms. His solo debut album Trådknaster was recorded by Mats Erlandsson and released in 2021 to much acclaim. The album contained nine solo compositions for double bass with no overdubs presenting the abstract sound of Loxbo’s extended performance techniques and a stark highly amplified light. Mats Erlandsson and Gus Loxbo have been playing music together since before either one of them had any notion of the existence of experimental music, and their musical relationship was fundamental in helping each other transform and extend their respective ideas about what could constitute a valid musical expression. The album Minnets Långa Kedjor is their first recorded work presented in public.

Koen Holtkamp - Nightlife (CD)Western Vinyl

¥1,946

1 TOTAL 2 Composer and multi-instrumentalist Koen Holtkamp has spent more than two decades shaping a body of work at the intersection of ambient, experimental, and electroacoustic music. Known for his role in the influential duo Mountains, as well as a solo catalog defined by texture and spatial awareness, Holtkamp has long explored how sound interacts with environment and perception. With Nightlife, he enters a new phase of that inquiry, one shaped as much by physical relocation as artistic evolution.After leaving Brooklyn for the relatively rural setting of New York’s Hudson Valley, Holtkamp found himself immersed in nature and embracing a slower way of life, a shift that directly informed the album’s creation. Rather than rushing into a new project, he allowed the space itself to guide him, focusing on experimentation and play instead of a fixed outcome. Over time, a new instrument emerged from his modular system, built around physical modeling techniques that emulate plucked string sounds. Drawing on a deep affinity for acoustic traditions, from guitar soli to the kora and other chordophones, he began translating those influences into an electronic language, creating music that feels tangible, effusive, and even intimate, despite its synthetic nature.As the pieces took shape, Holtkamp expanded the project into a kind of imagined ensemble. Composed with specific collaborators in mind, the album features extensive contributions from drummer Greg Fox and saxophonist and flutist Matt Bauder, whose performances subtly reshape the material and draw it toward more fluid, song-like forms, alongside a guest appearance from Ben Vida on synth bass. Yet even as Nightlife occasionally resembles a band in motion, its construction resists traditional cohesion. Acoustic and electronic sources coexist to create a hyper-dimensional sense of space, with each element deliberately placed in its own distinct environment, yielding a complex yet inviting setting that feels both otherworldly and completely natural. Much of the album was created during late-night sessions, which became a kind of personal ritual and ultimately inspired its title. Nightlife unfolds as a series of finely detailed environments, where stillness, texture, and subtle interplay take precedence over momentum. Each piece invites close listening while remaining open and unforced, reflecting both a change in pace and a deepening of focus. The result extends Holtkamp’s ongoing interest in how sound can shape, and be shaped by, the spaces we inhabit.

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