MUSIC

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

the second album released in 2007, which won one of the biggest accolades as ‘the most important piece of electronic music of the century’, is reissued on 2LP (140g black vinyl).

La Düsseldorf's debut album, formed by Klaus Dinger after the dissolution of NEU!, sublimated the experimental nature of Krautrock into a pop sensibility.

The tracks "La Düsseldorf," "Silver Cloud," and "Time" create a hypnotic and celebratory atmosphere through their repetitive motorik beat and shimmering synthesizers. The album is marked by the energetic vocals of Klaus Dinger and a sense of openness within its minimal structure.

Transcending the boundaries of German rock, this work radiates a genre-crossing appeal, where an art-rock perspective fuses with a DIY spirit. It stands as a symbol of Krautrock's evolution, continuing to shine brightly with a freshness that influenced later new wave and techno music.

In the final month of 2024, Meitei arrived in Beppu, a city long steeped in vapor, myth, and mineral memory. Invited to create onsen ambient music commemorating Beppu’s 100th anniversary, he immersed himself in the city’s geothermal psychogeography, where sound rises from the ground and time clings to mist.

Known for his Lost Japan (Shitsu-nihon) works, which channel forgotten eras into flickering auditory relics, Meitei took residence in the warehouse of Yamada Bessou, a century-old inn perched by the bay. Over two weeks, he listened intently to steam, to stone, to the atmosphere itself. The resulting work, Sen’nyū, traces the inner spirit of onsen culture. Like water finding its path, the music emerged with quiet inevitability, shaped by Meitei’s synesthetic sensibility and deep attunement to place.

Equipped with a microphone, he wandered Beppu’s sacred sites: Takegawara Onsen, Bouzu Jigoku, Hebin-yu, and the private baths of Yamada Bessou. There, he captured the breath of the springs, bubbling mud, hissing vents, wind against bamboo, and the murmurs of daily visitors. These field recordings became the sonic bedrock of Sen’nyū, an act of deep listening that attempts to render even the rising mist and shifting heat into sound.

Unfolding as a single, continuous piece, Sen’nyū drifts like fog through sulfur and stone. It traverses the veiled madness of Bouzu Jigoku, the spectral resonance of Yamada Bessou’s inner bath, and the hushed voices of Takegawara Onsen. It is a gesture of quiet reverence, for water’s patience, the land’s memory, and the hands that have bathed here for generations.

Where Meitei’s earlier works conveyed his personal impression of a fading Japan, Sen’nyū is grounded in tactile presence, music not imagined but encountered. Here, his practice moves closer to the spirit of kankyō ongaku, environmental music born from place, shaped by it, and inseparable from it.

As part of the project, Meitei conceived a two-day public sound installation inside Takegawara Onsen, culminating in a live performance. Bathers soaked in mineral-rich waters while submerged in sound, an embodied ritual of place, body, and listening.

Sen’nyū marks Meitei’s first full-length work centered entirely on onsen and opens a new chapter of his Lost Japan project under the expanded title 失日本百景 (One Hundred Lost Views of Japan), a series exploring extant sites of longing still quietly breathing within contemporary life. The album will be accompanied by Meitei’s first photo book, a visual document of his time in Beppu. A new layer is added to the world he has, until now, built only through sound.

Sen’nyū continues Meitei’s devotion to Japan as subject, while opening new terrain: both ritual and remembrance, an immersion into the mineral soul of Beppu.

In the final month of 2024, Meitei arrived in Beppu, a city long steeped in vapor, myth, and mineral memory. Invited to create onsen ambient music commemorating Beppu’s 100th anniversary, he immersed himself in the city’s geothermal psychogeography, where sound rises from the ground and time clings to mist.

Known for his Lost Japan (Shitsu-nihon) works, which channel forgotten eras into flickering auditory relics, Meitei took residence in the warehouse of Yamada Bessou, a century-old inn perched by the bay. Over two weeks, he listened intently to steam, to stone, to the atmosphere itself. The resulting work, Sen’nyū, traces the inner spirit of onsen culture. Like water finding its path, the music emerged with quiet inevitability, shaped by Meitei’s synesthetic sensibility and deep attunement to place.

Equipped with a microphone, he wandered Beppu’s sacred sites: Takegawara Onsen, Bouzu Jigoku, Hebin-yu, and the private baths of Yamada Bessou. There, he captured the breath of the springs, bubbling mud, hissing vents, wind against bamboo, and the murmurs of daily visitors. These field recordings became the sonic bedrock of Sen’nyū, an act of deep listening that attempts to render even the rising mist and shifting heat into sound.

Unfolding as a single, continuous piece, Sen’nyū drifts like fog through sulfur and stone. It traverses the veiled madness of Bouzu Jigoku, the spectral resonance of Yamada Bessou’s inner bath, and the hushed voices of Takegawara Onsen. It is a gesture of quiet reverence, for water’s patience, the land’s memory, and the hands that have bathed here for generations.

Where Meitei’s earlier works conveyed his personal impression of a fading Japan, Sen’nyū is grounded in tactile presence, music not imagined but encountered. Here, his practice moves closer to the spirit of kankyō ongaku, environmental music born from place, shaped by it, and inseparable from it.

As part of the project, Meitei conceived a two-day public sound installation inside Takegawara Onsen, culminating in a live performance. Bathers soaked in mineral-rich waters while submerged in sound, an embodied ritual of place, body, and listening.

Sen’nyū marks Meitei’s first full-length work centered entirely on onsen and opens a new chapter of his Lost Japan project under the expanded title 失日本百景 (One Hundred Lost Views of Japan), a series exploring extant sites of longing still quietly breathing within contemporary life. The album will be accompanied by Meitei’s first photo book, a visual document of his time in Beppu. A new layer is added to the world he has, until now, built only through sound.

Sen’nyū continues Meitei’s devotion to Japan as subject, while opening new terrain: both ritual and remembrance, an immersion into the mineral soul of Beppu.

Meitei’s 2020 album 'Kofū' was the bold bookend to an expedition, where sounds were first navigated and then subverted in 2018’s 'Kwaidan' and 2019’s 'Komachi'.

All three albums were Meitei’s attempt at immersive storytelling, reimagining moments of Japanese history he felt were being washed away – not least by the unforgiving sands of time – through wistful compositions that stretched across ambient music, hauntology, and musique concrete.

When it came to finalizing 'Kofū', Meitei found he was left with over 60 fully realized tracks, bursting with ideas that fired in divergent, curious directions. Meitei was content with the 13 tracks he had selected. But when it came time to begin his next album, he found that it had been sitting in front of him all along. He realized his work wasn’t over yet.

Meitei sounds right at home celebrating the past he first reimagined in his previous work. The merriment is palpable in its first two tracks of 'Kofū II' – a loop of cheery whistling amidst the clanking of wood leads into strings, cricket sounds and flutes, all united in bustling harmony.

'Happyaku-yachō' is where it comes into focus. Pitch-shifted vocal samples roam around in the crowded sonic field. “My image of this music is that it expresses the vibrant mood of Edo's merchant culture,” says Meitei, “where old Japanese dwellings were densely packed together in a vast expanse of land.” The affair becomes bittersweet as the track leads into the desolate 'Kaworu', a compositional piece lifted from his 'Komachi' sessions – a final requiem to his late grandmother.

The album is bursting with spectral vignettes of wandering samurais, red lanterns, ninjas, puppet theatres, poets, even a vengeful assassin ('Shurayuki hime', known to Western audiences as ‘Lady Snowblood’).

'Saryō' is as elegant and refined as you would expect. It induces stillness in its repetition, with each synth note a brushstroke. It was inspired by a Sengoku-era tea house he once visited, designed by national icon Sen no Rikyū. Meitei tied it to the reaction he felt while poring over the ink paintings in his grandmother’s house. “The decayed earthen walls and faded tatami mats gave me an emotional impression,” he says. “And the cosmic flow of time drifting in the small room. I decided to put my impression of this into music.”

In 'Akira Kurosawa', an appropriately thunderous track, Meitei finds deep resonance in his vast filmography, which drew equally from Japan’s rich heritage and troubled circumstances post-WWII.

'Kofū II' is not a leftovers album, nor is it a straightforward companion piece. In this album, Meitei has his biggest reckoning with the Japanese identity yet. Over the years, he has attempted to peel back what he believes has defined Japan and its people. After seeking answers with three full-length albums, his fourth poses more questions.

If his first three albums inspired a sense of longing – or, perhaps inevitably, fed an irreparable nostalgia doomed to history – 'Kofū II' compels us to reassess our relationship with the past. By constantly looking back, are we ever afforded a clearer present? After capturing the “lost Japanese mood”, where does that leave its country in the modern world? Meitei offers no immediate answers with 'Kofū II'. It forces you to sit with its disparate moods, to meditate amidst the textured fragments.

'Kofū II' will be released on 180g LP, CD and digital format on December 10, 2021 (LP expected to land January 28, 2022) via KITCHEN. LABEL. Both LP and CD format are presented in a debossed sleeve with obi strip and include a 16-page insert with words in Japanese and English from Meitei, printed on premium paper stock with design by KITCHEN. LABEL founder Ricks Ang, and is mastered by Chihei Hatakeyama in Tokyo, Japan. 

The original cassette, which was limited to 100 copies, has been bootlegged many times, and the occasional original sold on the marketplace for no less than 100,000 yen (and once sold for over 1,000,000 yen). It is an extraordinary album that has made the dizzying world of vaporwave, the birth of a new concept, known to the world at large. This piece is a different kind of viewing experience, as if you are wandering in a different space where several time frames intersect. Ambient, new age, beat music, industrial, funk, experimental, and other unidentifiable sounds are all interspersed throughout the album. From the unique slow-motion voice that is screwed up to the raging sampling collage and the heavy beats that burst one after another, this is the ultimate in burrowing sensation!

This record brings together four original works commissioned for the exhibition Afrosonica – Soundscapes, presented at the MEG (Museum of Ethnography in Geneva) in 2025. Blending sound art with reflections on the democratization of museum collections, this recording project explores connections: between past and present, between archives and living practices, between sonic materials, collective imaginaries, and diasporic trajectories.

The artists — KMRU, Midori Takada, Yara Mekawei, and Ntshepe Tsekere Bopape (Mo Laudi) — reactivate objects, voices, and gestures. Through listening to their creations, they weave links between buried memories and contemporary realities, between spiritualities, struggles, identity reinventions, and the poetry of sound.

This record brings together four original works commissioned for the exhibition Afrosonica – Soundscapes, presented at the MEG (Museum of Ethnography in Geneva) in 2025. Blending sound art with reflections on the democratization of museum collections, this recording project explores connections: between past and present, between archives and living practices, between sonic materials, collective imaginaries, and diasporic trajectories.

The artists — KMRU, Midori Takada, Yara Mekawei, and Ntshepe Tsekere Bopape (Mo Laudi) — reactivate objects, voices, and gestures. Through listening to their creations, they weave links between buried memories and contemporary realities, between spiritualities, struggles, identity reinventions, and the poetry of sound.

German synth pop and proto-techno pioneers were already global by the time they played live at Muziekcentrum Vredenburg, Utrecht, on December 10 in 1981. This recording of that now lands on vinyl and captures the pioneering electronic quartet at the height of their innovation and delivering a pristine FM broadcast of live magic. Every pulsing synth and metronomic beat, each vocodered vocal and sleek rhythm is rendered with crystalline clarity that shines a light on the mechanical precision and hypnotic groove that defined the era. From the robotic elegance of early classics like 'Computer World' to the expansive, futuristic textures of 'Autobahn', this recording showcases Kraftwerk's unparalleled ability to translate studio innovation to the stage.

Featuring two tracks from the previous year’s Autobahn including an epic sidelong rendition of the title cut this 1975 live set from Koeln is one of the finest of the legendary Kraftwerk group’s career. Rounded out by “Ruckzuck”, the first track from the very first Kraftwerk record from 1970, this beautiful set of brilliant motorik jams is crucial for any fan of krautrock and the work of Ralf and Florian.

Marionette presents Mélodies pour Clairons, the debut album by multidisciplinary artist Ioa Beduneau. Based in the South of France, Ioa’s world is rooted in creation - building intricate self-playing installations and handmade DIY electronics. His practice is driven by a desire to connect, challenge, and open up dialogues around disability and other social constructs. Proudly identifying as a disabled artist who is attuned to how our bodies interact with the world, Ioa brings a fresh and inimitable perspective to electronic and electroacoustic music.

On Mélodies pour Clairons, Ioa contemplates lifeforms using modular synths, channeling principles of physical modeling and bioacoustics. Ideas begin on paper and evolve into sound, forming an abstract yet intentional sonic ecosystem. Clairons refers both to a musical instrument and to a loved one with whom this music was shared, serving as a kind of sound diary during the stillness of the pandemic. The movement of air, pressure, resonance, and the physical properties of the clairon (a medieval trumpet) are reimagined and manipulated on this album, resulting in impressionistic and deeply moving compositions with poetic sensibility. Organic ASMR tones, synthesized bird calls, and pirouetting melodies of pipes and bells score an imaginary biodome where chaos and harmony coexist. Striking and singular, these works embody the kind of boundary-pushing music that defines Marionette.

"Special thanks to my parents, my brother Saty, and Clairon for their unconditional support. And to Jean Love for the music research we used to share. " - Ioa Bedunea

The long-awaited LP reissue of the insane masterpiece "My Hometown is Far Away Like a Story," which was produced by poet Taeko Tomioka and the young Ryuichi Sakamoto, and made a name for itself in music history! The cover by Nobuyoshi Araki, also known as Araki, is a must-have!

The poet Tomioka Taeko's insane masterpiece "Monogatarinoyouni Furusatohatoi" (originally released on CD by Victor in 1977 and P-Vine in 2005) is finally coming to light on a limited edition analog LP! It's too avant-garde and fantastical to be called psychedelic. A masterpiece of insanity that will drive the vestibular canals of all who listen to it crazy!
The music was produced by a young Ryuichi Sakamoto, and the cover was photographed by Nobuyoshi Araki, also known as Araki.

Underwater Electronic Orchestra is a captivating blend of electronic experimentation and avant-garde aesthetics. Labat’s intricate compositions, characterized by layered synth textures and unconventional rhythms, create a sonic landscape that is both immersive and thought-provoking. Released in 1976, the album challenges traditional musical boundaries, offering listeners a glimpse into Labat’s innovative approach to electronic music.

For the very first time on vinyl, Jah Wobble's 1997 extraordinary descent into downtempo and world beat science. Released on his now-defunct 30 Hertz label, »The Light Programme« showcased an excellent cast of musicians. On board are historical Can drummer Jaki Liebezeit – with more of his African-induced rhythms – multi-instrumentalist - and The Wire contributor - Clive Bell, conga player Neville Murray, guitar and synth player Mark Ferda and the exceptional harpist Zi-Lan Liao. If you enjoyed »My Life In the Bush Of Ghosts« you’ll fall in love with »The Light Programme.«

The strength of the Akira soundtrack lies in its unique blend of traditional Japanese instruments and futuristic electronic sounds. Shoji Yamashiro weaves together an eclectic mix of influences, creating a sonic landscape that mirrors the dystopian and cyberpunk themes of the movie. The use of traditional chants, taiko drums, and Shakuhachi flutes alongside electronic synthesizers and orchestral elements generates a hauntingly mesmerizing atmosphere that perfectly complements the visuals on screen. The composer also drew from the chants of Noh, traditional Japanese theater. Combined with polyrhythmic drum machine beats and synths tuned to gamelan microtonal scales, these styles give a sense of ritualistic tension to the dystopian world of Akira.

A very welcomed reissue for this rare Jackie Mittoo album, originally released in 1979 on unknown label, Rite Sound inc. The original release was sold without a jacket, adding a mysterious vibe to the whole thing. The dubby effects-intensive sound of the album extends from "Russian Satelite" to the whole side A, with "Harder Than The Rest," "Stepping Tiger," and "World Of Love" being an excellent triptych of note. The thrill of Jackie's crazy keyboards intertwining with the floating dub sound like a heavenly space is beyond description. Space is the place.

Lucrecia Dalt’s A Danger to Ourselves is a fearless reflection on the unfiltered complexities of human connection. Following up her breakthrough 2022 album ¡Ay!, A Danger to Ourselves unravels like a deeply personal conversation; Dalt’s voice is foregrounded and formidable, supported by a lush array of acoustic orchestration and processing, collaged percussive patterns, and an esteemed cast of collaborators including David Sylvian, who co-produced the album with Dalt, Juana Molina, Alex Lazaro, and Camille Mandoki.

Personal Computer Music, 1997-2022 is the culmination of Chapter Music’s ongoing reissue series for Jeremy Dower.

"Reclusive Melbourne electronic figure Jeremy Dower announces a quarter century-spanning compilation of previously unreleased music, split into halves to showcase his unpronounceable 90s ambient techno project Tetrphnm, as well as the wistful faux-jazz recordings made subsequently under his own name.

Inspired at first by austere German techno such as Monolake and Mouse on Mars, Jeremy’s sound world grew to take in influences as various as The Sea and Cake, Joao Gilberto, Jaki Liebezeit and Alain Goraguer. But Jeremy worked through these touchstones all alone on the other side of the world, improvising systems of “subtractive composition” via cheap 90s sound cards, 12 bit samplers and banked noise gates. His music evolved in a parallel but separate world to genres later called IDM or Microhouse, but really it sounds like nothing but Jeremy Dower – magically inventive, touching and personal. Efficient Space comped a Tetrphnm track on their much-loved 2018 compilation of 90s Australian electronica 3AM Spares. But Personal Computer Music, 1997-2022 is your first chance to explore Jeremy Dower’s compelling musical history with the depth it deserves."

A highly collectable compilation first released as a double-CD by Mule Musiq in 2013, now updated and expanded to a triple-CD set of 21 remixes clocking in at almost 4 hours. Self-released on Sprinkles' own Comatonse Recordings, Queerifications & Ruins: Collected Remixes by DJ Sprinkles Expanded Edition compiles the bulk of DJ Sprinkles' third-party remix work produced between 2006 and 2017. Discs 1 and 2 are essentially identical to the first edition, featuring reworks of tracks by Leftroom boss Matt Tolfrey, Japanese producer Kuniyuki, Chicago producer Area, Ojo De Apolo founder Jorge C., and French DJ Hardrock Striker. Disc 3 adds long sought after remixes of Scissor & Thread boss Francis Harris, UK media sweetheart Simon Fisher Turner, regular Comatonse collaborator Will Long, the late US composer John Cage, and even "that" remix of The Mole everyone bitched about not being on the original compilation despite it not even existing yet. Unfortunately, one of our audio producer friends couldn't join us this time around, so the opening two tracks on Disc 1 have been "demixed" into new DJ Sprinkles tracks exclusive to this compilation, "Empty Dancefloor" and "Lost Dancefloor." (Okay, track 1 sounds the same as before because it consisted of only Sprinkles' parts to begin with, but track 2 brings in some changes.) All copies are hand assembled by Sprinkles herself, with the packaging including three CDs in an archival vinyl pouch, a double-sided insert card (100mm x 100mm), phonograph style anti-static inner sleeves, and a 4x4 panel poster insert printed on newsprint (472mm x 472mm) featuring Emi Winter's painting, "Lady."

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)

A CD compiling all of K-S.H.E's 12-inch and one-off releases to date beyond the 2006 debut album Routes not Roots (one of the few albums to ever receive a full 5-star rating from Resident Advisor, and precursor to DJ Sprinkles' Midtown 120 Blues). This is the first time for many of these tracks to be available in digital format. Includes K-S.H.E's previously unreleased original version of "Reverse Rotation," which was later dramatically re-tempo'ed and re-worked for release on DJ Sprinkles' album. 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-k-s.h.e spirits, lose your hold(Excerpt 1)
視聴-k-s.h.e spirits, lose your hold(Excerpt 2)
視聴-k-s.h.e spirits, lose your hold(Excerpt 3)
視聴-k-s.h.e spirits, lose your hold(Excerpt 4)
視聴-k-s.h.e spirits, lose your hold(Excerpt 5)
視聴-k-s.h.e spirits, lose your hold(Excerpt 6)
視聴-k-s.h.e spirits, lose your hold(Excerpt 7)

A double-CD set compiling all of DJ Sprinkles & Mark Fell's collaborative 12-inches on the first disc, combined with a second disc filled with ten previously unreleased outtakes from the Complete Spiral EP sessions. As the album title suggests, listeners get an "incomplete insight" into the mixing and editing methods of these two very different electronic audio producers united by their histories with, and love of, classic deep house. (Track tip: out of this entire set, DJ Sprinkles' personal favorite for mixing on the dancefloor is "Incomplete Spiral 4.") 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 sleeve, and 4x4 panel poster insert printed on newsprint (472mm x 472mm).
視聴-dj sprinkles & mark fell incomplete insight (2012-2015)(Excerpt 1)
視聴-dj sprinkles & mark fell incomplete insight (2012-2015)(Excerpt 2)
視聴-dj sprinkles & mark fell incomplete insight (2012-2015)(Excerpt 3)
視聴-dj sprinkles & mark fell incomplete insight (2012-2015)(Excerpt 4)