MUSIC

01.Skylark on 303 / Masaaki Kikuchi
02.The Acid Coming / ACIDWHITEHOUSE
03.Sevnwn / Yuri Suzuki
04.Got Drunk / CHERRYBOY FUNCTION
05.Freq Out / Sigh Society
06.Screaming Bassline (distortional addict) / AcidGelge
07.GROTTO / QUEER NATIONS
08.Cut the Midrange Drop the Acieeed Bass / MUTRON
09.BOWWOW / ACID TAMIYA 346
10.Victim Kid / kuknacke
11.Do It / NASCA CAR

The Wire's critically acclaimed 1999 album is now available on LP and CD for the 21st year. His 1999 work, praised by The Wire, has been reissued on LP and CD for the 21st year. It is an ink painting-like sound work created with his own voice and found sound loops, weaving dry sounds. New mastering by Giuseppe Ielasi.

The Wire's critically acclaimed 1999 album is now available on LP and CD for the 21st year. His 1999 work, praised by The Wire, has been reissued on LP and CD for the 21st year. It is an ink painting-like sound work created with his own voice and found sound loops, weaving dry sounds. New mastering by Giuseppe Ielasi.

Milestone Reissue! The three discs collected here - housed in a lavish cardboard boxet (+ Includes a 116 page booklet in French and English with biographical notes, essays and program notes for each work, and a 52 page booklet with photographs) - cover the bulk of Pierre Schaeffer's concrète works, beginning with his pre-tape days when he composed using multiple turntables mixing sound effects recordings direct to lathe. The earliest recordings here were created in 1948 during Schaeffer's days as radio engineer for Radiodiffusion Française and are built from sounds ranging from locomotives and whirligigs to pots, pans, piano, and percussion. Each of those collages eventually made their way onto the air. His Suite pour 14 instruments is an amalgam of orchestral sounds rendered far beyond their original context. Where these early works clearly function as experiments for Schaeffer, once Pierre Henry joins in as his assistant, the music takes on both a playfulness and a refinement of detail that eventually became landmarks of the French approach to musique concrète. The processes became increasingly laborious, and those who once flocked to Schaeffer's studio to work in this new medium became disillusioned by the demand and patience that the work required.

The decision to assemble a boxed set titled Luc Ferrari, l’œuvre électronique [Luc Ferrari, Electronic Works], defining the word electronic in the widest sense possible, meant bringing together an essential part of the composer’s work: tape music without any classical instruments.
From Étude aux accidents (1958) to Arythmiques (2003), the 31 works in this compilation will help the listener to discover all the facets of his art based on “captured” sounds. He tried and tested all the different techniques of studio work: brilliantly elaborated electroacoustic works, radiophonic story-telling or Hörspiele, which he particularly relished, or other semi-improvised works.
This editorial choice is not a way of drawing a hierarchy between on the one hand so-called mixed music (with instruments), which he excelled at, and on the other hand the type of music published here, which only includes recorded sounds. On the contrary, what we aimed to do was to show the strong links he drew between natural sounds and the way he scored them. On this subject, Pierre Schaeffer often talked of the necessary balance between sounds and musicality. The power of recorded sounds alone (voices, landscapes, strange sounds, everyday scenes, etc.) without formal mastery is not enough to hold the listener’s attention for long.
From that point of view, each work of Ferrari’s is a discrete lesson in music. Ferrari was always very lucid when he claimed that a composer was a little like a “journalist” who, through his compositions, witnessed the state of the world while at the same time creating a work of art.
This is another aspect of this edition: as we listen and in filigree, half a century unfolds before us. A committed artist bears witness to technological progress, political awareness, reports and crucial encounters. More than an essential compilation, this boxed set reflects the personality of a diverse, inventive and extraordinarily musical man.

Daniel Teruggi / David Jisse, 2008

The French electronic composer Bernard Parmegiani, one of the most important figures of the French music research group [INA-GRM] founded by Pierre Scheffer, has influenced Aphex Twin, Autechre and Keith Fullerton Whitman. In 2008, to celebrate GRM's 50th anniversary, compiled with 12-CD collection of electronic music works that became very popular and is now hard to find. Winner of the President of the Republic Award at the French ACC Disc Awards(!) A 92-page booklet (in both English and French) is included. This is a must-have for all fans of electronic and experimental music.

DJ Plead drops a killer 2nd LP with ‘Please’ for Oslo’s Smalltown Supersound, pursuing a 2020 debut for our lockdown series - ‘Relentless Trills’ on Documenting Sound - with a finer balance of Arabic dancehall swivel and spatio-textural tactility - big RIYL DJ Python, Lenky, Taymour, Muslimgauze. For over a decade Jarred Beeler aka DJ Plead has drawn on his heritage in a unique catalogue of productions splicing microtonal flutes and keys wth dancehall and techno rhythms for the likes of Livity Sound, AD 93, and Air Max 97’s Decisions. With ‘Please’ he picks up where his debut LP ‘Relentless Trills’ left off in 2020 on our Editions series, taking the long form canvas as an ideal place for him to ease off the club gas and open out his ideas with a heightened sensuality and romantic pathos which works a treat on swaying bodies as much as rested minds. Four years since that last solo shot, the ‘Quick EP’ for Livity Sound in ’22, and a plethora of collabs with TSVI, DJ Python, rRoxymore a.o., Plead emerges amid fellow auteurs - Actress, Barker, Jamal Moss - on Oslo’s long-running Smalltown Supersound with increased confidence in his own sound. It’s palpable in his sparing strokes of melody and unhurried pacing, coupled with a tender feel for weightless structures that are just as happy to shrug off the beats and get lost in their own thoughts as he gently grips the hips for an eyes-down shuffle. The mah-ragga-nat single ‘Ride TV’ is a perfect example of his rudely atmospheric tekkerz, and about as hard as it gets, while the rest really gives it up in lushest, hair-kissing style. His feel for richly humid, evocative ambience colours it front to back, from the seductive licks of ‘Return to Deuce’ thru the flamenco trills of ‘Traffic’, taking it to cinematic levels on the floating pads of ‘Seven Eight, Too Late’ and the Vangelisian plumes of ‘Open Era’, to aerial cat’s cradle of flutes and subs to ‘Sush’ and hand-played drums of ‘Right-on Time.’

been thinking bout confession, the third studio album by the Brooklyn-based musician and performer Frances Chang, is a synth- tinged experimental pop excavation of the self and the vast unknown depths it contains. Largely written on a hundred-year-old baby grand piano and recorded between Frances Chang’s home in Sunset Park, Brooklyn and the Maspeth, Queens studio of her longtime collaborator Andréa Schiavelli (co-producer), the album situates the unbridled emotion of Chang’s DIY roots within a complex and poetic sonic landscape that interweaves orchestral arrangements with idiosyncratic electronic and analog interventions.

Perhaps the most interesting PAN in a minute; ‘Lila’ is the label debut from Paris-based Algerian Mohamed Bourouissa, best known as a visual artist but now offering a glimpse into his musical practice for the first time, blending highly unusual ambient pulses with autotuned, low-lit vocals, recorded on the fly using a keyboard, mixer, microphone and effects. It runs like some lost 1980’s private press, tipped FFO early Yves Tumor, Yungwebster, Space Afrika, AYYA, Future, Kareem Lotfy. Bourouissa’s first solo album finds the 48 year old artist capturing the permeable membrane between Paris' various communities through a dream diary of hazed ambient reflections, cloud rap inversions and bass-heavy club malfunctions. It follows his work over decades incorporating music as a phantom thread of his practice in photography, sculpture, and video, and perfectly conveys a sense of longing and melancholy central to Arabic classical and pop songs mediated via an electronic hypermodernism . The album is an intimate, sometimes unsettling experience, aptly described as “hypnagogic” by PAN, as heard in its tendency to dreamlike slowness and the layered haze of FX and xenharmonic chords that shroud and wreath his melismatic woes. The dozen tracks play out through autotuned vocal plumes familiar from work by Ayshay, Rainy Miller or Future, crossed with the type of deep blooz oozing from that superb Taymour x Bareetlblad turn on the diy label earlier this year. Each track taps a different pole into the album's landscape, one beatless, and one filled with machinegun toms and explosive snares. The beatless tracks are peculiarly stirring and the heavier, noisier moments somehow vanish into the same aether. Bourouissa peppers the album with wild twists and turns, hitting a dark alley on the anxiety-inducing 'NMB' and descending corrugated steps to a members-only basement on 'MN'. The relief comes with the title track, a collaboration with Fanigliulo (aka Mushy) that's a tender, hopeful moment - a clouded love song that injects some hope into the darkness.

Carl Stone continues his late career prolific renaissance with a new album of sculpted, tuneful MAX/MSP fantasias. Stone “plays” his source material the way Terry Riley’s In C “plays” an ensemble – with a loose, freewheeling charm connected to the ancient human impulse to make sound, melody, and rhythm from anything. Stone’s unique technique simultaneously focuses and sprays sound like a symphony of uncapped fire hydrants. Is this techno, avant-garde, sound art? It’s simply (or rather fantastically messily) Carl Stone.

Over the past several years, the recorded output of Carl Stone has been turned on its head. In previous decades, Stone perennially toured new work but kept a harboring gulf of time between the live performances and their recorded release. This not only reflected the careful consideration of the pieces and technical innovations that went into the music but also the largely academic-minded audience that was themselves invested in the history and context of the work. The time span of Stone's recorded output in both sheer musical duration and year range was generously expansive. Following multiple historical overviews of Stone's work on Unseen Worlds and a re-connection with a wider audience, the time between Stone's new work in concert and on record has grown shorter and shorter until there is now almost no distance at all. Stone's work has often at its core explored new potential within popular cultural musics, simultaneously unspooling and satisfying a pop craving. On Stolen Car, the forms of Carl Stone's pieces have also become more compact, making for a progressive new stage in Stone's career where he is not only creating out of pop forms but challenging them.

Stolen Car is the gleeful, heart racing sound of hijack, hotwire, and escape. Stone carries the easy smirk and confidence of a car thief just out of the can, a magician in a new town setting up a game of balls and cups. With each track he reaches under the steering wheel and yanks a fistful of wires. Boom, the engine roars to life, the car speeds off into the sunset, the cups are tipped over, the balls, like the car, are gone.

"These tracks were all made in late 2019 and 2020, much of when I was in pandemic isolation about 5000 miles from my home base of Tokyo. All are made using my favorite programming language MAX. However distinct these two groupings might be they share some common and long-held musical concerns. I seek to explore the inner workings of the music we listen to using techniques of magnification, dissection, granulation,, anagramization, and others. I like to hijack the surface values of commercial music and re-purpose them offer a newer, different meaning, via irony and subversion." - Carl Stone, Los Angeles, September 2020

Electronic Music from the Eighties and Nineties presents the soothing, hallucinatory side of Stone’s slow-evolving, time-bending composition. While we can’t always identify the source, we can hear that his sounds come from somewhere, and that there is a “correct” or “complete” version of them in theory; and so we can hear when they are being changed. What drives Stone’s music is the flow that he draws out of those differences: the way an Indonesian gamelan morphs into a chorus built from one female vocalist over the course of “Mae Yao”’s twenty-three minutes, the surprise emergence of a Mozart chorus out of the synths and skip-glitches of “Sonali,” or the slow, ambient evolution of “Banteay Srey”. “Woo Lae Oak,” issued in a single side edit for the first time, is an exception. Its samples – a tremolo string and a bottle being blown across the top like a flute - are simple in the extreme. Yet the Stone hallmark is clearly present, he locates the inherent emotional properties of the sounds – the tingling anticipation of the string and the calm nobility of the wind – and takes them into unexpected expressive territory.

William Basinski's epochal four-album box of slowly decomposing memories gets its long-overdue deluxe reissue, with liner notes from Laurie Anderson and a fresh mastering job from Josh Bonati.

Undoubtedly one of the greatest "ambient" albums of our era, 'The Disintegration Loops' is an enduring aesthetic touchstone. It didn't exist in a vacuum when it appeared in the early '00s, as the dust settled after 9/11, but Basinski's prescient meditation on decay in the wake of tragedy felt like a musical mark in the sand - a body of work that changed the way we think about repetition and tape saturation. The story goes that the composer, who'd been recording loop-based, minimalist experiments since the '70s, inspired by Brian Eno's 'Discreet Music' and Steve Reich's 'It's Gonna Rain', was going through his archive of reel-to-reel tapes when he realized the ferrite was flaking away from the plastic. Not willing to give up on the material, he recorded the output, letting the tape head destroy his pieces irreparably and adding reverb to the output.

Now, this would have been good enough without the additional context, but Basinski finished 'Disintegration Loops' on the morning of September 11, 2001, and played the first piece to his friends as they sat on the roof of his apartment block, watching agape as events unfolded. He used the footage he shot at the time for the covers of each disc, and the suite's solemn, thoughtful decline served as the unofficial soundtrack of our collective grief, an unfussy reminder of tragedy that plays out its haunted remnants of the past until they die, quite literally. There's been plenty of music that's aped Basinski's method since, and we don't doubt there'll be plenty more, but there's nothing quite like the original, and this latest remaster is the definitive version.

Super Tip! Kali Malone and Drew McDowall have orbited each other's work for over a decade, their individual explorations of sustained tones and harmonic space suggesting an inevitable collaboration. When they finally entered McDowall's Brooklyn studio together, what emerged on Magnetism transcends mere musical compatibility. Malone has spent recent years extending the legacy of Éliane Radigue, redefining what electronic minimalism can accomplish through pipe organ and synthesizer. Her compositions stretch single chords into cathedral-sized architectures of sound, tracing harmonic territories that Radigue first mapped in her pioneering electronic works. McDowall brings a different lineage: as a veteran of Coil, he approaches synthesis with the patience of an alchemist, crafting electronic textures that breathe with unsettling life. Magnetism resolves this apparent contradiction through sonic diplomacy. Malone's melodic sensibilities—those long, searching lines that seem to trace the curvature of space itself—find new expression through McDowall's textural arsenal. Where Malone typically builds with mathematical precision inherited from the Radigue tradition, McDowall introduces the controlled chaos he perfected with Coil: digital distortion that pulses like organic matter, synthesis algorithms that decay at the speed of memory. The album's foundation reveals their shared fascination with the spaces between notes. Karplus-Strong synthesis becomes their primary tool, combined with just intonation tuning systems that allow Magnetism to inhabit frequencies conventional instruments cannot reach. But technique serves expression here, not the reverse. Across four extended movements, repetition becomes meditation, saturation a means of transcendence. There's something ritualistic about how these pieces unfold, their harmonic cycles suggesting ancient ceremonies filtered through electronic consciousness. This is music that operates on geological time while pulsing with digital immediacy. The collaboration marks significant evolution for both artists. Malone embraces the productive friction of working with another creative mind, while McDowall discovers in her melodic clarity a redemptive light reminiscent of Coil's more transcendent moments. Together, they've created something that feels both ancient and urgently contemporary—proof that experimental music's most profound statements emerge when distinct artistic visions recognize themselves in each other.

アルバムについて Following the jazzy library vibes of 2023’s collaborative Dolphin LP with Greg Foat and Moses Boyd, the venetian maestro Gigi Masin returns to the ambience for which he is renowned, with Movement - his first solo full-length since 2020’s Calypso, and his Sacred Bones Records debut. Fuelled by creative reinvention and rhythmic motion, he moves seamlessly between melancholy electronic notes, technoid robotics, groovy liminal cloudscapes, and fathoms-deep ambient aquatics. Since early beginnings in obscurity, his 1986 debut album Wind slowly built an organic following on late night radio, later bolstered when “Clouds” was sampled by artists like Björk, Post Malone, and more. He now counts Oneohtrix Point Never, Devendra Banhart, Caroline Polachek, and the late Kenny Wheeler as fans. The new album Movement reflects on Masin’s place within the pantheon of ambient masters, his ongoing artistic ambitions, and his aspirations for a scene which he’s seen grow exponentially from humble beginnings. The LP is also an ode to literal movement, both in nature, and in human physical expressions to sound. Masin strived to make ambient music for movement, not in the standard dance music sense, but “dynamic music, with a beating heart full of love.” Reconfiguring ambient’s association with solitary listening and cold academia, Gigi went outwards, channeling something somatic that connects with the body, not just the mind. “Bed on Mars” sets the titular tone for Masin’s renewed curiosity, with cosmic atmospherics evoking the sensation of waking up on a new planet unafraid, whilst the poignant synthesized trumpet and suspended liminal limbo of “Lost” feels like floating adrift in an unknown sea. Delving further into off-centre beats is the celestial techno funk of “Deception Dance,” which sounds like Sun Electric jamming with Carl Craig and Kraftwerk. The bright beaming light of “Golden” radiates warmth, sounding like the bossa nova brother of Göttsching’s Balearic classic E2 E4. Despite the passing of his wife after a long illness, and losing his musical archive in a flood, Gigi remains pure-at-heart and positive, pouring his soul into the pursuit of beauty. The latest in a slow starting but steadily building career, Movement sees Masin continue to secure his seat at the table of true ambient greats.

Key importers/translators of Japanese Kankyō Ongaku to the Western world, Visible Cloaks present a fine new bouquet of digital flowers pruned in-the-mix with help from Lifted’s Joe Williams and arranged with input by Félicia Atkinson, Yoshio Ojima, and Satsuki Shibano. Ryan Carlile & Spencer Doran’s Visible Cloaks have been instrumental in bridging the rarified world of ’80s Japanese environmental ambient and its modern offshoots since their self-titled debut of 2015. Their ‘Fairlights, Mallets and Bamboo’ mixtape and original productions inspired by that particular time and space - circa the emergence and application of game-changing musical technology - have been indispensable for discerning diggers and ears. Their first album since 2019, ‘Paradessence’ now marks the duo’s return to a sound they helped bring to wider interest, displaying cross-border/generational binds between experimental scenes in Japan, US, and EU across an intricately crafted and romantic spirited album defined by its technical sorcery and sense of adventure. Benefitting from the energy of their collaborators and time out to sharpen and reassess their sound, ‘Paradessence’ feels like the most fully realised iteration of Visible Cloaks’ illusive world building. 14 succinct pieces open out a fantasy playground where prior spars Yoshio Ojima & Satsuki Shibano chime into the pitch bent, shatterproof contours of ’Shapes’ and again with Félicia Atkinson’s french vox in ‘Thinking’, before Satie-esque piano phrases are refracted into hyaline hyperprisms glistening with Joe Williams touch on ‘Zinna’. The shearing shape of ‘Balloon’ impresses in its hyperreal tactility, and the synthetic wind-swept strings of ‘Swirl’ brings us teasingly close to oneiric dimensions also touched on in ‘Telescoping’, suffused with ultrasonic insect sounds that lend a frisson of waking dream detail for the susceptible.

'Nekkuja' is a place for Herlop's warmest, sweetest sentiments to rise to the surface and crack through the topsoil. She describes the record as a way for her to seek and affirm inner light, and it's undoubtedly her brightest, poppiest statement to date. The forward-thinking, experimental touches that nourished 'Pripyat' are still present, but blessed with a level of positivity that's rare to find in a scene so entranced by darkness and melancholy.

In the midst of the UK house rave-olution of the early-’90s, London’s V4 Visions imprint documented the confluence of street soul, deep house, swingbeat, and jungle sounds emanating from the clubs and pirate radio signals. Over the course of half a decade, V4’s unparalleled 12” output referenced every significant Black British music scene; from lovers rock to jazz-funk, sound system reggae to hip hop, new jack swing to garage, from artists Ashaye, Julie Stapleton, Maureen Mason, Rohan Delano, The Wades, and Endangered Species. This 18-track double LP is the first critical overview of the label, with extensive notes by Simon Reynolds, era-defining photographs, and fresh remasters, all housed in a glorious foil-stamped gatefold tip-on sleeve. Is this a dream?

Martin Khanja (aka Lord Spike Heart) and Sam Karugu emerge from Nairobi's flourishing underground metal scene as former members of the bands Lust of a Dying Breed and Seeds of Datura. Together in 2019 they formed Duma (Darkness in Kikuyu) with Sam abandoning bass for production and guitars and Lord Spike Heart providing extreme vocals to the project. 

Recorded at Nyege Nyege Studios in Kampala over three months in mid 2019 their self-titled debut album fuses the frenetic euphoria, unrelenting physicality and rebellious attitude of hardcore punk and trash metal with bone-crunching breakcore and raw, nihilist industrial noise through a claustrophobic vortex of visceral screams. 

The savant mix of brutally adrenalized drums, caustic industrial trap, shredding grindcore inspired guitars and abrupt speed changes create a darkly atmospheric menace and is lethal on tracks like the opener "Angels and Abysses" , "Omni" or "Uganda with Sam". 

The gruelling slow techno dirges and monolithic vocals on "Pembe 666" or "Sin Nature" add a pinch of dramatic inevitability bringing a new sense of theatricality and terrifying fate awaiting into the record's progression. 

A sinister sonic aggression of feral intensity with disregard for styles, Duma promises to impact the burgeoning African metal scene moving it into totally new, boundary-challenging experimental territories. 

9月上旬再入荷。ドイツのミュージシャン/作曲家のDaniel Rosenfeldが変名C418にて製作した傑作！物理世界とピクセル化された世界の両方で響くサウンドを描き上げた『マインクラフト』のオリジナルサウンドトラック盤『Minecraft Volume Beta』が〈Ghostly International〉からアナログ・リプレス。前作『Alpha』には未収録の楽曲だけでなく、ゲーム内では使用されたなかった楽曲も収録したC418自身のオリジナル・アルバム的一枚！牧歌的で穏やかなサウンドスケープに仕立てられた前作と比してよりダークで内省的な側面もクローズアップされた魅惑のアンビエント/エレクトロニック・ミュージックが収められています。

ドイツのミュージシャン/作曲家のDaniel Rosenfeldが変名C418にて製作した傑作！物理世界とピクセル化された世界の両方で響くサウンドを描き上げた『マインクラフト』のオリジナルサウンドトラック盤『Minecraft Volume Beta』が〈Ghostly International〉からアナログ・リプレス。前作『Alpha』には未収録の楽曲だけでなく、ゲーム内では使用されたなかった楽曲も収録したC418自身のオリジナル・アルバム的一枚！牧歌的で穏やかなサウンドスケープに仕立てられた前作と比してよりダークで内省的な側面もクローズアップされた魅惑のアンビエント/エレクトロニック・ミュージックが収められています。

Minecraft - Volume Alpha is the work of German composer and musician Daniel Rosenfeld. Using C418 as his moniker, Rosenfeld crafted the sweeping soundtrack and vibrant sound design which helped breathe life into Minecraft's voxel-based universe. Fans and critics were universally enamored with his beatless, nuanced electronic pieces upon release. Popular gaming site Kotaku named it among The Best Game Music of 2011, calling the music "remarkably soothing," and The Guardian has compared Rosenfeld's delicate piano and sparse ambient motifs to legendary artists Erik Satie and Brian Eno. In an interview feature with C418, Polygon distilled Volume Alpha to its essence: "It's not bound by the retro aesthetic of Minecraft's graphics. It transcends them. The album is an attempt to uplift the combined game/music experience into the sublime."

Minecraft - Volume Alpha is the work of German composer and musician Daniel Rosenfeld. Using C418 as his moniker, Rosenfeld crafted the sweeping soundtrack and vibrant sound design which helped breathe life into Minecraft's voxel-based universe. Fans and critics were universally enamored with his beatless, nuanced electronic pieces upon release. Popular gaming site Kotaku named it among The Best Game Music of 2011, calling the music "remarkably soothing," and The Guardian has compared Rosenfeld's delicate piano and sparse ambient motifs to legendary artists Erik Satie and Brian Eno. In an interview feature with C418, Polygon distilled Volume Alpha to its essence: "It's not bound by the retro aesthetic of Minecraft's graphics. It transcends them. The album is an attempt to uplift the combined game/music experience into the sublime."

His latest work is already here! Inspired by the global anti-racist protests in the wake of George Floyd's murder, the mixtape "hybtwibt?" was released in 2020 as a fundraiser against racism in the UK. Where To Now?" was featured on Pitchfork and Bandcamp as one of the "best ambient albums of the year. Space Afrika (Joshua Inyang & Joshua Tarelle) is an experimental duo based in Manchester, UK, who have been featured on various cutting-edge labels such as Where To Now? Their new album is out now on the prestigious Dais label. Liquefying garage, jungle, grime, and even dream pop into a glittering trail of pulses and pads, they've boiled down the music of Dean Blunt, DJ Spooky, the Cocteau Twins, and Klein into a candlelit narrative.