MUSIC

Yes this album is about being trans Rat Jesu - Vocals, Guitar, Produciton (All tracks) Murrumur - Vocals (Poison.jpg, Frogs) 2004 - Produciton (Manic Goth Hoe... I Wish I Was) Yung Dieu - Produciton (Manic Goth Hoe... I Wish I Was) Maknaeslayer - Produciton (Poison.jpg) Mokshadripp - Co-Produciton (Euphoria//Nothing Left To Give) Schizoscriptures - Co-Produciton (Frogs)

A surreal and futuristic HexD/nightcore masterpiece full of euphoria that has passed through post-hyperpop rave/hard trance. The CD version is limited to 75 copies.

Paris, 1965. Pianist François Tusques laid the foundation stone of French-style free jazz with his first, soberly titled, album “Free Jazz”. Also in the team were several future key names of the French scene, (Michel Portal, Bernard Vitet, Beb Guérin, Charles Saudrais and François Jeanneau) all of whom honed their skills at the beginning of the decade in Jef Gilson’s groups, although he was none too fond of the turbulent new face of jazz at the time. Ten years later, Jef Gilson had obviously changed his tune, as the label Palm that he had created in 1973 was now the launch pad for what would become the cream of French and international avant-garde jazz. This would notably be the case for François Jeanneau and “Une Bien Curieuse Planète”. His first album as leader (after briefly erring into pop with Triangle) was recorded in 1975, a few months after “Watch Devil Go” by his old friend Jacques Thollot, and with more or less the same casting: Jeanneau on sax of course, Jenny-Clark on bass and percussions, Lubat replacing Thollot on drums and Michel Grailler (plucked out of Magma) was called in as a reinforcement for his completely ‘out of space*’ synthetiser sounds. Thus began a strange trip to a very strange planet, at the border of experimental jazz and swinging avant-garde. From 1960 to nowadays, from Georges Arvanitas to Laetitia Shériff, from Manu Dibango to “Mama” Béa Tékielski, everyone has wanted to play with François Jeanneau at some point. There is a good reason for this. The saxophonist is a formidable improviser, but also a solid composer, as he demonstrates on this record with, for example, the monumental “Droit d’Asile”, the spooky “Theme For An Unknown Island” or the Coltranesque “Mr J.C. For Ever”. Over half a century later, the planet seems far more familiar to us. And François Jeanneau is always on the front line for a guided tour.

Paris, 1965. Pianist François Tusques laid the foundation stone of French-style free jazz with his first, soberly titled, album “Free Jazz”. Also in the team were several future key names of the French scene, (Michel Portal, Bernard Vitet, Beb Guérin, Charles Saudrais and François Jeanneau) all of whom honed their skills at the beginning of the decade in Jef Gilson’s groups, although he was none too fond of the turbulent new face of jazz at the time. Ten years later, Jef Gilson had obviously changed his tune, as the label Palm that he had created in 1973 was now the launch pad for what would become the cream of French and international avant-garde jazz. This would notably be the case for François Jeanneau and “Une Bien Curieuse Planète”. His first album as leader (after briefly erring into pop with Triangle) was recorded in 1975, a few months after “Watch Devil Go” by his old friend Jacques Thollot, and with more or less the same casting: Jeanneau on sax of course, Jenny-Clark on bass and percussions, Lubat replacing Thollot on drums and Michel Grailler (plucked out of Magma) was called in as a reinforcement for his completely ‘out of space*’ synthetiser sounds. Thus began a strange trip to a very strange planet, at the border of experimental jazz and swinging avant-garde. From 1960 to nowadays, from Georges Arvanitas to Laetitia Shériff, from Manu Dibango to “Mama” Béa Tékielski, everyone has wanted to play with François Jeanneau at some point. There is a good reason for this. The saxophonist is a formidable improviser, but also a solid composer, as he demonstrates on this record with, for example, the monumental “Droit d’Asile”, the spooky “Theme For An Unknown Island” or the Coltranesque “Mr J.C. For Ever”. Over half a century later, the planet seems far more familiar to us. And François Jeanneau is always on the front line for a guided tour.

Limited edition of 200 copies.* Ferns proudly presents a new release on the label, K.Mizutani's "Inferior's Betrayal". Reissue of the self-produced K7 in 1994 on Kiyoshi Mizutani's Ulcer House label. Mizutani was a member of Merzbow in the '80s and has done solo work since 1989. He has recordings on Ulcer House, ZSF Produkt, Shirocoal Recordings, NEdS, Sounds For Consciousness Rape, Pure, Artware, Kaon, e(r)ostrate, Povertech Industries, and Flenix Records.

"end of an era" was produced over a period of 23 years. It began with a few short recordings of lightly processed sine waves that came to me via Asmus Tietchens and Achim Wollscheid. The work on these resulted in a first version and release of "time is the simplest thing" (Three Poplars 2003) which I was never fully satisfied with, so I continued working on it further until a definitive version was completed in 2018. I began work on "time and again ... and again" in 2013 when experimenting with analog electronics. Again I made a first version that I was not entirely happy with and picked up again and completed it in 2022 with the help of Ronnie Oliveras who engineered parts of the remix. The titles for the pieces are related to American writer Clifford Simak whose novels and short stories have been a source of inspiration since adolescent days.

Tags: Experimental, Electronic, Electroacoustic, Free, Improv, ambient, psychedelic, South Indian, Devotional Seljuk Rustum is a Kochi (Cochin) based arts practitioner originally from Kannur, Kerala. He is a painter, musician, curator, producer, recording engineer and the founder and current Creative Director of performance space, Forplay Society. As a musician he plays alto saxophone, guitar, percussion and synthesizer with several bands and an expanding collective of like minded artists. Being a self-taught musician, his sound work is an extension of his visual work and his music is a mixture of joyful noise and simple naive melodies. Seljuk has performed and recorded with artists such as Otomo Yoshihide, Senyawa, Hada Benedito Mateo, Eiko Ishibashi, Mitsuaki Matsumoto, Pisitakun, Yuen Chee Wai, Dharma, DJ Sniff, Maximilian Glass, Duncan Bruce, Hilary Jeffery and Hayden Chisholm. He has also worked with many theatre practitioners & performance artists in India making music for theatre as well as curating shows & workshops with actors and performers from around India. The recordings on Cardboard Castles were made at Seljuk's studio in Kochi between 2016 and 2021 and were mostly instant compositions and single take recordings created in collaboration with a number of fellow travellers who've passed through the studio. At the inception of the album's creation Seljuk sought to reflect on what freedom means and what the musical limitations of this are, and how his involvement as a free improviser might project fixed ideas onto a listener. He wanted to use an improvisational approach that focussed on presenting ideas with a beauty inherent in their sound, coalescing these into song form. Cardboard Castles is the resulting album and application of these concepts. We at Hive Mind feel privileged to have worked with Seljuk to bring you these deeply personal and highly idiosyncratic works which really do defy easy description. Ranging from strange and wonky electronic improvisations, gentle acoustic instrumentals such as the lush opener with the input of the Cochin String Orchestra, through experiments in traditional Indian song, this album will keep you guessing. Everything appears touched with a mischievous sense of playfulness that's maybe reflected in the face of the grinning camel that adorns the sleeve. We're sure you'll agree there's plenty to delight the listener on this strange dream of an album, Seljuk's first to receive a physical release. The CD version comes in a gatefold card digisleeve in an edition of 250 copies

Look around you. In recent years ambient music has changed and encountering Jon Hassell's fourth world design has become easy. Most of the time there’s no feeling, no narrative, a nothingness of ideas through layers and layers of pastiche and boring bedroom music. This is not bashing. Just a reminder that sometimes the information trap delays an understanding of how good music really is. “Cavalcante” is the new release by funcionário (born Pedro Tavares). You’ll find Jon Hassell in these eleven pieces. And yes, sometimes you’ll think about ambient music. Most of the time you’ll wonder about what is really happening. And why it's only now you’re hearing about this twenty-something musician from Setúbal, Portugal. A little bit more than one minute into “En Garde!”, the opening track, one feels challenged by the idea that everything that was listened up to that moment was a false start. The piece abruptly stops, flips some digital sound, and restarts in a whole new direction. As this happens it becomes obvious we are in for a treat. Those two, three seconds create a sensation that everything happens in a moment that introduces you to funcionário's craft: delicate complex sounds infatuated with the idea of movement and the never-ending notion that there’s no dividers in the fourth world. Music can go beyond that. As it moves forward – “Verde”, “Sierra” or “Publicidade Arco e Flecha” -, the album (his fourth) morphs around variations or perceptions of ambient / electronic / experimental music. And as the language evolves, it hints on how funcionário keeps stretching the boundaries of digital music as he wishes to advance to a more analog setup. In a way, he confronts foundational ideas while having breakthroughs and realizing he is at a top level. Justifiably ambitious, bright and discreetly edgy. We dare to say: monumental.

Some notes: tracks A1, A2, A3, A4, B2, B3 and B4 are mastered from 1980's demo tapes that Piitu got from the artists. Piitu exchanged letters and tapes actively with artists in punk, industrial and experimental scenes from all over the world. Some of the tapes we had to leave out from this compilation because we couldn't reach the artists. The three new tracks among the older ones underline the principle of infinity and immortality of music Piitu Lintunen: The first idea for this compilation came one night when Tommi text messaged me while I was having a good time with my Raisio-born punk friends. Tommi suggested that I compile an album from my musical history. After considering different directions I went through my archives and found a box of 1980's demo tapes. Some of the tapes were from 1981 and 1982, when we did the punk zine Pöly with my brother Sakke Lintunen. I had totally forgotten about many of them. A beautiful track from a Nurse with Wound demo turned out to be made by a NWW studio technician that lived somewhere in the Canarian Islands in early 2000. He couldn't be found. At first this collection consisted only of demo tracks. Then I got a feeling that I want to include some new tracks too. I asked for a track from Clair whose debut solo is one of my recent favorites. Corumn was another contemporary artist I thought should be there. Jimi Tenor sent me some demos when he moved to NYC in early 1990's. I chose one of those tracks for the compilation. I learned to know Pekka Airaksinen in the early 1980's. He passed away in 2019. Pekka has a big archive of unfinished songs. His wife Maarit gave me some unfinished tracks and Jimi Tenor made a new track out of them. DDAA sent me a tape in the 1986's. After I asked one of the tracks for this compilation they wanted to re-record the track. And they did so in a very original style. Kostruktivists sent me a tape in 1983 while they were recording Psykho Genetica. All 4 tracks from the tape could have been suitable here, but Opening Signs was the one. Ramleh's Black Ark is a unreleased chapter from the recording of Grazing on Fear in 1987. All of the tracks are electronic experimentations. In early 80's I did a lot of cassette exchange. It was a way of communication in the punk spirit. Everybody knew each other. Tasaday, Odal and Neljän seinän jumalat (my own project) are examples of the active players of the time.

Collaborators since 2020 who have also made music with AIR Krew, Russian producer Piper Spray and multimedia artist Lena Tsibizova present their first album-length work in ‘Leaving Memory’. Compelling freak zone music encompassing ambient, outsider pop, dub and industrial elements and weaving them into a coherent sonic patchwork.

Bukaroo Bank is actually Mauskovic’s second album. There, the band reinvents both their approach and their sound, while maintaining the rhythm-forward euphoria heard on their debut album and surrounding singles. It is one of those albums that sounds brashly live, like you’re in the room while the jams are being kicked out, but in fact uses the studio very shrewdly. Recorded in 2020, during one of the Netherlands’ intermittent lockdown bouts, for this one the MDB wanted to step up from their previous homebase, Garage Noord – an ad hoc Amsterdam space for recording, practise and after-hours parties. They chose Electric Monkey, operated by engineer Kasper Frenkel. His stacks of what Nicola calls “very strange equipment”, and ability to sprinkle magic dub dust over everything, suited the vibe perfectly. The results glow and shiver with assembled synth sounds, rhythms spliced and echoed in a way that hails late Jamaican dub great Lee Perry – maybe the band’s biggest influence. Some sections might remind you of Afro-disco or slightly older highlife, others industrial prototypes like early Cabaret Voltaire, or 1980s On-U Sound mainstays like African Head Charge, or NYC groovers such as Liquid Liquid... there are outbreaks of saxophone, congas, echo units, wah-wah disco guitars, beats that sound programmed but aren’t (a nod to MDB’s industrial side). If that sounds fun to you, be assured that Bukaroo Bank is an irrepressibly fun album – but one that contains multitudes.

New work from the enigmatic duo Tav Exotic, 4 tracks to tantalize and energize your mind and body. Private Stress is proud and honored to have this E.P. as our first release!

Concocted in a share house in the South of Brisbane in the mid-80s, a small collective of well-acquainted musicians including Jon Anderson, Rainer Guth, Gary McFeat & Rod Owen gathered to compose film soundtracks, music for pictures, therefore ‘Picture Music’. To this end, a ‘spec’ tape of Picture Music recordings would be produced to give to potential clients and or sold to local stores. A distinct album comprising a collection of ambient, minimal-jazz and experimental music. If there is a red thread running through the Picture Music album, it is its "late night" ambience. The wrath of the sub-tropical summer heat of Brisbane is not kind on electronic equipment, which would crash regularly by day. So, all recording was done in the relative cool of the late evening, in a room only dimly lit by lamp and candle. The Picture Music collective would make music and party all through the night, departing around sunrise. They would sleep through the heat of the day, only to return in the evening for more of the same. This 2021 reissue of their self-titled 1987 cassette, was taken from the original master tapes and remains an evocative representation of the music that resulted from the late-night, dimly-lit, atmospheric-enabled environment, that sparked the creativity of a group of like-minded friends in a tiny corner of Brisbane. Dedicated to the memory Rainer Guth.

In January 2021, Eelco Topper (Felbm) went into hermit mode by way of a two-week residency at Buitenplaats Doornburgh, a former monastery on the outskirts of his hometown of Utrecht, Netherlands. He had already intended to use only natural elements for inspiration, such as naturally-occurring textures and patterns, and the earthiness of acoustic instruments like singing bowls and a range of wooden percussion. On arrival, the contemplative architecture of the building and the peace of the surrounding landscapes energized Topper so much that these initial ideas blossomed into nearly 50 minutes of intimate 4-track cassette recordings. Following the residency, Topper collaborated with a cast of local guest musicians on flute, saxophone and cello, infusing the original rhythmic foundation of percussion and acoustic guitar with a lush melodic backdrop.
 The resulting new release – simply titled ‘Elements of Nature’ - marries the fluttering melodies and lo-fi cassette sound of earlier Felbm releases with a new conceptual approach and more varied sonic toolkit. Here, Topper successfully preserves the joyful naïveté of the Tapes series while exploring sweeping new ground, resulting in a decisive step forward for Felbm as a composer, producer and artist. ‘Elements of Nature’ was first released in November 2021 on limited edition cassette, accompanied by a riso-printed book of artwork. 
Illustrated once more by long-time collaborator Joost Stokhof, the artwork assembles Stokhof’s ink drawings together with the analogue photographs that inspired them, taken by Felbm during his residency.!

One of our all-time favourite artists and extended Circus Company member The Mole returns to the label for a proper presentation of his album The River Widens. Originally a limited, cassette-only release via fellow Canadian Eddie C’s Red Motorbike, we are proud to offer this album in its full glory for the first time on all formats. Never one to shy away from synth deep dives, or raw sample flip collaging, this collection of 21 works checks all the boxes. Ambient trippers to straight up neck-snapping instrumental beats. Not forgetting tastes of the more uptempo, highly-assured and hypnotic dance floor feels the world has come to love The Mole for. Moments of casual chillin are interspersed with effortless, emotive angles, some evoking the charm of his Little Sunshine release for us in 2017. X-pert Profat opens the set with sly statements that give way to relaxed and subtle keys over gentle, midtempo rhythms. Things switch up nicely into easy, Northwest Coast boogie-meets-beatdown feels in Break for Ma, followed by a solid array of almost Jaylib-schooled boom bap twists, like the aptly-titled Drums 2002 and Jo Barker. Ambient cuts like AR day and New Family offer a refreshing tap of the brakes, setting the scene for the gorgeous, Jarre-esque Weak Stranger. We also get treated to Repepepater’s nod to Detroit house, urban-mode Balearic feels on They Work for Mr. O, and sneak attack lo-fi future funk in the form of Ufos Over Egypt, with Montreal co-pilot Cristobal on a wild shisha-lit vox narrative, earlier versions of which have blessed many of our label comrades’ DJ sets, from Dave Aju to Vincent Lemieux. The River Widens expands beautifully on the breadth of unique musical directions The Mole is capable of taking us in, now spread across fresh 2x12” vinyl and available digitally for the first time, along with another limited editio

The renowned trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi return to Black Truffle with their 11th release, “Caught in the dilemma of being made to choose” This makes the modesty which should never been closed off itself Continue to ask itself: “Ready or not?” Demonstrating once again their commitment to continual experimentation in instrumentation and approach, the record begins with a long-distance collaboration made in response to a commission from New York’s Issue Project Room in 2021 during widespread lockdowns and travel limitations. A unique piece in the trio’s extensive body of work, this side-long epic finds Haino performing on metal percussion, O’Rourke on electronics and Ambarchi on gongs and bells. Initially dominated by rapid patterns on resonant, high-pitched tuned percussion, the piece sets Haino’s dynamic and dramatic performance against a calm backdrop of cycling electronics, thrumming gong strikes and hanging bell tones. The performance develops a heightened, intensely concentrated atmosphere reminiscent of Haino’s classic Tenshi No Ginjinka or his Nijiumu project; when Haino moves to clashing hand cymbals in its second half, the piece’s ritualistic energy suggests aspects of the music of Tibetan Buddhism. The remainder of the double LP documents the trio live at Tokyo’s SuperDeluxe (the location of all but their very first recording) in a wide-ranging set recorded in December 2017. The concert opens, in another first for the trio, with Haino on drums, O’Rourke on Hammond organ and Ambarchi on his signature Leslie cabinet guitar tones. Haino’s explosively untutored approach to the drumkit will be familiar to some listeners from the radical duo iteration of Fushitsusha heard on Origin’s Hesitation. Setting flurries of rapid activity against moments of silence, his drumming here at times suggests Milford Graves in its tumbling toms and thudding kick-drum propulsion. Accompanied by O’Rourke’s organ and Ambarchi’s guitar, which in their shared use of long tones and shifting modulation speeds almost blend into a single voice, the opening sections of this performance are some of the most magical music the trio has committed to tape thus far. After an interlude of spoken vocals in both Japanese and English, Haino makes a dramatic entrance on guitar. Against O’Rourke and Ambarchi’s increasingly intense electronic backdrop, Haino unleashes a stunning passage of slowly moving chromatic melodies and sudden shrieking explosions bathed in distortion and reverb. By the time we reach the third side, the guitar/bass/drums power trio is established and lurches into a passage of massive, lumbering rock that threatens to fall apart at every beat, O’Rourke’s strummed chordal work on six string bass creating a harmonic density equivalent to a second guitar. An abrupt edit throws the listener in media res into a frantic locked groove grounded by fuzzed out bass patterns and caveman drums. As Haino moves through a variety of approaches, from massive edifices of stuttering fuzz to ominous swarms of feedback, the trio eventually stumble into a kind of Harmolodic military tattoo, Haino’s guitar weaving and slashing across the rhythm section’s irregular accents. Moving through an epic opening duet for O’Rourke on Hammond and Haino’s wailing guitar, the fourth side eventually ramps up into a frenetic finale of mad bass riffing, crackling snare hits and guitar squall.“Caught in the dilemma of being made to choose” This makes the modesty which should never been closed off itself Continue to ask itself: “Ready or not?” is a testament to the continuing power and invention of this trio, who continue to seek out new terrain after over a decade working together. 2LP set presented in a lavish gatefold sleeve on heavy stock along with inner sleeves containing live pics by Tsuyoshi Kamaike. Photography by Jim O’Rourke, design by Lasse Marhaug and translation by Alan Cummings.

Phew's 1992 legendary solo album "Our Likeness" will be reissued on clear vinyl, limited to 1,000 copies worldwide!

Jaki Liebezait (CAN), Alexander Hacke (Einstürzende Neubauten), Chrislo Haas (D.A.F.), Thomas Stern (Lime and the City Solution) participated! Recording by Kraftwerk , NEU!, Cluster & Eno, D.A.F.

‘My intention with this music was to create an alchemy of the studio, to bring together impossible sounds, global voices and stories, obscure ethnographic narratives, new and ancient technologies, human and non-human species...’ - David Toop We are proud to launch our new library series with an incredible 12-track selection of music from David Toop. By compiling our favourite pieces from the albums originally released on Virgin, Pink Noir (1996) and Spirit World (1997), we have distilled the essence of this fruitful period into a new form: Pink Spirit, Noir World. Following the release of his debut solo album Screen Ceremonies (1995), David turned to a more expansive palate to record his next two LPs. Enlisting the help of a whole host of friends and collaborators who joined him in the Mark Angelo Studios, including the likes of Max Eastley, Toshinori Kondo, Musa Kalamula and Jon Hassell, the two albums share an unabashed openness to new sonic possibilities. Few recordings convey such a spirit of optimism; from a time when creation could be as free, unconstrained and ambitious. These albums are remarkable in both their harnessing of new recording technologies, and their weaving together a melting-pot of genres and influences that traverse the globe across centuries of musical tradition into something distinctly novel. They also document an almost visual memory, conjuring images both vivid and dream-like. Phantoms flit in and out of focus throughout their musical dialogues - perhaps the very same ones which were haunting Toop throughout the ‘wildly contradictory mixture of emotional harshness and ecstatic inspiration’ he found his life to be at the time. It’s the first time this music has been available on vinyl and to it’s new lease of life, all the tracks on this compilation have been remastered by sound designer/engineer Dave Hunt. This stunning compilation is housed in a gatefold sleeve and contains an exclusive piece written by David, reflecting on how he came to record these incredible songs.

Kristin Oppenheim is an American artist who lives and works in Brooklyn, New York. She is best known for installation art based in performance, film, and sound. She is represented by greengrassi in London and 303 Gallery in New York. INFO is pleased to announce Night Run, the first collection of early sound works of Kristin Oppenheim. This 2LP release features eight pieces recorded between 1992 and 1995 in her Brooklyn studio. In each recording, Oppenheim’s voice is the sole medium, forming repetitious phrases half-sung and half-spoken to compose disciplined but haunting environments that drift back and forth, panning across the stereo field. Over the last three decades, Kristin Oppenheim has composed vocal works not as a musician, but as an artist working in gallery and museum contexts. These immersive sound installations saturate space, touching on fragmented memory that blurs the lines between reality and abstraction. Oppenheim uses the physicality of sound to underscore the emotional tension between the absence and presence of her voice. Kristin Oppenheim is an American artist who lives and works in Brooklyn, New York. She is best known for installation art based in writing, performance, film, and sound. She is represented by greengrassi in London and 303 Gallery in New York. Since the early 1990s, Oppenheim’s work has been exhibited internationally. Her work has been featured in numerous group exhibitions including the 45th and 46th Venice Biennale, the Whitney Museum of American Art, and the Centre Georges Pompidou in Paris. Among others, She has had solo exhibitions at MAMCO Musée d’Art Modern et Contemporain, Geneva; at Secession, Vienna; KIASMA, Museum of Contemporary Art, Helsinki; at FRAC Pays de la Loire, Carquefou; at the San Francisco Museum of Modern Art; the Oboro, Montréal; the Jewish Museum, New York; and at the Villa Arson, Nice. Her work has also been seen in exhibitions including “X”, at FRAC Des Pays de la Loire, Carquefou (2021); “Sound Museum” at D MUSEUM, Seoul (2020); “H(a)unting images. Anatomy of a shot” at Fundación la Caixa, Barcelona (2017); “Never Ending Stories” at MAMCO Musée d’Art Modern et Contemporain, Geneva (2014); “The International Biennial of Contemporary Art of Cartagena de Indias”, (2014); “Where Did You Sleep Last Night”, ‘Nuit Blanche’, in Paris (2013); “NYC 1993: Experimental, Jet, Set Trash and No Star” at New Museum, New York (2013); “Women Artists from the Centre Pompidou” at Seattle Art Museum, (2012); “Volume” at MACBA Museu d’Art Contemporani de Barcelona (2011); “Silence. Listen to the Show” at Sandretto Foundation, Turin (2007); “Don’t Call it Performance” at Museo Nacional Centro de Arte Reina Sofia, Madrid (2003); “Voices” at Witte de With, Rotterdam (1998); “Young and Restless” at Museum of Modern Art, New York (1997); “29’ – 0 / East” at New York Kunstahalle (1996); “Threshold” at Fundacao de Serralves, Porto (1995); “Murs du son” at Villa Arson, Nice (1995); and “Encounters with Diversity” at PS1 MOMA, New York (1992). Kristin Oppenheim’s work is included in public collections of the Art Foundation Mallorca Collection, CCA-Andratx in Mallorca; the Centre Georges Pompidou, Paris; the FNAC Centre National des Arts Plastiques, Paris; the FRAC Des Pays de la Loire, Carquefou; MACBA Museu d’Art Contemporani de Barcelona; MAMCO Museum d’art Moderne et Contemporain, Geneva; the Museum of Modern Art, New York; San Francisco Museum of Modern Art; and the Whitney Museum of American Art, in New York. INFO is a label and interdisciplinary platform highlighting unique applications of sound in the field of contemporary art. Kristin Oppenheim artist page portrait courtesy of the artist, greengrassi, and 303 Gallery, 1985.

Canadian composer Bruce Haack one of the true pioneers in the field of electronic and children's music. Originally released in 1962 "Dance, Sing & Listen" was Haack's debut album. Following instructions from children dance teacher Esther Nelson the album comes as a hyper-eclectic work based on a great variety of sound material. A hybrid soup of medieval, country, classical, and pop styles including tons of electronic effects, guitars, banjos and other acoustic string instruments and bongos!!! This is open minded music for children at its best.

Part of a series of three new archival releases from Ndeya that showcase Jon Hassell and group in the late 1980s exploring a radical tangent on his Fourth World sensibility.

Further Fictions is a double CD anthology of the music on the vinyl editions, with a disc devoted to each album in hardbound book style
packaging, and an extensive booklet containing sleevenotes and archival images.

The first disc ‘The Living City’ documents a performance at the Winter Garden in New York City on 17 September 1989, mixed live by Brian Eno. The second disc ‘Psychogeography’ sees Jon taking a Teo Macero style scalpel to the original session tapes of the 'City: Works Of Fiction' album and coming up with a situationist inspired alternate version of the City album. Beguilingly different takes and the raw excitement of early demos are skillfully sequenced to concoct a different dimension of sounds from the original release.

Comes with 32 page booklet featuring extensive liner notes and photos.

Outsider released Early Live In Germany on Fri Dec 23 2022. The 4 track Leftfield release features Kraftwerk.

Debut album by Ani Zinc, member of the Spanish experimental duo Diseño Corbusier and co-founder of the iconic record label Auxilio de Cientos. Originally released in 1986, this record is a showcase of her radical blueprint, comprising sound collages and voice experiments, and also welcomes the use of conventional instruments such as drum machines and keyboards, resulting a richer and more diverse outcome. First time reissue of this much sought-after record on the highly collectable Spanish experimental label Auxilio de Cientos.

In 2018 experimental festival Organ Reframed commissioned Éliane Radigue to write her first work for organ, 'Occam Ocean XXV'. Radigue worked closely with organist Frédéric Blondy at the Église Saint Merry in Paris before transferring the piece to Union Chapel for its premiere at Organ Reframed on 13 October 2018. The recording on this compact disc was made at a private session at Union Chapel on 8 January 2020. 'Occam XXV' inaugurates the very special record series of works exclusively commissioned by Organ Reframed, the organ-only, one of a kind experimental music festival, carefully curated by Scottish composer/performer and London's Union Chapel organ music director Claire M Singer. Paris-born Éliane Radigue is one of the most innovative and influential living composers of all time. After working under Pierre Schaeffer and Pierre Henry in the late 1950's/early 60's she mainly worked with tape before developing a deep relationship with modular synthesis in the early 1970's. Over the next three decades she pushed her own conceptions of musicality forward developing a deep relationship with her ARP 2500. Through endless exploration and drawing on her personal journey as a practicing Buddhist she created an entirely new landscape of experimental sound. In the early 2000's she made an extraordinary shift into writing predominantly for acoustic instruments. 'Occam XXV' is the latest chapter of Radigue's broader series of works Occam Ocean which she has been composing in the last decade. Carefully selected by Radigue she has closely collaborated with various extremely experienced yet sensitive instrumentalists. For Occam XXV Radigue collaborated with pianist, organist, composer, improviser, artistic director of the Orchestra of New Musical Creation, Experimentation and Improvisation (ONCEIM) Frédéric Blondy, which is their second collaboration in the Occam Ocean series. 'Occam XXV' premiered in 2018, and was later recorded privately in 2020 at London's Organ Reframed headquarters Union Chapel. "We live in a universe filled with waves. Not only between the Earth and the Sun but all the way down to the tiniest microwaves and inside it is the minuscule band that lies between the 60 Hz and the 12,000 to 15,000 Hz that our ears turn into sound. There are many wavelengths in the ocean too and we also come into contact with it physically, mentally and spiritually. That explains the title of this body of work which is called Occam Ocean.The main aim of this work is to focus on how the partials are dealt with. Whether they come in the form of micro beats, pulsations, harmonics, subharmonics – which are extremely rare but have a transcendent beauty – bass pulsations – the highly intangible aspect of sound. That's what makes it so rich. When Luciano Pavarotti gave free rein to the full force of his voice the conductor stopped beating time and you could hear the richness in its entirety. Music in written form, or however it is relayed, ultimately remains abstract. It's the performer, the person playing it who brings it to life. So the person playing the instrument must come first. I've always thought of performers and their instruments as one. They form a dual personality. No two performers, playing the same instrument, have the same relationship with that instrument – the same intimate relationship. This is where the process of making the work personal begins. The purely personal task of deciding on the theme or image that we're going to work from. Obviously, because this is Occam Ocean, the theme is always related to water. It could be a little stream, a fountain, the distant ocean, rivers. Out of the fifty or so musicians I've worked with no two themes have been the same. Each musician's theme is completely unique and completely personal. The music does the talking. This is one of those art forms that manages to express the many things that words aren't able to. Even at an early stage, all those ideas need to have been brought together." - Éliane Radigue