MUSIC
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Released by VDE/Gallo, a long-established label based near Lausanne, Switzerland, this album features solo performances by shakuhachi master Teruhisa Fukuda, rooted in the Zen Buddhist tradition. Centered around classical pieces from the Fuke sect—known as the meditative music of komusō monks—the recording unfolds a serene sonic landscape where breath and silence take prominence. Tracks such as “Kyorei,” “Mitanigawa,” and “Shika no Tone” embody the aesthetics of wabi-sabi, offering a deeply introspective listening experience.
Released by VDE/Gallo, a long-established label based near Lausanne, Switzerland, this album features traditional pieces of Japanese court music known as Gagaku. It includes ancient instrumental and dance compositions such as “Etenraku” and “Soshima,” performed with traditional gagaku instruments like the shō, hichiriki, and ryūteki. The performances are by Ono Gagaku Kaï, one of Japan’s oldest private gagaku ensembles, founded in 1887 by Yoshimichi Ono, chief priest of Ono Terusaki Shrine in Tokyo. The group has also released albums through the French label Ocora.
Released by VDE/Gallo, a long-established label based near Lausanne, Switzerland, this field recording captures the traditional music and ritual songs of the Jarai people living in the central highlands of Vietnam. The album offers a rare and profound glimpse into Vietnam’s musical diversity and spiritual depth, with natural sounds that evoke the essence of minimalist music.
Released by the long-established Swiss label VDE/Gallo, based near Lausanne, this field recording captures traditional songs of ethnic minorities living in the highlands of northern Vietnam. Ritual songs and folk melodies performed by the Nùng, Yao, Hmong, and Tai peoples are documented with raw, heartfelt vocals and distinctive melodic structures. These songs are deeply rooted in daily life, expressing themes such as love, prayer, labor, and lullabies. The unadorned yet powerful voices and unique tonalities reflect the cultural backgrounds of each ethnic group, offering a vivid experience of Vietnam’s musical diversity and spiritual depth through differences in language and vocal technique. The album also includes profound two-part harmonies, whose quiet intensity demands deep listening—more akin to hearing a prayer or a spoken tale than conventional music. As a rare and valuable recording, it holds particular significance for ethnomusicologists and field recording enthusiasts alike.
Released by VDE/Gallo, a long-established label based near Lausanne, Switzerland, this field recording captures the traditional music and songs of the Hmong people living in northern Vietnam. The album features vocal performances sung in various contexts—funerals, love, lullabies, and rituals—reflecting the everyday and spiritual life of the community. The voices of both men and women are raw and powerful, and the melodies are marked by hypnotic repetition and a ritualistic resonance.
Los Angeles–based artist Sam Wilkes is known for his genre-defying solo work and collaborations in the experimental and jazz community. His debut release for Psychic Hotline, “I Know I’m Not Wrong” b/w “Learning to Fly,” is part of the label’s ongoing Singles Series. Stepping away from his bass guitar, Wilkes explores new territory on a borrowed Fender Stratocaster, lent to him by longtime friend Brian Robert Jones (Paramore, Vampire Weekend). On the very night he brought the guitar home, Wilkes recorded a live, loop-based version of Tom Petty’s “Learning to Fly” in a single take, later layering in bass and background vocals. A process more about exploring an instrument than making a record. A few weeks later on his last night with the Strat, Wilkes recorded what would become the A-Side: his reimagining of Fleetwood Mac’s “I Know I’m Not Wrong.” “I just wanted to document what was happening without any other intention. Half of my time on bass is spent trying to make it sound not like a bass, so actually getting to play a different instrument felt incredibly liberating,” says Wilkes. Both arrangements are intuitive and spontaneous. Captured without pretense, the result is a pair of understated songs, perfect for a summer drive.
Echocord welcomes Mike Schommer onto its roster with hiz ‘Heirloom Signal’, featuring remixes from Mathimidori, TM Shuffle and Another Channel.
Mike Schommer co-founded Deepchord Records alongside Rod Modell and was associated with the label from 2000-2003, considered by many to be at the forefront of the second wave of dub techno in the early 2000’s following on from the legacy left by Basic Channel in the 90’s. Since then, Mike Schommer has gone out to unveil an impressive back catalogue of material beyond his own such as Steve O’Sullivan’s Mosaic, Greyscale, Lempuyang and Kontakt Records. Here the musical story continues with a new project for the equally beloved dub techno powerhouse, Echocord.
Opening is ‘Violet’s Dream’, a dropped tempo dub excursion employing an off-kilter, swaying rhythm section, pulsing subs, spiralling echoes and spring reverberations, Mariner’s Dub follows and employs broken percussion alongside hazy atmospherics and expansive stab textures before ‘Moon Serpent’ concludes the original material on the A-side, embracing a more loop-led feel with choppy stab sequences, robust 4/4 drums and resonant flutters.
The ’ Another Channel Version’ of ‘Violet’s Dream’ kicks off the B-Side, diving deep into a true roots reggae aesthetic with organic percussion and heavy doses of bottom end intertwined with the original elements. Mathimidori’s ‘Sensuikan Remix’ of ‘Mariner’s Dub’ then delves back into raw dance floor energy before TM Shuffle’s interpretation of ‘Moon Serpent’ rounds out the EP on a raw, reduced tip with stripped down drums and intricately processed stab lines.
Copenhagen’s Echocord returns this September with the ‘Invincible Nature’ EP by Altone,backed by a remix from Thomas Fehlmann and Another Channel. Atone is the guise of Tokyo’s Yuki Takasaki, one of the leading figures of the genre out of Japan with releases on the likes of Greyscale, Lempuyang, Vuo, Æ Recordings, Primary [colours] and
many more. His distinctive twist on Dub Techno has earned him accolades worldwide within the underground and here he joins the roster of the esteemed Echocord, the Kenneth Christiansen helmed label that’s been at the forefront of Dub Techno for more than two decades now. The original mix of ‘Naturally Unnatural’ opens, showcasing Altone’s unique style via subtly nuanced chord flutters, expansive reverberations, pulsating low end tones and ever unfolding,
subtly unfurling feel. The ‘Naturally Flowing Thomas Fehlmann Remix’ follows, the Swiss sonic wizard and former member of the legendary The Orb among many other projects delivers deep, throbbing subs and glitched out synth modulations intertwined with fragments of the original composition.
‘Unnaturally Balanced’ then opens the B-Side with Altone diving deeper into dub realms courtesy of ever alternating, billowing dub echoes and a raw, reduced rhythm section. The ‘Another Channel Version’ of ‘Unnaturally Balanced’ then rounds out the EP, embracing a more classic dub techno aesthetic as crunchy drums, swirling atmospherics and spaced out echoes ebb and flow amongst one another across the six and half minute duration.
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.
"Released by VDE/Gallo, a long-established label based near Lausanne, Switzerland, Anthologie musicale de la péninsule Arabique: Poésie chantée des bédouins; vol.1 is a field recording that documents the sung poetry traditions of Bedouins in the Arabian Peninsula. Recorded in Kuwait between 1970 and 1972, the album serves as a valuable resource for understanding the relationship between oral poetry and music in the region.
Released by VDE/Gallo, a long-established label based near Lausanne, Switzerland, Italie: Polyphonies des Quatre Provinces is a valuable field recording that documents the polyphonic singing traditions of a mountainous region in northern Italy, known as a cultural area where music, language, and customs transcend administrative boundaries. In this region, festive music combining orally transmitted polyphonic vocals and traditional instrumental accompaniment continues to be passed down, making this album a vivid sonic experience of the vocal culture and communal memory rooted in the Italian highlands.
Released by VDE/Gallo, a long-established label based near Lausanne, Switzerland, Portugal: Musique de l'île de Porto Santo (Archipel de Madère) is a field recording made in 1982 on the island of Porto Santo in the Madeira archipelago of Portugal. This valuable collection documents the island’s religious and secular festive music traditions, featuring polyphonic singing and instrumental performances by local musicians
Released by VDE/Gallo, a long-established label based near Lausanne, Switzerland, Cachemire: Le Sūfyāna Kalām de Srinagar is a valuable field recording documenting the tradition of Sūfyāna Kalām, a form of Sufi music from the Kashmir region of India, performed by Ustad Ghulam Mohammad Saznawaz. Sūfyāna Kalām is a musical form rooted in Islamic mysticism, consisting of vocal and instrumental suites performed during meditative nighttime gatherings known as mehfil. It is based on melodic structures called maqām and features traditional instruments such as the sāz-e-kashmīrī.
Released by VDE/Gallo, a long-established label based near Lausanne, Switzerland, AMAZONIE: Contes sonores is a field recording work produced in conjunction with the 2016 exhibition Amazonie: Le chamane et la pensée de la forêt (The Shaman and the Thought of the Forest), organized by the Museum of Ethnography in Geneva (MEG).
0on Zero-on, a label run by the percussion group "Kodo 鼓童" which has its roots on Sado Island, has released a cassette recording of a solo performance by percussionist Yuta Sumiyoshi, a member of the "Kodo" group.
KENTATAKU YUTATAKU’s 3rd album “Zero On” is the eponymous first release on Kodo’s new label 0on.
Featuring four improvisational tracks, ranging from large ensemble works without musical instruments to vast sound collages, KENTATAKU YUTATAKU’s latest work is packed full of heart, soul, and fresh new sound.
Limited release of 200 cassettes + download code.
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Kenta Taku Yu Tataku 2nd Album
Physical release on cassette tape along with digital release. The cassette is limited to 100!
Imagine from the sound.
Create sound.
The "sound" that overflows from Kenta Nakagome and Yuta Sumiyoshi, who chose the media "cassette" in an era where they can listen to anything with various streaming services, is particular about their own sound and the sound that only two people can make "NAYUTA". It became a work called.
Please prepare a cassette deck and fully enjoy the difference in texture and sound quality peculiar to analog that can never be reproduced digitally.
Also pay attention to the cassette design that you want to collect and the bonus stickers that come with it!
Psychic 9-5 Club marks the beginning of a new chapter for HTRK. It's an album that looks back on a time of sadness and struggle, and within that struggle they find hope and humour and love. It's Jonnine Standish and Nigel Yang's first album recorded entirely as a duo—former band member Sean Stewart died halfway through the recording of their last LP, 2011's Work (Work, work).
Though the record is instantly recognisable as HTRK—Standish's vocal delivery remains central to the band's sound, while the productions are typically lean and dubby—they've found ample room for exploration within this framework. Gone are the reverb-soaked guitar explorations of 2009's Marry Me Tonight and the fuzzy growls that ran through Work (Work Work). They've been replaced with something tender, velvety and polished. This is HTRK, but the flesh has been stripped from their sound, throwing the focus on naked arrangements and minimalist sound design.
The album was recorded at Blazer Sound Studios in New Mexico with Excepter's Nathan Corbin, who had previously directed the video clip for Work (Work Work) cut "Bendin." Inviting a third party into their world was no easy decision, but in Corbin they found a kindred spirit. The LP was then refined and reworked in Australia at the turn of 2013, before the finishing touches were applied in New York during the summer. Psychic 9-5 Club was then mastered by Rashad Becker at Dubplates and Mastering in Berlin.
Of all the themes that run through Psychic 9-5 Club, love is the most central. The word is laced throughout the album in lyrics and titles—love as a distraction, loving yourself, loving others. Standish's lyrics explore the complexities of sexuality and the body's reaction to personal loss, though there's room for wry humour—a constant through much of the best experimental Australian music of the past few decades.
Standish explores her vocal range fully—her husky spoken-word drawl remains, but we also hear her laugh and sing. Equally, Yang's exploratory production techniques—particularly his well-documented love of dub—are given room to shine. They dip headlong into some of the things that make humans tick—love, loss and desire—with the kind of integrity that has marked the band out from day one. Psychic 9-5 Club is truly an album for the body and for the soul.
Following Mikkel Rev's debut album on the label in 2023, ‘The Art Of Levitation’ the Norwegian artist returns with Journey Beyond, a selection of tracks demonstrating his innate ability to conjure the most atmospheric trance music, irrespective of BPM.
Journey Beyond was created from an extensive set of tracks sent to the label that were initially sequenced as two shorter EPs. With the first offering a slower 80bpm trance style, and the second EP, a classic ~130bpm trance style. However, over time, with tracks swapping in and out, ASIP had the idea to create a mixed version, progressing through the tracks and increasing bpm's, showcasing Mikkel’s ability in bridging euphoric worlds - and a style that is often reserved for Mikkel’s live performances amongst the forest raves held as part of the Ute Collective in Norway.
Classic trance and the art of a DJ mix have been influential to ASIP since the label’s inception, making this release and the process of creating it a true reflection of how Mikkel and the label come together to define the end output.
Featuring artwork by Ventral Is Golden and mastered by James Bernard.
Fire of God’s Love is the legendary 1973 album by Australian nun Sister Irene O’Connor—a sincere, soulful, and unconsciously psychedelic song sequence devoted to self-reflection and awakening the spirit within. A collection of original folk spirituals written by and channelled through O’Connor with guitar, electric organ, drum machine and her angelic voice, the album was recorded and mixed in an astonishingly futuristic fashion by fellow nun and recording engineer Sister Marimil Lobregat. This edition from Freedom To Spend is the first authorized reissue of this holy grail since 1976; the album restored and remastered with love from the best available sources by Jessica Thompson.
The work of JJJJJerome Ellis lives comfortably in the gaps between silence and possibility. The Black disabled Grenadian-Jamaican-American artist creates atmospheric soundscapes with saxophone, organ, hammered dulcimer, electronics, and their voice. Improvisation is at the core of their artistry – often chipping away at large slabs of recordings to reveal the piece like a marble sculptor. It’s an expansive and interdisciplinary practice that allows JJJJJerome to adapt to any medium or form, including recorded music, live theatrical and performance art, scoring, spoken word and storytelling, and multimedia/visual works that incorporate sound. Living as a person who stutters, using their mouth to express themselves proved difficult growing up. The practice of spelling their performance moniker “JJJJJerome” stems from the realization that the word they stutter most frequently is their own name. Despite a brief placement in speech therapy as a child – Everything clicked when they picked up the saxophone in seventh grade. “I still stutter on the saxophone, but it’s different.” As an artist, their creative ethos now revolves around the exploration of stuttering through music, expounding upon the ability of each to shape time. They honor the stutter through art. Their career began when they started to improvise along with John Coltrane and Billie Holiday CDs on the horn. But as someone drawn to navigating limitations, JJJJJerome has since blossomed into an adept multi-instrumentalist, each instrument being a watershed in paving new avenues of potential sound worlds. Their voice is additionally guided by a reverence for the earth and ancestors – both human and otherwise. With maternal familial ties to the church, and memorable stories of their grandmother performing as a pianist and organist, JJJJJerome’s recent affinity for keyboards holds a meaningful weight. Forthcoming sophomore record Vesper Sparrow (Shelter Press) is born out of this connection to Black religious tradition and inheritance. It is a continuation of the artist’s ongoing study of the intersections between music and sound, stuttering, and Blackness, through the lens of time. The album is comprised of two complete thoughts, and hinges on a recorded stutter. JJJJJerome splits the four-part composition “Evensong” by fading out the stutter in part two, and sandwiches tracks three and four (“Vesper Sparrow” and “Black-Throated Sparrow”) in-between. “The stutter becomes a structuring moment,” they explain, regarding the opportunity to fill the time opened up. Suspension, then, becomes integral to JJJJJerome’s musical language. Both stuttering and granular synthesis can suspend moments in time, and “invite multiple ways of inhabiting, traversing, and connecting with others in those moments.” The artist also pulls in elements of pop production – electronic textures and distortions inspired in part by indie-rock; and spoken word, sampling, and audio manipulation drawn from Caribbean and Black American musics. JJJJJerome’s artistry has been recognized on a wide scale. Their debut record The Clearing (NNA Tapes, 2021) and accompanying book (published by Wendy’s Subway) was awarded the 2022 Anna Rabinowitz Prize for its “restless interrogation of linear time,” as described by esteemed writer Claudia Rankine. Their work has been presented by large cultural institutions, both internationally at the 2023 Venice Biennale and adventurous Rewire Festival; and at home in the US by the Whitney Museum, The Shed, the Center for African American Poetry and Poetics, and National Sawdust. JJJJJerome has additionally been awarded a Fulbright Fellowship (2015), Creative Capital Grant (2022), and several MacDowell residencies (2019, 2022). Recently, they have been commissioned by The Metropolitan Museum of Art and Ars Nova. A Virginia native, JJJJJerome currently lives in a monastery on traditional Nansemond and Chesepioc territory, aka Norfolk, VA. They live with their wife, poet-ecologist Luísa Black Ellis. earned a B.A. in music theory and ethnomusicology from Columbia University, and went on to lecture in Sound Design at Yale University. With childhood friend James Harrison Monaco, they create vast sonic-storytelling productions as James & JJJJJerome. It’s JJJJJerome’s dream to build a sonic bath house.
Emily A. Sprague’s Cloud Time is an improvised ambient document of her long-awaited debut tour of Japan, recorded in autumn 2024. Compiled from over eight hours of live material captured in venues across the country, the album reflects a dialogue between performer, place, and moment, presented with no additional mixing and only minimal edits. Originally conceived as a journey rather than a traditional concert tour, Sprague approached each performance as an open exchange with her surroundings, redesigning her live setup to allow for real-time responsiveness and spontaneity. The result is a series of distinct, site-specific sound pieces shaped by intuition and environmental influence. Rather than follow a chronological order, the seven long-form tracks are sequenced to convey a narrative flow that mirrors the emotional arc of a full live set. Tracks like ‘Nagoya’, ‘Tokyo 1’, and the ten-minute ‘Matsumoto’ gently pulse with layered synthesis, embodying an ambient mode rooted in the ethos of kankyō ongaku and deep listening traditions. Cloud Time invites listeners into a reflective space where sound becomes a means of connection, stillness, and surrender—an offering from Sprague’s deeply personal and healing encounter with time, place, and presence.
Hüsker Dü. Live. 1985. Need we say more? Witness the transcendent Minneapolis punk trio tearing into the most incendiary year of its existence, captured live on stage at First Avenue in perhaps the highest fidelity recordings of the band’s lauded SST era.
This 4xLP edition includes Beau Sorenson’s restoration of an entire January 30 1985 set, 20 extra live tracks from the year’s touring schedule, and a deluxe 36-page book detailing twelve months of history-making Hüsker Dü. What is the sound of a legend being written?
Hüsker Dü. Live. 1985. Need we say more? Witness the transcendent Minneapolis punk trio tearing into the most incendiary year of its existence, captured live on stage at First Avenue in perhaps the highest fidelity recordings of the band’s lauded SST era.
This 4xLP edition includes Beau Sorenson’s restoration of an entire January 30 1985 set, 20 extra live tracks from the year’s touring schedule, and a deluxe 36-page book detailing twelve months of history-making Hüsker Dü. What is the sound of a legend being written?