NEW ARRIVALS

Anushka Chkheidze + Robert Lippok’s »Uncontrollable Thoughts« on Morr Music is the duo’s debut joint release. The Netherlands-based Georgian composer and the German sound artist from Berlin first met in 2019 in the context of a workshop programme that took place in Tbilisi, and later worked with Eto Gelashvili, Hayk Karoyi, and Lillevan on the massive »Glacier Music II« music and book project, released in 2021. This led them to engage in a less conceptually driven form of musicking and real-time composition that corresponds with their respective environments. They draw on traditions such as minimal music or late 1990s and early 2000s electronica to integrate subtle beats with elegiac organ drones, playful melodies with lush textures. The first document of an ever-shifting intergenerational dialogue, »Uncontrollable Thoughts« is a product of mutual listening outside time.Though Chkheidze and Lippok had access to professional studios, they chose to rent a simple rehearsal space, equipped with only the bare essentials—bass and guitar amps as well as a small PA—to maintain immediacy in their working process. The music they made together corresponded to and drew on the respective possibilities and shortcomings of this studio, much like their collaboration in general is characterised by the care with which they approach each other's talents and ideas. While both had loosely defined roles—Chkheidze was responsible for the free-flowing beat programming and the evocative distortion came courtesy of Lippok, for example—they individually contributed in different ways to their joint process, which is as free of hierarchies as it is limitless. Hence, the duo’s focus on spontaneity and out-of-the-moment emergence makes them organically move beyond tried and tested conventions, resulting in music that seems to suspend time altogether.When the first chimes on »Bird Song« announce a piece that sets rattling kickdrums against a backdrop of layered drones and rhizomatically entangled melodic elements, it becomes clear why »Uncontrollable Thoughts« carries this title: The album follows the constant detours of the subconscious of its makers, letting them explore moments of ecstasy such as on »Rainbow,« melancholy with »Field,« and the interplay of suspense and release through the ten-minute-long title track. But the different pieces also tie into one aother in various ways. The dirge-like organ drones on which »Rainbow Road« ends reappear in the beginning of »Uncontrollable Thoughts,« much like Chkheidze’s gentle yet emphatic piano chords on »Field« seem to provide the starting point from which the artist develops the striking motifs of the final piece »Opening«, whose title itself suggests that the record as a whole can and should be enjoyed as a loop. All this creates a unique, idiosyncratic temporal logic.While there is much that sets Chkheidze and Lippok apart as solo artists, the major shared leitmotif in their respective bodies of work is the sonic engagement with space. »Uncontrollable Thoughts« is hence best understood as an extension of this practice; as an album that maps the geographies of their minds in motion, tracing musical movements as they melt into each other.

Living in the present is an album built around the work of American minimalist poet, Robert Lax (1915-2000) who is widely praised for his artistic concept of reduction, in which a pause becomes as important as the things said.

The album brings together the sound of Robert Lax reading his poetry, narrative field recordings by Nicolas Humbert and subtle yet imaginative timbres by Carina Khorkhordina (trumpet) and Miki Yui (electronics) who is also behind the final mixing of the album.

Living in the present is drawing from an archive of audio recordings originally made by film maker Nicolas Humbert while shooting a film on Robert Lax entitled Why Should I Buy A Bed When All That I Want Is Sleep?, ( Nicolas Humbert and Werner Penzel, Germany, 1999) The film was made on the Greek island of Patmos where Lax has lived withdrawn for 3 decades.

More than 25 years after the premiere of Why Should I Buy A Bed When All That I Want Is Sleep?, Humbert, Khorkhordina and Yui are revisiting the original audio material and patiently open worlds within worlds, pointing to new harmonic textures and isolating timbres, synchronizing different layers of time and traces of various locations into a new composition in its own right.

In some ways this album feels like an expansion of the work Humbert and Penzel did with Lax across six years, between 1993 and 1999, where they developed a unique intimacy in their textual-visual collaboration. On two long pieces, for each side of the album, “Where do i begin” and “One moment passes, another comes on” respectively – Yui’s electronics and Khorkhordina’s trumpet interweave beautifully with Humbert’s field recordings, in a manner that shadows the reflective reduction of Lax’s poetry. Indeed, it's no surprise that Lax’s poetry draws musicians into its orbit; it offers the curious a welcoming reduction in which only individual words and syllables represent the essence of language.

Lax’s poetry is notable for its qualities of near-stillness and its capacity to pause the reader’s thought, asking them to hold the sensuality of language for an extended, quietly revelatory moment. His readings on this album share a similar cadence, interested in settling with syllables, with single or several words, for an extended time.

Ultimately, Living in the present unfolds with unforced grace and poetics – one moment passes, then another comes on. (Jon Dale)

Interstitial Spaces is Martin Brandlmayr’s debut release on Faitiche. In this award-winning radio collage, the well-known drummer and composer (Radian, Polwechsel) explores the quiet moments in music and film recordings.

The last notes of a piece of music fade out in the space. The pianist and the violinist remain frozen in place, holding their breath. The sound engineer sits silently at the desk. Once he has switched off his tape machine, the dull drone of a ship’s horn is heard in the distance. Otherwise, not a sound. Or was there something else hidden in the white noise?

Interstitial Spaces is based on short excerpts from music recordings, films, TV adverts and field recordings. Brandlmayr takes these quiet scenes, intervals in which nothing seems to happen, and brings them into the foreground, subjecting them to a microscopic spotlight. Moments in which one hears only the space itself, or the subtle presence of someone in the space: faint breathing, footsteps and the soft creak of a chair. We also hear preparations for an orchestra rehearsal: the musicians are all busy tuning their instruments, talking to each other, the concert has not yet begun.

This leads to a shift in perception: incidental details hidden in the hubbub of voices or in the silence suddenly take on a leading role. In the empty spaces, we discover various shades of noise, sharpening our awareness of sonic peculiarities. In a gentle rhythm, Brandlmayr’s radio collage offers a sequence of strange, not immediately identifiable sounds that are woven in the second part into a dense structure. At the end, the carefully captured sounds are released back into the empty space. Interstitial Spaces is a bold spectacle that celebrates the eventful uneventfulness.

In 2016, after reissuing two Bruce Haack albums, Haackula and Electric Lucifer Book II, Telephone Explosion began speaking with Ted Pandel (Bruce’s lifelong friend and business partner) about working on the 1970 masterpiece The Electric Lucifer. It turned out there was another matter that he wanted to discuss: finding a final resting place for the Bruce Haack archive.

We were shown test-pressings of The Electric Lucifer board mixes from his Columbia studio sessions, countless pieces of written music, a large number of personal photos, an invitation from Raymond Scott inviting Bruce to play his newly created Electronium instrument (now owned by Devo’s Mark Mothersbaugh), poems, press clippings, and, most importantly, a heavy-duty shelf containing 213 reel-to-reel tapes.

All of the chosen material on The Preservation Tapes is unreleased, and has only been heard by a handful of people.

The Bruce Haack archive is now resting in the Provincial Archives of Alberta, in Edmonton, Alberta, Canada.

Beyond Rare! These historical recordings of a 1967 concert at Hope College in Michigan involving John Cage, Toshi Ichiyanagi and David Tudor, performing compositions by Ichiyanagi and Alvin Lucier, were recently discovered in an archive in Japan. The Lucier piece, "Music for Solo Performer”, was the first musical composition to utilize human brainwaves; this 1967 performance, released here for the first time, is an early realization of the piece, featuring Tudor, Ichiyanagi and Lowell Cross, using alpha waves to activate a wide range of percussion instruments. This proto-industrial version is heavily influenced by the amplified performance techniques pioneered by Cage and Tudor in the 1960s; quite different from the 1982 Lucier/Pauline Oliveros realization on Lovely Music. Ichiyanagi’s 1967 composition “Appearance” combines live electronics with acoustic instruments and adds Cage to the list of performers. This is the same piece which was released in 2006 by Omega Point, but the source tape used here is believed to be the master tape, resulting in a significant improvement in audio quality. These are historically significant and musically fascinating recordings, available on LP and CD. The release includes liner notes by Ibe Osamu of Omega Point, who explains how the tape was discovered, as well as liner notes by sound artist Minoru Sato, a researcher of Lucier's work who was in contact with the composer during his lifetime. Ichiyanagi contributes a note about “Appearance”.

In conjunction with the 2025 re-pressing of the Nora Guthrie "Emily's Illness/Home Before Dark” 7-inch single, we have here, in the same format, a lovely cover of the latter tune, performed by Eddie Marcon, a band based in Himeji, Japan. The band’s vocalist Eddie Corman and musician/producer Shintaro Sakamoto wrote the Japanese lyrics for this gorgeous version, recorded in 2024 and originally unintended for public release; however, this slice of sweetness, delivered by the full band comprising guitar, keyboards, bass, percussion and wistful winds is now available to the lucky listener. The flipside, recorded in 2025, is an intriguingly ghostly recomposed version for cello and flute by TORSO, a Tokyo instrumental duo, who used the basic tracks from the Eddie Marcon version of “Home Before Dark" as a ‘guide’ before finally deleting the basic tracks.

Takao‘s new album is a rare attempt to recreate a previously released album. He has re-recorded his debut album "Stealth" and presents it here as a completely new work. This is a 50-minute full-length album with two new tracks, "Moon" and "Seven Sands". This new "Stealth" is subtitled 'Gold Edition'. 

=From the 2018 album commentary= 
“Stealth” is the aptly-titled debut album from Tokyo-based composer/producer Takao. Gliding in under the radar with thirteen slyly sweet and subtle miniatures, these pieces are refreshing light-explosions of gentle harmony and modestly grand melodies. Fans of New Age and tonal minimalism will enjoy this music, but its brevity reveals a pop-influenced aesthetic as well, and the level of care and detail in the arrangements and recording evinces a nuanced, surprisingly mature sensibility. There’s a blossoming brightness and elegant simplicity that even calls to mind gentle ghosts of Satie and Debussy.

Released in 1983 on a miniscule run of 300-self-financed LP’s, Dennis Taylor’s ‘Dayspring’ remains a lost masterwork of transcendental instrumental guitar. An important missing link between the 60’s folkloric experimentalism of John Fahey and Robbie Basho, and the new age atmospherics mined by William Ackerman and Michael Hedges in the early 80’s. Though Taylor’s guitar playing remains crisply unadorned on these 10 tracks, his technique and his compositions stretch beyond the folk roots of the genre. He crafts a soundworld that is both immersive and familiar. His pastoralism has a spaciousness - a pianistic drift - that feels truly timeless. Taylor cut his musical teeth through the 60’s and 70’s playing with garage rock bands, and later finding his footing in the world of jazz/folk fusion. Sometime in the early 70’s, Taylor found his most profound inspiration to date when he witnessed a live performance from Takoma Records luminary, Leo Kottke. Enraptured by Kottke’s ability to fill the room so completely, with the sound of just one instrument, Taylor was determined to follow a similar path. Thus, he began composing music for solo guitar. He spent nearly a decade writing and honing his pieces, finally entering a studio in 1982 to commit them to tape. Taylor likened the recording experience to “a living room concert.” He recorded each song in a single take, in the order they appear on the album. Paying out of pocket for the recording sessions, studio time was at a premium, so Taylor had arrived prepared. And the results speak for themselves. Dennis Taylor’s guitar playing is clean, precise, and masterfully proficient. And yet, ‘Dayspring’ is not merely a document of technical ability. His compositions are deeply expressive. Taylor’s deft fingerpicking is married to achingly beautiful melodicism. His arpeggios chime and roll with painterly expression. Across the breadth of ‘Dayspring’, Dennis Taylor strikes a perfect balance between wistful nostalgia and bold expansion. Though Taylor initially hoped to release his album with new age progenitors Windham Hill, he ultimately decided to release the album on his own. He self-financed a pressing of 300 LP’s, which were largely distributed locally in his hometown of Lincoln, Nebraska. And now, Morning Trip is supremely proud to bring this album back to light. An important missing piece in the expansive tapestry of instrumental guitar music, finally restored on its original format.

There are constellations within the grooves of Cymbalom Solos. Innumerable points of light, rendered audible in glowing, radiant sound. There are entire worlds too - undiscovered, yet familiar - both terrestrial and celestial. There are moments of quiet comfort and exultant discovery. And all of it conjured by one man with a handful of ancient and invented instruments, recorded mostly-live, with precious few overdubs. Michael Masley has been a fixture of Berkeley, California, since he arrived from Michigan in 1982. Even today, he remains a common sight, working as a street performer - catching the attention of passers-by as he summons otherworldly overtones from a coterie of arcane instruments. This is how he met fellow east-coast transplant and musical voyager, Barry Cleveland, in 1983. Cleveland was enraptured by the sound of Masley’s wildly innovative bowhammer cymbalom. The cymbalom is an ancient instrument, similar to a zither or hammered-dulcimer - originating in Eastern Europe in 1874, but with primitive early examples dating back as early as 3500 BC. Yet Masley’s approach to the instrument was wholly original. Masley replaced the two traditional cymbalom hammers, with bowhammers - an invention wherein he fitted each of his fingers with it’s own combination hammer/bow device, which allowed him to both strike the strings, and bow them like a violin. Outfitted with his bowhammers, Masley was able to wrest startlingly new sounds from a centuries-old instrument. In 1985, after performing together for a couple years, Cleveland produced Masley’s first solo endeavour, Cymbalom Solos. With the help of Cleveland’s timely production, Masley’s technique reached its zenith. His complex and beautiful compositions combined elements of Eastern-European classical, new minimalism, and celtic/folk music, yet the end result falls squarely within the world of new age kosmiche. Music of the spheres, conjured by earthbound strings. Masley estimates that he sold tens-of-thousands of cassette copies of Cymbalom Solos over his years of performing. And now, Morning Trip is distinctly proud to offer it on vinyl for the first time ever - an album of startling, imaginative beauty, by a brilliant American folk artist.

From the visionary collaboration of Japanese New Age master Ken-ichiro Isoda and electronic music magician aus (Yasuhiko Fukuzono). Minimalism distilled, ambient environmental music that soothes the mind and kindles the spirit.

Drawing on Isoda’s deep legacy (notably his legendary work on Oscilation Circuit – Série Réflexion 1 from mythical label Sound Process) and fused with aus’ spellbinding melodies, Interwoven is ethereal healing sound: lingering piano, soft cinematic synths, field recordings that feel like whispered memories, while flutes and saxophone pass by, bringing a subtle breath of wind and the warmth of human touch.

This is music for those who cherish the delicate beauty of life — and for fans of Satoshi Ashikawa, Midori Takada, Satsuki Shibano, Hiroshi Yoshimura, Takashi Kokubo, Brian Eno… lovers of nature, reflection, and daydreams.

Interwoven is a collaboration that bridges their generation and the physical distance between them.

Tokyo based producer aus works with synthesizers and electronic processing, while ISODA, living on Hachijo Island, writes scores for wind instruments, harp, and other acoustic instruments.

The project began with aus’ sketches like images of water, the sea, and islands, but gradually shifted into an exchange of sound without explanation. That trace of anonymity created a kind of freedom that neither had in their own work.

ISODA is known not only as a leading figure in Japanese ambient music, but also for his work as a music producer & composer for contemporary music, and game music creator. aus brings a distinctly current sensibility shaped by his background in electronic music.

Kanazawa Akiko, a leading singer in the folk music world celebrating her 50th anniversary, finally releases her killer tune fusing folk and reggae.

This track (“Akita Ondo ~ Akita Daikoku Mai” medley) was featured on the hugely successful album “HOUSE MIX 1” (released in 1991), produced by Soichi Terada, founder of FAR EAST RECORDINGS, a pioneer of Japanese dance music currently experiencing renewed appreciation overseas.

At the time of release, a non-commercial 7-inch record was created for promotional purposes based on an idea by Soichi Terada, who arranged the album. Now, a 7-inch single featuring the original arrangement by Soichi Terada is officially set for release, just like the original.

A peerless debut album by Jacks, born in the dawn of Japanese rock, reissued as a colored vinyl modeled after the original red pressing released by Toshiba Musical Industries on September 10, 1968.

Millions Now Living Will Never Die is the second full-length offering from Tortoise. The majority of the material was first conceived during an idyllic 10-day retreat in Northern Vermont, where the group were able to explore their ideas in a setting that fostered introspection and inspiration: the results are clearly evident in the washes of Klangfärben (tone color) and rhythm that permeate the album. The sounds and ideas contained therein can be viewed as a logical extension of those found their first (eponymous) LP on Thrill Jockey where the group outlined an agenda exploring texture, space, and mood. MNLWND, however, offers not only an expansion of those ideas but also the introduction of several new elements into the musical equation. New instrumental textures (marimbas and other mallet percussion on "Djed" (pronounced "jed"); conventional electric guitar on "Glass Museum"; analog synthesis/sequencing and found sound on "Dear Grandma and Grandpa") and structural ideas (the extended formal procedures of "Djed"; the non-narrative song "Along the Banks of Rivers") represent clear developments and redefinition's of the group's sound.Recording commenced immediately upon returning to Chicago, though due to a variety of reasons, the entire recording and mixing process became elongated. This less hurried approach to album making allowed the group to explore more of the possibilities inherent in the material; the 21-minute "Djed" is ample proof of this. The final version of the track went through approximately 15 different stages of mixing and editing. Like their debut, MNLWND was recorded and mixed by John McEntire (also at that time had produced material by Stereolab, Run On, The Sea and Cake, Trans Am, and Come). The majority of the album was recorded and mixed at Idful Music Corporation in Chicago, with the remainder being realized at the newly established SOMA Electronic Music Studios. MNLWND is the first studio recording to feature the talents of David Pajo, who joined to fill the position vacated by Bundy K. Brown in late 1994.

Black Tape II is only the second widely available release by Ohkami No Jikan (The Time of the Wolf), one of the more esoteric groups of the 1990’s Tokyo underground. Recorded in 1992, it illuminates a largely undocumented facet of Nanjo Asahito’s psychedelic cosmology, distinct form his better known work with High Rise, Musica Transonic and Toho Sara. Aside from a handful of limited, handmade cassettes and CD-Rs on his La Musica label, there’s only been one Ohkami No Jikan album, Mort Nuit, that made it beyond the collector inner circle. One of Nanjo’s longest-running, most mysterious outfits, Ohkami No Jikan’s conceptualisation – as a psych outfit “that explores ‘stasis’ and ‘motion’, both actively and philosophically” – hints at the intensity of the music here. There’s a pellucid beauty to much of Black Tape II, with the simplest, most erotically charged chord changes descending from the heavens, Nanjo moaning consumptively as the songs slip by in an acid daze. The 1992 line-up here, with Asai Fumiyo on bass and Nagao Kouji on drums, was one of many variations of Ohkami No Jikan; simultaneously languorous and heavy, at times pushed into the red with sharp feedback arcs, the group feels cosmically aligned with Nanjo’s purity of vision. “Unreleased recordings from the the ‘92 Black Tape (cf. 068). Cool acid heavy psychedelic sound takes that weren’t used on the original release. Early studio demos.” - from the original La Musica cassette release Available for the first time on LP or any physical form aside from a small run of hand assembled cassettes on the Japanese La Musica label in mid ‘90s (LA-077). Housed in a custom die-cut, "Uni-Pak" style gatefold with metallic ink, spot finishes and matching La Musica inner sleeve. La Musica Records was a label founded by Asahito Nanjo in Tokyo during the 1990's. It released nearly 200 cassettes and cd-r's, all handmade in micro-editions sold at shows. The catalog featured artists and recordings largely of obscure, often completely unknown origin, sanctioned and "grey-area" documentation of the Tokyo psychedelic underground. Black Tape II is part of Black Edition's work to bring La Musica's unique and confoundingly beautiful catalog to light.

An album Maximum Rock 'N' Roll deemed not punk enough to review, Unwound’s 1994 sophomore effort was a lethal depth charge aimed at major label grunge and independent hardcore alike. From the off-kilter, vertiginous rhythm of “Entirely Different Matters” to the neck-snapping velocity of “What Was Wound” to the relentless pounding at the end of “All Souls Day,” New Plastic Ideas is the Sonic Youth loving older sister to Fake Train's post-punk-obsessed little brother.

Singer, actor and musician Farid El Atrache, born on October 19, 1910 in Soueïda, Syria, and died on December 26, 1974 in Beirut, Lebanon, is considered the greatest singer of the Arab world. A virtuoso of the oud, his timeless work, rich in hundreds of compositions, is recognized the world over. The present selection is devoted to the master's early works recorded in the 1930s-1940s. ----- Chanteur, acteur et musicien, Farid El Atrache né le 19 octobre 1910 à Soueïda en Syrie et mort le 26 décembre 1974 à Beyrouth au Liban est considéré comme le plus grand chanteur du monde arabe. Virtuose du oud, son oeuvre intemporelle riche de plusieurs centaines de compositions est reconnue dans le monde entier. La présente sélection est consacrée aux premières oeuvres du maître enregistrées dans les années 1930-1940.

"When you notice the cheerful mystery playing with the synths, the edges of this small world start to look slightly distorted. In any era, someone is always creating mysterious music on their own." (7FO) Music in DNA is an album recorded in the early 1980s in New York City and self-released in 1984 in Japan by Yasuhito Ohno, a young Japanese man breaking free from the constraints of his homeland. The album is a naive burst of outsider DIY enthusiasm, inspired by the multiple avant-garde movements of the era, in music, painting and performance, as well as the native energy of 80s NYC. Ohno channeled his youthful “edge” and zeal into open-minded lo-fi musical explorations using a mere two machines: the then-new technological glories of a four-track cassette recorder and that polyphonic synthesizer masterpiece, the Roland Juno-60; on several pieces he vocalizes. These seven tracks have a zestful, innocent, anything-goes charm, free from preciousness and self-consciousness: a raw and youthful human spirit at play in a new world. Ohno was also inspired by the humanistic promise of the general technological developments of the day, including DNA research, personal computing, and early computer graphics, an example of which can be found on the cover. Ohno later returned to Japan, becoming a renowned composer/producer. In an era of jaded cynicism, Music in DNA is a welcome taste of big-hearted innocence, a revival of a raw self. Available on CD/LP/Digital, with E/J liner notes by the artist.

*100 copies limited edition* "Music, like love, surprises you, makes your heart race, gives you new eyes with which to look at yourself in the mirror..." - Gigi Masin With an exclusive presentation by Gigi Masin, Up To 23 release their second album, now with an expanded three-member lineup following the permanent addition of Enrico Coniglio alongside founder members Marco Buffetti and Francesco Fincato. The album draws inspiration from the 1980s, evoking atmospheres reminiscent of sci-fi soundtracks. Partly romantic, partly doom ambient, the work unfolds as a requiem for our planet. Liquid and enveloping atmospheres drift between ambient territories with a distinctly melodic character - explored through treated guitars and synthesizers - and subtly electronic paths traced to the rhythm of patterns built through sequencers and programmed structures. Dramatic and evocative moments emerge throughout this succession of varied yet perfectly integrated and fluid soundscapes, where sounds and progressions combine with ever-shifting solutions, following a descriptive thread that remains consistent as it continuously unravels through encompassing and emotionally engaging textures. "Gigi Masin Presents: An Apple A Day You Die Anyway" is the perfect soundtrack to these dark times that Up To 23 want to color in order to continue to hope, to live without having to survive.

Six touching tracks that, starting from quiet ambient atmospheres, initially soft, tenuous, and crepuscular, gradually seem to soar... ascending towards celestial spaces, revealing ever-wider and brighter landscapes below, ever-more distant horizons, ever-more infinite spaces... Highly evocative progressions, guided by sober and delicate melodies and driving, pulsating bass lines, wonderfully deep (best enjoyed with a good stereo system to truly appreciate them), the kind that make your stomach churn before you even perceive the exact frequency and harmonic progression, often "set" in restrained rhythmic patterns that mark the time, making a sonic journey even more dynamic and compelling. If it doesn't surprise you, it's probably only because you've already had the opportunity to explore and "plumb" FABIO ORSI's most recent discography, and are already accustomed to the best of what this new wave of distinctly electronic but ambient-inspired music has to offer.

Rod Modell returns with Frequencies In The Fog, a deeply immersive work built from minimal structures, patient motion and finely judged restraint. Pads, discreet electronic details and slow, enveloping bass lines form the core, while distant, treated voices and subtle textural creaks surface like echoes caught in mist.

The music unfolds in gentle cycles, where circular movement alternates with moments of liquid stasis and near-silence. Sounds appear and recede without warning, revealing fleeting impressions of place before dissolving again into a shifting haze. There is a sense of suspension throughout — as if the listener is drifting through intangible terrain, guided more by atmosphere than direction.

As with much of Modell’s work, the power lies in the details: the careful balance between density and space, the tension between motion and stillness, and the way each element feels inseparable from the whole. Frequencies In The Fog invites deep listening, rewarding patience with a quietly absorbing journey through blurred environments and half-remembered forms.

Winding through cavernous passages of sound, Rod Modell builds a patient, tactile world shaped by low-end pulsations, drifting electronics and finely observed environmental detail. Gurgling currents, rustling textures and crystalline drips move in and out of focus, giving way to heavier sound masses before opening onto unexpectedly calm, almost soothing spaces.

What appears abstract at first gradually reveals a strong emotional pull. Modell’s control of dynamics and pacing allows small shifts in tone and texture to carry real weight, with moments of darkness offset by sudden glimmers of light and stillness. Electronic spirals rise and dissolve, while quieter passages create a sense of suspension, as if time has briefly slowed.

The result is a deeply considered listening experience that rewards attention. Every nuance feels deliberate, each detail contributing to a broader sense of tension, release and atmosphere. Rather than overwhelming, the music draws the listener inward, balancing restraint and drama in a way that feels both immersive and quietly affecting.

The second compilation of FORM@ RECORDS. Although this work hasn't decided on a particular direction, it's a wonderful album that naturally gathers pure things and far surpasses the previous work.

Following Virgo's Landform Code and Remnants, we're happy to continue our collaboration with with FORM@T RECORDS.

Various Artists

Art Form I

Limited Edition Double LP.

First ever vinyl release of the unheralded classic compilation from 1997.

From the vaults of cult Japanese label FORM@ RECORDS.

A fascinating dive into Tokyo’s electronic music underground of the late 90s - timeless and unique IDM, techno, ambient, acid.

For fans of Warp’s Artificial Intelligence series, Ken Ishii, Carl Craig, B12, The Black Dog, deep electronic music, experimental soundscapes, time capsules of underground music movements.

Also available: Virgo albums Landform Code and Remnants, FORM@ compilations Art Form 2 and Re-Form Ver-1.0

Finally, finally, FINALLY! After many years of fruitless praying, a true collector grail can finally grace every turntable the world over.

Bright And Shining is a miraculous leftfield library classic from the genius mind of Barbara Moore.

It's Highly Addictive Happiness Music TM and one of the coolest records to come out of anywhere...ever! With originals almost impossible to find - and, when they do, going for over £300 - you already know how crucial this beautiful reissue is.