NEW ARRIVALS

A Good Year is the collaborative project of producer and former Liss drummer Tobias Laust Hansen and filmmaker-turned-musician Albert R. Hildebrand. Play. moves between acoustic instrumentation, synthetic textures and loose-limbed rhythms, balancing baggy drums, bass-heavy electronics and understated guitar work with a reflective, road-trip atmosphere. Across the record, tender vocal performances and layered production give the songs a shifting sense of scale, from intimate sketches to expansive, anthem-like moments. Contributions from Horse Vision, Koilwood, Tiffi M, Quiet Light, Late Verlane, Alba Akvama, Suisse Air and MØ add further depth to its blurred mix of organic and electronic sounds.

A sonic journey through rhythm and abstraction by the cult Japanese post-rock ensemble goat (jp). Originally composed as the score for Cindy Van Acker’s eponymous dance piece ​‘Without References,’ this release expands the group’s radical approach to rhythm and structure into the realm of contemporary performance. Hailing from Osaka and led by Koshiro Hino (YPY, Kakuhan, Boredoms, Mark Fell), goat (jp) has redefined minimalism by prioritizing pure percussive interplay over melody—using guitar, bass, drums, and percussion. Their intricate rhythmic architectures blur the line between mechanical precision and organic fluidity, using harmonics outside standard tonality, muted bass tones, and interlocking drum patterns. The result is a relentless, hypnotic sound—one that pulses like an urban ritual, at once tribal and futuristic. goat (jp) elevates rhythmic composition to an extreme, creating performances that immerse audiences in a trance-like state. Their sonic explorations push the boundaries of instrumental music, making their live shows both physically intense and meticulously controlled. Recognised as one of Japan’s most compelling avant-garde acts, goat (jp) transforms rhythm into pure architecture—an evolving structure of sound that unfolds with unwavering precision and power. goat (jp) recently supported Ryoji Ikeda for a series of major shows in Japan as part of the ​‘Ultratronics Japan Tour,’ further reinforcing their prominent role in the contemporary experimental music scene. Recently, goat (jp) has performed at Liquidroom (Tokyo), Rewire Festival (The Hague), Institute of Contemporary Arts (London), Gnration (Braga), Centro de Artes Visuais (Coimbra), Galeria Zè Dos Bois (Lisbon), and Creative Center (Osaka). About Cindy Van Acker’s ​‘Without References’ : A choreographic exploration of form, duration, and memory, Cindy Van Acker’s ​‘Without References’ features scenography by visionary director Romeo Castellucci. The performance creates a space that oscillates between a waiting room, a train station hall, and a mid-century installation. Eleven dancers interpret Van Acker’s stark yet fluid physical language, interacting with goat (jp)’s percussive and purified compositions to create a visceral, immersive experience.

“Eero : Eesu” is a spiritual and experimental sound‑art work by Adey Omotade, a Lagos‑born artist whose experiences across Paris, Johannesburg, Berlin, Côte d’Ivoire, and other places inform his unique fusion of Yoruba traditions with contemporary sonic practices.

“Perfect Answer,” the latest release from US underground innovator Evanora Unlimited, is a singular pop record where destruction and lyricism coexist. Featuring striking guest appearances from Maria M, RockangelZ, She Diamond, and Taraneh, each track takes on its own distinct personality, giving the album a depth and dimensionality that grows with every listen.

Some 30 years after they first met in the DJ booth of Tokyo's Spacelab Yellow nightclub, close friends François Kevorkian and Dimitri From Paris have finally joined forces in the studio. The result is The Nassau Excursion, a dazzlingly good three-track EP inspired by their joint love of disco and boogie-era dance records made at Island Records' Compass Point Studio in the Bahamas. Featuring Dimitri's regular collaborator DJ Rocca, its is an expressive and fiendishly dubbed-out exploration of this distinctive sound - think echo-laden vocal snippets, thickset synth bass. D-Train style echoing keyboard motifs, jazz-funk flecked Wally Badarou riffs, colourful chords, dubbed-out congas and punchy drum machine beats, expertly arranged to include the kind of stylistic mixing traits and dancefloor dub tropes liberally employed by François and Dimitri over the course of their careers.

Budapest-based concept label, Blue Sun is launching their new line of vinyl focused releases, aimed primarily on DJs and collectors: the Blue Series. A counterpart to the Orange Series launched last year that showcases a more upbeat side of the label, the new collection presents a darker, more experimental, and introspective musical vision.The first release in the Blue Series is a six-track EP by Budapest based multimedia artist, Virág Réti. Choosing her legal name as her artist persona (“Flower of the Meadow" in Hungarian) also with the track titles capturing the folk names of local fauna, Peremidő evokes the artist's innate connection to nature as a place of refuge from the noise of Eastern European urban life.The EP’s motifs point back to early memories of sitting by a river, simply observing time flowing by. The arc of the songs follow the passage of a day, beginning with the hesitant sounds of early morning, gradually moving on toward more defined, rhythm-driven forms. As the airy textures slowly give way to structure and percussion comes to the forefront, the sense of direction becomes clearer, letting moments of gentle disorder and unexpected sounds to surface.Virág previously appeared on the label’s Blue Sun VA II compilation with her track Bíbic. Since launching her ambient music project in the fall of 2024, she has become one of the promising newcomers in the Hungarian experimental electronic music scene. Her debut EP, Minden Ami Megmaradt (All That Remains), was released last November as the final offering of temporary nites label (2023–2025). She is also the founder and organizer of the Budapest-based experimental electronic event series Still Places.

For over four decades Mr. Fingers has been shaping the core of House Music. Now he returns with a new album that continues this timeless journey through deep rhythms, soulful melodies, and immersive atmospheres. Crafted with the warmth and musicality that define him, the record blends deep house, jazz-infused harmonies, and subtle R&B textures. On 'Leev Ur Mynd' Mr. Fingers once again reminds us why his music remains essential: hypnotic grooves and heartfelt compositions. Not just music for the club, but also for the quiet spaces...

Female fronted screamo from the cursed Elgin, Illinois scene. Hot on the heels of our Sequoia box set's repress of their $400 2x7", Numero gives The Lazarus Plot's complete recordings the hand-screened treatment. Compiled on Something Good Has Got To Come From All These Goodbyes are the aforementioned 2x7", split with Long Live Nothing, The End 7", a stray V/A, and two previously unissued songs, all housed in a D.I.Y. chipboard jacket and limited to 500 copies. Singer Laura Laurent's accompanying 24-page booklet includes lyrics and photos from these pioneering second waver's two year run. Not copping this will definitely remind you of your favorite word (regret).

"Real Emo" only consists of the DC emotional hardcore scene and the late '90s Delaware Valley screamo scene.... Frail were at the epicenter of that vibrant straight edge youth gaggle, screaming their throats bloody in baggy pants. Discontent with the metallic hardcore format, the quintet pursued Gen-X's ferocious, noisy rage against everything at San Diego's galloping pace. No Industry—the band's first and only vinyl compilation—includes vital singles for the Yuletide, Bloodlink, and Kidney Room labels, plus rare comp tracks from across their '93-95 run. This 17-song limited run of 300 LPs is housed in a hand-silk screened chipboard jacket and includes a 24-page 'zine chronicling the band in notes, quotes, photos, flyers, and revolutionary literature. Make Your Own Noise.

This second album was recorded about a year after "Scenery. The delicate yet emotionally rich playing is still there, but this time it is more powerful, and the world that Fukui has depicted comes to life with clearer contours and a greater sense of depth. The sweet and sad melody of "Mellow Dream" and the dynamic and fast-paced "Horizon" are among the dazzling performances. In addition, the album features three original songs, compared to only one on the previous album, which allows the listener to enjoy Fukui's musicality even more. Considering its maturity and rich content, it is safe to say that this is a masterpiece that surpasses the first album. Ryo Fukui regrettably passed away in 2016. His delicate touch, rich tone, and beautiful compositions. We are deeply grateful for the "pleasant dream" he showed us.

Ryo Fukui is a renowned pianist born in Hokkaido, Japan. His fresh and delicate playing has attracted many listeners, and his first album, "Scenery," has been highly acclaimed worldwide. The earnest performance of his youthful days shakes the listener's emotions pleasantly. It Could Happen To You" swings as if strutting, "Early Summer" is exhilarating and joyful, and "Scenery" seems to contain the night air of late autumn. The "Hokkaido-like emotion" that blends with Fukui's qualities and combines a large scale and subtlety is pleasant to listen to. The green leaves sprouting, the dazzling clear stream, the clear sky, the snow falling without a sound.... Here, the beautiful scenery spun by Ryo Fukui lives on forever.

Masayuki Takayanagi, having absorbed free jazz, offers a response that brings the tumultuous 1970s to a close. His return to his roots—a tribute to Lennie Tristano and Lee Konitz—serves as a rite of passage to reach new heights in the coming era.

Between 1999 and 2000, Merzbow entered a new artistic phase, embracing digital production and refining his sonic language. He moved away from the tape collages and improvised circuitry of his earlier years. In their place arose monumental sound structures, dense and meticulously sculpted. Harsh noise, tribal rhythms, and corrosive textures merged into a single, overwhelming sonic body.Yoshinotsune emerged during this especially fertile period and stands as one of Masami Akita’s most evocative works. The album weaves together historical, mythological, and personal references, drawing inspiration from the figure of Minamoto no Yoshitsune. From the outset, bird calls, radio interference, and electronic signals create an enigmatic atmosphere. The result is an unsettling soundscape suspended between nature and technology.Throughout the album, the sound continually transforms, alternating between ominous beats, unearthly moans, and ritualistic pulses. These elements evoke tribal rhythms filtered through circuitry and digital distortion. The music drives forward with relentless force while maintaining a constant tension between motion and stillness. Rather than simply overwhelming, it invites the listener to become immersed in its intricate details.What makes Yoshinotsune so compelling is its perfect balance between technical precision and creative instinct. Though meticulously constructed, its structures retain a raw and immediate vitality. Akita’s hand can always be felt, shaping the sound with intensity and sensitivity. This reissue fully restores the grandeur of one of Merzbow’s richest and most immersive recordings of mid 2000.

Side A:北京ダック
Side B:ブラックピーナッツ

SideA：絹街道
SideB：ハニー・ムーン

Billed as a sequel to 2022's '7.37/2.11', 'The air outside...' diffuses its predecessor's ambiguous synthscapes with loose-limbed slowcore improvisations, prioritising vulnerability and falibility. RIYL Laila Sakini, Grouper, Bianca Scout or Ulla. If Perila's immense, immersive double album 'Intrinsic Rhythm' was too much to swallow in one sitting, this one's a little more digestible. The prolific Berlin-based assembled 'The air outside...' from sessions recorded between 2021 and 2023, but they play remarkably coherently, revealing a more fragile, serendipitous side of her personality. Made mostly using guitar and voice, it's music that's not overthought or overproduced, as if we're getting a direct line into Perila's reality - even the title betrays its unpretentious approach. On opener 'Over Me', Perila loops reversed guitar notes, picking out a rough, detuned bassline and barely singing. Her faded voice mouthes out a wordless, improvised lullaby descends into a well, reverberating as she stumbles across the notes. Not ambient exactly, it's more like evaporated, decelerated post-rock - day zero Grouper crossed with Bark Psychosis. And that description holds on 'Barefeeter', even when Perila switches to piano, playing unsteady, muted phrases as the room rattles around her. A song begins to materialize as she sings textured coos, but never completely emerges. 'Gooshy' is more surprising still, playing out like Jandek with dissonant strums that quiver around dissociated vocal expressions, and on 'Fossil', she uses the same philosophy without resorting to live instrumentation, disrupting oozed pads and whisper-singing over the horizontal soundscape.

Subliminal moments, suspended fragments, caught between time zones. Comprised from a selection of soundscapes created by Aleksandra Zakharenko throughout various stages of last year, 7/37/2.11 acts as an auditory journal chronicling the fluctuating states of vague ambiguity the artists faced during the unprecedented turmoil of 2020. Press: Perila casts her slow burn, drowsy magic on Vaagner’s A Sunken Mall sublabel, drawing on the ambiguous nuance of daily life for another diaristic entry to her quietly expanding, precious catalogue. Continuing to occupy a personalised corner of the contemporary ambient sphere, somewhere between Félicia Atkinson and claire rousay’s liminal tone and Burial’s South London nightscapes; Perila transmutes fleeting feelings into a singular sort of ephemeral ambience richly textured with field recordings and laced with her signature spoken recitals (here edged from ASMR and into more audible room volume), slowly venting her thoughts. If you’ve had even half an ear on this realm over the past few years, we hardly need to describe it any further - but suffice it to say that this one is a deeply satisfying entry to the microcosm. The album is a more serenely intimate experience then much of what we’ve heard from Perila before, relaying observations in low-lit settings that settle the listening space to her tenor. ‘Long Dizzying Air Through a Balcony Door’ lures in with long, healing, sferic pads, and ‘Amorphous Absorption’ feels to drop the temperature a few degrees, condensing into icier drips. The title and spare tone of ‘Haven’t Left Home 4 4 Days’ is uncannily on the mark - we know that feeling all too well - with a dream-pop tone recalling Teresa Winter at her quietest, with ‘Crash Sedative’ surgeon off any slumber feels with beautifully quizzical, whimsical flurry of keys, but the final send off leaves us in ‘1 Room’, with what sounds like a stray Theo Parrish chord sequence drifting in from the street, as the day blurs into the next.

For it's 4th instalment and final addition to the May batch, Vaknar is enthralled to present 60+ minutes of selected organ music over two set of tapes, all coming courtesy of none other then Danish collage artist and musician øjeRum. øjeRum has been a favourite of the Vaagner/Vaknar hub for years, and it is with the utmost honour that we were given the chance to comply some old, new and unreleased organ works for this upcoming release, all of which will be presented via a double cassette box that will include a riso printed, fold out sleeve and feature work by both the label and the artist himself. -Vaagner What we listen to in this anthology of more than an hour are textures related to the minimalism of masters like Terry Riley, La Monte Young and Phill Niblock, as well as a fervent passion for the neo-classicism ambient of Erik Satie and Brian Eno . A reflexive maridation prone to states of static and decidedly spiritual interpenetration. Far away from the New age pseudo mysticism so in vogue. Here one can hear falls in profane and sweeping chasms built with an obscene simplicity. It´s not music (only) to listen to but with which to surround oneself and live forever. The word and concept music has been outdated for a long time. - Perú Avangarde

Originally self-released in 2023, Stella Kola, the debut album from Beverly Ketch (Jow Jow, Weeping Bong Band) and Robert Thomas (Sunburned Hand of the Man, Dalthom). "Given the pair’s respective roots—and the presence of collaborators drawn from across the Northeast experimental underground—one might expect “a brutal blast of acid swirl.” Instead, what emerges is something far more unexpected. The album is “steeped, not in noise and dissonance, but in the fragrant, captivating folk of Linda Perhacs, Judee Sill, Karen Dalton, and Bridget St John.” From the opening moments, especially on “Rosa,” the record reveals its core sensibility: “a ballad that digs deep into the psychedelic-folk tradition until it takes root in a freshly sporous permaculture.” What follows is a set of songs that feel both carefully assembled and organically grown—delicate structures held together by a wide circle of contributing musicians, including Wednesday Knudsen (flute), P.G. Six (harp, guitars, keys), Gary War (synth), Jen Gellineau (viola, violin), Willie Lane, L. Gray, and others. Rather than functioning as studio additions, these collaborators form a genuine collective presence. “The family affair feeds into the album’s charms,” and the feeling is unmistakably communal. Like many of the ‘60s folk records it echoes, Stella Kola carries “the feeling of community and camaraderie” at its core, shaping a warmth that runs through the entire release. The album’s emotional palette leans toward a quiet, persistent melancholy: “the best records from that era also carried with them an inherent sadness and Stella Kola’s songs wash over the listener with a beautiful woe.” Its sound edges into the terrain of Fairport Convention and Pentangle, with references to “Beggar’s, Kings, Dark Damsels, and Tarot,” yet never settles into revivalism. Instead, Ketch and Thomas extend the tradition outward, refracting it through their own distinctly American, underground language."

2026 repress. With Dub Techno firmly back on the menu in clubs the world over, Deadbeat, at long last, resissues what is perhaps his greatest collaborative work with Paul St Hilaire aka Tikiman. A true genre masterclass, as the name suggests, the album infinitely showcases two titans of the form at their very best, and 10 years on, remains a stone-cold classic. Re-cut by their old friend Stefan Betke aka Pole at Scape Mastering who first cut it to wax so many years ago, this 10-year anniversary edition is a crucial showcase of two masters at work.

Swiss unarchivers WRWTFWW give vinyl wings to a cult, 1999 Japan suite of jazz-spurred techno and shine-eyed electronica balanced between Warp’s AI comps and A.R.T.’s future jazz styles A lot of Japan-o-philes will be made-up to see this one on wax after more than a quarter century as a CD only curio and, since ’22, on download formats. All the material is duly given room to breath over 2LP, spinning the ‘Bug in the Bassbin’-era Carl Craig vibes of Missing Project’s ‘Poisson D’avril (Da’ Future Given a Deep Soul Mix)’, thru it soaring ‘Galaxy Dub’, via chunky house wigglers from Virgo, a slow-rolling groove by Tensor, early Black Dog feels in Penance’s ‘Cure of Soul (Fossil Mix), and low-slung trip by Led-M.

Gak Sato & Tadahiko Yokogawa — RENGA. Inspired by the Japanese poetic form of linked verses, this 10-track journey spans ambient, jazz, breakbeats, electronica, environmental music, techno, cinematic, library music, musique concrète and somewhere in between, with artwork by Aoi Huber Kono. Limited Edition.

Synthesist and composer Emily A. Sprague bridges intuitive sonic structures and expressive songwriting, yielding expansive terrains that are immediate and immersive. From early experimentation with guitar and keyboard as a teen, Sprague went on to form indie band Florist in the early 2010s, gaining a devoted audience, before expanding to environmental / ambient compositions under her own name in 2017. Her releases include several albums across both projects, most recently Florist’s Jellywish and Cloud Time in 2025, and now, the Double Moon EP. Limited edition 7” includes the exclusive bonus track “Dusk (How to Fly)” and a dub of “Double Moon” by Andras.

Mieko Shiomi is known both for her avant-garde musical activities with the Group Ongaku collective during her student years and for her participation in Fluxus from 1964 onwards. The Fluxus Festival held in Venice in 1990, to which she was invited, became a pivotal event that brought about a major shift in her subsequent work. That same year, she self-released a cassette requiem in memory of Fluxus founder George Maciunas.

This tape work combines original compositions performed on synthesizer harpsichord and organ with recordings of her own voice played backwards. These sound sources were taken to a studio and edited together with environmental sounds recorded at the Venice venue. The piece also incorporates the voices of key Fluxus artists including La Monte Young, Marian Zazeela, Eric Andersen, Willem de Ridder, and Ken Friedman. Making use of the specific properties of tape, the piece integrates unique ideas and structures and occupies a distinctive place among Shiomi’s oeuvre.