NEW ARRIVALS

Ted Lucas’ Images of Life is a retrospective tracing the full scope of the Detroit songwriter’s work, drawing on hundreds of hours of tapes preserved by Lucas himself. Spanning early band recordings through to previously unheard later material, it captures an artist constantly reshaping his sound. Disc one, Strange Mysterious Sounds (1965–1970), documents his time with The Spike Drivers, The Misty Wizards and The Horny Toads, moving from garage rock into psychedelia. Rainy Days (1970–1974) shifts to intimate, acoustic solo recordings in the vein of his OM album. The final disc, Impossible Love (1979), presents a long-lost second album, revealing a more polished, hook-driven approach without losing his distinctive voice. A deep and revealing archive of a singular talent.

On the third day at Betty’s, Chris Rosenau woke up with a hangover. The night before, Nick Sanborn had played an all-electronics duo set with GRRL in the basement of a Durham club called The Fruit, so Rosenau—his friend for two decades, occasional collaborator for half that span—had tagged along. They were, they half-joke, the two oldest people in the club, so they went at least a little bit hard. Flip this record over, and there’s Rosenau that night, vodka and soda (with limes, please) in hand and looking delightfully impish. The next morning, in the middle of making their second record together, they were a little slow to wake, even slower to fully rise. In October 2017, Rosenau had flown from Wisconsin to North Carolina to spend a weekend recording with Sanborn in his little home studio. After years of knowing one another, their collaboration seemed inevitable but also accidental, a music-festival lark that had immediate chemistry. As they were rehearsing with the windows and doors open in those first perfect days of Southern autumn, they realized they were actually already making a record. They kept the working mixes and titles from that weekend, as well as the bird songs and traffic sounds that drifted into the microphones. The result was 2019’s Bluebird, a little five-track wonder that made you feel like you were sitting in the living room between the two, smiling as they found their wordless rapport. Two years later, as soon as Sanborn had set up the basics at Betty’s, his residential studio in the woods near Durham, Rosenau returned. They had fun during round two, but the sessions were neither as carefree as that first attempt nor more focused in a way that felt compelling and new. The pair decided to shelve those pieces for then and try again when the time seemed right. (They have, by the way, returned to those tracks fondly; expect to hear them in the future.) Then there was a pandemic. There were tours. There were other records. There was life at large. By the time Rosenau ventured back to Betty’s to try again, in February 2023, four years had flashed past. Both Sanborn and Rosenau came prepared this time by, well, un-preparing. Rosenau borrowed an unconventional guitar tuning he’d never tried (DAEAC#D) from a friend. And Sanborn dismantled his live Sylvan Esso rig, rearranged it, and added new bits, hoping to eschew any muscle memory for a real-time exchange with Rosenau. They instantly knew it was working, with none of the past’s second-guessing in tow. On that first day, a Thursday, they made “Ghost Sub” and “Harm.” On that second day, they had a false start with a piece called “Kay,” Sanborn’s synths not quite fitting beneath Rosenau’s riff, before moving on to make “Deltas.” (Once again to the cover: That’s the chord structure alongside Sanborn’s setup, superimposed on Rosenau’s face.) Back to that third day. When the pair finally got back to bleary-eyed work, they decided to give “Kay” one more go. Sanborn set the electronics aside and sat down at the piano. There was a false start, preserved here, but what followed was a sublime aubade, like waking up tired only to be stunned and stirred by the light suddenly outside. It is the sound of stirring to life and loving it there, and it is the little jewel at the center of the six songs they recorded that weekend, the six songs presented here in the exact order they made them. They finished “Two” just before Rosenau split for the airport on Sunday afternoon; it is a long goodbye, sweet and sentimental and sad, a last talk from two friends who have enjoyed their time together. At the end of “Gentleguy,” the first track on Bluebird, Rosenau, after a long pause, says, “I think that’s pretty good.” His voice is pitched up by a trace of uncertainty, as if “think” and “pretty” are the most important bits of that sentence. When “Deltas” wobbles to its beautiful end toward the middle of Two, Rosenau comes in again, his voice almost boisterous: “That was…” The tape cuts, but you don’t need to hear what he says to know what he says. That was good, perfect, the thing we were looking for, just right, pal. This is the way Two feels start to finish—two friends, firm on their footing with one another, digging into their beautiful exchange. Grayson Haver Currin Bar-K Ranch, Colorado October 2025

Karate’s defiant and final studio album punctuates a 12-year discography that spanned harDCore-style catharsis to feedback-saturated improv. This ’04 classic skipped the Friendster migration for back-to-basics songwriting suffused with jazz phrasings and beat-inspired lyricism. Featuring Codeine/Come guitarist Chris Brokaw, Pockets is remastered from the original analog tapes and housed in a deluxe tip on sleeve with reproduction lyric sheet.

Market East finally shares their most important statement to the world in the form of their debut LP, French Street. The group, composed of Kurt Cain on vocals, Vincent John on vocals, bass, guitar and keys, and Maxwell Perla on vocals, drums and percussion, deliver their signature celestial three part harmonies over arrangements that have never sounded so rich and compelling.

French Street is extremely soulful and the vocals are lush, like if the Zombies recorded at Muscle Shoals. The lyrics are poetic and nostalgic, as the group wrote songs about their bygone “golden” years. Back then, the boys didn’t have much besides each other and their shared love of music. Vocalist Kurt Cain lived in a small rowhome in North Philadelphia on a nearly deserted alley named French Street. It was here that Cain, John, and Perla came together every week to escape reality and get high off sharing music. They developed a deep appreciation for all things 60s and 70s, from Simon & Garfunkel to the Moments, and everything in between.

All these years later, and Market East has created a classic record of their own. From the baroque pop of the title track and the roaring soul of “Roses,” to the Latin flavors of “Echoes of My Heart” and the orchestral flares of “Everyday, Springtime,” Market East shows their impressive range. Recorded to analog tape in Philadelphia, the record was produced by the band and Eraserhood Sound. Grab your copy of this timeless classic today.

Market East finally shares their most important statement to the world in the form of their debut LP, French Street. The group, composed of Kurt Cain on vocals, Vincent John on vocals, bass, guitar and keys, and Maxwell Perla on vocals, drums and percussion, deliver their signature celestial three part harmonies over arrangements that have never sounded so rich and compelling.

French Street is extremely soulful and the vocals are lush, like if the Zombies recorded at Muscle Shoals. The lyrics are poetic and nostalgic, as the group wrote songs about their bygone “golden” years. Back then, the boys didn’t have much besides each other and their shared love of music. Vocalist Kurt Cain lived in a small rowhome in North Philadelphia on a nearly deserted alley named French Street. It was here that Cain, John, and Perla came together every week to escape reality and get high off sharing music. They developed a deep appreciation for all things 60s and 70s, from Simon & Garfunkel to the Moments, and everything in between.

All these years later, and Market East has created a classic record of their own. From the baroque pop of the title track and the roaring soul of “Roses,” to the Latin flavors of “Echoes of My Heart” and the orchestral flares of “Everyday, Springtime,” Market East shows their impressive range. Recorded to analog tape in Philadelphia, the record was produced by the band and Eraserhood Sound. Grab your copy of this timeless classic today.

Emeralds, the sophomore long player from Parlor Greens, finds the trio serving up a beautifully curated sampler of what funky organ music can be. On Parlor Greens’ debut LP In Green We Dream, they announced their existence boldly to the welcoming arms of funky instrumental fans around the world. Now, two years later, they’re back to up the ante. Three true masters of their respective crafts: Tim Carman (Canyon Lights, formerly of GA-20) on drums, Jimmy James (True Loves) on guitar, and Adam Scone (Scone Cash Players, The Sugarman 3) on organ. Seasoned and soulful pros coming together to make infectiously funky instrumental jams.

Parlor Greens are truly in top form: tour tight and more confident than ever in who they are and where they’re going. The album’s opener, “Eat Your Greens,” kicks the doors off with a Charles Earland-inspired four on the floor beat, with Jimmy and Scone driving the tune down the tracks like an overloaded freight train, it simply cannot be stopped. On “Red Dog,” the group channels the absolute heaviest shade of early R&B with Jimmy’s crunchy guitar paving the way for both he and Scone to take scorching solos. “Lion’s Mane” shows a slightly more sophisticated side of the trio, with nods to one of Scone’s organ mentors, the incomparable Dr. Lonnie Smith. Not to be outdone by his bandmates, Tim Carman shows off why he plays the best shuffle this side of the Mississippi on “Letter To Brother Ben,” a gospel-tinged shuffler.

And while the results are stronger than ever, the mood of this second cooking session was much different. The first time these three met in Loveland at Colemine’s Portage Lounge studio was marked by a certain freshness. It was new, it was the first time they had all played together. It was exciting, it was unknown territory. The session for Emeralds weighed much heavier on all three members. All three dealing with personal tragedies in their individual lives, the session truly served as a genuine moment of joy for the group. Just three talented musicians, writing and playing music now as friends in a familiar environment. No moment is the weight of the session more obvious than with the album’s closer, “Queen Of My Heart,” a tune Jimmy wrote for his mother shortly after she passed away.

So with a heavy and soulful heart, Colemine Records is beyond proud to present the sophomore effort from three maestros. Parlor Greens presents…Emer

“The Ruins of Things Unfinished” is the new album by Slow Leaves, the project of Canadian singer‑songwriter Grant Davidson. Featuring contributions from respected Canadian musicians such as Kris Ulrich and Roman Clarke, the record blends warm acoustic guitar textures with Davidson’s gentle vocals and carefully layered arrangements.

DUB FOREVER blends Reggae, electronic texture, his own vocals and references to classics — Bach's Air on the G String, Gossec's Gavotte, the traditional Japanese song January 1st, and more.Limited to 500 copies.

The acoustic unit MIZ, formed by members of Japan's hugely popular band MONO NO AWARE, released their first album『Ninh Binh Brother's Homestay』in 2020. It contains ten tracks of primitive, beautiful acoustic sound, capturing the breathtaking scenery crafted by nature and the local atmosphere and scents that rise from the time drifting within it.

TRACKLIST
A1. SOFT feat. ALCI  Akebono - DUB  06:32
A2. SOFT  Floating Life - KND DUB  05:58
B1. SOFT feat. ALCI  Akebono - J.A.K.A.M. RMX  04:00
B2. SOFT feat. ALCI  Akebono - DAICHI RMX  08:29

The ambient lofigaze soundtrack for interdimensional travel. Compiled from hissy cassettes 4-tracked between 1991-'95, lovesliescrushing's sophomore album xuvetyn originally released in 1996, now achieving the patina of legend some 30 years later. This double LP edition is housed in a tip-on jacket illustrated with Melissa Arpin Duimstra and Scott Cortez's abstract photography, plus a lyric sheet translating the expressive glossolalia. "A disorientingly beautiful cloud of neon drones and voices from the other side. Music that will envelop you, that you can disappear inside of." -Jefre Cantu-Ledesma

Geogaddi is the second studio album by Scottish electronic music duo Boards of Canada, released on 18 February 2002 by Warp Records.

The Campfire Headphase is the third studio album by Scottish electronic music duo Boards of Canada. It was released on 17 October 2005 by Warp Records.

The lead single here is 'In A Rut' available separately or as part of the preorder.

Forged from the fire of internal struggles, Loraine was wrestling with confidence and a desire for change when she embarked on this album. A guiding hand came through producing 2025's 'Clandestine EP' with singer Anysia Kym, which gave her the experience of a more 'pop' setting and the tools and insight to work her instrumentals into more conventional shapes. This notes a shift from the more club driven sounds and on the other hand, winding instrumentals, into more precise song forms. Her production on Detached From The Rest Of You is stripped to the bone, soundscapes of clicks and glitches that draw inspiration from Aoki Takamasa and Ryoji Ikeda and the 'clicks and cuts’ early 2000’s era of electronic music. Here, often with not much more than sparse keyboard chords to fill in with subtle colouring, she uses the space around the sounds and vocals to draw in the listener. Detached from the Rest of You is succinct and direct, 'Loraine half-jokingly calls this album her 'IDM popstar album’'. ‘I'm using my voice a lot more, and putting it higher in the mix than I usually would, I guess I'm growing some confidence.'

Loraine's albums always centre herself and her intimate angst. Here at the start, she drops into a loss of confidence, slowly climbing out and accepting her foibles, carrying the message in the method as she sings and raps / talks in an unpretentious way.

More than previously Detached From The Rest Of You trusts her guests to diverge in their contributions, she also duets with Sydney Spann on the first single In A Rut.

Chicago-based experimental musician Fire-Toolz (Angel Marcloid)—who has garnered attention for her genre-spanning style that contrasts tranquility with intensity, ranging from braindance, jazz fusion, ambient, grind, vaporwave, to extreme metal—has signed with Warp and released her latest album, *Lavender Networks*!

*Lavender Networks* marks the Warp Records debut for Nu Age pioneer Fire-Toolz. Born in Maryland and based in Chicago, she also produces and engineers for other artists, having contributed to No Joy’s latest album *Bug Land*, which garnered attention after being selected for Pitchfork’s Best New Music.

The album features contributions from Zola Jesus, Brothertiger, Nailah Hunter, Lipsticism, Jennifer Holm, and Sling Beam. It depicts a cybernetic journey racing at the speed of fiber optics, exploring themes of the logic of dreams, laughter through tears, and the truth of emotions through absurdity.

Akio Suzuki has always been an artist in search of unexpected sound, and curiosity has been his guiding principle. Whether that be curiosity for objects, spaces or places, his work has been guided by a porousness and pliability which has allowed him to explore an enormous sonic terrain. This freedom has also allowed him to develop a language in sound that remains utterly his own. Nowhere is this more evident than in his approach to instrument creation. During the 1970s Akio Suzuki devised a series of instruments that would become his sonic signatures. The Analapos and De Koolmees are perhaps his most readily identifiable instruments and it is these two that make up the core of material from which Soundsphere is created. Soundsphere, recorded in 1990 at Hut Apollphuis in Eindhoven, captures Suzuki at the height of his powers. It is a document of his music shaped by patience and dynamism, in equal measure. Few other recordings capture both the tenderness and the presence of Suzuki’s ways of discovering sound in his instruments. On pieces such as Analapos A: Voice, he creates a wavering oceanic vocal drone that echoes up and down, tracing the coils of the Analapos’ springs. The results are simultaneously minimal and expansive, reminding us that sound exists in the vertical and well as horizontal planes. Similarly his performance on De Koolmees: Suzuki Type - Glass Harmonica shares this intensity of focus. Suzuki’s strikes and strokes on the glass tubes, creating an endlessly evolving array of tonal inflections and pulses. Soundsphere, which is celebrating its 45th anniversary, is an essential capture of the ways in sound Akio Suzuki has developed over his now six decades of practice.

For more than six decades, Beatriz Ferreyra has been building worlds out of sound. Born in Córdoba in 1937 and based in France since the early 1960s, the Argentine composer entered the GRM at the invitation of Pierre Schaeffer in 1963, contributing alongside him to the foundational texts and recordings that would define an entire discipline of listening, among them the Solfège de l'Objet Sonore. From 1970 onward she has worked independently, composing in absolute fidelity to her own ear. Issued by Room40, A Distracted God gathers three works that span more than two decades of Ferreyra's practice. As Lawrence English writes in his note for the release, her compositions inhabit a space between the living world and the subliminal zones of the unconscious - new realities forged piece by piece from fragments of places and things we already know, reedited and refocused until they become something we could not have imagined on our own. Material agnosticism is the through line. Tape manipulation and digital transformation sit alongside one another as expressions of a single patient attention, sound followed wherever it leads, freed from its origin and allowed to guide the composer's curiosity rather than be guided by it. It is this indifference to medium, and the lifetime of listening that underwrites it, that lends the work its unmistakable personal quality. Souffle d'un petit Dieu distrait (Breath of a distracted little God), composed in 1987 and revised a decade later, was an IMEB commission. Tierra Quebrada (Broken Land), for violin and electroacoustic music, was written in 1976 on commission from the French State for the A.C.I.C., Paris. Together they form a microcosm of Ferreyra's wholly consuming practice, the work of a fearless, relentless maker for whom the totality of what sound can do remains forever front of mind. Cut at 45rpm for added playback fidelity. Mastered by Lawrence English at Negative Space.

Akira Kosemura’s Polaroid Piano is a record that is very close to my heart. In fact, it is Akira’s work that was one of the drivers for Someone Good, one of the Room40 sibling labels, to be founded. Polaroid Piano marks the beginning of what would later become known as felt piano music, an approach to the piano which was picked up by numerous artists across subsequent years. It captures an essential and intimate rendering of the piano at close proximity, but it does more than that, it allows the piano to breathe within the places around it. Structurally, the record is a collection of piano-led vignettes. Each piece is a microcosm of lived in music, which is porous, and opens themselves outward, inviting a sense of time and ’the present’ to seep into the music. They feel instantly intimate and evocative, melodies imprinted with the world around them. In some of the recordings a siren calls out from beyond the immediate acoustic space of the studio, whilst in others birds seep in and the rustling of Akira’s clothing folds into the music itself. When we first discussed the recording, Akira had invited me to offer some sounds that might act as a leaping off point for the compositions. I collected a series of field recordings which were offered as simple and suggestive prompts, and as a means of imagining ‘other’ environments which might be simultaneously in orbit of the places Akira was recording in. Some of those field recordings are captured in the record, like a memory being recounted at a distance of time. Polaroid Piano is a unique record for many reasons. One is it manages to manifest an acoustic transcription of that ‘momentary' quality of its photographic namesake. The pieces are auditory snapshots and reflect a certain quality of harmonic light and timbral exposure that is unquestionably tethered to the aesthetics of the polaroid format. It is a record that celebrates the body of the instrument as a sound source and invites us to be proximate to the resonation, and the living qualities of sound, that make music so utterly profound, and gratifying.

Following our 2024 self-titled release, Nick and I were compelled to make another record, expanding on the distinctive sound world we have found as the duo Driftwood. Grounded in the unique instrumentation of two microtonally re-tuned pump organs, alongside clarinets and guitars, the sonic landscape of Driftwood has become a welcoming place for us to inhabit together. The distinctive characteristics of these instruments, as well as the challenge of playing multiple instruments simultaneously, have become a frame we've leaned into more and more, trusting the vitality of their combined resonance to lead us further into uncharted paths of improvisation. For our second album, we wanted to incorporate additional elements from each of our solo practices into our sound: modular synth, effects pedals, electric guitar and contact mic’s (because playing two instruments at the same time wasn’t enough for us!) In ‘Maps’, electronics are subtly worked back into the original improvisations, saturating the live instrumentation with bass undertones and signal processing, pushing the sound into more otherworldly realms. Sometimes the pieces hint toward song-like forms, with repetitive guitar ostinatos lulling the music to the edge of familiarity, while other times the drones and harmonies blur, creating the ground from which glimpses of folk-like melodies surface, as if from a long-forgotten dream.

cobs, an essential figure of avant-garde cinema, and I had over-a-decade-long collaboration. We first performed fo his Nervous Magic Lantern project at the Argos Festival in Brussels in 2007. Before flying to Europe, Ken invited me to the top-floor loft on Chambers Street in TriBeCa, where Ken and his wife, Flo, have lived and worked since 1965, to experience a private screening. He turned on the apparatus and the image flashed onto the screen: geometric patterns — something of a Rorschach inkblot — rotated as if in a whirlpool, and three-dimensional imagery pulsed with strong flicker. What was weird was that the images did not adhere to the surface of the screen. They stood out, almost floating, like holograms. Then, my eyes started catching physical shapes in the depth of the abstract patterns such as faces, hands, the surface of an oil spill, and they appeared and disappeared like ghosts or doppelgängers. “How does Nervous Magic Lantern work?” I asked Ken. The inventor's answer was something unexpected: "I don't know! I dreamed it and found it through experimentations then stuck to it. I'm not that technical." Well, he is an artist who creates a phantasmagoria of mystery; let the neuroscientists explain the mechanism. The self-made apparatus contains a spinning shutter, a light source, and lenses set in a wooden frame. Ken inserts his hand-painted circular slides between the light and lenses and moved them gently with his hands. The lenses enlarged a tiny portion on the slide, while the spinning shutter gave the flicker effect. Compared to Ken's other works, which are often filled with unflinching political criticism, the imagery of Nervous Magic Lantern is patently abstract, and it examines how our brain regulates our perceptions. In Jonas Mekas' Movie Journal, Ken once said, “We’re stepping towards a deeper incline, something challenging our notion of the way things are. Something impossible.” Elsewhere he stated, “Eisenstein said the power of film was to be found between shots. Peter Kubelka seeks it between film frames. I want to get between the eyes, contest the separate halves of the brain. A whole new play of appearances is possible here.” Nervous Magic Lantern offers up this sort of play in stunning hallucinations, strange visions dancing on the screen. Ken's request for my music was to play “sounds of daily life.” He explained that the project “is an escape,” and that he felt “guilty not having any messages or reflecting the real world. By using environmental sounds to surround us,” he continued, “I'd like to be rooted in the real world." Around 2014, I noticed that Ken had a sizable collection of cassette field recordings he had amassed over the last several decades. Street noises in Chinatown, conversations with friends, or any sort of uncategorizable sound around him. I was fascinated and decided to use them as a springboard for composing. One of the unique aspects of Nervous Magic Lantern is that the visual stays abstract while the sound is able to adopt meanings or a narrative sense derived from the quotidian sounds. I wanted to emphasize that point and add almost a sense of documentary. More than that, I simply loved the aural depictions of Ken and Flo’s life. Those also trigger my memories with them. Over the years, during summer time, Ken, Flo, and my wife, Makiko, made a habit of going to their favorite restaurant in Chinatown. Other times, Ken and I had morning coffee at a Puerto Rican restaurant just below their loft. Life and art are inseparable, breaking into one another incessantly. Ken is an artist who always envisioned the impossible. I wanted to see if it's possible to present that vision as something universal, something whole, something running through everyone’s life. A soundtrack for life in the depth of illusion. That is perhaps what this album is. This album was recorded as a soundtrack for Ken Jacobs' Nervous Magic Lantern at Spiral Hall, organized by Sound Live Tokyo, on November 3, 2015. It was probably one of our best performances. Before the performance, Ken explained to me the selected slides he uses and the ordering he employs, so that I would better understand the flow. Some slides are black-and-white and some color. For a given performance, Ken selects 10 slides or so. However, he might play with just one slide for the entire show or change the order — there was plenty of room to improvise. On my side, I also had a structure and the order of tapes, quite independent from Ken's visual. But I made the system easy to extend or shorten, duration-wise, in order to respond to Ken's ordering and mood. Lastly, I wanted to mention Flo's role, as she is deeply involved in Ken's creative process; as he says: “This is a mom-and-pop business.” From the first day of working together, she was always there with us and took care of all practical matters. Ken is a dreamer and thinks and works intuitively. But Flo — an exceptionally beautiful woman in and out — is rooted in the real world. Not just a pragmatist, however, Flo advises Ken on artistic decisions. Ken always asks to hear her thoughts, as I did as well. As film critic and their decades-long friend Amy Taubin once described it, "Florence Jacobs is nothing less than a producer of Ken Jacobs' cinema." What a perfect couple, and it was an extremely joyous journey with them!

Rhythms played by The Aggrovators, including Carlton Barret, Sly Dunbar, Carlton 'Santa' Davis, Robbie Shakespeare, Aston Barrett and Tony Chin.

Arranged, produced, mixed and mastered by Ivan Dubious (April, 2024) __________________________________ A - Ivan Dubious "Flamboyant" AA - Wilbur "Impassive" __________________________________ (c)+(p) Ivan Antezza 2024 __________________________________ nunkirec.bandcamp.com

Swiss powerhouse The 18th Parallel presents another slice of fine modern roots reggae! All Fruits Ripe is a heavyweight showcase album rooted in the foundations of reggae while firmly anchored in the present. Recorded between 2015 and 2025, the project brings together a powerful lineup of Jamaican vocalists — Micah Shemaiah, Keith Rowe (from rocksteady duet Keith & Tex), Rod Taylor, Var (Inna De Yard, Pentateuch), Hezron, and Itral Ites — each representing a different generation of conscious reggae music. The album features six vocal cuts and five dub versions, highlighting both lyrical strength and sound system culture. Carefully mixed by master engineer Roberto Sánchez, All Fruits Ripe stands as a transnational reggae statement: Jamaican voices carried by a European band deeply connected to the roots with a profound respect for the culture that gave birth to reggae and dub. It features legendary guest Jamaican musicians Leroy ‘Horsemouth’ Wallace, Scully Simms, Dalton Browne, or Errol ‘Blacksteel’ Nicholson. A mature and carefully crafted release where every track feels essential — like fruit finally ready to be harvested.

Live At Fondazione Museo Pino Pascali sees Grischa Lichtenberger transfigure a forty-minute set into a tactile, visual, and kinetic experience. Industrial clangor, mechanical pulses, and fleeting ambience merge, sculpted with rigor. Issued by Hermit Records as a collector’s vinyl, it stands at the edge between noise, rhythm, and abstraction With Live At Fondazione Museo Pino Pascali, Grischa Lichtenberger distills the art of sound into forty minutes of fiercely organized chaos. Recorded in the unique space of the Pino Pascali Museum in Polignano a Mare and released by Hermit Records, the album is a study in constructive friction—mechanical pulses and ferrous textures recurring, splintering, and coalescing in real time. Lichtenberger's palette draws from the imaginary of Russolo and Brinkmann, yet forges its own path: rhythm and abstraction in an endless handshake, frequency as sculpture, and every crackle a gesture or a mark. This release, limited to a black vinyl edition and including original music and artwork conceived over more than a decade, is purposefully an object as well as a document. No digital footprints, just a testimony pressed in the grooves—an encounter with matter, with noise, with control. Here, listening is not passive; it is as much a process as the performance itself, alive with tension and raw poetics. [Soundohm] An abstract painting with expressionist hues and futurist echoes, a mix between action painting and informal art: this is the first impression from Grischa Lichtenberger's live performance recorded at the Pino Pascali Museum in Polignano a Mare. The artist, based in Berlin, makes the rhythms creak, cuts them with a laser, weaves imaginative harmonic coils, smoothes with electric razors and draws figures with echoes and industrial clangs. Then he uses ferrous materials that, with a precision lathe, are abraded and cause sparks. Suddenly steel springs fall to the ground, generating a cascade effect. In the distance, you can hear the roar of speeding cars and the ringing of bells. Lichtenberger pulps, compresses, dilates, mixes, electrifies, heats up, liquefies: he does all this in just less than forty minutes, treating the sound material with violence, transforming it from time to time, shaping it and succeeding in the arduous task of controlling its effects. It is as if Luigi Russolo, Alva Noto and Thomas Brinkmann were closed in a workshop on the edge of a highway, parodying the famous definition of techno.