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Volume 4 of Nine Studies of Ephemeral Resonance takes the listening experience introduced by its predecessors to new heights, pushing the boundaries of sonic experimentation even further. This volume features three intricately crafted tracks that explore a diverse range of tones and dynamic interactions, seamlessly weaving together the traditions of sound with cutting-edge artistic concepts. The immersive soundscapes invite listeners into rich auditory worlds where each hue, echo, and resonance engages them on both sensory and emotional levels. The innovative dynamics and rhythmic explorations create a captivating journey filled with unexpected twists and nuanced discoveries, honoring and expanding upon Japanese traditional musical roots.This limited edition is elegantly encased in a skillfully crafted birch box, with each hand-numbered copy enhancing ownership with a unique sense of value. Every detail has been meticulously considered to complement and elevate the listening experience, from the refined exterior finish to the thoughtfully arranged interior, ensuring a flawless presentation. The CD is housed in a mini-LP replica with an inner sleeve, further enhancing the aesthetic. Additionally, there are two inserts printed on 300g white Fedrigoni paper, adding to the overall luxurious feel of the package. Together, the auditory tracks and packaging create a multisensory work that is destined to linger in memory and enrich the archives of passionate collectors.
Volume 3 of "Nine Studies of Ephemeral Resonance" enhances the listening experience created by its predecessors by exploring new depths in sonic experimentation. This volume features three carefully crafted tracks that showcase a wider range of tonal richness and dynamic interplay. The intricate textures blend the history of sound with modern artistic ideas. As the soundscapes unfold, they invite listeners into vibrant auditory environments where each distinct hue, echo, and resonance encourages a sensory and emotional connection. The engaging dynamics and creative rhythms set the scene for a captivating journey filled with surprises and hidden gems, providing an experience that both respects and goes beyond traditional musical roots. This limited edition is elegantly encased in a skillfully crafted birch box, with each hand-numbered copy enhancing ownership with a unique sense of value. Every detail has been meticulously considered to complement and elevate the listening experience, from the refined exterior finish to the thoughtfully arranged interior, ensuring a flawless presentation. The CD is housed in a mini-LP replica with an inner sleeve, further enhancing the aesthetic. Additionally, there are two inserts printed on 300g white Fedrigoni paper, adding to the overall luxurious feel of the package. Together, the auditory tracks and packaging create a multisensory work that is destined to linger in memory and enrich the archives of passionate collectors.
The idea of putting together songs like impressions of a feeling rather than a collection of recordings from a certain decade or style or genre was at the heart of a discussion I had with Norman in 2019. It was a warm July day on the Riviera. I had just finished putting together the sound system for our first and only festival. “It should paint a picture”...
We began a work of compiling. Norm would send tracks and we would try to situate them on the spectrum of a large “carte postale” encompassing in one corner the kitsch resort balneaire, in the other the sail boat in a Caribbean creek, with sandy beaches and glimmering waves in between. With the certainty that the French only seem to possess in matters of taste (my wife Emma is the same), Norm would go: “ah ca c’est 100% Blue Wave” or not at all.
Shortly after, I was introduced by Norm to Charles. The two had been exchanging on references for a while and they had agreed to work together. I was over the moon of course. Our souls had been sucked to Club Meduse shortly prior, and was an inspiration for our aspirations.
The timeline here gets blurry. I lost a bunch of money in the Lebanese crisis and the local economy melted down. Covid hit. The second edition of Pocket of Light Cote d’Azur got cancelled. Movements restrained. Lovers separated. And then the Beirut Port Explosion happened.
I won’t meander long in self pity, but at this very moment in time, the beach seemed so far away, like a forgotten paid reservation at my dream holiday destination. It took me a while to shake that feeling off. Sometimes it still catches me.
We convened to meet in Dusseldorf. We had a party at the Paradise Now. The next day, we had cold tea and cake. Charles walked us through a part of his collection. Every record like a layover on the way to where I left off in my head.
At this moment, seeing Norm and Charles moving to the sound, I remembered that we were up to something golden.
A couple years later here we are. I am thankful for the patience of my collaborators and thrilled to present to you this volume of Transcoastal.
A reminder to keep sailing on that capricious sea despite the weather. Not too far off after the horizon, a gentle vision of paradise awaits.
We went out of our ways, we hope you go out of yours.
Love, light and sand in your shoes,
Mario
Vinyl-only for the time being.
![The Crippled Flower Forming Haze [Recordings 1985/86] (CS)](http://meditations.jp/cdn/shop/files/IMG_4602_{width}x.jpg?v=1746500659)
"The Crippled Flower was a post-punk band from Düsseldorf - and they arrived late. However, unlike many young, unsuspecting, hairsprayed hopefuls from that time, in 1985 they could sense that the end of their era was approaching. They knew too much to want to take the world by storm. They were four individualists searching their own way. Each of the band members only found their calling after the time that they had spent together – but that's exactly what makes The Crippled Flower still seem really interesting today, this static energy that does not discharge, but is simply there.
Searching dreamers should sound like that and that's what they were. Singer Phil Elston, for example, had brought his love of Kraftwerk from England to Düsseldorf. Even his bandmates found this strange, but they were also entangled in their own longings. This is because the times were still so crazy and these searchers were "on fire". A fire that glows in the band's recordings.
Listening to the songs today, The Crippled Flower sound like they are hugely at the height of their game; think of Wire, Felt, Scritti Politti or Minimal Compact. The variety of musical themes, as well as different soundscapes, which the band created can only be listened to in amazement. Often, it is only Phil Elston's Sprechgesang that confirms that this is really the same band. However, it was back in 1985 when, importantly, the catalyst that brought the musicians together - the short lived eclectic record store "Heartbeat" in Düsseldorf Bilk - occured. It was there where post-industrial and pop, melodic minimal music and sound attacks awaited those who wanted to discover music by artists and bands they did not yet know.
Cassette releases. All recorded on 4-Track. The Crippled Flower succeeded in this medium. Firstly, with a cassette just entited The Crippled Flower, working from project-like studio recorded sketches. Four more tracks from the short-lived band appeared in 1986 on "A Heartbeat Rendezvous“. A demo tape submitted to Les Disques du Crépuscule, however, did not lead to a worldwide career and so, unfortunately, it was soon over.
Stefan Krausen moved on to the follow-up project Deux Baleines Blanches with Stefan Schneider, which, in 1994, gave rise to the band Kreidler. Krausen was already drumming with the I-Burnettes on AtaTak and much later he studied painting in Munich. Nina Ahlers moved from Düsseldorf to Paris to study art, because in the 80s it was still the case that Paris was the destination of choice for those really wanting to become an artist – and that's what she did. Her work is characterized by a non-academic minimalism focusing on everyday objects. Stefan Schneider remained connected to music. Only Phil Elston, who helped sabotage fox hunts in England and wrote these observant lyrics about environmental destruction and time travel, seems to have escaped the social-media world. Whether he found Kraftwerk-fulfilment in Düsseldorf or moved on disillusioned remains a mystery to us. And somehow this also fits in with that peculiar, special band.
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.
Roomer is the meeting point of four distinct creative forces in the European music scene, united through long-standing friendships and years of collaboration across projects ranging from avant-garde free improv to ethereal folk and ambient electronica. Inevitably—if surprisingly late—the question arose: why not start a band? In their hands, the rock band format became a canvas for their many musical worlds to collide.
Ronja Schößler, a fixture in Berlin’s experimental singer-songwriter scene, pens compositions of crystalline vulnerability that cut through the band’s guitar architectures with diaristic directness. Ludwig Wandinger, polymath producer and visual artist—recently featured on Caterina Barbieri’s light-years label—injects his drumming with an energy grounded in sharp sound-design instincts. A wizard of the 8-string guitar, Arne Braun lays down layered foundations that evoke the presence of multiple players at once, while minimalist composer and synthesist Luka Aron contributes electro-acoustic textures that shimmer with the weight of distant memories.
With Arne Braun stepping away from the band to focus on other projects—including Make-Up, the DIY recording studio where much of Leaving It All to Chance was brought to life—Roomer now continues as a trio for their upcoming live shows. Expect the occasional special guest or multidisciplinary collaboration, though, as Roomer moves through the gamut of Berlin’s artists, performers, and poets.
—
Leaving It All to Chance opens with '2003', where overlapping planes of distorted flute and shimmering guitar create a temporal fold through which memory keeps seeping. Ronja’s confessional voice recounts a moment of disclarity: “I accidentally stepped into 2003,” she admits, reflecting on holding on too long and the realisation that starting over might be futile.
'Nothing Makes Me Feel' performs a decoy, opening with acoustic guitar patterns that suggest singer-songwriter fare before high-pitched distortion tears through the fabric of the song. The chorus arrives like a scene from some imaginary American teen drama finale, yet its pull is complicated by layers of wailing harmonics that hint at something darker.
Perhaps the album’s centrepiece, 'Windows' combines minimal music’s interlacing patterns with sudden eruptions of power chord catharsis. The track’s opaque lyrics (“you ask for purity / I have this melody”) float above guitar work that draws as much from Steve Reich’s phasing techniques as it does from My Bloody Valentine’s tremolo manipulations.
The album’s eponymous single 'Chance', accompanied by a gloomy video steeped in veiled imagery and opaque symbolism, sees Ronja holding light and shadow in her hands. Flame shards flicker through a prismatic lens as the song gradually shifts from straightforwardness into spectral webs of saturated echoes.
Reappearing from Roomer’s previous EP, Skice, albeit in a slower, moodier form, 'Much Too Loud' commences with acoustic guitar and a looming drone that set the stage for the slightly irked vocal delivery, lamenting undertones of power and control, softened by an almost disarming tenderness. Then, without warning, the chorus alters one’s sense of gravity with breathy vocals, countrified plucks, and angelic harmonics that render its central command (“put your head low and shut your mouth please”) both intimate and threatening.
'Stolen Kisses', the album’s penultimate track, reinterprets Psychic TV’s 1982 original—a sly nod to Roomer’s blend of experimental depth and pop immediacy. The British industrial post-punk pioneers blurred the lines between avant-garde provocation and melodic allure, and Roomer channels that spirit, turning the track into an anthem of their own. Distorted guitar downstrokes merge with swirling, feedback-laden slides, all underscored by the band’s undeniable knack for hooks.
Closing the album, 'Your Arms Are My Home' shifts into more pastoral territory. Wide-open, flanged acoustic guitars trace a thin line between comfort and doubt, offering a fragile sense of refuge. Each pause in the music weighs a tension, as if caught between holding on and letting go, its hushed conclusion lingering like a half-remembered promise.
originally released on Main Street Records in 1999, and repressed in 2025.
originally released on Main Street Records in 1996, and repressed in 2025.
originally released on Main Street Records in 1995, and repressed in 2025.
remastered and released by Moritz von Oswald himself in 2004, repressed in 2025. Originally released on Planet E in 1993.
Originally released in 1995 as the M series, Vainqueur's outstanding and universal masterpiece of minimal techno has been repressed in 2025 and includes a remix by Maurizio.
At the end of 1970, having worked on his free jazz “made in France” and, with his Intercommunal Free Dance Music Orchestra, sung the blues with all the regional accents of the country, François Tusques made his contribution to the traditional music of a region he knows well: Brittany. With the electric bass of Tanguy Le Doré and the bombards and bagpipes of Jean-Louis Le Vallegant, Gaby Kerdoncuff and Philippe Lestrat, the Intercommunal becomes a kind of Brotherhood Of Breizh. But if the swell and the sway remind us of Chris McGregor, the repetitions and dissonances soon rock the boat. Bracing, the wind in Brittany!
If the jazz of François Tusques is “free”, his spirit is even more so: having recorded Free Jazz with other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais), the pianist had covered a lot of ground, with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), so as not to repeat himself…
In 1971 he founded the Inter Communal Free Dance Music Orchestra which, as the notes the this album stated, “is an interpretation of a music which sythesizes the different communities living and working in France.” In 1976, on the first album (L’Inter Communal) we can already hear Tusques playing without borders in the company of Carlos Andreu (vocals), Michel Marre (trumpet and saxophone), Jo Maka (saxophone) and Ramadolf (trombone). It is a meeting between jazz and music from Catalonia, Occitanie and Africa. So far so good, but what about Brittany, that, Tusques knows “by heart”?
Having lived for a long time in Nantes, he would expand his ‘brittanitude’ on the canal linking the aforementioned city to Brest by playing with, for example the Diaouled-Ar-Menez. With these “devils from the mountain” who, under the baton of Yann Goasdoué, worked throughout the 1970s on the renewal of music from Brittany, Tusques met, notably, Tanguy Ledoré and invited him one day, with trois bombards and some bagpipes (Jean-Louis Le Vallegant, Gaby Kerdoncuff and Philippe Lestrat), to join the ranks of the Intercommunal. And so they set of towards a new music from Brittany, as the title states; Vers une Musique bretonne nouvelle!
With percussion from Samuel Ateba and Kilikus, the association launches the ‘bombardier’: the repetitions and dissonance of the different members all serve a common cause however: the dance, which is always the reason for the party. This sets a whole universe spinning, which can bring to mind Chris McGregor’s Brotherhood Of Breath (“La rencontre”) when not taking on board waltz, swing, blues and gavotta or even revealing mysteries like those of Gurdjieff (“Les racines de la montagne” or “Le cheval” sung by Andreu). Only one thing to say to this Brotherhood Of Breizh: Mersi!
"Robin Stewart regrows dub techno from the seeds on 'Crinkle', following 2023's 'When A Worm Wears A Wig' with a set of twisted warehouse melters that apply advanced dub logic to pointillistic technoid rhythms. RIYL Rhyw, Peder Mannerfelt or Rrose.
Think about dub techno for a moment and it's not hard to imagine a very specific aesthetic - something that began with Basic Channel in the '90s and plateaued only a few years later. This was just one application, though; not only has techno mutated in the last few decades, but there's more to dub than bussed tape echo and snatched stabs. Bristol-based Stewart goes back to the source here, considering the way his favorite vintage dub records hit physically, not just how they sound on the surface. It's not an easy mental leap to make, considering the trade up you need to make when you prioritize soft, warm bass throbs over the kind of ear-bleed kicks you'd expect find knocking the mortar from the Berghain brickwork every weekend. When does techno stop being techno altogether, exactly?
So 'Stomach' is a genuine surprise, leaving Giant Swan's punky, maximalist swagger as a distant memory. The off-grid, lolloping kicks are interesting enough on their own, but it's how Stewart treats them that makes the track pop, sinking them in swirling, lysergic goop rather than drowning them out with rinsed tape FX. The oscillating, demonic subs that heave just beneath the surface don't muddy things completely, they crack the sunroof on the top end, letting the industrialized foley clanks and hoarse vocaloid stutters boot us towards an unexpected destination. And although 'Compact' is more trad on the surface - a gated peak-time roller, natch - Stewart's canny processing makes the kicks tickle more than they thump. Everything builds up to the title track, where Stewart freezes mind-rinsing dissociated echo spirals into their own rhythmic forms that push against the relentless double-time thuds, weaving phantom polyrhythms out of thin air while spectral voices whisper overhead.
Don't sleep on this one - just make sure you've got Adrian Sherwood's shrooms plug on speed dial first." - Boomkat
In commemoration of soul singing legend Ural Thomas's 85th birthday, Cairo Records and The Albina Music Trust present Nat. - Ural! This giant tribute to Ural's 70 year music career includes an LP, a 7", a thirty six page 12 X 12 full color book, five postcards, a newspaper fold out, a 11 X 17 poster and beautiful printed inner sleeves.
Here's a detailed description of the contents -
THE LP - These 8-track recordings are from the early 90s - possibly some begun as early as late 80s. There are synthesizers, drum machines, a chorus of vocal overdubs, guitars, bass, drums...a full band all Ural, recorded at home and now for the first time on LP.
THE 7" - Two songs Ural recorded in the early 1960's at home with a bunch of kids from the neighborhood. Side A is the avant garde funk masterpiece Fade Away - featuring kids blowing into ten foot long bed posts outfitted with trombone slides. Side B is the sweet, simple soulful and life affirming ballad, "Smile".
THE BOOKLET - This 12 X 12 full color book features a long interview with Ural, interviews with his contemporaries and tons of great photos. It covers his whole career as a soul singing legend.
THE POSTCARDS - Five postcards featuring pictures of Ural from various stages of his career.
THE FOLD OUT NEWSPAPER - An old article about Ural's struggles with the city of Portland and a new article about how great Ural is on the other side.
THE INNER SLEEVES - Two large beautiful alternate covers for Nat - Ural are printed on the inner sleeves.
THE POSTER - Full color promo shot of Ural in a mesh outfit hanging out in a birdbath.
The First Lady of New Orleans Soul, Irma Thomas' career had many stops and starts; she never caught on with a big label, and bounced between smaller concerns, being most famous for how deft of a live performer she was than her studio output, a superstar in Louisiana, but a curio outside it.
In 1967, after moderately successful albums with the local Imperial, she went north from New Orleans to record at the FAME studios in Muscle Shoals where Aretha Franklin became a star at the behest of Chess Records, who aimed to turn her into the next Etta James. For reasons that are not clear, Chess released a couple singles from the FAME sessions, but never actually put all the songs Thomas recorded there in LP form. It would take until a Japanese release in 1984 for these songs to see full release; it is a drop-down soul classic, an impactful, fantastic album that is a giant what-if? Thomas might have gotten her flowers much sooner if this had come out back then. You can fix that now.
We have the attached ACTRESS TRANZKRIPT 1 release on Modern Obscure Music available in a CRYSTAL CLEAR vinyl edition, exclusively for Japan, limited to 100.
WRWTFWW Records is overjoyed to present the first ever vinyl release for the outstanding soundtrack of 1999 Japanese action-political-thriller anime Jin-Roh: The Wolf Brigade by Hajime Mizoguchi. The epic full-lenght album is available as a limited-edition LP cut at Emil Berliner Studios and housed in a heavyweight 350gsm sleeve.
Legendary animation film Jin-Roh was penned by Palme d’Or and Leone d’Oro award winning filmmaker, television director and writer Mamoru Oshii whose filmography includes Ghost in the Shell, Patlabor 2: The Movie, and Angel’s Egg – critically acclaimed works praised worldwide, notably by luminaries such as James Cameron, Steven Spielberg and The Wachowskis. The film was directed by leading studio Production I.G. affiliate Hiroyuki Okiura (Record of the Lodoss War, A Letter to Momo…)
The film’s score, courtesy of famed anime and tv score composer, cellist and arranger Hajime Mizoguchi, evokes the dystopian world in which Jin-Roh takes place and captures the Little Red Riding Hood theme that carries the story – a dark, atmospheric, and immensely emotional soundscape that takes you on a grand and immersive journey and stays with you forever. It blends classical, orchestrated ambient, and poignant melodies carried by ominous strings.
This new project by WRWTFWW Records follows previous Japanese soundtracks from the catalogue: Ghost in the Shell, Patlabor 2, Evil Dead Trap, Violent Cop and precedes the upcoming release of Takeshi Kitano’s Sonatine soundtrack by Joe Hisaishi.
From Daisuke Hinata, Grammy nominated artist/composer/producer and member of Japanese ambient, environmental, synthpop band INTERIOR.
Daisuke Hinata - Tarzanland (1989)
First Vinyl Release Ever.
Comfy Environmental Music for a Cozy Life and the Heartwarming Companionship of Beloved Pets.
Like Steve Winwood on the Synclavier and Steely Dan on the MPC60.
Or Like John Hughes Meets Japanese Ambient.
*Music You've Never Heard Anywhere Else Before*</p><iframe style="border: 0; width: 350px; height: 373px;" src="https://bandcamp.com/EmbeddedPlayer/album=1275567063/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://wrwtfww.com/album/tarzanland">Tarzanland by Daisuke Hinata</a></iframe>
London/Melbourne rap duo Teether & Kuya Neil release their long-awaited debut album YEARN IV.
YEARN IV captures the brooding and vivid world of two musical outsiders. Raised by the internet, the pair find their voice amid a sea of clashing cultural experiences and sonic histories, finding solace in the isolation of contemporary urban Australia.
Recorded in Melbourne and completed in London, the album captures the duo's hyper local yet globally influenced rap sound at its core. Kuya Neil’s drum heavy production collides with Teether's surreal and immersive storytelling, blending thrash metal and club music aesthetics with the echoes of the early internet.
Lead single ‘ZOO’ plays with the silent throes of cultural diversity over a paranoid trap instrumental.
Teether & Kuya Neil released their first mixtape GLYPH via Chapter in 2021, receiving airplay from NTS, Dublab and Australian radio, plus writeups via Brooklyn Vegan and NME. Four tracks from ‘GLYPH’ were featured in the iconic Australian Netflix series 'Heartbreak High’ the following year.
2023 mixtape STRESSOR charted in the Australian Independent Top 10 and made it into end of year best of lists for The Guardian, Rolling Stone and NME Australia. The mixtape was nominated for Best Hip Hop Album at the 2024 Australian Independent Music Awards and named Album of the Week by 3RRR and fBI Radio.
Teether & Kuya Neil have performed around Australia and New Zealand. They have played alongside international peers MC Yallah & Debmaster and They Hate Change as well as supported veteran alt-rap outfit Shabazz Palaces and Chicago Footwork pioneer RP Boo.
As a solo artist, Teether has collaborated with New York rapper Billy Woods and toured with his outfit Armand Hammer in Australia in 2023. In 2024, he opened for the legendary Kim Gordon. Kuya Neil is an active producer in underground dance music, releasing tracks on UK labels Chinabot and Moveltraxx and has toured South East Asia as a DJ and promoter
Charlie Megira’s self-reflexive final album found him far from his Beth She’an Valley home, but surrounded by a new cast of Hillbillies. After spending 15 years toying with goth, sound collage, grunge, and dark wave, Megira returned to his surf noir roots, a perfect bookend to a largely misunderstood career. Issued digitally in 2015 via Bandcamp, Boom Chaka Boom Boom is a sprawling mix of plunking country blues, Black Lodge terror, ambient montages, and noodling spaghetti western. Familiar hits like “At The Rasco” and “The Death Dance of the Busty Lifeguard” are revisited and reimagined as bongo-driven beatnik anthems. “We gave all we had to love,” he sings on “Smile Now Cry Later.” “We thought, nothing better to do.” A fitting end to a brilliant discography.