Moires
"Another window opens - and with it, another singular mystery of modern impressionism joins the catalogue of Les Disques Omnison. Classicaly trained yet reshaped by Paris experimental and improvisation scene, Jeanne Gorisse pushes her "bass" practice further on her second solo album, a follow-up to her 2024 debut "Immersion Libre". Alongside the double bass, she explores bowed electric bass, and re-records herself to tape on several tracks; creating an intimate dialogue between the acoustic and …
Structura Parva
Filtro returns with a short ep reflecting its new approach to minimal strucures and small electronics. Sounds for night reflections and dark disquiets. Filtro is an electronic duo composed by Angelo Bignamini and Luca de Biasi. The duo focuses their research on the characteristics and properties of sound, disconnected from its original context and meaning, favoring minimalist and abstract constructions, questioning the modes of reproduction and distribution in space. They have released several m…
I grow accustomed to the dark
*300 copies limited edition* The first resonant space Zosha Warpeha played in was the Emanuel Vigeland Museum in Oslo, Norway. Built as a mausoleum, its walls reach up into a gradual archway, creating an environment where sound expands and reverberates for twelve seconds before decaying into silence. Warpeha was greeted only by dim lights when she entered, and it wasn’t until she had spent several minutes listening that she was able to make out the frescoes that covered every inch of the room: g…
Record Players, Percussion And Sound Effects II
*2026 stock* Recorded at Rimi/Imir Scenekunst, Stavanger. Recorded and Mixed by Gaute Granli. Mastered and cut by Frédéric Alstadt. Cover design and print by Drid Machine. foil by Bokbinderiet Erland. Financial Assistance: Stavanger kommune. THANK you: Rimi/Imir Scenekunst and Kafé Hærverk. Thore Warland uses SLB electronic drums.
Record Players, Percussion and Sound Effects I
*2026 stock* Recorded at Rimi/Imir Scenekunst, Stavanger. Recorded and Mixed by Gaute Granli. Mastered and cut by Frédéric Alstadt. Cover design and print by Drid Machine. foil by Bokbinderiet Erland. Financial Assistance: Stavanger kommune. THANK you: Rimi/Imir Scenekunst and Kafé Hærverk. Thore Warland uses SLB electronic drums.
Aerial
Aspen Edities is pleased to present Aerial, the third album of the experimental quartet Oker.
Live Non-Plus Ultra
On Live Non-Plus Ultra, Strain of Laws—the duo of Aaron Hemphill and John Wiese—drag voice and electronics through a pressure system of sub‑bass, hiss and mumbled fragments, documenting their 2025 LA set as a single, slowly suffocating industrial hallucination.
Third Night Sparks
On Third Night Sparks, Akio Jeimus, Risa Takeda and T. Mikawa bottle a one‑off Bar Isshee trio into a crackling nocturne of electronics and synths, where noise iconoclasm and poised, in‑the‑moment listening fuse into a single live current.
Live At Henie Onstad Art Centre 1971
*2026 repress* Recorded on February 28, 1971, at the Henie Onstad Art Centre in Høvikodden, Norway, this remarkable document captures Soft Machine at the height of their creative powers—performing two continuous sets that blur the boundaries between composition and improvisation.
On this evening, the British avant-garde ensemble unleashed an unbroken flow of sound—dynamic, exploratory, and charged with the band’s signature blend of jazz, rock, and experimental electronics. All instruments—exce…
Trees, Chants And Hollers
This enchanting album weaves together the intricate fingerstyle guitar mastery of Paul LaBrecque with the soulful, ethereal vocals of Valerie Webb, creating a sonic tapestry rooted in folk, acoustic, and world music traditions. Recorded in the lush Vermont woods, the title track "Trees" evokes the whispering rustle of leaves and ancient forest spirits through LaBrecque's cascading arpeggios and Webb's haunting chants.
Tracks like "Hollers" channel raw Appalachian calls into rhythmic, percussive …
Die Dritte Ebene
On Die Dritte Ebene, Emilio Gordoa and Sven‑Åke Johansson let vibraphone, drums and accordion run in seemingly parallel lines until a mysterious “third layer” appears - a ghost‑music of overtones, pulse and texture that neither player could summon alone.
Live at Issue Project Room
On Live at ISSUE Project Room, Loren Connors and Alessandra Novaga turn the guitar into a nearly weightless medium, tracing an improvised, slow‑burn dialogue of tremors, silences and ghost‑melodies that feels less like a concert than a séance for two.
Microcosm
Big tip! *2026 stock* Recording Kang Taehwan’s music, his underground practice room has been the place where he has spent the most time with his saxophone and remains his most familiar space. The concrete and brick finishes, high ceiling, and asymmetrical structure in all directions create a unique reverberation. Because the shape of the room is irregular, the acoustic balance shifts constantly from side to side and front to back depending on the pitch.
Although Kang’s performance is on a single…
Olympiad - Vol. 4 - Curling
On John Zorn’s Olympiad Vol. 4 – Curling, John Zorn exhumes one of his rarest 1970s game pieces, a slow‑burn study in sustained tones, handing it to ROVA Saxophone Quartet and the William Winant Percussion Group, who turn its minimalist rules into 45 minutes of hovering, hypnotic sound.
Fabu and Teche
Fabu and Teche extends HeghL’s “camera mista” into two impersonal, semi‑ghostly surfaces, where language and technique rebound, hybridise and thin out into fragile, flickering forms that are neither one thing nor another, yet stubbornly refuse to disappear.
Du Jeu Idéal
Du Jeu Idéal turns HeghL’s philosophical play into sound, as Tekelerobutor (op.el) stages Luca Pedeferri’s piano against works by Lisa Baume and Francesco Trabattoni, treating Deleuze’s “game without rules” as a constantly mutating musical event.
Mise
Mise extends HeghL’s mythography of the “Outside” into an invented archive, staging the rediscovery of anonymous scores as an excuse for a radical piano‑led reconstruction of the imagined oeuvre and unfinished world of the elusive Andrea Firewell.
L'Entretien Infini
L’Entretien Infini finds HeghL translating a philosophico‑theatrical chain of voices into sound, as clarinet, violin, piano and double bass improvise around Maurice Blanchot’s “infinite conversation” and the elusive “Thought of the Outside.”
Music in Continuous Motion
Bill Orcutt is back with what might be the most beautiful record in his 21st-century guitar quartet series. Music in Continuous Motion (Palilalia, LP/CD) pointedly steps away from the cut-and-paste constructivism of Music for Four Guitars into a sonic stratum that's - as Tom Carter writes - "yearningly melodic, resolutely human, and built for performance." Four guitars, twelve tracks, most hovering around two-and-a-half minutes each. No waste. No fat. Pure music.
Where Music for Four Guitars ope…
Buenos Antwerp
On Buenos Antwerp, Elko Blijweert and Anla Courtis turn a chance Borgerhout encounter into a two‑part psychedelic correspondence, one acoustic, one electric, a cross‑Atlantic guitar séance wrapped in Dennis Tyfus’ cut‑and‑paste visual delirium.