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*In process of stocking* 'Felicia Atkinson’s music always puts the listener somewhere in particular. There are two categories of place that are important to Image Language: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record—Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy—the landscape is what is waiting for you when…

Tip! The Well & The Gentle, two of the major works of Pauline Oliveros, are presented here in a first time reissue on double vinyl in a gatefold sleeve with extensive liner notes. If Oliveros had followed a more conventional path she may have, all social obstacles aside, been considered among the major composers of her time. However, Oliveros approached composition in a more egalitarian manner. She wrote music for musicians to interact with or, in the composers words, she wished to create "an in…

For Circular Song she adapted circular breathing to the voice and sang on the inhale as well as the exhale. For Hear What I Feel she was isolated beforehand, then performed with her eyes taped shut, responding to materials placed in front of her that she could not see.

One of our favourite "pure drone" album consisting of 3 amazing long tracks by Pauline Oliveros. I of IV was made in July 1966 at the University of Toronto Electronic Music Studio and was first released by CBS alongside works by 2 other young composers - 'Come out' by Steve Reich and 'Night music' by Richard Maxfield. It is really only in recent years (born out of the more radical elements of dance music, Electronica and ambient music) that music like this is being rediscovered by a growing numb…

Huge Tip! The Circus is a place of lights and colors, but also of shadows, even darkness. Admittedly, it delights children and makes adults laugh. But you only need one rainy autumn evening near a circus tent and the smell of fodder to think of the sadness of the clowns, the endless training of the animals and the freaks who are hidden in some caravan... cinema, the essence of the circus – movement, light, danger and burlesque – will have been admirably rendered in Notes on the circus by Jonas M…

Two of experimental music's most uncompromising minds, together at last, and never once in direct contact. Kevin Drumm and Taku Unami made Zero Talk without ever speaking to each other. It started in late 2024, when producer Jon Abbey asked Unami to master Drumm's Sheer Hellish Miasma II. Unami was thrilled: Drumm is his favorite musician. Drumm loved the result. Even then, the two never really talked, Abbey spoke to each of them separately. In mid 2025 Abbey proposed a collaborative Erst. Both …

* Edition of 500 * In Catherine Lamb's Prisma Interius series the unpredictability of the outside articulates the field of perception through precise bandpass filters, while acoustic instruments and musicians guide the unfolding of its harmonic space. A series of nine pieces exploring the potential of the Secondary Rainbow synthesizer, an instrument developed in 2016-2017 with Bryan Eubanks, that uses the live environment outside the performance space as a noise generator for basic subtractive s…

The pioneering electronic sounds of Daphne Oram reimagined by Taahliah, Cosey Fanni Tutti, Marta Salogni, Arushi Jain and others using tapes from Oram's archive. To mark the centenary of overlooked electronic pioneer Daphne Oram, Nonclassical - together with Oram Trust and Oram Awards - have commissioned new music by a set of contemporary visionary minority-gender electronic artists celebrating the next generation of trailblazers. This group of artists span early-career to high-profile DJs and m…

FRKWYS Vol. 18: Extended Field witnesses Horse Lords and Arnold Dreyblatt in deep collaboration, melting minimal composition and polyrhythmic invention into a sprawling sound experiment. The album pulses and stretches, dissolving genre boundaries and conjuring a space where tradition is not static, but ever-evolving.

Eleven pieces built on Prophet and Oberheim synthesizers tuned to an eighteenth century temperament of Rameau's, with Julia Holter singing. Wada grew up in the Fluxus co-op building in Soho, with Simone Forti next door and Nam June Paik one floor up, and studied with James Tenney.

2026 Repress. In Muto Infinitas, Catherine Lamb extends her distinctive approach to microtonality and just intonation, crafting a forty-minute dialogue for quartertone bass flute and double bass performed by Rebecca Lane and Jon Heilbron. The recording, realized without electronic alteration, invites deep listening, unspooling at an unhurried pace in a luminous acoustic field. Lamb’s music here is uncompromising in its patience: the two musicians linger in the borderlands of pitch and timbre, ca…

Few contemporary composers have created instruments as singular as Ellen Fullman's Long String Instrument, and fewer still have explored its possibilities with the depth and invention documented on Elemental View. This six-movement work, performed in collaboration with The Living Earth Show, transforms an industrial-sized space into a resonating chamber where 136 precisely tuned strings create what can only be described as environmental music in its most literal sense. Fullman has spent decades …

Two pieces from 2015, both made for light as much as for sound. In the first, Forsberg leaves the violin hanging on stage listening to itself while she plays only electronics, and the audience stays audible: bodies shifting, someone dropping something on the floor.

Recorded in a single day in 2022 at McDowall's Brooklyn studio, then mixed and remixed across three years and three cities. There is no organ anywhere on it: the sound is Karplus-Strong synthesis, a filtered delay line modelling a plucked string, tuned in just intonation and pushed through distortion.

Harold Budd is a one of a kind modern neo-classical artist creating high-callibre and complex music with unique and subtle tension and abstraction, and simultaneous almost-pastoral but as-often otherworldly mood.

Six pieces from a concert at Het Apollohuis in December 1987, unearthed by Black Truffle. Guitars and bass tuned by Dreyblatt and played with E-Bows and Panhuysen's motorised plectrums, plus a Mattel toy drum machine, pedal steel harmonics and a bird whistle.

anabasis (1) is a composition in 72 parts for five musicians, based on four kinds of materials: Sand, Wind, Tone and Wave; these materials are arranged and intertwined with a fifth ‘Interludes’ strand that interacts with the four materials. All of these are then ‘unbound’ over the course of the piece by changing continuity in a variety of ways outlined in the score. This interpretation of the score is a live performance that features prepared reed organ, electromagnetic pick-ups, sand, pedals, D…

In May, composer, musician, and producer Kara-Lis Coverdale released her first new album in eight years, From Where You Came. It was followed by her second album of 2025, A Series of Actions in a Sphere of Forever, in September. Today, Coverdale details her third full-length release of the year, Changes In Air, out 21 November via Smalltown Supersound, and unveils its lead single ‘Curve Traces of Held Space’. Changes In Air is a work for electric organ, modular synthesis, and piano in five secti…

How does music inhabit the space between two worlds? Jürg Frey confronts this question directly in Je laisse à la nuit son poids d'ombre, a composition for ten musicians that exists in deliberate suspension, refusing the security of solid ground. Commissioned by ensemble]h[iatus, the piece emerged from extended collaboration between composer and performers, particularly in navigating two specific challenges: the distinctive voice of Thomas Lehn's analogue synthesiser and the relationship between…

Big tip! Sarah Davachi returns with “Music for a Bellowing Room”, the first ever release of her audio / visual collaboration with the artists and filmmaker Dicky Bahto, originally commissioned by the Museum of Modern Art in New York. Sprawling to an incredible three hours of sublime, minimalist drone - composed for tape loops, synth and delay - that draws the ear toward microscopic shifts and details, we've adored every second of this truly monumental work.