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Second album in Haarvöl's trilogy, picking up where Bombinate left off. Where the earlier work announced its sonic intention (bombinate, to hum), Peripherad Debris turns toward the conceptual periphery and to remnants of what has already been said: away from the centre, toward the outer turbulence where residual materials remain most stimulating. The album moves between quasi-ambient stillness and dense mass-sound nearly turning to noise, holding all positions in the same hesitant qualifier.
* Edition of 199 copies * Originally released on cassette in 1985, H·A·D·A·Y·R·O is a landmark of Japanese noise music. It documents the early vision of Solmania and the singular sonic approach of Masahiko Ohno. For years, it remained a cult artifact among collectors and underground enthusiasts. This vinyl edition renews its impact, feeling more like a rebirth than a simple reissue. Solmania was far more than a band; it was Masahiko Ohno’s personal sound laboratory. At the heart of the album are…
Mens and Kouw have worked together since 2001, when their first album emerged from the clicks 'n cuts vocabulary via raw mixer feedback recorded to minidisc and broadcast live on Amsterdam's Radio 100. The duo has since migrated into tonal and timbral long-form, combining software, recorded acoustic instruments and modular synthesizer into electro-acoustic drone with audible debts to the American minimalist canon. First half of a two-part album, recorded live in December 2014.
On Awofofora, Marion Brown folds funk, reggae and Afro‑Caribbean rhythm into his mature structural language, using grooves not as decoration but as architecture for golden‑toned alto lines and quietly radical collective improvisation.
Tip! ИМА (Ima) is a work by KiMiMi, the solo project of musician Shin-ya Ohno, which captures the layers of time and the presence of people inhabiting ‘Arimasuton Building’—a self-built structure created over 20 years by architect Keisuke Oka, located in Mita, Tokyo, and reconstructs them into music. A multi-instrumentalist who masterfully handles a diverse range of instruments, with the gaida (an ancestor of the bagpipes) – which he studied in Bulgaria – at the core of his sound, KiMiMi has pre…
On Voice, Sofia Jernberg compresses a lifetime of radical vocal exploration into a stark solo document, treating the larynx as full‑spectrum instrument - from split tones and pitchless friction to fragile lyric shards that hang in charged silence.
Big tip! Fifty years on, and it still sounds like a secret. Carlos Walker's A Frauta de Pã remains one of those rare Brazilian albums that collectors circle obsessively, its original RCA Victor pressings commanding reverence - and prices - entirely disproportionate to the world's awareness of it. That wait is now over.
Recorded in 1975, when Walker was just 19 years old, A Frauta de Pã arrived at a precise confluence in Brazilian music - that charged mid-decade moment when MPB (Música Popular Br…
Time stands stunningly still on The Final Painting, the dreamy, elegiac final album from legendary underground singer-songwriter/poet/painter Ed Askew.
Don Shinn’s Departures, first issued in 1969 and recorded at Lansdowne Studios in London just months after his acclaimed debut, returns in a newly remastered edition that highlights the record’s adventurous spirit and Shinn’s singular command of the Hammond organ. Where his debut established him as a rising force, Departures reveals a more overtly jazzy, exploratory side — muscular, unpredictable and deeply musical — that helped influence a generation of keyboardists, including the young Keith E…
Huge Tip! Limited Edition Green Petrol Grey Marble Color Vinyl LP. Full-color cover artwork printed on Italian fine art 250g linen textured paper; hand-pasted on pro-printed reverse cardboard jackets. Includes two inserts. Cover artwork by Roberto Opalio (35mm slide film, Indian ink drawing). This vinyl-only follow up to the eponymous 2018 CD-only album is in memory of Auko Dijkstra, one of My Cat Is An Alien's first fans, who founded Aukam Records in 2023 appositely to release this LP in collab…
Cinema Perdu's third album for the label, extending his investigation of human impact on landscape after Interventions in a Landscape and Amsterdam CS. The material here is drawn from trips through the Frisian polder, where the strict demarcations of the Dutch countryside change atmosphere with weather and light but above all with the geometric clarity of human marking. Field recordings are read as abstract forms and colours, then translated back into new compositions.
Inspired explicitly by Eliane Radigue's Vice Versa..., Orphax records two source pieces in AudioMulch using nearly identical virtual modular settings, varying only a single parameter, and then sculpts the resulting material in Reaper into two strict twenty-minute compositions. The two pieces are conceived to be played independently or simultaneously, the listener encouraged to build their own mix; the album includes a download with both tracks plus a guide mix made with Jos Smolders.
*Handcut mono lathe vinyl, risoprint cover and insert + bag of silence* A reinterpretation of Scandinaviaʼs dark folkdance traditions. The 7” features two recordings of heavily downtuned solo viola only accompanied by the musicians footstomps.
Composed during 2014, Haarvöl's second album consolidates the Portuguese trio's writing practice: a non-hierarchical compositional grammar where analogue, digital and electronic sources sit on equal footing, threaded with field recordings as structural rather than illustrative material. The trio favours density over experimentation for its own sake, building rigorously detailed cinematic textures whose internal consistency works through resonant correspondences rather than repetition.
Suzuki's third solo album, framed by a single instrument she modified herself: a melodica re-engineered to play via foot bellows, so that high-pressure airflow overblows the small reeds into a sustained, loud excitation. The pumped breaths are amplified through time delays, layered with oscillators and manipulated highs to develop the combination tones that emerge at extreme volumes. A durational, psychoacoustic drone work that 'rewards endurance with transcendence', performed live.
Edition of 500. Widely regarded as one of the essential entries in the vast Muslimgauze catalogue, Mullah Said returns once more via Staalplaat in a third edition vinyl pressing and a reworked digipack CD edition of 400 copies - both featuring updated artwork with additional gold printing. Originally issued in 1998 as the eighteenth installment in Staalplaat's Muslimgauze subscription series, Mullah Said represents Bryn Jones at the height of his powers. Engineered by John Delf at his Abraham Mo…
Hardcover, 468 pages, 21×27 cm! In the wake of his Cause And Effect cassette label and distribution service, Hal McGee launched Electronic Cottage International Magazine. From 1989 to 1991, its six issues focused on the independent home recording community – artists who had developed their craft in the post-punk DIY era. The contributors were nearly all members of the hometaper community. The magazine featured articles providing helpful tips and highlighted the challenges hometapers faced. It in…
Jeux de mains, a striking new album from acclaimed double bassist Joëlle Léandre and inventive composer-performer Rémy Bélanger de Beauport, arrives as a vivid exploration of spontaneous musical conversation. Recorded with immediacy and an acute sense of shared risk, the record captures two master improvisers at the peak of their creative powers.
Across the album’s immersive tracks, Léandre’s visceral arco, percussive pizzicato, and fearless extended techniques meet Rémy Bélanger de Beauport’s t…
Go On with the George Otsuka 5 was recorded in 1972 in Japan for the Three Blind Mice label. The album features a quintet led by drummer George Otsuka, a major figure in Japanese jazz in the 1960s and 1970s. The repertoire includes original compositions as well as contemporary hard bop standards.
*2026 repress!* After a stint learning the dub craft from innovator King Tubby in the late '70s, Scientist began mixing his own sessions, coming up with a more wide-ranging and effects-riddled sound than that of his mentor. One of a handful of choice Scientist albums on the Greensleeves label, Rids the World of the Curse of the Vampires (1981) not only ably displays the mix masters varied approach, but clocks in as one of his best outings. While Scientist heeds Tubby's minimalist call with "stri…