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First UK edition on Editions EG / Polydor of the second collaboration of ambient piano music by the duo together with producer Daniel Lanois, released in 1984.
Conal arrived in 1981 on the Norwegian independent Uniton Records, in a run of 4,000 copies, at a point when Conrad Schnitzler was long past being a German secret. The founding member of Kluster and a brief early presence in Tangerine Dream had spent the 1970s building a body of work largely outside the record industry, issuing a torrent of self-released cassettes and LPs whose titles almost all open with the syllable Con, completed by a second that points somewhere. By the start of the 1980s th…
"When I recorded the first 2 Trickfinger records, I had recently discovered that you could make electronic music in a room with a bunch of synced machines going at the same time, record it on a CD burner and have a finished track. I've heard this process described as “overdubbing into the air”. It was as exciting to me as my first 4 track was when I was 14. I wasn't trying to be good, or original. I was just excited that music could be made that way; it felt like I was a whole group of musicians…
Welcome to ‘No Human Voice’, the eponymous first album from Liverpool’s Soundart electronica hitsquad. Pete Smyth and Mark Greenwood (both voice/electronics) have been in bands around Liverpool for years, including Mugstar, Kling Klang and Cavalier Song. They use and abuse lo-fi pedals, loops and the English language into places they were never intended to go, to mutate a disorientating whirl of noise and pitches into an abstract whorl a long way post-punk, as if Stockhausen had discovered the F…
*2026 repress. 200 copies limited edition* Iskra is the debut album by Polish multi-instrumentalist and composer Olga Anna Markowska. Starting at “Dawn” and ending at “Dusk”, it is a journey of melancholic depth and true beauty filled with warm memories from what was & what could be.
Using zither, cello, electronics and occasional wordless voice, Olga weaves together something so affecting and under the skin beautiful that it is hard to shake, bringing to mind classics from artists like Jacaszek…
Música para Plátanos takes its name — and much of its inspiration — from the group’s recording studio, situated in the heart of a banana plantation on the humid north shore of Tenerife, Canary Islands. The ever-present sight of the green, sun-drenched fields surrounding their weekly sessions seeped directly into the music: improvised jams that are playful, layered, and deeply connected to place. This release gathers a distilled selection from those sessions — a kind of “greatest rotten hits” dis…
With Still Beauty, PITP label head zakè (Zach Frizzell) and California-based marine eyes (Cynthia Bernard) present a suite of lovingly constructed pieces that combine organic, tape-saturated drones with angelic, spacious vocals and a host of other texturally nuanced instrumentation. Building on the hushed promises of their collaborative debut, Unfailing Love (2021), the two artists immerse us in the processes of loss, grief, and renewal, spiriting us through overlapping shadows into newfound lig…
Music for Real Airports is a multimedia art project by musicians the Black Dog and interactive artists Human which is presented in art galleries. It is also a new CD of music by the Black Dog. It is a response to the reality of occupying the semi-public space of an airport, and a contemporary reply to Brian Eno’s work from the ‘70s. Airports are important and revealing. They are dystopian microcosms of a possible future society. The necessity of safety requires that they be systems of human cont…
Original Italian edition on EG of the superb 1980 experimental electronic/ambient/rock second solo album by King Crimson leader, featuring David Byrne.
Original Italian edition on Virgin of Japan's singer's first solo album of refined art-pop from 1984, featuring Can's Holger Czukay, Jon Hassell, YMO's Ryuichi Sakamoto, Mark Isham and fellow Japan Steve Jansen and Richard Barbieri.
Original Italian edition on Virgin/Venture of the collaboration between Japan's singer and Can's bass player and producer for a beautiful album of refined ambient music released in 1988, also featuring fellow Can Jaki Liebezeit.
Original Italian edition on Virgin/Venture of the collaboration between Japan's singer and Can's bass player and producer for a beautiful album of refined ambient music released in 1988, also featuring fellow Can Jaki Liebezeit.
Of Paradise welcomes Seattle-based artist Hünter with his sophomore album, Mica, a sublime addition to the label’s ever-evolving musical catalogue and one that quickly acquires almost mythical status.
Focused on the relationship between the digital age and the environment, Mica explores the extraction of natural resources, identity, memory, and what remains. A fusion of ambient soundscapes and deconstructed club rhythms, Mica questions erosion as both a physical and cultural consequence of moder…
New Item is the debut album of Italonesian duo Arcibanda, composed of producers and musicians Roberto Chiurazzi and Kevin Silalahi (BAPAK, whoosah). With a unique attention to, and allure for, band-oriented approaches to digi-organic sound design and composition, the pair delivers nine tracks of pure, outbursting instrumental joy, traversing diverse constellations of sonic references and shifting across eras in ways that never feel tacky, as expert masters of their craft. Drawing inspiration fro…
“For the heads”. A pliable phrase to the point of cliché, but also one that happens to be particularly apt for Misha Hering’s debut LP under his own name, Cn[x]. The deep, exploratory music on Cn[x] was recorded in the aftermath of a heavy concussion that left Hering unable to do his day job as sound engineer at Holy Mountain studio on east London’s Hackney Road. With time to fill and daunting cognitive rehabilitation to complete, Hering returned to music making after a long absence.
Cn[x] refer…
“Över mitt ögas dag” by composer Lisa Stenberg and poet David Zimmerman is a collaborative text and sound work in which both past and future are constantly gravitating towards the present – a “now” as raging as it is inept.
The glacial electronics of Lisa Stenberg slowly grinds through both David Zimmerman’s lyrical segments and the adapted fragments of Vilhelm Ekelund’s ancient grave epigrams, all the while lamenting;
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