Experimental / All styles

Tip! *2026 stock* Summer 2016, the artist chose to isolate himself within the very quiet and intriguing Mechanical & Acoustic Research Lab LMA-CNRS’ anechoic room (France) in order to explore his own inner silence, during some deep personal difficult times. During this art residency in the laboratory, Bayle recorded 2 hours of silence in this 17dB room. inside of which sounds don’t reverberate, as they are absorbed by walls’ geometric and repetitive structure. This sonic isolation makes this roo…

*2026 stock* This album presents the project Stahlstuhl in its typical line-up: a chair performer plus a laptop musician. This was the first concert held by the duo, in December 2012. Guitar player, singer and computer science enthusiast, Olavo Vianna acts here as a chairs’ guru. His performance is the result of a long study on the timbrical possibilities of school chairs. As shown in this recording, such an ordinary object has all the potential for becoming a full scale musical instrument. The …

*2026 stock* The pieces that make up this collection were composed with the Gendyn algorithm – GENerative DYNamics. The Gendyn algorithm is an example of nonstandard sound synthesis techniques, relying on random walks guided by probability distribution functions to define the character of complex timbres as well as musical form. Sound is generated ex-nihilo – from nothing – through mathematical expressions that are characterized by initial conditions defined by the composer, setting in motion th…

The tracks that make up Fragments of Soaring Vessels are conceived as “sensitive vehicles.” Although they seem quite different at first listen, closer listening reveals multiple points of intersection—often overlapping, sometimes paradoxical. The Inexpressible Feeling of Dereliction approaches an attempt at a sonic transposition of a feeling of emptiness and rupture that may arise in an extreme situation, in which a pious person is confronted with a moment of absolute disillusionment regarding t…

Jonah Parzen-Johnson & Lau Nau return with a double CD edition on We Jazz Records bringing together their 2025 debut duo release A Few We Remember first time on CD, plus a live recording from the album release tour recorded in Bolzano, Italy, in April 2026. In April of 2026, Lau Nau (Laura Naukkarinen) and Jonah Parzen-Johnson crossed into Italy separately and made their way by train to meet in Bolzano for their first tour together. There was a bit of the energy of the first day of school. Nervo…

The Finnish-Norwegian trio of Olavi Louhivuori, Eivind Lønning and Kim Myhr make their debut with Nubes, released by We Jazz Records on September 25. Recorded at We Jazz Festival in Helsinki in 2021, the album’s organic flow moves beyond genre, building a sound world that gains intensity slowly and surely as the piece progresses. The music of the trio, documented when joining forces here for the first time, sounds unified, confident and searching, taking the listener to places far from the obvio…

L'Oriole is the meeting point between violinist and composer Clara Lévy and sound artist Stéphane Clor. Combining violin, violoncello piccolo and a unique orchestra of resonators and transducers, the duo explores birdsong, resonance and the transformative power of sound. Acoustic instruments are projected into cymbals, drum skins, aluminium cans and other resonant objects, creating rich layers of colour, texture and spatial depth. Inspired by the work of Olivier Messiaen and his fascination with…

*150 copies limited edition* The ambient lineage, from Brian Eno’s Music for Airports forward, has been characterized as sounds that can recede into the background, creating an absence that exists laterally to the listener’s attention. The Kinetic Void originated from a different premise. The compositions assembled here retain a commitment to atmosphere, putting texture over melody and suspending conventional notions of meter. But they embody an inverted relationship to density from that of the …

Second volume of Miúin's Kilkenny Electroacoustic Research Laboratory anthology, turning to the music cultures around the lab, including commissions by its engineer Tony Quinn. Cassette with book and A3 poster, curated by Neil P. Quigley.

*40 copies limited edition* "Midlife Crisis Ambient Moniker" is a Personal Greatest Hits. A Selected Ambient Works Volume 1. Lost Episodes. Archival Deep Dive. Bastard tracks with no home nor family, but with proximity to one another. Unreleased recordings dating as far back as 2014, with source material as old as 2004. There’s even a few songs that once saw the light of day, but never got their time in the sun (“Drain, When It Hit Me,” excerpts from “Earth Day…”). Many of these recordings were …

Bright Madness is the third album from the pinch-me-is-this-real improvising trio of Wendy Eisenberg, David Grubbs, and Bonner Kramer. Fresh off their 2025 Big Ears appearance, Squanderers slid on over to Kramer’s adopted hometown of Asheville, North Carolina and laid down the glorious afternoon’s worth of instant compositions that stands before you. It’s the sound of Eisenberg, Grubbs, and Kramer doing their damnedest to dazzle one another, from shell-game sleights of hand to the effortless bea…

On The Chair and the Faucet, Etelin transforms a Zen‑retreat image into 33 minutes of quietly volatile modular synthesis. Alex Cobb’s Serge system traces dry, microtonal drones and wavering harmonics that drift without resolution, making stillness feel less like peace than a lucid encounter with electricity’s own unstable, living grain.

It seems like it was only a few months ago that Jim O’Rourke changed everything with the release of the incredible Eureka. And if you actually think that, then by George, you’re the Rip van Winkle of 90s rock! It hasn’t even been a few months since Jim’s twin comebacks The Visitor and Simple Songs, his most recent albums in the mold of his classic “pop music” trilogy of Bad Timing, Eureka, and Insignificance. Those two are thirteen and seven years behind us already! O’Rourke freak or not, if you…

The Sun City Girls were unlike any band before them or that has come in their wake. Their catalog, their ethos, their *being* - you name it, with the Girls that “it” was singular and became legend. This singularity started early and extended to their release schedule and the means behind the same. While the band would prove to be wildly prolific throughout their existence, during their nascent days they quickly realized that they could not be contained by any sort of traditional label schedule. …

The Sun City Girls were unlike any band before them or that has come in their wake. Their catalog, their ethos, their *being* - you name it, with the Girls that “it” was singular and became legend. This singularity started early and extended to their release schedule and the means behind the same. While the band would prove to be wildly prolific throughout their existence, during their nascent days they quickly realized that they could not be contained by any sort of traditional label schedule. …

Strung-out yet precise. Introverted but with something to say. Industrial Relations is a further unraveling of the stories untold left lingering around the Piedmont capital. Cloistered away behind one of Turin’s many crumbling doorways, a basic studio set-up alongside a scattering of found photos and a type-writer forms the backbone of this bureau.   Noticeably more barbed than its predecessor Chamber Music, drums are frayed and left to splutter. Grungy guitar chords come in at angles, occasiona…

*2026 stock. 10 copies limited edition* Although Jackson and McLean spent many of their formative years playing in an array of dubious named and increasingly outsider rock groups, ‘Big Gamble’ is the first time they have ever made music purely as a duo. In the intervening years since their last band activities together. Jackson founded Thraa and began to focus on prepared guitar experiments in a series of aurally challenging and investigative solo records issued on his own Fr33zehead imprint. Mc…

*2026 stock. 25 copies limited edition. The cassette features interchangeable artwork* Featuring amplified sonic drones, atmospheric qualities and scraping textures. The theme of this record is centred around 'Abrading' - to scrape or wear away by friction or erosion, using the headstock of an amplified guitar to create sounds by using the walls and floor of the rehearsal room. 'Internal Waves' and 'Above The Fog' are home recordings made up from two layered amplified guitars played with a bow. …

Wistful meta-folk from the American Midwest, self-published by US musician and occasional ANF customer Erik Kramer - totally floored by this.

Mysterious, primitive lo-fi ‘pop’ from Swedish enigma Mind Control Hands - was anyone ever meant to hear this? Something of a needle in a haystack.  The depths of the internet are flooded with snippets of information about enigmatic CDrs, often no more than a crusty JPG and a bit of text, if you’re really lucky a single track to listen to.  The vast majority are of no interest, but perseverance pays off.  Mind Control Hands, originally birthed in the endless sprawl of CD-baby era early 00s micro…

2026 Stock 700 copies in black vinyl. The enigmatic sound architects of Nurse With Wound return with Backside, a haunting new studio album that bridges four decades of underground sonic archaeology. Released through Rotorelief in an exquisite limited edition pressing, this latest opus represents Steven Stapleton and Andrew Liles at their most revelatory, breathing new life into fragments of the long-lost Bladder Flask sessions from circa 1980. The paths of Nurse With Wound and Richard Rupenus's…

Second duo LP by Sarah Hennies and Tristan Kasten-Krause: two sidelong pieces grown from a live work played in darkness, singing bowls, gongs and double bass drifting into waltz-like pulses and field recordings. Numbered edition of 200.

Italian Surf Academy, led by guitarist Marco Cappelli, reworks the 1968 film soundtrack of Barbarella by Bob Crewe and Charles Fox, recorded in Paris in 2013, post-produced by JD Foster and mastered by Brian Brandt and Paul Howells.

Neuma presents Drumming in the Dark by Steven Schick. Engineer, Josef Kucera. Production assistance: Roger Reynolds and Terry Longshore. "In 1938 when John Cage formulated his famous dictum, "Percussion is revolution," I doubt that he had my mother in mind..." - Steven Schick

a Snare is a Bell is a solo piece for snare drum, voice and the room in which it is played.Inspired by some close encounters I had with African shamanic/trance musicians and my personal experiences with meditation and music, it also relates to a known-to-many-of-us acoustical wonder of sitting on the toilet and picking up the tone of that little room (often by accident while coughing or talking out loud to oneself) and enjoying to sing that tone and let the toilet become filled with an eno…

Recognized as a skilled and sought after collaborator, Ted Byrnes solo albums cast a wide net that capture Byrnes' adventurous and omnivorous approach to solo percussion. An alumnus of Berklee College of Music in Boston, MA, Byrnes has made his home in the center of a Venn diagram that includes free improvisation, studied electro-acoustic work, fearless new music and harsh noise. Recognizing the porous borders between these modes, Byrnes' work on Moving My Body Through Space is a flailing medita…

Berlin trio improvisation recorded in June 2015 by Liz Allbee on trumpet and seashell, Annette Krebs on electric guitar and electronics and Sven-Åke Johansson on percussion, with notes by Thomas Millroth.

Percussionists Burkhard Beins and Sven-Åke Johansson with harpist Rhodri Davies, recorded at Sowieso in Berlin in 2013 and 2015: acoustic sounds that come close to electronics, plus a harp solo by Davies.

*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.

"Few years ago, an idea germinated while reading The Magic Mountain by Thomas Mann. An idea not driven by the narrativity of the book, but by the traces and the aura invoked in it. That was it: an audible auratic journey trough the memories of a place lost in the heights of the swiss mountains. A century after the events depicted in the book, we went where the story took place, trying to capture the remaining sounds that could have been heard at the time, and the ghosts who might have still wand…

*2026 stock* "Magnetic Tape is able to record, store and playback audio recordings. It enables repetition and the capturing of time in a sonic shape. It frees listening from the confines of chronology and thus of history and creates a sonic pluriverse where everything can be played at once, again and again sounding between the familiar and the unfamiliar the particular darkness of the human heart and the peculiar density which surrounds everything that is real. Thus giving access to time’s plast…

Gabriele Gasparotti’s second full length album, Tropismi, is a collection of mesmerizing compositions with masterful polyrhythmical textures and harmonies, strings, prepared piano, magnetic tape and field recordings. Gasparotti's unique style uses classical composition techniques such as counterpoint, canone inverso and serialism to create morphing expanding harmonies continuously. Tropismi features stunning cellotronics by Benedetta Dazzi, cellist and sound designer with which Gasparotti establ…

David Moss, John King and Otomo Yoshihide on the Victoriaville stage on 20 May 1994: voice, drums and electronics against electric guitars, turntables and sampler, in a fast, cut-up set between song fragments, noise and improvisation.

Miya Masaoka's orchestra, recorded live in San Francisco in 1995 and 1997 with George Lewis, Vijay Iyer, Trevor Dunn and others: strings, Asian winds, shamisen, electronics and turntables under her whole-body conduction.

What happens over the lifecycle of a commodity? Where do its components come from? How are they extracted, processed and put together? Where does it travel? How is it used, thrown away, re-used, broken apart and reconstituted? These are the questions at the heart of Rubbish Music’s Symphony of Waste. Over four years as Rubbish Music our practice has intervened in modest ways in the lives of discarded commodities. Packaging has lived on as instruments, tin cans have been re-purposed as tools for …

Michel Doneda on soprano saxophone, eRikm on samplers and scratches, Jean-Marc Montera on guitar and electronics, recorded in Metz and Lons-le-Saunier in May 1999. Liner notes by Thurston Moore.

Zeena Parkins' 1992 album recorded in New York: electric harp, keyboards and tape with Ikue Mori on drums, Chris Cochrane on guitar, David Shea, and her sisters Margaret and Sara on cello, violin and voice.

Eugene Chadbourne and René Lussier, live in Paris and at Victoriaville in May 2002: acoustic and electric guitars, banjo and voice in a twisted hoedown of free improvisation, bluegrass and country blues.

René Lussier and Martin Tétreault meet Otomo Yoshihide at Victoriaville on 19 May 2008: two electric guitars, three turntables and a spy microphone in the trio's first performance together.

Inuit singer Tanya Tagaq live at Victoriaville in May 2010 with Jean Martin on drums and computer and Jesse Zubot on violin: throat singing, cries and breath stretched into an hour of raw, physical improvisation.