New Arrivals

On Flood Coil, Norwegian artist Kjell Bjorgeengen and noise architect Lasse Marhaug collide flickering electronics and dense signal storms, turning sound into a volatile field of interference where image, electricity and feedback are felt rather than merely perceived.

On Displaces, sound artist Francesco Fabris fashions a high‑dimensional cartography of memory, hyperobjects and matter, where langspil, biophonies and geophonies are folded into phased time‑space, drifting between suffocation and release in an eerily tactile sonic ecosystem.

Strategic electronics & static crash test748 cables arranged pseudo-randomly for a spectacular effectPost-scientific research electroacoustic minimalism

Recessed bass, effective concatenationPolyrhythmic electricity, dub stasis, glitchy technologyFirst solo album & special guestsOn-body cassette printing & informational insert

*70 copies limited edition* Flung is pleased to present Raphaël Languillat’s Asteroid*, which renders celestial debris and deep-space signals as volatile synthesiser improvisations, released on limited edition cassette, exclusively on Bandcamp. Asteroid* arrives as four transmissions extracted from a self-modulating Korg MS-20 — a closed-circuit system driven by feedback and fracture. What surfaces are compositions as pressure events: ruptured drones, scorched frequencies, and signal debris spil…

In their third collaboration, the shared project between Merzbow and Pedro Vian shifts towards less confrontational and more introspective terrain. Bardo Thödol, released as an LP, draws on The Tibetan Book of the Dead not so much as an explicit narrative framework but as a conceptual resonance: a passage, a suspension between states. Where Inside Richard Serra Sculptures and The Wheel of Mani foregrounded a relatively defined dialectic between Vian’s environmental restraint and Masami Akita’s i…

Recollections VII-VIII marks the fourth in a planned series of 7” releases, each built from Glonti’s expanding archive of Soviet-era recordings. The artwork by Dmytro Nikolaienko (Day Night) once again reflects the utilitarian aesthetic of Soviet-era record design. In 2018, Glonti started collecting LPs of Soviet-era Georgian composers at Tbilisi’s “Dry Bridge” flea market. The records mostly consisted of classical and chamber music released on Melodiya, the singular, state owned record label of…

Over the last couple of decades Magda Mayas has developed a rigorous and distinctive prepared piano practice, working inside the piano with great musicality. The music on Chant captures a dramatic expansion of the pianist’s vision. Reflecting her devotion to social and musical communities through recent stretches of political upheaval and the disruption of the pandemic, she’s found solace in harmony and repetition, and after a period of exploring such sounds with clavinet and Fender-Rhodes, she …

*50 copies limited edition* Guitars and Electronics by Austin Zink and Adam KingMixed and Mastered by Grant Richardson, Hex Audio LabsArtwork by Milena KanakLayout by Emily Flake

*100 copies limited edition* Local free jazz saxophonist Dave Stone recorded live around town the last couple years with different musicians.

Vanessa Rossetto returns to ErstSolo with The Professional, a double CD that takes the figure of the amateur as both formal occasion and conceptual question. The album grew out of Rossetto's 2025 European tour and, in particular, a performance at the Jauna Muzika festival in Vilnius, whose edition was themed around amateur practice. For the occasion Rossetto assembled recordings of people singing their favourite songs, prepared a backing track, and set up microphones so that audience members cou…

Big Tip! *Limited edition of 200 copies* Geometrik Records is delighted to once again play a part in the exclusive recovery of Marcelo Expósito's previously unpublished work, which had been lost since its original creation in the 1980s. Marcelo Expósito is one of Spain's most internationally renowned contemporary artists, whose work is regularly exhibited across Europe and Latin America. But he began his career at a very young age during the era of sound experimentation that flourished in the wa…

On Automaginary + Totality, Natural Information Society & Bitchin Bajas meet across two studio sessions separated by a decade, weaving rhythm, gravity and invisible force into organic convergences now united on CD for the first time - separate arcs made whole.

*2026 stock* Vienna has a storied history as a ground-zero for new music. Radian, who calls Vienna home, embodies the city’s spirit of innovation. Martin Brandlmayr (drums, electronics), Martin Siewert (guitar, electronics) and John Norman (bass) are stalwarts of the European contemporary music community. Radian’s angular, expansive music delights in tension and contradiction, sound and silence, improvisation and composition. The trio employ a singular and wholly unique sense of microtonality. W…

*2026 stock* Oval's album Popp started as a concept album. It was neither meant as a pop record nor as "the Markus Popp signature album". At first, Popp was all about playing around. And about changing the musical outlook from the earlier hyper-detailed, improvisational Oval style to straight-up sequencing, old-school glitch tricks and beat-making. Popp explains, "Working on these new 'club tracks' was like going from cucina povera (my 1990s student-budget glitch style) and hi-tech fusion cuisin…

*2026 stock* The title says it: a deliberate, joyful return to bebop fundamentals from the Kenji Mori quintet, recorded at a moment when the language could already feel like a stylistic choice rather than a default. By 1982 the Japanese jazz scene had moved through its modal, free and fusion phases, and Be-Bop '82 is in part a record about choosing to stand somewhere: a claim that the bebop vocabulary still had real things to say. Mori plays with the kind of warmth and confidence that comes from…

*2026 stock* Another date from Toshiyuki Miyama's New Herd for Three Blind Mice, and a strong candidate for the band's most accessible single record. Sunday Thing leans into the warmer, more groove-conscious end of the New Herd's repertoire: there are still the harmonic ambitions and ensemble dynamics that made the band more than a swing-era throwback, but the rhythmic feel runs closer to the soul-jazz and groove-oriented big-band writing that was current at the time. Long-form arrangements give…

*2026 stock* The third album from singer Mari Nakamoto for Three Blind Mice, and the one that pushes hardest at the conventions of mainstream vocal jazz. The line-up is the giveaway: alongside Nakamoto's voice, the record places bassist Isao Suzuki at the centre of the rhythm section and brings in Kazumi Watanabe on guitar, the same Watanabe who would shortly become one of the major figures in Japanese fusion and progressive jazz. The result is a vocal record where the accompaniment is unmistaka…

*2026 stock* Nobuo Hara led Sharps & Flats for an astonishing run, well over half a century, and the band became one of the institutions of Japanese jazz, in roughly the same way the Clarke-Boland Big Band held its place in Europe. Active Volcano catches the ensemble in particularly muscular form: arrangements that draw on the funkier, groove-conscious end of seventies big-band writing, brass passages that hit hard without losing definition, and a sense of swing that belongs less to the swing er…

*2026 stock* The Tsuyoshi Yamamoto Trio in concert at Montreux, and one of the relatively few records that documents the working group on an international stage. By the time of this recording the trio had already been together for years, and the band's mutual understanding shows in the way pieces unfold: long heads, patient solos, and a rhythm section that responds to the leader's harmonic choices before he has finished making them. Yamamoto plays with the bluesy, slightly behind-the-beat phrasi…

*2026 stock* A mid-seventies entry from the Tsuyoshi Yamamoto Trio, and one of the records where the leader's bluesy, groove-conscious side comes most clearly to the front. The title track is the Ramsey Lewis standard, and the choice tells you most of what you need to know about the date: Yamamoto's trio was a working unit happy to engage with the soul-jazz and groove-jazz vocabularies that had been moving the music since the late sixties. The rest of the programme balances that with the lyrical…

*300 copies limited edition* Combining the lyricism of chamber music, the raw tones of punk and metal, the clarity of post-rock, and the abstraction of electroacoustic music, Dionée offers a unique, cinematic musical journey. The trio, with its colorful instrumentation, delivers with Mille-feuilles an astonishing, orchestral‑sounding work in which oboe, accordion, and electric bass converse with a range of electronic instruments and effects.

*2026 stock* Diffraction is the amplified reflection, across a wider sonic territory, of what takes place within the making of DDK’s music. A composition written for the GGRIL, in which the three musician-composers weave their texture by juxtaposition, by overlay, in parallel, always within the musical material itself. But Diffraction truly comes to life only through close collaboration with the GGRIL performers, where each person’s character becomes raw material. A compositional process intimat…

A new version of Nurse With Wound's Rock 'n' Roll Station, the 1994 album where Steven Stapleton's collage and musique concrète met Colin Potter's rhythmic studio work: an hour of loops, warped exotica and psychedelic grooves.

2026 Record Store Day Reprise of the 1968 album 'live' by the 13th Floor Elevators. Panned at the time for being billed as "live" when in fact it was a compilation of previosuly recorded studio masters, outtakes and alternate mixes. The "very loud" crowd noise was overdubbed and was actually taken from a boxing match and wholly inappropriate for the purpose. Now, almost 60 years on, the album masters are available, in their original sequence, without the crowd noise, to be enjoyed in their full …

Electronic Sound #137 bundled with an exclusive purple vinyl 7" by Doublespeak, the new synth supergroup of Vince Clarke, Neil Arthur and Benge. A widescreen cover of Fad Gadget's 'Back To Nature' on the A-side, the previously unreleased 'Sunset (Instrumental)' on the flip.

Duo Concert Frankfurt 1986 was recorded live in Germany on February 15th. The album captures tenor icon Pharoah Sanders and celebrated pianist John Hicks in a moment of profound musical harmony. Sanders, known for his evolution from fierce free-jazz to deeply lyrical spiritualist, plays here with warmth, focus and emotional clarity. Hicks meets him with luminous touch, rich voicings and an intuitive sense of space that elevates every phrase. Together they deliver a beautifully balanced set of Co…

2026 Re-issue. A cornerstone of postwar Japanese free improvisation, captured before three thousand listeners at the ninth Moers New Jazz Festival on 26 May 1980 and issued later that year as TBM-5023. By this point Masayuki "Jojo" Takayanagi had spent more than a decade refining his theory of mass projection - a model of collective improvisation in which the ensemble operates not as a sequence of soloists but as a single density field, modulating texture rather than line - and the New Direction…

2026 Repress. Captured live on a single night — 26 June 1963 — at the Ginparis café in Ginza and held back from release until 1972, when Takeshi "Tee" Fujii founded Three Blind Mice and chose it as the label's ninth title, Ginparis Session is the foundational document of Japanese free jazz. The recording captures the 新世紀音楽研究所 (Shinseiki Ongaku Kenkyūjo, "New Century Music Research Institute"), the study collective convened by Masayuki "Jojo" Takayanagi and Masahiko Togashi as a workshop committe…

From the edges of a hallucinatory torpor, Rue des Garderies continue their explorations in psychedelia — Femacosmé presents here a new piece recorded live at the Pe:rsona festival, at Domaine des Éveils in the summer of 2025. An adventure guided by blur, the intangible, the impermanent, where layers, voices, sounds, and organic and synthetic echoes resonate, emerge, then fade away — as if to deceive reality, or at least our perception of it. More than two semi-improvised hours in which Rue des G…

Earthball are an avant/noise/rock wrecking ball of a band from Nanaimo, Canada. Rooted in total improvisation, free expression, and a deeply psychedelic sensibility, EarthBall operate on pure instinct. They hurtle onwards in a combustion of spontaneous composition, shooting from the hip, as they fall out of the sky ablaze. The group encompass Isabel Ford (vocals, bass), John Brennan (drums, percussion), Jeremy Van Wyke (vocals, guitar, trumpet), Kellan Maclaughlin (guitar, talkbox), and Liam Mur…

The music on Horse Lords’ Demand to Be Taken to Heaven Alive! feels both impossibly detailed and eminently human. The album’s twelve pieces are layered and interwoven, tonally and rhythmically complex––moiré-like patterns of interaction and tessellation that play out for both mind and body, full of sonic warrens with an inescapable groove. An electrifying leap forward for the band’s shared language, Demand to Be Taken to Heaven Alive! aims to liberate the listener into a spiritual, ecstatic, and…

Sir Richard Bishop returns for a new spontaneous six-string meshing of people’s music, recollections and psychic intentions. Are y’all ready for some Hillbilly Erotica?

*2026 stock* One of the more obscure entries in the early Three Blind Mice catalogue, and a record that points to the label's willingness, from very near its beginning, to host visiting players alongside the domestic scene. The American saxophonist Allan Praskin worked at the international margins of the jazz circuit, and Encounter finds him in a quartet setting that draws on the rhythmic discipline of the Japanese players around him. The writing sits firmly in the post-bop tradition: modal fram…

*2026 stock* Guitarist Sunao Wada spent the seventies as one of the most consistently working figures in Japanese jazz, a player whose tone owed something to Wes Montgomery and Kenny Burrell but whose phrasing carried a particular Japanese weight, more thoughtful than driving. Coco's Blues, an early release on Three Blind Mice, alternates quartet and sextet formations across the programme, and the shift in scale gives the record a real architectural interest. The smaller settings let Wada's line…

*2026 stock* Saxophonist Kenji Mori belongs to the second generation of TBM regulars, a player whose work for the label spans several years and several formats, but whose quartet records have a particularly distilled quality. Firebird fits cleanly into the modal and post-bop tradition that defined the heart of the Three Blind Mice catalogue: heads with real melodic substance, harmonic openness that gives the soloists space without leaving them stranded, and a rhythm section that knows how to kee…

*2026 stock* The pianist Fumio Karashima is best known internationally for his long association with Elvin Jones, having held the piano chair in Jones's working bands for years, a credit that already tells you most of what you need to know about his playing. Gathering, his trio date for Three Blind Mice, is the work of a player who has spent serious time on the bandstand with one of the most demanding drummers in jazz history, and the record's qualities reflect it: a strong rhythmic centre, a le…

*2026 stock* One of the more intimate entries in the Three Blind Mice catalogue: a duo session, with all the exposure and concentrated focus the format implies. Conversation lives up to its title. Two players in close, careful dialogue, with neither voice dominating and neither retreating into accompaniment. The duo format strips a lot of the usual jazz furniture away: there's no rhythm section to lean on, no horn section to fill out the harmony, no place for either player to hide. What's left i…

*2026 stock* An earlier Sunao Wada outing on Three Blind Mice, recorded with both quartet and quintet formations across the programme, and built (as the title suggests) around the blues. But this is blues in the broader, more searching sense the seventies were beginning to articulate: harmonic frames borrowed from soul and modal jazz alongside the standard 12-bar architecture, and an improvising attitude that's more interested in development than display. Wada's guitar carries the writing with t…

On Uchuu, Oowets drifts into their most abstract work yet, blending tapped cloth boxes, reed organ warmth and bedside field recordings into a gentle, cosmic meditation where minimal rhythms and environmental sounds merge science and nature into a single, weightless drift.