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Tragic Magic is the reflection of a singular musical dialogue between Julianna Barwick and Mary Lattimore—an elegy and invocation shaped by recent wildfires in Los Angeles and the serene grandeur of Paris’s Musée de la Musique. Across seven tracks, the harp’s ancestral lilt and analog synth shimmer are fused in explorations of loss, hope, and renewal, yielding a chronicle of what it means to endure and create together in the face of upheaval.
Brooklyn Pirates: Neighbourhoods in the Sky, 2014-2021 documents David Goren’s deep listening project dedicated to Brooklyn’s pirate radio underworld, spanning recordings made between 2014 and 2021. Issued on vinyl for the first time by Death Is Not The End, the album is an extraordinary aural chronicle of New York’s invisible airwaves, focusing primarily on the rich, labyrinthine world of Caribbean-run stations, with excursions into Turkish, Orthodox Jewish, and other broadcast communities.
Muluken Mellesse with the Dahlak Band is a classic Ethiopian album, originally released in 1976 and now reissued as part of the prestigious Ethiopiques series. The recording captures Muluken at the height of his powers, delivering emotionally charged vocals over the Dahlak Band’s vibrant blend of afrobeat, funk, and Ethio-jazz. This set embodies the golden era of Ethiopian popular music, marked by complex horn arrangements, subtle groove, and enduring melodies.
In 2009, the Triton venue (near Paris, France) was sold out to celebrate the 35th anniversary of Univers Zéro, an iconic band of the Rock In Opposition movement. These two exceptional concerts highlighted a radical and unique style of music, at the crossroads of new music and chamber rock, skilfully blending acoustic and electric instruments, as heard on the cult album 'Ceux du Dehors'.
Became These, the newest double LP by Lou Mallozzi, collects previously unreleased sound works spanning 1996–2020. Released by Pentiments in October 2025, it showcases Mallozzi’s enduring practice of dismantling and reconstituting gesture, sound, and language, enveloping the listener in a poetic destabilization of the familiar through experimental audio collage and improvisation.
Ex Stasis 69, the new audio work by Joseph Nechvatal. Fuses erotic tension, cybernetic poetics, and immersive noise aesthetics into a hypnotic sound experience. Drawing from his decades-long inquiry into “viral” media and the sensual limits of perception, Nechvatal explores the ecstatic collapse between machine, body, and dream.
Originally composed in 1974 for Mauro Bolognini’s film Fatti di Gente Perbene (The Murri Affair), Ennio Morricone’s score returns in 2025 with a newly remastered limited pink-vinyl edition from Cinevox. Long considered one of his most lyrical and overlooked works, it merges romantic melancholy and psychological suspense through exquisite writing for strings, piano, and subtle chamber textures.
October Flowers for Joe McPhee is a luminous solo work by Ken Vandermark, recorded in tribute to his longtime friend and mentor. Released by Corbett vs. Dempsey in March 2025, the album unfolds as a suite for reeds—melding lyricism, memory, and improvisation into a deeply human meditation on influence and kinship. Each piece, named after flowers, resonates as both homage and renewal.
A decade after its long-awaited release, Coil's landmark album Backwards returns in a special 10 year anniversary vinyl reissue. The black vinyl edition comes in a gatefold matt-laminate sleeve with silver detail, honoring the album's elusive, mercurial nature with understated elegance. After the ground-breaking release of 1990's Love's Secret Domain, Coil were not dormant - far from it. The main project was Backwards, which was started in 1992, updated considerably between 1993 and 1995, and tr…
Nāsūr, the new album by Arash Akbari, expands his vocabulary of austere drone and emotional abstraction. Released in 2025, it blends granular synthesis, degraded tape atmospherics, and muted harmonic motion to evoke the residue of wounds—emotional and historical—that never fully heal. The result is a haunting essay in texture, silence, and persistence.
On 9, Rick Sanders distills a decade’s worth of ambient experiment into a patient, somber meditation on texture, memory, and impermanence. Released in late September 2025, the album leverages modular synthesis to gently fracture time and space, culminating in soundscapes that are immersive, contemplative, and quietly luminous across seven long-form tracks.
On The Intimate Overlap, o[rlawren] refines his immersive approach to ambient electroacoustics, weaving field recordings and digital textures into a delicately crafted soundworld. The album unfolds with understated depth and resonance, inviting careful listening into the nuanced emotional spaces that lie between nature and technology.
With DronosWalze / Dron, Conrad Schnitzler revisits and redefines the drone form, crafting a dual album that foregrounds his singular approach to electronic minimalism. These expansive pieces radiate immersion and mechanical elegance - each a testament to Schnitzler’s restless exploration and uncompromising sonic vision.
On Breakthrough, Muriel Grossmann envelops her quartet in a vibrant exploration of spiritual jazz, interlacing tradition with fresh, forward momentum. The record distills Grossmann’s lyrical saxophone voice and trademark rhythmic interplay into a rich, organic sound, balancing meditative introspection and eruptive, soulful drive. Each composition furthers her pursuit of transcendence, unfolding as both a deeply personal statement and a communal celebration.
On her sophomore album Pancake Moon, Michiko Ogawa crafts a liminal soundworld suspended between darkness and light, fusing sho, piano, and synthesizers into reflections on memory, loss, and renewal. Released in late 2025 by Futura Resistenza, the record drifts through introspective layers and subtle textures, inviting listeners into an immersive experience that is at once deeply personal and quietly radiant.
2025 Repress. In the pantheon of jazz "holy grails," few albums combine rarity and excellence like this one. Recorded in 1965, this session represents a forceful reminder of the limitations of the "great names" approach to jazz history, capturing Sahib Shihab (Edmund Gregory) at the height of his creative powers with Denmark's finest musicians. Shihab played with many of jazz's finest. Shortly after he became one of the first jazz players to change their names due to an Islamic conversion, he jo…
After more than 25 years of confusing the heck out of anyone who dares turn up to a concert expecting to hear a run-of-the-mill jazz trio, Sydney mavericks The Necks are set to continue to push the trajectory of jazz out of the stratosphere of convention with their new, incredible album. The Necks 18th album Vertigo is an eventful, kaleidoscopic tone poem set against a darkly shimmering background. Slowly but inexorably moving forward, it crosses many frontiers yet remains true to the mission an…
Recorded in St. James Norlands church in London in November 1968 and first released in the following year, this work stands as the first solo bass album in the history of Jazz and improvised music. Born in 1934 in San Francisco, Barre Phillips is one the most influential bassists of his generation. In his long career Phillips has played and recorded with almost everyone in the world of Jazz and beyond, a long list of forward thinking music icons including Don Ellis, Bobby Hutcherson, Dave Hollan…
The extraordinary 1987 debut album from the Italian legendary duo. Water Messages on Desert Sand was the very first sound creation from the Italian avantgarde duo of Roberto Musci and Giovanni Venosta. A classic work in the genre, released by Chris Cutler's Recommended Records in 1987. Back in the mid Eighties, Musci & Venosta, both on sampler, synthesizer, guitar, piano, effects and tapes were masters in overlaying and constructing rhythmic and harmonic pictures of transparent sound from electr…
2025 Stock. "Their first, 1973, release by Britain's most enigmatic and unclassifiable band. Formed in 1968 by two Cambridge students, Fred Frith and Tim Hodgkinson, Henry Cow's original influences included the likes of Soft Machine and Frank Zappa. However, in their undying quest to push the boundaries of conventional music, members soon took out their machetes and began hacking a new trail into an unmapped wilderness of sound. The band was thereby also staunchly anti-commercial, never compromi…