New Arrivals

'Underground Vein' is a mystifying and curious recording for two electric basses. Focusing on prepared techniques, modulation effects and the odd sighting of looped phrases, Masatake Abe and Ken Ikeda create an undulating sea of texture and atmosphere across the albums 12 pieces. A strange, alien landscape of sounds and moods, Masatake had the following to say about the albums creation and inspiration: "Ken Ikeda is active as an electronics player, but it may not be well known that he was origin…

The Outskirts came together as a working band during bassist Ingebrigt Håker Flaten’s three-year stint as a Chicagoan from 2005-2008. They played regularly at all of the working venues for improvised music in Chicago at that time, including The Hungry Brain, The Velvet Lounge, The Hideout, and Elastic. They even made a live recording in April 2009 that they were eager to release. But unfortunately, the multi-track audio files were lost in a hard drive mishap, leaving only a barely usable rough m…

Originally released in 1981, Mr. Circle’s Thi Nam should really have been recognised decades ago as a jazz dance classic. A beautiful example of European jazz fusion at its most sophisticated and optimistic, the album is immersed in the sonics and rhythms of pan-Latin fusion and Brazilian samba, but with one foot in the upful jazz fusion exemplified by Roy Ayers or the Mighty Ryeders. Remastered from the original tapes at Abbey Road, Outernational Sounds is proud to present a true lost gem of Eu…

When you’re creating something loosely referred to as “art” with another person, you’re mining the depths of minds and experience, searching connections with pasts, each of us producing from a different place. Communication exists as unspoken and simultaneous, more carnal than collaborative, and dwelling rather than saying. We all miss that, wrapped up fantasies of perfectness and lovesick doves. Youth, how fleeting and naive. "Created by commission for the University of California at Irvine as …

TripleAkuma is the third in a series of essential live documents from Merzbow. The stage and the studio are not the same place, and Merzbow has an acute understanding of this juxtaposition. Whilst the sheer density of the music might be maintained across both spheres, the live experience of Merzbow is truly something that exists as profoundly physical and moreover, overtly performative. Merzbow’s live methodologies draw not just from a saturation of frequency at all levels, but a recognition of …

I have long pondered the concept of connectedness in relation to life’s existence. The Dalai Lama teaches that destruction of one’s neighbour equates to destruction of oneself. In contrast, modern Western culture has placed the individual at the epicentre of existence – to the detriment of non-humans and humans alike. Ecological Memory influences present or future responses of a community; it is this shared memory that enables organisms, objects and the environment to connect to each other, and …

On Health & Safety, Johan Surrballe Wieth drags his post‑hardcore sensibility into a hushed, modern‑classical fever dream: 25 minutes of grief‑stricken keys, corroded drones and ghost‑violin traces that move like medicated insomnia.

Schatterau’s third album, »Wir gingen durch leere Stunden« (We went through empty hours), sees the German duo blossoms with beauty and sophistication through a broad creative language. This opus, presented in the form of vivid auditory tableaux vivants, explores the topography of memory as a landscape in constant motion – full of loops, feedbacks, and mirage-like distortions. Sounds climbing like vines over old walls, concealing details only to reveal new ones. Some pieces feel like fragments of…

These stunning recordings combine the great strengths of Pauline Oliveros on her Roland V-Accordion, Issui Minegishi; Ichigenkin master and great-great granddaughter of the founder of the Seikyodo Ichigenkin tradition and Miya Masaoka on her 21 string Japanese Koto. Together, these masterful improvisors create a beautiful and fascinating world of instrumental communication. This trio of legendary artists establish a sonic zone so compelling that you'll never want to leave. This double CD preserv…

A rhythm-driven, analog-leaning record built from hypnotic basslines, warm synth textures, and layered percussion, "Simulacra" is the debut LP from Venetian bassist and producer Eric Demuro, a fully realized studio statement that brings his compositional voice into focus. The album moves through hazy jazz-funk, ambient passages, library psychedelia, and Brazilian rhythmic language without settling into revivalism. Fender Rhodes figures, hand percussion, and vintage keyboards drift through spacio…

This compilation brings together eight tracks by Yassine Nana and his group, recorded between 1984 and 1989, during a key moment in Mauritania’s musical history. A central figure of one of the country’s most respected musical families, Yassine stands at the crossroads of a long-standing tradition and a period of deep transformation in form, sound and production. Recorded in Mauritania as well as during stays in Paris and Rabat, these songs integrate drum machines, synthesizers and electric guita…

Who was Antoine Dougbé? Even the most dedicated crate-digger might go their whole life without stumbling across any of the three LPs he released in the late 1970s and early ’80s. Yet all the musicians who happened to cross paths with him remember him with a mixture of admiration and fear; for Antoine Dougbé was not merely one of the most inventive songwriters to emerge from the fertile music scene of Cotonou, but also a powerful Vodún initiate whose close connection to the spirit world allowed h…

Analog Tara’s Life of the Mother is a sonic meditation on the depth, expansiveness, complexity, and power that this phrase holds. This album is made from layers of generative processes and interactions with them. Analog Tara uses a Zillion sequencer and Xone mixer as system guides, and sounds of the ARP 2500, Jealous Heart, Access Virus, Oberheim OB-6, Jomox XBase, Moog DFAM, and more to create a compelling electronic narrative.

Vologne debut album tells stories about loss, existence and oppression...when lost illusions turned into black rage. To the restless and misunderstood people who enjoy another kind of beauty.

Acclaimed musicians Nitai Hershkovits and Daniel Dor will release their highly anticipated album, “The Garden Suite”. Following their previous collaboration on Daniel Dor’s debut album, “Four Petals”, this new project sees the duo exploring uncharted musical territory with an innovative, Moog-based sound. Inspired by the groundbreaking work of synth pioneer Malcolm Cecil, “The Garden Suite” marries electronic textures with the richness of orchestral sound. Drawing from a vast range of influences…

“Found & Found” - the second album from Nitai Hershkovits and Daniel Dor grew out of pure curiosity. “There was more to say, more to explore,” says Dor. Expanding from the synth-only palette of 2024’s “The Garden Suite,” these tracks include guitar and clarinet, blurring the line between acoustic and electronic. Each composition is built with interlocking, mantra-like patterns - hold onto a sound, and find yourself floating above or descending inside.

These songs are the first five compositions made by Hands. It's a live recording from their first gig at Råhuset in Copenhagen on october 8th. The digital cover art is a still from the Tim Burton film Edward Scissorhands, with Johnny Depp playing the role of Edward, who has scissors for hands.

*2026 stock* Ad old men but not down-trodden paths when the areas are only popular & sought after by the still few. For many, there’s a Milky Way between pop & this music; for fewer, it’s like standing on either side of a hybrid ant. The guitar (the chordophone) & the drums (the membraneophones) are known by most, but the sound here is of the rarer kind, although there is indeed string play & rhythmic things, just not in the usual way, but instead according to other orders & expressions, like an…

In La ragazza e il generale, Ennio Morricone threads anti‑war irony through bittersweet melodies and marching figures, mixing folk‑tinged themes, choral snatches and tense orchestration into a score where tenderness and absurdity share the same battlefield.

On They Came Like Swallows – Seven Requiems for the Children of Gaza, Bonner Kramer and Thurston Moore channel decades of noise, songcraft and studio sorcery into seven slow‑burning laments, where volcanic drones, grief‑stricken melody and a haunted Joy Division cover fuse into a stark act of sonic mourning and resistance.