New Arrivals
#freakinmeout
2025 stock "Strange music by Clubsoundwitches, but there is something in there that I found very captivating. Maybe this is the new dance music?" – Vital Weekly #1237
The Interstices Of These Epidemics
2025 stock In April 2017, Barnaby Oliver and I started recording with the aim of improvising long-form pieces made up of a restricted palette of gestures and sound sources. Throughout the next two years we came together sporadically as we continued this quest, working through various ideas and changing instrumentation. Our work was gradually refined done to what you hear on this album: a combination of harmonics arising from bowed metal bowls and violin (or piano), coalescing into other-worldly …
Creep (Sound Object)
Creep is a noise box with metal on one side and coarse sandpaper on the other. The box is equipped with a contact microphone and produces frightening horror sounds.Creep is a limited edition d.i.y. sound object. The box is handmade and not subject to industrial manufacturing standards.
Indistinction #2
“indistinction #2” comes from the same session as ‘indistinction #1’ and creates the same immersive pull. here, too, rsn works exclusively with his bass and a series of effect devices - no overbuds. everything is created live in the flow and reflects the intensity of the moment. often everything sounds deeply distorted, then it clears up again and metaphorically lets light into the scenery. the mixture of drone and ambient gives “indistinction #2” a broad and balanced sound palette that is best …
Indistinction #1
The game with quiet and loud is not new, but it has not lost its effect. “indistinction #1” proves this impressively, as the three songs on rsn's debut album create a highly immersive moment. they move and yet remain rigid in their depths. they build up and break down. like a current through which you are sucked - wild, yet somehow safe, always moving forward. if you allow yourself to do so, “indistinction #1” is an excursion into your inner self.
Clarity #1
The collaboration between pianist Merle Louise and rsn follows an improvisational approach, as all the songs were created spontaneously and in a flow. while the use of piano is or has become a main element in ambient music, the sound of “clarity #1” is different. instead of reproducing the typical patterns and harmonies of the genre, two styles meet here and interweave at the moment of creation. the drone and ambient soundscapes of rsn are enriched by piano melodies and patterns that are atypica…
Porosity #1
The permanence and recurrence of “porosity #1” by Rsn creates a kind of meditative permeability. the musical maelstrom creates a seemingly endless surface that develops from the two-dimensional to the three-dimensional. but this surface is porous and has loopholes. it is not a fast ride through this soundscape, but rather a walk - and the landscape hardly changes noticeably, but there is a resolution, a small aftermath. “porosity #1” is slow and deliberate, waiting and gentle.
Shift #1
"shift #1" is a collaboration album by the two drone/ambient artists rsn and N. the album comprises three songs that deal with semitone shifts, creating an aesthetic depth of sound on the one hand and building up a long arc of tension on the other. "shift #1" is a musical colossus - sound, structure and length create an immersive sound experience. quiet, rather contemplative sounds gradually develop into an alert sound construct. sometimes, however, it remains calm and inward-looking, meditative…
Interweaving #1
“interweaving #1” is the sound-aesthetic result of an improvised session by rsn and NAGEN. With a setup of stereo guitar, bass, electric kalimba, selfbuilt instruments like the "portanuum", sampled field recordings and some little synths, seven songs or sound collages were created, which combine the drone and ambient of rsn with the improvisational art of NAGEN. “interweaving #1” is a dynamic sound experience with a focus on noise and drone, but much more.
Brown Paper Business
2025 stock Suddenly, there was a stick to dig a hole. Now countless years into the future, we await, anticipating more than competition and violence. I am drawn in, and ultimately mesmerised. Later that night, I began to clearly see the de-centralised nature of an awakened awareness, baked to a crisp by a relentless sun on the inside AND the outside. Unobserved, the need for acknowledgement will run away with the spoon leaving nothing to chance. It must be said that no two instances are ever the…
The Bagatelles vol. 3
Volume three of the recording of John Zorn's renowned Bagatelles, chosen from the more than 300 works that the American conductor and composer created in a span of three months at the beginning of 2015 and later compiled into a book. In this performance, the experimental band Trigger tear through fifteen of the collection's most wackiest and chaotic pieces.
My Heart Wavers
*300 copies limited edition. 2025 stock. Heavy tip on gate-folded sleeve with fold type Obi. First time on vinyl reissue 4 page insert included.* A Masterpiece that embodies the musical ideals of Hahm Joong-ah as a band leader in the 1970s’. This record is the masterpiece recorded by Hahm Joong-ah, a talented guitarist and composer influenced by Shin Joong-hyun, under the newly-formed project ‘Revival Cross’ following the breakup of his first band, the Golden Grapes (LITA065). It features vocals…
Tsuchi No Ne (Sound of The Earth)
Japanese big-band jazz masterpiece. Amazing reissue from 2021. Pressed at RT.
Love Hurts/Beautiful Doll
* 2025 stock. With Obi. * Love Hurts / Beautiful Doll is the fifth and most important record by He6, the leading band of the 1970s golden age of ‘group sound’ bands in Korea. It features the band's notable funk/psychedelia track ‘Beautiful Doll (Get Ready)’ which was sampled by DJ Shadow in ‘the Number Song’. It also includes ‘You Don't Know’, the hit number led by Choi Heon's heartfelt vocals, as well as another He6 original track to listen to, the lively brass rock number ‘I Can't Tell’. The d…
Après la Marée Noire
If the jazz of François Tusques is “free”, his spirit is even more so: having recorded Free Jazz with other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais), the pianist had covered a lot of ground, with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), so as not to repeat himself…
In 1971 he founded the Inter Communal Free Dance Music Orchestra which, as the notes the this album stated, “is an interpretation of a…
Vol. 4 Jo Maka
Rerelease of the fourth album of the Intercommunal Free Dance Music Orchestra recorded with the Guinean saxophonist Jo Maka. The title says it all: Vol.4 – Jo Maka. The Intercommunal Free Dance Music Orchestra was created in 1971 by an “old hand” of French free jazz, François Tusques. Free Jazz, was also the name of the recording made by the pianist and other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais) in 1965. But, six years later Tus…
Our Thing To In ’N Out
Joe Henderson Our Thing To In ’N Out Revisited notes: The Blue Note label in the early and mid 1960s was a haven for musicians engaged in the process of expanding the jazz vocabulary with unconventional harmonic strategies and new compositional infrastructures that elicited equally exploratory improvisational responses. And it was an ongoing process, benefiting from the sporadic, albeit calculated, interaction of different perspectives and methods of creative inspiration. Established or working g…
Die Unwucht
Big Tip! As poets from Shakespeare to Heine have recognised, “the forest” is not just about grandeur and most expansive of gestures; it is also about intimacy and there is a remarkable intimacy to Christopher Kunz’s and Florian Fischer’s music. The forest is both inhuman, wild, and, because it houses us and to a degree depends on us, profoundly humane. You’ll find these qualities here as well. Focus, breathe and listen. (Brian Morton)
In The Shadow
Joe Maneri’s last Microtonal recordings from the year 2002. These are not typically arranged songs, but asymmetrical, asynchronous constructs that develop from simultaneous, complimentary but peripheral gestures of the mind and heart. The harmonic contrasts that result from Joe Maneri’s breathy microtones; the fixed pitches, inclining towards atonality, of Tyson Rogers’ piano; and Jacob Braverman’s ambiguously scored percussion color their contrapuntal angles and parallel lines. Layers of energy…
Play Annette Peacock, Revisited
Temporary Super Offer! By 1965, Paul Bley had settled on the trio format, and touring Europe revealed a warmer reception for music that employed chordless improvisations, three-way rhythmic counterpoint, unfamiliar melodic constructs, and malleable song form. But there was an equally momentous conceptual change in the group’s material, as the adventurous pieces by Carla Bley were gradually being replaced by those of Paul’s new partner, Annette Peacock. - Art Lange