Electronic / Ambient

Tristan Disco was an ephemeral Japanese project led by Takayuki Shiraishi (BGM, who released material on the Japanese experimental label Vanity Records, MLD) and focused on making dub-influenced Post-Punk. In 1982 they elaborate a no-wave full of unrehearsed breaks and cavernous vocals. Boundless dark jamming sessions through shades, effects and reverbs always submerged by a tense nervous bassline. On the B side Krikor delivers a hard-hitting Industrial reconstruction of "Social Dance" perfect t…

Between the '60s and the '80s the production of pulp magazines in Italy was flourishing and incredibly varied: every month hundreds of paperbacks containing strange, adventurous or more often terrifying stories came out on the newsstands. Among the most popular italian pulp magazines was the horror series "I Racconti di Dracula" (Tales of Dracula) published by Baron Cantarella: each issue of "I Racconti di Dracula" contained a grim and disturbing story, inspired by Italian gothic and giallo cine…

*110 copies limited edition* The debut LP by Outliers, "Germinal," offers a kaleidoscopic blend of lo-fi sensibility and hi-fi substance. The duo delivers on its namesake by deviating from musical norms. Using atypical rhythms, atonal sounds, and shifting forms, their music creates an inviting familiarity. Outliers' music can call a number of genres home: electronic, ambient, psychedelia, minimalism. No matter what you label it, "Germinal" will soothe your psyche with its shimmering inner light …

** Edition of 300 ** Born and raised in Paris, Ariel Kalma studied electronics, computer science, music and art in Paris, he performed with several bands, then toured the world and visited Europe, Japan, India, Eastern Canada, and parts of the USA. Apart from rhythm & blues, pop and jazz, he acquired assorted experiences in Middle Age French, electro-acoustic, and modal music. All the travels broadened Ariel's musical horizons tremendously; listening to and playing with different styles, people,…

* White vinyl. Ltd 2022 repress * Joanna Brouk’s golden new age / modern classical Moog & electric piano masterpiece is reissued on vinyl for the first time, following a resoundingly-praised 2016 compilation that revolved around its titular, 21 minute highlight.Now replete with the original 1980 tape edition’s three B-side works for synth, saron (gamelan) and bells, The Space Between is a sublimely reclined and contemplative record for troubled minds and times that beautifully resonates with a c…

Tip! ** Edition of 300 ** After the exploit of Osmose in 1978, Kalma returns into the studio in 1980 with Interfrequence, an ambient space library record. Interfrequence is a continuation of his personal research based on the combination of electronic machines with natural sounds and acoustic instrumentation. The french musician fully wears the robe of master of ceremonies of the synths. However, the path taken is not that symphonic of the minimalist and galactic suites composed by other standar…

Stéphane Laporte's solo musical project, Domotic, is a fine example of longevity. Since Bye Bye, his first album released in 2002, the Parisian conscientiously digs a groove aligning on the same axis — which over time looks more like an orbit — the aesthetically perfect pop of the Beatles, psychedelic rock, Old School Ambient, the glorious electronica of the 90’s, the eccentricities of "library music" and the rigor of minimalism. However, it would be unwise to reduce the half-dozen albums and t…

Stéphane Laporte's solo musical project, Domotic, is a fine example of longevity. Since Bye Bye, his first album released in 2002, the Parisian conscientiously digs a groove aligning on the same axis — which over time looks more like an orbit — the aesthetically perfect pop of the Beatles, psychedelic rock, Old School Ambient, the glorious electronica of the 90’s, the eccentricities of "library music" and the rigor of minimalism. However, it would be unwise to reduce the half-dozen albums and t…

**Edition of 300 copies, die-cut sleeve, gloss laminate finish** Soda Gong presents “Support Surfaces,” the new record by Alexi Baris, a musician hailing from Vancouver, British Columbia. Baris’ methods are patient and deceptively rigorous, trading in sonics that are at once organized and organic. Synthetic and acoustic elements are presented in sonorous states of perpetual flux, carefully amalgamated into structures of fertile ambiguity. His is a diligent and painterly approach to sound design …

"We’ve reached book IV in Rupert Clervaux’s series of “Zibaldone” audio diaries, at which point we find him telling a different kind of story. “The first three all had very specific themes, while this one feels a little bit looser and doesn’t have just one thematic thrust,” he tells me, which maybe explains why listening feels a bit like annotating. I’m underlining, emphasizing, drawing arrows from here to there, highlighting symbols and noting motifs, realising, questioning, eureka-ing. An impr…

*100 copies limited edition* "2020 has been a year of things coming to a head. The combined pressure cooker of modern technology, politics, pandemics, populations, as well as artistic statements and abilities have all reached breaking points that have also led to the utmost supreme shifts into truly unknown territories. It's almost ominous that the incredible sole track here, Child Of YHWH, would be recorded during the winter solstice of 2019, primed and set to lead us straight into the wild unk…

*Limited to 250 copies in handmande cover. Only few copies available, strictly one per customer.* Gothenburg scene vet Dan Johansson births another Sewer Election record into this diseased world, this time in collaboration with New York's relatively wet around the ears Charmaine Lee. The two lines of biography that accompany the record explain that this was a mail collaboration recorded pre-pandemic, which you can either view as prescient or mere coincidence. Either way, if you're to call an alb…

Distorted Nude is Glenn Dick's new project after Find Hope In Darkness, marking a decisive shift from a wholly computer-based practice to one centred on electric guitar. The Sprawl is a single composed track built from improvised sessions with guitar, effect pedals and laptop, drawing on the Belgian underground's long tradition of droning post-rock. The piece flows between dark melancholic drone and more transcendental zones, holding the listener through patient, slow-burning architecture.

Crijns's first album for the label, in which he coins the term 'N-bient': ambient understood as the meeting point of nature (here, water) and acoustic instrumental writing (passages by classical ensembles). Several classes of material collide and combine - mechanical sound-fields, natural ambient, electronic textures, ensemble passages - folded into surreal, layered textures. An electro-acoustic music whose abstract elements pull the listener inward while the surface holds quiet.

*2022 stock. 200 copies limited edition* After releasing Indite at Moving Furniture Records (April of 2015), the first one with MFR but the band’s second album, Haarvöl began a series of conceptual, somehow interconnected projects, restricting the boundaries of the sonic ambience to a very concise one.  This long process gave birth to three albums, each one having a very particular sonic approach but knitted in a personal Haarvöl sound idiosyncrasy, which gives the trilogy a thread that intertwi…

First album under the Codespira1 alias by Stockholm-based composer Mattias Petersson, trained in electroacoustic composition at the Royal College of Music. The project began as a vehicle for one-take electronic performances built around SuperCollider patches and a modular system, here extended into longer structures. Artefact unfolds as an articulated drone modelling the subconscious cycle of memory and resonance: a continuous tonal field where small events trigger gradual reconfigurations.

Second album for the label, composed in China where van Huizen was based. Waanzintraan extends his investigation into what he calls 'the harmony of noise': not noise as genre signal but as aesthetic and visceral material, deployed within often consonant frames. The piece weaves processed field recordings from Shanghai and Xi'an into a sustained electronic discourse of contrasts, where harsh and resonant matter coexist within a unified compositional logic, on the ambient-noise threshold.

Composed during 2014, Haarvöl's second album consolidates the Portuguese trio's writing practice: a non-hierarchical compositional grammar where analogue, digital and electronic sources sit on equal footing, threaded with field recordings as structural rather than illustrative material. The trio favours density over experimentation for its own sake, building rigorously detailed cinematic textures whose internal consistency works through resonant correspondences rather than repetition.

On his first physical release, Glenn Dick steers Find Hope In Darkness away from the broken-beat and post-rock textures of his earlier digital work, redirecting it toward sustained drone form and the darker reaches of ambient music. The writing favours long, slowly modulating tonal masses over event-based gesture, working with low-register density, harmonic ambiguity and the gradual erosion of timbral edges. Dark ambient and isolationist drone treated as immersive interior.

A fifty-five-minute diptych. The opening piece transposes Yves Klein's Monotone Symphony (1949) onto solo electric guitar: a sustained drone on the pitch D, where variation arises only from durational shape and the changing morphology of resonance. The closing piece, live-improvised, marks Machinist's move beyond guitar-drone toward wider sonic terrain. Across both runs the same inquiry: spatial field recording against non-spatial computer tone, mediated by guitar amplifier as resonating body.