Body Sound
Whitney Johnson, Lia Kohl, and Macie Stewart are a trio who utilize string instruments, voices, and manual tape effect processing to craft compositions from alternately tranquil and disquieting improvised music. The three musicians are individually rooted in deep sound exploration, multi-disciplinary composition, and all manner of cross-genre collaboration. The musical ground covered by their solo practices is correspondingly expansive, and their individual recording and performance credits read…
Fail better
*70 copies limited edition* Eventless Plot and Bruno Duplant join forces on Fail better, a cassette release that treats failure not as an endpoint, but as a method of composition and a way of listening. Across two long-form pieces, the group carves out a delicate space between electroacoustic improvisation, minimalism and ambient abstraction, letting sounds appear, waver and erode rather than declaring them with force.
Recorded by the Thessaloniki-based trio of Vasilis Liolios, Aris Giatas and Y…
Improvised Music
Mail collaboration for electronics, violin, and audio letters.
La Donna del Lago
** Edition of 100. Beautifully designed sleeve by Bruno Stucchi/Dinamomilano. ** Die Schachtel's latest follows naturally from the sonic territory explored within the label's Decay Music series, while pushing well beyond. La Donna del Lago is the debut release from the geography-spanning trio of the Italian bassist and composer, Massimo Pupillo; the Canadian soprano singer and conductor, Barbara Hannigan; and the French composer, sound engineer and musician David Chalmin. An immersive tapestry o…
Future Life Remixes
The duo of guitarist/vocalist Matthew Mitchell and producer Bevan Smith (aka Signer) present their release in Type's 7" series. In response to the upcoming self-titled album, they both decided to remix the track "Future Life" under their own solo guise. Bevan takes the track back to an almost skeletal form then builds new melodies and new vocals to create a bizarre, crumbled-up psychedelic monster. Flip over and we are introduced to Matthew Mitchell's Muriel Tsains project who, through a woozy g…
Or Gare: funeral procession music from Ryfylke, Norway
On Or Gare, Stine Janvin and Morten Joh slow time to a funereal crawl, reanimating Ryfylke’s “liksong” tradition as a ghost‑lit microtonal ritual where voices, synths and creaking percussion hover between lament, liturgy and quietly glowing electronics.
Pressures of the Fresh
Since the duo’s inception in 2021, Kjetil Brandsdal and Thore Warland have released 5 LPs of their turntablism/percussion fusion. This is their first single before adding Helge Thornes as a vocalist and morphing into Hebbex d’Expectatio Expectata. Recorded during the 2023 Get Next recording sessions at Consulatet in Stavanger, this single compresses the duo’s sound and approach into two 3-minute no-nonsense tracks. Pressures of the Fresh is a hectic electro-pastiche drowned in the murky waters o…
Get Next
*2026 stock* Hand marbled LP covers with foil embossing and screen printed info. Each cover is unique. Marbled vinyl.
Kjetil Brandsdal: Record players/sound effectsThore Warland: Percussion/sound effects.
Recorded at Consulatet, Stavanger. Benefits & Savings recorded live at RIMI/IMIR Scenekunst, Stavanger. Recorded and mixed by Gaute Granli. Mastered and cut by Frédéric Alstadt. Cover design and print by Drid Machine. Foil by Bokbinderiet Erland. Thank you: Gaute Granli, RIMI/IMIR Scenekunst. F…
Hope for Nothingness as Something
*75 copies limited edition* A two-chapter suite for modular & FM synth, wind & string instruments, electronics, sound objects and field recordings. The work is structured as a two-chapter descent from concrete score to analog & digital abstraction. It begins with the tangible written material and human presence of the performers, which are systematically subjected to a process of erosion. The initial components are reduced to "digital dust” — meaningless data fragments — then recombined algorith…
Juho Toivonen / Civilistjavel!
Double feature stint on Kashual Plastik. Twofold recreational Nordic spice, cultivated for dreamy solitude escapades and meditative tune voyages in witchcraft mood. Side A comes from Finnish experimental musician Juho Toivonen, shaped in his home in the city of Pori. A veiled minimalistic dream of gentle noise loops and environmental sounds, meeting a desiring voice that echoes haunting, mantra-like lyrics. Ship horns and other slow mechanic found sounds convoy it into eternity, while we, the au…
Music for the Process of Dying
On Music for the Process of Dying, Homo dissolves language into a porous, five-part soundscape where breath, organ, flute, electronics and the outside world seep into one another, sketching a wordless vigil for the psyche as it approaches the threshold.
Leviathan Whispers
On Leviathan Whispers, Tim Hill shapes saxophones, tape loops and treated field sound into slow-burning rites of longing and delirium, a spectral song-cycle where folk memory, Blakean vision and drone minimalism coil around each other in restless, darkly luminous orbit.
Dou Dou Doudo: Ao Vivo Na Cooperativa Árvore
*300 copies limited edition* Audio taken from a live performance by Anar Band (Jorge Lima Barreto and Rui Reininho) with E.M. de Melo e Castro in November of 1978 at Cooperativa Árvore, Porto. The performance was filmed. A segment was included in »Obrigatório Não Ver«, a weekly programme presented by Ana Hatherly on Public Television’s Second Channel. It was not possible to determine the exact date of the event, and no documentation seems to be available in the relevant archives. »Encontro que T…
Kachouzu
On Kachouzu, Merzbow compresses his late‑period harshness into four short movements, a 2×6″ lathe‑cut blast where metallic textures, searing feedback and dense midrange roar behave less like tracks than like successive cross‑sections of the same noise storm.
Gman+
Gman+ gathers some of the most elusive material from Merzbow’s 2011–2012 period and welds it into a single, punishing disc, four tracks that function as both archival rescue and self‑contained statement. The collection pulls together work originally issued in limited form, recasting it as a crucial chapter in the same cycle that produced Kumo No Zettaichi, Sugamo Flower, Bit Bluesand Kotorhizome. Across “Gman”, “HJYUGTF2”, “Hakutouwashi” and “Lop 13”, Masami Akita works out a language of layered…
Kotorhizome
Kotorhizome catches Merzbow in a phase where noise stops behaving like a vertical wall and starts acting more like an underground network. Recorded between 2011 and 2012 and released later as part of the Slowdown archive cycle, the album is built from a deceptively modest setup: small koto, synth, and drone box woven into three extended pieces. The title fuses “koto” with “rhizome,” hinting at what the music does structurally - traditional string resonance is fed into electronics and allowed to …
Bit Blues
Bit Blues sits in the middle of Merzbow’s Horizon cycle like a scorched signpost, three tracks cut from performances recorded at Munemihouse in 2011 and 2012 and later remastered in 2021. All the music is by Masami Akita, working with a small, intensely exploited setup that favours dense, bit‑crushed textures and overdriven loops over the more sprawling configurations of earlier decades. The title points in two directions at once: “bit” as in digital grain and reduced resolution; “blues” as in a…
Sugamo Flower
Sugamo Flower compresses a particular 2011 moment in Merzbow’s practice into two long tracks that feel like one continuous, mutating organism. Both pieces are sourced from performances recorded that year, later repurposed as material for “Sugamo Flower Festival” on the split LP Freak Hallucinations with Actuary (2012), which gives the album a double life: document of an event and quarry for subsequent work. Central to the sound is the return of the Korg AX30 multi‑effect pedal, a unit Masami Aki…
雲の絶対値 Kumo No Zettaichi
On Kumo No Zettaichi, Merzbow trades drum violence for a hall of hovering machines, two 2011 pieces where small drone boxes, oscillators, and minikoto threads knot into a dense but strangely weightless sky of electric weather. It is harsh ambient as charged cloud bank rather than blunt impact.
Arijigoku (Test Mix)
On Arijigoku, Merzbow drags live drums and high-saturation electronics into the same pit, a 2008 vortex where blast-beat turbulence and molten noise spiral together like a ritual gone feral. It is harsh music with a striking sense of propulsion, less wall than constantly collapsing tunnel.