|
|
browse New Releases
week of
...new releases are checked in daily throughout each week
|
|
|
viewing 1 To 25 of 106 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
|
7"
|
|
VP 9902EP
|
"This 7" singles features a previously unreleased cover of Bob Marley's iconic 'Sun Is Shining,' the prolific Jamaican performed by singer Ronnie Davis of The Itals and The Tennors. The multi-track tape was famously mixed by Prince Jammy into the popular 'Jammys A Shine' dub, without any vocals."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD/BOOK
|
|
9ED 032BK
|
Diastima, released by 901 Editions, finds Luigi Turra working at the point where notation, sound and perception almost fall apart from delicacy. The project begins with a series of essential, open graphic scores by French composer Sylvain Chauveau: sheets of subtle marks that refuse to explain themselves. These drawings do not describe in any conventional sense; they suggest, orient and gently mislead. They abandon the security of notation as instruction and move into a more fragile, poetic register, where the musical gesture is only ever evoked, never pinned down. Turra's response is to treat each score as a field of possibilities rather than a plan to be executed. Within this space of indeterminacy, sound does not "realize" the notation so much as traverse it, brushing against its edges and dwelling in its gaps. Using a reduced electroacoustic language -- isolated tones, close mic'd textures, filtered noise, tiny percussive events -- he brings every element to the threshold of its own possibility. A single sound might be stretched until it frays; a faint rustle might be amplified until it becomes a landscape. Internal tensions in the drawings are translated into dynamics of proximity and distance, presence and withdrawal. The scores become devices that activate listening and response, not blueprints to be followed. Across the album, Turra continues the trajectory that has marked his work for years: a commitment to precision, subtraction and a pared back elegance. Diastima defines a space in which music and listening effectively coincide; what you hear is as much the act of attention as it is any "composition" in the traditional sense. The title -- Diastima as interval, distance, suspension -- is central. These pieces inhabit the space between two presences: between mark and sound, intention and reception, event and memory. Rather than building through accumulation, the music proceeds by articulating voids, waits and minimal signs. It is in those intermediate spaces that the work takes shape, asking the listener to lean into the almost nothing where, unexpectedly, a great deal is happening.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
NMN 183LP
|
Alga Marghen present Charlotte Moorman's Oeuvres Sonores LP, the missing chapter from the series of LPs issued in relation to the presentation done between 2008 and 2013 at Centre Pompidou. Side A features a collection of rare recordings by Charlotte Moorman, not included in the original edition of the Cello Anthology Boxset. The program includes John Cage "26' 1.1499 for a String Player"; Charlotte Moorman and Terry Jennings performing "Piece for Cello and Saxophone" recorded at Judson Hall during the 2nd Annual New York Festival of the Avant-Garde in August 30, 1964; three takes of Nam June Paik "TV Cello," the first as an excerpt from Nam June Paik's "Good Morning, Mr. Orwell," WNET TV New York - Centre Pompidou Paris in 1984, while the other two were recorded at the Art Gallery of New South Wales in Sydney in 1976 and at the Chicago, Museum of Contemporary Art in September 1982. The tracks are punctuated by recordings of Charlotte Morman's answering machine, giving listeners an insight of her everyday life and connections to John Cage, Nam June Paik, John Lennon and Yoko Ono, Jean Dupuy, and several other Fluxus artists, gallerists and friends. Side B features the famous TV Cello -- conceived by Paik for Moorman as a "living sculpture. This LP offers an in-situ recording realized on one of the three days inaugurating the Paik retrospective at the Museum of Contemporary Art in Chicago, on 11, 12 and 14 September 1982. This LP contains the "Concerto for TV Cello and Videotapes," largely improvised, including a tape collage by Ornette Coleman prepared for Charlotte. Final edition issued in a limited run of 150 copies only, also including 16 posters and concert programs (both in color and back-and-white), or the full documentation of Moorman's Avant Garde Festival Of New York. The record comes in a four-color sleeve with the image from the Oeuvres sonores series.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
NMN 187LP
|
Alga Marghen presents the historical Intervalli by Giuseppe Chiari, a world premiere of the compete cycle of 12 Intervalli. Elegantly performed and recorded by Reinier Van Houdt, this timeless composition from 1950-56 anticipates Minimalist by a decade as well as Concetual and Sytems-Based-Composition while intersecting the perspectives that would soon be developed by Fluxus, the group Chiari would join in 1962. Giuseppe Chiari's Intervalli for piano still retain the charm of a discovery, even when considered in the context of their historical perspective. Composed within a time frame that extends throughout the entire first half of the 1950s, they are striking for the precocity of their compositional conception based on a radical reduction of musical parameters on mathematical and rational grounds. One might also be surprised to discover that Chiari's early compositions follow such a rigorous logical approach in the organization of musical material, particularly in light of the subsequent direction his work took, which established him, within the Neo-Avant-Garde, as the most resolute and determined exponent of gestural music -- a genre thus free from any dogma or structural constraints. In Intervalli Chiari focuses on the idea of a rational "arrangement" of the sequence of sounds and/or their simultaneity through a more or less controlled system of repetitions of variants or invariants, defined by their interval features and duration. The systematic processes of limiting and repeating musical parameters are elements that, by analogy, later came to the fore with the birth of musical minimalism. It would, however, be a stretch to regard Chiari's Intervalli as a driving force that will have a direct impact on the emergence and establishment of this current. Whilst minimal music employs the systematic reduction of parameters and their repetition to guide unidirectional development as a gradual process, Chiari's Intervalli move towards an opposing concept that "explores the relationships between sounds without any temporal hierarchy" in order to achieve "music that strips succession of its discursive power." A clear indication of an objective, almost atomistic conception of sound, aimed at deconstructing its syntactic homologation. Hence its conceptual relevance, which cannot be equated with the canonical currents of minimalism: a nuance that would subsequently predispose Chiari to an informal openness towards the performative gesture. The Intervalli cycle thus marked Chiari's first point of arrival, but also a point of no return -- save for the final decade of his creative career, when a still surprising new recourse to musical writing was mediated precisely by a gestural instinctiveness. This first edition of complete Intervalli also includes liner notes by Gabriele Bonomo as well as the reproduction of some of the pages from the original score.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
BR 027EP
|
Remixes of Juni Habel's "Pearl Cloud Song" from her Evergreen In Your Mind album by Tom Sharkett and Minotaur Shock. Pearl Cloud Song Reformations is a very limited 12" which features two remixes/reformations from Tom Sharkett and Minotaur Shock and also includes Juni Habel's original version. There will only be 200 ever made. Tom Sharkett is a producer from Manchester, now based in Todmorden. Having cut his teeth as a founding member of synth-wave band W. H. Lung. Minotaur Shock is the long-standing electronic project of Bristol-based producer David Edwards. With a discography spanning labels like 4AD, Melodic and Bytes, Edwards balances pastoral charm with IDM sensibilities, creating soundscapes that are as much about the heart as they are the head.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BTR 086WHT-LP
|
White color vinyl. Sababa 5 continues their musical journey following the success of their acclaimed self-titled debut album, which fused deep funk and Middle Eastern grooves. This offering, still under the Batov Records label, ventures into more explorative and experimental instrumental compositions. While evolving their musical direction, Aspan delves into the realm of psychedelic rock while retaining the essence of the band's signature Middle Eastern groove. In recent times, Sababa 5's talent has gained recognition on prominent French radio stations such as Radio Nova and FIP. Their tracks have become regular features on BBC Radio 6 Music, drawing the attention of notable figures and emerging talents like Gilles Peterson, Cerys Mathews, Jamz Supernova, Gideon Coe, and Deb Grant. Leading music publication Songlines has praised the band's "slick precision" and the captivating elements they infuse, ranging from "Moog synth licks" to "flavors reminiscent of Wes Montgomery-style guitar." The origin of the title stems from a misinterpretation of an upcoming storm named Alpis that proved to be milder than anticipated. The name resonated, resulting in several tracks adopting storm-related titles. Concluding the album is "Indra," a laidback composition that stands as its most serene offering. This track's fusion of psychedelic folk rock is poised to capture the hearts of many, serving as a poignant postscript to the bittersweet conclusion of summer -- a narrative of love discovered and lost.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
10"
|
|
BAF 14043LP
|
"Long before Ike Turner rose to global fame alongside Tina Turner, he discovered a wealth of extraordinary vocal talents -- and among the most powerful was Billy Gayles. With a voice deeply rooted in gospel and driven by unrestrained energy, Gayles stands as one of the most underrated figures of the early rock 'n' roll era. This exclusive 10" vinyl release delivers a concentrated selection of his most powerful recordings -- raw, intense, and uncompromising. From his explosive 1954 debut Night Howler to the legendary 1956 sessions with Ike Turner & The Kings of Rhythm for Federal Records, this collection captures a sound far ahead of its time. Tracks like 'I'm Tore Up,' 'Take Your Fine Frame Home,' and 'Do Right Baby' showcase Gayles' remarkable ability to fuse emotional depth with musical precision. Driven by Ike Turner's groundbreaking guitar work -- featuring wild, then-revolutionary whammy bar techniques -- these recordings radiate electrifying intensity. Additional rare tracks from the late 1950s and early 1960s complete the portrait of a versatile and passionate artist. Pressed on 10" vinyl and cut at 45 RPM, this edition offers superior sound dynamics and punch, bringing the energy of these recordings vividly to life. Strictly limited to just 500 copies worldwide, this release is aimed squarely at collectors, vinyl enthusiasts, and fans of authentic rhythm and blues and early rock 'n' roll. Billy Gayles combines the emotional depth of Ray Charles with the raw force of early rock 'n' roll. This is more than a compilation -- it's a long-overdue tribute to an exceptional artist."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP+CD
|
|
BEC 5161908
|
2026 restock. Because Music reissues on LP (with bonus CD format added) the 1977 album Supernature by French disco legend Marc Cerrone. Big hits can be the result of a combination of circumstances. Massively popular at the time, crowned with the success of Love in C Minor and Cerrone's Paradise that made him a disco hero of the '70s, the musician started working on his new album differently. This time, the inspiration came from a synthesizer, an instrument he never used before. ARP, an American manufacturer, provided him with it. "I was given this machine and didn't know how to use it," he remembers. "I twiddled a few knobs, trying to get some sounds out of it. Then, as I was playing on the keyboard, a bass line came to me that I immediately recorded on my Revox. It was 'Supernature!'" Lene Lovich, future queen of the punk and new wave English scene, wrote the lyrics. It was a science fiction story, similar in spirit to The Planet of the Apes. Once the track and album were finished, Cerrone asked the record company to focus on "Supernature," rather than the rest of the record, in the vein of his previous work. History would prove him right. This track, the more iconic of his catalog, would turn out to be his biggest hit. This third album (also called Supernature) would also sell eight million copies. Always a funny guy, Cerrone can be seen on the cover of the record, but without naked women. Creatures with animal-heads in a surgery room replaced them. It meant a mutant and more synthetic kind of disco was born. Pressed on pale green vinyl + CD. Includes a 4-page booklet with a 30cm x 30cm poster-booklet with photos and biographic notes.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
BCR 253EP
|
Version 1. "Beer City is reissues this long out of print rare sought-after 'killed by death punk' classic originally released in 1982! This is the first release by Midwest punk band URBN DK. It originally came out in 1982 and only 200 copies were pressed. This reissue has been restored and remastered to not only sound better than ever, but to sound louder too. Includes liner notes by founding member Bob DK. Gatefold-style cover/sleeve. URBN DK formed in 1980. Bob had recently returned from California where he lived for a while and played in a band called The Antibodies. When he moved back to the Midwest, he started looking to form a band, and shortly latter URBN DK was formed. This first lineup and iteration of the band would last for about three years. Years later a new lineup would form and the band would continue into the late '90s with Bob always remaining the sole founding member."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
BCR 254EP
|
Version 2. "Beer City is reissues this long out of print rare sought-after 'killed by death punk' classic originally released in 1982! This is the first release by Midwest punk band URBN DK. It originally came out in 1982 and only 200 copies were pressed. This reissue has been restored and remastered to not only sound better than ever, but to sound louder too. Includes liner notes by founding member Bob DK. Gatefold-style cover/sleeve. URBN DK formed in 1980. Bob had recently returned from California where he lived for a while and played in a band called The Antibodies. When he moved back to the Midwest, he started looking to form a band, and shortly latter URBN DK was formed. This first lineup and iteration of the band would last for about three years. Years later a new lineup would form and the band would continue into the late '90s with Bob always remaining the sole founding member."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BS 090CD
|
In this work, first published in 1978 by Cetra, Antonio Infantino continues to express his ritualistic and shamanic relationship with the musical traditions of Southern Italy. The recordings focus on the mystery of death and the sacraments, the light of the spirit and the divine that descends and conquers souls. The phenomenon of Tarantism is still strong, the power of dance as a symbol of transformation and revolt, a therapeutic process of final healing. Folk music celebrates a deep sense of community, the memory of a peasant world that no longer exists but is still alive in the collective memory. Behind the tight and insistent rhythm of the percussion, the voices of the people, the colors of the squares and the scratchy string arrangements always emerge. The magical sound of the bagpipes is lost in the alleys of the villages. Infantino sings of minor cultures, the poor and oppressed classes, who share joys and sorrows, dance and music as secular forms of liberation.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BS 090LP
|
LP version. In this work, first published in 1978 by Cetra, Antonio Infantino continues to express his ritualistic and shamanic relationship with the musical traditions of Southern Italy. The recordings focus on the mystery of death and the sacraments, the light of the spirit and the divine that descends and conquers souls. The phenomenon of Tarantism is still strong, the power of dance as a symbol of transformation and revolt, a therapeutic process of final healing. Folk music celebrates a deep sense of community, the memory of a peasant world that no longer exists but is still alive in the collective memory. Behind the tight and insistent rhythm of the percussion, the voices of the people, the colors of the squares and the scratchy string arrangements always emerge. The magical sound of the bagpipes is lost in the alleys of the villages. Infantino sings of minor cultures, the poor and oppressed classes, who share joys and sorrows, dance and music as secular forms of liberation.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BS 100CD
|
Al Doum &The Faryds have always been an enchanting organism, a timeless land of wisdom, humility, brotherhood and love. Their blend of spiritual jazz, psychedelia and Afro-Latin rock holds a magical balance, turning their music into a tropical celebration filled with harmony and deep vibrations. A volcano of emotion, where the poetry of rising and falling voices becomes a gospel and soul illumination, echoing from faraway places. The expanded horn section -- alto and tenor sax, soprano sax and bass clarinet -- erupts with power, igniting incandescent grooves. Sax lines weave and chase one another like a train in relentless motion, evoking the urgency of post-punk, a wry Zappa-esque eccentricity, and exotic jazz-folk arrangements tinged with retro flair. A hybrid assemblage, deeply anchored in the '60s and '70s, flowing through free-form instrumental turns and psych-tribal impulses, where the guitar traces unexpected, lysergic, dreamlike paths. The Faryds continue to believe in the possibility of a new utopia: moving forward with courage, with hearts open to human connections, grounded in the dialogue of their souls.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BS 100LP
|
LP version. Al Doum &The Faryds have always been an enchanting organism, a timeless land of wisdom, humility, brotherhood and love. Their blend of spiritual jazz, psychedelia and Afro-Latin rock holds a magical balance, turning their music into a tropical celebration filled with harmony and deep vibrations. A volcano of emotion, where the poetry of rising and falling voices becomes a gospel and soul illumination, echoing from faraway places. The expanded horn section -- alto and tenor sax, soprano sax and bass clarinet -- erupts with power, igniting incandescent grooves. Sax lines weave and chase one another like a train in relentless motion, evoking the urgency of post-punk, a wry Zappa-esque eccentricity, and exotic jazz-folk arrangements tinged with retro flair. A hybrid assemblage, deeply anchored in the '60s and '70s, flowing through free-form instrumental turns and psych-tribal impulses, where the guitar traces unexpected, lysergic, dreamlike paths. The Faryds continue to believe in the possibility of a new utopia: moving forward with courage, with hearts open to human connections, grounded in the dialogue of their souls.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BS 103LP
|
John Paul Bohon's Terlingua is teeming with electronic life, a record that quite literally synthesizes the veteran musician and engineer's tactile approach to sound and has resulted in a mind-expanding work possessing impossible warmth. Terlingua is equally reminiscent of the languid, electronics-focused psych of legendary forebears like Cluster and Can alongside the ecstatic sprawl of contemporaries like Bitchin Bajas and Kaitlin Aurelia Smith. Bohon constructs entire worlds on these seven tracks, dense with jagged terrain that provides a thrilling journey for listeners. Utilizing an array of vintage synths and electronic instruments, Bohon made extensive use of reel-to-reel tape manipulation across Terlingua. The process added layers of warm texture that ripple through moments like the planetary ecstasy of the album's bookending "Alice" suites, which resemble the sharp ambient drone of Kompakt founder Wolfgang Voigt. Terlingua is Bohon stretching his legs and considerable analog know-how to craft a work that heads towards total aural bliss, making for another exciting entry in an increasingly fascinating catalog.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BS 105LP
|
These three previously unreleased tracks reflect the cultural influences of a very young Riccardo Sinigaglia. In particular, the Anti-psychiatry movement founded by Ronald David Laing, author of the influential books The Politics of Experience and The Bird of Paradise. As well as Jung's theory of archetypes, a subject explored in depth in the writings of Elémire Zolla. The compositional processes of concrete music are fundamental, while the extensive use of fragments from other cultures reflects a sensitivity matured through his travels in Africa and Asia. The mixture of aquatic and liquid sounds manifests a new state of mind: bird songs, hidden streams, marsh plants, invisible drains, light waves, African, Tibetan, and Indonesian echoes. Everything is skillfully collected using various recording methods (4 tracks Teac 3340, Akai S612) and then assembled on tape with reverbs, equalizers, and the electronic moods of the Revox. Music conceived in different times and situations, but with a similar mood, that of the waters of Lake Orta as a perennial source of peace and inspiration.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BS 106LP
|
Cucoma Combo are back with their impetuous and political sound, an urgent need to communicate in order to awaken consciences and react to the sick immobility of the times. Captain Marco Zanotti (Classica Orchestra Afrobeat/Lolo) once again gathers his pirate crew and sets sail for new Atlantic and Caribbean adventures. From Cape Verde to Salvador de Bahia, from Haiti to Colombia, then back to Tanzania and Zimbabwe. An inspired and furious attitude incorporates disparate rhythms, languages, and styles in an original way, with even more daring and inspired arrangements and lyrics. A freedom of navigation between coladeira and maracatu, currulao and more atmospheric and evocative tropical safaris. There is no shortage of heartfelt tributes to Tony Allen's Afrobeat, the chimurenga of the legendary Thomas Mapfumo, the Afro-dub of Nigerian Obongjayar, or the more eccentric influences of Meridian Brothers.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BS 109LP
|
Lero Lero is a collective of artists gathered around a shared core: the Sicilian Sound Archive of the twentieth century. The melodies it preserves, remnants of a magical world now almost entirely lost, are revived with a critical spirit and a contemporary sensibility. It is an act of reclaiming, reworking, and giving back to the community a heritage that has long remained suspended in time. In the voices of farmers, shepherds, and washerwomen, in songs of indignation and in lullabies, one can glimpse a kind of submerged Atlantis, rich with forgotten treasures. These sounds draw the listener towards fundamental questions in an increasingly plasticized artificial world. Lero Lero's sound is both archaic and visionary, infused by Mediterranean electronic textures and microtonal melismas, echoing the hypnotic tones of bagpipes and marranzani, the laments of cart drivers, and the cries of salt workers. A sound that, starting from its most ancestral elements, seeks to rethink the legacy of oral tradition through a consciously anti-folkloristic approach. The album's artwork, created by Giulia Parlato, features a suspended image disrupted by the figure of the crocodile from Palermo's Vucciria district, a submerged presence that resurfaces to unsettle the composition, mirroring the very nature of the project. Co-produced with Shhh/Peaceful and Panta.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
BFR 051S-LP
|
"Two decades into their existence, Elder remain an anomaly in the heavy underground -- a band with the ability to absorb and shed influences from a myriad of genres without falling into pastiche or losing their identity. New album Through Zero is a reaffirmation of their commitment to pushing boundaries and cements their status as leaders in heavy psychedelic rock. Elder has long since mastered crushing riffs, melodic jaunts, progressive patterns, hypnotic grooves and ethereal atmospherics. Recorded in Berlin between tours in 2025, Through Zero is possibly their most immediate and engaging record to date, allowing seeds from outside the sphere of rock music to take root and bloom within their progressive framework. Listeners will find new textures, sequences and sounds woven into Elder's endlessly bombastic take on heavy rock. Elder was formed in a small coastal town in Massachusetts around 2006 by three longtime friends with a passion for down-tuned heavy music. Over the years, the band has gained a guitarist, lost a drummer, relocated (mostly) from the United States to Germany, played hundreds of shows from small clubs to arenas across the world and released six full-length albums, four EPs and two live records. 'Through Zero' is a term borrowed from music engineering, which describes the property of a frequency being able to pass through the zero point and continue into the negative. While not a concept rooted in philosophy, it resonates on an existential level: the zero point is not an end, but a midpoint along a mostly unseeable path where the journey is the destination and reality is less linear than most of us understand."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
BOND 12083EP
|
With Rhythm For The Night, Sascha Dive returns to Bondage Music, presenting four new original productions rooted in his signature deep house aesthetic. A solid addition to the catalogue. Featuring Robert Owens.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BJR 046LP
|
2026 repress. Where to place Yīn Yīn on the map -- maybe somewhere between Netherlands and South-East Asia, on an imaginary tropical island. That's where they brew a strange cocktail made of disco grooves, powerful "Thaï beat" tunes and experimental tropi-synths. After two mind-blowing singles on Les Disques Bongo Joe, Yīn Yīn are back with The Rabbit That Hunts Tigers. Yīn Yīn passed last month's burning scenes and make people dance around Europe, so they're ready to blow the world with this awaited first album. Made of groovy tunes and dancefloor killers, this album could be the crazy soundtrack of a '60s hippie village on the South China Sea.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BJR 121CD
|
Ondanaconda does not compose with the jaw harp, but through it. For their self-titled debut album, the quartet turns this lamellophone, often perceived as archaic, into the record's sole sound source. Found for centuries across continents, from Asia to Europe, the jaw harp is played against the teeth, using the mouth as a resonating chamber, shaping sound through breath and bodily movement. Here, amplified, prepared and sometimes pushed to its limits, it becomes percussion, bass, drone and texture -- a true mouth synthesizer with vast possibilities. Between performance and trance, Ondanaconda crafts an unidentified sonic object, somewhere between collective ritual and raw electroacoustic experiment. Each piece emerges from specific combinations of instruments, exploring timbral affinities and rhythmic or harmonic potentials, while leaving room for drift and improvisation. Repetition acts as an unstable engine, bending patterns until they morph into something else. Together, Laurent Bruttin, Antoine Läng, John Menoud, and Daniel Zea weave a dense, shifting mass where individual voices dissolve into an organic, almost hallucinatory polyphony. Conceived as a continuum, the album unfolds as a hypnotic flow, a physical and immersive music that moves from mouths to bodies, saturating the surrounding space. A radical UFO, at the crossroads of concert, performance and sound installation.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BJR 122CD
|
Based in Cornwall, Blind Yeo emerged from the isolation of lockdown. Built as an open collective, the project brings together musicians, visual artists and performers, developing a practice rooted in improvisation, live energy and shared creation. The Lemoine Point, their debut album, was recorded on a disused airfield near St Agnes. The title refers to a hidden geometric center where lines converge, a metaphor that runs through the record as past, present and future meet within a single moment. Much of the album was captured live by a core ensemble including Sam Pert, Phil Self, Henry Greenham, Philippa Blum, Jake Sheridan, Will Greenham, and Anouska Helm. These recordings are balanced by more intimate sessions, shaping a sound that moves between reworked folk traditions, electronic textures and raw, organic energy. Across the album, fragments of stories and emotions intertwine, exploring themes of love, duality and disorientation in time. Rooted in the Cornish landscape yet open in form, The Lemoine Point unfolds as a space where place, people and memory converge into a fluid and immersive whole.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BB 493LP
|
2026 restock; LP version. So Far, so far out. By 1972, Faust had already dismantled the concept of a rock album. With their self-titled debut, they tore through convention with tape edits, abstract structures, and a scathing collage of cultural detritus. Its successor, recorded just six months later, was not a retreat from that radicalism, but its evolution. Instead of challenging form through outright fragmentation, the band now disguised their subversion in structures that almost, almost, resemble songs. But don't be fooled. This is still Faust: unpredictable, subversive, and unbound by convention. The circumstances surrounding the album's creation were no less unconventional than those of their debut. Faust were still ensconced in the converted schoolhouse in Wümme, Lower Saxony, and its improvised studio -- a riddle of cabling, tape and custom electronics. By this point, the band had grown more cohesive as a unit but remained steadfastly anti-commercial, despite the pleas of their label. Taken as a whole, So Far is less a linear progression from Faust's debut than a sideways leap into a parallel sonic dimension. Where the first album exploded rock from the inside out, So Far rearranges the wreckage into strange new shapes. There's a sly-humor here too, buried under the fuzz and tape edits, a knowing wink that these sonic detours aren't acts of nihilism, but of creation. Faust were building something. What, exactly, remains elusive, and still utterly intoxicating.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ZEIT 021LP
|
Building upon their recent, incredible immersions into the contemporary landscape of experimental sound, Die Schachtel returns with one of their most striking releases to date, Border Soundscapes II, distilling their longstanding efforts at the borders of interdisciplinary practice with a profound sense of accomplishment and grace. Instigated and curated by the label's own Bruno Stucchi, who also contributed the release's graphic design, this very special vinyl only art edition encounters the guitarist and composer, Paolo Spaccamonti, operating in spectral collaboration with the renowned photographs of Pino Musi: utilizing 24 images selected by the artist, published as a three and a half meter long leporello (accordion style) book that accompanies the edition, as the score for the detail and ambience laden abstractions that sprawl across the album's two sides. Born in Salerno, but currently based in Paris, Pino Musi's photographs, exhibited widely across the globe and featured in the Venice Biennale, utilize modern architecture, classical ruins, steel mills, rural architecture, and urban cityscapes as their subjects, focused on pure form and compositional abstraction. Paolo Spaccamonti is a Turin-based guitarist and composer who, for more than two decades, has worked with sound across numerous creative disciplines, bringing him into intimate collaboration with everyone from Jochen Arbeit of Einstürzende Neubauten, to composers like Stefano Pilia, Riccardo Sinigaglia, Jim White, and numerous others. Imbued with a deep sense of abstraction and space that mirrors the foundational elements of Musi's photographs, Spaccamonti's work on guitar, often unrecognizable as such, unfurls across the album's two sides with a striking degree of range, embracing a palette of industrially tinged clangs and scrapes, subsumed tones, passages of dense distortion, overlapping and shifting drones, endlessly surprising tonal and timbral punctuations, and deconstructed melodies, embedded within the sprawling ambiences that bind these actions within a single, cohesive world. Issued as a very special vinyl only art edition, limited to 200 copies, housed in a silkscreened sleeve, hand-signed by Musi, Spaccamonti, and Stucchi, accompanied by a three and a half meter long leporello book comprising Musi's 24 photographs. Truly amazing and not to be missed.
|
viewing 1 To 25 of 106 items
Next >>
|
|