In stock
2 CD
Eamon SPROD (TARAB)
“Foil Void Join Avoid”
Eamon Sprod (previously working as TARAB) works with sound collected from mundane or neglected urban spaces, pursuing an anti-naturalist field recording practice to draw oblique narratives and listening spaces from the everyday and its outer edges. Rather than describing spaces, he attempts to shape them, by working to include everyday spaces as active participants in aural experiences instead of only acting as their container.
Eamon Sprod / TARAB has presented performances through out Australia, Europe, Japan, Korea, North and South America; compositional works have been published on labels including Naturestrip (AU), nonlinear (AU), 23five (US), Unfathomless (BE), Aposiopese (FR), Swarming (FR), Cronica (PT), Semperflorens (RU), Hemisphäreの空虚 (AU) and also his own sonicrubbish imprint formed in 2018.
16,00€
In stock
CD
Yvan ETIENNE
“Les Météores du Cœur”
Yvan Etienne develops a work that takes the form of sound «things», installations, performances/concerts, video projections, lights and editions. Conceived as spaces, moments to experiment, his works are generally related to contexts, climates induced by the specificities of the sites and/or the supports invested. Work is done with acoustic, electronic and phonographic instruments, it is at the intersection of
composition, performance and installation. Sound, evoking the auditory or imaginary places, his arrangements probe the processes of perception, memory and psyche.
He co-directs the editions «oh cet echo» at Les Presses du Réel, (writings, catalogues and monographs about sound art, music and intermedia fields), and teaches sound practices at «HEAR» (Fr).
(Collaboration w/ La Novià, Paul Panhuysen, Phill Niblock, Robert Poss, Marie Verry, Brice Jeannin, Patrice Grente, Richard Glover, Yann Gourdon...)
13,00€
In stock
CD
Jean-Luc GUIONNET
“Tournures Cessent / Tournures Cessent Orchestrales”
Tournures Cessent 29:50
Electroacoustic composition by Jean-Luc Guionnet.
Commissioned by INA GRM for PRÉSENCES ÉLECTRONIQUE (2016).
Tournures Cessent Orchestrales 30:51
Composition for orchestra by Jean-Luc Guionnet.
Played by Onceim and Motus.
Commissioned by La Muse en Circuit (CNCM).
Played by ONCEIM & MOTUS (2019-2020).
Recorded on the 5th of october 2021 by Olivier Lamarche
& Jean-Luc Guionnet, in Théâtre de Vanves.
13,00€
In stock
CD
VOMIR
“Energia Exhausta”
Recorded live on an almost dead guitar amp.
Cover by Lise Barkas
Layout by Francisco Meirino
11,00€
In stock
2 CD
NURSE WITH WOUND
“Shipwreck Radio Volume One”
Remastered & expanded 2CD
Back in the summer of 2004 Nurse With Wound (Steven Stapleton and Colin Potter) were invited by Kunst I Nordland to visit the Arctic Lofoten Islands for a number of weeks. A small studio was set up in their apartment and their task was to collect sounds from the area and create a series of unexpected radio transmissions that were broadcast on the local radio station over a period of two months. A substantial amount of material was produced and the broadcasts were released as double CDs, the first being Shipwreck Radio Volume 1. This has long been out of print, so we are now re-releasing it with additional tracks from the original project. The audio has been carefully remastered by Colin Potter.
18,50€
In stock
CD
NURSE WITH WOUND – Diarmuid MacDIARMADA
“Lung Oysters”
The legendary Nurse With Wound, helmed by the visionary Steven Stapleton, returns with Living Oysters, a mesmerizing collaboration with Irish experimental musician Diarmuid Mac Diarmada. A heady freerange mix of krautrock, experimental and toe tapping psychedelia, leaning towards a slightly more rock orientated sound that pushes the project into exciting new territories while maintaining its characteristic otherworldly presence. Regular Nurse With Wound members Colin Potter, Andrew Liles and Matt Waldron are all on board with the added voice and talents of Irish artist and poet Tara Baoth Mooney, creating a rich tapestry of sound that breathes with aquatic fluidity and surreal sonic landscapes. The collaboration emerges as a testament to the enduring power of experimental music, where Stapleton's decades-spanning mastery of avant-garde composition meets fresh perspectives and innovative approaches to sound design.
Living Oysters suggests living, breathing entities—sounds that pulse and evolve with mysterious rhythms and deep-ocean consciousness. Drawing from Nurse With Wound's rich history of musique concrète and sound collage techniques, the album incorporates field recordings, manipulated instruments, and electronic processing to create immersive soundscapes that feel both ancient and futuristic. The tracks unfold like subaquatic expeditions, where familiar sounds become strange and alien through careful processing and layering, existing in a liminal space between waking and dreaming, between the organic and the constructed.
15,50€
In stock
CD
MOULDYCLIFF – POTTER – MOULDYCLIFF
“Canopies & Cathedrals”
Canopies: A roof-like covering of trees enclosing a large or wide natural space.
Cathedrals: Large edifice usually of stone, enclosing space reserved for spiritual contemplation.
Vertical structures that strive for light and open spaces, defying gravity, and reason.
A Tarkosvsky-esque transcendence of spirit and nature, time imprinted on an intertwining of sap and stone, branch and pillar, column, and trunk.
This third MPM release is co-written by Phil and Jackson Mouldycliff, with studio treatments (mixing, mastering, and arranging) by Colin Potter. Additional field recordings used in the composition were provided by Dave Carson. It accompanies an installation under the same title, with visual material by Phil, Dave, and Sarah Robinson, to be shown at Wells Cathedral in the summer of 2025.
The extended ambient piece weaves together found sounds from the interiors of ecclesiastical buildings and both temperate and tropical forests. The composition features bells, organ, choirs, wind through vegetation, birds, insects-both real and imagined. These elements are further layered with synthesised and sampled sounds, creating a seamless soundscape that embodies the connection between nature, architecture, and memory.
11,50€
In stock
CD
Rhodri DAVIES & Alfredo Costa MONTEIRO
“Widdershins”
A new CD of a live performance by these two talented improvisers. The interplay between them is, to use a cliche, telepathic. Whilst it's often difficult to figure out who is doing what, the gelling of the sounds is perfect, going from meditative to intense, smooth to harsh (but not abrasive). Improvisation at it's best - highly recommended!
Recorded live on 24th May 2024 in Barcelona
Rhodri Davies : Amplified harp, electronics
Alfredo Costa Monteiro : Amplified objects & electro-acoustic devices
Mixed by Alfredo Costa Monteiro
Mastered by Colin Potter
REVIEW by Frans de Waard, Vital Weekly : The biggest surprise here is not the music but the label. I would expect such fine talents in improvised music to find their home within their musical field, say, a label like Confront. But it's on Colin Potter's ICR label, home for Potter's music, Andrew Liles, Nurse With Wound and others related to these projects. Alfredo Costa Monteiro and Rhodri Davies don't seem to be from this family. They recorded this piece on May 24, 2024, in Barcelona, with Davies on amplified harp, electronics and Monteiro on amplified objects & electro-acoustic devices. These aren't the most conventional instruments, and the results aren't all too traditional; at least, most of the time. The amplification is used to generate drone-like sounds, with pickups being amplified, and mechanised objects and electrical currents are incorporated into the music. Whatever these amplified objects are, we don't know, and I thought that would be a good thing; it leaves a lot to imagine there. I can't even hazard a guess, or perhaps I never tried in the first place. I sat back and enjoyed this work all the same. Based on what I heard, I'd say there might be one or more sound effects at work, but maybe it's all to do with the careful placing of microphones and a clever mix of microphone and line recordings here. At least, again, that's what I imagine here. The music is far from noisy, or all too tranquil for that matter, yet always with some force played. Here too, the buzzing of drones, no matter how quiet they are, is always present, in whatever changing form. And, sometimes, the music has a pleasant, violent feel, such as around the 25-minute mark. Whatever happens, the music never stays in the same place too long, constantly changing and moving, looking for the next sweet spot. This goes on for about 40-some minutes, and then the possibilities are exhausted. The listener (me) wasn't exhausted and wished for some more.
11,50€
In stock
2 CD
NURSE WITH WOUND
“Terms And Conditions Apply”
This expansive 2CD collection from Nurse With Wound compiles a range of experimental works from 2008-2011, offering a glimpse into their cut-and-paste sonic universe. Opening with the jarring 'Cruisin' For A Bruisin'', the set quickly plunges into a diverse array of sound, blending drones, rhythms and odd vocal samples. The first disc is split into 'The Bacteria Magnet' and 'Rushkoff Coercion', while the second features 'Erroneous, A Selection of Errors,' likely showcasing unreleased material.
2025 repress
17,00€
In stock
CD
Nicolae BRÎNDUȘ
“Match / Soliloque 1&4 / Antifonia”
This album originally released on Electrecord’s RCM (Romanian Contemporary Music) series in 1986 provides a selection of works which belong to his cycle PHTORA (1968-1972). The cycle comprises five pieces which are five degrees of structuring collective improvisation, leaning towards the spectralist tradition.
It’s probably the most eccentric record in the whole RCM series, offering a mesmerizing collage of organized cacophony, as a massive but subtly layered whirlwind of abstract orchestral improvisations, Romanian picturesque folklore and free jazz with extensive use of tape manipulation and reverberation.
This reissue comes with the beautiful original sleeve artwork by Ana Golici who designed many sleeves for Electrecord.
16,00€
In stock
CD
Rafael TORAL
“Traveling Light”
From out of the dark, the crackle of feed back birdsong signals a return to the land of sound environments exclusive to the music of Rafael Toral. A year and a half after his epochal electric guitar album, Spectral Evolution, Traveling Light finds him sharpening his focus, moving boldly from abstract forms to concrete compositions in the form of a set of jazz standards.
Based on Toral’s discography, this may seem an unlikely endeavor, but happily, Traveling Light transpires to be one of the major accomplishments in his long history, expressing these songs on their own terms through the unique listening lens of his music. It’s nearly a century since the innovation that electrified the guitar, almost a century since the era of songs like “Easy Living” and “Body and Soul.” Since then, guitars and songs have been played hundreds of different ways by thousands of diverse individuals. After a century of progress, they probably should sound like something else again! And they do, as Toral sidesteps the traditional logic of how to play a song, moving outside the framework with which one would expect a standard to be treated.
Three decades ago, in the early years of his practice, Toral used the guitar as a generator, to create discreet texture and droning tones. Later, he abandoned the guitar entirely, focusing on self-made electronics to render his music, and the silence from which it came, with a post-free jazz perspective. For the music of Spectral Evolution and Traveling Light, Toral has combined his methodologies, radically expanding the space within their harmonies with his self-made machines, while engaging directly with his instrument and the chords of the material. The result is a listening experience of these standards, that remains “in the tradition,” even as the elongated harmonies seem to alter time such that, as Toral notes, “the chords become events on their own.” At points, the long tones animate the sacred ennui of liturgic music, the choir or the organ standing in for silent contemplation while rumbling the ground beneath our feet. Another echo of the concentric circling of music in time...
Further time-loops emerge throughout the duration of Traveling Light. The simple, organic quality of these reshaped songs and sounds, arranged by Toral for guitar with sine waves, feedback and bass guitar forms a proxy orchestra of sorts! One of Toral’s self-made devices incorporates a theremin — another near-century old innovation in electronics conceived for use in classical music — to modulate feedback melodies here. Meanwhile, this altered space is visited by canonical jazz sounds on four tracks, as clarinetist José Bruno Parrinha, tenor saxophonist Rodrigo Amado, flügelhorn player Yaw Tembe and flautist Clara Saleiro each guest on one song. In this new landscape, history and tradition are exemplified, like a toast to Earth cultures made on the alien terrain of Mars.
In every contour of Traveling Light’s path — arrangement, improvisation and production — the spring of the old pours through the new in an unstoppable flow. This is the sound of life, a nexus point for the music of the last century and the music ever unfurling toward the far horizons of the next century.
16,50€
In stock
CD
Kali MALONE + Drew McDOWALL
“Magnetism”
Kali Malone and Drew McDowall present Magnetism, their first collaborative album born from a decade-long friendship and ignited by a single day of creative synergy. When Malone stepped into McDowall’s Brooklyn home studio, a shared vision immediately took root and set the course for a remarkable collaboration between these two singular artists.
On Magnetism, Malone’s poignant and evocative melodies manifest through McDowall’s signature timbral synthesis, creating a unified voice that soars freely and radiates with vitality. Technically, the duo employs an exquisite blend of Karplus-Strong synthesis, distortion and just intonation. Kali and Drew embrace these tools with refined grace while moving fluidly within their musical framework. Charged by the magnetic pull of repetition, saturation, and resonance, Magnetism pulses as a living music that captivates the senses and lingers long in the mind after the final notes fade.
17,00€
In stock
2 CD
JUNG AN TAGEN
“Revenge of the Speaker People”
In 1978, at the University of London, the Physicist David T. Kemp made an unusual discovery. Kemp noticed that faint sounds, known as Otoacoustic emissions (OAEs), revealed the existence of the cochlear amplifier, a mechanism responsible for sound sensitivity and frequency resolution. This discovery proved that the ear is an active rather than passive organ.
Following this discovery the experimental music world embraced these findings by incorporating them into sound works. Maryanne Amacher was a notable early pioneer of this technique resulting in large scale sound works, the likes of which audiences had never encountered prior. Since these early explorations the use of OAEs has spread more widely in the experimental music landscape, notably by Editions Mego artists Florian Hecker and Marcus Schmickler.
“I believe the kick of techno can be an agent to shapeshift sounds and infiltrate settings” - Jung An Tagen
Stefan Juster aka Jung An Tagen is known for conceptual works and has a large back catalogue of intriguing ideas and sounds. Revenge of the Speaker People is another adventurous release, one which takes the Otoacoustic discoveries of David T. Kemp and applies them to a techno framework. OAEs are fragile and can collapse quickly when combined with other elements. Jung An Tagen’s success in combining OAEs with beats is therefore quite an achievement, without precedent.
The first CD comprises the results of Juster’s experiments, resulting in some of the strangest techno committed to digital since the initial burst of the Mego label. A series of head spinning, ear tickling extreme electronic miniatures bleed in a continuous form. This adventurous and playful music would likely have many a raver run to the bathroom. There is a tangible subversive delight in mixing in such sounds to what is ostensibly ‘club music’.
Because the record had this clear divide of beat + otoacoustics the idea came to see how the material would lend itself to a series of remixes. The second CD has remix contributions from a selection of artists from the Editions Mego stable alongside Juster’s own ETAT imprint along with DJ Nervoso from the Príncipe crew. The results are a headspinning variety of Otoacoustic mayhem as the likes of Evol, Thomas Brinkmann, Ellen Phan, Nik Colk Void and others fold these initial bizarre sounds into even more twisted shapes. Revenge of the Speaker People is a daring, playful and audacious release. One that will baffle your ears, neighbours and dancefloor clients.
21,00€
In stock
CD
Eliane RADIGUE
“Asymptote Versatile (1963-64)”
Éliane Radigue completed her piece Asymptote Versatile in New York in 1964. The piece had never been performed publicly until Rhodri Davies convened an ensemble to perform the work at Huddersfield Contemporary Music Festival in November 2023. The first performance took place just short of sixty years after the piece was conceived, and that is the music that you hear on this CD.
The pioneering French artist referred to her 1960s works as propositions sonores, rather than compositions, and this piece is the only one she kept from the period. The graphic score comprises logarithmic curves devised from the Fibonacci sequence, superimposed over sheets of additional notation, to be performed as sustained tones by up to four groups of acoustic instrumentalists spanning the full range of the audible spectrum. ASYMPTOTE VERSATILE sows the seeds of Radigue’s exploration of long durational forms, bridging a 50-year gap between the school of composers she met in 1960s New York and her 2011- onwards OCCAM OCEAN series, where she composes for individual instrumentalists. This recording includes many of the OCCAM soloists who have worked closely with the composer and are steeped in Radigue’s aesthetics and working methods.
"I was young when I composed the Fibonacci suite. I was in New York at that time… During this period of my life I was very interested in mathematics and for this piece I constructed a logarithmic spiral. It is to do with the infinitesimal; the ever-changing, until its destruction in the dance of constant change. It is this versatility, nevertheless, which maintains the rule; it is about playing with the rule. So we gave this concept of a special equilibrium, which is forever being readjusted.”
Eliane Radigue in conversation with Rhodri Davies on 26 June 2023, Paris
Xavier Charles: clarinet
Angharad Davies: violin
Rhodri Davies: harp
Julia Eckhardt: viola
Bertrand Gauguet: alto saxophone
Susan Geaney: bass flute
Dominic Lash: double bass
Thierry Madiot: bass trombone
Aonghus McEvoy: guitar
Hannah Miller: french horn
Ailbhe Nic Oireachtaigh: viola
Carol Robinson: bass clarinet
Accompanying booklet in French and English.
Introduction by Rhodri Davies and Julia Eckhardt.
17,00€
Out of stock
CD
BJ NILSEN
“True than Nature”
True than Nature encourages active listening. There is sound that exists seemingly for its own sake – a continuing drone that slowly evolves, sound of nature – and there are sounds that refer to a momentary action, and sudden intrusions of sound. BJ Nilsen triggers shifts in the perception for the listener that alter how you perceive and experience the world through sound, and how you think about sound.
Listening to True than Nature is full of moments of instability. The shifts between sound spaces refocus your listening, or throw you out of a world you were imagining. You recognize sounds, wind, rain, metal bending, a hammer on stone, the background noise of a city, but often there is an unfamiliarity about these sounds. You think you recognize them, but often you are not sure, because you are not there, and different worlds clash or coexist at the same time.
BJ Nilsen (SE/NL) is a Swedish sound artist and composer based in Amsterdam. His work explores the intersection of field recording, sound, space, and perception. Through subtle electronic manipulations and detailed editing, Nilsen transforms environmental recordings into layered, immersive soundscapes that inhabit the space between reality and imagination.
His upcoming release, True than Nature (2025) on Ideologic Organ, continues a 30-year career spanning original scores and sound design for music, film, visual arts, and performance. His most recent album, Irreal (2021), was released on Editions Mego.
16,50€
In stock
CD
Asmus TIETCHENS + Achim WOLLSCHEID
“Fundstück September 02”
Asmus Tietchens is a sound artist and composer from Hamburg, Germany. He got interested in Musique Concrete by listening to a German radio programme when he was 10 years old. In 1965, at the age of 18, Asmus started experimenting with tape loops and turned them into musical collages. Soon, the use of synthesizers was added. In 1980 his debut album Nachtstücke was released, produced by Peter Baumann of Tangerine Dream. This was soon followed by a series of albums of electronic pop music for the Sky label, home of many Krautrock bands. Tietchens often uses special source materials for his compositions such as water (Seuchengebiete), human voices (Von Mund zu Mund), paper (Papier ist geduldig). He is associated with the Industrial music scene through his collaborations and releases on labels such as United Dairies, Esplendor Geometrico or Dom Records. Tietchens never studied composition, he has no academic background, everything he does is self taught or learnign by doing. Nevertheless, he was professor for sound design in Hamburg in recent years. Achim Wollscheid is a media artist whose work over the past 20 years has been at the forefront of experimental music. He has performed and presented installation projects internationally. His work in sound has led to an interest in the relation between sound, light and architectural space, which he pursues through public, interactive and electronic projects. He is a founding member of Selektion, an organisation for the production and distribution of information systems. Achim also forms the collective S.B.O.T.H.I., derivated from a research from the 40s: Sexual Behaviour Of The Human Infant, later renamed to Swimming Behaviour Of The Human Infant. During a period of seven years Achim Wollscheid developed several concepts for a computer-based interactive installation in the law court of Frankfurt (Germany): resolving interactions: the Frankfurt lawcourt projects. The book documents considerations and the work’s progress which developed between the architectural, social, bureaucratic, technical and artistic systems as well as the results, in 2001. Recently, when Asmus Tietchens needed space in his Hamburg flat, he went through boxes in his cupboard and found a recording credited to himself and Achim Wollscheid. It turned out to be an album originally recorded 20 years ago for the Ritornell label (Mille Plateaux) that was, for reasons unknown now, shelved and forgotten. Over twenty years later, we are now happy to finally share this album with you.
12,50€
In stock
CD
GEINS’T NAÏT
“A Consommer Sans Modération”
Geins't Naït was founded in Nancy, France, in 1986 by Thierry Merigout and Vincent Hachet, both students at the Architecture School of Nancy. A year later Laurent Petitgrand joined the band. Their sound is often described as an equivalent of bands like Einstürzende Neubauten, Coil or Test Dept., but Geins't Naït is not pure classic Industrial. While Geins't Naït offers rough pieces of music as an extension of its punk attitude, Petitgand refines them to create some musicality within the post-industrial collages, adding guitars, piano, and classical instruments. Geins't Naït and Laurent Petitgand sharpen sounds, giving them a kind of balance and density and ensuring that the musical language evokes a deep experience. Their music is raw and fascinating, and largely influenced by Surrealists and Situationists. Their early albums were released by French label Permis De Construire. A Consommer Sans Moderation was originally released on cassette on American label Subterranean Subliminal Subversion Music and was remastered for CD by Martin Bowes of Attrition.
12,50€
In stock
CD
ETANT DONNES
“Les Cents Jours Clairs”
Etant Donnes is a French duo named after Marcel Duchamp's last major work. The group consists of brothers Marc and Eric Hurtado, born in Morocco and working mainly as performance artists and musicians. Their sound can be described as a mix of field recordings, found sounds and sometimes whispered, sometimes violent vocals. They describe their sounds like this: "Through Marc and Eric, it is the volume of each word that becomes an object-sculpture, together with the power of their bodies expressing their voices. Each event is a scream - indeed even the glissando - of the strength of the word that sometimes abruptly becomes a rock, a solid surface, not in the least fluvial, as is the narrative of a tale, novel or poetic epic. With both of them, there is no more trace of ancient prosodies, no more trace of the incomprehensible Sainte-Beuve who could claim: "I have to collect a volume of prose". The word, the voice, the volume take shape with each other, unveiling a theatre that theatre usually ignores, which has given it such things as a Samuel Beckett's Fin de Partie." Over the years Etant Donnes have collaborated with people like Lydia Lunch, Michael Gira, Alan Vega and Genesis P-Orridge. Les Cents Jours Clairs was the group's sixth album and was originally released on Bain Total in 1984.
12,50€
In stock
CD
Sophie AGNEL – Joke LANZ
“Ella”
With solid training as a classical musician, Sophie Agnel took a close interest in modern jazz before committing in the early Nineties to the shifting, deliciously uncertain ground of free improvisation, thanks to her fascination for the powers of expression displayed by a few great keyboard-heretics such as Keith Tippett, Fred Van Hove or Christine Wodrascka. She began reworking the prepared piano techniques imagined by John Cage and transformed her instrument into a sort of extended piano. Coming from a Punk music background Joke Lanz started in the mid 80s to play Experimental- and Noise music. Best known for his internationally acclaimed project Sudden Infant, Lanz is presenting his work since 30 years all over the world. Born in Switzerland and currently operating out of Berlin, he is one of the most prolific and profound artists working in the border zones where performance and body art meet Improvisation and Noise. Agnel and Lanz have performed stunning live shows as a duo, now their debut album is coming out on Klanggalerie. Turntables and piano, a unique combination that is a lot of fun!
12,50€
Out of stock
CD
Marja AHTI – Manja RISTIC
“Transference”
In the ever-expanding constellation of transnational electroacoustic collaboration, Marja Ahti and Manja Ristić present Transference, a profound investigation into the movement and transformation of energy between distant practices and places, arriving August 8, 2025 via Erstwhile Records. Transference emerges as what the artists describe as "a dialogue of sonic gestures and traces of visits to places and the spirit that occupies them." This collaboration transcends geographical boundaries to create what they term "a map of subtle and drastic differences, a space where the contours of sound and silence merge, and where listening becomes a collaborative act of discovery and associative intuition."
Marja Ahti, the Finnish-born, Netherlands-based artist whose work has consistently pushed the boundaries of electroacoustic composition and field recording, contributes recordings, electronics, objects, piano, percussion, and bass harmonica to this cross-continental dialogue. Her approach to sound as both material and metaphor has established her as a crucial voice in contemporary experimental music, with previous releases demonstrating an acute sensitivity to the relationship between acoustic space and electronic manipulation.
Manja Ristić, the Serbian sound artist and composer whose practice spans installation, performance, and recorded work, adds her own recordings, electronics, objects, piano, violin, and cello to the collaborative matrix. Her work has long explored the intersection of field recording, electroacoustic processing, and the politics of place, making her an ideal collaborator for this investigation into sonic "transference."
The album's conceptual framework positions itself within what the artists call "the ongoing metamorphosis of the sounding world as we observe it." This philosophical approach suggests that Transference functions not merely as documentation but as active participation in the transformation of sonic materials across time and space. The work "suggests the movement, transformation and metabolization of energy between two practices," creating a feedback loop between distinct artistic approaches and geographical contexts. The production involves Taku Unami's mastering, whose work with artists like Taku Sugimoto and Manfred Werder brings a crucial understanding of silence and space to the project.
Marja Ahti: recordings, electronics, objects, piano, percussion, bass harmonica
Manja Ristić: recordings, electronics, objects, piano, violin, cello
mastered by Taku Unami
14,00€
Out of stock
2 CD
Vanessa ROSSETTO
“Pictures Of The Warm South”
Erstwhile presents Pictures Of The Warm South, Vanessa Rossetto's the seventh Erstwhile release, her second ErstSolo. Mastered by Giuseppe Ielasi, designed by Matthew Revert. Double CD, six-panel digipak. Primarily focused on composing works that draw on a diverse pallet of chamber instrumentation, field recordings, electronics and a wide array of different objects, with a practice that explores each through a combination of extended and traditional techniques, Vanessa Rossetto has been working at the boundaries of the American vanguard for well over a decade, producing beautiful and challenging solo efforts for a diverse number of imprints, including Kye, Another Timbre, No Rent, Erstwhile, and numerous others, as well as collaborations with figures like Michael Pisaro, Sarah Hennies, and Lee Patterson.
22,00€
In stock
CD
Eric LA CASA – Jérôme NOETINGER
“Off Tracks”
Within the expanding territories of electroacoustic investigation and field recording archaeology, Éric La Casa and Jérôme Noetinger present Off Tracks, a profound meditation on absence, decay, and the spectral traces left behind in emptied architectural spaces via Erstwhile Records. This collaboration between two masters of contemporary sound art unfolds as "an exploration of buildings emptied of their activities, a crossing of spaces abandoned by their occupants, a drift through the ghostly trace of a vanished presence," as Noetinger describes it. The work stands as both sonic documentation and philosophical inquiry into the nature of abandonment and the material traces that persist when human presence withdraws.
Éric La Casa, renowned for his meticulous approach to environmental recording and spatial acoustics, joins forces with Jérôme Noetinger, whose work with Metamkine and extensive solo practice has established him as a pivotal figure in the French electroacoustic underground. Together, they navigate the liminal spaces between presence and absence, creating what Noetinger characterizes as "a testimony to the general deterioration underway that also applies to the very medium of recording." Off Tracks emerges from a conceptual framework that positions field recording not merely as documentation but as archaeological practice. The duo's methodology involves careful listening to spaces stripped of their intended functions, revealing the subtle sonic signatures that remain when buildings are abandoned by their occupants. Through precise microphone placement and electroacoustic processing, they uncover what Noetinger calls "the ghostly trace of a vanished presence."
The album's approach to deterioration extends beyond its subject matter to encompass the recording medium itself, creating a meta-commentary on the fragility of both architectural and sonic preservation. This self-reflexive dimension places the work within the broader context of contemporary sound art's engagement with entropy and temporal decay, recalling the investigations of Luc Ferrari and Hildegard Westerkamp while pushing into more abstract territories.
14,00€
In stock
2 CD
Kevin DRUMM
“Sheer Hellish Miasma II”
Kevin Drumm - electronics, tapes, microphone, computer assistance
Greg Kelley - trumpet
26,00€
In stock
CD
Ernst KAREL – Bhob RAINEY
“47 Gates”
Ernst Karel: electronics, recordings
Bhob Rainey: electronics, recordings, piano
on tracks 2 and 4:
Andie Tanning: violin
Carrie Frey: viola
Leila Bordreuil: cello
James Ilgenfritz: bass
Vasko Dukovski: clarinets
mastered by Taku Unami
14,00€
In stock
3 CD
Toshiya TSUNODA – Taku UNAMI
“Wovenland 3”
Wovenland became a band. But we never do live shows. Our band activities are mainly editing in a studio. Our goal is to focus on acoustic experiments. No more and no less. We have been active for a total of about 10 days, including meetings, in 7 years. We are now disbanding.
28,00€
In stock
CD
Choi JOONYONG – Devin DISANTO
“Strange Skills”
The first collaborative work by Seoul-based electronic, sound and noise artist Choi Joonyong and NY-based experimental artist Devin DiSanto. Five tracks.
14,00€
Out of stock
3 CD
Jürg FREY (Reinier van HOUDT)
“Composer, alone”
‘Composer, alone’ is a collection of twelve solo piano pieces by Swiss composer Jürg Frey, performed by Dutch pianist/composer Reinier van Houdt. It is the sequel to the 2022 triple album 'lieues d'ombres' (elsewhere 020-3) and the third collaboration between Frey and van Houdt on elsewhere music. The two have cultivated a close rapport, first documented on 'l'air, l'instant - deux pianos' (elsewhere 014) in 2020.
This three-disc set features a wide range of Frey's solo piano compositions from 1990 to 2024, including his latest piano pieces 'Composer, alone (1)' and 'Composer, alone (2)'. This three-disc album traces Frey's journey over the past 30 years as he explores his voice as a composer through piano works. It reveals how his compositional style has evolved, while also demonstrating that the underlying essence of his compositions remains consistent.
As a pianist who has a deep connection to the music of Frey, van Houdt skillfully reveals the subtleties hidden in Frey's compositions, as he did in 'lieues d'ombres'. Staying true to the composer's vision, van Houdt captures the essence of Frey's diverse piano pieces from the past 34 years while achieving a perfect balance between fragility, warmth, and clarity.
All twelve pieces were recorded by Micha de Kanter at the Muziekcentrum van de Omroep (MCO) in Hilversum over three days in September 2024, in the presence of the composer, and mastered by Taku Unami.
28,00€
Out of stock
CD
Sarah HENNIES (Richard VALITUTTO)
“SOVT”
'SOVT' is an album containing one 55-minute piece, written for piano by Sarah Hennies in 2017. SOVT stands for Semi-Occluded Vocal Tract which refers to vocal exercises that strengthens the voice by helping the vocal cords vibrate more efficiently. One may practice SOVT exercises by singing with a straw in the mouth which regulates air pressure and reduces strain on the vocal folds. Hennies encountered these exercises in a class on so-called “voice feminization” for transgender women which also inspired her other works “Falsetto” and “Contralto."
Almost all the strings of the piano in this piece are muted with Blu-Tack poster putty and this along with the rhythmic language of the piece results in a sound that is a hybrid piano/percussion-like sound. By connecting all the strings with putty, a dramatically rich sympathetic vibration occurs throughout the piano similar to the way in which one feels increased vibration in the mouth and throat by singing through a straw.
SOVT was originally commissioned by R. Andrew Lee and for this recording was performed by richard valitutto, who recorded the work at the Bard College studio in the spring of 2024 with Hennies engineering.
SOVT (Semi-Occluded Vocal Tract)
(55:27)
richard valitutto - piano
composed, recorded, and mixed by sarah hennies
recorded march 2024 at bard college, new york
14,00€
In stock
CD
Jürg FREY (Keiko SHICHIJO)
“Les Signes Passagers”
'Les signes passagers' is an album of seven pieces for solo fortepiano written by Jürg Frey in 2021, commissioned by the Amsterdam-based pianist Keiko Shichijo. It was premiered by Shichijo on February 5, 2022 at the Concertgebouw Brugge during the SLOW Festival. In the same year, Shichijo performed the piece again at the November Music 2022 and later recorded it for this album in April 2023 at the Concertgebouw Brugge in the presence of the composer.
“As a listener, I have experienced with music played on early piano instruments for many years. And it has become more and more clear to me how delicate the influence of the sound of the instrument is on the inspiration of the composer.
If the modern piano tries to get a constant brilliance over the whole keyboard, in the fortepiano there are worlds between the middle, the high and the low register. The whole construction of the instrument is so subtle, and every movement, the slightest change in registers and density of chords immediately opens a variety of colors, new perspectives and emotions.” – Jürg Frey
14,00€
In stock
CD
Giovanni Di DOMENICO – Silvia TAROZZI – Emmanuel HOLTERBACH
“L’Occhio Del Vedere”
L'Occhio Del Vedere is a one-hour piece by the trio of Giovanni Di Domenico (piano), Silvia Tarozzi (violin, 1/16th-tone violin), and Emmanuel Holterbach (large frame drum). In July 2022, while Di Domenico was working on an artistic residency at the GMEA in Albi, France, he made a trio recording with Tarozzi and Holterbach, which was later completed by Di Domenico as a one-hour piece.
Within the framework of a "triptych" structure, sparse melodies emerge discreetly and repeatedly from the three instruments, each time with slightly different textures. The delicate sounds created by the three musicians intersect, sometimes harmoniously, sometimes distantly, beautifully delineating a multidimensional expanse of space with a wide dynamic range and a mysterious atmosphere.
“We tried to find the perfect balance of tension and release, of consonance and dissonance - all this forms a very suspended feeling albeit the inside, the core of it, has a warm soul.” — Giovanni Di Domenico
Giovanni Di Domenico: piano
Silvia Tarozzi: violin, 1/16th of a tone tuned violin
Emmanuel Holterbach: large frame drum
14,00€
In stock
2 CD
Anouck GENTHON – Lionel MARCHETTI
“Suite blanche”
Double CD with Suite blanche, composition, and Angelica, a live concert.
The Genthon_Marchetti duo works on a composition that takes space into account as one of the essential vectors in the sense that an acoustic response, through the arrangement of loudspeakers and sound volumes, becomes the very substratum on which the music will naturally rest. Inventing a form of duet in which the body of the violin itself seems to melt into the plasticity of the synthetic sounds, the two instrumentalists build, by subtly staging the loudspeaker projection, a musical work insisting on spatial emanation from a focal point – like a single eye, a lighthouse, a beacon that would indicate the path of an enchanting myth, or at least a direction to be considered as a life line, a magnetic pole.
CD1 : SUITE BLANCHE
Une écoute acousmatique / Acousmatic listening - 45:16
Anouck Genthon : violon / violin. Lionel Marchetti : synthétiseur, électroacoustique / synthesizer, electronics. Composition, tournages sonores, mixage / Composition, field recordings, mix : Anouck Genthon, Lionel Marchetti. Mastering : Lionel Marchetti
1: Le sol prend feu - 17:38
2: Verticale de l'est - 6:16
3: Le silence se déplace - 3:27
4: Les voutes, les cascades, les grottes... - 8:50
5: Coda - Nuit (le temps se défait) - 9:45
CD2 : Angelica
Anouck Genthon, violon / violin. Lionel Marchetti, synthétiseur, électronique / synthesizer, electronics. Concert live (41:16) enregistré par / recorded by Gianluca Turrini 11/02/2022, Teatro San Leonardo - Centro di Ricerca Musicale, Angelica Bologne Italie / Italy.
Mixage, mastering : Lionel Marchetti
19,00€
Out of stock
CD
Ellen ARKBRO
“Nightclouds”
Ellen Arkbro’s fourth album, Nightclouds, collects five improvisations for solo organ, recorded across Central Europe in 2023–24. Nightclouds is more unabashedly Romantic and introspective than her previous efforts, though it remains firmly rooted in the rigor and precision that have come to define Arkbro’s concept. Extending her previous explorations of spatialized harmony, tactility, and texture, Arkbro draws equally on sacred music, ECM–style jazz, and downtown minimalism, conjuring a cool intimacy and tone. Her decelerationist chordal improvisations envelop the listener in dirge-like washes, while her close miking reveals the rough haptic grain of the reeds, bringing the listener both inside and outside the sound. Evoking Kjell Johnsen and Jan Garbarek’s duets, or La Monte Young and Tony Conrad’s take on Euringer and Harmer’s cowboy song “Oh Bury Me Not,” Nightclouds channels spiritual pathos through a rigorously restrained architecture.
Following up on last year’s Sounds While Waiting (W.25TH, 2024), a selection of stereo mixes documenting Arkbro’s spatial organ installations, Nightclouds (her first for Blank Forms and for co-publisher La Becque Editions) shifts direction, focusing on instant composition and improvisation. Elegant, simple chordal scaffolds support rich, ever-shifting textures; listening closely necessitates surrender to sustained irresolution. Bookending a collection of short pieces are two variations on the titular composition, “Nightclouds,” which capture Arkbro performing simultaneously on the Sauer organ and Utopa Baroque organ at Orgelpark in Amsterdam. The composition is a sly nod to British jazz guitarist Allan Holdsworth: The first take slows down and stretches out a continuously modulated harmonic progression, while the short closing version simply loops three chords. Situated between these tracks are “Still Life” and “Chordalities,” two short works recorded at the Temple de La-Tour-de-Peilz in Vevey, Switzerland, where Arkbro spent a summer stay and additional recording stints at La Becque | Artist Residency. While the former registers only a few subtle changes against a sustained chord, “Chordalities,” played entirely on the organ stops, unspools in a billowing progression, culminating in a modernist angularity absent from the other compositions. The second half of the album is given to “Morningclouds,” a sprawling work recorded in the reconstructed Gedächtniskirche (Kaiser Wilhelm Memorial Church) in Berlin. Whereas the shorter works are harmonic studies, “Morningclouds” foregrounds Arkbro’s attention to form and structure, interweaving two returning themes that are reminiscent of her approach in For Organ and Brass (Subtext, 2017). Arkbro’s concise musical vocabulary and formal architecture evoke a sense of emotional ambivalence, simultaneously uplifting and mournful, guiding the listener through a spectrum of feeling with a cool and distant beauty. Nightclouds stands as a profound statement in Arkbro’s evolving body of work, at once introspective and expansive, the album reaffirms her singular ability to transform harmonic simplicity into deeply affecting sonic landscapes, inviting listeners into a space of contemplation and emotional depth.
Ellen Arkbro (b. 1990) is a composer, musician, and sound artist working with precision-tuned intervallic harmony and installation. Arkbro composes for acoustic instruments, synthetic sounds, and combinations of the two. Despite her works’ scale and precision, the result is rarely a dry exercise in process; Arkbro draws from a vivid array of musical vocabularies—namely, her studies with La Monte Young, Marian Zazeela, Jung Hee Choi, and Marc Sabat; jazz and blues scales and pop modalities; electroacoustic music and sound synthesis; and her time in Catherine Christer Hennix’s Kamigaku Ensemble. She originally trained as a singer with a focus on jazz, changed paths to study at the Elektronmusikstudion (EMS), and ultimately received a degree in Electroacoustic Music Composition at the Royal College of Music in Stockholm. Her work has been supported by residencies at Somerset House in London, Blank Forms in New York, La Becque Résidence d’artistes in La Tour-de-Peilz, Switzerland, and the Experimental Media and Performing Arts Center in Troy, New York, as well as numerous grants, including the ten-year work grant from the Swedish Arts Council. She has presented her site-specific work at Barbican in London, Kölner Philharmonie, Serralves in Porto, Oude Kerk in Amsterdam, Silent Green in Berlin, Ina GRM in Paris, and Tempelaukkio Kirke in Helsinki. In all aspects of her practice, Arkbro focuses on the qualities of harmonic sound that reveal listening as an active process of creative participation, inviting the listener to gradually transform into the sound itself.
18,00€