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
3 LP box
NURSE WITH WOUND
“Shipwreck Radio’ Vol. 1 Part 1”
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 in 2 parts on vinyl for the first time, as a deluxe 3 disc spot-varnished boxset with a full colour 2 page insert, with original photographs from the project and new written material. The audio has been carefully remastered for vinyl by Colin Potter.
69,00€
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
LP
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.
35,00€
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
LP
NURSE WITH WOUND
“3 Lesbian Sardines”
'Three lesbian sardines!' Shouted by a heckler at a performance by the Dadaist Hugo Ball on stage at the Cabaret Voltaire. Is a perfect title for Nurse With Wound’s final appearance at the ‘Great Monster Dada Show’ at the legendary Henie Onstad Kunstsenter in Oslo, 2019. The largest exhibit of dada art and artefacts this century, over 250 artworks by 43 artists including Kurt Schwitters, Jean and Sophie Teuber Arp, Hannah Hoch, John Heartfelt, Tristan Tzara, Max Ernst, Francis Picabia, Raoul Hausmann, Marcel Duchamp, Man Ray.
This electric performance captures the band at their most eclectic and playful. Here six tracks feature the classic line up of Steven Stapleton, Andrew Liles and Colin Potter including the toe tapping crowd pleaser ‘Flea Circus’ – a mutant hybrid of Kraftwerk and Aphex Twin and is amongst the best the band have ever recorded. ‘Broken America’ is timely reminder of the dire situation we are all facing with the arrival of Trump’s America.
The cover features stunning new artwork by acclaimed artist Babs Santini.
500 copies only in neon green vinyl.
31,00€
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
LP
Bart de PAEPE
“Zürahümnah”
For 20 years Bart De Paepe has carved a distinctive trace in the realm of psychedelic underground and counterculture. With several outstanding solo albums on a.o. Astres d’Or, Ultra Eczema, No Basement Is Deep Enough and with many studio and concert ventures with Sylvester Anfang’s funeral folks, Louise Landes Levi, Timo van Luijk, Raymond Dijkstra to name a few, Bart De Paepe developed a wide and sharp spirit within the orbit of psychedelic improvisation. Since 2007, Bart also curates the Sloow Tapes and Sloowax labels with an impressive catalog of music and poetry by a wide range of resonating artists. Bart’s visual work (drawing and painting), parallel to his musical universe, has been used on many of these releases. He is a genuinely curious traveler, always discovering new dimensions, which is clearly to be heard on the four tracks of this album.
Zürahümnah is an immediate and immersive dive into solitary inner and outer worlds of light and darkness. Zürahümnah is a floating vibration of flickering twilight. Zürahümnah is a mysterious journey through detached time and space.
Equipped with Hawaiian guitar, piano, organ and cymbal, Bart De Paepe sets the controls for the heart of the sun.
26,50€
In stock
LP
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.
26,50€
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
LP
Peter BEYLS
“Peter Beyls”
Peter Beyls (1950) works on the intersection of computer science and the arts. He develops generative systems in music, the visual arts and hybrid formats. Beyls studied music and computer science at EMS, Stockholm, the Royal Music Conservatory, Brussels and the Slade School of Art, UC London. Initially he was active in electronic music, as a composer of tape music. Later on, he developed various analog live electronic music systems. In close partnership with Michel Waisvisz, he designed and built the early prototypes of the crackle box synthesizer at STEIM, Amsterdam (1973-1975). Around the same time, Belgian composers Karel Goeyvaerts and Lucien Goethals were his mentors at the IPEM Studio. Over the years, Beyls’ work has primarily centered on generative systems, including extensive series of machine drawings, human-machine interactive music systems using machine-learning and interactive audiovisual installations on which he has also given worldwide lectures. His work has been widely performed and exhibited at various universities and art institutions.
The four previously unreleased tracks on this LP are amongst his first electronic music compositions using the Crackle Box, the Synthi 100 and the VCS3, a combination of live improvised electronics with precise tape editing and effects.
26,50€
In stock
LP
Jean SCHWARZ
“Unreleased & Rarities (1972-2002)”
Transversales is very glad to announce the release of « Unreleased & Rareties » spanning 1972-2002, revelatory collection of short and secret music by electronic music pioneer Jean SCHWARZ.
He served as an engineer at the CNRS in the Ethnomusicology Department of the Musée de l'Homme in Paris and was a member of the Groupe de Recherches Musicales (G.R.M) from 1969 to 1999.
This compilation allows us to discover some of unreleased rarities from Jean Schwars’s personal archives and unpublished recordings which were composed for the dance, screen or the performing arts.
Remastered high-resolution audio transferred directly from the original master tapes.
27,00€
In stock
LP
Bernard PARMEGIANI
“Mémoire Magnétique, vol. 3 (1967-1971)”
Transversales is very glad to announce the release of « Mémoire Magnétique, vol.3 » spanning 1967-1971, revelatory collection of short and secret music by electronic music pioneer Bernard Parmegiani.
The third volume of this compilation allows us to discover some of unreleased rarities from Bernard Parmegiani’s personal archives and unpublished recordings which were composed for the screen or the performing arts.
Remastered high-resolution audio transferred directly from the original master tapes.
L'ARAIGNELEPHANT (1967)
Musique pour le film de Piotr Kamler
NARCISSUS ECHO (1971)
Musique pour un film d'animation de Peter Foldès
SADIQUEMENT VOTRE I (1968)
Musique pour une émission TV de Michel Wichard"Agrippe-le Agrippine !"
SABLES (1970)
Musique composée pour le film de Lucien Clergues
LA VILLE EN HAUT DE LA COLLINE I (1968)
Musique pour le film de Jacques Vernier
JE, TU, ELLES (1969)
Musique pour un film de Peter Foldès
LABYRINTHE (1970)
Musique pour le film de Piotr Kamler
26,00€
In stock
LP
Jana IRMERT – 7038634357
“Portals – Rope”
Jana IRMERT « Portals »
Produced entirely from sounds recorded in the Amazon rainforest in Brazil and Colombia, Portals evokes the hidden world of sounds that lie beyond our perception. Whether concealed in ultra-sonic frequency registers or in the depths of the aquatic medium, these sounds bear witness to an unsuspected and teeming animal activity. Insects, frogs, bats and freshwater dolphins move about, hiding from our eyes and ears. Revealing this palette of sounds, in particular through transposition, and placing it back in the realm of the audible, Jana Irmert invites and guides us on a fascinating exploration of an unsuspected, speculative and non-human world of sound, which she exposes and recomposes in a way that is both respectful and personal, accompanying this teeming and fascinating sound material in a musical gesture of great clarity. Portals is an attempt to access the evocative power of an Amazonian forest on the brink of catastrophe, through a decentring of the listening experience delicately composed by Jana Irmert.
7038634357 « Rope »
With uncommon mastery and precision, Rope unfolds in a suspended time that seems nonetheless ominous. As its title suggests, Rope explores the formal figure of the rope, as an interweaving of synthetic and natural fibres that hold and amalgamate, held together by the forces of tension and friction. The rope itself, as Neo Gibson explains, is knotted at regular intervals along its entire length, so that you can hang on to it. Rope unfolds slowly, evolving from the threshold of the perceptible towards denser, more ballasted electronic textures, but always on the brink of an upheaval to come. Then a melodic motif appears, seeming to carry within it an impossible consolation. In this respect, Rope balances strikingly between formal elegance, sonic gravity and an emotional charge that is almost uncontainable.
24,00€
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
LP
Eyvind KANG
“Riparian”
After more than 30 years of recorded output, Riparian stands as Eyvind Kang’s first solo instrumental album. Centered on the viola d’amore, it is an intimate and meditative work that extends his lifelong exploration of sound, improvisation, and ecological listening.
A longtime collaborator of Jessika Kenney, Bill Frisell, Laurie Anderson, Bennie Maupin, Stuart Dempster, and many others, Kang has also contributed to landmark recordings by SUNN O))) (Monoliths and Dimensions) and Blonde Redhead (Misery is a Butterfly). He is a disciple of spiritual jazz violinist Michael White and a lifelong student of raga with Padma Bhushan Smt. Dr. N. Rajam.
With Riparian, Kang turns inward, offering a rare and intimate work centered on the viola d’amore—an instrument he began exploring in depth during the pandemic. Across two longform pieces, he improvises within self-devised modes, unfolding melodies with a quiet intensity that traces ancient echoes through a contemporary ear.
Produced and recorded by Randall Dunn, Riparian captures the resonance of the viola d’amore with warmth and clarity, inviting the listener into a meditative space where sound, time, and image flow freely.
32,00€
In stock
LP
Charmaine LEE
“Tulpa”
Tulpa is the most ambitious album yet from New York–based vocalist and electronics artist Charmaine Lee, following her acclaimed debut KNVF (Erratum Musical, 2021). Where earlier works explored sculptural delicacy, Tulpa arrives with immediacy and intensity, unflinching in its integration of raw human voice and processing, dissolving boundaries between organic and synthetic sound.
Inspired by the physicality and futurism of ’70s rock and the esoteric edges of tube amplification, Lee channels that energy into a densely layered and tactile listening experience—at once timelessly analog and futuristically digital.
Produced by Randall Dunn and recorded at Applehead Recording in Woodstock, NY, Tulpa embraces spatialized sound through the splitting of Lee’s signal across vintage tube amplifiers and direct input. The result is a spectrum of feedback, color, and dimensional shifts, moving fluidly from microscopic detail to expansive complexity while maintaining visceral clarity.
The title, drawn from Tibetan mysticism, refers to a being or object conjured through thought and imagination—mirroring Lee’s own practice, where sound becomes both material and illusion, embodied and ephemeral. Closing with a meditative duo featuring Ned Rothenberg on bass clarinet, Tulpa nods to Noh theatre while opening onto new horizons of Lee’s artistic evolution.
As her first solo release on Kou Records, the New York–based label she founded in 2025, Tulpa also inaugurates a curatorial vision dedicated to artists who are uncompromising in craft and curiosity.
32,00€
In stock
LP
Jessika KENNEY
“Uranian Void”
Uranian Void is the new solo album from vocalist, composer, and lyricist Jessika Kenney out on Kou Records. Known for her singular approach to voice and expansive collaborations (A24's Midsommar, Alvin Lucier, Eyvind Kang, Melati Suryodarmo), Kenney here turns inward, shaping sound as memory and vibration.
Blurring sine waves, hydrophone recordings, ghazal, solo instruments, and voice, the album is a meditation on resonance—where shimmer and shadow are equally alive. Produced by Randall Dunn, Uranian Void magnifies the fragile edges of perception, revealing music that bends light, sways time, and slips between walls.
An immersive and delicate work, Uranian Void invites listeners into liminal spaces where echoes of memory resound like invisible dancers, alive in reverberation itself.
32,00€
In stock
LP
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.
27,50€
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€
Out of stock
LP
SLOMO
“The Creep (20th anniversary edition)”
The 20th Anniversary Edition of "The Creep" by Slomo, this ambient doom masterwork, is now available on vinyl for the first time via Ideologic Organ. This is a storied album of verbal history, and emerged from a figurative long barrow deep within a virtual space of great depth and contemplation, an inverted framing of acoustic space with heavy floors ranging from the wake of COIL to the heaviest Japanese fire of psychedelia to the monuments of drone coagulating in the early 'aughts. A first tiny CDR edition (100 copies) of "The Creep" in 2005 garnered the focus of heavyweights like SUNN O))), Julian Cope, GNOD, the esoteric legendary record store Aquarius, and the Wire. Ideologic Organ is honoured to have been tasked with bringing this to a limited LP for the very first time, and has collaborated with mastering genius Rashad Becker to create a 61-minute single LP in perfect cut. The album will also be distributed widely on all digital channels.
–Stephen O'Malley, Stockholm May 2025
28,00€
In stock
LP
OOTIL (Yann Leguay)
“Bipolar Order”
Ali Buh bAeh is proud to announce the release of "Bipolar Order," the latest album by the enigmatic artist OOTIL. This new LP marks a bold chapter in OOTIL’s sonic journey, offering listeners a deeply immersive experience that blurs the boundaries between experimental soundscapes and emotional storytelling. "Bipolar Order" is a compelling exploration of contrasts and dualities, reflecting the album’s title through a dynamic interplay of moods, textures, and rhythms. OOTIL crafts a unique auditory landscape where moments of intensity dissolve into passages of introspective calm, inviting the audience to traverse a spectrum of feelings and atmospheres.
18,00€
In stock
LP
Léo DUPLEIX with ASTERALES
“Round Sky”
Léo Dupleix return to Black Truffle with Round Sky, following the enchanting Resonant Trees (BT119). The composer here performs on analogue synthesizer, harpsichord and spinet as one member of Asterales, a group that brings together four important figures in the international community of musicians working with just intonation: Dupleix, Jon Heilbron (double bass), Rebecca Lane (quarter-tone flute) and Frederik Rasten (guitars). The quartet perform three recent pieces by Dupleix, each of which is like a different view on the same landscape of unruffled calm, where the unique harmonic events made possible by just intonation flicker across melodies and harmonies like light on the surface of water. The first side is dedicated to ‘Poème d’air’, composed while Dupleix was immersed in the music of 14thcentury ars nova composer-poet Guillaume de Machaut. A sustained study of the ‘sonic possibilities of low-pitched sounds in just intonation’, it begins with a long, rumbling pitch from Heilbron’s bass, soon joined by the organ-like tones of the composer on synthesizer. The piece is made up of cycling sequences of chords, each of which is repeated for several minutes before the music either freezes on a single harmony or silently pauses before the next episode begins. These structures are initially dominated by the bass and synthesizer, with Lane’s pure vibrato-less flute tone and Rasten picked harmonics adding flashes of colour. As the piece develops, flute and guitar become more prominent and the bass climbs to higher registers. The development culminates in a stunning episode around fifteen minutes in where the texture thins out, casting a spotlight on a melodic figure exploiting the uncanny sound of Lane’s quarter-tone flute. On the second side we are treated to two briefer pieces, closer to the sound of Resonant Trees as they return harpsichord and spinet to the foreground. ‘Ghosts’ centres on a harpsichord melody that slowly expands as it repeats, growing from a haunting six-note cell to a flowing succession of notes whose shape become increasingly difficult to perceive. Alongside this melodic development, an increasingly lush accompaniment grows, with long tones from bass, flute, e-bowed guitar and synthesizer holding notes picked out the harpsichord melody in a swaying harmonic cloud. Dupleix notes that the concluding ‘Round Sky’ was written in the countryside in spring, a circumstance that seems far from irrelevant to the impression the piece makes when its euphonous spinet arpeggios emerge from a gentle synthesizer drone like a flower from a bud. Performed as a duo with Rasten, with both instrumentalists also singing, this title piece exemplifies what makes Dupleix’s music so unique: grounded in a rigorous application of just intonation principles yet as open as Harold Budd or Andrew Chalk to an uncomplicated, intuitive experience of beauty.
28,00€
In stock
2 LP
NIJIUMU (K. Haino, T. Akiyama and T. Matsuoka)
“When I sing, I slip into the microphone.”
Among the true Keiji Haino devotees, Nijiumu’s Era of Sad Wings (released on P.S.F. in 1993) has always held a special place in the pantheon. Operating for only a few years in the early 90s and apparently only performing a handful of shows, Nijiumu operated at the opposite end of the dynamic spectrum to Haino’s famed power trio Fushitsusha, dwelling in a hushed, meditative realm of mysterious droning sonorities and free-floating melodies that occasionally erupts into violence. Black Truffle is pleased to announce a new double-LP edition of a lesser-known 1994 Nijiumu recording, When I sing, I slip into the microphone. Into that void, I bring comrade “prayers”, then, turning to face the outside, together we explode. Here, Nijiumu is the trio of Haino, Tetuzi Akiyama and the obscure Takashi Matsuoka, the three performing on a wide variety of string, wind and percussion instruments, as well as electric guitar and bass, and Haino’s unmistakeable voice.
Like on the early solo Haino album that shares the group’s name (released on P.S.F. in 1993), the instrumentation swims in reverb (the use of which Akiyama recalls as ‘a kind of point of the band’), often obscuring the instrumental sources. On the short opening piece, a distant reed instrument arcs long buzzing melodies over a bed of cymbals and gongs, like a psychedelic take on Tibetan music. The epic second part, occupying almost 50 minutes, begins as a splayed, near-formless cloud of electric guitar and bass, shadowed by bowed and plucked strings, the three elements working through twisting atonal shapes. At various points in the recording, we hear what seems to be the sounds of musicians moving between instruments, their shuffling and bumps fitting seamlessly into this radically open music. Eventually, what sounds like electric guitar moves closer to the foreground, fixing on a repeated melodic cell around which hover mysterious clouds of long tones and a sporadic shaker. At the half-hour mark, the music begins to build to a violently emotive climax, Haino’s impassioned vocal cries punctuating a lumbering, bass-heavy murk, contrasted at points by what sounds like a tin whistle. Suddenly, the volume drops to a near-whisper, opening the way for the stunning final moments, which touch on the slow-motion balladry of Haino’s classic Affection, here given an eccentric twist by an occasional woodblock hit. The third piece opens with a hazy trio of rumbling bass, bowed strings and abstracted slide guitar, the latter calling to mind some of Akiyama’s later solo work. Eventually joined by Haino’s voice, its fragile, haunted tone might remind the listener of the man in black’s documented love of the madrigals of the murderous Count Gesualdo, before the recording abruptly breaks off mid-note. In this new edition, the Nijiumu trio recording is supplemented by a piece recorded solo by Haino in 1973, a bracing electronic blowout stretching almost half an hour. Using a homemade electronics setup to unleash a barrage of crunching distortion and shuddering harmonic fuzz, it takes its place in the canon of extreme live electronics next to Robert Ashley’s Wolfman and Walter Marchetti’s Osmanthus fragrans, looking forward to extreme noise years before Merzbow. Taken as a whole, these four sides of music are a stunning document of some of the lesser-known waystations of Haino’s singular creative path.
40,00€
In stock
LP
Amelia CUNI
“Melopea”
Black Truffle is pleased to announce Melopea, presenting two new pieces highlighting the incredible voice of Amelia Cuni (1958-2024), the great Italian singer, based in Berlin in later life, whose mastery of the classical Indian dhrupad developed in parallel with a commitment to contemporary experimental approaches. After two stunning archival releases documenting traditional dhrupad performances in India in the 1990s (BT079 and BT092), the two side-long pieces here embody the freedom with which Cuni explored new contexts and settings for her singing. Both make use of a long recording of Cuni singing the pentatonic Raag Bhoop (or Bhopali) made in 2012 by her partner Werner Durand in Berlin. ‘Melopea’ began from Cuni and Durand’s superimposition of this recording with violinist Silvia Tarozzi and cellist Deborah Walker’s performance of Éliane Radigue’s ‘Occam River II’. Inspired by the beauty of this chance encounter (and other experiments with non-synchronous collaboration during the pandemic years), Tarozzi and Walker recorded independently, without hearing Cuni’s voice but ‘having her present in memory’. Tarozzi and Walker’s bowed strings places Cuni’s magisterial performance in a new context, emphasising, as Radigue commented upon hearing the initial layering of her piece with Cuni’s voice, a shared ‘searching toward the partials, overtones, these natural constituents of acoustical sounds in their richness’. Beginning with whispered bowed harmonics, the violin and cello swap the stability of dhrupad’s traditional tanpura drone for a slowly evolving, uneasy web of harmonic interactions recalling some of Harley Gaber’s work, sometimes sitting on dissonances for long periods or allowing changing interference patterns to come to the fore. Primarily focusing on her lower register, Cuni’s performance demonstrates her mastery of microtonal pitch subtleties, elegant sweeping glissandi and meditatively unhurried pacing. The continuation of the same recording by Cuni forms the foundation of ‘Bhoop-Murchana’, with Anthea Caddy on cello and Werner Durand on soprano saxophone. In contrast to the randomised layering of the first piece, here Durand and Caddy have carefully selected pitches based on the raag Cuni sings, using the ‘Murchana’ form, which uses the constituent notes of the raag as tonics of new raags, retaining the same interval structure. Both players who have developed tones of striking depth and harmonic purity on their instruments, Caddy and Durand’s patient long tones are simultaneously rigorously grounded in the physical properties of sound and possessed of an immaterial, floating quality. Combined with Cuni’s voice and, near the piece’s end, her contributions on hammered and plucked tanpura, the effect borders on miraculous. To surrender to this music is like slipping into an onsen pool, feeling the instantaneous release of every tension. Accompanied by liner notes from Durand, Tarozzi and Walker, Melopea is both a moving tribute to the profound art of Amelia Cuni and, for the uninitiated, a perfect introduction to it.
28,00€
In stock
LP
Christer BOTHÉN
“Christer Bothén Donso n’goni”
Black Truffle is thrilled to present the first ever solo Donso n’goni recording from octogenarian Swedish multi-instrumentalist Christer Bothén. Active in the Swedish jazz and improvisation scene since the 1970s, often heard on bass clarinet, Bothén travelled to Mali in 1971, eventually making his way to the Wassoulou region in the country’s south where he encountered the Donso n’goni, the sacred harp of the hunter caste of Wassoulou society. Though playing the instrument has traditionally been restricted to those who belong to the hunters’ brotherhood, Bothén found an enthusiastic teacher in Brouema Dobia, who, after many months of intensive one-on-one lessons, gave Bothén his blessing to play the instrument both traditionally and in his own style. Returning to Sweden, he would go on to pass on what he had learned to Don Cherry and play the Donso n’goni in a wide variety of inventive settings, including the driving Afro-jazz-fusion of his Trancedance (reissued as BT118).
The seven pieces of Christer Bothén Donso n’goni offer up a stunning showcase of Bothén’s work on this remarkable instrument, heard entirely unaccompanied, except for the final piece where he is joined on a second Donso n’goni by his student and collaborator, the virtuoso bassist Kansan/Torbjorn Zetterberg, and Marianne N’Lemvo Linden on the metal Karanjang scraper. Recorded in three sessions in Stockholm between 2019 and 2023 in richly detailed high fidelity, the instrument’s buzzing, sonorous bass strings make an immediate, overwhelming sonic impression. Hyper-focused on hypnotically repeating pentatonic patterns, the seven pieces are at once relentlessly single-minded and endlessly rich in subtle variations. The concentrated listening environment turns small details, such as the deployment of the instrument’s segesege rattle on two of the pieces, into major events. Six of the seven pieces are traditional, with Bothén contributing the remaining ‘La Baraka’, but the line between tradition and the individual talent is imaginary here: as Bothén explained in a recent interview with The Wire’s Clive Bell, ‘I play traditional and untraditional, and I play the music forward and backward’. While the traditional Wassoulou pieces provide the rhythmic and harmonic elements, Bothén’s individuality as a performer is alive in every moment, felt acutely in boundless variations of attack, improvisational flourishes, and unexpected accelerations and decelerations. Captured entirely live and bristling with spontaneity, this music is undeniably the product of almost half a decade of Bothén’s devotion to the Donso n’goni and its traditional music. Accompanied by detailed new liner notes by Bothén and stunning colour photos from his time in Mali, Christer Bothén Donso n’goni is a stunning document of a remarkable instrument, played with an almost spiritual intensity by one of contemporary music’s great explorers.
28,00€
In stock
LP
Giuseppe IELASI – Jack SHEEN
“The Vestige”
The Vestige is the first fruit of a new intergenerational collaboration between Giuseppe Ielasi, a quietly prolific key contributor to the European experimental music scene for over twenty years, and Jack Sheen, a young composer-conductor-sound artist from Manchester whose recent projects have seen him moving seamlessly from enigmatic chamber music composition and installations to conducting the London Symphony Orchestra. Their materials and working methods differ significantly, with Ielasi having focussed for many years on electro-acoustic techniques alongside his ongoing commitment to the guitar, and Sheen primarily composing for traditional instruments. More important, though, is what they share: a fascination with what Sheen calls “mysterious, liminal musical material,” using irregular repetition and cyclical forms to create structures at once alive with activity and almost static, as well as a rigorous exploration of spatial diffusion and the interaction of sound event and environment. Working individually with a library of acoustic instrument sounds from Sheen’s recent projects and Ielasi’s guitar, the pair eventually met for several days at Ielasi’s home studio in Monza, sculpting the fourteen pieces that make up The Vestige. Like Ielasi and Sheen’s solo works, the record shows an exquisite attention to details of sequencing and pacing, the sound palette and compositional approach consistent throughout while each piece asserts its own identity. The twenty-five seconds of the opening piece serve as an entrée into the record’s distinctive world of sound: repeated chirps fluctuate in volume as they move across the stereo spectrum, woven between strangled snatches of string glissando against a backdrop of percussive ticks, long tones, and white noise. Across the remaining thirteen pieces, Ielasi and Sheen sketch further dimensions of the ambiguous space, where distinctions between pitch and noise, repetition and irregularity, electronic and acoustic remain pointedly unclear. As the record’s title suggests, the origins of the sounds we hear have become remote: while at moments we get flashes of timbres and attacks that could come from wind instruments, bowed strings, or prepared guitar, these remain vestigial traces, glimpsed through a veil of shifting white noise textures. These textures are themselves difficult to trace, suggesting artefacts of the recording process, electronic synthesis, amplified room sound, rubbed instruments or objects. The Vestige shows an unusual degree of attention to frequency range as a compositional tool, something it shares with the hyper-subtle variations of Ielasi’s electroacoustic works and the deliberately ‘unbalanced’ midrange-heavy ensemble of Sheen’s Sub. Here, movement between episodes is as much about adding or removing a frequency band as it is about changes in density, harmonic content, or instrumental texture. Tracks are marked by the sudden appearance of subbass or exaggeration of high frequencies in otherwise similar material, contributing to our sense that these fourteen pieces are like different views on a scene that we can never quite see clearly. While calling up a range of past music, from the early works of Rolf Julius to Simha Arom’s recordings of layered polyrhythms embedded in the background sounds of central African villages to the temporal distortions and layered hiss of DJ Screw, the alluring and disconcerting world of The Vestige is entirely its own. Photographs by Anton Lukoszevieze
28,00€
In stock
2 LP
Kevin DRUMM
“Sheer Hellish Miasma”
Widely regarded as one of the most uncompromising works in experimental noise, Kevin Drumm’s Sheer Hellish Miasma is once again available on vinyl. First released on CD in 2002 on the original Mego label, the album remains a landmark in extreme electronic sound and is an essential and ferocious document of Drumm at his most inventive.
The history of Drumm’s Sheer Hellish Miasma is one of resilience to the twists of underground trends that have come and gone since its initial release. Using guitar, tape manipulation, microphones, pedals, analog synthesizers, and subtle computer processing, Sheer Hellish Miasma is an overwhelming experience: a sonic onslaught of storming feedback, fractured textures and an unrelenting energy. At once brutal and meticulously composed, the album offers a singular vision at the outermost edges of sound art.
For seasoned noise veterans, Sheer Hellish Miasma offers a bracing soundscape filled with exquisitely abrasive textures and more than enough hidden detail to warrant repeated listening – a distinct voice in the increasingly same-sounding world of abstract electronic noise. For everyone else, Drumm’s journey through the noisy underworld is likely to inspire fear or, in an optimistic case, fearful admiration.
Drumm’s Sheer Hellish Miasma is an abstract noise classic with this 2LP reissue being an artefact of eternal power.
Kevin Drumm Guitar, Tapes, Mics, Pedals, Analog Synthesizer, Computer Assistance
Greg Kelley trumpet on Inferno
Dedicated to Malachi Ritscher
Recorded in 2000-2001 Chicago
Mastered at Piethopraxis, Köln, December 2006
Cut at Clunk, Berlin 2025 by Rashad Becker
34,00€
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
LP
DJ SNIFF
“Turntable Solos”
After the conceptual depth of "Parallel Traces of the Jewel Voice" (2021), dj sniff returns to Discrepant with a more direct and visceral document: Turntable Solos.
Composed from live recordings made during the latter half of 2024, Turntable Solos captures dj sniff’s improvised performances in their rawest form. At the core of his setup is Cut ’n’ Play, a software sampler he originally built in Max / MSP in 2007. Since then, he has continued developing custom tools and instruments that extend what Derek Bailey called the “instrumental impulse” — the tactile, responsive relationship between musician and machine that defines improvisation.
Following a summer 2024 tour of Japan with Gonçalo Cardoso, sniff was encouraged to document and release a selection of his live sets. Not long after, a performance at 20α (Alpha) in Hong Kong would become the emotional and conceptual anchor for the project.
In the liner notes, sniff reflects on the eerie parallels between recent footage of protestors in Los Angeles — assaulted by police using so-called “less-lethal” weapons, and civilians being abducted into detention centers — and the 2019 Hong Kong protests. A place once filled with personal nostalgia began to feel like a grim foreshadowing of what might unfold in Western societies.
In this turbulent context, 20α stands out as a space of resistance and renewal — a beacon for a new generation of experimental musicians, growing in defiance of increasing censorship and surveillance. "Turntable Solos" is both a personal statement and a public act of sonic resilience.
26,50€