{"title":"Placeholder 26","description":null,"products":[{"product_id":"government-alpha-the-human-race-was-restored-to-life-repeatedly","title":"GOVERNMENT ALPHA - The Human Race Was Restored To Life Repeatedly","description":"\u003cp\u003e\"Government Alpha , the project of Yasutoshi Yoshida , is one of the central figures in Japanese harsh noise, emerging from Tokyo's early 1990s underground scene. Through his Xerxes label, he developed a style that is both extreme and meticulously constructed, balancing ferocity and precision with remarkable control. Even at its most chaotic, every sonic eruption feels carefully placed. Originally released on cassette in 1994, The Human Race Was Restored To Life Repeatedly captures a pivotal stage in Yoshida's artistic development. At this point, he was still refining his unique musical language. The album is raw, unstable, and charged with experimental energy, yet it already reveals the defining characteristics of his later work. These recordings reflect a deeply physical, hands-on approach to sound creation. Worn electronics, manipulated tapes, feedback, and metallic objects become sonic material, each noise bent, reshaped, and reassembled into new forms. It is harsh noise in a state of constant transformation, still free from rigid conventions. The album moves through continuous walls of distortion and corrosive frequencies. Beneath its abrasive surface lies a wealth of detail, pulse, and texture, where chaos is organized into shifting, layered structures. It is precisely this balance between violence and composition that defines Yoshida's work. This new vinyl edition, remastered by Lasse Marhaug , marks the first time the album appears on vinyl, bringing out every nuance of the original recording. The sound retains its rawness while gaining depth, clarity, and spatial presence. Today, the album stands as a landmark of harsh noise history, a vital work that transforms sonic destruction into musical architecture. Recorded at F23 Studio Tokyo, January 16-29 1994. Mixed by Yasutoshi Yoshida on January 30, 1994.\"\u003c\/p\u003e","brand":"Urashima","offers":[{"title":"LP","offer_id":49010397872347,"sku":null,"price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/UMA190LP_PROD.jpg?v=1784855244"},{"product_id":"merzbow-yoshinotsune","title":"MERZBOW - Yoshinotsune","description":"\u003cp\u003e\"Between 1999 and 2000, Merzbow entered a new artistic phase, embracing digital production and refining his sonic language. He moved away from the tape collages and improvised circuitry of his earlier years. In their place arose monumental sound structures, dense and meticulously sculpted. Harsh noise, tribal rhythms, and corrosive textures merged into a single, overwhelming sonic body. Yoshinotsune emerged during this especially fertile period and stands as one of Masami Akita 's most evocative works. The album weaves together historical, mythological, and personal references, drawing inspiration from the figure of Minamoto no Yoshitsune . From the outset, bird calls, radio interference, and electronic signals create an enigmatic atmosphere. The result is an unsettling soundscape suspended between nature and technology. Throughout the album, the sound continually transforms, alternating between ominous beats, unearthly moans, and ritualistic pulses. These elements evoke tribal rhythms filtered through circuitry and digital distortion. The music drives forward with relentless force while maintaining a constant tension between motion and stillness. Rather than simply overwhelming, it invites the listener to become immersed in its intricate details. This new double-vinyl edition, mastered by Lasse Marhaug and limited to just 199 copies, greatly expands the original experience. The three tracks from the CD are spread across four sides, with the addition of two previously unreleased pieces. This format highlights the depth of the low end, the nuances of the digital processing, and even the acoustic guitar passages. As a result, the work gains a broader, more tactile, and more detailed physical presence. What makes Yoshinotsune so compelling is its perfect balance between technical precision and creative instinct. Though meticulously constructed, its structures retain a raw and immediate vitality. Akita's hand can always be felt, shaping the sound with intensity and sensitivity. This reissue fully restores the grandeur of one of Merzbow's richest and most immersive recordings, now expanded with two bonus tracks.\"\u003c\/p\u003e","brand":"Urashima","offers":[{"title":"2LP","offer_id":49010398265563,"sku":null,"price":48.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/UMA191LP_PROD.jpg?v=1784855246"},{"product_id":"solmania-h-a-d-a-y-r-o","title":"SOLMANIA - H-A-D-A-Y-R-O","description":"\u003cp\u003e\"Originally released on cassette in 1985, H·A·D·A·Y·R·O is a landmark of Japanese noise music. It documents the early vision of Solmania and the singular sonic approach of Masahiko Ohno . For years, it remained a cult artifact among collectors and underground enthusiasts. This vinyl edition renews its impact, feeling more like a rebirth than a simple reissue. Solmania was far more than a band; it was Masahiko Ohno's personal sound laboratory. At the heart of the album are his self-built guitars, transformed into extraordinary sound-generating machines. Their tones scrape, roar, and vibrate with an almost organic intensity. Alongside these, Ohno also employs tape, radio, turntable, and voice -- expanding the palette into a raw, multi-source field of sound, with drums and keyboard performed by Tomioka Akira . The album constructs noise as a complex, layered architecture. Distortion, feedback, metallic harmonics, and electrical abrasion intertwine into dense, evolving structures. Despite its industrial harshness, the sound remains deeply human. Every vibration carries the mark of touch, pressure, and spontaneous improvisation. Here, noise is not simply about volume or aggression, but about exploring texture, repetition, and transformation. The music exists in a thrilling balance between construction and controlled collapse. Its hypnotic passages take on an almost ritualistic, sculptural quality. Each moment seems poised to mutate into something new. The vinyl format fully reveals the richness of this work. Low-end resonance, harmonic detail, and the interplay between feedback and silence emerge with renewed clarity. More than a historical artifact, this reissue presents H·A·D·A·Y·R·O as a living, vital work. It remains a radical example of uncompromising creativity and sonic innovation.\"\u003c\/p\u003e","brand":"Urashima","offers":[{"title":"LP","offer_id":49010398396635,"sku":null,"price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/UMA192LP_PROD.jpg?v=1784855247"},{"product_id":"halkyn-halkyn","title":"HALKYN - Halkyn","description":"\u003cp\u003e\"Concentric Circles is pleased to present a collection of recordings from Halkyn , the solo project of Chris Coyle , most known for being a member of much beloved Leeds, UK group Empress .  Halkyn released two 7\"s around the turn of the century on the 555 label, which have, like a lot of the best music from that time, fallen somewhat by the wayside. This LP release collects both of those 7\"s, along with a few tracks that originally appeared on compilations, and two unreleased recordings from the time. Halkyn was part of a small non-scene of sorts in Leeds that included Hood and Empress, which collectively was a small group of friends who appeared on each other's records, with Hood acting as somewhat of an anchor.  In addition, they all shared a similar knack for writing beautifully melancholic music, with an occasional foray into electronic abstraction that still remained approachable. Halkyn's music was imbued with a glass-like sense of fragility, sometimes feeling like it's on the verge of collapse, but Coyle, being a master of melody, always rooted his tracks back down into the earth. This is music for slow, grey skied walks in the countryside. Halkyn has remained a lesser-known name from that special time in music, but we hope that this LP, released in an edition of 300 copies with beautiful jacket photography from Coyle himself, will help put his name on the map where he belongs.\"\u003c\/p\u003e","brand":"Concentric Circles","offers":[{"title":"LP","offer_id":49017817628891,"sku":null,"price":31.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/CC013LP_PROD.jpg?v=1784943705"},{"product_id":"marclay-christian-conduite-forcee","title":"MARCLAY, CHRISTIAN - Conduite Forcee","description":"\u003cp\u003e\"In 1934, Swiss engineers completed the Chandoline Hydroelectric Plant, channeling Alpine water through 16 kilometers of concrete pipe. By 2023, the turbines had stopped. The plant was empty, silent -- a cathedral to obsolete energy with perfect acoustics and nothing left to say. Christian Marclay saw an instrument. For the inaugural Biennale Son in 2023, the artist who made his name destroying vinyl in 1980s New York turned the entire hydroelectric system into a playable object. The concept: open a manhole 4.5 kilometers uphill, drop something in, wait for sound to travel through the mountain. Steel bearings didn't work -- too heavy, wrong frequency. So Marclay used golf and tennis balls donated by local clubs. The Valais School of Art rigged the turbine hall with microphones. Then the balls dropped.  Seconds of silence. Then: tumbling, bouncing, accelerating through kilometers of concrete. Not one ball but many, building into something between avalanche and applause as they hit the hall below. Marclay directed remotely, releasing volleys like a percussionist striking a drum the size of a small town. The pipe amplified everything -- pure mountain reverb, no processing, just 1934 engineering singing its swan song. The recording, mixed with Alain Renaud , is the Biennale Son's first vinyl release. Side A features fifteen minutes of cascading spheres, industrial archaeology as living sound. Side B features an engraved portrait of Marclay. Unplayable. The performance happened once. The pipe spoke. That's enough. This is quintessential Marclay -- the artist who built the Phonoguitar (1983), scattered records to be crushed underfoot ( Footsteps , 1989), won Venice's Golden Lion with The Clock (2011), collaborated with Sonic Youth and John Zorn , and has spent his career proving that everything is already an instrument. Mountains. Vinyl. Film. Time itself. You just need to know where to listen -- or where to drop the ball. Always the same question: what music do objects make when you know how to listen? Here, the answer is gravity plus concrete plus expired sporting goods equals something you've never heard before. Conduite forcée means \"penstock\" but translates as \"forced conduct\" -- water compelled through pipe, sound through space, music from infrastructure. Limited edition. One pressing. No digital. Just the grooves and the ghost of Switzerland's hydroelectric past, pressed into vinyl like water in a sealed pipe. Mountains as instruments. Golf balls as notes. A decommissioned power plant's final performance, conducted by one of contemporary art's most inventive listeners.\"\u003c\/p\u003e","brand":"Biennale Son","offers":[{"title":"LP","offer_id":49017818382555,"sku":null,"price":34.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/BS001LP_PROD.jpg?v=1784943708"},{"product_id":"spectacle-of-light-abductions-2-the-music-for-the-paintings-of-vedran-kopljar","title":"SPECTACLE OF LIGHT ABDUCTIONS 2, THE - Music for the Paintings of Vedran Kopljar","description":"\u003cp\u003e\"A sequel to 2011's communication from our future selves on The Spectacle of Light Abductions , this new endeavor by restless netherzone traveller Spencer Clark envisions a space map towards the other side of human life. A meditation on the paintings of Vedran Kopljar , these two side-long pieces, recorded and performed at Kopljar's exhibition at Muhka Museum in Antwerp in 2024, tap into the barren world inhabited by Clark while wandering what he calls the \"Abomination Plateaus.\" Searching for meaning amidst the landscape, \"Abyssfields\" turns Clark's keyboards, sampler and wha pedals into sentient beings, roaming a luminous sound field of low-res percussion, glistening keys and mangled voice-like transmissions. Featuring Athens-based John Also Bennet on flute, \"Abomination Plateaus\" layered misty pads hover above a recurring driving-pinging loop, unlocking new harmonic specters throughout each passage, suspended in the light. Always enveloping.\"\u003c\/p\u003e","brand":"Pacific City Discs","offers":[{"title":"LP","offer_id":49149085712603,"sku":null,"price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/PCD014LP_PROD_27fc47db-ce0e-4521-83e9-d34bcbf86ce3.jpg?v=1786936228"},{"product_id":"sun-kim-christine-deaf-material","title":"SUN KIM, CHRISTINE - Deaf Material","description":"\u003cdiv dir=\"ltr\"\u003e\n\u003cp\u003e\u003cem\u003e\"Deaf Material\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eby Christine Sun Kim showcases the artist’s vast archive of deaf imagery in mainstream culture. Personal yet expansive, the publication collects over 600 vernacular photographs and images Kim has taken in her daily life or collected from books, online resources, and the archives at Gallaudet University. Frustrated by the lack of documentation of Deaf history, Kim began this project in an effort to determine what and who defines deaf aesthetics.\u003c\/p\u003e\n\u003cp\u003eThe breadth of the archive—which spans pop culture imagery, memes, advertisements, disability signage, artworks, personal ephemera, and much more—presents an overview of deaf visual culture filtered through the incisive criticality and biting humor that the artist has become known for. It is the artist’s hope that\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDeaf Material\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewill inspire others to begin their own archival projects so that a public and global archive of Deaf culture will emerge.\u003c\/p\u003e\n\u003cp\u003eThe publication unfolds over the course of 400 pages with a Tumblr-style aesthetic that is framed by 24 distinct categories such as\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAirports\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCelebrity ASL\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCall and Wait\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDeaf Power\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDeaf\/death\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eParking Lots\u003c\/em\u003e, and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTrash\u003c\/em\u003e. Kim teases out subtle connections through recurring visual patterns and thematic motifs across these chapters. Interwoven with these images are captions by the artist that expand on the archive through anecdotes, historical context, and commentary, providing an outline of deaf experiences and aesthetics since the late nineteenth century.\u003c\/p\u003e\n\u003cp\u003eChristine Sun Kim is an American artist based in Berlin. Kim’s practice considers how sound operates in society, deconstructing the politics of sound and exploring how oral languages operate as social currency. Musical notation, written language, infographics, American Sign Language (ASL), the use of the body, and strategically deployed humor are all recurring elements in her practice. Working across drawing, performance, video and large-scale murals, Kim explores her relationship to spoken and signed languages, to her built and social environments, and to the world at large. Kim’s work has been extensively exhibited and performed internationally.\"\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Book","offer_id":49149129752795,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/20251218_PI_CSK_Cover_Web-scaled.jpg?v=1786937695"},{"product_id":"orchid-spangiafora-eel-asp-flaps-feet","title":"ORCHID SPANGIAFORA - Eel Asp Flaps Feet","description":"\u003cp\u003e\"\"Fifty years after I first encountered the music of Orchid Spangiafora , it is a pleasure to be listening to new work by this most bonny of modern sound manipulators. Like Flee Pasts Ape Elf , which we reissued in expanded form in 2013, Eel Asp Flays Feet (the title of which is an anagram of the earlier set) is an assemblage of immaculate invention. It manages to produce a unique splotch of confusing analog surrealism in an increasingly digital world, and Robert Carey (aka Orchid himself) deigned to provide these notes on creating the music: 'This album is a combination of some new material and ideas and some older stuff that had not found its way into a tangible (non-online) form. 'Syllabus,' 'Dyad,' and 'Retroscope' were an attempt to return to an older style of electronic music. I put these on bandcamp, but they did not attract much attention. In mid-2021, David Greenberger provided me with the voice recordings he had made for the Everybody's Home project he did with Tyson Rogers . He asked if there was something I could do with them. I put together 'Holding Pattern' and 'In A Fog.' These two pieces might be considered the 'dub version' of Everybody's Home . I put them on Bandcamp as 'Nobody's Home.' The rest were originally made up of typical Orchid snippets. When I first took an electronic music course in 1972 one of the things that struck me about tape loops was how readily they produced interesting rhythms. Since then I got more into selecting them for the rhythm, but rather than repeating I tried to convey it in a single shot followed by slightly modified versions. In a number of these pieces I tried returning to actually repeating phrases enough to hear the natural rhythm of each loop. The mechanical sounds combined with vocal loops in, for example, 'Interlude One,' probably were influenced by the collaboration with Seymour Glass on Cous Cous Bizarre . The rapid streams of syllables in the 'Ur Sonata' came from playing around with an audio batch processing program. I used it to cut up regular loops into very short bits and string them together. Then, as with most electronic or 'tape' music, the real work consisted of removing the parts that didn't belong. The title comes from Kurt Schwitters because I felt the piece shared some of the same motivation or aesthetic, although the implementation is not at all alike.' Well, those are the component parts, but to truly grasp the whole, you must hold your brain tight and jump right in. There is just nothing like an Orchid Spangiafora album. Tell your friends.\" -- Byron Coley , 2024\"\u003c\/p\u003e","brand":"Feeding Tube","offers":[{"title":"LP","offer_id":49193552838875,"sku":null,"price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/FTR780LP_CU.jpg?v=1788371003"},{"product_id":"exposito-marcelo-the-lost-tapes-white-vinyl","title":"EXPOSITO, MARCELO - The Lost Tapes (White Vinyl)","description":"\u003cp\u003e\"Geometrik Records once again plays a part in the exclusive recovery of Marcelo Expósito 's previously unpublished work, which had been lost since its original creation in the 1980s. Marcelo Expósito is one of Spain's most internationally renowned contemporary artists, whose work is regularly exhibited across Europe and Latin America. He began his career at a very young age during the era of sound experimentation that flourished in the wake of so-called industrial culture, which found particularly fertile ground in Spain. As co-editor of legendary publications such as the fanzine Experiencias (1983) and, above all, the cassette-fanzine publisher Necronomicón (1983?1987), which operated on an international scale, Marcelo Expósito has, in recent years, been reconstructing those of his sound experiments that had been lost for decades. This album brings together material previously released on cassettes as EGK023 in a very limited edition. These tracks have now been remastered and expanded to complete this record, which noise musician Mattin has described as \"secret recordings that constitute a gem from the rich Spanish underground of the 1980s.\" In the words of Luis Alvarado , editor of the Peruvian label Buh Records, this album \"allows us to appreciate how Expósito developed a style of his own that understood sound as a malleable material open to chance. The recordings gathered on The Lost Tapes reveal an artist who moves as much through territories of unsettling textures and atmospheres as through zones of abstraction and radical noise.\" Influenced by the early work of figures such as Maurizio Bianchi , Nurse With Wound , and La Otra Cara de un Jardín , the release of this album provides a key piece in reconstructing the genealogical puzzle of Spanish experimental music. This carefully curated edition -- in Spanish and English -- includes a lengthy essay by Marcelo Expósito on the creative processes behind his work and the historical context of the industrial culture of the 1970s and 1980s, as well as extensive liner notes contributed by Vittore Baroni , editor of the legendary Italian label Trax; Francisco Felipe , co-founder of the Ars Sonora program on Radio Clásica (Radio Nacional de España) and one of the most active names on the Spanish experimental scene of the 1980s; Mattin and Susana López ( Susan Drone ), key figures in the sound experimentation of the generation that emerged in the 2000s; as well as the aforementioned Luis Alvarado.\"\u003c\/p\u003e","brand":"Geometrik","offers":[{"title":"LP","offer_id":49193553559771,"sku":null,"price":37.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/GR2165LP_CU.jpg?v=1788371010"},{"product_id":"captain-marryat-captain-marryat","title":"CAPTAIN MARRYAT - Captain Marryat","description":"\u003cp\u003e\"Privately pressed in Scotland in 1974, Captain Marryat is one of the great lost rarities of British progressive hard-rock. Issued in an edition of just 150-200 copies on the band's own Thor label and sold only at gigs, the album disappeared almost immediately, later becoming one of the rarest and most sought-after private press LPs of the era. Named after 19th-century novelist and seafarer Captain Frederick Marryat , the Glaswegian band evolved from a hard-rock trio into a five-piece featuring Tommy Hendry (vocals), Ian McEleny (guitar), Allan Bryce (organ), Hugh Finnegan (bass) and Jimmy Rorrison (drums). Originally planning to record only a single, they found themselves with enough studio time to capture a full album, recording five original songs before closing the session with the improvised instrumental \"Dance Of Thor.\" Deeply inspired by the organ-driven power of Deep Purple , Uriah Heep , and Beggars Opera , Captain Marryat played a powerful blend of progressive rock and heavy psych. Dominated by thunderous Hammond organ, raw guitar solos and strong melodic vocals, the album ranges from the dramatic opener \"Blindness\" to the epic eight-minute \"It Happened To Me,\" the more accessible \"Changes,\" and the explosive instrumental finale \"Dance Of Thor.\" Although the band built a solid reputation on the Scottish pub circuit, the lack of label interest brought their career to an end in 1975. Their sole album, however, has only grown in stature, earning cult status among collectors and fans of early-'70s progressive heavy rock. Featuring remastered sound. Includes insert with liner notes, photos, and download card.\"\u003c\/p\u003e","brand":"Guerssen","offers":[{"title":"LP","offer_id":49193553658075,"sku":null,"price":34.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/GUESS290LP_CU.jpg?v=1788371011"},{"product_id":"fsk-freiwillige-selbstkontrolle-ca-cest-le-blues","title":"F.S.K. (FREIWILLIGE SELBSTKONTROLLE) - Ca c'est le Blues","description":"\u003cp\u003e\"Following the first two singles by Freiwillige Selbstkontrolle from 1980 and 1981, as well as their debut LP Stürmer and the 1982 EP Magic Moments , a-Musik is now releasing Ça c'est le Blues , another of their early works, all of which were released on Alfred Hilsberg 's legendary Zickzack label and have long since become rarities. Ça c'est le Blues was originally released in 1984 and marks nothing less than a milestone in F.S.K.'s already impressive discography. While numerous bands from the West German underground of the early 1980s, following the Summer of Pop of 1982 and the associated breakthrough of the Neue Deutsche Welle, either moved toward the mainstream or began singing in English, Justin Hoffmann , Thomas Meinecke , Michaela Melián , and Wilfried Petzi took a different path. The songs became more elaborate, the production -- influenced by bands like Gang of Four and Dexys Midnight Runners -- more opulent, and the instrumentation now included wind instruments for the first time, which have since become an integral part of F.S.K.'s sound. At the same time, the Munich-based band's music-historically motivated focus was directed more toward the US than was typical of the bands in the West German scene of that era. To their signature blend of post-punk and experimental music, as already evident on Stürmer , they now incorporated funk (on the opener \"Faire Le Chicken\") and jazz (on the heartbreaking cover version of \"My Funny Valentine\"). From then on, this \"transatlantic feedback\" was an essential component of F.S.K.'s musical practice. The discursive twists and turns, the incorporation of references, and the insistence on German lyrics would influence bands in the coming decades, not just those of the \"Hamburg School.\" At the same time, the album features legendary hits by Freiwillige Selbstkontrolle which are still played at every concert to this day. With this reissue of Ça c'est le Blues , one of the most impressive releases in 20th-century German avant-pop history is finally available again. The reissue includes a comprehensive booklet featuring an in-depth interview about the album with all band members, as well as numerous previously unpublished photos.\"\u003c\/p\u003e","brand":"A-Musik","offers":[{"title":"LP","offer_id":49193553821915,"sku":null,"price":34.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/A043LP_CU.jpg?v=1788371020"},{"product_id":"sun-ra-his-arkestra-east-two-7","title":"SUN RA \u0026 HIS ARKESTRA - East Two + 7","description":"\u003cp\u003e\"East Two comprises previously unreleased tracks from one of Sun Ra 's most productive periods: 1972-73. Those two hectic years saw Sun Ra recording numerous albums, staging concerts, teaching at Berkeley, acting in and composing the score for a full-length movie, embarking on a multi-album (though ill-fated) major label deal, and touring the U.S. and Europe. The title track, 'East Two,' is one of two pieces on this album originating at a two-day October 1972 session at Chicago's Streeterville Studios. It's an ominous, sprawling processional, and the only known recording of this moody work. Arkestra baritone saxophonist Pat Patrick played electric bass on this session, which also featured Ra's typically idiosyncratic synth, along with fine solos from Kwame Hadi (trumpet) and Arkestra mainstay John Gilmore (tenor sax). The other track is an alternate version of 'Rocket #9' where Ra's voice is scarcely heard in the ensemble vocals in favor of the Space Ethnic Voices. Additional material is taken from 1973 Variety Studios sessions in NYC including 'In Tomorrow's Realm,' where veteran Arkestra bassist Ronnie Boykins provided the anchor with his bass line forming its vital rhythmic framework. This would be the final year Boykins worked regularly with Ra and this track is a fitting tribute to his role in the band, demonstrating how essential he was to Sun Ra's sound. CD version contains additional tracks of two live performances from 1984 and 1985.\"\u003c\/p\u003e","brand":"Cosmic Myth","offers":[{"title":"CD","offer_id":49193555394779,"sku":null,"price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/CMR010CD_CU.jpg?v=1788371028"},{"product_id":"sun-ra-his-arkestra-east-two-5","title":"SUN RA \u0026 HIS ARKESTRA - East Two + 5","description":"\u003cp\u003e\"LP version. \" East Two comprises previously unreleased tracks from one of Sun Ra 's most productive periods: 1972-73. Those two hectic years saw Sun Ra recording numerous albums, staging concerts, teaching at Berkeley, acting in and composing the score for a full-length movie, embarking on a multi-album (though ill-fated) major label deal, and touring the U.S. and Europe. The title track, 'East Two,' is one of two pieces on this album originating at a two-day October 1972 session at Chicago's Streeterville Studios. It's an ominous, sprawling processional, and the only known recording of this moody work. Arkestra baritone saxophonist Pat Patrick played electric bass on this session, which also featured Ra's typically idiosyncratic synth, along with fine solos from Kwame Hadi (trumpet) and Arkestra mainstay John Gilmore (tenor sax). The other track is an alternate version of 'Rocket #9' where Ra's voice is scarcely heard in the ensemble vocals in favor of the Space Ethnic Voices. Additional material is taken from 1973 Variety Studios sessions in NYC including 'In Tomorrow's Realm,' where veteran Arkestra bassist Ronnie Boykins provided the anchor with his bass line forming its vital rhythmic framework. This would be the final year Boykins worked regularly with Ra and this track is a fitting tribute to his role in the band, demonstrating how essential he was to Sun Ra's sound.\"\"\u003c\/p\u003e","brand":"Cosmic Myth","offers":[{"title":"LP","offer_id":49193556213979,"sku":null,"price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/CMR010LP_CU.jpg?v=1788371030"},{"product_id":"mkb-fraction-provisoire-feat-jac-berrocal-feu","title":"MKB FRACTION PROVISOIRE FEAT. JAC BERROCAL - Feu!","description":"\u003cp\u003e\"Feu! by MKB Fraction Provisoire , recorded in 1993, reissued 30 years later. Featuring Jac Berrocal , MKB Fraction Provisoire ( Messageros Killers Boys ) is the variable-geometry musical project of filmmaker and writer F.J. Ossang , founded in 1980 in response to a need for creativity fueled by the punk movement and industrial music, which the band called Noise'n'Roll . \"This record was invented in ten days. When Nagi Baz offered us the use of his studio for a week, we had just finished recording Doctor Chance in 1993. The project was immediately to pay a sort of tribute to my writer friend Jean-François Charpin (1957-1987), a Sex Pistols accomplice who had initiated the Chalet du Lac concert in September 1976, before creating the excellent and short-lived avant-garde magazine Grabuge in 1978 (two issues published). We spent an entire weekend with Jack Belsen laying the foundations for six tracks using machine matrices and looped rhythms, while I wrote at full speed on the typewriter. On Monday, I finished editing the raw texts while Belsen recorded the rhythms. The next day, it was my turn to record the vocals in a single block -- then Jac Berrocal and Little Drake played their instrumental parts. The following Monday, Nagi Baz left his record company. After thirty years, the reissue of the album Feu! set for the first time on vinyl by Rotorelief Records (augmented by the Messageros Killer Boy genotype, recorded just before I left for Chile in 1994) turns out to be a double eulogy for J.F. Charpin, but also for Jack Belsen, brutally snatched from life for a terrible season, between late spring 2018 and his death on December 7 the following year.\"\"\u003c\/p\u003e","brand":"Rotorelief","offers":[{"title":"CD","offer_id":49193562341595,"sku":null,"price":26.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":49193562374363,"sku":null,"price":46.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/ROTOR082CD_CU.jpg?v=1788371037"},{"product_id":"la-division-technique-traversant-les-cites-liquides","title":"LA DIVISION TECHNIQUE - Traversant Les Cites Liquides","description":"\u003cp\u003e\"A journey across desperate continents and human worlds in freefall -- between psychedelic electronic music, tortured melodies with hints of weeping arpeggios that crash on ambient industrial waves. Occasionally, a male or female voice -- some French occult electronic blues, influenced by Swans and Morricone .\"\u003c\/p\u003e","brand":"Rotorelief","offers":[{"title":"CD","offer_id":49193562734811,"sku":null,"price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/ROTOR083CD_CU.jpg?v=1788371038"},{"product_id":"stenka-bazin-guanajuato","title":"STENKA BAZIN - Guanajuato","description":"\u003cp\u003e\"Stenka Bazin 's Guanajuato . LP handmade sleeve with fanzine booklet, limited 120 copies. Reissue of the 1985 cassette, adapted to vinyl format from the original. Stenka Bazin is an intervention group made up of a sound operator and physiological contributors, neither artists nor theorists, but human beings. An intervention by Stenka Bazin is a massive ceremonial of exculpation, a primary act of psychotherapy, an exorcism.\"\u003c\/p\u003e","brand":"Rotorelief","offers":[{"title":"LP","offer_id":49193562898651,"sku":null,"price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/ROTOR087LP_CU.jpg?v=1788371039"},{"product_id":"nurse-with-wound-backside-dark-crystal-color-vinyl","title":"NURSE WITH WOUND - Backside (Dark Crystal Color Vinyl)","description":"\u003cp\u003e\"LP version. Gatefold sleeve. Dark crystal color vinyl. New studio album Backside by Nurse With Wound , includes unearthed fragments of Bladder Flask by Richard Rupenus , circa '80s, also released on CD in 2024. Cover art by Babs Santini . The paths of Nurse With Wound and Bladder Flask first crossed in 1980 and the following year Bladder Flask's debut album One Day I Was So Sad That The Corners Of My Mouth Met \u0026amp; Everybody Thought I Was Whistling was distributed by United Dairies. Following the aborted project for a second Bladder Flask album, scheduled for 1981, some forty years later, Richard Rupenus approached Steven Stapleton to use fragments of old recordings he'd unearthed from \"Bladder Flask\", an invitation that Stapleton accepted, and rather than simply remixing or reworking existing Bladder Flask tracks, Steve Stapleton and Andrew Liles have succeeded in reinforcing Nurse With Wound and Bladder Flask's sense of the absurd in this new opus \"Backside\". \" As the closest release style-wise to classic old NWW in decades, the album's opening track 'Backside' could almost be a relic of the early 1980s, full of squeaky and crunchy noises, big plate reverbs, lots of plunderphonics meets musique concrete type cut-up work, bizarre vocals and all sorts of unfathomable sonic elements. It's quite an intense listen, but totally enjoyable. 'Chernobyl Picnic' feels more like Cooloorta -era NWW, as it involves more use of extended tones, with lots of liberally chopped-up and totally messed about sounds, much of it fried and modulated in the most fascinating ways, a kind of harsher and more multi-faceted 'Soliloquy For Lilith.' An excellent release, especially for jaded old NWW fans who want more in the style of 'the good old days' \" -- Alan Freeman .\"\u003c\/p\u003e","brand":"Rotorelief","offers":[{"title":"LP","offer_id":49193563619547,"sku":null,"price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/ROTOR091CLP_CU.jpg?v=1788371046"},{"product_id":"nurse-with-wound-backside","title":"NURSE WITH WOUND - Backside","description":"\u003cp\u003e\"New studio album Backside by Nurse With Wound , includes unearthed fragments of Bladder Flask by Richard Rupenus , circa '80s, also released on CD in 2024. Cover art by Babs Santini . The paths of Nurse With Wound and Bladder Flask first crossed in 1980 and the following year Bladder Flask's debut album One Day I Was So Sad That The Corners Of My Mouth Met \u0026amp; Everybody Thought I Was Whistling was distributed by United Dairies. Following the aborted project for a second Bladder Flask album, scheduled for 1981, some forty years later, Richard Rupenus approached Steven Stapleton to use fragments of old recordings he'd unearthed from \"Bladder Flask\", an invitation that Stapleton accepted, and rather than simply remixing or reworking existing Bladder Flask tracks, Steve Stapleton and Andrew Liles have succeeded in reinforcing Nurse With Wound and Bladder Flask's sense of the absurd in this new opus \"Backside\". Black vinyl. \" As the closest release style-wise to classic old NWW in decades, the album's opening track 'Backside' could almost be a relic of the early 1980s, full of squeaky and crunchy noises, big plate reverbs, lots of plunderphonics meets musique concrete type cut-up work, bizarre vocals and all sorts of unfathomable sonic elements. It's quite an intense listen, but totally enjoyable. 'Chernobyl Picnic' feels more like Cooloorta -era NWW, as it involves more use of extended tones, with lots of liberally chopped-up and totally messed about sounds, much of it fried and modulated in the most fascinating ways, a kind of harsher and more multi-faceted 'Soliloquy For Lilith.' An excellent release, especially for jaded old NWW fans who want more in the style of 'the good old days' \" -- Alan Freeman .\"\u003c\/p\u003e","brand":"Rotorelief","offers":[{"title":"LP","offer_id":49193563685083,"sku":null,"price":46.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/ROTOR091LP_CU.jpg?v=1788371047"},{"product_id":"drumm-kevin-the-mild-temper","title":"DRUMM, KEVIN - The Mild Temper","description":"\u003cp\u003e\"For more than thirty years, Kevin Drumm has developed a unique sonic language situated at the intersection of drone, electronics, improvisation and sound abstraction. Continuously evolving, his work has become one of the most distinctive voices in contemporary experimental music. Comprising more than six hours of music, The Mild Temper presents an extensive collection of pieces built from gradual transformations, micro-acoustic events and frequency-based structures characteristic of Drumm's practice. Across six discs, the music explores varying states of density, resonance and spatiality, reflecting a sustained interest in the physical properties of sound and their perception over extended durations. The title, The Mild Temper , suggests a quiet force rather than an overt gesture. Sonic materials often appear restrained, held in a delicate balance between stasis and motion. Small shifts gradually alter the acoustic landscape as layers of frequencies emerge, recede and recombine throughout the listening experience. Avoiding narrative and dramatic development, these works offer immersion in highly detailed sonic environments where every element contributes to the construction of a deeply absorbing listening space. Attention to texture, depth and duration forms the connective thread throughout the collection. With The Mild Temper , Kevin Drumm continues his exploration of sound as an autonomous phenomenon, presenting a body of work of remarkable coherence that reflects both the singularity and maturity of his artistic practice. Mastering by Jim O'Rourke .\"\u003c\/p\u003e","brand":"Sonoris","offers":[{"title":"6CD BOX","offer_id":49193563750619,"sku":null,"price":56.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/SNS028CD_CU.jpg?v=1788371047"},{"product_id":"collette-ned-mixed-light","title":"COLLETTE, NED - Mixed Light","description":"\u003cp\u003e\"\"We first became aware of this great Australian-born rover when he had finished recording his 2018 progressive folk masterpiece, Old Chestnut . Ned followed this up with 2019's surprising, fantastic instrumental trio LP, Afternoon-Dusk . Then in 2022 we vinylized his great solo debut, Jokes \u0026amp; Trials and did a lathe of his excellent appearance on our covid-era Quarantunes series. 2024 saw the release of Our Other History which was a lovely assemblage of material recorded in a variety of formats. Now we have a new slab on Ned called Mixed Light . And it's a beaut. Like Our Other History , this new one is more of a blended sonic journey than any kind of monolith. Recorded over time in a variety of locations, the sound is certainly congruent throughout, but its detailing varies quite a bit from track to track. The opener, 'Evening,' for instance, is a solo piano track, sounding something like early '60s Erroll Garner lazily riffing on a theme from Monk 's 'Ruby My Dear.' This dissolves into the acoustic strum of 'Curious Thing,' featuring Joe Talia 's fantastic drumming, Ben Bourke 's gently melodic bass and Leah Senior 's background vocals. All of which revolve around a great block sequence of descending piano chords, a soft splash of Al Kooper -esque organ and Ned's dark-edged voice. The next track, 'Paper Night' involved a full-on jazz quintet, featuring Chris Abrahams 's gorgeous piano tones, with an overall vibe reminiscent of what the legendary Mike Cooper was doing with his Machine Gun Company band, or even what Robert Wyatt did with the Brotherhood of Breath dudes. It's a true jazz\/folk fusion with a bit of a prog rock overlay. Which might make it seem pretty complicated, but mostly it's just lovely. In a general way, these three tracks serve as the main templates for the sounds explored on Mixed Light , with the exception of 'In the Kitchen,' which is a stripped-down folk\/blues duet with Bonnie Prince Billy . The album is full of great tunes, that flow with casual elegance of Ned's best work. And everything manages to fit together seamlessly, despite being recorded in patches. Here's hoping there will be some American shows on the horizon soon. Ned's songs always manage to burn with extra flame in a live context. \" - Byron Coley , 2026\"\u003c\/p\u003e","brand":"Feeding Tube","offers":[{"title":"LP","offer_id":49214200250587,"sku":null,"price":36.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/FTR829LP_CU.jpg?v=1788372201"},{"product_id":"von-schlippenbach-alexander-main-lines1967","title":"VON SCHLIPPENBACH, ALEXANDER - Main Lines\/1967","description":"\u003cp\u003e\"In September, 1967, three of the primary ensembles of free music in Northern Europe gathered for a mini-festival on Radio Bremen: the Manfred Schoof Quintet , the Peter Brötzmann Quartet , and the Irene Schwiezer Trio . Pianist Alexander von Schlippenbach appeared as part of the Manfred Schoof Quintet, but in these sets, which mixed the dozen members of the ensembles, as well as presenting them on their own, Schlippenbach in fact either led or was at the center of several groupings, presenting two of his compositions. Main Lines\/1967 compiles four tracks from these formative studio sessions, which took place just as the participants were formulating the basic direction of improvised music in Europe. The CD includes large ensemble music in the mode of Schlippenbach's Globe Unity recordings, the first of which were made a year earlier. Mani Neumeier , who would soon become the drummer in the rock group Guru Guru , offers a wild percussion-centric ride in \"It's Up,\" while saxophonist Peter Brötzmann squares off against trios -- three basses, three pianos, three drummers -- in the volatile piece \"Three.\" The most compositionally complex works are Schlippenbach's, the title track and \"Turn 14,\" which was part of the Schoof Quintet's repertoire. Other participants include drummer Jaki Liebezeit , who would go on to propel Can , bassists Peter Kowald , Uli Trepte , and Buschi Niebergall , pianist Fred Van Hove , saxophonist Gerd Dudek , and celebrated improvisor\/drummer Sven-Äke Johansson . A major unearthing, these recordings celebrate their 60th anniversary next year but have lost none of their incendiary edge.\"\u003c\/p\u003e","brand":"Corbett Vs. Dempsey","offers":[{"title":"CD","offer_id":49214200283355,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/CVSD121CD_CU.jpg?v=1788372202"},{"product_id":"omar-ali-hashish-hits","title":"OMAR, ALI - Hashish Hits","description":"\u003cp\u003e\"2026 repress. Efficient Space honors the memory of producer and MC Ali Omar with Hashish Hits , a posthumous selection from the dub rebel's self-released discography. One of ten children in working-class Liverpool, Omar drew deep influence from his father's Arabic heritage -- a thread central to his identity and sample origins. After art school and a spell clubbing during Manchester's halcyon days, he relocated to Sydney, where he co-founded the blunted downbeat duo Atone with fellow British expatriate Andy Fitzgerald . As an MC, he infiltrated the city's house, dub, jungle, and bass circuits, becoming a regular fixture at the Bentley Bar, where he commanded the mic with his versatile, rumbling baritone and charisma. Freakishly talented in the studio, Omar was a pioneer of the Akai sampler and Atari, deftly recording live sessions straight to DAT. Drawing on industry insights from his sister, Merseybeat firebrand Beryl Marsden -- who supported The Beatles on their final UK tour and was signed to Decca and Columbia -- the non-conformist sought to build a self-sufficient business model. Between 1998 and 2004, he independently issued four albums on CD through his Hashish Studios imprint, hustling copies directly to local record stores and live shows for instant returns, even hand-sewing screen-printed hessian sleeves for his final release. Uncompromising in his principles and refusing to suffer fools or charlatans, Omar relished the opportunity to collaborate with those who embodied the same spirit. Hashish Hits offers a snapshot of his inner sanctum -- Fitzgerald on the opening track's billowing smoke stacks, the serpentine vocals of Gina Mitchell and the magic hands of mixer Louis Mitchell on \"On Release,\" and Wicked Beat Sound System 's Kye on \"Poor Man Beggar Man Thief.\" Meanwhile, \"Suicide Bomber\" smolders with the tension of a lost Muslimgauze relic, as the instructional \"Roll Up\" and \"The Last Straw\" spiral deeper into Omar's signature production vortex -- where space stretches in slow motion and walls reverberate with ricocheting delay. A true icon of Sydney's underground scene, the larger-than-life Omar passed away on 23 June 2009 after a valiant battle with cancer. He is remembered for his assertive spirit, larrikin humor, wild anarchic personality, and enduring mantra: \"Love and live your life.\"\"\u003c\/p\u003e","brand":"Efficient Space","offers":[{"title":"LP","offer_id":49214200348891,"sku":null,"price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/EFFICIENT041LP_CU_34b53349-1b64-468b-9b5d-fc9471d3db77.jpg?v=1788372202"},{"product_id":"cooper-mike-stochastic-parrot","title":"COOPER, MIKE - Stochastic Parrot","description":"\u003cp\u003e\"A note from Mike Cooper : \"In the past some reviewers and critics of my series of ambient\/electronic\/exotic releases mentioned Jon Hassell and even suggested that we should make an album together. That never happened of course and probably never would have. An influence of his music on my exotica music is in some ways true but initially to be honest it was the cover art by Mati Klarwein for Aka\/Darbari\/Java and Dream Theory in Malaya that I would sometimes turn to look at for inspiration. They reminded me of places that I loved to be and why I was making the music. They were non-existent or imaginary places that I might have visited in dreams or half remembered from real places. Mati also provided art work for the covers of Miles Davis 's records, from Bitches Brew onwards and for Carlos Santana amongst many others. There is also a lot of King Tubby and Lee Scratch Perry 's influence here in the process as well as the poetry and novels of Nathaniel Mackey which were referenced often during the gestation period.\" Featuring Mike Cooper (samples, field recordings, voice, lap steel guitars), Pierre Bastien (valve cornet), and Mark Cunningham (trumpet). Mastered by Lawrence English at Negative Space. Design by Traianos Pakioufakis . Cover image by Mike Cooper.\"\u003c\/p\u003e","brand":"Room40","offers":[{"title":"CD","offer_id":49214200578267,"sku":null,"price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/RM4285CD_CU.jpg?v=1788372205"},{"product_id":"popp-simon-trio-silver-edition","title":"POPP, SIMON - Trio (Silver Edition)","description":"\u003cp\u003e\"Simon Popp is back on Squama with his fourth album Trio . At its heart, Trio is a work about collaboration, playfulness and unification. It is music as a means of coming together, a sonic equivalent to the Japanese philosophy of Kintsugi, in which broken ceramics are repaired with a visible golden lacquer. Rather than hiding the breaks, Kintsugi embraces them, making them part of the story, a form of delicate transformation. Popp and his collaborators Flurin Mück and Sebastian Wolfgruber take a similar approach: three distinct drummers, three different temperaments, three personal styles. Fused together into a single expressive instrument. The album is a celebration of timbre, texture, and touch, its sound palette drawn from across continents and traditions. Human beings at all points of time, across all cultures and continents have used music to celebrate, mourn, worship and bond. Along with our voices, creating rhythm with our bodies. Clapping, stomping, hitting with sticks. A celebration of rhythm as both a shared human memory and an audible expression of close bonds. Trio is a reflection of the beauty of imperfection and the timeless pull of rhythm as a shared human force. The cracks are not hidden. They are filled with gold.\"\u003c\/p\u003e","brand":"Squama","offers":[{"title":"LP","offer_id":49214200873179,"sku":null,"price":38.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/SQM036SLP_CU.jpg?v=1788372206"}],"url":"https:\/\/www.fusetronsound.com\/collections\/placeholder-26.oembed","provider":"fusetron","version":"1.0","type":"link"}