Henning Christiansen’s masterpiece, out of reach for more than forty years: a work of musique concrète made in 1985 with Lorenzo Mammi from field recordings of the animals of Rome’s Zoological Garden, electronic processes and instrumental sounds, then played back to the animals themselves through eight loudspeakers around the zoo’s lake.

Returning to their duo collaboration that first emerged into the broad consciousness across the length of last year's critically heralded "The Quiet Sun", Sarah Hennies & Tristan Kasten-Krause deliver "Prisoner's Cinema", comprising two astounding works primarily composed for percussion and bass, augmented by field-recordings and featuring a guest appearance by Madison Greenstone on clarinet. Simultaneously constrained and expansive, tapping an uncanny emotiveness that envelops the ear in mind-altering phenomena, produced by meticulously crafted structures and sonic relationships, it's easily one of the most compelling full-lengths to cross our path this year.

Commissioned by ZKM in Karlsruhe, Lea Bertucci's "The Days Pass Quickly Immersed in the Shadow of Eternity" was written for the flutist Norbert Rodenkirchen of Sequentia and his collection of Renaissance, Medieval and Neolithic flutes. Recorded at ZKM in the summer of 2024 for a 42.4 speaker system and mixed to stereo for this LP, it sets ancient instruments inside electronic process until they sound like an ensemble playing across centuries. On Blume, with liner notes by Bradford Bailey.

Building on the remarkable ground already traversed across their three previous entries dedicated, respectively, to the work of Nisse Sandström Group, Lars-Göran Ulander, and Roland Keijser Kvartett, the longstanding imprint Caprice returns to the Öppet series, their incredible curatorial collaboration with Mats Gustafsson and Roger Bergner, dedicated to important under-celebrated Scandinavian creative, experimental music, with “Fyra”, Öppet number four, dedicated to the incredible Norwegian vocalist Karin Krog. Comprising two never before released sessions made in 1970 in Germany, raging radical experiments, hard blown free jazz fire, and thrilling reconstructions of vocal based jazz, it's yet another revelation from Öppet that dances in the ear and challenges the mind.

In the shapeshifting field of experimental music, few artists approach sound with the quiet precision and philosophical depth of Finnish composer Marja Ahti. Her 2025 LP "Touch This Fragrant Surface of Earth" (Fönstret) refuses the conventional boundaries of composition, unfolding instead as a meditation on both fleetingness and transformation. Listening to Ahti’s sound world means practicing the deepest of attentions, where sounds fade, return, and reflect the fragile flux of life.

In 1970 David Tudor composed a set of pieces for the Pepsi-Cola Pavilion at Expo '70 in Osaka, the mist-shrouded dome designed by Experiments in Art and Technology, with a sound system of 37 speakers he developed with Gordon Mumma and Fred Waldhauer. Blume now issues two of them on red vinyl: "Pepsibird", made from tapes of human and animal brain waves and recorded in situ, and "Anima Pepsi", built from field recordings of insects and animals, with liner notes by Bradford Bailey and a 20-page LP-size booklet with an essay by You Nakai.

Henning Christiansen’s masterpiece, out of reach for more than forty years: a work of musique concrète made in 1985 with Lorenzo Mammi from field recordings of the animals of Rome’s Zoological Garden, electronic processes and instrumental sounds, then played back to the animals themselves through eight loudspeakers around the zoo’s lake.

Building on the remarkable ground already traversed across their three previous entries dedicated, respectively, to the work of Nisse Sandström Group, Lars-Göran Ulander, and Roland Keijser Kvartett, the longstanding imprint Caprice returns to the Öppet series, their incredible curatorial collaboration with Mats Gustafsson and Roger Bergner, dedicated to important under-celebrated Scandinavian creative, experimental music, with “Fyra”, Öppet number four, dedicated to the incredible Norwegian vocalist Karin Krog. Comprising two never before released sessions made in 1970 in Germany, raging radical experiments, hard blown free jazz fire, and thrilling reconstructions of vocal based jazz, it's yet another revelation from Öppet that dances in the ear and challenges the mind.

Returning to their duo collaboration that first emerged into the broad consciousness across the length of last year's critically heralded "The Quiet Sun", Sarah Hennies & Tristan Kasten-Krause deliver "Prisoner's Cinema", comprising two astounding works primarily composed for percussion and bass, augmented by field-recordings and featuring a guest appearance by Madison Greenstone on clarinet. Simultaneously constrained and expansive, tapping an uncanny emotiveness that envelops the ear in mind-altering phenomena, produced by meticulously crafted structures and sonic relationships, it's easily one of the most compelling full-lengths to cross our path this year.

In the shapeshifting field of experimental music, few artists approach sound with the quiet precision and philosophical depth of Finnish composer Marja Ahti. Her 2025 LP "Touch This Fragrant Surface of Earth" (Fönstret) refuses the conventional boundaries of composition, unfolding instead as a meditation on both fleetingness and transformation. Listening to Ahti’s sound world means practicing the deepest of attentions, where sounds fade, return, and reflect the fragile flux of life.

In 1970 David Tudor composed a set of pieces for the Pepsi-Cola Pavilion at Expo '70 in Osaka, the mist-shrouded dome designed by Experiments in Art and Technology, with a sound system of 37 speakers he developed with Gordon Mumma and Fred Waldhauer. Blume now issues two of them on red vinyl: "Pepsibird", made from tapes of human and animal brain waves and recorded in situ, and "Anima Pepsi", built from field recordings of insects and animals, with liner notes by Bradford Bailey and a 20-page LP-size booklet with an essay by You Nakai.

Commissioned by ZKM in Karlsruhe, Lea Bertucci's "The Days Pass Quickly Immersed in the Shadow of Eternity" was written for the flutist Norbert Rodenkirchen of Sequentia and his collection of Renaissance, Medieval and Neolithic flutes. Recorded at ZKM in the summer of 2024 for a 42.4 speaker system and mixed to stereo for this LP, it sets ancient instruments inside electronic process until they sound like an ensemble playing across centuries. On Blume, with liner notes by Bradford Bailey.

Henning Christiansen’s masterpiece, out of reach for more than forty years: a work of musique concrète made in 1985 with Lorenzo Mammi from field recordings of the animals of Rome’s Zoological Garden, electronic processes and instrumental sounds, then played back to the animals themselves through eight loudspeakers around the zoo’s lake.

In 1970 David Tudor composed a set of pieces for the Pepsi-Cola Pavilion at Expo '70 in Osaka, the mist-shrouded dome designed by Experiments in Art and Technology, with a sound system of 37 speakers he developed with Gordon Mumma and Fred Waldhauer. Blume now issues two of them on red vinyl: "Pepsibird", made from tapes of human and animal brain waves and recorded in situ, and "Anima Pepsi", built from field recordings of insects and animals, with liner notes by Bradford Bailey and a 20-page LP-size booklet with an essay by You Nakai.

Commissioned by ZKM in Karlsruhe, Lea Bertucci's "The Days Pass Quickly Immersed in the Shadow of Eternity" was written for the flutist Norbert Rodenkirchen of Sequentia and his collection of Renaissance, Medieval and Neolithic flutes. Recorded at ZKM in the summer of 2024 for a 42.4 speaker system and mixed to stereo for this LP, it sets ancient instruments inside electronic process until they sound like an ensemble playing across centuries. On Blume, with liner notes by Bradford Bailey.

Building on the remarkable ground already traversed across their three previous entries dedicated, respectively, to the work of Nisse Sandström Group, Lars-Göran Ulander, and Roland Keijser Kvartett, the longstanding imprint Caprice returns to the Öppet series, their incredible curatorial collaboration with Mats Gustafsson and Roger Bergner, dedicated to important under-celebrated Scandinavian creative, experimental music, with “Fyra”, Öppet number four, dedicated to the incredible Norwegian vocalist Karin Krog. Comprising two never before released sessions made in 1970 in Germany, raging radical experiments, hard blown free jazz fire, and thrilling reconstructions of vocal based jazz, it's yet another revelation from Öppet that dances in the ear and challenges the mind.

Returning to their duo collaboration that first emerged into the broad consciousness across the length of last year's critically heralded "The Quiet Sun", Sarah Hennies & Tristan Kasten-Krause deliver "Prisoner's Cinema", comprising two astounding works primarily composed for percussion and bass, augmented by field-recordings and featuring a guest appearance by Madison Greenstone on clarinet. Simultaneously constrained and expansive, tapping an uncanny emotiveness that envelops the ear in mind-altering phenomena, produced by meticulously crafted structures and sonic relationships, it's easily one of the most compelling full-lengths to cross our path this year.

In the shapeshifting field of experimental music, few artists approach sound with the quiet precision and philosophical depth of Finnish composer Marja Ahti. Her 2025 LP "Touch This Fragrant Surface of Earth" (Fönstret) refuses the conventional boundaries of composition, unfolding instead as a meditation on both fleetingness and transformation. Listening to Ahti’s sound world means practicing the deepest of attentions, where sounds fade, return, and reflect the fragile flux of life.