Guitar, Solo
On Guitar, Solo, Michael Scott Dawson distills his tender ambient language to its essence: frayed guitar melodies, soft tape ghosts and pastoral field recordings breathing in unison on a Japan‑toured sister album to Music For Listening.
Flood Coil
On Flood Coil, Norwegian artist Kjell Bjorgeengen and noise architect Lasse Marhaug collide flickering electronics and dense signal storms, turning sound into a volatile field of interference where image, electricity and feedback are felt rather than merely perceived.
Displaces
On Displaces, sound artist Francesco Fabris fashions a high‑dimensional cartography of memory, hyperobjects and matter, where langspil, biophonies and geophonies are folded into phased time‑space, drifting between suffocation and release in an eerily tactile sonic ecosystem.
Nuó Xiǎng
On Nuó Xiǎng, Camilo Ángeles and Qiujiang Levi Lu forge an electroacoustic ritual: custom DSP, live processing, extended voice and augmented flute merge into abstract yet visceral soundscapes, echoing ancient Nuó ceremony while stepping beyond any fixed genre.
Los Mandatos del Aire
On Los Mandatos del Aire, Peruvian flautist Camilo Ángeles deconstructs his instrument into a bridge between worlds, channeling Amazonian cosmology and ayahuasca visions through extended techniques, microtonalities, analog processing and reverb‑chamber acoustics in dialogue with Musuk Nolte's photography.
Asteroid*
*70 copies limited edition* Flung is pleased to present Raphaël Languillat’s Asteroid*, which renders celestial debris and deep-space signals as volatile synthesiser improvisations, released on limited edition cassette, exclusively on Bandcamp. Asteroid* arrives as four transmissions extracted from a self-modulating Korg MS-20 — a closed-circuit system driven by feedback and fracture. What surfaces are compositions as pressure events: ruptured drones, scorched frequencies, and signal debris spil…
Devet
*100 copies limited edition* Flung is proud to present Devet by Manja Ristić: A sonic tracing of cosmologies, thresholds, and elemental memory, centred around the symbolism of the number nine as a marker of completion, passage, and spiritual architecture. Crafted from environmental sound, improvisational sequences, and site-specific interventions, the collection unfolds as a sonic storytelling of nature’s bold framing of our existence.
The integration of ancestral knowledge systems, ecological w…
Bardo Thödol
In their third collaboration, the shared project between Merzbow and Pedro Vian shifts towards less confrontational and more introspective terrain. Bardo Thödol, released as an LP, draws on The Tibetan Book of the Dead not so much as an explicit narrative framework but as a conceptual resonance: a passage, a suspension between states.
Where Inside Richard Serra Sculptures and The Wheel of Mani foregrounded a relatively defined dialectic between Vian’s environmental restraint and Masami Akita’s i…
Ancient Moment Part 2
With centuries of history, traditional instruments carry physical vibrations shaped by human breath and touch. In contrast, electronic music generates vibrations through inorganic principles such as electrical signals and circuits. When the subtle tremors of traditional instruments resonate with the intricate tones of electronic sounds in an improvised dialogue, performers from distinct realms expand each other’s languages, creating a new sensory experience.
The project album Ancient Moment mar…
Chant
Over the last couple of decades Magda Mayas has developed a rigorous and distinctive prepared piano practice, working inside the piano with great musicality. The music on Chant captures a dramatic expansion of the pianist’s vision. Reflecting her devotion to social and musical communities through recent stretches of political upheaval and the disruption of the pandemic, she’s found solace in harmony and repetition, and after a period of exploring such sounds with clavinet and Fender-Rhodes, she …
I Still Feel the Future Is Far Away
Stifled wailing distortion, suspended chords, glistening bundles of gentle mallet strikes, streams of notes produced by handheld fans. A nearly hour long session of free improvisation - played and recorded without pretense in a basement - by two of St. Louis's most dedicated improvisers and organizers of the city's warped and faded experimental music scene.
Atlantean Glyph
Second release from guitar duo of Adam King and Aostin Zink
The Evening Group
Painting and sound results of group improvisation fall 2024.
Stone Memory
*50 copies limited edition*
Guitars and Electronics by Austin Zink and Adam KingMixed and Mastered by Grant Richardson, Hex Audio LabsArtwork by Milena KanakLayout by Emily Flake
Duo, Trio, Ensemble
*100 copies limited edition* Local free jazz saxophonist Dave Stone recorded live around town the last couple years with different musicians.
The Lost Tapes
Big Tip! *Limited edition of 200 copies* Geometrik Records is delighted to once again play 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. But he began his career at a very young age during the era of sound experimentation that flourished in the wa…
Automaginary + Totality
On Automaginary + Totality, Natural Information Society & Bitchin Bajas meet across two studio sessions separated by a decade, weaving rhythm, gravity and invisible force into organic convergences now united on CD for the first time - separate arcs made whole.
Country Tropics
Released in 2021, Country Tropics was the first offering from Old Saw. At the time, no one was really certain who was behind the lush and textured arrangements of a soon to be beloved ensemble of New England based musicians. 5 years and 4 albums later, the group announced that their fall 2025 double album, The Wringing Cloth, would be their last. An outpouring of affection and adoration for what the group had accomplished followed, with many noting just how unique a space Old Saw occupied with…
Sans Visage
Félicia Atkinson first saw Les yeux sans visage (Eyes Without a Face), the 1960 horror film by Georges Franju, when she was a teenager, around the turn of the century. At the time she was frequenting arthouse movie theaters, immersing herself in cinema, and she was encouraged to go by her father. The film made an impact for its iconic imagery and the way Franju draws on the aesthetics of early filmmaking, from its score that relies on stylistic markers typical of the 1940s or 50s to the decision…
Dissectologists
*100 copies limited edition* Compelling new collaborative works from longtime musical colleagues going back to the early 2000s in Austin with The Weird Weeds. These deftly paced pieces enhance the artist's now highly evolved and nuanced sonic palettes, venturing thoughtfully into warm and hypnotic sound fields merging two very unique approaches to abstract guitar Sedimental’s connection with these artists is long running, having released the final Weird Weeds album in 2012 that featured both Rus…