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On No Obituary, Concealed Class - the duo of Charlie Mumma and Matt Purse - reduce harsh sound to its barest, most hostile state: absolute electronics where saturation, feedback and structural collapse are the only remaining facts.
On Electric Garden, Sissy Spacek and Smegma blur into a single, unstable organism, trading identities inside a live electro‑acoustic tangle where tape, junk percussion, turntables and guitar debris drift through The Pink House like sentient interference.
On Annihilation of Samsara, Attila Csihar, Balázs Pándi and John Wiese converge as a single, shifting organism, dissolving borders between extreme metal, free improvisation and noise into a dense, unstable ritual where sound behaves more like weather than music.
On Geometric Reason, Sissy Spacek reroute their long‑running extremism into a jagged strain of musique concrète, splicing voice, electronics and acoustic shards into a volatile collage charged by fire‑displacement, Japanese connections and their enduring taste for rupture.
On War Poem, Chris Connelly turns antique tape machines into artillery: a single, accidental loop blooms into side‑long, grief‑stricken immersion, where scorched industrial sonics and stark anti‑war outrage fuse into something brutally intense and unnervingly beautiful.
With Writing, Ahmed - the quartet of Pat Thomas, Joel Grip, Antonin Gerbal and Seymour Wright - turn a decade of notes, essays and sleeve texts into a woven chorus, mapping how their deep dive into Ahmed Abdul‑Malik becomes a living method for making future music.
On Io Pur Respiro, pianist Elias Stemeseder and bassist Thomas Morgan sculpt a live duo language where Gesualdo, 1930s standards and original pieces blur into a quietly radiant continuum, guided by an unerring sense of melody, space and equilibrium.
This release (Book + 7") by Vincent Epplay is a free interpretation of audio and visual archives drawn from sound experiments conducted during music workshops in Freinet schools in the 1960s and 1970s. It serves as a way of reviving these diverse practices, allowing us to revisit the original educational experiments carried out over the course of a decade in various Freinet classrooms. Beyond simply unearthing these hidden treasures, the aim here is to capture a pioneering spirit in which wild …
2026 Repress. Initially produced by Table of the Elements. Eliane Radigue's Adnos trilogy was composed between 1973 and 1980 and is among her finest compositions. Adnos is a deeply meditative work of infinite depth and sensitivity; one of the high points of modern minimal electronic composition. Packaged in a heavy duty 3CD jacket much like the recent Eleh releases and containing extensive archival materials.Eliane Radigue has composed for magnetic tape and electronic media since the late 1950's…
On Vulcanalia, AX - the solo vehicle of Anthony Di Franco - returns after nearly three decades to his original mandate: vast, beatless torrents of guitar, feedback and electronics, now scaled up into a molten, myth‑drunk monument to Roman fire and stone.
You Smile — The Song Is Over is Cheer-Accident’s 27th full-length release, out on the most-singular/most-still-standing Cuneiform label. It is an ambitious little monster, with lots of density and lots of sprawl, and it’s the perfect catalyst to force you out of your idiotic, culturally imposed ADD stupor. You Smile is, by turns, both meditative and adventurous, and we don’t see why you would want to leave your couch and/or headphones for a very long time. Our last couple releases could very wel…
*200 copies limited edition* Michaela Turcerová’s compositions unfold in slow motion. The saxophonist and composer’s glacial music zeroes in on the granularities of each note as it rings, soaking in every subtle shift in texture and pitch. Šumum exemplifies this patient approach to writing music, branching out from themes of loss and togetherness into an intricate tapestry of introspective sound. These four pieces invite deep collaboration between performers, who together shape the music through…
Available for the first time since its original release in 1980, this is compelling, funky, exploratory jazz from Melbourne, Australia. The album opens with the floating Song For Bobby, a downtempo gem with the heartbeat aura of Herbie Hancock’s Butterfly; Orchestral Excerpts (From The Symphony Of Life), In The Basement and City Of Stone are high-grade fusion jams with one eye on Weather Report and Return to Forever, the other on the organic Australian sound of Alan Lee and John Sangster.
The al…
*200 copies limited edition* Two beautiful pieces merging piano, electronics and field recordings.
"you had that uncertain landscape / in your mouth / a slightly opaque breath / chewing distances / into the ear of a land still without a name / the morning had settled askew / on the slow stones / and the motionless grasses / everything seemed to be waiting / for something very ancient / that never quite arrived / on my side / i had filled my pocket with silence / and repeated several times / what…
Vienna FLAMMeS, or: The noise of these post-jazz improvisers resounds from paradise. According to a widespread cliché, improvisation in jazz is supposed to help promote the free play of the imagination. It was the Viennese flugelhorn player Franz Koglmann who vehemently contradicted the image of the naively self-actualizing jazz musician. As a composer of cerebral “cool” pieces, whose melancholy sprang from a razor-sharp analysis of his own means of expression, Koglmann was the most qualified pe…
*100 copies limited edition* Transparent duo, for 2 string instruments. On transparent paper. One set of pages indicates bowing. The second indicates the direction and length of mostly inaudible glissando. Players overlay pages and play any number of combinations. Field recordings were taken one morning and evening, in the summer of 2025 around Narrowsburg. "Through my music, I create situations for people to play and be together, to sustain a community, to share sounds and ideas in a welcoming …
We Jazz Magazine, Issue 19 / Summer 2026 "Milestones" for Miles Davis. 128 pages, 170 x 240 mm in size and printed on 140g Edixion paper with laminated 300g Invercote covers. All articles presented in English. Miles Davis by Alex Coles, Phil Freeman, Tony Higgins, Ashley Kahn, Tadayuki Naitoh & Anton Spice, Spiritual Jazz by Pierre Crépon & Francis Gooding, Kadi Vija by Wif Stenger, Ingebrigt Håker Flaten by Tom Toremans, Jonah Parzen-Johnson by Giulio Pecci, Emma Rawicz by Rob Garratt, Courtney…
On By the Lake Festival, Faust bottle a singular Berlin afternoon: iconic early pieces - including a choral‑bolstered “Why Don’t You Eat Carrots?” - rendered raw, sun‑bleached and unrepeatable, preserved in a lovingly remastered document that leaves every glorious flaw intact.