New Arrivals / Last 4 weeks

ℑ𝔫 𝔱𝔥𝔢 𝔯𝔢𝔪𝔬𝔱𝔢 𝔯𝔢𝔤𝔦𝔬𝔫 𝔬𝔣 𝔎𝔯𝔧𝔨, 𝔞𝔱 𝔱𝔥𝔢 𝔣𝔬𝔬𝔱 𝔬𝔣 𝔱𝔥𝔢 𝔙𝔢𝔦𝔩𝔢𝔡 ℌ𝔦𝔩𝔩𝔰, 𝔞 𝔪𝔶𝔰𝔱𝔢𝔯𝔦𝔬𝔲𝔰 𝔥𝔲𝔫𝔱 𝔟𝔢𝔱𝔴𝔢𝔢𝔫 𝔱𝔴𝔬 𝔰𝔭𝔦𝔯𝔦𝔱𝔰 𝔥𝔞𝔰 𝔟𝔢𝔢𝔫 𝔲𝔫𝔣𝔬𝔩𝔡𝔦𝔫𝔤 𝔣𝔬𝔯 𝔠𝔢𝔫𝔱𝔲𝔯𝔦𝔢𝔰: 𝔱𝔥𝔢 𝔏𝔲𝔫𝔞𝔯 𝔎𝔫𝔦𝔤𝔥𝔱, 𝔞 𝔭𝔞𝔩𝔢 𝔴𝔞𝔯𝔯𝔦𝔬𝔯 𝔠𝔩𝔞𝔡 𝔦𝔫 𝔰𝔦𝔩𝔳𝔢𝔯 𝔞𝔯𝔪𝔬𝔯, 𝔞𝔫𝔡 𝔇𝔷𝔲-𝔗𝔢𝔥, 𝔞 𝔠𝔯𝔢𝔞𝔱𝔲𝔯𝔢 𝔥𝔞𝔩𝔣 𝔪𝔞𝔫 𝔞𝔫𝔡 𝔥𝔞𝔩𝔣 𝔟𝔢𝔞𝔰𝔱. 𝔄 𝔠𝔲𝔯𝔰𝔢 𝔭𝔯𝔢𝔳𝔢𝔫𝔱𝔰 𝔱𝔥𝔢𝔪 𝔣𝔯𝔬𝔪 𝔢𝔳𝔢𝔯 𝔪𝔢𝔢𝔱𝔦𝔫𝔤: �…

The first album of new studio recordings of Philip Glass's film scores: Brussels Philharmonic and Dirk Brossé play 29 pieces, from Koyaanisqatsi to Kundun, with over half an hour of unreleased music from the composer's archive.

Goblin's score for George Romero's Dawn of the Dead, released for the first time under the film's original title: New York Comic Con 20th anniversary edition on black vinyl with new artwork, limited to 750 copies.

Museo Rosenbach's 1973 debut on Ricordi: a Nietzsche-inspired suite of Mellotron, Hammond and heavy guitars, sunk at the time by accusations of fascism and now one of the cult records of Italian progressive rock. Music On Vinyl reissue on 180g transparent vinyl, gatefold.

The producer of Sunn O))) and co-composer of the Mandy score makes his own 'science fiction music' from a Philip K. Dick lecture, with Jim Jarmusch, Cyro Baptista and Charmaine Lee.

A canon for three bassoons inspired by Hilma af Klint's 1915 Altarpieces: multiphonics, beating dissonances and whistle tones, between Scelsi, Radigue and Sunn O))). Produced by Randall Dunn.

Tokyo tap dancer and metal percussionist Reona on a wooden platform with bells, bowls, chains, signboards and a loudspeaker; produced by Randall Dunn, with Atsuo of Boris on one track.

Oren Ambarchi alone with the guitar: two sides, two single takes with almost no effects, recorded to tape at Studio Dede in Tokyo and produced by Randall Dunn.

William Basinski's first new album in six years: a single 40-minute piece for solo piano and subtle electronics, inspired by a past-life regression practice and by Morton Feldman.

First archival volume of the Swiss pianist and composer Lotti Tauber: minimalist, intuitive piano music from her privately pressed albums of 1981-1986, restored and mastered by Stephan Mathieu.

Third solo album by the Syrian keyboard master behind Omar Souleyman's sound: cosmic electronic dabke recorded in Iceland, produced by Randall Dunn with Mark Gergis.

Ten pieces built around Aimé Césaire's 1950 poetry collection Corps Perdu: processed hand-played melodies, field recordings and static, a companion to Works in Metal.

David Maranha's electric organ and Rodrigo Amado's tenor saxophone in a single 41-minute piece recorded live at Out.Fest 2025: drone, noise and free jazz, with liner notes by Stuart Broomer.

Experimental electronic music made entirely from processed recordings of Brazilian stingless bees, by the artist and researcher João Machado, whose bee recordings are held by the British Library.

Argento is David August's new project: an imagined soundtrack to the Tyrrhenian coast, synthesizers and field recordings with Lorenzo Setti on drums and percussion, in the wake of Italian library music.

Faith Coloccia's unadorned voice over Tashi Dorji's glacial, howling guitar, with piano, organ and tubular bells: songs about land, property and loss, recorded between Anacortes and Asheville.

Marina Herlop's most ambitious work, self-released: one unbroken body of music built on the Hero's Journey, with orchestral brass for the first time and gamelan recorded in Bali.

Vanishing Twin's new album pieces together daily recording sessions swapped between rural France and London: a playful collage of postmodern songcraft where the trio trade instruments and roles.

Dark ambient pioneer Lustmord and drummer Dave Lombardo meet as Lustmord Lombardo: evolving walls of low-frequency sound shot through with percussion and synthesizers, mixed and mastered by Lustmord.

Clawhammer banjo meets synthesizers, loops and pedal steel: Allison de Groot and Nashville's Rich Ruth turn a planned solo record into a shared album of cosmic, tender instrumental music.

New Zealand sound artist Rachel Shearer listens to the Earth through Māori and Western practice: field recordings, electronics and voice on her first full album, a deluxe 45 RPM gatefold from Thin Wrist.

The two new Blume LPs together: David Tudor's Anima Pepsi, composed for the Pepsi Pavilion at Expo '70, and Lea Bertucci's The Days Pass Quickly Immersed in the Shadow of Eternity, written for Norbert Rodenkirchen's flutes.

First vinyl reissue of the 1985 Pariah Tapes triple cassette by Toshiji Mikawa's Incapacitants: seven long tracks of pure electronic distortion, remastered by Andrea Marutti. Second pressing, 99 hand-numbered copies in a wooden box.

Roger Doyle's third solo album on Allchival: new fixed electronic works, software piano improvisations and voice, a response to Finnegans Wake and music from Operating Theatre's 1986 The Pentagonal Dream, read by Olwen Fouéré.

Seven unreleased BBC radio performances from 1969, the last year of the Don Rendell / Ian Carr Quintet with Michael Garrick, Dave Green and Trevor Tomkins, saved on the drummer's own tapes and issued on CD with notes by Richard Morton Jack.

First recorded work by Swedish drone composer Mats Erlandsson and double bassist Gus Loxbo, friends for 25 years: free improvisation, electroacoustic drone and doom, reshaped in the studio through digital processing and tape work.

Chicago trio Axis: Sova follow up 2023's Blinded by Oblivion on Ty Segall's God? Records: post-punk songs worked out live on tour, then recorded with Cooper Crain at Electrical Audio, all earworm hooks and phased, fuzzed guitars.

Commissioned by ZKM Karlsruhe, Lea Bertucci's work for flutist Norbert Rodenkirchen sets his Renaissance, Medieval and Neolithic flutes inside electronic process: an electroacoustic piece that sounds like an ensemble reaching across centuries.

Two pieces David Tudor composed in 1970 for the Pepsi-Cola Pavilion at Expo '70 in Osaka, built by E.A.T.: Pepsibird, from tapes of human and animal brain waves, and Anima Pepsi, from insect and animal field recordings.

Split LP in the Portraits GRM series: Amina Hocine blends sine waves, field recordings and her own foghorn organ in X3, while Espen Sommer Eide revisits his Phonophani years and the Tromsø ambient techno scene of the late 1990s.

Split LP in the Portraits GRM series: Jules Négrier’s two-movement electronic piece An Iris Crackled Like Eyelids meets Maria W Horn’s All Solids Melt Into Aether, organ chords pushed to their limits against computer-generated tones.

Electronic Sound issue 142 puts Faust on the cover, with a cover story on the four albums released on the same day by the band's four surviving original members, bundled with an exclusive clear vinyl seven-inch EP, Four From Faust, one track from each album.

Ten tracks of dark, slow-motion dub by Ravenna photographer and field recordist Adriano Zanni, built from delays, reverb and recordings of abandoned places, from Pripyat to Craco. Limited grey vinyl on Bronson Recordings.