New Arrivals / Today
African Skies
Limited edition 180g vinyl. Stoughton tip-on gatefold jacket. Restored artwork + previously unseen family photos. In 1993, when Chicago's Adler Planetarium commissioned Kelan Phil Cohran to score their "African Skies" program, they tapped into a mind that moved effortlessly between galaxies and neighborhoods, between ancestral rhythm and modern invention. Three decades later, Listening Position presents the first official reissue of this cosmic masterpiece - a recording that stands as both a spi…
Live On WUOM 1979
Two Rooms Records is excited to announce its tenth and most significant release yet, "Live on WUOM 1979" by Griot Galaxy. Nearly lost to history, this double-length release captures an extended radio performance by the seminal Afro-futurist jazz group, aka “The Sci-Fi Band,” featuring stunning versions of their classic repertoire circa 1979, in a compact, quartet setting.
Known for mixing complex polyrhythms, polytonality and non-western scales with grooves and minimalist elements from popular m…
Why I Went To The Woods
With "Why I Went To The Woods", I retreated once again into my hauntological dream worlds. With the woods being the place one traditionally goes to clear one's head, I went there with these recordings to fortify myself with a deliberate rejection of the Now. Inspired equally by both the fictional filmed landscapes of psychedelic folk - the bucolic British countryside of the 1960s and 1970s which, though I've never witnessed in real life, still fill me with an inexplicable melancholic yearning to…
Creature Comforts
I started recording "Creature Comforts" with 'Allegiance' on the night of November 4th, as the election results were coming in. I found myself craving lullabies, but ugly and reflective ones, that saw the world with an acute sense of horror and bewilderment and bereavement. Lullabies that didn't protect me from these feelings - or rather did protect me, but did so through immersion. I finished recording on March 10th of 2025. Visual inspiration came from a series of mixed-media works by my gifte…
A Replica Screams
Welcoming elusive Japanese guitarist, Kouhei Fukuzumi, for his 3rd solo full-length as Ultrafog. ‘A Replica Screams’ emerges as a collection of drifting memories, a chain reaction of unique combinations of elements already present in the World. It embraces the idea that existence itself is positively shaped by serendipity and meaningful coincidences, and that we are all falling together, in time, and on time. The vinyl edition contains an original artwork poster presenting João Bragança Gil’s ‘T…
La Nouvelle Européenne Et Autres Territoires Affranchis Politiquement Trash
*100 copies limited edition* « In 2025, can we still be interested in and write about the music of a band of French musicians, very “underground” who were very young at the time in the early 1970s? » writes Xavier Béal at the opening of his review of Ian Thompson's brand new book "Synths, Sax & Situationists (The French Musical Underground 1968-1978)" in the webzine Rythmes Croisés (published on October 24, 2025).
The answer is certainly yes! And although the name of Pascal Chassin is still almo…
Sans Retour
The piano recital/album sans retour forms the concluding part of Croene's 'Trilogy of Hopelessness' (Cortizona). Conceived as a single, Beethovenian composition, Croene once again demonstrates the wide range of sound palettes a piano can produce. The common thread is a melody based on the 'Dies Irae', which takes six different forms to embody the in memoriam concept.
Nature
"I have been fascinated by the sound and potential of gongs since I first heard Stockhausen's Mikrophonie 1 in the late 1960s. When I moved to Oakland in 1999 I discovered the work of Karen Stackpole, one of the few percussionists in the world specializing entirely in gongs, and attended several of her performances. I always tried to imagine how I could combine my own sonic vocabulary with her incredibly rich array, and we enthusiastically agreed to a musical meeting which somehow kept being pos…
From Island to Island
Weaving a transient web, a dreamatorium with its own agenda thoroughly concerned about space—in—between, From island to island is a subtle sonification of deep musicality, real and surreal journeys, and a giant Maelström hiding the unknown multiverse. Invitation for the descent is open, but whether those journeys are imaginary or not, one thing is certain—both Anja Lauvdal and Manja Ristić must take the ferry home.
„Though separated by the sea between Croatia and Norway, the two artists have dev…
How Much Can We Understand
*2025 stock* "Fero Király's How Much Can We Understand maps out some of the foggy territory where technological systems intersect with organic complexity. The album's two sidelong tracks were generated using “a cellular automaton with code 357”, a computational model where simple rules applied to a grid of cells produce intricate evolving patterns that echo the inexplicability of natural phenomena. The result is as much a feat of cold engineering as a tender ode to musical minimalism. On side on…
Eventual
Los Angeles-based sound artist, composer and Line imprint curator Richard Chartier returns to 901 Editions with “Eventual”, his first solo album for the label. This work follows two collaborations with fellow American artist Yann Novak (“Undefined”, 2013), and Dutch harpist Gwyneth Wentink as Pinkcourtesyphone (“Elision”, 2016). “Eventual” probes the nuanced interrelations between sound and silence, engaging audiences in attentive listening and a heightened sense of spatial and temporal percepti…
Atlas
Alexandra Cihanská Machová is a composer, electronic musician and sound artist from Slovakia. She has strong and persistent interest in rigorous listening to the world as a fundamental outlet for understanding and connection, leaning towards sonic ecology and politics, non-technocentric field recording, and exploring emotion in a post-digital environment.
z DNA
*2025 stock* "The latest album by innovative Slovak composer, Barbora Tomášková, offers a unique suite of sounds, where boundaries between acoustic traditions and exploratory electronics dissolve. The Slovak composer and performer’s practice revolves around innovative use of ’objets trouvé’ and western classical instruments via hefty electronic manipulations and many extended techniques. Taking its name from both the less common and stable form of DNA and the Slovak term for “from the bottom”, Z…
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