Forced Exposure - EXPERIMENTAL

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Artist	Title	Format	Label	Catalog #

DE VEGA, MARIO	El Llamado (Der Aufruf)	LP	TOCHNIT ALEPH	TA 176LP
$28.00 PREORDER RELEASE DATE: 2/13/2026 "El Llamado" is a performative work for solo or multiple voices, produced using whistles of varying sizes, materials, shapes, and cultural origins. It was commissioned by Maison des Arts Georges & Claude Pompidou, 2020. Its duration, format, and number of performers are adapted to the specific context of presentation. El Llamado (Der Aufruf) is a fixed arrangement of this work, composed and realized for this publication. It includes a studio recording employing whistles sourced from Austria, Germany, Italy, China, Spain, Greece, Hong Kong, Portugal, France, India, Mexico, the United States, Poland, the Czech Republic, Russia, Japan, and Nepal, alongside a public-space activation performed by Yann Leguay at Saint-Cirq-Lapopie, France, in 2020. Mario de Vega (1979) is a Mexican conceptual artist working in Berlin and Mexico City. His work overlaps relations between stability, failure, simulation and ambiguity with site-specific interventions, sound events, electronic devices, process-oriented projects and sculpture. Since 2020 he is professor for Sound-Art at the Kunsthochschule Kassel.

Artist	Title	Format	Label	Catalog #
LYSAGHT, PATRICK	For the Birds	LP	HOLIDAYS RECORDS	HOL 146LP
$28.50 PREORDER RELEASE DATE: 2/7/2026 Edition of 250 copies, embossed cover. 1984. Inside the Rainforest Birdhouse at the Rio Grande Zoo, Patrick Lysaght played flute, strings, and percussion among 150 birds of 42 species. Not recording them. Playing with them. For 18 months the scientist (and artist) has been playing music (flute, strings and percussion) in the Rainforest Birdhouse at the Rio Grande Zoo in Albuquerque. This interactive environment, populated by 150 birds representing 42 species, has provided more than an interesting background for music; rather, the birds have contributed to the resulting compositions on an equal level with the musician. Complex clouds of point notes build to a rich density, as mutual interspecies stimulation assumes a path based on the excitement of chance and the probability of experience. The material on this record has been selected with emphasis on bird responsiveness and instrument variety within the aesthetic parameters of blending with and enhancing this unique sonic atmosphere. Mastered from the original tapes by Giuseppe Ielasi.

Artist	Title	Format	Label	Catalog #
PENSO, ANDREA	Organic Shelter	LP	HOLIDAYS RECORDS	HOL 148LP
$39.50 PREORDER RELEASE DATE: 2/7/2026 Limited edition of 100 copies, bronze foil printed sleeve. A single tape loop composition spanning approximately thirty-two minutes, previously released on CDr on the artist's own imprint, Invisibilia Editions. Environmental music to dream of forest-ravaged ruins. Decay made audible, inviting the listener to imagine what remains when we are no longer present to witness it. Composed with those experiencing confinement in mind. As in a phantasmagorical vision, slowed to a seemingly ecstatic collapse, the walls of the cages are devoured by trembling leaves. Outside, the sounds have become rarefied. Mastered by Giuseppe Ielasi.

Artist	Title	Format	Label	Catalog #
CHRISTIANSEN, HENNING	Kartoffelopera	7"	HOLIDAYS RECORDS	HOL 149EP
$19.00 PREORDER RELEASE DATE: 2/7/2026 Edition of 150 copies, single-sided black vinyl. Festival 200 Charlottenborg, Copenhagen, Denmark, 1969, Potato Opera 1969. Recipe: take potatoes. Tape (painter's tape) for the floor (or chalk, depending on the nature of the floor). According to the size of the room staff lines are drawn, i.e. five lines (ideally with tape) with equal spacing (as intended on ordinary music paper). In the spaces potatoes are placed -- just as note heads. (Kunstakademie Düsseldorf-Rundgang for room 20) (Model 1) first performed at the Düsseldorf Art Academy, as part of the Lidl Week 5.5.69, cl.(=class) 15 in front of room 20 (Beuys room).

Artist	Title	Format	Label	Catalog #
RATTI/ALESSANDRA NOVAGA/ENRICO MALATESTA, NICOLA	What We Do When in Silence	LP	HOLIDAYS RECORDS	HOL 143LP
$27.00 PREORDER RELEASE DATE: 2/7/2026 Edition of 300 copies, embossed cover. Imagine a series of small movements in an empty space. Imagine their shadows on the floor, there's a natural light sliding in from the three windows on your right side. There's no silence here. There are people outside waiting for others, waiting for the people since what we do is not visible, since we do it when in silence and there is no silence here. Nicola Ratti: synthesizer, piano, whistling; Alessandra Novaga: electric guitar; Enrico Malatesta: percussions. Recorded, mixed and mastered by Giuseppe Ielasi, Monza, 26-27 February 2022. Special thanks to Centro d'Arte di Padova.

Artist	Title	Format	Label	Catalog #
CURRAN, ANDREA CENTAZZO, EVAN PARKER, ALVIN	Real Time	LP	ICTUS	ICTUSRE 010LP
$28.50 PREORDER RELEASE DATE: 1/30/2026 Real Time is an extraordinary example of interaction between musicians coming from different worlds of new music. "I had the chance to perform with those two great musicians on other occasions: in duo with Alvin Curran and in duo, trio and sextet with Evan Parker. Alvin came from the American school, full of minimalist references, melodic structures and open to all kinds of contamination. Evan had left jazz to accomplish his own instrumental language, aiming at total improvisation. The idea of getting them to put together a trio that would perform several concerts and recording was one of the most exciting moments of my career. Our three languages found a common ground of expression where different musical backgrounds came together and created a unique blend for that period of time." --Andrea Centazzo Andrea Centazzo: percussion, percussion synthesizer; Alvin Curran: synthesizer, piano, trumpet; Evan Parker: soprano & tenor saxophones. Recorded live in concert Rome, Italy December 13, 1977. Engineer: Nicola Bernardini. Remastered from the original tapes by Matt Bordin at Outside Inside Studio.

Artist	Title	Format	Label	Catalog #
CURRAN, ANDREA CENTAZZO, EVAN PARKER, ALVIN	Real Time Two	LP	ICTUS	ICTUSRE 011LP
$28.50 PREORDER RELEASE DATE: 1/30/2026 "It was a magical evening. Not only did the trio burst with a creative energy that was homogeneous and interactive, but the acoustics, usually inadequate, of the half-empty sports pavilion with a capacity of 10,000 people, gave the music an ethereal transparency and crystalline purity that the recording captured in all its singular beauty." --Andrea Centazzo Andrea Centazzo: percussion, percussion synthesizer; Alvin Curran: synthesizer, piano, trumpet; Evan Parker: soprano & tenor saxophones. Recorded live at Teatro Comunale, Pistoia, Italy December 14, 1977 by Carla Lugli. Remastered from the original tapes by Matt Bordin at Outside Inside Studio.

Artist	Title	Format	Label	Catalog #
LIN11C	TED	LP	DAKSINA	DAK 026LP
$35.50$30.18 IN STOCK TED stands as a restless voyage on an electronic ocean of infinite sound: Clarion calls ring out while spectral vocals accompany. Orchestral sections give way to fractured drum beats. Field recordings combine with ambient sounds, blended with whisper incantations. Menacing electronic storms gather, fused with sparse melodic lines. Liquid drippings meld with otherworldly strings, laying the foundation for Yuko Otomo's haunting recitation. TED ranks as seamless ordering of tones and sounds in temporal relationships unlike anything ever heard. Limited to 100 LPs. Art by Janice Sloane. Poetry by Yuko Otomo. Mastered by Steve Silverstein. Silk screened by Alan Sherry at SIWA Prints.

Artist	Title	Format	Label	Catalog #
DE PAEPE, BART	Zurahumnah	LP	LA SCIE DOREE	SCIE 3725LP
$35.50 LOW STOCK LEVEL For 20 years Bart De Paepe has carved a distinctive trace in the realm of psychedelic underground and counterculture. With several outstanding solo albums on a.o. Astres d'Or, Ultra Eczema, No Basement Is Deep Enough and with many studio and concert ventures with Sylvester Anfang's funeral folks, Louise Landes Levi, Timo van Luijk, and Raymond Dijkstra, to name a few, Bart De Paepe developed a wide and sharp spirit within the orbit of psychedelic improvisation. Since 2007 Bart also curates the Sloow Tapes and Sloowax labels with an impressive catalog of music and poetry by a wide range of resonating artists. Bart's visual work (drawing and painting), parallel to his musical universe, has been used on many of these releases. He is a genuinely curious traveler, always discovering new dimensions, which is clearly to be heard on the four tracks of this album. Zürahümnah is an immediate and immersive dive into solitary inner and outer worlds of light and darkness. Zürahümnah is a floating vibration of flickering twilight. Zürahümnah is a mysterious journey through detached time and space. Equipped with Hawaiian guitar, piano, organ and cymbal, Bart De Paepe sets the controls for the heart of the sun.

Artist	Title	Format	Label	Catalog #
ENGLISH, LAWRENCE	Whiteout	CD/BOOK	ROOM40	RM 4100CD
$22.50$19.13 IN STOCK A note from Lawrence English: "Even without visiting a place, we often think we know it. It's a syndrome of the modern age. The world is right before us, on screen, summarized and sensorially curated into a particular vision that casts light across 'just so much' of an impression of a place and a time. In some ways, I realized this phenomenon most strongly when I visited Antarctica in the summer of 2010. In my mind's ear (and eye) certain features of that place were front and center -- imagined, as to be real. The stark color schematic, the full spectrum dynamics of life (and death), the distance from wider humanity and the uniqueness of climate formed a collaged pre-conception of the ice continent... The recordings here speak to the everyday of our incursions into Antarctica. They are not exceptional, or unique, in that they unfold across much of the continent's camps and bases moment to moment, depending on the season and location of course. What they do highlight is the confluence of environments, materials, climate, and life that all clamber together in these shifting plains of ice, rock, and water. While not exactly intentional, the way this work played out is largely in three chapters, the human, the land and the water. Each of these intersect and fall into one another of course, but they also exist with a sense of being discrete. Whilst the characters might be shared across these zones of entanglement, the stories they tell into are often unfolding in parallel, rather than in sequence... To me these recordings capture the duality of a place like Antarctica. They are a seasonal glimpse into the lived experience of the wildlife and humans that persist in this environment. They also reflect upon the objects and things that comprise this place. The recordings catch the uneasy murmurs of eroding ice plates, the trickling conversations of high summer streams, the clicking echolocations of Orcas, the barked disputes of territorial Antarctic Fur Seals, and the chirping of penguin chicks racing to shed their downy coats and find their way to the relative security of the ocean before the winter sets in. They also capture the feverish rush of researchers, military personal, and station workers as they prepare for the long, frigid months ahead during which time they are effectively disconnected from the remainder of the planet. These moments exist in urgency, the summer's sweet caress is fleeting and the winter knows no forgiveness."

Artist	Title	Format	Label	Catalog #
IRIS OUR	Victual Vittle Bottle Cunt	CD	RECITAL	RS 115CD
$16.50$14.03 IN STOCK IIris Our is the new surrealist duo of artists Kiera Mulhern and Sydney Spann. Recital now presents their debut album, Victual Vittle Bottle Cunt. Both Mulhern and Spann have released celebrated solo works on Recital: Mulhern's De ossibus 20 (2020) and Spann's Sending Up A Spiral Of (2023). Close friends, they would meet up weekly on Saturdays to record; channeling their love, angst, and wit. The synergism of their friendship is evident: poems read in tandem, flanking each other's syllables and breaths. Voice, synthesis, various electronics, and kinetic field recordings (often from their shared lives) form the material. This album's conceptual core is femininity understood through diffusion, imitation, and horror, alongside themes of debt, addiction, and inheritance. Vestiges of these can be heard in verbal intercourses through an industrial hiss emerging from the CD. As the artists write: "the obscene impossibility of having a mouth that sucks, eats and speaks, and of a voice that commands, soothes, and curses." Many of the texts began as hand-drawn concrete poems by the duo. "Urnshaped Murmuration" stages Spann and Mulhern reciting texts in the left and right channels, chasing each other in a lapping ocean of shadow sounds. The final track "Erections of Angels Directed at Me" is immense. A hushed This Mortal Coil-esque melody is sung, as flush oscillators churn autonomously. Smoldering flutes glow ahead of distant metallic havoc. Despite its condensed 26-minute runtime, the album feels dense, commanding, and total. The result is an authentic, sharp mythology -- visceral research into "the body as disposable, the body as the object of medicine, the body as etched with words, the body in revolt." Victual Vittle Bottle Cunt was engineered by Katie Von Schleicher, mixed by Theodore Cale Schafer, and mastered by Sean McCann. The pastel album cover by Maggie Fitzpatrick showcases a barren alley with a parked Tesla engulfed in flames. The release includes a 12-page booklet booklet of concrete poems, artwork by the duo, and artist portraits by Gram Hummell. Glass-mastered gatefold CD edition of 200.

Artist	Title	Format	Label	Catalog #
ARMISEN, FRED	100 Sound Effects	LP	DRAG CITY	DC 952LP
$23.00 NOT IN STOCK "Actor/comedian/musician/producer/author/all-round good guy Fred Armisen has long been known as one of the most curious entertainers in the business, creating a wild variety of things for television, film, stage, records and other media. The latest proof of his inquiring imagination is here: 100 Sound Effects! The goal was to create a number of specific and evocative sounds, but in addition to being a fun listen -- pure and simple -- 100 Sound Effects has great value as an industrial tool, with sound effects ready to be used in any number of entertainment projects. Some follow the basic blueprint, like doors shutting and glass breaking. Others are more abstract scenarios, but with a track like 'Campfire Breakfast Conversation.' The majority of the album was done at recording studios, but occasionally ambient sounds were needed. Rather than rely on OTHER sound effects records, Fred went outside and got these himself on a portable digital recorder, pointing it at the sky or a car or whatever was needed. Additionally, Fred wanted to recreate other specific moments not always covered on sound effects records, like 'Music Venue Employee Kicking Everyone Out While Throwing Away Bottles,' while also executing versions of his personal favorite sound effects, which resulted in tracks like 'Small Theater Booing.' With additional help and inspiration from Bill Hader, Mary Lynn Rajskub, Amber Coffman, Tim Heidecker, Riki Lindhome, and Alice Carbone Tench, Fred had a lot of fun making the album. And now, Fred Armisen's 100 Sound Effects is a sound effects album like no other, a fantastic contemporary entry in a classic album category that can be used as a library or just for brain-stimulating deep listening. Lastly, a personal note from Fred: 'I was thinking about haunted house sound effects albums and how fun those seemed to record. I wanted to do it at Steve Albini's studio in Chicago, Electrical Audio, but since this wasn't a collection of songs and I didn't know how long it was going to take, I needed to do this where I live, in Los Angeles. I told Steve what I was doing and asked if he knew of any engineers I could work with in L.A. He was very excited about the idea and asked Dave Grohl who might be available to help. Dave recommended Darrell Thorp and we started working at Studio 606, and then later Sunset Sound. Darrell was really inventive and a lot of fun to work with. Because Steve was so instrumental in making this happen, I dedicate the album to his memory. I miss him every day."

Artist	Title	Format	Label	Catalog #
MARCLAY, CHRISTIAN	Conduite Forcee	LP	BIENNALE SON	BS 001LP
$29.50 PREORDER RELEASE DATE: 11/14/2025 In 1934, Swiss engineers completed the Chandoline Hydroelectric Plant, channeling Alpine water through 16 kilometers of concrete pipe. By 2023, the turbines had stopped. The plant was empty, silent -- a cathedral to obsolete energy with perfect acoustics and nothing left to say. Christian Marclay saw an instrument. For the inaugural Biennale Son in 2023, the artist who made his name destroying vinyl in 1980s New York turned the entire hydroelectric system into a playable object. The concept: open a manhole 4.5 kilometers uphill, drop something in, wait for sound to travel through the mountain. Steel bearings didn't work -- too heavy, wrong frequency. So Marclay used golf and tennis balls donated by local clubs. The Valais School of Art rigged the turbine hall with microphones. Then the balls dropped. Seconds of silence. Then: tumbling, bouncing, accelerating through kilometers of concrete. Not one ball but many, building into something between avalanche and applause as they hit the hall below. Marclay directed remotely, releasing volleys like a percussionist striking a drum the size of a small town. The pipe amplified everything -- pure mountain reverb, no processing, just 1934 engineering singing its swan song. The recording, mixed with Alain Renaud, is the Biennale Son's first vinyl release. Side A features fifteen minutes of cascading spheres, industrial archaeology as living sound. Side B features an engraved portrait of Marclay. Unplayable. The performance happened once. The pipe spoke. That's enough. This is quintessential Marclay -- the artist who built the Phonoguitar (1983), scattered records to be crushed underfoot (Footsteps, 1989), won Venice's Golden Lion with The Clock (2011), collaborated with Sonic Youth and John Zorn, and has spent his career proving that everything is already an instrument. Mountains. Vinyl. Film. Time itself. You just need to know where to listen -- or where to drop the ball. Always the same question: what music do objects make when you know how to listen? Here, the answer is gravity plus concrete plus expired sporting goods equals something you've never heard before. Conduite forcée means "penstock" but translates as "forced conduct" -- water compelled through pipe, sound through space, music from infrastructure. Limited edition. One pressing. No digital. Just the grooves and the ghost of Switzerland's hydroelectric past, pressed into vinyl like water in a sealed pipe. Mountains as instruments. Golf balls as notes. A decommissioned power plant's final performance, conducted by one of contemporary art's most inventive listeners.

Artist	Title	Format	Label	Catalog #
BITCHIN BAJAS	Inland See	Cassette	DRAG CITY	DC 949CS
$11.00 NOT IN STOCK Cassette version. "The successor to 2022's Bajascillators glides easily into frame, but once there, Inland See is deceptively immediate. It's so dialed in, you hardly even feel how present the music (and you the listener) is. Time wharping's always been a resident magic for Bitchin Bajas, as is flow, which is translucent like water here. That's the Inland See vibe, unique unto itself. In turn, each of the four songs here are entirely within themselves, all together forming an essential whole. The coincision'll cause yer breath to shorten, like an exciting and non-fatal kind of exercise! New freedoms, yet more molecular structure in each one. With every successive Bitchin Bajas release, we see that the real key for them is a sense of discovery, that tingle that comes when you feel something breaking through. The sky opening up. The stuff that fills this Inland See holds you up powerfully, as if you're floating, saltwater or helium-wise -- effervescent, effortless, elemental. An increasing sense of the Bajas' physicality -- what's ephemeral, what's mercurial, and what sits inside us after it's all over. This music was mostly written on the road. It's an unusual happening for Bitchin Bajas! They were open for it, though -- the landmarked Bajascillators kept them out there for a while, and when inspiration struck, there they rolling. When it was time to render it to tape and find the record there, they did the whole thing at Electrical Audio. Recording all together in the room there lent a sense of space, which they dug and captured as natural as possible. No reverb at all added after the fact. Everything that's there was in system, directed through the interconnects with cool hands. And once Inland See is flowing toward you, through the hi-fi, you feel it all in the air."

Artist	Title	Format	Label	Catalog #
BITCHIN BAJAS	Inland See	LP	DRAG CITY	DC 949LP
$23.00$19.55 IN STOCK Restocked. "The successor to 2022's Bajascillators glides easily into frame, but once there, Inland See is deceptively immediate. It's so dialed in, you hardly even feel how present the music (and you the listener) is. Time wharping's always been a resident magic for Bitchin Bajas, as is flow, which is translucent like water here. That's the Inland See vibe, unique unto itself. In turn, each of the four songs here are entirely within themselves, all together forming an essential whole. The coincision'll cause yer breath to shorten, like an exciting and non-fatal kind of exercise! New freedoms, yet more molecular structure in each one. With every successive Bitchin Bajas release, we see that the real key for them is a sense of discovery, that tingle that comes when you feel something breaking through. The sky opening up. The stuff that fills this Inland See holds you up powerfully, as if you're floating, saltwater or helium-wise -- effervescent, effortless, elemental. An increasing sense of the Bajas' physicality -- what's ephemeral, what's mercurial, and what sits inside us after it's all over. This music was mostly written on the road. It's an unusual happening for Bitchin Bajas! They were open for it, though -- the landmarked Bajascillators kept them out there for a while, and when inspiration struck, there they rolling. When it was time to render it to tape and find the record there, they did the whole thing at Electrical Audio. Recording all together in the room there lent a sense of space, which they dug and captured as natural as possible. No reverb at all added after the fact. Everything that's there was in system, directed through the interconnects with cool hands. And once Inland See is flowing toward you, through the hi-fi, you feel it all in the air."

Artist	Title	Format	Label	Catalog #
WOLMAN, GIL J.	Megapneumes	LP	ALGA MARGHEN	VOCSON 180LP
$25.00$21.25 IN STOCK This third Gil J Wolman record released by Alga Marghen, bringing together mégapneumes from the '60s, sheds new light into the poetic revolution of the time, or a kind of organic infra-language. It's the physical poetry of a serial killer that is recorded in the two "Mégapneumesm" as well as in the extract from the (last?) "Mégapneumes" (excerpt), the tape that was found still wound on Wolman's tape recorder after his death. "Les Callas," an astonishing piece possibly based on several super-imposed recordings of Wolman's voice at Radio Télévision Française (ca 1961), features a Lettrist choir recycling Rimbaudian vowels, while high-pitched screams emerge, culminating in a polyphony worthy of some tribe resistant to domestication. "Un coup pour rien", "Un coup pour deux" and "Tu vas la taire ta gueule", recorded at Radio Canada in 1965, are presented here for the first time on record, completing the program of this historical and radical anthology. In a conversation with Ilse Garnier, she told Frederic Aquaviva (the curator of this edition for Alga Marghen) that Henri Chopin had precipitated the end of his attempts at sound poetry with this definitive formula: "Le souffle, c'est moi!". On the other hand, in Gil J Wolman's record library appears this eloquent dedication by Chopin on his record Audiopoems, released by the English label Tangent in 1971: "For Gil J Wolman, evident in 1 (because the first), evident in 1971, evident in 2071, evident in 3071, in short to the sup-herbal Gil." But unlike Isidore Isou, Wolman was not the sort of person to send out a leaflet in order to make clear what he had achieved with this new poetry, and besides, he himself had consigned Isou to the old world, with the new beginning represented by his mégapneumes, which in fact date from 1950, when he first joined the Lettrist movement. He was undoubtedly one of the first poets to use the resources of the tape recorder and its varispeed, for example in L'Anticoncept, in 1951, also used a decade later by Brion Gysin with "I Am that I Am" and Henri Chopin. Also, in 1973, François Dufrêne produced a manuscript on a torn silkscreen poster where one can read "Gil J Wolman is one of the most important phonetic poets." Wolman is an essential innovator and artist: a poet, writer, visual artist, film-maker and video-maker who, like Gherasim Luca, did not need to give numerous public recitals or recordings to make his mark. To be Duchamp or Arman: Wolman chose his side!

Artist	Title	Format	Label	Catalog #
HAINO & SUMAC, KEIJI	Into This Juvenile Apocalypse Our Golden Blood To Pour Let Us Never	CD	THRILL JOCKEY	THRILL 568CD
$14.50 LOW STOCK LEVEL Originally released in 2022. "Thrill Jockey Records presents Into This Juvenile Apocalypse Our Golden Blood To Pour Let Us Never, the third collaborative album by Japanese free music provocateur Keiji Haino and expressionist metal trio SUMAC. Into This Juvenile Apocalypse captures Haino and the three members of SUMAC live on stage, navigating a series of spontaneous compositions in front of an attentive audience, with no prior discussions or planning involving the direction of the music. All four participants agree that Into This Juvenile Apocalypse finds the quartet navigating the push-and-pull of creative interplay with bolder strides and stronger chemistry. Recorded on May 21, 2019, at the Astoria Hotel on Vancouver BC's notorious East Hastings Street as a one-off performance during a short North American tour for Haino, the six compositions comprising Into This Juvenile Apocalypse showcase a musical unit bouncing unfiltered ideas off of one another, mining a trove of textures and timbres from their armory to buoy and bolster these living and breathing pieces. Like so many albums documenting free music, the thrill here is in the tight rope walk, the wavering moments of uncertainty, and the ecstatic moments of shared brilliance. The album opens with 'When logic rises morality falls Logic and morality in Japanese are but one character different,' a pensive exploration of melody spearheaded by Aaron Turner's fractured arpeggiated guitar chords. Drummer Nick Yacyshyn and bassist Brian Cook step to the forefront on track two, 'A shredded coiled cable within this cable the sincerity could not be contained.' As with American Dollar Bill and Even For Just The Briefest Moment, Into This Juvenile Apocalypse Our Golden Blood To Pour Let Us Never is an unfiltered and undoctored document of a specific moment in time. There are equipment failures. There are ideas left dangling in the ether. There are the technical handicaps of recording in a dingy hotel dive bar in a bad neighborhood as opposed to the optimal acoustics of a proper recording studio. But there is also an electricity in the air, and a continuous sense of creative elation and goosebump-inducing inspiration. It's an hour-long exercise in seeking out happy accidents and reveling in the wreckage."

Artist	Title	Format	Label	Catalog #
HAINO & SUMAC, KEIJI	Into This Juvenile Apocalypse Our Golden Blood To Pour Let Us Never (Olive Vinyl)	2LP	THRILL JOCKEY	THRILL 568X-LP
$32.00 PREORDER RELEASE DATE: 8/29/2025 Originally released in 2022. Olive color vinyl. "Thrill Jockey Records presents Into This Juvenile Apocalypse Our Golden Blood To Pour Let Us Never, the third collaborative album by Japanese free music provocateur Keiji Haino and expressionist metal trio SUMAC. Into This Juvenile Apocalypse captures Haino and the three members of SUMAC live on stage, navigating a series of spontaneous compositions in front of an attentive audience, with no prior discussions or planning involving the direction of the music. All four participants agree that Into This Juvenile Apocalypse finds the quartet navigating the push-and-pull of creative interplay with bolder strides and stronger chemistry. Recorded on May 21, 2019, at the Astoria Hotel on Vancouver BC's notorious East Hastings Street as a one-off performance during a short North American tour for Haino, the six compositions comprising Into This Juvenile Apocalypse showcase a musical unit bouncing unfiltered ideas off of one another, mining a trove of textures and timbres from their armory to buoy and bolster these living and breathing pieces. Like so many albums documenting free music, the thrill here is in the tight rope walk, the wavering moments of uncertainty, and the ecstatic moments of shared brilliance. The album opens with 'When logic rises morality falls Logic and morality in Japanese are but one character different,' a pensive exploration of melody spearheaded by Aaron Turner's fractured arpeggiated guitar chords. Drummer Nick Yacyshyn and bassist Brian Cook step to the forefront on track two, 'A shredded coiled cable within this cable the sincerity could not be contained.' As with American Dollar Bill and Even For Just The Briefest Moment, Into This Juvenile Apocalypse Our Golden Blood To Pour Let Us Never is an unfiltered and undoctored document of a specific moment in time. There are equipment failures. There are ideas left dangling in the ether. There are the technical handicaps of recording in a dingy hotel dive bar in a bad neighborhood as opposed to the optimal acoustics of a proper recording studio. But there is also an electricity in the air, and a continuous sense of creative elation and goosebump-inducing inspiration. It's an hour-long exercise in seeking out happy accidents and reveling in the wreckage."

Artist	Title	Format	Label	Catalog #
DALE, JON	Theatre	CD	DE LA CATESSEN RECORDS	DLC 016CD
$14.50$12.33 IN STOCK "It's music where nothing happened. It's the kind of music somebody might write in Adelaide, Australia. Nothing happened." --Morton Feldman Theatre is De la Catessen's second venture into the archive of Jon Dale. Originally released in a tiny CD-r edition of 50 copies on Tristes Tropiques in 2019, Theatre now reappears in an edition of 150 glass-mastered CDs. Theatre sees Jon Dale eschewing the hearthwarm drones of his previous album on de la Catessen, Last Blues, and dwelling upon an elusive aural concept: a limbo. Theatre hums with an occupied silence, heightened by scattered expectant sounds: a door opens or closes; muffled voices murmur nearby. As almost nothing continues to happen, the listener occupying the silence seems to hover at the edge of (non)existence. It's tempting to classify Theatre as a purely conceptual listening experience, or to compare it to listening to someone who is in the quiet act of listening to something else, just out of earshot. But at its heart, Theatre is a simple and elegant manifestation of the dichotomy that dynamizes minimalism: how little of something -- versus how much of nothing -- must be.

Artist	Title	Format	Label	Catalog #
ARMAROLI & DAVID TOOP, SERGIO	Decay Music n.10: And I Entered Into Sleep	LP	DIE SCHACHTEL	DSDM 010LP
$31.50 PREORDER RELEASE DATE: 7/18/2025 LP, one-time edition of 200 copies, pressed to 180g black vinyl and housed in a pro-printed jacket, contained in a silk-screened PVC sleeve. Returning with its final instalments, Die Schachtel's Decay Music series extends its explorations of inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract with Sergio Armaroli and David Toop's And I Entered Into Sleep, an astounding electroacoustic gesture of blurred space and time, plumbing complexity of meaning bound to sonority. Creatively groundbreaking and inspired, radically rethinking the terms of what ambient music can be perceived to be, it stands among the most striking efforts to appear within the series to date. Reconfiguring the notion of bridge building on a multitude of terms, it feels fitting that the tenth and final installment of Die Schachtel's Decay Music series, Sergio Armaroli and David Toop's And I Entered Into Sleep, was co-created by an artist whose work featured in the first suite of LPs issued by Brian Eno's Obscure Records in 1975, the groundwork toward which Decay Music's own efforts nod. David Toop has been regarded as a pioneer in British experimental and improvised music: a sonic voyager who has continuously challenged the sources and materiality of sound through rigorously thoughtful performances, a vast catalog of recordings, and a steady flow of highly influential texts. Be it as a member of Alterations, his group breaking group with Peter Cusack, Terry Day, and Steve Beresford that ran between 1977 to 1986, or through is noteworthy work with artists like Rie Nakajima, Thurston Moore, Paul Burwell, and numerous others, collaboration has always played a central role within Toop's singular practice. A composer, percussionist, vibraphonist, and multidisciplinary artist, Armaroli has been issuing radical and forward-thinking musical gestures for decades, working as one of Italy's most noteworthy interpreters of composer's like Giacinto Scelsi, John Cage, Franco Evangelisti, Giancarlo Schiaffini, and Walter Branchi, as both a solo performer and member of the highly regarded Rib Trio, as well as forging a singular practice as a composer. Featuring Armaroli on vibraphone and prepared vibraphone and Toop on electronics, And I Entered Into Sleep is "a sonic journey, a Proustian suggestion à la Recherche, into the unconscious between electronic and acoustic sounds." Feeling almost subaquatic at times, each artist's markedly different sound-sources dance in abstract grace, incorporating subtle nods to minimalism, free jazz, and musique concrète. And I Entered Into Sleep traverses uncharted realms at the borders of literary reference, sound art, ambience and abstraction through delicately musical sounds, revealing new depths at every turn.

Artist	Title	Format	Label	Catalog #
MELCHIOR, DAN	Hill Country Piano	LP	PENULTIMATE PRESS	PP 065LP
$29.50$25.08 IN STOCK Dan Melchior has a wild history, brain and catalogue. Penultimate Press adds to it. This is Melchior's first piano recording. The reverb is natural, as the piano sits in a large, mostly empty room. Hill Country Piano is the result of a human music box mind brimming with many a corner somehow aligning with chambers still being told. Melchior does not play the piano in any formal way, as you can probably tell. He played and recorded the piano, with simple repetitive parts, whilst listening to previous recordings on headphones. Then the magic happens. The gentle introduction of a banjo on " "Sparrow Song" paints the reality of an America now lost. The percussion on the self-titled track unravels a psychedelic gamelan piano duo residing in the now. It didn't start out that way, it never does, but this slow burning trip around a mind/world happened to come into formulation just as an interest in Pascal Comelade was coming into play. All original piano was recorded in Austin. Dan Melchior is from London, England. He has lived in various cities in the USA for the last 24 years. Melchior's resume is as unique as it is exciting and diverse. Having cut his teeth in the land of garage rock as a collaborator with Billy Childish and Holly Golightly his vision takes sharp twists landing on Graham Lambkin's strange and beautiful experimental label Kye with two records which broke not only the mold of himself but that of the song itself. Melchoir is a musician with a voluminous discography which embraces many different forms of expression, from song-based rock to pure textural explorations. His music has evolved significantly, to become a distant entity from some of his earlier blues-based work, showing a definite influence of more experimental bands such as The Homosexuals and The Fall, and some absurdist elements which have led to comparisons to compatriot exponents of that genre, Vivian Stanshall and Syd Barrett. Always experimenting with form in an original manner avoiding any inherent genre anchor. Blues is referenced and extended, musique concrete is found embedded in the song.

Artist	Title	Format	Label	Catalog #
RLW	C.D.	2CD	PENULTIMATE PRESS	PP 062CD
$20.00 LOW STOCK LEVEL Colonia Dignidad was the settlement of a German evangelical sect. After being prosecuted for child abuse in Germany, the group fled to Chile in 1961. Like similar religious sects, it was characterized by the outward appearance of a unified, godly community with well-tempered cultural activities and social welfare, but inwardly and in its environment by oppression, sexual abuse, and exploitation. In the 1970s, it unquestioningly inserted itself into Pinochet's regime of terror, aiding in the imprisonment and torture of political prisoners, weapons production, etc. Since the end of the 1980s, there has been a legal reappraisal of the C.D.'s crimes in Chile. Its successor organization makes a living from tourism. The C.D. project uses, on the one hand, a series of documentary recordings of contemporary witnesses, and on the other, a set of melodic improvisations (MIDI files), improvised in the spirit of the impressions of terror, tension, claustrophobia and fear associated with the Colonia. CD 2 directly reflects this atmosphere. CD 1 on the other hand, is characterized by the contradictory breadth of the statements found after the dissolution of the sect: Denial of atrocities to glorification of the C.D. by leaders who returned to Germany against the professed traumas of formerly abused inmates and exploited community workers. For this purpose, the eyewitness recordings were sound-modified to a considerable extent. The MIDI files were played back with a variety of virtual instruments (piano, guitar, sax, turntable, lung machine, barrel organ, synths, etc.) in a multitude of modifications (speed, pitches, loops, harmonic and tonal variations), so that the 11 pieces from CD 1 and the 16 pieces from CD 2 each represent a closely interwoven overall composition.

Artist	Title	Format	Label	Catalog #
TURRA & ELIO MARTUSCIELLO, LUIGI	Decay Music n.9: Liminale	LP	DIE SCHACHTEL	DSDM 009LP
$31.50 PREORDER RELEASE DATE: 7/18/2025 LP, one-time edition of 200 copies, pressed to 180g black vinyl and housed in a pro-printed jacket, contained in a silk-screened PVC sleeve. Returning with one of its final instalments, Die Schachtel's Decay Music series extends its explorations of inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract with Luigi Turra and Elio Martusciello's Liminale, an astounding electroacoustic gesture of blurred space and time, plumbing complexity of meaning bound to sonority. Creatively groundbreaking and inspired, radically rethinking the terms of what ambient music can be perceived to be, it stands among the most striking efforts to appear within the series to date. An aural bridge between two distinct generations of Italian experimental musicians, Liminale is the debut collaborative outing from the creative partnership of Luigi Turra and Elio Martusciello. Active within the context for roughly two decades, Turra (b. 1975) is a reductionist/electroacoustic composer, noted from his tense deployment of concrete and acoustic sources -- particularly small sounds and noises -- whose work threads the balance between silence, tactile auditory perception, and aleatoric music. Martusciello (b. 1959), on the other hand, is a musician and composer working across the fields of acousmatic and electroacoustic composition, sound installation, multi-media and audiovisual art, and computer music improvisation, who is widely celebrated for both his solo efforts and his collaborations with Eugene Chadbourne, Mike Cooper, Alvin Curran, Chris Cutler, Rhodri Davies, Iancu Dumitrescu, Michel Godard, Tim Hodgkinson, Lawrence D. "Butch" Morris, Jérôme Noetinger, Tony Oxley, Evan Parker, Z'EV, and others. A single, nearly 40-minute work, extending across the two sides of the LP, Liminale is an exploration of the liminal through sonic means. Unfurling like a labyrinth navigated in darkness, the piece's first half is marked by sparseness and restraint, as slow-paced guitar tones and harmonics thread silences and resonant ambience within a sprawling sense of space, delicately populated by tiny sounds, fleeting punctuations drawn from undeterminable sources, vocal utterances, and the unexpected appearance of intoxicating piano tones. As Liminale progresses into its second half, Turra and Martusciello enter a more densely populated notion of the in between. No less defined by the presence of space and mystery, discreet textures rustle and writhe within passages of pure concrete abstraction and a fragmented, stretched sense of musicality. Intimate, fragile, and achingly beautiful, Liminale, Luigi Turra and Elio Martusciello's debut collaboration, is a masterstroke in sound-craft and composition. Mastered for vinyl by Giuseppe Ielasi, Liminale is issued as the ninth entry in Die Schachtel's Decay Music series.

Artist	Title	Format	Label	Catalog #
BASTIEN & MICHEL BANABILA, PIERRE	Nuits Sans Nuit	LP	PINGIPUNG	PING 090LP
$33.00$28.05 IN STOCK Pierre Bastien and Michel Banabila return with Nuits Sans Nuit, their second collaboration following their Baba Soirée debut from 2023. Recorded as an intuitive exchange between Rotterdam and Valencia, the album emerged from a simple ping-pong process: Banabila sculpted sounds and atmospheres, to which Bastien responded with his distinctive instrumental palette: flute-augmented cornet, mechanized log drum, and more. Mixed by Banabila, the result is a raw yet immersive work that resonates with a somnambulant, wide-awake presence. Nuits Sans Nuit unfolds through shifting shades of melancholy. "I don't know how to describe the feeling of these crazy times we live in," says Banabila. "Les plus désespérés sont les chants les plus beaux," Bastien quotes De Musset. Wordless yet deeply expressive, the album invites listeners into a space of contemplation, where meaning emerges through immersion -- like ritual music carrying an unspoken message. Echoes of saudade, blues, fado, and soleá surface in the duo's playful noise, reimagined through their singular vocabulary.

Artist	Title	Format	Label	Catalog #
VAN WISSEM & JIM JARMUSCH, JOZEF	The Day The Angels Cried	CD	INCUNABULUM	INC 041CD
$15.50$13.18 IN STOCK Acclaimed director and musician Jim Jarmusch and experimental lute player and composer Jozef Van Wissem met nearly 20 years ago, forming a close bond after they ran into each other on the streets of New York City. In 2011, they began performing and producing records together. This release is the follow up to American Landscapes entitled The Day The Angels Cried. The duo weaves an intricate lute and guitar string tapestry of droning, minimal free-folk compositions destined to captivate listeners with their dark hypnosis. This time vocals and electronics are added as well. Van Wissem's work comes from a tradition of avant-garde minimalism and lends itself well to the director's stark cinematic works. Jarmusch has played guitar in bands on and off since the late '70s. Van Wissem's compositional style involves hypnotic circular musical phrases that allow for a lot of contemplative space between the notes. Their first live performance was in Issue Project Room in Brooklyn in October 2011, where they appeared together for a Van Wissem curated concert program called "New Music for Early Instruments." The idea for their first album, Concerning the Entrance Into Eternity (Important Records) developed from their live performance. Jarmusch has said that he considers these songs as Van Wissem's compositions, and sees himself as someone filling in the background to Jozef 's foreground, like the "scenic" on a film shoot, the one who paints the backdrops. "The sound of the lute is as bright as the sun, a beautiful red color and my stuff sounds sort of like the moon, more like blue, like mercury." According to Van Wissem: "We started with layers of instrumental parts. Jim recorded an otherworldly Passerelle bridge guitar part to which we added vocals. This became the title track 'The Day The Angels Cried.' The lyrics for this song came to me during a vision I had in a dream. It was much like a vision Swedenborg writes about. In it he converses with angels. In my vision the angel looked down from the heavens upon the earth engulfed in flames. Recent events in Los Angeles and other parts of the world, have led me to believe that this dream was a premonition.'"

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