Over the course of 40 minutes, the guitar treatments of composer, multi-instrumentalist and label head (Black Truffle) Oren Ambarchi (he also plays an audobon bird call) and the percussive work of Eric Thielemans perfectly merge in an outstanding improvisational session.

Two discreet works by Carl Michael von Hausswolff and Erik Pauser that sit somewhere between field recording, chance composition and experimental soundscape.

A book and CD homage to the New Zealand-born American composer Annea Lockwood.

A split album as part of the GRM Portraits series bringing together two pieces by Félicia Atkinson and Richard Chartier.

The first vinyl edition of Let the Darkness Fall, a forgotten corner from the vast discography of Suzanne Langille & Loren Connors, joined here by David Daniell and Andrew Burnes (of the Atlanta-based group San Agustin).

From his early days with Henry Cow, Fred Frith was seen as a brilliant instrumentalist and improviser, but what has been overlooked is what a first-rate composer he is. This recording offers both aspects. His most complex orchestral composition and two selected improvisations with the Ensemble Musiques Nouvelles.

The second collaboration between Stephen O'Malley and Anthony Pateras, this time entirely acoustic, based around an acoustic guitar and prepared piano: a music that seems suspended, captivating by its almost organic coherence and modal simplicity, behind which resonances and subtle plays of pitch develop.

The recording from Carl Michael Von Hausswolff and Erik Pauser's tumultuous and inspiring tour of the USA in 1991, with a book tracing the adventure and documenting the context of the time.

An exploration into the complexity of sounds drawn exclusively from glass (reissue of the record released in 1970, remastered by Lawrence English).

An artistic research project led between 2019 and 2022, investigating how 3-D electroacoustic composition and sound-art can evoke and provoke a new awareness of our outdoor sound environment.

An electroacoustic piece composed between 1984 and 1989, inspired by the ancient theory of the four elements and exploring the notions of matter and its transformation.

LP debut of the Dutch vocalist Janneke van der Putten. Her voice emerges from deeper grounds, shaping the acoustic aura of architectural and natural spaces, exploring the limits of vocal techniques through site-specific performances.

Ákos Rózmann's Mass consists of twelve electroacoustic compositions created between 1989 and 2004 in the composer's studio and at EMS in Stockholm. Like most of Rózmann's compositions, Mass is a long-form work with a duration of around seven hours. 

Three series of works that the Californian artist of Japanese origin has been producing since the 1970s, plus a text, in four booklets.

A split album as part of the GRM Portraits series bringing together two pieces by French sound artist Eve Aboulkheir, and by Lasse Marhaug, a figure from the Norwegian experimental scene.

A split album as part of the GRM Portraits series bringing together two pieces by the French bassoonist and the Norwegian composer.

Where Ben Vida's music has previously explored the sound of text at the outer register of electronic composition, here, in collaboration with the Yarn/Wire quartet and the vocalist Nina Dante, the voice and the words it works to inhabit are placed back at the time-scale of a song.

The complete version of electro-acoustic composer Ákos Rózmann's epic masterpiece 12 Stations presented for the first time in its entirety as a deluxe 7CD set.

The recording of a literary interpretation of a performance by the artist Pablo Pijnappel.

A collective musical experiment based on the vast sound archives of the Museum of Ethnography in Geneva.

Three "night music" pieces by Czech composer Petr Bakla, centered around the piano.

An imaginary dictionary that navigates between language and landscape, notation and noise.

Hanno Leichtmann's "Chromacolor" draws on rhythmic minimalism as a guiding principle and might call to mind organic, instrument-based ambient music, but also incorporates jazzy moments as well as Annie Garlids multi-layered vocals that permeate through these nine pieces.

Leaving aside temporarily his practice of Revox and magnetic tape played live, Jérôme Noetinger proposes two drones: a monolithic vibration, enriched by sputtering and a few electronic elements, and a piece playing with the grain of sound matter, gradually densified before a long lull in a kind of white noise.

Post-rock by a chamber music ensemble from Belgium, mixed by Steve Albini.

Post-rock by a chamber music ensemble from Belgium, mixed by Steve Albini.

The definitive edition of the historical recording of Julius Eastman's major piece performed in 1974 by S.E.M. Ensemble, remastered by Jim O'Rourke, available on vinyl for the first time.

A work engaging with the materiality of sound, the essence of cloth, and the symbiosis of the machine and handmade by transposing weaving draft notation into graphic scores and rhythmic sequencing.

Hypnotic instrumental improvisation-based explorations by the trio from Cairo featuring Maurice Louca (Alif, Bikya), Sam Shalabi (Land of Kush, Shalabi Effect) and Alan Bishop (Sun City Girls, The Invisible Hands, Alvarius B.) are propelled by North African percussion loops and shimmering keys, a West African tinged free jazz guitar and a driving Krautrock-style acoustic bass.

29 Fluxus pieces, new and old, live and studio, finished pieces and scores to be performed, acoustic and classical, solos and pieces for ensemble, using classical and special instruments (with a 72 page booklet with texts and pictures).

18 Fluxus pieces, new and old, live and studio, finished pieces and scores to be performed, acoustic and classical, solos and pieces for ensemble, using classical and special instruments (with a 24 page booklet with texts and pictures).

Over five hours of video and audio documenting the three-day Intermedia event organized by Fluxus artist Eric Andersen in 1996, involving parachute jumps, helicopters, mountain climbing, live sheep and over 100 singers walking on water.

An artist's guide to copyright, written for makers.

an essay that opposes the discourses of justification led by artists and other agents in the field of art with a materialist conception of the history of cultural institutions. The author argues for an abolitionist approach towards art institutions against more reformist, corporatist and formalist approaches of emancipation that still prevail in the art sector.

The first solo album of the French saxophonist, flutist and visual artist Sakina Abdou is the culmination of a path initiated more than twenty years ago on various aesthetic paths and in different contexts and artistic experiments, of a sound research started in 2021 around the solo saxophone, and of a tour in the United States in the fall of 2022.

Lagoss (comprised of Tenerife based veteran producers Gonçalo F. Cardoso, Mladen Kurajica and Daniel García) and Banha da Cobra (Lisbon-based musicians Mestre André and Carlos Godinho) introduce the first volume on the "Aquapelagos" series—a collection of split LPs where selected artists offer their own take into water surrounded cultures and communities.

The debut of the duo Damāvand (Gianluca Ceccarini and Alessandro Ciccarelli), a tribute to the 18th Century Armenian poet and musician Sayat Nova, weaves a sprawling sense of rhythmic abstraction from ancient poetic touchstone, offering further proof that the future of ambient music is now.

Occupying a remarkable middle ground between the operatic, the abstractions of experimentalism, and seductive qualities of popular music, Italian berlin-based composer, performer and publisher Claudio Rocchetti has created an entirely singular from of electroacoustic practice, as though Philip Glass' Operas were tossed into a blender run by Alvin Lucier. Thrilling, deeply engaging, and bordering on the visionary, this transportive wonder taps the melancholic and ecstatic alike.

Recital presents As Above, So Below, a new album from French multi-instrumentalist Delphine Dora, centered around mystic piano and voice recordings.

Marc Codsi’s new Arabic infused synth oriented album.

Swedish drone alchemist Mats Erlandsson is sitting in a fictional room on "Gyttjans Topografi", imagining a virtual chamber orchestra using zithers, tapes, double bass, harmonium, organ, and various synthesisers to draft a treatise on alternative tuning and non-normative harmonic structures. Transcendent material.

Recorded at the height of the global pandemic, and at a time when remote communication was becoming increasingly prevalent, "Choreological Exchanges" is part of Hastings Of Malawi's continuing investigations into the medium of communication itself.

Two works from the same series of compositions, drawn from modular synthesizer recordings which have been reworked, treated and composed in the computer.

The new album by Material Object reveals a completely new sound for the artist as he combined acoustic and electronic tools to create stunning album of depth and beauty.

By now a regular and esteemed presence among the Discrepant sprawling household via releases with projects such as Alförjs, Banha da Cobra or Jibóia, Mestre André "resurrects" his O Morto alias (bad pun somewhat intended) after 2016 "The Forest, The People And The Spirits".

Never released before recordings by the improvising quartet Alterations (active from 1977 to 1986, and reforming in 2015) from Logos Foundation live sessions at Logos Foundation, Gent, Belgium on January 3, 1981.

Laszlo Umbreit's album Pas de regrets combines electronic sounds with recorded memories and various materials to create a unique listening experience.

The first collaboration recorded on CD between the two American artists and musicians, based on a process of reciprocal sending of electronic and acoustic sound sources, reworked successively by each and then together, gives rise to a series of delicately crafted and wonderfully evocative atmospheric pieces.

The endlessly prolific and unpredictable Richard Youngs returns to Black Truffle with "Modern Sorrow", with a radical but deeply sensitive reduction of contemporary pop production.

The Parc la Villette, Paris, as told by a series of mobile barriers.