Sung Tieu employs sound as a critical tool to dissect how social and political power manifests within sensory realms. Through layered compositions, the artist examines the emotional and psychological effects of controlled environments, transforming space into an immersive auditory experience that highlights the structures of surveillance, bureaucracy and institutional design. Civic Floor examines the evolution of prison architecture, tracing the shift from the radial model developed in Britain in the 1840s to the emergence of galleried and courtyard layouts in the 19th and 20th centuries. It also explores more contemporary approaches, including the “new generation” prisons of the 1990s, which prioritised control through sophisticated spatial and psychological strategies. Tieu’s soundscape mirrors these architectural developments, blending mechanical rhythms, bodily sounds, ambient drones, and distorted frequencies to evoke the alienation and rigidity inherent in such systems. The work’s immersive soundscape disorients while enveloping the listener, amplifying the psychological weight of these spaces and their design principles. Sung Tieu (b. Hai Duong, Vietnam) is an artist based in Berlin. Her work draws on her personal experiences and research into global capitalism and its impacts, addressing themes of imperialist violence, class divides, and displacement. She often reflects the voices and experiences of Vietnamese diaspora communities in Germany. Together with Henrike Naumann, Tieu will represent Germany at the 61st Venice Biennale in 2026.

Euro TV is an ongoing instrumental collaboration begun in 2021 by artists Nicholas Cheveldave and Will Sheridan Jr.. Blending piano, trumpet, and other instruments with recordings of night buses, drifting voices, and the hum of empty streets, the album pieces together a rhythm of ‘interpersonal sound’—an echo of lives half-remembered yet undeniably present. Nicholas Cheveldave (b. Victoria, Canada) is an artist based in London. His practice brings together photography, painting, 3D rendering, and sculpture that culminate in densely layered collages and audio assemblages. His practice critically engages the ways in which Western consumer culture generates and controls the communication of contemporary identity.  Will Sheridan Jr. (b. Brussels, Belgium) is an artist based in London. Working across collage, drawing, sculpture, and sound, his practice is inspired by the imagery of modern advertising and consumer culture. Repetitive and meditative, his works reflect—and at times reproduce—the representational systems from which they are drawn.

Now watch this drive is an experimental six-part work of poetic prose written and performed by Angharad Williams. The narrative is fragmented and shifts between different modes—prison memoir, surreal romance, apocalyptic landscapes. Haunting and sensual, it follows a lone and desperate protagonist through escape, desire, and estrangement, drifting between incarceration and a dark, suffocating past toward flickers of personal freedom. The work deals with survival strategies, queer relationships, and environmental collapse. Set in a Bosch-like elsewhere, an imagined addressee lingers throughout. This is a story never fully told—part confession, part hallucination, and entirely debauched. Angharad Williams (b. Ynys Môn, Wales) is an artist and writer based in Berlin. Her multidisciplinary practice explores themes of incarceration, artistic provocation, and the destruction of the self. Central to her work is the idea of security—a state that exists between freedom and its confines. Williams is the co-founder of The Wig, an artist-run space in Berlin.

A sequence of piano and tenor saxophone free improvisations recorded in concert at the Appleby Jazz Festival in 2004.

2023 repress of the OTOROKU re-issue of the legendary English free improvisation LP 'The Topography of The Lungs' by Evan Parker, Derek Bailey and Han Bennink. This was Evan Parker’s first recording as a "leader" and was the first release on Incus, the label Parker founded with guitarist Derek Bailey and drummer Tony Oxley. This re-issue has been produced from an original vinyl pressing from Evan's archives - carefully transcribed and restored by Andreas [LUPO] Lubich at Calyx in Berlin and features the original liner notes from Parker along with updated notes penned in 2014. "To talk further of the music we play is difficult. It’s criteria for success exist, but are elusive and indefinable beyond the intuitive level. We operate without rules (pre-composed material) or well-defined code of behaviour (fixed tempi, tonalities, serial structures etc.), and yet are able to distinguish success from failure." - From Evan Parker’s original liner notes (1970) This pressing of The Topography of The Lungs comes in a limited edition of 500 copies.

"أحمد [Ahmed] are crucial listening for anyone intrigued by the fertile space between free jazz, Arabic music and West African modes." - Boomkat "Pianist Pat Thomas, bassist Joel Grip, drummer Antonin Gerbal and alto saxophonist Seymour Wright push the source material to new musical planes that are nonetheless framed by a limitlessly wide history of black music." - Jazzwise  سماع [Sam'aa] (Audition) arrives in a gatefold, reverse board sleeve with liners by Fred Moten and designed by Maja Larrson. Recorded and mixed by Benedic Lamdin on February 28th, 2025 Fish Factory Studios, London. Mastering and lacquers cut by Andreas LUPO Lubich. Cover photo ‘Arteries, New York, 1964’ courtesy of the Estate of Evelyn Hofer. Produced by Seymour Wright/OTOROKU with the support of PRS Foundation. Please note: This 2LP is currently sold out and awaiting a repress. Any orders now will be for the repress arriving in Feb. Known for their exhilarating live-to-record albums such as last year's critically acclaimed Wood Blues and Giant Beauty, سماع [Sama'a] (Audition) is the first of two releases that will surface after [Ahmed]’s first studio recording sessions at North London’s The Fish Factory in early 2025.  Since 2014, [Ahmed] أحمد have excavated and re-imagined the music of Ahmed Abdul-Malik, in an ever ongoing search for future music. Over a decade on, the group were given the opportunity to set up in the studio for the first time and, with the aid of meticulous engineer Benedic Lamdin,  سماع [Sama'a] (Audition) is the quartet's most detailed work to date.  Fastidious fans may recognise the album's tracklisting as that of Ahmed Abdul-Malik’s Jazz Sahara. After his success collaborating with the pianists Thelonious Monk and Randy Weston, Jazz Sahara was the first record Abdul-Malik made as a leader and was released in 1958. It used the flame of late Fifties jazz to light the wick of North African folk music and acted as a reminder of the Arabic origins of jazz, creating a distinct, unique sound that was far beyond its time. In Malik’s Jazz Sahara, there is no piano. The ongoing work of each member of [Ahmed] then is to think differently, to wonder how the music will work and to take a risk on trying it out - an extraordinarily compelling feat of imagination. Using group improvisation strategies and recording in single takes, سماع [Sama'a] (Audition) tackled the full suite of Jazz Sahara in just one session, with ‘Ya Annas [Oh, People’] and ‘Isma'a [Listen’] being previously unrecorded. 'Farah 'Alaiyna’, also released on 2019’s Super Majnoon, sounds unrecognisable - the slow, heady stomp and repeated phrasing of 2019’s embryonic [Ahmed] having been blast furnaced and sped up four-fold. The result is four kaleidoscopic, relative miniatures that move, unfold and re-imagine at a very different scale and proportion than [Ahmed]’s previous records. It’s a dizzying, euphoric music and an extraordinary record of a group moving through space-time like no other.

■NB the content of the LP and CD versions is not identical.■The LP includes four pieces: three selected from the original exhibition pieces by Art into Life, and one new piece (“Dialogue”) by Hirose that was not included in the exhibition. “Dialogue” only appears on this LP version.The CD includes all of the original pieces from the exhibition. The vinyl comes with DL code that has all CD tracks. The Kiyosato Museum of Contemporary Art was located in Kiyosato, Yamanashi prefecture from 1990 to 2014. It was a private art museum with a permanent exhibit based on a collection of unrivalled scale. The museum also collected and mounted exhibitions on the work of radical contemporary composers, including John Cage. The museum’s primary informant on music was sound designer Yutaka Hirose, one of the pioneers of Japan’s environmental music (kankyō ongaku) movement in the 1980s. In 1992, the museum mounted a John Cage Memorial exhibition, and this release showcases Hirose’s work on the overall exhibition design and the creation of the sounds that were played in the museum during the exhibition, through a re-edit and reissue of the sound materials.The sound materials that Hirose created for the exhibition environment were only ever distributed on CDr to members of the curatorial team so this is their first formal release. Hirose’s work for the exhibition was radical in its use of musique concrète and collages of noise and everyday sounds, and in his homage to Cage’s methods, these pieces represent a distinct departure from his normal approach at the time.The A4 booklet includes texts about the exhibition by members of the team, Hirose’s own description of the pieces, and photographs of the exhibition. (Text in Japanese and English).

Manon Anne Gillis has been creating music using primitive systems since the 1980s. Her ninth solo album weaves together her voice, breathing, words and sounds using ingenuous methodologies. She has remarked that her sound is not something conceptual and that feeling and immersion matter far more to her than understanding. Her latest collection consists of ten pieces that approach sound as a tactile, sensory experience. She transforms spoken word and singing into blurred noise and irregular repetitions, plunging them into rhythm tracks to create new inner worlds.

rom the 1950s, Masaaki Takano (1927-2007) worked as a freelance "sound planner," mainly creating sound effects for stage productions. In the mid-1980s he began performances called "Sound Play" where he would perform on his own self-created sound instruments and his collection of ethnic instruments. Growing out of his work with sound effects, he became obsessed with the recording of natural sounds from the 1970s onwards, and this album "Shizukutachi" is a record of a high-quality recording of water droplets that he created in the studio using his own self-created suikinchiku system. This reissue recreates the original LP, using special paper to create beautiful packaging and duplicating the original, ultra-transparent vinyl. The reissue includes newly penned, detailed liner notes by Tomotaro Kaneko (owner of the Japanese Art Sound Archive).

@xcrswx is the duo of Crystabel Efemena Riley (human/drum-skin) and Seymour Wright (saxophone) both also working with digital, analogue and ANDROID technologies – live and in the studio. Together they create sound works, and ideas that they explain, are to do with: “(REFERENCES) a span of human traditions, technologies and applications from the menstrual-bloody origins of cosmetics through evolution of reeds/drumskin ritual/musics, to Samsung and Audacity tools and attachments, Crunchyrolls and sub-woofer succulence. It’s committed, collaborative work that draws on decades of other association (past and present: X-Ray Hex Tet, Maria & The Mirrors, GUO, أحمد [Ahmed], XT trios with Anne Gillis and RPBoo) and (MORE REFERENCES) glamour/talent, clean-beauty, smart-boards, teaching-teams, stages, studios and solos, but in terms of what comes out is a sui generis, exciting, radical, extreme, tender, physical and fresh synthesis, of beats, layers, and patterns of raw and polished sound”.*MOODBOARD is @xcrswx’s first 12” LP, following on from FIXES a 10” split (with Lolina) from 2023 and CALLTIME/HARD OUT, a 7” single from 2020 it completes a trilogy of releases on Feedback Moves. It extends the previous releases in exciting, new ways – presenting things on a scale where everything is greater, with extremes wider, rawer and deeper than on previous recordings. MOODBOARD is one long-form piece played across two sides, and, a suite of discrete, overlapping songs – OKIE EFE, NPC, P2W, REFERENCES, MORE REFERENCES, UFFIZI, THE CREATIVE DECK, OKIE EFE IVẸ – pulsing with the intensity of one of @xcrswx’s extraordinarily intense, physical, caring and socially-situated live shows, but employing hi- and lo-tech studio assembly, intervention, and re-invention to keep these two sides very much, and meticulously, produced – a record made. Released 2025 - Feedback moves

David Murray — 萨克斯 Saxophone Kahil El'Zabar — 打击乐 Percussion / 卡林巴 Kalimba / 人声 Voice 录制于第十届 OCT-LOFT 国际爵士音乐节，深圳 B10 现场，2023 年 10 月 27 日 Recorded at the 10th OCT-LOFT Jazz Festival, B10 Live, Shenzhen October 27th, 2023

pre-order, arriving late december / early jan Amazing duo perfromance by Hamid Drake and Piano, recorded at the Shenzhen Jazz Festival in China, during late Cotober of 2019, issued by the always amazing Shenzhen based imprint Old Heaven.  Hamid Drake - 鼓 Drums / 打击乐 Percussion / 框鼓 Frame Drum / 人声 Vocals Pat Thomas - 钢琴 Piano 录制于第九届 OCT-LOFT 国际爵士音乐节，深圳 B10 现场，2019 年 10 月 20 日 Recorded at the 9th OCT-LOFT Jazz Festival, B10 Live, Shenzhen, October 20th, 2019

Harkening back to his days in Slapp Happy, Anthony Moore returns with his latest brilliant song cycle for Drag City  On Beacon Hill: at twilight we find Anthony Moore, roots winding backwards to the halcyon days of Slapp Happy and the ‘70s progressive art rock scene, at guitar and piano. With the atmospheres and accompaniments of AKA & Friends, he breathes infernal new life into songs from his six decades of multivarious music making. This new delivery system is unto a séance, a communal incantation, twining Anthony’s avant and pop traditions together in a darkly radiant coil of folky chamber music; a rope to lower the listener through cobwebs and murk, unveiling new life beneath Anthony’s mad old lines. It is new life that we will need if we hope to reoccupy this cursed earth. AKA are Anthony Moore, Keith Rodway and Amanda Thompson. A pagan family of sound worshipers hailing from that unholiest of all places: Hastings UK, home of Crowley and Turing. Like their sinister forbears in that infamous tradition, this latest trinity shares a passion for subverting pattern and number, factoring unlikely permutations arising from sea and horizon, greensward, the southerly aspect, and the planisphere as half-world. Their equatorial shore speaks of a planet of water and earth, fire and air. AKA’s humble tools of choice for this endeavor are guitar, piano, organ, synthesizer and vocals. The Friends of AKA are Tullis Rennie, trombone and electronics; Olie Brice, double bass; Richard Moore, violin; and Haydn Ackerley, guitar. They too navigate the shoreline of the south coast, haunt the same taverns and regularly play together in whatever combinations fit the bill. Leaving the drums (and their drummer) at home to realize anew these dream-laden songs, AKA & Friends ensure that the notes fall around the beat and not on it, so as to define the pulse with absence. As such, time is liberated, prised free from the merciless clock; a rhythm of waves, passing through a steady-state universe of no beginnings and no endings. Discontinuities are dissolved, all is transition. On Beacon Hill: Anthony Moore with AKA & Friends manifest a sensuous post-devastation lounge act, seeking to re-invoke natural orders by naming — rather than cursing — the darkness in its many guises. Like final-phase Johnny Cash on a lost episode of Twin Peaks, Anthony’s innate gravitas is a light through the surreal landscape, as the players combine themselves again and again, their efforts rising and falling in shared space. Their gothic jazz orchestra carves delicately through Anthony’s songs, releasing the melodies and the melancholy to drift upward, like smoke against a sooty and scorched backdrop. On Beacon Hill: fantastic, prophetic journeys, dry eyed but deeply affected, through the shadow depths of Anthony Moore’s mirror. As we listen, we gravitate and journey alongside fellow refugees in solidarity and solitude alike.

Astounding 50th anniversary restoration / vinyl remaster of Pearls Before Swine's brilliant debut LP, originally issued by ESP in 1967 50 years later — still One Nation Underground — in the original mono mix that hasn't been heard since the days of the original vinyl pressing! All the better to cut through the sustained smell of BS, idiocy and outright apocalypse in the wind.

Astounding 50th anniversary restoration / vinyl remaster of Pearls Before Swine's brilliant second LP, originally issued by ESP in 1968 From 1968: the second album - and second masterpiece from Tom Rapp's merry band. A host of NYC session players augments the old Floridian Pearls gang, progressing the sound into greater depth, with Rapp's gimlet eye cocked at the world of contradictions that allows so much love and beauty, and so much to destroy it. Newly restored to highlight the gorgeous design of the album, inside and out. Make war no more.

Maple's third full-lenth outing and the first offering on Drag City. Produced by Michael Gira of The Swans. This is their unique take on Rock n' Roll High School.

a sky cold as clay is a record of traces, where sounds exist as palimpsests rather than clearly delineated entities. The album’s root is a collage of recordings Rory Salter collected over the last few years. Piano captured on an iPhone, friends throwing sticks at trees in Finland, a hurdy-gurdy laying around a studio – threaded together with tender melodiousness from trickling acoustic guitar, wobbly drones and electrical tones. Each track sounds like a superimposition, as though traces from their original contexts and the processes of their creation and documentation are leaking through.Salter’s day job is as a sound engineer. And across a sky cold as clay we’re offered a glimpse into that work. The way sound acts before it’s captured in a perfect recording or performance, and the possibilities it has before being varnished to a pristine external standard.Opener “during a slack half hour” arrives with the noise floor of a mic-preamp cranked high, dousing us in a blanket of static through which chirring electricity, struck metal and languid acoustic guitar emerge. “In corners, after clocks, on tiled floors” sees unsettling thuds, coughs and voices creep through hissy ether, as though the mic is turned so high it’s picking up the neighbours. On “Where the gains are set” Salter reads a poem which teeters back and forth between the sense of gain as both an audio term and one imbricated in the fabric of a zero-sum, competitive way of seeing the world. Infant Tree - 2025

Now we have The Red Krayola's state-of-the-states address 1999, presented to one and all in grand Red Krayola style, going all the way back to the days when they spelled it with a C instead of a K (c. 1967). Back then, the world was hearing it's first of this now legendary outfit. Having never tried to do anything the same twice, The Red Krayola, manage in a way not to again on Fingerpainting, although this time, in a way, they tried. Fingerpainting features unreleased songs from the distant days of 1966. The 90s Red Krayola shuffles these ancient pre-Arable Red Crayola songs with the sounds of neo-freakouts, live on the world's stage -- free, familiar, ugly, for a whole bunch of new generations. Fingerpainting features both the latter day Krayola and the original Red Crayola, from thirty years back, bringing it all full circle. And thus allowing another circle to be formed as soon as possible." All-star line-up of Albert Oehlen, Bobby Henschen, Christopher Williams, David Grubbs, Elisa Randazzo, Frederick Barthelme, George Hurley, Mayo Thompson, Sandy Yang, Stephen Prina, Steve Cunningham, Tom Watson