The first cover and acoustic guitar feedback album by Shanghai guitarist MAI MAI.The first in a series where MAI MAI focuses on the feedback and textures of favourite Beatles song.'It should be a noon of 1997, when I was in the 2nd grade of middle school, I saw the music video of the Beatles “I Want to Hold Your Hand”on MTV channel. A live performance, black and white. It was the first “thriller” The Beatles brought to me.   The second “thriller” was in 1999, when I was in grade one of high school. The day before, I bought the so-called “white album” in a cracked cassette shop. That day I went to attend a kind of “little campus writer seminar” with my schoolmaster and a senior. On my way back home by bike, I began to listen to the double-cassettes. After this “thriller”, I talked with the senior who also loves rock music about grouping a band. But neither of us had learnt or even had any instrument. We just talked about it and thought we were in a band for quite a long time.   In 2001, I was a restudy student in a boarding high school. On the Christmas Eve, I listened to John Lennon and Yoko Ono’s “Happy Xmas (War Is Over)” lying in the bed in my dorm, which was rebuilt from a shower room. I cried out. It should be count as a “thriller” brought by the Beatles, the third one. After that, it never happened again.' MAI mai April, 2016 --- 卖卖 MAI MAI uses: Martin M-38 acoustic guitar Yamaha hs8 powered speaker system Rode NT-5 pair microphones --- Released: Zoomin' Night Released June 1, 2016

In A Bog is a series of electro-ambient vignettes strung together like faded raver beads. Wobbling synths, plastic hand drums, and garbled signals slide in an out of focus. Cockeyed rhythms swirl into mellow atmospherics. Doofy samples bubble up from the bottom of the Internet. Beat Detectives hijack body music, cut it up, slow it down, and put it back together like Frankenstein with arms for legs. --- Goaty Tapes, 2019

Belgium's Knotwilg Records delivers a heavy duty dose of DIY and out there bangers in celebration of live events they ran between 2016-2019, showcasing frequent collaborators and close friends. Snippets of live sets from favourite Belgian venues such as Les Atellier Claus and Brasserie Atlas plus some exclusives that weren't recorded. --- Mastered by Christophe Albertijn Compiled by DJ Klakke Soirée Knotwilg I at Les Ateliers Claus 14/05/2016: Tracks 14, 16 & 17 are all exclusive since recordings got lost Soiréé Knotwilg II at Les Ateliers Claus 02/06/2017: tracks 6, 8, 9 and 15 live from that night Knotwilg at Donk: 06/07/2018: Track 3 live that night Knotwilg Festival 2019 at Brasserie Atlas: 13/04/2019: livetracks 2, 7, 10, 11,12, 13 and 18 Réveil Kortemark: 01/11/2019: no recordings were made: 1 & 4 are exclusive tracks K-Group recording (track 5) at Les Ateliers Claus on 9/11/2019 during a short weekend playing Claus and Grambacht. --- Released April 4 2020, Knotwilg Records

Truly spannered churned out gunk from the mind of Duncan Harrison. Could possibly be the best Duncan Harrison release to come out in the last 12 months --- Regional Bears, 2021

Keijo plays Woodie Guthrie's songs. Recorded between April 2019 and October 2020. All instruments, effects & voice by Keijo. --- Ikusiuus Records, March 2021 Edition of 60 copies

'Mentos Gulgendo (1)' is the Nowacka sisters' consuming Slip debut: a mercurial set for transfigured organ and voice, shaped to shudder, creep, or take flight. From the rough, anchored sound of a Unitra Estrada 207 AR organ, Antonina and Mila alchemise 6 nagging, fearful pieces, which alternate between burrowing, prickly beds of processed instrumental sound and more spacious sighs, buoyed up by dancing, full-blooded vocals. The Polish duo's careful ear for the grain of the organ - sometimes allowing it to sink in, more often urging, pressuring it onwards - makes for a magnetic, addictive listen. 'Mentos Gulgendo' is a new project by Antonina Nowacka and Mila Nowacka, who make possessed, hallucinatory sound and visuals as WIDT, most recently in a wild, unnerving collaboration with German producer Christoph De Babalon for Bocian in 2018. --- Music composed, performed and recorded by Antonina Nowacka and Mila Nowacka at the Family Allotments "Kaloria", using a Unitra Estrada 207 AR organ. Mastered by Filip Marcinkowski Artwork by Masia Debska --- Slip Imprint, 2020

"KENMORE / LINDORFF EXCHANGE marks two collaborations from 2009: one pairs New Orleans-based radio producer and DJ Joe Shriner with multimedia artist Evan Lindorff-Ellery, based in Kingston, NY; the other features Lindorff-Ellery and Gary Lindorff, an author and poet living in Vermont. Though performed and recorded independently, these two pieces share a common approach; they are informed by the specific acoustic environments in which they were made and exhibit an ambiguous passion for the liminal space between interior and exterior, both psychologically and literally.The title of KENMORE EXCHANGE refers to two locations on Kenmore Avenue in Chicago. Using a shoebox cassette recorder, Shriner captured various sounds at DePaul University’s Lincoln Park campus. In the basement of a building that has since been razed, he recorded himself playing a persistent F minor chord on one the school's practice room pianos, enclosed by brightly-lit concrete walls and a single window. In Lindorff-Ellery’s airy apartment (five windows total) six miles due north, the two manipulated these tapes along with field recordings Evan made as he biked between the university and his home.LINDORFF EXCHANGE is a document of Lindorff-Ellery and Lindorff's late afternoon, mid-winter experience in a cabin in the Vermont woods. No artificial lights were used in the creation of this aural portrait, and each lighted and diffused section of the cabin became darker as the recording continued; needless to say the objects merged with each other. Somehow, very faint classical music appeared on this recording, and there may or may not have been post-production tape manipulation. What we have is what we’ve got. --- Regional Bears, 2021

Preceding a debut album proper for the label due soon, '17 roles (All Mapped Out)’ takes us on a journey from a ringing railroad crossing and domestic rustle, thru quietly glorious inner landscapes and into reverberating x pastoral strings and lambent pads that coalesce to attune the ear to claire’s aural purview with half-heard riffs on friends, life in the digital realm, and the afterlife. Set to the slightest but most transfixing shifts in tone and texture that possess an incredible capacity to bring you to tears, often unexpectedly, her everyday sounds are magnified to gently distort their meaning and heighten their sensuality, effectively glimpsing the firmament from far away in a sort of waking dream gaze. As with claire’s myriad releases during the past few years, her music’s low-key treatise on loneliness, friendship and existentialism has uncannily come into its own this year, appealing to atomised souls seeking connection thru music. This one in particular feels to strongly capture and characterise a mix of fleeting and torpid emotions in a way that evokes the passage of time and the fragile sense of place in the world like nothing else you’ll hear on the scene, like a rare orchid poking out from the crumbling facade of ambient convention. --- Shelter Press, 2021

'I met SUGAI KEN a few years ago in Tokyo, outside the Dommune radio studios. His personality and music, a very special brand, touched me. His music is a coded vision of a dream world. A trade that is progressive yet traditional - in the most positive sense of the word. Recently out of the blue, Sugai San sent me a collection of personal field recordings he made of folklore groups and public performances in Tokyo, Toyama, Kanagawa, Kyoto, Tottori, … The close listener already knows that Sugai San’s aesthetics speak of a great knowledge of these performing arts. An open invitation: “the traditional local performing arts in the 21st century intrinsically conceive “fragility” as they are vulnerable to extinction. The Japanese local performing arts that appear in this recording is no exception, endangered by the declining birth rate and aging population which are typical to the country. (SUGAI KEN)” I bring the original recordings into conversation with new elements (corresponding field recordings and or additional percussion and strings, performed by Antwerp musicians Jeroen Stevens and Roman Hiele) like a ‘monomane’ - tr. imitating – sound game. But when i throw these old and new figurines together on the podium, the objects immediately disappear in the cracks of the stage wood. Thus only the understament of the suggestion remains. And relentlessly the significance of every movement now becomes a question. Furthermore, what’s in focus? The manipulation? Or the content? Or are we zooming in on the aspect of archiving ~ preserving? Dubious. In KAGIROI – tr. heat haze - people coexist for a moment severely carved in time like a high contrast still of dancing flames. When you bring this composition home, it will never boil yet merely evaporate. And when you gaze at the clouds of condensed droplets inside your own darkness, on a soft volume, You complete our puzzle.  . -Lieven Martens --- SUGAI KEN - field recordings, liner notes Lieven Martens - collage, additional sounds and field recordings Jeroen Stevens - additional percussion Roman Hiele - double bass, mastering Kohei Oyamada - liner notes translation Jeroen Wille - artwork --- Edições CN, 2021

Don't test the waters; a gut-rigged amalgam of disengaged tape remedies, mouth whiplash and last-limb electronics. --- TracklistA1 untitledB1 untitledB2 untitled --- Regional Bears, 2021

Page 29 and Page 44 are part of an iterative text-sound project Hopkins began in 2018. In this ongoing project, text generation software is used to repeatedly alter a page of text. Each alteration is collated in an expanding document that he uses to inform recordings and performances. The pages were read, but not a great deal was said.Flakes 1 and Flakes 2 are collages made from test signals and found audio fragments from Australian television between 1974 – 1979. Anticipating the broadcast, but nothing begins. ---Recorded and assembled in 2021 on Gadigal and Wangal land.Mastered by Renato Grieco.Artwork by MP Hopkins.

Lament & Rejoice is a debut album by a Finnish experimental musician Juho Toivonen.Dubbed on to a 30-year old Hardcore Punk tape found from Toivonen's rehersal room in Pori, the hissing album experiments with continuous sound created either with clarinet, viola, synthesizer and chants - or just with piano and synthesizer.In these two pieces you'll find sounds and energies being emancipated for the purpose of unity.Thank you Charlotte.Performers: 1. Lament - Juho, Saija, Antti2. Rejoice - JuhoArtwork by Dima RabikCassette layout by Kryptinen Käki

Collage for found text 2018-2020 Voice – Claire Bloom, Daffy Scanlan, Duncan Harrison, Josh Peterson --- Regional Bears, 2021

Gnarly, ruff cut up sounds from actually cut up flexi discs. Direct to 4 track from Brighton's garbled gonk purveyor Duncan Harrison. No mercy! Released on Robert Ridley Shackleton's Cardboard Club  

Objects at Hand is the result of an ongoing collaboration between Dirty Electronics (John Richards) and T M Shaw.   Just before lockdown in 2020 Richards and Shaw finished a tour, Points of Failure, which involved building performance-installations in various venues across the UK. These environments, made up of DIY devices and found objects, were constructed in response to the performance spaces, and consisted of sound, light, smell, smoke and other sonic processes.    Objects at Hand was recorded retrospectively in remote locations and then edited and mixed as a memory trace and document of the sounds, physical spaces and objects encountered on the tour.   Action, uncontrollable instruments, unstable systems, performative failures, reimagined affordance of objects, playing with resource, improvising inside electronics, assembling and disassembling sound devices, architectural features are folded into this performance document.   Richards and Shaw see their work as a form of ‘cybernetic wayfaring’, improvising with materials, feedback and new situations, as they continue, and repeat.  --- 1. Praxis [4:34] - coil, circuits, feedback, motors, metal sink, tin can, transducer 2. Imposed_Adjacent [4:35]- rubbing motor, interjections, radical nails, tin can, voice, large glass vessel 3. Opus 25 [3:48] - sparkler, filtered noise/whistle, hacked speak n’ spell, vowels, tin can, Tesla coil 4. Thinking in Time [5:35] - boat, creeky platform, gated noise, thrupenny synth, spring reverb feedback 5. Temporary Needs [7:18] - disposable cameras, large capacitor discharge, circuits, AM radio, prepared speakers, spark gaps 6. newCorpus [1:59] - travel, flights, hotel, coil, Dictaphone, large speech corpus, pd patch (disorderly jukebox --- Opal Tapes, 2021

Saxophonist, poet and puppeteer, Ted Milton, brought his band Blurt to the 4th Tomorrow Festival with an unusual musical scene. He has recited 5 of his poems before the performance. The full set of 19 tracks, including poetry readings, are included exclusively in the special edition of the digital album. --- Ted Milton / 主唱 vocals, 萨克斯 saxophoneSteve Eagles / 吉他 guitarDavid Aylward / 鼓 drums --- 录音 Recording: 曾君 Zeng Jun / 罗绿野 Luo Lvye母带处理 Mastering: 刘英 Liu Ying制作人 Producer: 涂飞 Tu Fei摄影 Photography: 陈悦湘 Chan / 许益铭 Bug @ Dafa设计 Design : 尹思卜 Midori Yin

Super limited tape. A narrative-musical work, a Babylonian library in which sound and word give shape to an evanescent sonic space with infinite historical, archaeological, science fiction and future references. Etrusca 3D is a new band that merges two current Audio and visual artists from the 21st Century, Francesco Cavaliere and Spencer Clark. The album is the first to be released by Spencer Clark's label Pacific City Discs, as a subsidiary and in collaboration with Discrepant. Etrusca 3D is the juxtaposition of two imagineers friendship, as Francesco says, 'because I am Etruscan and you (Spencer) are 3D." There is a piece of the future of Etruscan civilization contained within this disc. It is with Spencer's remote viewing of a past and future creative culture and Francesco's birthright that we find a true insinuation of civilizations world body. --- Pacific City, 2021

Olive and Naka's collaboration pairs two musicians working with lo-/mid-fi sonics and modified/self-made instruments. Through extensive recording and touring, the duo has honed a patient aesthetic, allowing each other's sounds to unfold with minimal, sure-footed interactions, akin to moving along a path up the mountain for which this release is titled. Naka's sources here consist mainly of "long loops of sagging/distressed cassette tape winding into and out of similarly distressed portable tape players, with real-time analog processing." Olive uses magnetic pickups and analog electronics. This leads to sounds of uncertain provenance, playfully emerging from a thick analog haze, building toward surprising, subtle crescendos. This is work that results from, and produces, an active semblance of stillness.