Here is a fresh EP from a new duo CLAUSTROPHONE. And what EP it is! Composed and produced dogmatically through an email exchange by two quite different individuals, Tomo Jacobson in Copenhagen and Dawid Gąsiorek in Warsaw, the two pieces featured on the tape were made in halves with one of the musicians preparing the first layer of the composition and giving it to the other to finish. The music becoming is a strange amalgam of electronic, melodic, avant garde, ambient, acoustic, noise, minimal, and maximal. It is just CLAUSTROPHONE music.

Henceforth, WARMBLADDER lurks out from tenebrosity! TWO totally new electronic works full of free improvisation, midi shreds, and ambient horrors coming at the same time on two obscure by now medias: CD and cassette. WARMBLADDER's music is TRULY ahead of its times and can be best described by genres terror jazz, sick jam, and post-everything. >>GUNK The Movie OST download original or not<< is a 20 minutes work in two movements leaning towards the terror side of music-making. The core of WARMBLADDER trio: Pole based in Copenhagen playing midi-ribbon - Tomo Jacobson (Moonbow, Mount Meander, Sun Araw), Hawaiian electronic drummer based in LA - Jonathan Leland (Janka Nabay, Sun Araw, Skeletons), and Spaniard playing The Box - Ignacio Nacho Córdoba (Fuego, Magia); is joined on this release by the German maestro saxophonist Jonas Engel (Own Your Bones, Just Another Foundry), and the mad Danish guitarist Taus Bregnhøj-Olesen (Yngel, Klimaforandringer). The music is fucking scary. Tomo Jacobson - midi-ribbon Jonathan Leland - electronic drum kit & percussion Ignacio Nacho Córdoba - electronics Jonas Engel - alto saxophone Taus Bregnhøj-Olesen - Nacho's-signal-through-guitar processing

WOOD ORGANIZATION is an open constellation led by a Copenhagen-based duo of Szymon Pimpon Gasiorek and Tomo Jacobson - both players coming out of Copenhagen's vibrant improv and creative music scene. Initially devoted to improvisation drawing from the sounds of nature, the group has recently headed into a new direction which they themselves call drimpro (dream + improv). Their new music is a unique combination of repetitive acoustic grooves and abstract electronics sculpted in a free manner. It is an eclectic amalgam of the duo's various influences ranging from free jazz to pop to ethnic to disco to reggae, that features both players as a rhythm section, soloists, and singers (on #7 & #9) alike. In 2017 the group released their first well-received album on cassettes, featuring a three times Danish Grammy recipient Lars Greve on reeds, Freya Schack-Arnott on cello, and Franciszek Pospieszalski on second double bass.

"It is not only an album, but also a complete documentary of an event. We combine cassette and CD into one album so that one may review the unusual art project from different aspects. It also includes a precious booklet about everything said on the talks. Each track in the album is heard for the first time. For the project, Lao Dan and Mamer created brand new works. Mamer even began a new band named Mask. One remarkable song that didn’t be recorded is Water Flows sang by Wu Tiao Ren’s Mao Tao in the end of his talk. Thanks to the impressive work of mixing engineer Liu Ying, the sound quality of the album turns out really spectacular." - Tu Fei

Simultaneously casual and sincere, Deng Boyu’s latest output on cassette, Tractor Academy, is both a tongue-in-cheek teaser and a wildly romantic postscript to his upcoming solo LP. The eight songs here unveil the instinctual id beneath the electronic alter ego of Deng Boyu, known primarily as the ever-present drummer in China’s young and vibrant scene of free jazz and improvisation. This is one of a kind Northern Chinese IDM lit up by a whimsical touch of nostalgia. The sound textures – created by a toolkit comprised of a vibrator, a gong, and various metal objects – are distinctively dumb and dusty; the compositions are freewheeling in form, but heavily loaded with noise and personal history. It is a misfunctioning time capsule, what you'll get travelling back to a Disco dancehall of early ‘90s Inner Mongolia – where Deng Boyu first felt the thrill of the groove in his troubled adolescence – and doing a lavish Autechre dakou DJ set in it. So please sit back and relax, now that IDM has long lost its association with human intelligence, let’s hear Deng Boyu tell that old joke again. *You will find the first half of “Transmission Pt. 2” (Track 1) in Deng Boyu’s upcoming LP, Chimney Complex, to be released by Chinese label Badhead later this year. --- Dusty Ballz is a London-based label that releases Chinese underground music on cassette tapes. The term originates in an old Soviet joke, which somehow still speaks to the situation today. --- All music by Deng Boyu Woodcut by Tiemei Calligraphy by Zhao Sancai

Sam Andreae Alto Saxophone Ciaran Mackle Sampler Recorded & Mixed by Sam Andreae & Ciaran Mackle Artwork by Mio Ebisu "Blue Ko-Oni" oil on canvas and wood panel, 2022

Banana is Alexandra Spence & MP Hopkins Blowing into playback remembrances. Rescription. Some kind of telling. Recorded and mixed by Banana on Wangal land, Sydney, 2023.

'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

French artist Eduardo Ribuyo aka C_C is known for more than 10 years for his unique blend of bass-heavy, dub-infused industrial breaks and his long several hours hypnotic performances. A quiet strength of the french underground, he released on labels such as Small But Hard, Da! Heard It Records, Zamzam Records, Fougère, Krut, and Thirdtypetapes (which he co-founded). Shortly after moving to the french countryside a few years ago, he found a renewed inspiration through the use of a more restrained setup, whom limitations he uses, to create uncanny landscapes where his craftsman mastership is transcended by the innocence and the freshness of a fierce beginner. Gentianes And Myrtilles is documenting the beginning of this process, resulting in this collection of twelve mind-altering disorienting miniatures.

Hailing from Amiens, a city which has produced some of France’s most radical and unique experimentation since the 2000’s, Terrine is Claire Gapenne (Me Donner, Headwar) solo project. From her debut as a solo guitar noise project, Terrine slowly morphed into hypnotic abstract electronic improvisations, whose tense and collaged atmospheres still maintain a mesmeric sense of playfulness. A true iconoclast in the tradition of French luminaries such as Jacques Thollot and Jacques Berrocal, Terrine draws inspiration from the fierce spirit of free jazz and the uncompromising rawness of industrial music. Armed with a drum machine which she’s playing like others would a trumpet, Terrine seems to have quietly formed a highly nuanced reading of electronic music history in her own unique yet empirical manner. In the 20 minutes that this album spans the shadows of Pan Sonic, Carla Bley and Annette Peacock all make appearances amidst field recordings that evoke the sonic palette of an early Chantal Akerman film. These influences all somehow manage to seamlessly fuse together and produce a corrosive yet romantic soundtrack to the madness of our times.

"Alarmante", an oscillating and electrified ride, carried by a dub love and a few eardrums ticklings, conveying the dance to whoever or whatever that would feel to in the merry assembly. Doing so Tresque takes distance with its original formula to turn more abstract by accumulating layers of raw pulses all from circuits in feedback (mixer, spring reverb, filter, tube preamp). Made in Brussesl + Geneva 2021 K7 (Limited 100 hand-numbered tapes edition) released by THIRDTYPETAPES

Live at the Petersham Bowling Club was recorded in January 2023 when Warm Currency supported the great Maxine Funke. This offering includes tracks from Returns, our 2022 album on Horn of Plenty, and some unreleased material. We jettisoned our regular keyboard to grapple with the bowling club's cracked piano.

Tom Mills is an electronic musician based in London. In addition to his solo work he plays Theremin in the group Bobhowler with Alicia Gardener-Trejo and Andrew Woodhead and also played on the album ‘Improvisers Inside Electronics’ alongside Antonio Acunzo, Tony Hardie-Bick and N.O Moore. --- Tom Mills /  electronics --- Mastered by Rashad Becker at Clunk Photograph by Tom Mills Design by Earshots

Commissioned for an artist residency at the Mahler & LeWitt Studios in Spoleto, Italy, the Sacro Bosco tape explores various themes from the region’s holy mountain of Monteluco (Latin: lucus - a wood sacred to Jupiter), and its myths of saintly protection.Taking form as an installation in Piazza della Genga during a full moon, over 50 hand-drawn talismans invoking the spirits of the surrounding forest and beyond were nailed to the walls to create a 'universal sacred space'.Whilst the use of protective paper talismans (ofuda/fulu) is typical to Daoist practice, Sacro Bosco attempts to observe and unify the local collective religious beliefs of Catholicism and the Pagan god Jupiter. Inspired by a tale about the patron saint of Spoleto, Pontianius, and how in 1703, on his feast day, earthquakes affected the entire region of Italy, save Spoleto.This is a limited run of 50 cassette tapes - each wrapped in one of the original talismans - inked in black and cinnabar (as historically vermilion was regarded as the colour of blood, thus the colour of life), depicting the emblems and living spirits of wild boars, snakes, and trees in the surrounding forest. --- --- Self Released, 2022

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

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

'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