Gently lay your palm on the warmed belly of a flat stone, and skim your humming thoughts across the murmuring divide. The opposite shore is a shadowed encampment of slowly stirring shingle. Autumn effervesces and spreads in a calm blanket of diffused musk, looping around two shallow mouthfuls of sunshine. A stave is transcribed along the tilted stasis of shoreline - silence holds a seance in the clay and the river intones its folly in electric bursts, ingesting the fretted, lemony light, and unspooling in currents of slow memory. In autumn 2024, Anthony Guerra and Mark Anderson sat on the banks of the Tukituki Awa - flanked on one side by the sleepy Haumoana beachside township, and on the other the local landfill. Aided by the slow imbibing of a bottle of wine, they set about recording this album directly to tape.

‘Almost Something’ is the debut release of the long standing collaboration between artist/dj Laura Not and Andrew Hulme of O Yuki Conjugate. The two pieces cover a musical domesticism, developed around location recordings made in London and Berlin. The duo, known separately for their considered and attentive handling of collaged textures, rhythms and ambiences, offer up a sonic landscape where fugitive moments of creation meet the concrete sounds of everyday life. The unfamiliar is what sticks and encourages repeated listening, moving you back and forth between cities, dissonance and harmony. The tone of the album has a sustained dustiness, shrouded in a thick smog where feedback tones and scrapings on thick metal lurch at you. Sounds that can one minute appear as distant aeolian sediments suddenly become compact and then break into shards - you’re constantly in motion. You could almost liken it to feeling transported to an inner city reconstruction of Gordon Monahan’s ‘Aeolian Winds Over Claybank Saskatchewan’, if it stretched between the tunnels of the underground and the dark corner of a household boiler room.

Two Speed presents solo material by Conal Blake, recorded between 2021 & 2023. The material is woven together into a single piece and more specifically, the piece is presented over two sides, once as a live recording and again as a studio mix."The main chunk of this material comprises of no-input recordings that I made at a shared studio in Limehouse. These recordings were pretty raw, ugly and were almost binned. But I decided to try and zoom in on them and find fragments of sound that could be worked on, and added to, to form new compositions. I took straight tones and layered them, and took more rhythmic sections to make loops. The opening of the tape is a high pitched feedback tone which is then joined by a small fragment of sharp feedback which is repeated and rotated at varying pitches. Further along in the set I add some scattered hi-hats and mangled vocal samples. released December 16, 2024Accidental recorded live at Cafe OTO by Billy Steiger, 06/11/23Intended recorded and edited between Limehouse and Tottenham, 2021-23.Mastered by Murray Collier at La Chunky Studios.The artwork is some hand written type that has been warped, abstracted and made better by Jessica Hickie-Kalenbach.Feedback Moves 2024

Artist's statement: "I met Jonas Frickas in 1999 when he opened for my band at a show in Gainesville FL. He was the first person I ever saw get an entire room full of kids moving, using only a single mic and loop pedal. Our orbits occasionally intersected over the decades of DIY until in recent years we both settled in the Northeast. During covid, our lives became interconnected more as my queer upstate NY community members began to visit and organize with the rural land project where Jonas lived outside of Brattleboro. In August 2022, Jonas invited me to play a benefit for Defend The Atlanta Forest at The Buoyant Heart, a DIY space in Brattleboro. There, I met activists from Atlanta who would later host me for an incredible show in the Welaunee Forest in fall 2022. Inspired by the forest and the queer/trans activists who had come to defend it and to Stop Cop City in spring 2023, I made an entire record, Sympoiesis, dedicated to the forest. In March 2023, two days before the record's release, Jonas died mysteriously on stage immediately after playing a show in Tallahassee FL, the same night that the police raided the Atlanta Forest and charged dozens of innocent attendees of a dance party with domestic terrorism. Later that year, I found myself returning to Brattleboro to play a memorial for Jonas. I find myself writing here all around a grief that I have not yet processed or come to terms with: Jonas' absence from this text, now from our lives. But his memorial—which took place in two venues to accommodate the enormous crowd—drew hundreds of people from the entire town of Brattleboro and from DIY art and music communities around the USA and was the top story in the local newspaper that day. Afterwards, I lingered in town for several extra days, feeling kind of aimless and crazy. My friend who I had intended to visit took ill from the stress and grief of the memorial so I stayed instead at the eerie Colonial Motel on Route 5, unsure of why I remained in town but unable to pull it together to leave and return home. There, in the seductive desuetude of Room 210, I often found myself slipping into a kind of fugue state, losing many minutes of the hour, staring at a painting that hung on the wall. The painting depicted a white bench that appeared to glow softly within a virgin forest in Autumn. It occurs to me now that I do not know if this painting hung only in my room or is a feature of the motel and is in every room. To have something to do while I waited to see if my friend would get well, I arranged to record in the studio Jonas had built at the Birge Street warehouse space. For two nights I played for Jonas in his old room during the Full Moon. These tracks were the first two takes on the first night. After the second night, I finally felt like I could leave and go home. RIP dear Jonas Frickas." - Erica Dawn LyleErica Dawn Lyle has been described by Pitchfork as a “punk hero,” which, though true, feels like an insufficiently specific term to describe her multifaceted presence and work. Colonial Motels is in fact rawly personal, a ladder out of an abyss of mourning as well as a determination to persevere and connect. Playing less but achieving more, this album captures the engaging intensity and directness that defines Lyle’s art, performance, and activism. Part I builds on patient looping and guitar body play, then gradually disintegrates into a gale of analog and digital noise stabbed with howling guitar calls. A blaring coda strips the electric guitar down to the primes before an abrupt end. Part II starts intense and cathartic, and stays that way, a heavily textured sonic wall which slowly undulates like an animated topographical map simultaneously receding and growing. The pieces seem to encourage a listening level that could be described as provocative, and Lyle’s guitar contains elements of squallish noise, employing to its advantage the overload of all apparatuses involved. But it also contains a masterful degree of space in which to catch the hypnotic repetition of desert blues, subtly weird pedal experimentation, unselfconscious playfulness, and aural hallucinations. Astonishingly, these pieces feel meditatively paced even as they reach peak intensity, enabling the listener to briefly rest in contemplation while in the eye of a storm about which most guitarists can only cower or fantasize. --- Erica Dawn Lyle - electric guitarRecorded by EDL, Aug 1 2023 at The Buoyant Heart, Birge Street, Brattleboro VTimprovised, single takes --- Mastered by Grant RichardsonPhotograph by EDLLayout by E. Lindorff-ElleryPrinted by Small Fires Press

Two sides of experimental music from the SWANA (South West Asia & North Africa) region and diaspora, co-released in a limited run of 50 cassettes with collaborators Another Sky Festival. Side A mixed by Zeynep Ağcabay. Side B mixed by Dakn داكنْ. Proceeds from this release will go to the Palestine Red Crescent Society. Recorded at OTO and Bishopsgate Institute at the first edition of the festival, from 29 September-1 October 2023. Over three days and nights Another Sky brought together 26 artists whose heritage spans Armenia, Egypt, Iran, Iraq, Iraqi Kurdistan, Jordan, Lebanon, Morocco, Palestine, Tunisia and Türkiye, eliding genre and category through beats, improv, ambient soundscapes, pieces composed for classical and non-western instruments, moving image and more. Side A - Mixed by Zeynep Ağcabay: Sampled artists: AZADI.mp3.آزادی /// Jad Atoui جاد عطوي, Vibrant Pools (2023), co-commission by Another Sky & Irtijal Festival, performed by Atoui with Distractfold Ensemble (Daniel Brew, Alice Purton) /// Mariam Rezaei, SING (2023) /// Sam Salem أسامة سالم, The Way Up & The Way Down (2023), performed by Noam Bierstone /// Nour Mobarak نور مبارك, Subliminal Lambada (2023), co-commission by Another Sky & Counterflows Festival Side B - Mixed by Dakn داكنْ: Curse لا نعترف Deeds مش ارقام Dues غرب إحلم Had هون Feels ك لا شيء Needs إطفي خلص Sampled from Zeynep Toraman, An emotional rollercoaster just for you (2018), performed by Distractfold Ensemble (Rocío Bolaños, Daniel Brew, Linda Jankowska, Alice Purton, Kasia Ziminska) /// Sam Salem أسامة سالم, The Way Up & The Way Down /// AZADI.mp3.آزادی --- Recordings from Another Sky Festival at Bishopsgate Institute, 29 September 2023, and Cafe Oto, 30 September and 1 October 2023, London. Audio technical director Dan Ehrlich, sound technician & recordings for Cafe Oto Billy Steiger, mastering Oli Barrett, side B tracks 1-5 mixed by Muqata’a مُقاطعة. Side A mix © Zeynep Ağcabay. Side B mix © Dakn داكنْ. All sampled recordings © the composer. Logo by 40MUSTAQEL

The nineties were full of changes and new energies in Prague. Concerts were organized in galleries, people listened with interest to emerging bands and new musical directions were followed. In this period, there was a growing interest in alternative art, and Richter Band, one of the leading alternative bands operating in the borders between ambient, new age and meditative music, was in its accession. After years of modest gigging in the late 80s, interest in seeing them perform live began to increase and the band started to tour not just the Czech regions but also ventured abroad.At the same time, Jaroslav Kořán, a fiddlerophone and percussion player, left the group and began to experiment with his own music. With him, he brought a range of musical experience from playing in the alternative rock group, Vyšší Populár, and the ambient outfit, Richter Band, as well as building and playing hand-made instruments. The fidlerophone, a unique instrument assembled using aluminium pots and mounted on sprung stands, formed the characteristic sound of Richter Band when played in unison with the subtle sounds of Pavel Richter’s electric guitar, and would later inspire Jaroslav to experiment in creating his own instruments. Although he already owned a sampler and played the piano, as a drummer, he was constantly seeking new percussive instruments and sounds, ranging from water glasses and pots to porcelain plates and salad bowls. In the summer of 1990, he experimented with nails hammered into wood in Šumava, a national park in the South Bohemian regions of the Czech Republic, and the first "Šumava (or village) kalimbas" were created. Together with his brother Michal, they refined the kalimbas, trying out repetitive melodies on them, which they would then record at home and supplement with loops from a sampler and slowed-down tapes.The newly recorded material, full of rhythms, pre-recorded loops and Michal Kořán's synthesizer, was presented for the first time in public in April 1990 at the Klarisky concert hall in Bratislava. Soon after, Jaroslav met Marek Hanzlík, a guitarist from another Prague-based band, Die Archa, leading to the formation of a new musical trio named Modrá (“Blue”). This led to a fundamental musical shift, with Marek’s prepared guitar bringing subtle harmonies and an unusual sound to the rhythmic structures, complemented by Jaroslav Kořán's slowed-down pre-recorded tapes, sampled loops and voices.Over November 1990 to June 1991, Modrá made a number of recordings in Jaroslav’s home studio. For “Bohemian Blue”, the most interesting pieces from this period were selected and supplemented with two compositions recorded live at a home concert in February 1991. Although the group was only short-lived, disbanding in the second half of 1991, it represents an important period of musical experimentation and marked the dawn of the nascent Orloj Snivců (“Horologe of Dreamers”), with whom Jaroslav Kořán still performs today. Modrá - Bohemian Blue CS 2024 [Infinite Expanse]C60 with on-body printing in jewel case and printed two-sided j-cardJaroslav Kořán: zither, sampler, percussion, plates, Mačický xylophone, tapes Marek Hanzlík: prepared electric guitar Michal Kořán: percussion, sampler, Mačický xylophone, village kalimba, plates cymbalsRecorded and mixed by Jaroslav Kořán, 1990-91, Pagoda Studio, Prague Remastered by Michal Kořán, 2018, Moon Studio, Prague 2024 issue under license via Blue Lizard

LI TAVOR’s Polyphonie Anarchiste from the film Unrest by CYRIL SCHÄUBLIN. Occupies the A-side and the B-side cause it’s that good. numbered + handmade in an edition of 30 copies with on-body screen print and eco-x slip; each copy contains three riso-printed cigarette cards and a separate tri-fold insert with lyrics printed in full in their French original, alongside German and English translations Released Purge.xxx - 2024

Extensive 2023 recorded conversation between writer JARETT KOBEK and artist/musician BOBBY BEAUSOLEIL (over the California State Prison system telephone line), mainly about KENNETH ANGER, and events occurring between 1966 and late 1967.numbered + handmade in an edition of 50 copies with on-body screen print and eco-x slip; each copy contains one riso-printed cigarette cardIncludes unlimited streaming of I’m Here Just for a Moment and I’m Going to Have a Good Time and Then I’m Gone via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Released: Purge.xxx - 2024

LDSN is Todmorden-based writer and artist Lauren de Sá Naylor. Over the past number of years, she has released a string of highly hypnotic and intimate recordings on labels such as Chocolate Monk, Invisible Animals, Cardboard Club, and Fort Evil Fruit. Yakkida is Leeds-based artist Hilary Knott, who also performs as Basic Switches and is a member of indie-rock trio, Cowtown. Together, LDSN and Yakkida make rhythmic, dissonant and harmonious sounds using voices, loops, field recordings, bells, drums and harmoniums. Released: Krim Kram, 2023

New collaboration between Dressing and Uoerhe. Mysterious murky tape music akin to Hands To, Yeast Culture, early Small Cruel Party, etc. Jasu Jest is their debut release and presents a seamless blend of styles and sounds from each, e.g. broken textural tape noise, magnetic wobble, faint buried melodies, fragments of distant voices and incidental sounds, and obscured domestic and field recordings. An incredibly accomplished first statement from what will hopefully be a long and fruitful collaboration. Released: Krim Kram, 2024

Ethereal and beautiful collection of lofi songs and jams from Argetinian artist Luciana Rizzo. Gentle but intense percussion combing with dreamy song structures that nods towards the likes of Stereolab.

Letterpress printed by Small Fires Press, Alabama. Green ink on ~60lb warm parchment stock.Duplicated by Cryptic Carousel, New York.Edition of 100

Everything in FPBJPC’s oeuvre requires you to tilt your head to adjust where the glare obscures the picture. Or there’s no glare, but we’re accustomed to thinking there ought to be oneFPBJPC invites us to relieve ourselves of that cruelty and, thereby, invites us back into love. Perfect music.   Derek Baron, Sept. 2020

Delta-Sleep-Inducing Peptide (DSIP) was founded in 1989 by Dieter Mauson, one half of Nostalgie Éternelle, and Siegmar Fricke, who was musically active at the time under his name and his Bestattungsinstitut alias. The duo was active until the summer of 1994, producing over 25 tapes over this period and releasing on a range of independent labels, including IRRE, Corrosive, EE and Toracic Tapes, as well as their own privately-run imprint, Delta-Sleep-Inducing Productions. DSIP’s music concentrated on the realisation of experimental and subtle soundtracks, described as mind-cinema of the subconscious, and sought to explore the different stages of sleep, and the phenomena of dreams, through their idiosyncratic sound approach. Recordings were made using a range of equipment, including a multi-track tape recorder, Roland sampler, analog synths, various drum machines and Dictaphones. Samples for their works were often taken from local radio which they were listening to at the time, much of which was Dutch (Hilversum 3) as they both grew up near the Germany-Netherlands border; Dieter in Leer and Siegmar in Wilhelmshaven. By the time they got in contact with one another in the summer of 1989, Dieter was living over 500 km away in Mainz, near Frankfurt, where he moved at the start of the year, so recordings were only made when Dieter was back seeing his parents and then able to visit Siegmar’s home studio in Wilhelmshaven. In June 1991, Dieter moved back to the North of Germany, Hamburg, and their recording sessions became much more frequent. Sometimes they would meet for a few hours, others for several days. The results were hugely diverse, though frequently centred on meditative and repetitive motifs, and are still so uniquely futuristic almost 35 years after the group was initiated. Evil, an album released in 1992 during the midst of this hugely productive period, encapsulates such expressions, and is presented with a first-time reissue in its original format.

'Les Sentiments' provides a crucial survey of Deleted, the solo project of prolific French artist Christophe Petchanatz, a long-time veteran of the underground scene who cropped up under many different pseudonyms and across a whole slew of bands. Most notably, this included Los Paranos and Klimperei, as well as frequent collaborations with the likes of Al Seamless and C-drík. Deleted, whose name is derived from those cassettes which were out of print and never reissued, and so were removed from a label’s catalogue and therefore “deleted”, served as an outpost for his slightly darker explorations into the world of new wave, experimental, industrial and minimalism, all of which uniquely sown with a home-brewed feel reminiscent of the period.The project was initiated in 1988 and eventually spanned almost 20 cassettes over the proceeding ten years, with releases on some of the stalwart labels such as EE, Tonspur, Corrosive and Old Europa Cafe. 'Les Sentiments' provides an initial gaze into such a world, featuring 14 tracks across six of his albums over 1988-1994, with a skew towards his earlier material but landing at some of his later stuff once through to the other side.

C45 with on-body printing in jewel case, printed two-sided j-card and wrap-around o-card sleeveExperimental soundtrack to a play you probably didn’t think existed, and definitely didn’t think you’d hear, steeped in historical context, and comprising a sonic mixture of early digital synthesis with eerie tape loops, feedback and 80’s stomp box effects.Kolbe tells the story of a Polish Catholic priest who volunteered to die in place of another man in Auschwitz during WWII. In July 1941, a prisoner escaped from the camp, prompting the deputy commander to pick ten men to be starved to death in an underground bunker to deter further escape attempts. When one of the men selected, Franciscek Gajowniczek, a young husband and father, cried out, Maximilian Kolbe volunteered to take his place. According to an eyewitness, who was an assistant janitor at that time, in his prison cell Kolbe led the prisoners in prayer. Each time the guards checked on him, he was standing or kneeling in the middle of the cell and looking calmly at those who entered. After they had been starved and deprived of water for two weeks, only Kolbe and three others remained alive. The guards wanted the bunker emptied, so they gave the four remaining prisoners lethal injections. He died on 14 August 1941. Years later he was beatified as a Confessor of the Faith by Pope Paul VI in 1971 and canonised as a saint by Pope John Paul II in 1982, with a feast day celebrated since on the day of his death as part of the General Roman Calendar.Over the course of 1985-86, the production company Theatre of Poland, toured Kolbe, a play based on the book by Desmond Forristal, to Catholic churches around Europe. The recordings presented here are part of a cassette that sold on the tour, recovered in Lyttelton, New Zealand, and then mastered in Brisbane, Australia, in April 2023. Audio snippets have also been added to the cassette, including live recordings from the theatrical performance at St Edwards Church, Windsor, September 1986, as well as snippets from the films, Tag der Freiheit: Unsere Wehrmacht (1935), and Festliches Nuernberg - Ein Film aus der Stadt der Reichsparteitage (1937). Please note these are exclusive to this version and do not feature on the digital recording.

Split tape featuring crème de la crème of the new vibrant Copenhagen avant-garde music scene. A side is a live recording from the minimalistic voyage of the double bassist Tomo Jacobson (PL), electronic musician Maria Laurette Friis (DK), and pianist Emanuele Maniscalco (IT) . B side is a full of attitude solo soprano sax offering by the Kārlis Auziņš (LV). The theme of the split is body.

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.