02/10/2026
Hi, welcome to another newsletter and the first one for October - a bunch of cool stuff arrived like the SOCCER COMMITTEE - AM Reworks 10“, new AN’ARCHIVES releases, ALDANA DUORAAN & TOMÁŠ NIESNER - Plot LP, ELIANE RADIGUE - Triptych DLP, JOSHUA BURKETT - M/B/Too/4/T/&/M LP, INSTITUT FÜR FEINMOTORIK – Öd LP, SPACE - London Concert LP, SWANS - Newly Sentient Being 4xLP + DVD, ROBERT LESTER FOLSOM - Ode To A Rainy Day: Archives 1972-1975 LP, V/A - Maybe I'm Dreaming DLP and more … also a couple restocks arrived
We also added a bunch of 2nd Hand Metal, Prog and more to our second hand bins and also some of them are available here. We can also combine orders.
THANK YOU
Robert & Norman
________
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www.bisaufsmesser.com
https://www.discogs.com/user/XMESSERX
10“
SOCCER COMMITTEE - AM Reworks 10“ (Since 2005, Mariska Baars aka soccer Committee, has quietly carved out a singular space where folk, ambient and experimental music dissolve into one another. Working with little more than her voice, an acoustic guitar and delicate loops, Baars creates songs of a remarkable intimacy. There's nowhere to hide in these arrangements, and that's precisely where their magic lies. For Accidental Meetings, Baars revisits a selection of songs from across her catalogue, gently reshaping and reimagining some of her finest work. The result is a deeply personal, evocative listen that feels both familiar and newly discovered.) 28.00
LP
ALDANA DUORAAN & TOMÁŠ NIESNER - Plot LP (Mappa - Crossing borders between traditions, sonic territories, and instruments, musicians Tomáš Niesner and Aldana Duoraan created their first collaborative album Plot. The sound of khomus meets guitar melodies simplified into pentatonic scales, intertwining in a dialogue that remains playful while moving between meditative passages and bewitching, hypnotic moments. Solid yet ever-changing, these melodies explore a delicate relationship between the present interactions, their past, and possible futures. “I feel that the essence of our collaboration is not to close the songs off, but to leave them open so that they can develop and be interpreted a little differently each time, depending on the circumstances,” Niesner explains when describing the duo’s artistic approach. The recording therefore captures only the most essential moments and ideas, which continue to unfold in new directions during live performances. Each segment of Plot, word meaning “fence” in Czech, while also referring in English to a narrative structure or hidden plan, represents a different constellation shaped by the pairing of specific khomuses and guitar tuning. The track titles, such as The Key of Radiance or The Key of Humbling, are inspired by the ancient Chinese text I Ching (usually translated as Book of Changes). Like the classical cosmological text itself, the compositions meditate on similar fundamental principles. The ideas explored in the chapters of the I Ching are thus loosely translated into musical language. Themes of Radiance, Attending, or Nearing thus loom over the reflective realm of Aldana and Tomáš. The two musicians first met in 2021 through a collaboration organized by Konektiv, an event series that aims to create new connections between genres and musicians with diverse backgrounds. Aldana Duoraan is a Prague-based artist born in the Sakha Republic, whose experiments with the khomus (also known as the jaw harp) draw on the traditional music of her homeland. Tomáš Niesner, a sound artist and guitarist based in Brno, navigates the realms of American primitive guitar while incorporating influences ranging from folk to drone. Because the duo rarely finds themselves in the same city, an important moment in the development of Plot was a showcase at Cafe OTO, organized by mappa. The album, capturing the fleeting energy of this encounter and several others, has now been released on the Slovak experimental label, which helped bring the collaboration to life.) 28.00
ARCHEUS - Spiral Code LP (an archives - Edition of 290 copies, silk-screened sleeve w/ obi, postcard, inserts Spiral code is the second album released on An’archives by the Japanese trio archeus, after 2023’s Kusōzu: Nine Death Stages, and their seventh release altogether. It’s also the most staggering evidence yet of the single-minded pursuit of group-sound explored by Keiko Higuchi (voice, drums, percussion, trombone), Shizuo Uchida (4 strings), and TOMO (hurdy gurdy). For two tracks, “awakening, beyond recurrence” and “where points and lines intersect”, they’re joined by Kiyotaka Moriuchi, an improviser who’s played with the likes of Shoko Numao and Ensemble Shippolly, on percussion and darbuka (a goblet-shaped drum played widely across South East Asia). Always able to scour magic from both their relationships with their instruments, and their non-idiomatic interplay, on spiral code they’ve widened their net further; the results oscillate from humid and claustrophobic blocks of noise to rivulets of tone coursing across post-volcanic landscapes, and on into simple gestures suspended in arctic space. Spiral code was recorded in a single day, on March 20 th 2025, at a studio in Koenji, Tokyo, the morning session with the original trio, and afternoon and evening session with Moriuchi – the first time archeus have played with a guest musician. When asked about the music archeus makes together, TOMO is quick to isolate the singular characteristics of their collaboration: “we are trying to explore some new, unknown musical vocabulary every time we play. And what we are trying to achieve from every session is something unique, an interesting chemistry or, I should say, alchemical reaction among the three of us.” You can certainly hear that alchemy in the dynamic arc of their performances, the way they seem to be able to switch on a dime and push the music into unexpected terrain, all while sounding intimately archeus. “We have been playing for many years,” TOMO continues, “so I think that among three of us, we can telepathically sense, feel and understand what each of us is trying to express while we are playing.” It’s telling that guest musician Moriuchi fits so effortlessly into the archeus soundworld, able to hitch a ride on the intimate telepathy of Higuchi, Shizuo and TOMO; “I think he gave us some fresh air to our music,” the latter smiles. But that telepathy extends, even, to the name of the album itself, with all members pointing toward spiral imagery when naming the title track, whether TOMO’s evocation of Kundalini serpent imagery and Caduceus, to the spiral shape of DNA, what TOMO calls “the code of life.” It’s certainly deeply entwined music: spiral code is a helix of sound, a cylindrical coiling of possibility.) 40.00
BIM SHERMAN - Lovers Leap Showcase LP (lantern - Bim Sherman’s seminal second album from 1978 returns in true showcase style, complete with both vocal and dub versions. Recorded at Randy's and Channel One, the record features the legendary mixing touch of King Tubby's Studio, with Jammy at the controls. Rhythms are delivered by top-tier musicians from the Roots Radics and Soul Syndicate. Back in print with its original Jamaican album artwork.) 30.00
CH’AHOM - Anthropic Rites of Sublimation LP (20 buck spin - German black/death cult Ch’ahom offer upon the altar of sacrifice their 2nd album ‘Anthropic Rites of Sublimation’, a concept album set in a fictional world inspired by the rituals, art and architecture of pre-Hispanic cultures. Continuing where their “Ts’ono’ot” EP ended, its story unfolds around a cenote of impossible dimensions whose cosmic call draws the lost and uncertain toward self-sacrifice. Four civilizations rise along its edge, each developing its own rites, hierarchies and monuments to transform the abyss’s fatal summons into a foundation for collective existence. Ch’ahom gives this imagined world form through cavernous death metal, be***al eruptions and feverishly progressive structures. Savage riffing coils through suffocating chambers of rhythmic conjuration while ancient instrumentation emerges from the tumult like echoes inside a buried temple. ‘Anthropic Rites of Sublimation’ moves like the cenote itself, drawing the listener inward through an ecstatic and ever-deepening sense of the unknown. Inspired by a deliberately literal interpretation of the death drive and its sublimation, Ch’ahom explores culture as a response to an irresistible desire for self-erasure. Mutilation, vicarious sacrifice, enslavement and willing surrender become the foundations of competing societies awaiting the cenote’s periodic opening. Ch’ahom transforms this dark fiction into an immense ritual of sound, portraying humanity through its terrifying ingenuity: creating faith, beauty and entire civilizations upon the edge of annihilation. ) 33.00
DISSIMULATUR - Artifice Dissolves LP (20 buck spin - With ‘Artifice Dissolves’, Montreal's Dissimulator accelerate beyond the formidable sonic coordinates established by ‘Lower Form Resistance’ and plunge headlong into a future world where technological hegemony and catastrophic entropy exist in perfect equilibrium. Their jagged sci-fi Death-Thrash has evolved into an ever more labyrinthine construct, fusing serrated riff matrices and volatile rhythmic architecture into an algorithm-obliterating neural hack. Artifice Dissolves’ propels itself like an untethered artificial consciousness recursively rewriting its own code, with each movement revealing another phantasmagorical dimension within Dissimulator's bionic mythology. Razor-wire guitar lines, alien yet familiar, whiplash and intersect at impossible angles whilst the rhythm section drives songs like ‘Alloyed’ and ‘Neon Metropolis’ through perpetual states of intensifying velocity, collapse, and reassembly, creating a surging sense of momentum undeterred by its relentless intricacy. An awe-inspiring convergence of futuristic world-building and unrestrained, unapologetic technical aggression, ‘Artifice Dissolves’ is a cyborg hallucination of a civilization wasting away in the sunless gutters of its autonomous megacities, the warped fever dreams of an omniscient God-machine, and the malignant side-effects of its cybernetic enhancements. And beneath the album's dazzling precision and violent thrust Dissimulator maintain a timeless human striving for order and transcendence beyond the technological. ) 33.00
ELIANE RADIGUE - Triptych DLP (Important - Gatefold sleeve, etching on side D The final collaboration between Eliane Radigue and Important Records is this double LP edition of Triptych. Radigue insisted that her music only be released on vinyl if the pieces would fit without being edited or cut. Triptych met those requirements leaving room for an etching on the 4th side. Back to music after three years of silence... On the suggestion of Robert Ashley, Douglas Dunn commissioned Triptych from Eliane Radigue for choreography. Only the first part of Triptych was staged at the premiere at the Dancehall/Theatre of Nancy on February 27 1978. Recorded in the composer's studio in Paris. After the 1974 premiere of Adnos in San Francisco, a group of French students introduced Eliane Radigue to Tibetan Buddhism. When she returned to Paris, she†began to explore this spirituality in depth, which slowed her musical production up until 1978. Triptych marks her return to composition, and draws its inspiration from "the spirit of the fundamental elements, water, air, fire, earth" Eliane Radigue likes to add that this has often been useful to her in her moments of research and transitions. This three-part composition, with its great humility and contemplative simplicity, heralded a new period of her work and was the first in a series of masterpieces inspired by Tibetan Buddhism: Adnos Trilogy (1980), Songs of Milarepa (1983) - with the voices of Lama Kunga Rinpoche and Robert Ashley , "Jetsun Mila"(1986), as well as the Trilogy of Death: Kyema (1988), Kailasha†(1991) and Koume†(1993). -Manu Holterbach (translation: Maxime Guitton)) ) 42.00
ELEH - Floating Frequencies / Intuitive Synthesis I LP (important - When ELEH's debut "Floating Frequencies/Intuitive Synthesis I" was originally released it was praised as a powerful piece of new electronic minimalism. Twenty years later the artist's legacy has grown while ELEH continues to hypnotize new listeners with time stopping music. Critics, fans and neurologists have praised the music of ELEH as aiding attention and focus while seeming to slow time. Eleh's slow change drones are a state of flow hypnotizing listeners into meditative focus. From the original packaging, "Pure Sound. Pure Volume. Pure Analog. Dedicated To La Monte Young“ ELEH began in 1999 as an exploration of analog synthesis, emphasizing low frequency difference tones and other resonant acoustic phenomena. ELEH highlights the physical presence of sound as it has been inspired by the physical world. There is also something ‘cathedral-like’ and cosmos-inducing in the sound constructed by ELEH.) 25.00
FOHN - Porcelain LP (Edition of 300 copies, incl. postcard Fohn conjures a dreamlike landscape of introspective beauty, loneliness and transience from analogue tape and field recordings on new album, Porcelain. A late summer evening in southern France. The dry mistral wind billows the washing that hangs outside the windows on narrow streets, bringing with it the first whispers of autumn. In the distance children are playing in the square, their shouts caught in the dust whipped up by their feet. A bell tolls, the light dies, and a rich, compelling solitude descends. Violinist and multi-instrumentalist Fohn, aka Tom Connolly, describes the act of making music as “building fictional environments that become places of solace,” and a process of translation and projection that bridges his internal and external worlds. While musicians like John Also Bennett, Oren Ambarchi and Connolly’s own group Quade drift behind his sound, Porcelain draws its temperamental inspiration from films like Call Me My Your Name and Andrei Tarkovsky’s The Mirror, as well as the sculptures of Anthony Gormley, whose solitary figures stand isolated in expanses of water along the UK coastline. How does Connolly describe the atmosphere he wants the music to evoke? “It's the feeling of the inevitability of something having to pass,” he answers. “It's compelling because it's fundamentally unattainable. You're searching and grasping for something that you can never fully hold.” A moving, intimate and deeply personal album, Porcelain shimmers in the illusive light of melancholy. For Connolly it provided the release of catharsis, but it’s a feeling that will mean something different to everyone who listens.) 28.00
INSTITUT FÜR FEINMOTORIK – Öd LP (faitiche - Edition of 300 copies „Öd“ marks the long-awaited return of Institut für Feinmotorik - the Black Forest collective known for using eight prepared turntables to investigate acoustic micro-phenomena generated by everyday objects - with a new album and their first full-length release on Faitiche. It is also the return of their almost comical understatement as personal artistic principle: „making almost nothing out of almost nothing,“ compressed into the dots on an umlaut. The Öd-nis, the wasteland, is a field that the collective has been ploughing in sound since their first release in 1997. Eight prepared turntables, four mixers, no records, six hands (give or take) merge into what they call the „Octogrammoticum“. A rotating organism of surfaces in friction, fed with the clutter from a drawer: rubber bands or tin foil, CDs, a discarded socket board. Under IFF's scrutinizing stylus, mundane almost-nothings get scratched open to reveal the acoustic density of negative space itself. Last year’s „Adhesive Tape“ drew IFF closer together after an almost ten-year hiatus. An eponymous event series at Berlin's silent green set in motion what would become their most twistedly funky release since „Penetrans“ on Staubgold in 2002. The only thing öd about „Öd" (meaning „barren" or „boring“ in German) may well be its title: layers of improvised play and randomized loops convolve around porous, dubby groove locks tugging at each other in a call-and-response with howling static that cuts through bulbous ambient techno into a scrap-metal Dixieland phantasm. Stratified yet spacious, these sonic double exposures always hover on the verge of collapsing. What you think you hear might not be what you actually hear. The album’s track titles resemble Conceptual Poetry, extending this psycho-phenomenological gesture into the realm of spoken language. Conceived by renowned poet Dagmara Kraus, they become word molecules - „stern,” „dies,” „lose“ - tilting delicately between German and English, constantly changing depending on the ear’s perspective and pointing back to the deeply unstable fabric connecting meaning and sound. Which also makes „Öd“ an unusual cross-disciplinary collaboration - at least in the field of electronic music. PS: Since its beginnings in Bad Säckingen, IFF has always been more than the sum of its rotating parts, moving tirelessly between multimedia art, theory, solo projects and collaborations. With IFF Expanded, the collective now opens its eight-doored apparatus, inviting artists working with CDJs or samplers to join - an ambitious live format that loosens its former purity law while carrying forward a long-standing curatorial practice. The same thread also runs into the related event series Acephalic Headspace. Institut für Feinmotorik (*1997), artist-group originating from Black Forest working in various fields. In musical context known for transforming turntables into instruments by removing the records and instead applying rubber bands, paper scraps, household materials – resulting in a vivid laboratory for the productive misuse of everyday objects. This approach is documented in record releases and performed live) 32.00
JORDAN SAND - Baby Ghost LP (hallow ground - »Baby Ghost« is the debut album by double bassist and vocalist Jordan Sand. Released through Hallow Ground, it blurs the lines between different genres and modes of expressions, improvisation and composition and showcases the unique playing style the composer has developed. Sand blends her voice with the bowed harmonics and subharmonics of her double bass. At once conceptually rigorous and musically open-ended, Sand’s wordless meditations on death and what comes after are both visceral and explorative. Sand is a boundary-crossing instrumentalist, performer, and session musician who has worked in folk, free jazz, pop, classical and new as well as experimental music. In 2020, she took a hiatus. When she picked up the bass again, she began stripping down the relationship to her instrument to its core elements, searching for a way to melt the sounds of bow and voice together. This resulted in the appearance of ghost notes, tones emerging from the addition or subtraction of two frequencies, and harmonics that she adds with her falsetto. On »Baby Ghost,« Sand utilises this acoustic sound and the spontaneous precision of her improvisational practice for pieces that deal with the subject of dying. They move from more polyphonic improvisations toward abstraction, touching upon harsh noise and minimalistic bow-chants before returning briefly to a melodic soliloquy, and finally landing on an extended subharmonic drone. This progression reflects the journey of the spirit after death; the experience of visions, memories, ecstasies and terrors before the dissolution of the self. Sand performs this process physically, blending her voice with her instrument to explore how the senses might dissolve and merge when they enter a state between life and beyond-or-between-life. Born out of the moment and dedicated to a lost friend, »Baby Ghost« is quite literally an otherworldly achievement. ) 27.00
JOSHUA BURKETT - M/B/Too/4/T/&/M LP (futura - There was a time when the New Weird America item in The Wire or the Golden Apples of the Sun compilation CD were not yet part of the music world. That The Internet didn’t replace God and/or Walt Disney and you could tell which season it was by simply looking out of the window. In that time, and after the folk legends from the 60s/70s/+, people like Matt Valentine, Sun City Girls (at least in my head) and Joshua Burkett were posterboys without being on posters. They played and organised (in-store) shows and/or built a scene. Put out stuff you wouldn’t hear except via friends or crazy radio stations. A romantic time if you ask me, which even I didn’t experience in full modus. When I started going to underground shows, the little-known scene was maybe a little better-known. But what was best known was the importance of the time when there was less known but still a lot happening. And that you knew a guy who knew a guy who knew. For me, Joshua Burkett is one of the patient zeros of a quality time we are still having fun with. Fewer flyers nowadays unfortunately, but still traveling with just a guitar and playing in nice non-professional places. With his “free folk” he creates moments instead of songs, playing his instrument like a walk in the park instead of on the pavement. A beating heart, not to pump blood, but to live. This compilation LP is a toe in the water of a warm bath for people who are not familiar with his old work. But it’s also a warm bath for people who are familiar with his work.) 30.00
KUKANGENDAI - Baquet Wheel LP (marionette - Kukangendai are the innovative three-piece Kyoto based experimental rock band formed in 2006 with Junya Noguchi on guitar and vocals, Keisuke Koyano on bass, and Hideaki Yamada on drums. Since 2016 the band have set up shop in their studio and venue space, Soto, which houses an incredibly well tuned and powerful sound system that has become a well known destination for touring musicians. In March of 2025, Marionette was celebrating a belated 10 years of activity with label showcases across Japan in collaboration with Dotei Records, and Soto was inevitably one of the stops as many label alumni have set foot in the venue over the years. This is where I got to experience Kukangendai perform for the very first time and knew right then we were destined to work together. Kukangendai embody an undeniable sense of timing and precision through collage-like repetition of minimalist phrases that manifest as a single unified rhythm. Their latest offering for Marionette, titled Baquet Wheel, is a purely acoustic endeavor, remarkably recorded live using Taku Unami's special binaural microphone. The trio seamlessly twist polyrhythms and melodies rooted in jazz, krautrock, blues, and Tuareg producing a timeless sound that preserves the primitive and memory evoking narratives buried deep within the music. Over the course of five tracks, the visceral nature of Kukangendai’s dynamic evolves from playful riffs that are seemingly familiar yet strikingly original, making it impossible to discern exactly when this material was conceived. Kukangendai have maintained a prolific yet relatively low profile for the last two decades, with handful of self-released editions on their own labels (Soto and Leftbrain) as well as a collaborative album with pioneering electronic music composer Ryuichi Sakamoto in 2018, then venturing outside Japan in 2019 to release their first widely distributed album on Ideologic Organ, a label curated by Sunn O)))’s Stephen O'Malley. Other collaborative projects to date include an album produced with rap group Moe and ghosts, live performances with Keiji Haino and with poet Gozo Yoshimasu, productions with the Chiten theater company, and most recently a remix album of their works featuring Carl Stone and Madteo.) 28.00
KYLMÄ KRYPTA - Lauluja Kryptasta LP (brainwasher - Hailing from Hamburg, Kylmä Krypta continues to wander through the cold crypt, riding the waves of goth, post-punk, and new wave vibes with new material and re-recorded old gems. The band has grown, played a bunch of shows over the last year, and is hungry for more — and of course, ready to unveil their new material. They’ve already brought their dark Finnish post-punk atmosphere to Barcelona and Madrid this year, as well as haunting stages across Germany. Kylmä Krypta creates an 80s-inspired post-punk sound with lyrics in Finnish, drawing inspiration from the shadows of that era — bands like Belaboris, Musta Paraati, Kuudes Tunti, Xmal Deutschland and Siouxsie and the Banshees. The crypt is open. Step inside.) 23.00
LA SCÈNE - Futais**tsu Souzou LP (an archives - Edition of 290 copies, silk-screened sleeve w/ obi, postcard, inserts Futais**tsu Souzou is the first vinyl album released by Japanese duo la scène 裸身, a duo of Saya on vocals and bass, and Eiji on guitar. They’ve been an understated but deeply impressive presence on the Japanese underground for the best part of a decade now, having self-released a debut album, Ten No Sekido, in 2018, which saw them co-producing by Atsuo of Boris, who also worked with them on the following year’s Corridor EP. The mystery and magic of their songs, which vibrate in a curious space between psychedelic rock, acid folk and slowcore, is at its strongest on Futais**tsu Souzou. la scène 裸身 have long been interested in art that’s stripped back to its simplest, most elemental form, much as their name represents the Japanese word ‘rashin’, which means naked body. There is something unadorned about the three songs on Futais**tsu Souzou; Saya’s becalmed, unhurried vocal delivery reflects the gentle intensity of the simple, gem-like chord changes strewn through songs like “Futais**tsu Souzou” itself, and the bittersweet, folkish lament of “Reiyou”, a song inspired by the loss of the band’s friend, Gazelle. Futais**tsu Souzou is steeped in melancholy, but it is not resigned to this emotional state; there are threads of rebirth and transcendence woven through the album’s three lovely, slowly enveloping, and deeply moving songs. Often, you can hear that transcendence in the soaring, sky- burning guitar playing that cleaves these songs in twain, from guest guitarist Hiroshi Kurosawa (of Asylum). At times, the music here recalls the drift-like psych-rock of the Paisley Underground; elsewhere, it explodes with vibrant intensity, swarming with noise and feedback, that runs alongside similarly delirious examples from the Japanese underground. And yet, la scène 裸身 is entirely its own thing, a unique, singular vibration, a oneiric manifestation of hermetic visionary art.) 37.00
MICHAELA TURCEROVÁ - šumum LP (mappa - Michaela Turcerová’s compositions unfold in slow motion. The saxophonist and composer’s glacial music zeroes in on the granularities of each note as it rings, soaking in every subtle shift in texture and pitch. Šumum exemplifies this patient approach to writing music, branching out from themes of loss and togetherness into an intricate tapestry of introspective sound. These four pieces invite deep collaboration between performers, who together shape the music through the shared process of listening and interpreting Turcerová’s relatively open scores. And while these works often grow from long, stretched-out tones, they also foreground forward direction: no note stays in one place, no melody is without action. Instead, Šumum chronicles how the tiniest shifts can lead to major transformation. Šumum builds from Turcerová’s longheld interests in place and minimalism. Many of the composer’s works explore perception: how a room can shape the music we hear, and how repetition alters a melody. Like the music of Éliane Radigue, Šumum embraces the rainbow of colors that appear when close listening with the wave-like flow of looped melodic and rhythmic patterns. All the album’s pieces observe the subtle changes that happen as music grows.) 28.00
ROBERT LESTER FOLSOM - Ode To A Rainy Day: Archives 1972-1975 LP (anthology - Anthology Recordings is proud to make 'Ode To A Rainy Day' available once again on the 10th anniversary of its original release. 'Ode' is the first collection of unearthed, unheard material from Georgia's favorite folk hero Robert Lester Folsom. Fans of his 1976 private press grail 'Music and Dreams' will revel in the carefully curated assemblage of mellow gold, including the prescient, potent cuts "See You Later, I'm Gone" and "Heaven on the Beach With You." Robert Lester Folsom’s story isn’t all that uncommon in the parlance of his era. He spent the ‘60s growing up in Adel, Georgia, a small town nearer to Valdosta and Florida’s northern border than anything resembling rock & roll, obsessing over his guitar as his craft and skills grew. Folsom would write and record a wealth of material in the early ‘70s, which make up the backbone 'Ode To A Rainy Day' – the first time these songs have been heard in decades. 'Ode' showcases both impeccable songwriting across light folk, downer pop, front porch rock and woodshed country tropes, combined with ingenious arrangements and technical skills across primitive recording equipment. The beauty of 'Ode' lies in its tracking of the seasons in its cycle, how each song feels like a different time of year.) 32.00
ROBERT LESTER FOLSOM - If You Wanna Laugh, You Gotta Cry Sometimes: Archives Vol. 3, 1972-1975 LP (If You Wanna Laugh, You Gotta Cry Sometimes: Archives Vol. 3, 1972-1975 is another magical discovery from Georgia-born singer-songwriter Robert Lester Folsom’s oeuvre of soft psychedelia and rural rock n’ roll, written and recorded over 50 years ago yet prophetically resonant today. Born of lost summers, new love (and the breaks that follow), and hippie bluegrass shakes, these spirited takes to 4-track tape open a prismatic window onto a young artist finding their footing, and are testament to why Folsom’s legacy burns bright to this day. Drawing from the same archive of homespun demos and informal studio sessions rediscovered on the two previous volumes of Folsom’s early musical wizardry from Anthology Recordings, Ode to a Rainy Day and Sunshine Only Sometimes, the songs on If You Wanna Laugh offer candid snapshots of the hazy yet hugely formative years that ushered in the release of Music and Dreams, the revered, privately pressed studio album which serendipitously enjoys its Golden Jubilee this year. As Folsom recalls, most of the songs that weave the tale of this third anthological chapter were written during the long and languid summer vacation days of his late teens, which were largely spent bumming around with friends in his sleepy hometown of Adel, Georgia. The young visionary, accompanied by an eager troupe of local conspirators, spent his free time putting pen to paper and filling tape on his beloved Sears 3440 reel-to-reel in the off-hours that stretched wide between half-hearted summer jobs and hitting the road with eyes turned and ears tuned to the rhythms of the world passing by.) 32.00
SPACE - London Concert LP (finstert - A space is often described by its dimensions. The height of the ceiling, the expanse between walls. Division into functional elements of varying density follows. We have ideas of how such dimensions should be balanced to work well for sound — the classical concert hall, a Northward mastering room. It’s tempting to try and use this idea of space to understand Space the group (Lisa Ullén, Elsa Bergman, Anna Lund). To calculate their cartesian co-ordinates: dynamics that run from whisper soft to punishing, shaking force; Ullén’s piano running the full expanse of the frequency spectrum; the mix of sudden, surprising and suggested variations in density (the space) that generates their musical structures. But (a) space is a social phenomenon where meaning is accumulated and possibilities created by and through a constantly shifting set of social relations and their histories and entanglement inside and beyond the physical structures of a room or building. Reduced to its raw dimensions, Cafe OTO shouldn’t sound good: the low ceiling, the hollow void underneath the stage-not-stage, the hard glass windows out onto the street. But OTO as a social space — for gathering close to listen; the serious pursuit of a convivial good time (its productive mythology that an OTO audience is both up for it but also expects more); and then the idea of all that has happened before and what will come; that this is also part of ‘the music’ and changes what sounds to the point that none of those cartesian co-ordinates matter.** It’s less of shock that Space sound good. Lisa Ullén is easily the most singular pianist in Sweden right now and Elsa and Anna’s ability to reroute in realtime reaffirms just how well they function as a group. The trio might have got their s**t together holding down the rhythm section for the first incarnation of Anna Högberg Attack — but much like Högberg’s ongoing pursuit of artistic renewal, the trio avoid being shackled to any ideas about what a piano trio should be and there is something that happens (happened) in that room, on that night, with those people that made for something beyond just good. It’s a gift that the sound of every concert at OTO gets recorded. A choice handful of these transcend their decoupling from that social space and radiate the room’s attendant energies. This record is one of them. ** See Jack Halberstam in Fred Moten & Stefano Harney, The Undercommons (2013): “…we must refuse the idea that music happens only when the musician enters and picks up an instrument; music is also the anticipation of the performance and the noises of appreciation it generates and the speaking that happens through and around it, making it and loving it, being in it while listening.“) 30.00
SWANS - Newly Sentient Being 4xLP + DVD (Mute - Goodbye to this stellar version of Swans. Newly Sentient Being features superb recordings of Swans’ final concert of the “Big Sound” era, the apotheosis of 15 years of cosmic sonic expressionism, alternately heavenly and debased, visceral and transcendent. Recorded November 28, 2025, in Berlin. Over 2 ½ hours of music, includes a wealth of new material never recorded elsewhere and a DVD of the performance. Up there with the best of Swans’ legendary live records, they close this chapter with love and unbridled passion. “In 2010 I made the decision to reconvene my band, Swans, which I had, years earlier, killed out of frustration, disappointment and exhaustion. Now, I saw a light, a way forward for the music, and I decided to pursue it. Neither I, nor my collaborators in sound had any idea how things would eventually unfold, but it felt necessary and right, so we followed the music where it led. Turns out there was and is an audience for our music, which is often less than accessible in the popular sense of the term, but proved to be nevertheless compelling to a growing cadre of folks seeking the kind of unique experience we have offered. I believe we reached some pretty tremendous highs along the way, where the music became a raging, sentient autonomous beast that played us (and the audience/listener), rather than the reverse. That was the goal all along, to lose ourselves in the swirl. It took a lot out of us, physically and psychically to reach the highest plateaus, but once there, there was nothing on earth like it, and I’m glad we did it. Now this phase is finished. There’s nowhere else to take it, but we seem to have ended on a particularly high note with our final tour of this (now passing) Swans era, and I believe these current recordings convey the sensations and experience of the unique world we forged. For the next phase, I’m moving Swans into something with a decidedly more humble and intimate musical palette, but here now I offer my praise to the righteous group of humans, the musicians that made our final foray into the sonic ether a reality: Norman Westberg, Dana Schechter, Phil Puleo, Larry Mullins, Kristof Hahn, Christopher Pravdica...and I was in there flailing somewhere too. “ - Michael Gira / Swans ) 110.00
V/A - Maybe I'm Dreaming DLP (anthology - Maybe I’m Dreaming is the latest collection selected by Mikey Young (Total Control, Eddy Suppression Ring) and Keith Abrahamsson (Founder and Head of A&R at Anthology Recordings), the mangled minds behind the beloved Follow the Sun and Sad About the Times compilations. The twenty tracks of Dreaming make a conscious, and unconscious, detour from its predecessors, sourced entirely from private press releases, spanning new decades and production modes within homespun folk, soft rock, and otherwise 70s and 80s FM radio adjacent music. The magic of Dreaming is the untold story of the artists behind these songs; those who missed the big time, but whose song craft and unrequited care hit the right notes, both high and low. There’s nothing else for you to do but listen and dream away. Featuring the third-eye-opening artwork of Dang Wayne Olsen.) 36.00
CD
ADAM BOHMAN / SUE LYNCH / CRYSTABEL EFEMENA RILEY - Lynboril Lisinopril CD (otoroku - Me, you and Sue' - the triangulation of improvisers Adam Bohman, Sue Lynch and Crystabel Riley, and the original name for the hand-picked three way of drums, wind and amplified objects responsible for Lynboril Lisinopril. The informality of their original name belies the groups origins - three players naturally drawn to each other via London’s longstanding Horse Improvised Music Club, each of them more concerned with the action of playing than the naming of their sounds. However, the occasion of their first trio release forced a title, and Lynboril Lisinopril works perfectly - a play on the words Lyn(ch), Bo(hman) and Ril(ey), searched for and spat back at you. “The second word is what you get if you Google the made-up first word” remarks Seymour Wright in the liner notes - the second word being the name of a drug taken for lowering your blood pressure. And although probably not prescribable for hypertension, the music on Lynboril is approached with such a generosity and tenderness that it feels properly airy and light; as equally positive and playful as it is eccentric and uninhibited. Riley’s bouncy drums keep the trio in a state of permanent uplift. As if being buffeted along by a pleasant tailwind, each player is perfectly unhurried in their turning over of a new sound. Alternating between tenor saxophone and clarinet, Sue Lynch is crystalline calm, blowing beautiful lines across the merging metallics of Riley and Bohman. When the trio dials up for their second half, the intensity lifts but the clarity remains - swirling skin patterns subverted with precision by each scratch and scrawl of the table and the punctuation of the saxophone. Grounding tonic from some of the best free musicians we know.) 18.00
MAX EILBACHER & LUCY RAILTON - Indifferent Rocks Are Rearranged into a Dam CD (ideal - Tearing apart the sound of the cello and zooming in on its atomic particles, Max Eilbacher and Lucy Railton blur the real and the virtual on »Indifferent Rocks Are Rearranged into a Dam«. The result is a mind-altering study of authenticity and isolation that continually challenges aesthetic expectations. Originally commissioned by New York’s ISSUE Project Room in 2022 for its »Distant Pairs« series, which paired artists to consider the implications of post-Covid isolation, »Indifferent Rocks Are Rearranged into a Dam« uses the concept of distance to inform almost every aspect of its construction. The separation between Railton and Eilbacher is reflected in the method itself: microphones are placed in the middle of a quadraphonic setup, opening a gap between the acoustic source material and its preternatural result, between cello and digitally resynthesised simulation. Over almost half an hour, the duo engage in a surprisingly blithe deception, inviting listeners to dissect the material and work out what is actually happening. At least for the first few minutes, this is no easy task. Eilbacher’s reduced, spectralised drones slowly reveal the familiar back-and-forth motion of a bow: is it a cello channelled through pedals, a simulation, or both? The piece does not become easier to parse as it evolves. The sonic spectrum is expanded with booming low-end and eardrum-piercing high-frequency activity, yet remains cryptic: at times it sounds like pure synthesis, at others it comes close to Railton’s bewitching last album, »Blue Veil«. Pattering rhythms materialise from the sidelines, while in the stark middle section raw staccato notes are spray-painted with digital gloss, then repeated, swallowed, and regurgitated by unseen entities. The process feels as mischievous, rigorous, and texturally engaging as the vital early experiments of the GRM, which first posed questions about electronic and acoustic music that we are still trying to answer. The aesthetic may be very different, but the philosophy is the same: Railton and Eilbacher invite us to experience sound as they do — not in one defined place or another, but in a third space where anything is possible.) 17.00
SWANS - Newly Sentient Being 2xCD + DVD (Mute - Goodbye to this stellar version of Swans. Newly Sentient Being features superb recordings of Swans’ final concert of the “Big Sound” era, the apotheosis of 15 years of cosmic sonic expressionism, alternately heavenly and debased, visceral and transcendent. Recorded November 28, 2025, in Berlin. Over 2 ½ hours of music, includes a wealth of new material never recorded elsewhere and a DVD of the performance. Up there with the best of Swans’ legendary live records, they close this chapter with love and unbridled passion. “In 2010 I made the decision to reconvene my band, Swans, which I had, years earlier, killed out of frustration, disappointment and exhaustion. Now, I saw a light, a way forward for the music, and I decided to pursue it. Neither I, nor my collaborators in sound had any idea how things would eventually unfold, but it felt necessary and right, so we followed the music where it led. Turns out there was and is an audience for our music, which is often less than accessible in the popular sense of the term, but proved to be nevertheless compelling to a growing cadre of folks seeking the kind of unique experience we have offered. I believe we reached some pretty tremendous highs along the way, where the music became a raging, sentient autonomous beast that played us (and the audience/listener), rather than the reverse. That was the goal all along, to lose ourselves in the swirl. It took a lot out of us, physically and psychically to reach the highest plateaus, but once there, there was nothing on earth like it, and I’m glad we did it. Now this phase is finished. There’s nowhere else to take it, but we seem to have ended on a particularly high note with our final tour of this (now passing) Swans era, and I believe these current recordings convey the sensations and experience of the unique world we forged. For the next phase, I’m moving Swans into something with a decidedly more humble and intimate musical palette, but here now I offer my praise to the righteous group of humans, the musicians that made our final foray into the sonic ether a reality: Norman Westberg, Dana Schechter, Phil Puleo, Larry Mullins, Kristof Hahn, Christopher Pravdica...and I was in there flailing somewhere too. “ - Michael Gira / Swans ) 30.00
TAPES
V/A - NEW FAST SPEED PUNK 2026 TAPE (NEW FAST SPEED PUNK 2026" is a 6-way split bringing together GEVABOW, DUSTPAN, EL N**O, TAKAKURA KEN, MARVELOUS, and HORSE&DEER — six Japanese bands delivering 46 tracks of fast, furious and straight-to-the-point punk. Each band was given one simple rule: tracks under two minutes, any number of songs, just make them fast. The result is a wild mix of different styles and approaches, all tied together by the same obsession with speed and punk. A proper tribute to the hardcore 7" compilations that got so many of us hooked in the first place — but with a fresh new generation behind the wheel. Originally released as a 7" this year in Japan, NEW FAST SPEED PUNK 2026 is coming to cassette via Brainwasher Records. Six bands. 46 tracks. Under twelve minutes. No brakes.) 9.00
